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Introductions

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Introductions To share information on how to make the

leap from music written on a MIDI sequencer to a live performance.

(Aka – Is what you wrote playable?)

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Introductions To share information on how to make the

leap from music written on a MIDI sequencer to a live performance.

(Aka – Is what you wrote playable?) To gain a further understanding of

orchestration.

No place for the woodwinds and brass to breath

Writing in extreme registers and causing fatigue to the players

String Pizz + String harmonics + String Tremolo, “You’re the orchestrator. That’s what I want.”

Complete woodwind omission from synth scores

“It’s gonna sound exactly like my

samples, only better!” “How come that Alto Flute player can’t

play louder than the Trumpet section? He must not be very good.”

“Why do the Strings sound mushy when they play those fast scales? With my Marcato samples I can hear every note!”

“The more notes you give to a string section (divisi) the bigger it'll sound.”

Unrealistic dynamics in upper or lower

registers (trying to get trumpets to play ppp on an ultra high note).

Expecting all instruments to be able to play the passage that was written on a keyboard (fast notes alternating between the I and VII position on a trombone).

Meaning, is it physically possible for an accomplished musician to execute what you wrote.

More importantly, is everything you wrote in your entire score playable? And…

Can it be realistically recorded in the amount of studio time you have booked?

About the musicality of a given line:  Does that oboe passage sound characteristic of an oboe? Instruments "like" to play a certain way.  Are you taking advantage of this or are you writing an uncharacteristic line because this is the sound you are going for.  There's a big difference between wanting that sound and just not knowing.

Orchestration, Cecil Forsyth (Dover)

Principles of Orchestration, Rimsky-Korsakov (Dover)

The Technique of Orchestration, Kent Kennan & Donald Grantham (Prentice Hall)

Treatise on Instrumentation, Hector Berlioz & Richard Strauss (Dover)

Orchestration, Cecil Forsyth (Dover) Principles of Orchestration, Rimsky-

Korsakov (Dover) The Technique of Orchestration, Kent

Kennan & Donald Grantham (Prentice Hall)

Treatise on Instrumentation, Hector Berlioz & Richard Strauss (Dover)

John Williams Signature Edition scores

Get a good range and transposition guide.

Get a good range and transposition guide. Get full scores of your favorite orchestral

works and study them!

Woodwinds & Brass players HAVE to breathe.

Woodwinds & Brass players HAVE to breathe.

Playing a brass instrument is a physical action.

Woodwinds & Brass players HAVE to breathe.

Playing a brass instrument is a physical action.

Brass players need to reset their embouchure occasionally.

Woodwinds & Brass players HAVE to breathe.

Playing a brass instrument is a physical action.

Brass players need to reset their embouchure occasionally.

A good rule of thumb is 4-8 bars before giving the player a break.

Woodwinds & Brass players HAVE to breathe.

Playing a brass instrument is a physical action.

Brass players need to reset their embouchure occasionally.

A good rule of thumb is 4-8 bars before giving the player a break.

Writing nice phrasing for the whole orchestra makes the music sound better.

Overwriting

Overwriting Ultra-divisi, for that really thin sound…

Overwriting Ultra-divisi, for that really thin sound… Color combinations

Overwriting Ultra-divisi, for that really thin sound… Color combinations Sometimes Simplicity is the prefect choice

Big/Heroic

Big/Heroic Creepy/Suspenseful

Big/Heroic Creepy/Suspenseful Sweet/Gentle

Big/Heroic Creepy/Suspenseful Sweet/Gentle Topsy-turvy/Haywire

Lennie Moore www.lenniemoore.com Cris Velasco www.monarchaudio.com Erik Lundborg Join G.A.N.G.! www.audiogang.org