This is exactly what I needed, I have a piano minor chord progression and I was thinking about how I could put it on a proper orchestral ensemble. Also this piece sounds incredible This was insanely helpful
Great Video! It can help me understand how to make orchestral music, just a question and it might get answered by the video but I struggle to find the answer. What's the first thing you start thinking about besides the feeling of the piece? Is it the main melody?
I generally think of the melody and the accompaniment texture at the same time - or if it is a contrapuntal texture, the general idea of how I want the counterpoint to sound. However, a lot of people will play around on the piano (I'm a terrible pianist!), or will find a melody they like and then find chords to accompany it, or find chords they like and then a melody that fits. Basically, do whatever works for you! (I might do a video about this later too. 🙂)
Hi Eric, I recognised that you compose in the "transposing view" of the score. Why? I mean you could easily switch to "sounding as notated" view, that would be much easier to match the chords without having to calculate in the head. Or is it the cause, that you can check instant for out-of-range notation and playability for the instruments? Greetings from Augsburg, Germany
That's a great question! Probably the most honest answer is that I forget. 😁 However, there are a couple other reasons. First, I need the practice reading transposing parts. Most conductors can read (for example) a transposed Bb clarinet part and not think twice about it, but I still struggle with it. I'm getting better though. Second, as you mentioned, it helps when thinking about range and fingerings. If I read transposed parts, I know that all clarinets can go up to about a written G, whether they're in Bb, A or Eb. Of course, that doesn't work with bass trombones, which don't transpose! So I always have to think about (for example) whether they can gliss between two notes in F or Bb and whether two fast notes have slide positions that are close together. So I'm definitely still learning!
@@EricGalluzzo Thank you for the detailed reponse. As I'm starting to conduct my first orchestra and struggle heavily with calculating the transposed instruments, I will take this advice serious and try to write my parts in the transposing view, too. Just for the sake of exercise. Thanks for the idea!
Aww, I feel slightly cheated, lol. I would've happily watched you orchestrate the other versions of the tune. Perhaps in separate videos to get more out of the YT algorithm...
The orchestrations sound amazing! Thanks for the explanation of how to get there.
I'm glad you found it helpful!
Thanks! It's awesome!
This is exactly what I needed, I have a piano minor chord progression and I was thinking about how I could put it on a proper orchestral ensemble.
Also this piece sounds incredible
This was insanely helpful
Amazing, I enjoyed the whole video.
Wonderful, I'm glad you enjoyed it!
Brilliant video! Thank you! I'll now check your other videos!
Thank you, I'm glad you enjoyed it! 🙂
Great! I'd love to watch a livestream or something just following the process more. It's really enjoyable to watch and hopefully helpful
Thanks! Good idea, I hadn't really considered a livestream. I'll think about doing that in future.
Great Video! It can help me understand how to make orchestral music, just a question and it might get answered by the video but I struggle to find the answer. What's the first thing you start thinking about besides the feeling of the piece? Is it the main melody?
I generally think of the melody and the accompaniment texture at the same time - or if it is a contrapuntal texture, the general idea of how I want the counterpoint to sound. However, a lot of people will play around on the piano (I'm a terrible pianist!), or will find a melody they like and then find chords to accompany it, or find chords they like and then a melody that fits. Basically, do whatever works for you! (I might do a video about this later too. 🙂)
@@EricGalluzzo Ohhh okok, thanks Eric, I'll wait for the video ;)
@@ricardoramost Well - I have a few more videos in the pipeline first, so it might be a little while. 🙂
Thanks a lot!
You're welcome!
Hi Eric, I recognised that you compose in the "transposing view" of the score. Why? I mean you could easily switch to "sounding as notated" view, that would be much easier to match the chords without having to calculate in the head. Or is it the cause, that you can check instant for out-of-range notation and playability for the instruments?
Greetings from Augsburg, Germany
That's a great question! Probably the most honest answer is that I forget. 😁 However, there are a couple other reasons. First, I need the practice reading transposing parts. Most conductors can read (for example) a transposed Bb clarinet part and not think twice about it, but I still struggle with it. I'm getting better though. Second, as you mentioned, it helps when thinking about range and fingerings. If I read transposed parts, I know that all clarinets can go up to about a written G, whether they're in Bb, A or Eb. Of course, that doesn't work with bass trombones, which don't transpose! So I always have to think about (for example) whether they can gliss between two notes in F or Bb and whether two fast notes have slide positions that are close together. So I'm definitely still learning!
@@EricGalluzzo Thank you for the detailed reponse. As I'm starting to conduct my first orchestra and struggle heavily with calculating the transposed instruments, I will take this advice serious and try to write my parts in the transposing view, too. Just for the sake of exercise. Thanks for the idea!
Aww, I feel slightly cheated, lol. I would've happily watched you orchestrate the other versions of the tune. Perhaps in separate videos to get more out of the YT algorithm...
I had someone else mention this to me too! Maybe I'll make some other versions and publish them as separate videos. Thanks for the suggestion. 🙂