Aug 16, 2019 | Daily Film Scoring Bits, Orchestration
Compose With Orchestration in Mind When you’re writing music, at least have a basic idea about the orchestration while doing so. Writing something completely disconnected from the orchestration will cause compromises in the orchestration process later. The problem...
Aug 9, 2019 | Daily Film Scoring Bits, Orchestration
Tone Colour in the Woodwind Section When writing for woodwinds, you have to be aware that you’re dealing with groups of instruments of highly diverse tone colour. Combining instruments in this section will never create a homogenous sound that is comparable to the one...
Aug 2, 2019 | Daily Film Scoring Bits, Orchestration
DAW Orchestration vs. Real Life Orchestration Just because you write orchestral music does not mean that you can orchestrate when it comes to working with a real ensemble. I’ve come across many composers who write excellent music in DAW with virtual instruments and...
Jul 26, 2019 | Daily Film Scoring Bits, Orchestration
Three Part Divisi in Two Violin Sections In a situation where you want to spread out three voices over both violin sections, usually the better choice is to divide the second violins into two voices and leave the top voice to the first violins alone. Even though this...
Jul 19, 2019 | Daily Film Scoring Bits, Orchestration
Chord Voicings Without Fifth When constructing chords, try the difference of leaving out the perfect fifth of the chord and having it in. Due to the fact that the fifth will be quite a strong overtone of the root (=usually the bass note) anyway, it will be present in...
Jul 12, 2019 | Daily Film Scoring Bits, Orchestration
Limits of Balancing Rules Balancing out orchestral “forces” is a lifelong learning process as there are dozens of factors involved that have influence on how sections in the orchestra balance. Not only does the instrument by itself but also its number, the dynamic,...
