Orchestration
Last updated 6/2021
MP4 | Video: h264, 1280x720 | Audio: AAC, 44.1 KHz
Language: English | Size: 1.77 GB | Duration: 6h 15m
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
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