Transcript GDC 2005
The Art of Orchestrati on Lennie Moore Cris Velasco Erik Lundborg guys? Why have you taken over this room? And hile youre at it... Introductions hy are e here? guys? Why have you taken over this room? And hile youre at it... Introductions hy are e To share information on how to make the leap from music written on a MIDI sequencer to a live here? performance. (Aka – Is what you wrote playable?) guys? Why have you taken over this room? And hile youre at it... Introductions hy are e To share information on how to make the leap from music written on a MIDI sequencer to a live here? performance. (Aka – Is what you wrote playable?) To gain a further understanding of orchestration. pitfalls you see hen orchestrating for a composer ith limited or no No place for the woodwinds and brass to breath live player Writing in extreme registers and causing fatigue to theexperience? players String Pizz + String harmonics + String Tremolo, “You’re the orchestrator. That’s what I want.” Complete woodwind omission from synth scores misconceptions composers make hen composing ith samples vs. “It’s composing gonna sound exactly like my for samples, only better!” live musicians. “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.” misconceptions composers make hen composing ith samples vs. composing for Unrealistic dynamics in upper or lower registers (trying to get trumpets to play ppp on an ultra live musicians. 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). What do e mean by playable? 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? What do e mean by playable? 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. What reference material do you recommend to composers interested in learning about orchestration? 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) material do you recommend to composers interested in learning about Orchestration, Cecil Forsyth (Dover) Principles of Orchestration, Rimsky-Korsakov orchestration? (Dover) The Technique of Orchestration, Kent Kennan & Donald Grantham (Prentice Hall) Treatise on Instrumentation, Hector Berlioz & Richard Strauss (Dover) John Williams Signature Edition scores material do you recommend to composers interested in learning about Get a good range and transposition guide. orchestration? material do you recommend to composers interested in learning about Get a good range and transposition guide. Get full scores of your favorite orchestral works orchestration? and study them! Lennie Moore Phrasing Lennie Moore Phrasing - Woodwinds & Brass players HAVE to breathe. Lennie Moore Phrasing - Woodwinds & Brass players HAVE to breathe. Playing a brass instrument is a physical action. Lennie Moore Phrasing - Woodwinds & Brass players HAVE to breathe. Playing a brass instrument is a physical action. Brass players need to reset their embouchure occasionally. Lennie Moore Phrasing - 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. Lennie Moore Phrasing - 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. Lennie Moore Intentionali Cris Velasco Economy Cris Velasco - Economy Overwriting Cris Velasco - Economy Overwriting Ultra-divisi, for that really thin sound… Cris Velasco - Economy Overwriting Ultra-divisi, for that really thin sound… Color combinations Cris Velasco - Economy Overwriting Ultra-divisi, for that really thin sound… Color combinations Sometimes Simplicity is the prefect choice Erik Lundborg Style Erik Lundborg - Style Big/Heroic Erik Lundborg - Style Big/Heroic Creepy/Suspenseful Erik Lundborg - Style Big/Heroic Creepy/Suspenseful Sweet/Gentle Erik Lundborg - Style Big/Heroic Creepy/Suspenseful Sweet/Gentle Topsy-turvy/Haywire Blatant Plugs!!! Lennie Moore www.lenniemoore.com Cris Velasco www.monarchaudio.com Erik Lundborg Join G.A.N.G.! www.audiogang.org Questions?