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Found 33 results

  1. Hey all, I finished a rough draft of a work and need feedback on its orchestration, playing techniques, etc. I will adjust any notational errors later as I have not proofread the work yet. Any general advice/feedback is great, as the form of the song is set in stone. Thanks!
  2. Hi, I know there is expert people here. I want to study some big score to learn orchestration. I'm interested in romantic-postromantic and modern orchestration. Any suggestions? Perhaps Mahler is too much to start. I thought about Tchaikovsky's Pathethique Symphony.... I love it and I've listened to it many times... Holst, The Planets? Thanks.
  3. So... I want to compose more for orchestra and begin to build a decent corpus. Only thing... is that I'm more knowledgeable on string techniques and writing -with a growing understanding of woodwinds. Brass are my main issues... I just don't know the best ways to compose for them! I get that they can play soft... I understand that trombones and horns can provide nice padding to any texture -but, I'm scared to death to use them because I don't want to overpower the winds and strings. I can hear the brass instruments in my head (which is a good thing for orchestration) -but I still am hesitant to use them. Any tips or suggestions?
  4. Finally, I have the 6 pieces. It was not easy to do this because this work is quite "synthetic". Always in piano-pianissimo, very short pieces. It was hard to give a role to all the instruments.
  5. I'm not new in atonality but I never have written anything for orchestra in this style. Just to learn, I'm trying to orchestrate Schönberg's six Little Piano Pieces. They're short and good to try. This is nº 2 (although I've always thought it is in a sort of "extended" G major). What do you think? The piece is mostly "quiet" and it is not easy to give voice to the whole orchestra in less than a minute.
  6. So, one thing I like to do to strengthen skill sets is mess around and just create things that focus on whatever it is that I'm wanting to strengthen in my writing. This particular beginning is focused on orchestration. I've got the winds interlocked in the tutti chords (tonic: d minor). Following these, I bring celli, bass, 2nd violins, and viola in with an accompaniment pattern (doubled with bassoon). Clarinet and Oboe share a resonant countermelody as the flute and violins present the initial theme. Horns, in this example, add punctuation to the rhythmic motif found in the celli.
  7. Hello! I just would like to have some feedback on this track I wrote. I wanted to represent a typical traffic jam situation in a very big city. The piece is written for a large woodwind ensemble, piano and percussions.
  8. For both practicing orchestration and just for fun I made this attempt to orchestrate my favourite piano sonata by Mozart which, I think, is well suited for a symphonic setting: http://www.gerdprengel.de/Mozart_PianoSonata-KV457-1_orch.mp3 http://www.gerdprengel.de/Mozart_PianoSonata-KV457-1_orch.pdf (score) http://www.gerdprengel.de/Mozart_PianoSonata-KV457-2_orch.mp3 http://www.gerdprengel.de/Mozart_PianoSonata-KV457-3_orch.mp3 Gerd
  9. I figured that I would start this thread since I am making significant progress with my orchestration of Eine Kleine Nachtmusik. You will notice that most of the notes in any staff are taken directly from the quartet score and put into suitable octaves for the instrument. With this thread, you will be able to see how I have progressed with it because I will post an MP3 and PDF once I finish a section. So far, I have the exposition of the Allegro movement orchestrated. I am working on the development section right now. I have decided on this instrumentation for it: 2 flutes 2 oboes 2 clarinets 2 bassoons 2 horns 2 trumpets Tympani 1st violins 2nd violins Violas Cellos Double basses Here is my first draft of the exposition. How well have I orchestrated it? What issues are there with my orchestration? I vary the instrumentation where Mozart simply repeats the phrase.
