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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<h5>Legend:</h5><h5>Yellow: unison</h5><h5>Green: octaves</h5><h5>Blue: homophony and others</h5>',
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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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	'solution_title' => 'Master Your Orchestra',
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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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	'name' => 'Performing patterns of accompaniment',
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	'content' => '<p>Apart from when it comes to held notes, patterns of accompaniments for brass instruments, are not as common as in strings and woodwinds. The reason for that is, again, the power of these instruments. But this is still a very useful tool for an orchestrator. Changing a steady pattern between a group of instruments –in the same family or not– is an excellent way to keep dynamic and flexible orchestration of a piece, and using the brass in this role helps to increase the variety of colors in the accompaniment.</p><p>The only aspect that we should take care of is the balance with the rest of the elements in the whole texture. If we are able to use most of the strings and a lot of the woodwinds in building an accompaniment, then, in the case of the brass, we will only need parts of it, and generally no more than a subsection, i.e. horns, trumpets or trombones and tuba. Occasionally we might need more than that in fortissimo sections, but in piano parts of the piece we may even only need a pair of brass instruments<span style="letter-spacing: 0.1px;">.</span></p>[vzaar=12109114]
<p style="text-align: center;"><br></p>

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<h5>Legend:</h5><h5>Yellow: unison</h5><h5>Green: octaves</h5><h5>Blue: homophony and others</h5>',
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		'content' => '<p>Brass instruments, unlike strings and woodwind instruments, are not particularly agile instruments. While consecutive developments in their construction have made most of these instruments quite versatile and rather virtuosic, but, with maybe with the exception of the trumpet, they can not compare to the speed and response of strings and woodwinds.</p><p>But even in runs, it is not just about the speed and response. In fact the trumpet is very fast in the mid-high register, and the trombone is also quite agile in quick passages. But runs are also about the ability to coordinate quick changes in dynamic with quick changes in notes, and brass instruments are not generally good at that. For example, we have all heard upward and downwards runs, and although some of these keep a &nbsp;stable dynamic , most of them include changes from piano to forte for upwards, and vice-versa. Adding brass instruments to the runs that we are used to listening to would not overpower them but would probably make them clumsy in most cases.</p><p>However runs for brass work wonderfully when we need power at a steady loud dynamic. For this purpose rips in the horns, or fingered/lip glissandi in the trumpets, work great when performed by the entire horn or trumpet sections (or a combination of both). They are obvious and they are hard to cover or soften by other instruments, but the effect that they create is very effective in the right context. Glissandi in the trombones are also effective, both by themselves and in combination with other (brass or other sections) instruments’ glissandi, but one should be careful not to make it too obvious. This type of effect has been overused in the past in connection with cartoons and jazz, and might bring us to the wrong context if we apply it without a little bit of thought.</p>[vzaar=11895125]
<p style="text-align: center;"><br></p>

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<h5>Legend:</h5><h5>Yellow: unison</h5><h5>Green: octaves</h5><h5>Blue: homophony and others</h5>',
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		'content' => '<p>As we talked previously, there are two aspects of doubling, dynamic power of each of the parts (doubling instruments and doubled instrument) and position in the stage/mix. Since brass instruments overpower any other individual instrument in the orchestra, it usually is the other instruments that double the brass. But there are also cases where the brass double other instruments, or sections of the orchestra.</p><p>And this is where the second factor becomes important, a careful selection on which instruments and what amount of instruments are needed on each part of the mix. Considering that the brass section sits behind the string section, and on the sides of the woodwinds, it is expected that this section reaches both audience and microphones (or conductor) with a decrease in their loudness when compared to what it would be like having them in the front row. For this reason, most often, when the number of brass is not too large compared to the section or sections of strings that it is doubling, and the register of the brass is not at its &nbsp;brightest,, strings can weigh more and therefore be supported by the brass. This is sometimes the case &nbsp;with a beefy section of celli –or, even better, celli and violas– when they are supported by a group of French horns that is not either too big &nbsp;in numbers, or too loud in dynamic. In this case the place on the stage, the dynamic marked in the score, and the number of players work in the string’s favor.</p><p>In the case of doubling the woodwinds it gets a little bit trickier. Doubling a single instrument by another instrument in the brass family can be, in the best case scenario, just a mix of the two instruments. And that is actually the most common situation: two instruments play a line together and as a result we get a new timbre, more than an increase of dynamic power with some “flavor” for only one part. But, as long as we don’t extra strengthen the woodwinds by duplicating the instrument, or looking for some help from a similar instrument in the family (like an auxiliary), woodwinds usually double brass instruments and not the contrary case. On the other hand the most likely scenario when we may need some help from within the brass to double a woodwind would be with a French horn or a muted brass instrument like the trumpet. The first can have a pretty neutral and round sound that can hide underneath a woodwind if the woodwind plays in a louder dynamic. The second, although tougher to hide due to its sharp sound, has the advantage of having the extra help from the mute to dampen the sound.</p>[vzaar=11895089]

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<h5>Legend:<br>Yellow: unison<br>Green: octaves<br>Blue: homophony and others</h5>',
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		'[invalid]' => [[maximum depth reached]],
		'[repository]' => 'Topics'
	
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]
$status = [
	'allowed' => false,
	'expired_enrollment' => false,
	'enrolledVersion' => false,
	'openingWeeks' => false,
	'available_revisions' => (int) 0,
	'is_a_demo_topic' => false,
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	'enrollment' => [],
	'upsell' => [],
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include - APP/Template/Element/aside/course-outline.ctp, line 21
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::_renderElement() - CORE/src/View/View.php, line 1879
Cake\View\View::element() - CORE/src/View/View.php, line 783
include - APP/Template/Element/aside-main-sidebar.ctp, line 22
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::_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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Performing patterns of accompaniment

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Orchestrating for Brass

Performing patterns of accompaniment

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