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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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
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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
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	'content' => '<p>Brass instruments can also work by elevating the dynamic of the orchestra in particularly loud sections, when we have already used strings and woodwinds to maximum. This is actually one of the most common functions of the brass then, not so much in the role of doubling the rest of the orchestra, but more as contributing with their brassiness and beefy sound in order to bring the orchestra to a new dynamic level, both in terms of timbre and decibels.</p><p>But why does timbre have anything to do with bringing the orchestra to a new (louder) dynamic level? As we already know, dynamic is not something related only to decibels, but also with timbre. Since the earliest days of recording studios it has been possible to get as many decibels as we want just by amplifying the sound, but that doesn’t give us all we need to perceive an increase of dynamic psychologically . We can have as many decibels as we want but a voice whispering is going to be perceived as a soft event, no matter how loud it actually is. And this is where brass plays a role in this story. No matter how few decibels we get from a pair of speakers, if we listen to a whole brass section sounding at once in fortissimo –with the consequent brassy sound– that would be understood as a very loud event that is going to top the already loud sound of the rest of the orchestra.</p><p><br></p>',
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		'id' => (int) 3384,
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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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		'content' => '<p>Combinations of sections inside the brass are used to make &nbsp;specific lines louder and/or look for different colors. As we mentioned before, composers and orchestrators should be very aware of the loudness of this combination and orchestrate the rest of the layers accordingly &nbsp;in order to get a balanced dynamic between all orchestral sections.</p><p>There are many possible combinations using brass instruments, but the most common are the following:</p><p></p><p></p><ul><li>Horns and trumpets: a very usual combination, especially when all instruments in both sections are playing in unison or octaves. This has a very bright color with a very thick sound and an incredible dynamic power. It is very common to find in heroic, epic, military, and even adventurous lines, especially when playing in forte or fortissimo.</li></ul><ul><li>Trumpets and trombones (with or without tuba): very common both in unison and octaves. These get as loud, or possibly even louder, and also as bright as the previous combination , but the sound is slightly less heavy and thick than with horns. They also get more precise with staccatos than trumpet and horn combo since both trumpet and trombone are more precise with this type of articulation. They also fit very well together due to the similarity in the sound (we should not forget that trombones are actually a big trumpet). Their sound together is very much like the sound of fanfares, as well as good for epic (but not as good as the previous combination), bright, adventurous, grandiose, military, and action melodies and gestures.</li></ul><ul><li>Trombones and tuba: very usual to find, especially for chorales, holding the harmony or bass of a particular section. They have the advantage of holding chords in the low register without getting very muddy, thanks to the cylindrical bore that contributes to their more precise, bright and clear sound. This is an advantage, especially in the low register, where chords and notes usually need so much clarity to not get lost in the whole.</li></ul><ul><li>Bass trombone/cimbasso and tuba: while the previous combination was also able to perform just the bass of the orchestra (the root of the chord), this new combination is more fittable for this purpose, since both bass trombone and cimbasso contribute with enough punch, clarity and dynamic power to hold the bass by themselves.</li></ul><ul><li>Horns and tuba: a more unusual combination for held chords and it is a great option to the more normal trio of trombones plus one tuba. As they are all conical instruments , their sound fits each other better than the case of trombones and tuba. This, depending on the situation, might be an advantage, but in other circumstances might not. If we look for a mellower, and rounder, and softer sound, that is not as precise and clear, this is the best option. If we look a little bit more for clarity and precision with a chord in the low register, trombones and tuba would be a clear choice.</li></ul>

<p>[vzaar=11895041]</p>



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<p><br>
Yellow: unison<br>
Green: octaves<br>
Blue: homophony and others<br></p>


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<p><br>
Yellow: unison<br>
Green: octaves<br>
Blue: homophony and others<br></p>',
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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/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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Bringing the orchestra to a new dynamic level

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Orchestrating for Brass

Bringing the orchestra to a new dynamic level

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