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.
I swear, anytime I am stuck on a composition and thinking, “damn, what can I do with the [instrument family]?” this channel hears my plea and arrives with the exactly right video just when I need it.
@@alexlamymusic well since you ask! Most of the videos online about arranging for strings talk about chorale writing for triads. I’ve been really hoping someone would do a video about orchestral chord voicing when you’re dealing with jazz chords, cluster chords, poly chords and stuff like that.
I've written a duo for oboe and bassoon, that I am thinking about changing to clarinet and bassoon to expand the timbral range. But maybe not. I'm very sporadically working on a wind quintet. It's one of my favorite ensembles to play in (as a horn player) - so lithe and fun. When writing for full orchestra, I often struggle with what to do with the 2nd oboe. I don't usually want 2 oboes in unison, and other parts are also always covered by 2nd flute, the clarinets, etc. This video gave me some good tips on how to treat the doubling to handle that issue.
Robin on a Winter Night is beautiful, presented in a wonderful arrangement, you've utilised the palate of the quintet to its fullest. Your piece truly added a sparkle to the evening, thank you.
Great episode! Especially regarding the dynamics and strengths of their ranges. You could do a follow up episode on woodwind articulations like staccato vs legato because of the beautiful variety of sounds.
Alex gives us another very useful video. Most of what I've learned on instrumental combinations comes from score study--and nice to see some of my favorites highlighted. I must say it is treat to see some examples in SCORE and not the key editor. I can instantly see what's going on in a score while looking at the key editor is much like Rorschach test to me
Totally agree. Score study is the real ways to get to grips with this, especially if you’re not proficient reading music - you have to force yourself to get better and make it make sense! (I still take time transposing if I’m out of practice…) I like the piano roll, and it works for some things, but looking at a whole piece and overlapping parts can only really be done with the score.
Great video and explanation as always! Could you clarify on which Eb Clarinet you're using? Are you using an Eb Soprano Clarinet or an Eb Alto Clarinet? Thanks!
I think you missed something pretty important -- it's not just wind quintets! At least in the USA, most wind players spend many years playing in concert and marching bands. There's a *lot* of wind and percussion music there, and plenty of genuine masterworks within the repertoire as well.
Hey Ben! I think I said exactly that, didn’t I? 15:23 - marching bands, wind bands, symphonic wind bands, and the implication after is that winds and Perc are also often together, just as the brass and Perc are. You could go on the hunt for passages of well known works featuring unaccompanied wind writing, there are even some great bits just within The Planets (Neptune, for example), and it’s not like they’re bad examples, but it’s still true that you don’t really get music written for woodwinds alone. I mean, even wind quintets aren’t all winds! 😅
@@alexlamymusicYou are absolutely right, I am braindead tonight. I think I lost my attention at the moment you pointed to, snapped back in a moment later, and somehow translated "woodwinds" into "winds" in my brain in spite of, you know, the context of this video. Sorry about that. I clearly need more sleep! Nice video, btw. I subscribed. 😊
Is there a book to quickly reference to see the ranges, dynamics, uses etc.. for orchestration? I know of other orchestration books but they are huge mammoths that go into great detail, i'm talking just like the slides used in this video
Somebody else may know of one and chime in here, but I don’t really. That’s a big reason why we wanted to make these videos and have something people could access quickly and re-use as a resource. Maybe now that we’ve done Winds, Brass, and Strings we can find some time to combine them into a document. But until then, I have the rimsky-korsakov book as a pdf and I tend to use the search function to quickly get to wherever I need.
@@alexlamymusic a pdf would be fantastic! I have just looked up the book you mention, wow that's huge! Thanks for the reply. I found a small hand held orchestration book by David black. But there's something about seeing the keyboard layout for the ranges that really helps me, since most of us compose in front of a computer
They don’t 🤷🏻♂️ Saxes are still specialised, nearly always used solo, and any blends with the rest of the woodwinds are more advanced and are likely to borrow ideas from other contemporary styles. Sarrusophones are now nearly always replaced by Contrabassoons in orchestral works, and nobody seems to mind.
At minute 17:44 the Clarinet in Bb (the second note of measure 37) sounds a bit strange to me, the image just changes and I can't distinguish it, is it a Bb?, thanks
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. 🙂
This comment applies generally to any clarinet part. The scores to all of these pieces are easily available, and I’d recommend listening through with the score to the whole work. Listening is the best way to learn about orchestration.
There is an 8va mark in the score, I don’t think I need to draw any special attention to it. Why the piano roll on a channel channel about programming with virtual instruments? We don’t see it until 14 minutes in, but when we do it’s because we have programmed music, and actually I think it does a good job of showing how things directly overlap.