  10. Yowza it feels like forever since I've had time to hang out with y'all!! I've been doing some sketching (mostly for piano, to focus on simplifying my part writing), and explored the idea of creating a melody based on the rhythmic grouping of 5+4+3+2+1 (a half note), and 6+5+4+3+2+1 (a half note), etc. It's not my best sketch, but I decided to orchestrate it for wind ensemble and I think the end product is pretty nifty. I'll post the orchestration and the original piano version if you want to compare. Any thoughts are welcome! #GoodToBeBack #ThanksForListening #Hashtag https://soundcloud.com/transcend_audio/sketch-no-22 https://soundcloud.com/transcend_audio/sketch-no-22-orchestrated
  11. So, I just got this idea yesterday of orchestrating Eine Kleine Nachtmusik. Should be easier to do than the Pathetique Sonata orchestration I did before. Since it is Mozart that I am orchestrating, I'm staying conservative with my instrumentation. Here is the instrumentation I plan on using for my orchestration: 2 flutes 2 oboes 2 clarinets 2 bassoons 3 horns 2 trumpets tympani 1st violins 2nd violins violas cellos double basses The reason I haven't put in numbers for the string instruments is because most likely, the orchestra will decide on their own what the best strings:other players ratio is or will know it from playing Mozart symphonies hundreds of times. Either way, it isn't like I know the strings:other players ratio for a classical period orchestra(which is what I'm aiming for with my instrumentation if you can't already tell), so I would have no clue on the ideal numbers for the string instruments. There are some spots where I see Mozart writes a phrase and then he repeats the phrase. These would be prime times to bring in more players or have some players take a rest(really depends on the dynamics of the initial phrase and the repeated phrase). And there are some extended creschendo passages as well. Those would be places where I increase the sound density. Extended diminuendo passages, I would do the exact opposite for. I would decrease the sound density. But do you have any suggestions on how to go from string quartet to orchestra? And in particular, what should I do about the triple stops that start the piece? I have been told that double stops, while they sound great in a solo, or even a quartet, when you get to the size of an orchestra, it becomes clunky in sound. The double stops I can simply either have more than 1 instrument group play it or make 1 staff divisi. But I have no idea what to do about the triple stops. If double stops sound clunky in an orchestra, then triple stops will sound even more clunky in an orchestra, so I obviously can't just leave them as triple stops. But what should I do about those triple stops? Here is a PDF of the entire piece as originally written:
  12. Hello! I am a 17 year old music student from Belgium. I recently wrote a concerto for double bass, and it turned out really well in my opinion. Now that it's finished I actually really want to write a new piece, but I can't find any themes. I was wondering, for those who don't really those "Aha! I've got a theme!"-moments at random, how do you find/look for a new theme? Where do you get your inspiration from? And how do you know if you didn't steal it from an other work? Thanks!
  13. Hey folks, This is my latest composition, Ruth. It will be performed by my church's orchestra sometime in the Spring or Summer. I am looking for feedback on this so hit me with anything you've got! I know each section is pretty short, but it's what I had to do in order to fit the type of concert it will be performed at. Thanks! https://www.youtube.com/watch?v=-c3YJdnU_Lg
  14. Hello all I am looking to improve my orchestration. So, I looked around the Internet and found Berlioz's Treatise on Instrumentation on IMSLP. However, as useful as this has been, it is not exactly what I am looking for. What I try to find is not a book which tells me about about the instruments themselves, but rather how to combine them and make my orchestral scores look and sound good. Glancing at one of my orchestral scores, I can see that the orchestration is very basic, and probably sounds as much. (It is on manuscript, so I cannot hear it) Does anyone know of any books/websites/articles that will help me to improve this aspect of my orchestration? Thanks
  15. Hey guys, sorry for not posting recently. I've just moved to start going to school for organ performance, but I've been getting back into composing over the past weeks. Here's a project I've started and finished during that time.
  16. This is your lord WeeGee bringing to you an exercise for your orchestration skills. Earlier this week, on monday, i came up with a very simple, short waltz (while studying math, of course). Its 1'12'' long, and written for piano (although not exactly playable by one alone). Since its short and harmonicaly simple, i thought it could be a nice exercice for those who are still learning the ways of orchestration (also a good one for those who already know the craft). The ZIP file contains 3 other files: The PDF, the XML (for those who want to use their notation program) and the MIDI (for those who want to orchestrate with their daws). Feel free to add your own little details, ending, octaves, parts, etc. Be creative, be thoughtful and have fun. This is what orchestration is mostly about. Also feel free to post your finished work here. LINK: http://rghost.net/6ZGVFTKYH Keep in mind that RGhost is a file hosting site that deletes its files 90 days after ther last download. If its not available anymore give me a shout here in the topic and i will update it accordingly.
