The Symphonic Virtual Orchestration Course Your strategic step-by-step action plan to help you Compose, Arrange, Mix, and Master your orchestral music and produce professional-sounding midi mockups.
Building on the skillset from Orchestration 1, this class talks more in-depth about choices, techniques and colors. Full of practical examples and tricks!
So you recorded your MIDI score and can’t wait to hear it played by a live orchestra. What’s the next step? Join music composer Olajide Paris in this course, and learn how to transform your MIDI data into a usable score for orchestra. Nowadays, orchestral music recorded with MIDI in a DAW can sound fantastic, but there’s nothing like music played by real musicians. In this second instalment of the Orchestral Session series, music composer Olajide Paris covers the special preparation work needed to transform your MIDI score into data that a notation program can use.
Comprehensive MIDI Orchestration video tutorials! If you’ve ever wanted to start creating orchestral arrangements and motifs, this is the series that will get you on your way. Learn all about the important basics of orchestrating today’s virtual instruments with MIDI and create truly authentic sounding orchestral parts. This series is meant to replace Eli’s original MIDI Orchestration Explained, adding more info and utilizing current virtual instruments for a more up to date learning experience. You also get the MIDI files that Eli creates throughout the videos so you can import them into your DAW and follow along. These videos are for those new to MIDI orchestration. Eli welcomes you and starts with an overview of what will be covered in this detailed video series, followed by the important info you need to know when working with modern software instruments. Topics include Articulations, Key Switches, Expression Messages, Legato Transitions, Velocity Crossfades, and other performance aspects that are available on most modern orchestral software instruments.
This orchestral wind course takes an in-depth look at the individual members of the clarinet, bassoon and saxophone families. Continue your studies of the wind section with professional orchestrator and instructor Thomas Goss! Now that you’ve mastered the upper winds in the Orchestration 103 course, it’s time to move to the clarinets, bassoons and saxophones. This course will teach you everything an orchestrator needs to know about these instruments, including their range, technique, and the role they play in the orchestra. The course begins with a complete look at the clarinet family, including the A and B-flat clarinets, the bass clarinet, the E-flat clarinet, the bass horn and the contrabass clarinet. Next, Thomas takes a detailed look at an occasional (but very significant) addition to the wind section: the saxophones. You learn about the history and characteristics of the soprano, alto, tenor and baritone saxophones, and you discover how they differ from other wind instruments.
Learn how to write for orchestra from an award-winning composer whose music has been performed by orchestras across the U.S. The course is divided into two parts: part 1 is on Instrumentation and part 2 is on Orchestration. Instrumentation is an important and necessary first step since you cannot write for orchestra if you don’t know about the individual instruments of the orchestra. In part 1 you will learn how each instrument is constructed, how they produce sound, how they are properly notated, their playing and sounding ranges, register characteristics, dynamic capabilities and common playing techniques. In part 2 you will learn basic concepts for writing for orchestra, including how to create and effectively use different timbres and textures, the best methods for scoring chords, the roles each instrument and section play within the whole, how to properly prepare a score and parts, and how to proof before publishing. The course concludes with an entire section of helpful orchestration tips and techniques. There are also a number of useful reference charts attached as .pdf files.
Visual Orchestration 2: Articulations & Templates – From Orchestration to Setting Up the Virtual Orchestral Mix (Foundation For MIDI Mock-Ups) contains ten new video lectures, totaling 7.46 hours, distilling the core principles of a college course on basic orchestration directly applied to sample libraries and MIDI mock-up applications complete with audio demos. Whether you read or don’t read music, you’ll get gangbusters out of Visual Orchestration 2.
Get real! Or at least get your MIDI orchestra to SOUND real! Learn the art of creating realistic orchestral MIDI mockups in this inspiring course by the one and only Peter (Ski) Schwartz. Orchestral sample libraries are everywhere. You can buy cheap ones or you can shell out some serious cash for the top of the line libraries. And while the quality of your sample library is important, solid MIDI techniques can make ANY orchestral sample library sound more real. You just need to learn the tried and true methods that MIDI master and orchestral composer, Peter (Ski) Schwartz, reveals in this example-filled, information-packed, super-cool course!
So you recorded your MIDI score and can’t wait to hear it played by a live orchestra. What’s the next step? Join music composer in this course, and learn how to transform your MIDI data into a usable score for orchestra. Nowadays, orchestral music recorded with MIDI in a DAW can sound fantastic, but there’s nothing like music played by real musicians. In this second instalment of the Orchestral Session series, music composer Olajide Paris covers the special preparation work needed to transform your MIDI score into data that a notation program can use. In this course, covers essential techniques and strategies to speed up your orchestration prep work. Topics such as when to use region-based vs. event-based quantization, how to deal with dedicated runs libraries so they correctly translate to the score, or how to consolidate MIDI parts are all covered. Olajide also discusses how to create individual parts from ensemble patches, what important housekeeping steps need to be done before exporting, why you should know about the alternative music XML format, and more…
The third edition of this high successful orchestration text follows the approach established in its innovative predecessor: Learning orchestration is best achieved through familiarity with the orchestral literature; this familiarity is most effectively accomplished from the music notation in combination with the recorded sound. The text has been revised to reflect the most informed reactions to the first and second editions, as well as Professor Adler’s revisions. For comprehensiveness, conciseness, and contemporaneity, The Study of Orchestration remains without peer.
The third edition of Adler’s essential text on orchestration and instrumentation contains expanded treatment on the trombone, the harp, the orchestral percussion section, and string techniques. A chapter is included for transcribing orchestral works to the various combinations of instruments used in public school music groups.
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