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A question Do you think that any piano piece, for example, could be adapted for an orchestral version? Or perhaps there are certain formats or styles that wouldn’t work well in this context? Please feel free to give examples Best regards

. with me changes, I usually have those as suggestions the ensembles I have been with useing mallet instruments we had mallet bags which allowed us to drop stuff in and quickly pull stuff out With the octaves, I think that’s just purely for texture reasons sometimes I’ll have a single player use an octave grip with runs sometimes

Hi @Luis Hernández! In principle, I think you could adapt any piano work for an orchestra using a DAW. That said, there are certainly some that would be incredibly difficult, take Conlon Nancarrow’s Study No. 40a, for instance. https://www.youtube.com/watch?v=ZXd-I_7XBoY That one might be almost impossible, don't you think? (Haha) Ultimately, piano works originally composed for player pianos might not be well-suited for orchestral adaptation. The same likely applies to piano pieces with an extremely sparse number of notes. Even if it were possible, the real question is whether the orchestration adds any value, whether it actually "works" or not. By the way, your arrangement of Schoenberg’s Six Little Pieces for Piano, Op. 19 was really good! I didn't comment on the specific topic because I don't feel qualified to offer advice on orchestration. However, I just wanted to let you know how much I enjoyed it! Best, Lithl.

As a listener ... just a fun piece! Mark

A very effective and engaging orchestration ... it possesses a well rounded tonal balance with interesting color. Nice work. Mark

Alex, Please aware that in measure 6 you have a slur in pp in the Oboe going to the B - Bb the Oboe's lowest note. Not a problem usually, however, at that dynamic level it might not work. At measure 16 you have the Oboe at the high F and G.... I don't see the benefit here at all. Not really recommended unless it is an avant garde work. In both cases the Oboist will not be happy with the orchestration. Mark

The truth is, it’s a surprising, original and captivating piece. Two things strike me – though they’re more questions than anything else, as my experience with percussion is very, very limited. One is the speed with which the percussionist changes instruments (or mallets). Sometimes it seems to happen in ‘zero time’. Is that possible? I suppose it must be down to the layout of the instruments and the mallets? The other is that in many sections the vibraphones and marimbas play in unison or an octave apart – is this due to the acoustic volume of the instruments? It sometimes sounds a bit overloaded, but I imagine that’s down to the virtual instrument as well. It’s certainly a very good lesson on percussion. As for the connection with the poem, well, I don’t know – I’m one of those who think that music doesn’t describe anything. To me, it sounds lively and cheerful, and, in a way, the instruments do remind me of a sunset on the coast. The score is explained very well.

Hi guys! I think there are different levels to "personal style." There’s the kind often seen in pop music—a style defined by the individual artist or the band itself—and then there’s the kind @Luis Hernández is referring to: a personal style that carries significant influence. In the 21st century, we see plenty of that first type—original, personal styles—and I personally enjoy listening to them. Artists like Nils Frahm, Boards of Canada, and GoGo Penguin come to mind. Perhaps the reason we aren't seeing the kind of unprecedented, revolutionary shifts that occurred in the 20th century is simply because music has fragmented into so many different genres. That said, I believe new and innovative works are still being created within each of those genres. We have such an incredible array of equipment and techniques available today that, depending on how you combine them, it’s certainly possible to create fresh, novel music. Though, I have to admit, I show absolutely no signs of doing that myself, haha. The topic of "random elements" is also fascinating. You could probably incorporate randomness into a piece by using a DAW that utilizes mathematical formulas for randomization. If you used that to establish rules for sound placement, for instance, you might be able to generate a different piece of music every time using just a single formula. Since the turn of the 21st century, we haven't really seen anyone who represents a paradigm shift in music, but I’m sure someone will emerge eventuallyーand I certainly hope to live long enough to see it happen! Best, Lithl.

When it comes to personal style, as a composer, it is hard to describe what that style would be. Yes, I compose ensemble pieces (rather solo or chamber) or full orchestra, too. However, period style is not going to be same. The term best fits me is "polystylist". This means I could possibly write in different styles. For instance, my Halloween piece was written for string quartet but the style 20th century. (note; I could have written a serialism written for that competition...). Currently, I working piece that sounds neo classical for the next competition. Joe Hirashi was the inspiration for the piece. My personal taste is open book. Heck. George Leigti works are always fun to listen to. And who does not want to listen a post tonal composition that has clusters and other modern jazz. :) The problem is...midi can not play back alerotical boxes and clusters. Only live musicians can. Thus, that is what trying figure out, next. How to have play back in score. (maybe use a daw?)

Many thanks for those tips Mark. I will move the oboe part in Bar 6 to the clarinet. In Bar 16 I've already eliminated the oboe and replaced with flute (see amended version directly above your post). Alex.

