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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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>When writing a sketch for brass the main problem, similar to the woodwind section, is not having places for the instruments to breathe. This is not only a concern when we are transferring the mockup to an orchestration to get a recording out of it, which at a first glance can seem the main and only problem.</p><p>Most of the time that we spend working on mockups, after we get to sort out the music that we want to write, is to make the orchestrations shine, make it sound like it was played by real instruments, and finally mixing and mastering. The art of making virtual instruments sound real doesn’t have only to do with making them expressive and choosing the right patch etc., but also to orchestrate for them like they were played by real players. And no matter the musical education of the listener, most people can, consciously or unconsciously, tell if a line sounds real. While &nbsp;part of the problem could be in the programming, we need to make sure that a real player could play it, allowing him or her to breathe, not writing impossible leaps, or be playing most of the time in the most uncomfortable part of the register (to mention a few examples). This will guarantee that a melody sounds realistic for everyone.</p>',
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		'content' => '<p>Voicing for brass, as we explained in the previous sections, is also based on the harmonic series. So, according to that principle, lower notes should be more separated than higher notes, and the notes that are most doubled are the first, and the the 5th (although we know already that in practice the 3rd often gets more doubled than the fifth, due to historical reasons). As we see in the following graphic, one of the possible ways to arrange the first 12 harmonics of a major chord for a standard brass section of 4-3-3-1 is the following:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-1-0002-5989feb5a88ee.png]</h5><p>As we can see, to do a straight transcription of the harmonic series in the brass, we have to make some decisions. To start, we choose to present the harmonics in the range that all the instruments are most comfortable playing, or as close as possible. To continue, we also decided to have all groups of instruments with contiguous harmonics of the series. To end we also decided to have two horns per note, with the rest of the brass with one note per harmonic.</p><p>But this is not the only way to follow the harmonic series. If we strictly follow the harmonic series, we can also get voicings like the following: first, where we interlaced groups of instruments, like the second, where we doubled some of the harmonics in different groups of instruments, or like the third, where we interlace and doubled harmonics in different groups of instruments:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-2-0002-598c23fd6b4c6.png]</h5><p>In the same way as we previously discussed, strictly following the order of harmonics in the series is not the only way to get musical voicings, as tradition also &nbsp;carries great weight in what we judge to be musical or not, not just the acoustic phenomenon. In this regard we can find voicings that sound good that are open from bottom to top, voicings that are closed only in the middle of the chord but open in the extremes, and voicings that are closed from the middle to the top of the chord. We can see examples of each type in the following examples:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-3-0003-598c2407457d9.png]</h5><p>Generally, and definitely something that we should avoid when we start to orchestrate with brass, we should avoid having chords that straightly contradict the harmonic series such as , chords that are close on the bottom. Voicings like the following only contribute to create muddiness and confusion in the listener, and should be only used when the chord is clearly separated in register from the other elements in the texture, or when the chord is the only element in the texture.</p><p>Now, as you might have realized already, we have used &nbsp;the horns playing only two notes, instead of four in all voicings. This doesn’t have to be always like this, but generally, when a chord is played forte, we need two horns per note against each note a single trumpet, trombone or tuba plays. This is due to the fact that horns are weaker when all brass are at the loudest &nbsp;part of their dynamic range. When brass instruments are playing below mezzoforte it is not as important to have two instruments per note in the horns, as we can see in the following examples:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-4-0003-598c2423b2289.png]</h5><p>Finally, we should mention an important fact that we should always keep in mind when choosing brass instruments for chords. While we might find sections of our music that need the whole brass sounding at once, for example in fanfares, feature parts for brass, or orchestral tuttis, it is not the most common instrumentation when it comes to accompaniments of chords due to the enormous dynamic power of these instruments.</p><p>While it is true that they are able to play quite soft, two problems can come up when using the whole brass at piano dynamic. The first is the fact that the sound might be still perceived as too big due to the multiple doublings, even when we actually are only getting an outcome of al piano dynamic. The second problem that we might have, in the case when we don’t opt to double the same notes, is that, given that we are not using doublings, we might end up extending the chord through several octaves.</p><p>For this reason we generally use only groups of around 2 to 6 brass instruments, usually from one or two brass groups maximum. Common combinations for this purpose are 3-4 horns (one note per instrument), 3 trombones and tuba, 3 trombones, 3 trumpets, 3 trumpets and 3 trombones, 4 horns and tuba, and, just at the edge, 3 trumpets, 3 trombones and tuba. We can see examples of all of these combinations in the next examples:</p><h5>[img=/uploads/topics/dispositions-for-the-brass-section-5-0004-598c2415d119c.png]</h5>',
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Voicing for Brass: From Samples to Acoustic Instruments

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Orchestrating for Brass

Voicing for Brass: From Samples to Acoustic Instruments

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