  17. Hello composers! This will be the place where I will share one classical composition including saxophones per week. The videos are not mine! As a saxophonist, I notice that still many composers do not use the saxophone in classical music. The most important reason for this is because they do not know how to apply the instrument. I often get the question if I could give some study advices for saxophone writing. My answer is always that one has to listen and study the works of our predecessors. This topic is meant to inspire and stimulate composers to write more music for the saxophones. Contents Graham Lynch - Unreal Promenade for Saxophone Ensemble (2015). Jean Françaix - Cinq Danses Exotiques for Alto Saxophone and Piano (1961). Georges Bizet - Suite No.1 from the drama l'Arlésienne (1872). Claude Debussy - Rhapsodie for Saxophone and Orchestra (1901 - 1911). Slava Kazykin - ''Bachiazzola'' for Saxophone Quartet (n.d.). Mark Watters - Rhapsody for Baritone Saxophone and Wind Orchestra (2001). Iannis Xenakis - XAS (1987). Mozart / Arr. Niels Bijl - String Quartet No.15 in D minor, Kv. 421a. Paul Creston - Sonata for Alto Saxophone and Piano, Op.19 (1939). Erwin Schulhoff - Hot Sonata (1930). Carter Pann - The Mechanics for Saxophone Quartet (2013). #1 Graham Lynch - Unreal Promenade for Saxophone Ensemble (2015). More information in the description of the video. Best wishes, Maarten Bauer
  18. I’m writing some music for my friends. More on that in a bit. These little nuggets will one day become my first symphony. I guess wouldn’t exactly call them sketches since the music is written beginning to end, but they feel rough because they are not yet fully orchestrated. Either way, once that final orchestration phase is complete, this work will be a substantial piece of music, with a lot of rich content for the listener to explore. For now I’ve chosen a basic instrumentation of flute, oboe, trumpet, low strings. This can give a feel of being fleshed out, but is small enough to make sketching manageable, and colorful enough to make it fun. This instrumentation also helped me get away from the violin-centric symphony model, since I haven’t included violins in my original sketches. When I sit down and orchestrate this thing for real I will add violins in at my leisure, like a painter who, with one smooth movement, adds a bit of reflected light to a child’s eye. The next step is to dive deep into the orchestration and make some hard choices. But for now, I’m savoring the completion of an crucial leg of this artistic journey. This particular piece has taken years to get to this spot, and where it will eventually lead I am not entirely sure. Sometimes it’s just important to pause and recognize a milestone. The working title is “Homies”: Joe Soeller Evan Adventure Cat Erica Hunt-Shaw I’m not totally settled on all aspects of this music, but the overall arc I love. This is music for my friends. It’s a celebration of what we’ve all accomplished together, what we’ve built, the life we’ve lived, the love we’ve felt. The music goes a lot of different places, as do long friendships. For us the highs have been high, and there really haven’t been too many lows, and even if a low came along, we all know the high was coming back soon enough. Some of this music is an intense philosophical probing, difficult questions asked, journeys of personal growth, a connectivity that grows deep like tree roots, music for my brother. Another part is a long and exotic road trip adventure. Fences climbed, open mics pioneered, tequila bottles also pioneered. This is music to play spinbat to. And yet another section is a song of love, a private song, a hidden cave. When I dive back into this music and turn these nuggets into completed symphony movements, I may end up expanding certain chunks, or slowing down the tempo for a section, or taking the music in a slightly different direction if the mood strikes me. I’m still shaping the clay a bit. But the meaning behind the music will not change. It’s that meaning that underscores every note of this music, every rise and fall. It’s that meaning that drives me to complete it. I welcome any feedback.
