Short tutti problem

Hi! I'm trying to write Romantic-inspired pieces, but I struggle with a lot of things. I cannot figure out what it is. I've taken a look at some tuttis in scores (like Tchaikovsky's Piano Concerto No. 1), but I didn't do well. To get a more "classical" vibe, should I reduce the harmony and leave just two voices (melody and bass)? Or should I double more voices in octaves more carefully?

I should add that I didn't apply myself too much; maybe I should think harder and not just place random notes on the paper.

For simpler reading, I can provide an excerpt of the score (it's very short anyway).

score.pdf

2 hours ago, Morgini said:

Hi! I'm trying to write Romantic-inspired pieces, but I struggle with a lot of things. I cannot figure out what it is. I've taken a look at some tuttis in scores (like Tchaikovsky's Piano Concerto No. 1), but I didn't do well. To get a more "classical" vibe, should I reduce the harmony and leave just two voices (melody and bass)? Or should I double more voices in octaves more carefully?

I should add that I didn't apply myself too much; maybe I should think harder and not just place random notes on the paper.

For simpler reading, I can provide an excerpt of the score (it's very short anyway).

Welcome to the forum!

This is an interesting discussion to open with, and in the best of ways. I feel there can be a lot of answers to this question and most of the comments may be stemmed from an individuals opinions when orchestrating and style.

For some context, can you provide a little of your background or theory-level? It will help us give an appropriate answer befitting of your experience.

So I'll introduce my experience. I am totally self-tudied in music and have been learning for a long time, but anyway:

Basics — I think I know enough, although I haven’t really tested myself formally.
Voice leading — I’ve read about counterpoint and harmony, but I never studied them in a strict academic way. Some of my voice writing comes from hearing and intuition (“by feel”), though I try to preserve some independence in each voice.
Harmony — I understand triads, secondary dominants, modulation, and related concepts well enough, I think. I also read Nikolai Rimsky-Korsakov’s orchestration book, as well as a similar one by my compatriot Marian Cyrus-Sobolewski called Orkiestracja.

I can link a video of one of my pieces (with a synchronized score) to show the direction I’m going in and provide more context: https://www.youtube.com/watch?v=GSNKnQD84uU

(I wrote this almost year ago, and way i edited this video is bad - lets be honest)

Other piece (no score): https://www.youtube.com/watch?v=eAIYVYFgCjw

My goal is to write music somewhat in the style of Pyotr Ilyich Tchaikovsky and Maurice Ravel. I also appreciate film music. Yeah, I know those are very different directions and a bit of a weird combination, but somehow that’s where my taste ended up.

Just a random amateur, I guess.

Edited 2 hours ago2 hr by Morgini
Video info

I see, that helps a lot! In the orchestration example you provide, there is something lacking in terms of the ensemble tessitura. Tessitura is a complex word, but in simple terms describes the characters/ properties of an instruments range. (I.e Flutes sounds airy/ whispery when played low, Tubas sound rich when played high, etc.)

In this context, I am worried about where the notes are placed in the instruments and then comparing that to the harmonic series.

If you wanted a full sound from the orchestra, you need to fill out the harmonic series so we hear all the resonances. The computer (MuseScore in this case) is deceiving you because you are hearing a lot of instruments, but if this were played live, it would sound loud, but not as rich/ warm as you want it to.

FEEDBACK:
Brass - The horns doubling the same pitch will not sound "full" but the same brassy sound louder.

Ensemble Tutti - There can be different variants of an ensemble tutti. The most basic being every instrument is playing the exact same line in their registers. However, another implication is that every instrument is playing, albeit, different material. This is more reminiscent to your example and I think it fitting if you have the bass instruments (Contrabasses, Contrabassoons) sustain the pedal/ tonic fundamental. If every line is moving, then it is hard to hear the melodic content you want. Pulsing the harmony and grounding the bass while the melodic line moves will be an effective tool to clearly hear the feature.

Timpani - BEWARREEEEE the timpani. While written in bass clef, it is NOT a bass instrument. Remind yourself that the timpani has anywhere between 1-5 drums (5 for professional ensembles and 4 for universal standard) It has a hard time moving stepwise and if you can write leaps or intervals bigger than a 3rd, it will be very easy on the player. They can tune the drum heads live and if you are not too sure if it is playable, ask a timpanist for insight.


Also, for a point of the score, make sure your language is standard. You mixed english names and italian names for the instruments. Make it easy on the brain and keep it one or the other lol

Attached is a sample orchestration of what I have done with these comments. I changed the harmony a little to make it simpler for example purposes only:

(I just realized I missed the Divisi for the Celli.. whoops)

Orchestration Sample.pdf