Orchestration

The complete course in instrumentation & orchestration

What you'll learn
You will be learning from a professional and award-winning composer and orchestrator.
You will learn about orchestral instruments and their notation, transposition, ranges, register strengths, dynamic capabilities, playing techniques, and more.
You will learn how to properly prepare a score and parts and tips on how to proof them before publishing or performance.
You will acquire knowledge of the different types of timbres and textures and how and why to use them.
You will learn how spacing and voicing is used in orchestral chords and how to score chords for the orchestra and each section.
You will learn about various instrument combinations, and the different roles each instrument and section plays within the whole.
You will learn many orchestration tips and techniques to help you in your orchestrations.
You will learn strategies for reading scores.
You will study hundreds of score examples, diagrams, and audio clips.
You will get access to many free external resources.
You will have your knowledge tested with nearly 1,000 quiz questions.
Requirements
You must be able to read music and have a basic understanding of music notation
You must have a basic understanding of music theory
You must already have some basic experience in music composition
You must have "musescore" or some type of music notation software capable of producing orchestral size scores
Although not a necessity, it is very beneficial if you have some ability to play the piano (or other instrument)
Description
The course is divided into two parts: part 1 is on Instrumentation and part 2 is on Orchestration. Instrumentation is an important and necessary first step since you cannot write for orchestra if you don’t know about the individual instruments of the orchestra.In part 1 you will learn how each instrument is constructed, how they produce sound, how they are properly notated, their playing and sounding ranges, register characteristics, dynamic capabilities and common playing techniques.

  In part 2 you will learn basic concepts for writing for orchestra, including how to create and effectively use different timbres and textures, the best methods for scoring chords, the roles each instrument and section play within the whole, how to properly prepare a score and parts, and how to proof before publishing. The course concludes with an entire section of helpful orchestration tips and techniques. There are also a number of useful reference charts in the appendix.

  At key points in the course you will be given score reading assignments, listening assignments, composing assignments, and quizzes.A vital component to the study of orchestration is score reading, and so throughout the course you will be asked to read scores. There are some score excerpts in the course but the majority of score reading will be done on your own. There is an important reason for this. Taking a course in orchestration is a great start to learning how to write for orchestra but the only way to become truly knowledgeable and skilled in this very complex art form is through a lifetime of score study and through a lifetime of experience gained from actual writing for orchestra. This cannot be emphasized enough.

  Note: This is not a music theory course or a music composition course. This course was written for individuals who already have a basic foundation in music theory (including music notation) and music composition. If you need or would like to develop your knowledge in these areas please see the following courses by the instructor.

