Hi Ryan. Thank you for the video. When you write your accompaniment, you seem to focus only on the vertical aspect of the composition. For example, you say "ok so that note is in the melody so we leave it out of the accompaniment". Do you care about the voice leading in the accompaniment or do you only care about the voice leading of the melody against the bass? Because simply filling in chord tones or removing them from an accompaniment seems to be only vertical thinking. I would appreciate if you could point me to any videos of yours that discuss this. Thanks
Great video Ryan. Couple of questions, would you still look to avoid parallel 5ths and octaves as you would normally? Also, could the rhythm be done using multiple instruments rather than one using Divisi?
Yes, I'm not "super strict" about it but I do try to be conscious of parallel motion. Especially in the outer voices, less so with inner voices. One thing I'll often do is figure out the voicings for the harmony by writing it in four-part-chorale SATB style, and then creating an accompaniment pattern out of that. And yes of course, you can do whatever combination of instruments you like. I did the violas divisi hear just to copy the Mozart reference. Generally you want to be conscious of keeping a unit in a balanced blend of sound, kind of like the chordal texture where it feels like a unified group. So a chord made up of all french horns is going to sound better than a chord with one note on viola, another in the harp, and a third in the oboe!
@@RyanLeach Thank Ryan that makes sense. Even though it might be the most common way of orchestrating I also think it is one of the more effective ways of trying to convey a rhythmic feel along with the melody.
3:04 how you put the viola on the vio2 line... is this also possible with musescore? this is what i need... ;-) i think its not a prob that v2 goes under viola, because it one octave below...
Notes following the video Homophonic Textures | Melody & Accompaniment: - It's the texture that is the most used. - Rule of thumb: The more sustained the melody is, the more separation from the accompaniment register you need. - The main difference from polythematic texture: The accompaniment doesn't have a thematic character it's just there to create support and movement.
🎻Hybrid Texture ORCHESTRATION | 8 Orchestra Textures BONUS! th-cam.com/video/a5E6-ZVDWSY/w-d-xo.html
I love this series of videos!They help me a lot.thank u for those brilliant videos!
Amazing.thanks
Amazing video thank you very much 😊
Thank you for this series!
Hi Ryan. Thank you for the video. When you write your accompaniment, you seem to focus only on the vertical aspect of the composition. For example, you say "ok so that note is in the melody so we leave it out of the accompaniment". Do you care about the voice leading in the accompaniment or do you only care about the voice leading of the melody against the bass? Because simply filling in chord tones or removing them from an accompaniment seems to be only vertical thinking. I would appreciate if you could point me to any videos of yours that discuss this. Thanks
Great video Ryan. Couple of questions, would you still look to avoid parallel 5ths and octaves as you would normally? Also, could the rhythm be done using multiple instruments rather than one using Divisi?
Yes, I'm not "super strict" about it but I do try to be conscious of parallel motion. Especially in the outer voices, less so with inner voices. One thing I'll often do is figure out the voicings for the harmony by writing it in four-part-chorale SATB style, and then creating an accompaniment pattern out of that.
And yes of course, you can do whatever combination of instruments you like. I did the violas divisi hear just to copy the Mozart reference. Generally you want to be conscious of keeping a unit in a balanced blend of sound, kind of like the chordal texture where it feels like a unified group. So a chord made up of all french horns is going to sound better than a chord with one note on viola, another in the harp, and a third in the oboe!
@@RyanLeach Thank Ryan that makes sense. Even though it might be the most common way of orchestrating I also think it is one of the more effective ways of trying to convey a rhythmic feel along with the melody.
Thanks for the video Ryan! Pretty straightforward, and useful!
Glad it was helpful!
Great series! Gonna need to get the book now.
Thanks, I'm sorry to be almost done with it. The book has a lot of great wisdom beyond these textures!
3:04 how you put the viola on the vio2 line... is this also possible with musescore? this is what i need... ;-) i think its not a prob that v2 goes under viola, because it one octave below...
Notes following the video Homophonic Textures | Melody & Accompaniment:
- It's the texture that is the most used.
- Rule of thumb: The more sustained the melody is, the more separation from the accompaniment register you need.
- The main difference from polythematic texture: The accompaniment doesn't have a thematic character it's just there to create support and movement.