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Thanks for including a real cellist in there too!

A note on doubling: As a general rule, do not assume that someone proficient on the primary woodwind (flute, oboe. clarinet, bassoon) will also be proficient on the other members of that woodwind family (or that they even own those instruments). If you write parts for these other instruments and they involve important solos or are technically difficult, consider writing these as separate parts rather than asking someone to double. That said, most people proficient on these other instruments usually both own and are also proficient on the standard instrument of their family. So for example, you can usually trust that most English horn players own and are proficient on oboe and it is therefore OK to ask the English horn player to double oboe, but not necessarily OK to ask your 2nd oboist to play English horn. And please don't ask the bass clarinetist to double on Eb clarinet ever (I'm talking to you Mahler <1st Sym>).

Why you call C3 to the C4 (middle C)?

May I use in other cases woodwinds and brass instruments for Horror music?

This stuff is priceless.

I am curious to know how do you balance different publisher libraries together? :)

ah yes, contrabasson. Every composer's favorite instrument to forget

It's amazing what you know. However, as a harpist, at first I thought the glissando, by itself, had too many lower notes and needed to be cut by around 5 notes. It sounded a little muddy and something you may not know if you don't play. This glissando is only being played with the right hand. But then, when you played with the other instrumentation, it sounded fine.

th-cam.com/video/cRK8pCImdlc/w-d-xo.htmlfeature=shared

6:51 I see cc21 for Spitfire Vibrato hahaha

Great vid just wanted to say bassoons can only go down to a Bb1 not a Bb0, and contrabassoons can only go down to a Bb0 not a Bb-1

I didnt know Harry Potter was a musician.

0:14 Does anyone understand what samples she's using? It's NOT the "glissandi" of Berlin Strings, because you can't choose to have vibrato on them or not. THANK YOU!

Great explanation of an elusive and challenging topic. Thanks.

Great video, thanks

justice for the contra atlo (Eb) clarinet! I played it recently in a clarinet choir :(

Didn't realize I need an audio interface - can't I just plug my midi keyboard into the computer via USB? What is the audio interface for? (I am new to this and am looking to get into orchestral composition as a hobby/amateur).

It’s nice to have those great samples to use

Such a useful, clear video. Thank you!

Woodwinds are not difficult I found the brass are the most difficult one in the whole orchestra section.

What benefits you have with NVME sample drives?external or internal

❤

Excellent tutorial!

6:20 "And you can hear the slight change in the clarinet from around mezzo-forte and above..." Actually, we can't hear it because you're talking over the solo. 🙂

Спасибо! Жалко, что про слайд тромбона не сказали и сочетания валторн с тромбонами. Интересно ваше мнение.

Bonus Tips: - The harp is diatonic. Therefore if you want a chromatic or octatonic scale, you'll need to either choose 7 notes or use two harps tuned differently. - Harpists need time to change pedals, so the piece requires harp modulating keys quickly, you should write for two harps.

Great information. Up 'til now, I always took "portato" to be a potato cooked in port, which made my music orchestrations rather odd.

I play all the woodwinds: clarinets, oboe, cor anglais, flute, piccolo, bassoon and saxophones. I will point out that in your discussion of the clarinet family, you left out the contralto clarinet--half way between the bass clarinet and the contrabass clarinet. Also, when you mentioned the Bb and A clarinets, you referred to them as "twins." I've played them both in orchestras and they are completely different instruments. Lastly, you said that the altissimo of the clarinet is similar to the saxophone in tone quality. This is completely untrue--the clarinet altissimo is quite loud, piercing and even screechy. The saxophone's tone quality is warm and rounded. 🙂

6:39 What is the name of that keyboard right there? Looks nice.

The quality of this content is off the charts. Thank you so much!

This video is absolutetly amazing!

Isn't modern technology great? Here I am sitting at home getting a University-level education on orchestration without any gatekeepers.

Gorgeous! Where can I get these other sample libraries?!

overload of winds? percussion has way more instruments

Exactly what I needed! Thank you! I guess this is why the pro's also have a track for every articulation, the timing wouldn't work otherwise I guess.

Are you playing those other instruments and their individual melodies or are you using the loops to play over your main theme?

I've learned more about orchestral arranging here than I've did in my music technology Diploma program. Big ups to the team for such a perfectly explained educational video on orchestration. Thanks!

This channel is so high quality in both information and production quality. Thanks for sharing this with us! I wrote my first 8 bar wind quintet right before watching this and the part about how the oboe dynamics vs register is the reverse of the flute really helped me to fix mistakes in my score.

What if you don't compose in a DAW, nor play piano? Let's face it, the only real need for a MIDI keyboard is if you either play piano, or you use it for programming 'beats' and such. And the really good sample libraries are created with the idea of MIDI keyboard input (especially the new Spitfire Orchestra library with Performance samples). I'm a guitar player, but I've studied music theory using the music staff to compose with, the old school method, and which I prefer. If I had to compose on piano I'd be very limited because I don't have the technical ability of a pianist. Even with a MIDI guitar I don't play 'clean' enough all the time for accurate MIDI input. Half my time would be spent with editing extra MIDI notes accidentally added while playing in a part. Also, even the MIDI keyboard can be a limiting device when trying to simulate different instruments of the orchestra, or even with trying to simulate a guitar. At present -- I'm using Notepeformer in Sibelius. Haven't tried it yet, but I plan to export my NotePerformer as MIDI files to Cubase, or as XML into StaffPad. And if to StaffPad, I would then export all the tracks as Audio into Cubase, and mix, use different reverb, etc. I don't see coverage here about any method for those who do not play a MIDI keyboard.

Dear Alex, thank you for letting me sit in with you and Clara. I felt like being with you in the room. It gave me so much motivation and a new focus on details. Were it not for my advanced age, I'd try and do whatever I could to study this material myself at a university. These discussions are so enlightening. Very well done! Keep going and all the best for you and your projects!

I also heard his 5th symphony is supposed to be played twice as fast.

Track delay may be ok if you have one articulation on each track, eg lower strings chugging away staccato with a legato melody over the track. This works for film music, however for standalone composition you would want different articulations; it does not seem feasible to have one note on one track and the next on another!

Scott was a great teacher. Glad to hear you're passing the zed clef wisdom to your students. I use it all the time.

Alex, great information! What Ohm rating are your Beyerdynamic 250’s? Thanks again great work!

Great work, thank you

Would you only take this care with commissioned work? I know that the big players have full on teams.

Deader ringer for a video game...Definitely journeying to this.