  19. Another little something for critique (please rip it to shreds!) I'm not particularly happy with this at the moment. Feels like it's all over the place. I think my main issue is probably the strings — they just don't feel like they're working. It's probably a combination of the writing and the orchestration (and maybe the samples I'm using as well), but maybe some more seasoned composers can give me some tips here (especially at mark D...) As an aside, the director loves it, and is going to use it, but just for my own purposes I want to see if there's anything I can do with this to polish it up a bit. Score is attached, if that's helpful. Anyway, here it is in context (ungraded first cut):
  20. Hello everybody, On FaceBook I have seen an invitation to write for the carillon of the Domtoren (church) in Utrecht. I never came on the idea to write for this instrument until now. The problem is that I don't know how to compose for the carillon. I cannot find much information about the possibilities and limitations of the carillon, so I would really appreciate it if you could tell me more about it! Thank you, Maarten
  21. Here's an arrangement of Crown Him With Many Crowns. I'm pretty new to orchestration, this is the first project with this many instruments that I've actually finished. So I'm very happy to hear any tips, suggestions, corrections. I'm definitely not finished with this so please feel free to comment anything you feel would make it better. Thanks! P.S. Sorry again for MIDI instead of MP3 Crown Him With Many Crowns -Rough Draft MIDI.mid
  22. Hey fellow composer, I'd like to introduce myself; I'm Frederic Bernard a composer and orchestrator from Germany. I've just launched my homepage and finnished the writing on my very first orchestration tutorial. It's all about how to properly apply legato on all the different instruments. It can be downloaded here. ...listening samples (including some of my own live orchestra scores) are of course included, happy reading! :) cheers, Frederic
  23. First thing you'll note about this... this is NOT the 8-bit-Evolution challenge. We figured we'd let that one settle for a while. Instead, this will be a general video game orchestration competition for a game that already exists: Chrono Trigger. We thought it'd be good to branch out with our competitions a little bit and are excited to see the results of this! Here is the link to the intro cutscene entrants will be scoring for: https://www.youtube.com/watch?v=hOmgIZZuI68 Purpose and Expectations: 1. Write a score that accompanies the visuals in this intro. It should try to invoke the same sort of adventurous feeling as the original score. /10 2. Synching is not easy. I'll accept some issues with synching, but in general the music should match the scene. /10 3. Does it sound like this could be played in real life? In other words, does the orchestration seem feasible? /10 4. All entries will be played for a person who has not played the game before and also has little formal music education. Did you get them excited to play the game? /10 TOTAL: /40 Note: Sound effects in the original cutscene will not be taken into account. Entrants will signal their intent to enter by responding to the comment thread on this topic. Provided this gains enough attention, I'll open another topic for entrants to post their entries. Entrant: 1. SallyTheSeabird 2. LostSamurai 3. Between Skies 4. fishfry 5. Mark Paul Entrants can now sign up whenever they'd like before the due date. Due Date for Final Entry: TENTATIVE (12/20) Good luck!
  24. Hi all, I have recently launched a website to help composers and virtual orchestrators learn how to create an effective midi mockup. https://synthestration.com There is currently a launch sale active where you can receive 15% off any order, just use the coupon code LAUNCH15 at checkout. The current products available include a downloadable project file containing all MIDI data, routing and mix settings, and comment markers to show you exactly how a specific piece of music was 'mocked-up' and what techniques were used to achieve specific articulations and tone. The project file can be downloaded for either Logic or Cubase (more DAWs to be supported in the future). There is also a fully orchestrated score to accompany the project file for you to reference. As of this writing, there is only one piece available, which makes use of East West's Symphonic Orchestra sample library, and their Spaces reverb plugin. Both are included with their Composer Cloud subscription. In summary, you will see everything that was done in order to achieve this result: https://soundcloud.com/synthestration/symphonic-explorations If you purchase a product from synthestration.com, you gain access to an exclusive chat server where you can ask an unlimited number of questions about the product, or indeed anything that is on your mind! Of course, feel free to ask any questions via our contact form on the site, or simply respond in this thread. Cheers, Jayden https://synthestration.com
  25. I thought you guys might be interested in my new series! I'm creating 2-3 minute videos about writing for every member of the woodwind family. I also am more than happy to answer any questions that are posted on the video. If you're interested, here's the playlist:
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