Modest Mussorgsky piano suite "Pictures at the exhibition" certainly have been written for the orchestra countless times. Schubert arranged one of lieder into piano trio. Debussy orchestrated one his works. So, the answer is ...yes! In fact, that would be fun challenge for this forum: arrange a piano for certain ensemble. @Lithl That is one method. The other method is the old fashion way: write everything out. :)

A while ago, I uploaded my orchestration of Schönberg’s Six Little Pieces for Piano, Op. 19. There were lots of things that could have been improved. Mainly because, at the time, I didn’t really know how to analyse the original composition properly and transpose it for the orchestra. I’m uploading only No. 2 from Op. 19 here, which is very, very short. After completing it, it was reviewed by a professional composer, and I’ve noted down the suggestions he gave me. The opening was very ‘dry’, with just the strings in pizzicato, so I added the flute notes, which are in a soft register and played pianissimo, to create a resonant effect. The line played by the oboe and clarinet in bars 2 and 3 – I’d originally written it doubled by a violin, with the parts shared between these instruments. I’ve removed the violin and split the line into two pairs that make sense given the different intervals. This way, the instruments sound ‘pure’, in keeping with this musical language. At the climactic moments, in bar 6 and the finale, I have added a beat or more, so that those climactic chords resonate for as long as necessary. Furthermore, the two final notes on the clarinets were short (eighth notes) and, as the teacher pointed out, the upper part of the chord did indeed sound ‘muted’ and hollow. So I lengthened them. Extending the final chord allowed me to make the harp’s glissando rise and then fall. Before, it only went up. In this sort of language, I think you have to be quite literal, but also allow yourself some licence so that the orchestra can display its capabilities, such as those resonances and prolongations in certain bars. 02 sch.mp3 Partitura_.pdf

I started this few years ago and posted a couple pieces of this suite before. I had intended to finish it but set it aside and hadn't worked on it in a while. I finally cam back to it a few weeks ago and decided to finish it. It's based on the Hans Christian Anderson story of the Steadfast Tin Soldier. My goal was to write each piece in 3/4 timing, as I don't often use that timing and to keep each piece to less than 4 minutes (thought the finale is just over 5 minutes). I included a description for each piece to describe the action. I. The Tin Soldiers Play War There were once twenty-five tin soldiers, born of the same old spoon. The little boy lined them up together, all splendid in their uniforms of red and blue. They all looked the same, except one. He looked a little different as he had been cast last of all. The tin was short and, in turn, so was he. But there he stood, as steady as his brethren. The little boy marched them around the table, clashing them together and making booms like cannons and musket fire. II. The Paper Ballerina’s Dance He lined them up to protect the model castle and the other small toy figures inside. One of those was a little paper ballerina, with a fluffy gauze skirt and a glistening jewel around her neck. The little tin soldier thought to himself, “I would so love for her to be my wife, but maybe she’s too grand for me. She lives in a castle, and I have only a little box that I share with twenty-four other soldiers.” He hid behind a little box, steadfastly watching her as the other soldiers continued to play. III. The Soldier and the Ballerina’s Pas de Deux When night came and the children went to bed, the toys came to life and began to play on their own. The little tin soldier moved toward the ballerina and offered his hand. To his surprise, she did not reject it; she clasped his hand, and the two began to dance. As they whirled around the table, they looked into each other’s eyes and knew they had found their true love. IV. The Jealous Goblin But in the shadows lurked the goblin who lived in the jack-in-a-box, and he was not pleased with what he saw. For he thought the ballerina belonged to him and did not appreciate this newcomer taking his place. He approached the soldier and said, “Keep your eyes and hands to yourself.” He pushed at him, but the tin soldier stood stiffly in his spot. As the goblin stalked away, he said, “Just what till tomorrow!” V. The Soldier Falls from the Window The next day, maybe by chance or maybe because of the goblin, the little soldier ended up on the open window ledge. Whether it was a gust of wind or a goblin spell, the little soldier fell three stories to the ground, landing between the paving stones. VI. The Journey on the Paper Boat He lay there all night till two boys found him and placed him on a little boat and sent him sailing down the river. The little soldier thought about his dear ballerina and if he would ever see her again. The stream began to move faster and faster, carrying him toward the drain to the sewer. VII. The Escape from the Sewer Rats The tin soldier found himself floating through the sewer. Suddenly, a group of rats came toward the water, demanding that the little soldier pay a toll for passing through their land. They scurried around to find debris to throw at the boat. The little soldier tried to steer the boat around them, but it led him into a fast-moving tunnel and through a drain that led out to sea. The boat turned over and the soldier fell into the water. VIII. The Fish and the Surprise Inside Before he could sink to the bottom, a passing fish swallowed him and the little soldier found himself in the fish’s belly. He moved back and forth as the fish swam. All of a sudden, the fish began to move wildly and then fell still. He then heard loud noises coming from outside before turning quiet. A knife suddenly cut through the fish’s belly and before the little soldier stood his former master’s cook. He had miraculously found his way home. IX. The Reunion and the Fireplace The little soldier stood on the table, his paint worn off, but he still stood as stiff as ever. Across the table, he saw his ballerina, his love that he thought he would never see again. His heart was filled with so much regret for the time together they had missed. But lurking in the shadow was the wicked little goblin. He would not let the little tin soldier take his girl away. Maybe by chance or maybe it was the goblin, but one of the children picked up the soldier and threw him into the fire. The goblin danced in delight of his victory, but suddenly a gust of wind blew the paper ballerina into the fire with the soldier. The next morning, when the fire had died out. The maid saw in the ashes a tiny tin heart, and at the center was the jewel that the ballerina wore. Joined together, as one. 14 The Tin Soldier's Play War.mp3 15 The Paper Ballerina's Dance.mp3 16 The Soldier and the Ballerina's Pas de Deux.mp3 17 The Jealous Goblin.mp3 18 The Soldier Falls From the Window.mp3 19 The Journey on the Paper Boat.mp3 20 The Escape from the Sewer Rats.mp3 21 The Fish and the Surprising Dinner.mp3 22 The Reunion and the Fireplace.mp3