Orchestration 1: Instrumentation & Orchestration Basics
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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	'solution_text' => '<p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;">Whether you’re producing an orchestral mock-up in a sequencer or writing for a group of real players, if you want to deliver an impressive sounding result you’ll need to have a sound understanding of the instruments you are writing for. </span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;"><br></span></p><p dir="ltr" style="line-height:1.38;margin-top:0pt;margin-bottom:0pt;"><span style="background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline;">And our ‘Instrumentation and Orchestration Basics’ is designed to give you exactly that. 
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Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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You’ll learn all you need to know about the instruments themselves, the range of sounds they are capable of, the roles they play in the orchestra and how to actually write for them to give your compositions the best chance to shine.
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	'learning_topics_list' => 'Learn How The Orchestra Evolved
Understanding the roots of the orchestra and how it has adapted over time gives us a powerful insight into its capabilities today.

Understand The 'Balance Of Power'
Learn to appreciate the sonic differences when the number of players in a section changes and how that, in turn, affects the balance of the orchestra in terms of the other sections.

Using The Clefs, Transposing, And The Written Score
You'll learn which instruments are written in which clefs, which need to transpose and how to produce a full score for concert and film scoring projects.

Introduction To Score Editors And Notation Programs
How to generate a written score using score editing software.

Discover The Construction, Playing Techniques, And Roles Of The Instruments
We'll take you 'section by section' and 'instrument by instrument' so you can get a feel of what each instrument is capable of, both in terms of its range, its tonality, and the roles it plays in the orchestra.

Understand How To Write For Each Orchestral Section
Now that you’ve learned how to idiomatically write for each instrument and section, now you’ll discover how to write for each section depending on the role that it’s taking. For example, how to write for violins when you need that soaring strings melody singing on top of the orchestra. Or how to make the cellos and basses provide a cinematic solid low end. How to harmonize trumpets and trombones for that climatic heroic motive. Or haw to arrange woods if we want to color a high strings melody. For each section, you’ll have supporting examples that you can listen to and follow along so you understand how each section performs when it’s performing a melody, countermelody, background, bass… and how it sounds different depending on the voicing, unison, or octaves. ',
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	'content' => '<p>When transferring a sketch into an orchestration that aims to sound like an orchestral piece, we should pay a lot of attention to the characteristics of the means we use. Both pianos and sample instruments are great tools to make sketches (or final pieces, if those are the instruments we decided to use), but they don’t fully behave like a real orchestra acoustically. In fact, they both have in common the same difference with live orchestras: they work better in the lower register than actual low instruments in the orchestra.</p><p>In the case of the piano, this is because their lower notes are not as rich in lower harmonics as ordinary instruments of the orchestra generally are. In the case of sample libraries, it is due to the editing and premixing process that they are subject to, and thanks to the perfect tuning they always have in every note, no matter what part of the register they are in.</p><p>As a result, most of the close disposition that we try in the lower range of the cellos, or the analog part of the piano, that usually works in our mock-ups doesn’t translate to the orchestration when played by real musicians. When played on its own with the lower sections of the orchestra it gets darker, duller and not totally in tune. When inserted in full orchestra harmonies, it doesn’t contribute to generating a powerful and full sound, and it complicates the tuning of the chord.</p><p>With respect to rendering the final orchestration with virtual instruments, even though it won’t be as noticeable, the problem will be still there. Not as to tuning or dullness –which the pre editing partially solved already–, but as to the fullness, power of the chord, or most importantly: the expectation of what an orchestra sounds like. This last aspect is probably the one that most people overlook: to have a piece that sounds like it was performed with a real orchestra, we might not need a real orchestra, but we definitely need to write and orchestrate music that could have been played with it.</p>',
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		'name' => 'Voicing for Strings',
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		'content' => '<p>As we refer back to the first section of this module then one of the elements that contributes the most to a good voicing is the harmonic series. If we follow this principle the first two notes (from bottom to top) should be at a distance of an octave, the 2nd and 3rd at a fifth, the 3rd and 4th at a fourth, the 4th and 5th at a major third, the 5th and 6th at a minor third, and an additional minor third between the 6th and 7th if we include the 7th of the chord. According to this, a chord in the strings –or any other ensemble– should look like the following:</p><h5>[img=/uploads/topics/1st-5-harmonics-in-the-strings-597473130f45d.png]</h5><p><span style="letter-spacing: 0.1px;">This is the perfect voicing if we strictly </span>follow &nbsp;this<span style="letter-spacing: 0.1px;"> acoustic phenomenon but, of course, things are not either as absolute or simple. First of all, this only serves the purpose of major chords with the option of a 7th (and 9th, 11th, 13th, etc), but not minor, diminished, augmented or, for that matter, any other chord that doesn’t have a major 3rd or a perfect 5th. </span>Second<span style="letter-spacing: 0.1px;"> of all, composers of cultures around the world, and definitely Western </span>composers,<span style="letter-spacing: 0.1px;"> made the (unconscious) use of this principle flexible. That is the reason that we have all the different inversions and types of chords that we use.</span><br></p><p>Still, we have to keep in mind that this phenomenon has a great influence in the way we perceive and understand sounds and music.</p><p>There are a lot of ways to voice a chord with the 5 voices that we get in a string orchestra, but we are going to present the most effective, especially when we want the strings to cover a good portion of their total range. We can separate the different dispositions into two categories, open and closer, depending on the distance they have between their different notes.</p><h5>[img=/uploads/topics/dispositions-for-the-strings-section-59741491ae08e.png] Chart with dispositions for the strings: [pdf=/uploads/topics/dispositions-for-the-strings-section-597414a0b5579.pdf;Download PDF]<br></h5><p>The first conclusion we can draw from this chart is that the upper notes are always closer to each other than the lower notes, following what happens in the harmonic series. The second is that cellos and basses are always in octaves, following both the music tradition and the harmonic series. Another conclusion that we can come to is that, past the first octave, the harmonic series is not followed, but rather the tradition of music is in this regard.<br></p><p>Of course, there are plenty of exceptions to the chart we presented here, and also situations where other disposition would be successful as well. As a rule of thumb, the open dispositions we presented work in the vast majority of cases. As to the closer ones, they might not always work, but they are also good as long as we don’t use them in full orchestral tuttis or sections where we want the fullest sound.</p>',
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Cake\View\View::_render() - CORE/src/View/View.php, line 1393
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Cake\View\View::_render() - CORE/src/View/View.php, line 1393
Cake\View\View::_renderElement() - CORE/src/View/View.php, line 1879
Cake\View\View::element() - CORE/src/View/View.php, line 783
include - APP/Template/Layout/adminlte.ctp, line 85
Cake\View\View::_evaluate() - CORE/src/View/View.php, line 1435
Cake\View\View::_render() - CORE/src/View/View.php, line 1393
Cake\View\View::renderLayout() - CORE/src/View/View.php, line 939
Cake\View\View::render() - CORE/src/View/View.php, line 897
Cake\Controller\Controller::render() - CORE/src/Controller/Controller.php, line 791
Cake\Http\ActionDispatcher::_invoke() - CORE/src/Http/ActionDispatcher.php, line 126
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Voicing for Strings: Samples and Piano Sketches

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Orchestrating for Strings

Voicing for Strings: Samples and Piano Sketches

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