There are limitations, but above a certain level, players will be proficient readers/players in all 15 keys (7 flats through 7 sharps). Pro orchestral Bass Clarinet players will often even be able to sight transpose old-style "A" Bass parts on a modern Bb Bass without too much issue. The "A" clarinet should only be used in orchestral/chamber works in where the concert key primarily sits between 2 sharps and 6 sharps (ie. written 3 flats through 3 sharps for the "A" Clarinet), the rest are all more comfortable on the Bb Clarinet, and in other settings (concert band, theatre pits, jazz bands) most players will only have access to a Bb clarinet.
I play clarinet in a pro orchestra for a living. Flutists, bassoonists, and oboists are expected to play in all keys on one instrument. We really should too. I look forward to the day that A clarinet falls into disuse.
Baffling that the video says "woodwind", but doesn't include the saxophone family. It's not the 1850's anymore guys, sax is an established classical instrument whether you like it or not.
Why baffling? Sax is still extremely uncommon in orchestral use. When it is, it’s usually either a solo instrument or in a more specialised context. Thats a more advanced area than these videos we’re currently making, which focus on the basics for people starting out with orchestration.
Fun fact, I'm basically the same age as Dan Radcliffe, and when the first HP film came out I had people actually stop me in the cinema thinking I was really Harry Potter!
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.
This lesson is the best till now, at least in my irrelevant opinion
Same here.
The clarinet is absolutely amazing in the piece the showcase in the end of the video... Magnificent.
I swear, anytime I am stuck on a composition and thinking, “damn, what can I do with the [instrument family]?” this channel hears my plea and arrives with the exactly right video just when I need it.
What do you want next week then? 😂
@@alexlamymusic well since you ask! Most of the videos online about arranging for strings talk about chorale writing for triads. I’ve been really hoping someone would do a video about orchestral chord voicing when you’re dealing with jazz chords, cluster chords, poly chords and stuff like that.
woodwinds are the superior section
Strings outnumber them in a fight though 😅
Loved to see examples presented with true masterpieces!
Fantastic video. Love it. Very explanatory and informative. ❤️
I've written a duo for oboe and bassoon, that I am thinking about changing to clarinet and bassoon to expand the timbral range. But maybe not. I'm very sporadically working on a wind quintet. It's one of my favorite ensembles to play in (as a horn player) - so lithe and fun. When writing for full orchestra, I often struggle with what to do with the 2nd oboe. I don't usually want 2 oboes in unison, and other parts are also always covered by 2nd flute, the clarinets, etc. This video gave me some good tips on how to treat the doubling to handle that issue.
Thanks Alex - very interesting!
This stuff is priceless.
I really enjoy this channel! 🎉 Thanks a lot!
Robin on a Winter Night is beautiful, presented in a wonderful arrangement, you've utilised the palate of the quintet to its fullest. Your piece truly added a sparkle to the evening, thank you.
Thank you! 🙏
I love this channel! I would love to see a breakdown about choirs. Like, how they are used with the orchestra and also on their own.
I would also love to make that video! 😊
Great episode! Especially regarding the dynamics and strengths of their ranges. You could do a follow up episode on woodwind articulations like staccato vs legato because of the beautiful variety of sounds.
These last two videos have been great! WOW 😀 Very thankful for the entire series. It's all been quite helpful and enlightening for me. Thanks so much!
Very useful video! Thank you so much! 👍🏻
Alex gives us another very useful video. Most of what I've learned on instrumental combinations comes from score study--and nice to see some of my favorites highlighted. I must say it is treat to see some examples in SCORE and not the key editor. I can instantly see what's going on in a score while looking at the key editor is much like Rorschach test to me
Totally agree. Score study is the real ways to get to grips with this, especially if you’re not proficient reading music - you have to force yourself to get better and make it make sense! (I still take time transposing if I’m out of practice…)
I like the piano roll, and it works for some things, but looking at a whole piece and overlapping parts can only really be done with the score.
Great video and explanation as always! Could you clarify on which Eb Clarinet you're using? Are you using an Eb Soprano Clarinet or an Eb Alto Clarinet? Thanks!
It’s the higher, sopranino. Especially as the Alto is less common, it’s not usually referred to as “the Eb” 👍🏻
I think you missed something pretty important -- it's not just wind quintets! At least in the USA, most wind players spend many years playing in concert and marching bands. There's a *lot* of wind and percussion music there, and plenty of genuine masterworks within the repertoire as well.
Hey Ben! I think I said exactly that, didn’t I? 15:23 - marching bands, wind bands, symphonic wind bands, and the implication after is that winds and Perc are also often together, just as the brass and Perc are.
You could go on the hunt for passages of well known works featuring unaccompanied wind writing, there are even some great bits just within The Planets (Neptune, for example), and it’s not like they’re bad examples, but it’s still true that you don’t really get music written for woodwinds alone.
