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Topic: Online Course: GARRITAN INTERACTIVE PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

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  1. #1
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    Online Course: GARRITAN INTERACTIVE PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

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  2. #2
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    Online Course: GARRITAN INTERACTIVE PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

    We are pleased to announce a free course that we will be offering on the forum based upon Rimsky-Korsakov's well-known text "Principles of Orchestration".

    This is another first and I wanted to run this by you and seek your ideas and your help. The goal is to provide an entire orchestration course based upon an interactive version of the Rimsky-Korsakov text. The inclusion of audio examples makes this ideal for all who want to learn more about orchestration.

    About the Project

    Rimsky-Korsakov's "Principles Of Orchestration" is THE classic text on Orchestration. Rimsky-Korsakov's masterful textbook emphasizes the fundamentals of orchestration and the combination of instrumental colors. The focus of the text, as the author writes, is on "combining instruments in separate groups and the entire orchestral scheme... means of producing strength of tone...variety of color and expression in scoring..."

    Although musical examples in the text are presented in score form, what was lacking was the ability to hear audio examples of Rimsky-Korsakov's works. In this revised internet edition, we have attempted to remain faithful to the original translated text. The basic concepts of orchestration as Rimsky-Korsakov presented them remain untouched.

    The important thing we added were the MP3 audio examples - almost 275 of them! The remaining chapters dealing with Voices are planned as we progress on our choir library. In a few cases a substitute or supplement was made if it could better highlight what was being conveyed.
    With the MP3's, you gain an audible idea of the sound or orchestral concepts that Rimsky-Korsakov was trying to convey.

    Hear and See the Examples

    The reader is not only able to read the text and scores on the printed page, but can now hear examples that follow the score. We also added exercise as well as revised graphics and illustrations for clarification and color.

    A great deal of work was involved making this course available. Thanks to Sean Hannifin for doing all of the flash work so that the music flows with the score and thanks to Robert Davis who endeavored to render all of the MP3 audio examples realized with Garritan Personal Orchestra (and a little Strad and GPOA mixed in).

    The ability to hear various orchestral realizations of the different exmples from R-K's works is invaluable, and few books can provide this kind of instruction. The quality of the text coupled with the audio examples makes this revised book a perfect companion to learn orchestration, or as a reference, or as an orchestration course. For the learner, this could be a marvelous thing.

    I Need Your Help

    I would like to know what you think of this idea. Would you be interested in participating as a learner?

    We could use some teachers. Maybe there are some of you who have taught from this text that would like to be instructors. I could use some advice on how to set this up, how to structure the lessons, what pace to proceed, format, etc. I'll need your help on correcting typos letting me know if what is being taught is useful. Also needed will be advice on other examples and exercises and improving this course.. Let's proceed together.

    I believe that the commitment to the musician does not end with the mere sale of a product and my goal is for musicians to improve their knowledge and skills. What better way for a musician to learn about orchestration and hone their skills than to provide the ultimate book on orchestration along with practical ways to learn and apply that knowledge.

    Thanks in advance for your participation.


    Gary Garritan


    Below is an example from chapter 2 of what the course will be like:


    -----------------------------------------------------------------


    GARRITAN INTERACTIVE
    PRINCIPLES OF ORCHESTRATION
    by Rimsky-Korsakov


    Chapter II
    MELODY





    Part 1 - Stringed Instruments




    Whether it be long or short, a simple theme or a melodic phrase, melody should always stand out in relief from the accompaniment. This may be done by artificial or natural means; artificially, when the question of tone quality does not come into consideration, and the melody is detached by means of strongly accentuated dynamic shades; naturally, by selection and contrast of timbres, strengthening of resonance by doubling, tripling, etc., or crossing of parts (violoncellos above the violas and violins, clarinets or oboes above the flutes, bassoons above the clarinets etc.).


    Melody planned in the upper parts stands out from the very fact of position alone, and likewise, to a less degree when it is situated in the low register. In the middle of the orchestral range it is not so prominent and the methods referred to above come into operation. They may also be employed for two part melody (in thirds and sixths) and for polyphonic writing.






    Melody in stringed instruments.




    Instances of the melodic use of stringed instruments are in-numerable. The reader will find many examples in the pre-sent treatise. With the exception of the double basses, dull in tone and of little flexibility, chiefly employed in unison or in octaves with the violoncellos, � each of the other stringed instruments, taken independently, is qualified to assume full responsibility for the melodic line.

    a) Violins.
    Melody in the soprano-alto register and an extra-high compass usually falls to the lot of the 1st Violins, sometimes to the 2nd Violins or to both in unison, a process which produces fuller resonance without impairing quality of tone.



    Score References & Musical Examples Using GPO:


    No. I. Sheherazade 2nd movement, Section B; Violins in melody, piano and graceful in character.





    Click on Play Button below to Play from the Score






    No. 2. The Legend of the Invisible City of Kitesh, Section 283; Violins in melody.




