Garritan
02-08-2007, 02:57 PM
INTERACTIVE
COMMON PROBLEMS IN ORCHESTRATION
by Professor Alan Belkin
http://www.northernsounds.com/forum/principles/Ch1_files/line-twist1.gif
Lesson 3C - Orchestrating a Crescendo
http://northernsounds.com/forum/principles/Ch1_files/line.gif
Click on Play Button below to Play from the Score
http://northernsounds.com/forum/principles/Belkin/C3.html
Comments from Professor Belkin on Example No. 3C:
Improvements: Flute 1 now plays an octave higher than in the previous version. Adding even a bit of octave doubling is much more efficient for increasing volume than adding a lot of unison doubling. Note also the more varied part writing in the strings and elsewhere: again, less unison doubling overall. This makes for a less uniform and gray sound. The string lines have more leaps than previously; this is idiomatic, and creates more
resonance (each string continues to sound when playing on the adjacent one). The cymbal adds a bit of sparkle at the peak of each phrase. The trumpets are saved for the final accent, as are some easy double stops ("non-divisi")
in the strings.
How could this be improved even more?
http://northernsounds.com/forum/principles/Ch1_files/line.gif
ŠAlan Belkin, 2006
COMMON PROBLEMS IN ORCHESTRATION
by Professor Alan Belkin
http://www.northernsounds.com/forum/principles/Ch1_files/line-twist1.gif
Lesson 3C - Orchestrating a Crescendo
http://northernsounds.com/forum/principles/Ch1_files/line.gif
Click on Play Button below to Play from the Score
http://northernsounds.com/forum/principles/Belkin/C3.html
Comments from Professor Belkin on Example No. 3C:
Improvements: Flute 1 now plays an octave higher than in the previous version. Adding even a bit of octave doubling is much more efficient for increasing volume than adding a lot of unison doubling. Note also the more varied part writing in the strings and elsewhere: again, less unison doubling overall. This makes for a less uniform and gray sound. The string lines have more leaps than previously; this is idiomatic, and creates more
resonance (each string continues to sound when playing on the adjacent one). The cymbal adds a bit of sparkle at the peak of each phrase. The trumpets are saved for the final accent, as are some easy double stops ("non-divisi")
in the strings.
How could this be improved even more?
http://northernsounds.com/forum/principles/Ch1_files/line.gif
ŠAlan Belkin, 2006