I mean, even wind quintets aren’t all winds! 😅
@@alexlamymusicYou are absolutely right, I am braindead tonight. I think I lost my attention at the moment you pointed to, snapped back in a moment later, and somehow translated "woodwinds" into "winds" in my brain in spite of, you know, the context of this video. Sorry about that. I clearly need more sleep! Nice video, btw. I subscribed. 😊
damn it, Dvorak always gets me goosbumps with that EH solo
Is there a book to quickly reference to see the ranges, dynamics, uses etc.. for orchestration? I know of other orchestration books but they are huge mammoths that go into great detail, i'm talking just like the slides used in this video
Somebody else may know of one and chime in here, but I don’t really. That’s a big reason why we wanted to make these videos and have something people could access quickly and re-use as a resource. Maybe now that we’ve done Winds, Brass, and Strings we can find some time to combine them into a document.
But until then, I have the rimsky-korsakov book as a pdf and I tend to use the search function to quickly get to wherever I need.
@@alexlamymusic a pdf would be fantastic! I have just looked up the book you mention, wow that's huge! Thanks for the reply. I found a small hand held orchestration book by David black. But there's something about seeing the keyboard layout for the ranges that really helps me, since most of us compose in front of a computer
Where do the Saxophone & Sarrusaphone come in?
They don’t 🤷🏻♂️
Saxes are still specialised, nearly always used solo, and any blends with the rest of the woodwinds are more advanced and are likely to borrow ideas from other contemporary styles.
Sarrusophones are now nearly always replaced by Contrabassoons in orchestral works, and nobody seems to mind.
At minute 17:44 the Clarinet in Bb (the second note of measure 37) sounds a bit strange to me, the image just changes and I can't distinguish it, is it a Bb?, thanks
It’s an A 👍🏻
Pourrais tu nous faire des tuttis sur les articulations please?
At 1:55 I think you meant to say "ballet" instead of opera
I should have said ballet yes. Whoops! 😅
@@alexlamymusic No worries, I only pointed it out because Daphnis and Chloe is bar none my favorite piece of all time!
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. 🙂
This comment applies generally to any clarinet part.
The scores to all of these pieces are easily available, and I’d recommend listening through with the score to the whole work. Listening is the best way to learn about orchestration.
You forgot to mention that the flute in Daphnis & Chloe is pitched 8va as shown on the score.
Why the Piano Roll again?
There is an 8va mark in the score, I don’t think I need to draw any special attention to it.
Why the piano roll on a channel channel about programming with virtual instruments? We don’t see it until 14 minutes in, but when we do it’s because we have programmed music, and actually I think it does a good job of showing how things directly overlap.
ah yes, contrabasson. Every composer's favorite instrument to forget
There are real limitations on which keys the B-flat Clarinet struggles versus those the A Clarinet struggles.
There are limitations, but above a certain level, players will be proficient readers/players in all 15 keys (7 flats through 7 sharps). Pro orchestral Bass Clarinet players will often even be able to sight transpose old-style "A" Bass parts on a modern Bb Bass without too much issue. The "A" clarinet should only be used in orchestral/chamber works in where the concert key primarily sits between 2 sharps and 6 sharps (ie. written 3 flats through 3 sharps for the "A" Clarinet), the rest are all more comfortable on the Bb Clarinet, and in other settings (concert band, theatre pits, jazz bands) most players will only have access to a Bb clarinet.
I play clarinet in a pro orchestra for a living. Flutists, bassoonists, and oboists are expected to play in all keys on one instrument. We really should too. I look forward to the day that A clarinet falls into disuse.
I actually arranged for Wood Quintet before: th-cam.com/video/YFN44gYADkc/w-d-xo.html
Baffling that the video says "woodwind", but doesn't include the saxophone family.
It's not the 1850's anymore guys, sax is an established classical instrument whether you like it or not.
Why baffling?
Sax is still extremely uncommon in orchestral use. When it is, it’s usually either a solo instrument or in a more specialised context. Thats a more advanced area than these videos we’re currently making, which focus on the basics for people starting out with orchestration.
@@alexlamymusic They really aren't uncommon at all.
i'm the first viewer, hahaha
The first to comment ;)
Woodwinds are not difficult I found the brass are the most difficult one in the whole orchestra section.
Clarion* not clarino
It’s either 👍🏻
I didnt know Harry Potter was a musician.
Fun fact, I'm basically the same age as Dan Radcliffe, and when the first HP film came out I had people actually stop me in the cinema thinking I was really Harry Potter!
@@alexlamymusic All kidding aside, you are doing an outstanding job. Thank you.
Clarion, not Clarino. Trust me ;)