Conclusion to the course, and a look ahead

[Cantabile]

Are all of the sound samples in this series created by playing the scores through Finale with GPO or the other libraries you mention? Or were they scored then exported into sequencers and tweaked, for example? I am trying to understand the process for using these libraries to create decent sounding orchestral mockups, and the ones I've heard so far here in this course sound quite good.

Also, what is GPOA? Is there a page dedicated to this product that explains its differences over GPO?

Thanks,
Andrew

Guess I can chime in here Minus a few(which sounded fine just in finale alone) almost all was done in sonar using GPO, strad, Grof, ect as I prefer sequeuncers absolute control over a computer based decision(there is nothing wrong with the notation route, it is just my preference to have complete control and sequencers can only do that). GPOA stands for Garritan personal orchestra advanced(not yet out).

[androdriguez]

Hello to everyone from Caracas, Venezuela

This is the first time that I write on this forum. My name is Andrés Eloy Rodriguez, flute player, arranger and composer.

I am visiting the forum since a lot of time but due to some complications with my spare time I´m dedicated to follow the course in-depth. I am readed some chapter of the Korsakoff´s book and I am agree that the contents of the on line course are wery well adapted.

I would like to make a constructive criticism about.

The Rimsky Korsakoff orchestration book belong to a generation of very important composers during an historical period. We are in the XXI century since seven years ago, and during the past century, others orchestration criteria, appeared on the field. For instance, the work of Strawinsky (Rite of the Spring, Petrouska, etc. ), Schostakowick (symphony Nº 5, 9, 10) for name some examples. I could understand that the Korsakoff course was intended for people that could be taking the first steps on composition, but this course could conditioned that, and the end of this, many people is composing.....in the same way!!!. It´s could sound like people is following a cliché in order "how to compose". I think that the freedom on composition is a very fundamental tool.... and that the orchestration evolution depend of the new combinations of sound of the instrumental palette. Debussy, Strawinsky and Shostakowick were pionners on this kind of innovation.

What the point? Korsakoff´s course could be a reference, but what about other sources? Could you offer, for instance, and on-line Samuel Adler orquestration course? Or an alternative forum about analyses about the work of Stravinsky focused on the use of the orchestration? Or about Impressionism (Ravel, Debussy, Satie). Even contemporanean techniques on orchestration like Penderecky´s works. Could we get on-line some courses that are reflec of a multi-polar world?

I am not mean that the Korsakoff music is "old fashion". I mean that many criteria about Orquestration has been used after XIX century, and that those criteria are not been presented yet, taking advantage on this formidable plataform.

It´s jus a point of reflexion about the evolution of the tendencies. It´s not my intention of make polemical matter about the results of the course.

Thanks for the opportunity of express my opinion.

Many kinds of regards

Andres Eloy Rodriguez

http://www.osv.org.ve/aspx/cv.aspx?MID=87
http://www.onkora.com/integrantes/flauta.html

[androdriguez]

Sorry...I had a mistake on my text:

I wanted to say on the next pharagraph the following:

"I am visiting the forum since a lot of time but due to some complications with my spare time I AM NOT dedicated to follow the course in-depth."

Thanks

Andres Eloy Rodriguez

[Garritan]

Andres,

Thank you for your reply and welcome to the course. I understand what you are writing about. The Rimsky-Korsakov text sets forth the basic principles of orchestration. It is not intended to be the sum total of all knowledge of orchestration but it does lay a firm foundation from which the student can advance their studies.

We are just getting started and more will come. We are planning to offer more course that will explore some of the more modern composers and on-line courses for the "multi-polar" world.


Best regards,

Gary Garritan

[chikitin]

I wish there were some check box on the left of each staff so we could select the instruments to play. I know I am asking too much! Thanks a million Gary!

[Garritan]

I wish there were some check box on the left of each staff so we could select the instruments to play. I know I am asking too much! Thanks a million Gary!

chikitin,

We are working on doing that in the future.

Best,

Gary Garritan

[chikitin]

chikitin,

We are working on doing that in the future.

Best,

Gary Garritan

It would be wonderful Gary. Northernsounds is the best!

[MoviesAndMusic]

This has been an eye-opening introduction to orchestration for me. I never realized before that the artform was so nuanced. Thanks for putting this together!

One technical concern: on several of the lessons in the course, all of the interactive score examples were non-functional. Did anybody else have this problem?

[AustinComposing]

An excellent course, detailed but still accessible. Well done to all involved

[ZacPB189]

In deference to your last comment about the course (repeating the material!). Will a version of this course be released on DVD for purchase at a later date. I do feel this would indeed help in learning the techniques by having this source material at hand.

Regards Stamak

There is a copy of Rimsky-Korsakov's book at http://www.imslp.org . They also have a copy of Berlioz's orchestration book as edited by R. Strauss, too. I've found both very helpfull.

Also, thank you, Garritan and Prof. Belkin, for putting an "abridged version" so I could understand what Rimsky-Korsakov was trying to say.