  Music Theory

  Music Composition 1

  Music Composition 2

  Four-part Harmony


Overview

Section 1: BEFORE YOU BEGIN

Lecture 1 Course Structure

Lecture 2 Resources

Lecture 3 Scientific Pitch Notation

Section 2: INTRODUCTION TO BOWED STRINGS

Lecture 4 Construction & Sound Production

Lecture 5 Bowing

Section 3: BOWED STRINGS

Lecture 6 Violin

Lecture 7 Viola

Lecture 8 Cello

Lecture 9 Double Bass

Lecture 10 Score Study & Listening Assignments

Section 4: PLAYING TECHNIQUES FOR BOWED STRING INSTRUMENTS

Lecture 11 Intro

Lecture 12 Vibrato

Lecture 13 Legato & Détaché

Lecture 14 Portato

Lecture 15 Staccato & Spiccato

Lecture 16 Trills

Lecture 17 Tremolos

Lecture 18 Special Bow Placements

Lecture 19 Glissando

Lecture 20 Portamento

Lecture 21 Col Legno

Lecture 22 Mutes

Lecture 23 Natural Harmonics

Lecture 24 Artificial Harmonics

Lecture 25 Pizzicato

Lecture 26 Snap Pizzicato

Lecture 27 Multiple Stops

Lecture 28 Divisi

Lecture 29 Bowed String Demonstrations

Lecture 30 Score Study & Listening Assignments

Lecture 31 Writing Assignments

Section 5: HARP

Lecture 32 Harp

Section 6: PLAYING TECHNIQUES FOR HARP

Lecture 33 Chords

Lecture 34 Glissando

Lecture 35 Trills

Lecture 36 Tremolos

Lecture 37 Harmonics

Lecture 38 Harp Demonstration

Lecture 39 Score Study & Listening Assignments

Lecture 40 Writing Assignments

Section 7: INTRODUCTION TO WOODWINDS

Lecture 41 Construction & Sound Production

Lecture 42 Transposition

Section 8: WOODWINDS

Lecture 43 Flute

Lecture 44 Piccolo

Lecture 45 Oboe

Lecture 46 English Horn

Lecture 47 Clarinet

Lecture 48 Bass Clarinet

Lecture 49 Bassoon

Lecture 50 Contrabassoon

Lecture 51 Score Study & Listening Assignments

Section 9: PLAYING TECHNIQUES FOR WOODWINDS

Lecture 52 Intro

Lecture 53 Vibrato

Lecture 54 Tonguing

Lecture 55 Flutter Tongue

Lecture 56 Trills

Lecture 57 Tremolos

Lecture 58 Glissando

Lecture 59 Mutes

Lecture 60 Woodwind Demonstrations

Lecture 61 Score Study & Listening Assignments

Lecture 62 Writing Assignments

Section 10: INTRODUCTION TO BRASS

Lecture 63 Construction & Sound Production

Section 11: BRASS

Lecture 64 Trumpet

Lecture 65 Horn

Lecture 66 Trombone

Lecture 67 Tuba

Lecture 68 Score Study & Listening Assignments

Section 12: PLAYING TECHNIQUES FOR BRASS

Lecture 69 Intro

Lecture 70 Vibrato

Lecture 71 Tonguing & Flutter Tongue

Lecture 72 Trills & Tremolos

Lecture 73 Glissando

Lecture 74 Mutes

Lecture 75 Brass Demonstrations

Lecture 76 Score Study & Listening Assignments

Lecture 77 Writing Assignments

Section 13: INTRODUCTION TO PERCUSSION

Lecture 78 Percussion Classifications

Section 14: PERCUSSION OF DEFINITE PITCH

Lecture 79 Timpani

Lecture 80 Xylophone

Lecture 81 Marimba

Lecture 82 Glockenspiel

Lecture 83 Vibraphone

Lecture 84 Tubular Bells

Lecture 85 Score Study & Listening Assignments

Lecture 86 Writing Assignments

Section 15: PERCUSSION OF INDEFINITE PITCH

Lecture 87 Snare Drum

Lecture 88 Bass Drum

Lecture 89 Triangle

Lecture 90 Cymbals

Lecture 91 Tam-Tam

Lecture 92 Tambourine

Lecture 93 Percussion Demonstrations

Lecture 94 Score Study & Listening Assignments

Lecture 95 Writing Assignments

Section 16: KEYBOARD INSTRUMENTS

Lecture 96 Intro to Keyboards

Lecture 97 Piano

Lecture 98 Celesta

Lecture 99 Score Study & Listening Assignments

Lecture 100 Writing Assignments

Section 17: PREPARING THE SCORE

Lecture 101 Intro

Lecture 102 Instrumentation Page

Lecture 103 Score Instrument Order

Lecture 104 Reduced Score

Lecture 105 Dynamics & Articulations

Lecture 106 Measure Numbers

Lecture 107 Tempos

Lecture 108 Rehearsal Marks

Section 18: PREPARING THE PARTS

Lecture 109 Title, Composer and Instrument Names

Lecture 110 Page Numbers & Page Turns

Lecture 111 Measure Numbers

Lecture 112 Tempos & Rehearsal Marks

Lecture 113 Instruments that Share a Staff

Lecture 114 Multi-measured Rests

Lecture 115 Cues

Lecture 116 Percussion Parts

Lecture 117 Repeated Measures

Section 19: PROOFING

Lecture 118 Method for Proofing Score and Parts

Section 20: TIMBRE

Lecture 119 Doublings

Lecture 120 Doubling Within a Homophonic Texture

Lecture 121 Doubling Within a Chord

Lecture 122 Reasons for Doubling

Lecture 123 Imbalance Due to Register

Lecture 124 Imbalance Due to Dynamic Ability

Lecture 125 Common Doublings & Instrument Combinations

Lecture 126 Score Study & Listening Assignments

Lecture 127 Writing Assignments

Section 21: TEXTURE

Lecture 128 Monophonic Texture

Lecture 129 Homophonic Texture

Lecture 130 Polyphonic Texture

Lecture 131 Chordal Texture

Lecture 132 Complex Texture

Lecture 133 Score Study & Listening Assignments

Lecture 134 Writing Assignments

Section 22: SCORING CHORDS

Lecture 135 Spacing

Lecture 136 Voicing

Lecture 137 Chord Voicing For Woodwinds

Lecture 138 Chord Voicing For Brass

Lecture 139 Chord Voicing For Strings

Lecture 140 Chords For Orchestra

Lecture 141 Score Study & Listening Assignments

Lecture 142 Writing Assignments

Section 23: PLAYING FREQUENCY & TASKS

Lecture 143 Who Does What And For How Long

Lecture 144 Section Playing Frequency

Lecture 145 Section Tasks

Lecture 146 Instrument Playing Frequency

Lecture 147 Instrument Tasks

Lecture 148 Score Study & Listening Assignments

Lecture 149 Writing Assignments

Section 24: TIPS & TECHNIQUES

Lecture 150 Other Uses Of Timbre & Texture

Lecture 151 Doubling In The Harmonic Series

Lecture 152 Contrasting Dynamic Markings

Lecture 153 Adding & Subtracting Instruments

Lecture 154 Punctuation

Lecture 155 Use Of Vivid Timbre

Lecture 156 Marking Dynamics

Lecture 157 Pitch Distribution Of Elements

Lecture 158 Contrast Through Articulations

Lecture 159 Contrast Through Antiphony

Lecture 160 When to Use Octave Signs

Lecture 161 Variation Of Pitch Distribution

Lecture 162 Dovetailing

Lecture 163 Double Bass With Cello

Lecture 164 Moving & Stationary Voices

Lecture 165 “Solo” vs “a 2”

Lecture 166 Clarinet & Oboe

Lecture 167 Brass Entrances

Lecture 168 Dissonance

Lecture 169 Instrumental Motion

Lecture 170 Making Things Easier For The Performers

Lecture 171 In Conclusion: Tips For Analyzing Scores & Recordings

Section 25: Appendix

Lecture 172 Instrument Names & Abbreviations

Lecture 173 Instrument Quick Reference

Lecture 174 Instrument Dynamic Capabilities

Lecture 175 Instrument Sounding Ranges on Keyboard

Lecture 176 Instrument Transpositions

Lecture 177 Suggested Scores for Study

Lecture 178 BONUS LECTURE: LINKS

Beginning to intermediate level composers and orchestrators,Composers who want to expand their writing skills into the area of orchestration,All musicians wanting to learn about instrumentation and orchestration,People who have had a course in either instrumentation or orchestration but not both and are missing half the picture