    Click on Play Button below to Play from the Score




    GPO Exercise - Violins in melody - Example No. 2 This is a brief example from Rimsky's work where you can practice using Garritan Personal Orchestra, gaining balance, deciding on articulations, and inputing with your keyboard. The 1st Violins are the only part left out( it is the topic at hand) as you will input them via keyboard or notation(either in the sequencer or importing the midi into a notation program).
    1. Load the Example #2 - Legend of Kitesh midi into your sequencer(most will likely use cubase, the tutorials for loading GPO and importing midi files for such sequencers can be found at http://www.garritan.com/tips_tutorials.html).
    2. Load two instances of GPO either as DXi or VST plugin.
    3. Determine from the score what instruments you will require for articulations or doubling (I.E two wind instruments in unison would require two seperate plr patches).
    4. Load instruments into GPO instance 1 and 2 (I.E Flute player 1 in GPO instance 1 channel 1, 1st Violins one sust + short in GPO instance 2 channel 1)
    5. In one of the emptly slots go ahead and load percussion toys as it will be used as your temporary metronome.
    6. Once you have loaded all that you require after looking at the brief score, go ahead and move such things as pizz to a different track by either copying the current track and deleting the sustained parts that should be pizz, or you can use the keyswitch patches(however be forwarned that in doing so this will use much more memory. It's recommended to seperate the tracks of Sust/pizz as those are the only two articulations you will need and it will save on memory).
    7. Once you have all your tracks set up and have determined your instrument setup, you can now start recording. It is at this point where you should set your tempo to a comfortable level if you are going to use the keyboard(you can always increase it later). Now its only a matter of track selection, mod wheel data(CC1), legato(sust pedal CC64) and balancing after giving a few tries and becoming satisfied with the 1st Violins part(unless you intputed thru notation).
    8. Use the simple controls of GPO(mod wheel for dynamic expression, sustain pedal for legato(phrasing), and velocity for attack. Once your satisfied(dont take to much time with this) go ahead and set the tempo to where it should be or close to. Do not worry about a perfect "mix" as this is just a simple excersise to get used to GPO and at the same time work with an example from the book.
    No. 3. Spanish Capriccio, Section J; Violins I in the upper register doubling the high register of the wood-wind. Choice resonance.





    Click on Play Button below to Play from the Score



    Other References:
    • The Tsar's Bride, Section 84. Pianissimo melody (Violins 1) of a troubled dramatic character. Harmonic accompaniment (Vns II and Violas tremolando � middle parts; the Violincellos forming the bass).
    • Antar, before Section 70 . �Descending melodic phrase, Violins I con sordini piano.
    • Antar, Section 12. Light graceful melody, oriental in style; a dance measure (Violin I con sordino), the mutes producing a dull ethereal quality of tone
    :





    b) Violas.

    Melody in the alto-tenor register and a still higher compass is assigned to the violas. Cantabile melodies however are not so frequently written for violas as for violins and 'cellos, partly because the viola tone is slightly nasal in quality and better fitted for short characteristic phrases, partly because the number of viola players in an orchestra is smaller. Melodies confided to the violas are generally doubled by other strings or by the wood-wind.



    Score References & Musical Examples Using GPO:
    No. 4. Pan Voyevoda, duet in Act II, Section 145; Violas long cantabile melody, dolce, in unison with the mezzo-soprano voice.



    Click on Play Button below to Play from the Score



  3. #3
    Senior Member newmewzikboy's Avatar
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    Free Online Course: GARRITAN REVISED PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

    Whers chaptor won?
    75,000th Post Winner on the Garritan Forum
    "Don't you wish you were me?"

  4. #4

    Re: Free Online Course: GARRITAN REVISED PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

    Just how many hours do you have in a day up there on Orcas Island?

    You amaze me Gary.

  5. #5

    Re: Free Online Course: GARRITAN REVISED PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

    Hello Gary,

    I think this is a wonderful idea, especially for us hobbyists who have no formal training in composition. I would be very interested in learning from this course.

    Have you thought of a GPO-production course as well? Something that maybe explains, with examples, the best way to lay out the MIDI notes for different instruments and sounds and how to effectively apply the expression parameter and velocity.

    Thanks,
    Chinmay

  6. #6

    Re: Online Course Coming: GARRITAN REVISED PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

    Holy cow!

    You're going to do the whole Rimsky-Korsakov?

    This is excellent! Having the score examples on the ready, and the exercises lined up with GPO... educators are going to go nuts for this; and students will finally be able to study this masterpiece in proper context while hearing the examples.

    (One thought, you might want to do this on its own website.)

    I'm not sure in what role I might be of assistance in this -- I know R-K well, of course; but I haven't had a chance to let this sink in yet.

    I will say this much:

    I'll definitely be around for this one...

    BRAVO!

    (Still again!)

    All my best,

    David
    www.DavidSosnowski.com

    The excitement just never ends...
    .

  7. #7

    Re: Online Course Coming: GARRITAN REVISED PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

    It's got to be something in the water up there. Please send me some.
    .

  8. #8

    Re: Online Course Coming: GARRITAN REVISED PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

    I can't believe it. You and your team are hyperthreading enabled people, aren't you?

    I'm just starting to study orchestration at the moment (Piston's and Rimsky's books) so maybe I make a break until this one is released. How long will it take? And, what will be the price? You have the purpose of democratize the music world, and you're gonna achieve it, superb products at a fraction of the regular prices, the resources in the web and here in the forum... You're a revolutionary man!
    -Dani-

  9. #9

    Re: Online Course Coming: GARRITAN REVISED PRINCIPLES OF ORCHESTRATION by Rimsky-Korsakov

    Quote Originally Posted by Garritan
    We are pleased to announce a free course that we will be offering on the forum based upon Rimsky-Korsakov's well-known text "Principals of Orchestration".


    Sorry for asking the price. I misreaded this part. Now I'm more amazed if possible. (5X )
    -Dani-

  10. #10
    Senior Member rwayland's Avatar
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    Re: Online Course Coming: GARRITAN REVISED PRINCIPLES OF ORCHESTRATION by Rimsky-Kors

    I am by nature, a rather placid, calm individual. So please take my comment of "good idea" as you would a jumping screaming whoopee from a more excitable person.

    I will be one of the first users, even though I have the Roman Korsakoff on my shelf, just a few feet away from me.

    Your sample was a great teaser!

    Richard

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