10 Orchestration Techniques You Should Use Now! Episode 1

hello everybody my name is Matthew Yap I hope you're all doing well I'm sorry for not being able to share much lately but I'm gonna be stuck at home for a while so I guess you're gonna be seeing a little bit more of me the other day I was messing around on the piano and I came up with this simple melodic idea which seemed flexible enough to be orchestrated a bunch of different ways so I made 20 different variations which if you like you can take away and use in your own compositions this is gonna be a true parts video so stick around for the second half if you enjoyed the first dabbing said let's dive right into it with number one [Music] so before we talk about the orchestration let's talk about the composition a little bit because it's really quite simple and I think it's important in order to understand the why I'm making some of the choices so this is the melody right which can be harmonized a bunch of different ways but specifically for this example I've played just really three chords with C major G b-flat [Music] now what you see me doing throughout the video is very humanizing this melody a bunch of different ways in order to fit the mood of the orchestration but this is not really gonna be informed by the orchestrations because these two things go together for example I'm gonna show you later on like a romantic kind of thing which usually as part of the language you tend to have this kind of course right [Music] I'm not gonna be trying to to deviate from I mean that's gonna be always my starting point and then you can develop things further but I always try to start from a familiar kind of place you know in order to connect your audience and the people that being said let's talk about this example a little bit the main part is the strings really [Music] you have this kind of you know appreciation going on on the cellos and violas going in contrary motion and they have two different rhythms because they're not meant to stick out it's just meant to provide some you know color hiding behind the melody and chord pads underneath which are basically just playing the same core voicings as violas and cellos and some pizza cutters on the bass just to add a little bit more movement you have harp as well on top of it just to lay down the core some seem really simple [Music] they're nice you know symbols well just fine and I decided to start with this one because it's probably the simplest one and and I thought you know it would be a really good starting point let's move to the second one [Music] this comes second because he's similar to the first one in a way I mean it's much slower but I'm pretty much using the same cause as I used before right but being like a slower astral sort of version I decided to orchestrate it differently of course and here providing the cause on the bottom we mostly have bass cellos and low with wind so I'm gonna show you in a second [Music] now I'm using the low woodwinds rather than the brass as well as I used before in order to just add a little bit more warmth but if I decide to mute them it's gonna make quite a big difference [Music] not that it needs to sound full all the time but for this sort of context is I felt like it was like important to put them there on top of it just to fill out the cause a little bit more I have violins and flutes fluids though this time are gonna be really low in the register because same concept applies as before they're not really supposed to stick out that much because it's just like providing a little bit extra color to the orchestration and now we have solo home taking the melody being doubled by violas playing tremors [Music] and again it's before just harp playing some real gentle rose [Music] let's move to the third one so this is very different and for this I was thinking fun and for me like to have that fun sort of quality you'd have to really harmonize it in a certain way and that in my opinion at least comes from like a dominant kind of sound the most important parts are the harp together with a flute and the rest of the woodwinds are playing some trios we have on the percussion triangle and strings are doing different things on top of it we have some cause just to glue all these things down I mean it's not really important you would only miss them if they weren't there it's just providing a little bit extra color and then it's Acosta's I forgot to mention they grew up in the glockenspiel which is now doubly in the flute on the second half of the melody is doubling all of it but on the very beginning is just hitting the most important chord tones so let's hear the whole thing [Music] I knew I was gonna have melody on the French horn but I had to sound you know bright and powerful so I needed it to be in the in its best registers which is you know which goes from F to F really and so I just moved the melody from C major to F to E flat sorry yeah the chords are gonna be slightly different [Music] most important elements are differential as we said before which is double by channels just to make a little bit more powerful and then you have these measure trims on top of it being doubled by Celeste just to have that glassy sort of top-end [Music] brass join in the bid for the very last code and that's pretty much it and of course the arty right yes yes together with the symbols well and the timpani roll at the end there's nice phrase here on the violins being double five flutes and elbows that's it [Music] [Music] [Applause] [Music] I've changed a key again to G because I knew I wanted these sort of March to be played by trombones and trumpets but if they were to play too high in their register they would pretty much more power everything else so yeah I moved it to G [Music] the chords are slightly different from before I mean really simple stuff just G and C major seven with E flat C I mean I guess it's a C major nine with he on the bottom and then a major seven and then you have this sort of March pattern going on so I mean it's important to have the snare drum together with the timpani x' and some PR T's [Music] the melody as I said before is being provided by trumpets and trombones the accompany is being provided by basically strings and woodwinds and percussions but let let me isolate it strings and woodwinds I mean yeah nice one at the ends just to make AB a little bit more and that's it also forgot to talk about this so this is a really common kind of doubling you have often times glockenspiel tubular bells in piano and is I tend to use it I mean not me just really the common the usual way this is done is for accents let's move to the next one number six [Music] for this one I wanted a to sound sweet so I've used some suspensions in the cause [Music] I've talked about this orchestration before you have this pulsating sort of element which is being provided by pop vibraphone and horns together [Music] and on top of all that we have some pause and the strings [Music] and the teller is also providing like a little counter line and again a little bit of blue with winds at the end just to provide a little bit of reinforcement [Music] now number seven is very different [Music] so when you want to have the mysterious sort of sounds you tend to layer Celeste with something else on top of it in this case is gonna be violins let's listen [Music] [Applause] [Music] and on the bottom end I wanted to have the menacing sort of sound so I've used some rolls on the percussions which I really to be unusual together with the base and you also have the tent the cello and hard together provided some appreciation [Music] and clarinets it may seem like a lot but the important thing is when you hug these dents the sort of orchestrations is to live the melody register untouched so that it can still ring out and not layer everything on top of each other so let me show you see this big hole over here thus the melody register [Music] I mean I guess it is a little bit denser than you should be but still it doesn't really get too dense up until the very end which is fine I guess because we're done with melody there which has now been passed to the fluids who take that run at the end so yeah that's pretty much it let's have another listen [Music] and again same trick as before I've saved the brass ball the second half of it because brass are probably the most powerful instrument in the orchestra and if you save them it can be helpful in order to create drama yeah I mean the reason must to say about this I'm just playing the usual stuff like usually you tend to create comedy with you know it's a cut of strings in tuba and bassoons and things to tend to sound funny when the move to either the very top of the register the very bottom and you know this is just an example of it and these are like some common doublings you have some all-boys shorts playing some traumatic stuff yeah I mean there's a little counter line going on here on the piccolo which is being doubled on the silo phone of course and bassoons and bass clarinet is being double one octave below by tuba and of course I mean you have some you know you had to have some pizza cutter strings [Music] that's it [Music] yeah I really like the sorts of things and this is the one I mentioned before so it's a c-major to see I lent it to a minor nine and then the half diminished [Music] so you have those cause being appreciated by the clarinets similar to what we had before sorry I forgot to I forgot the bassoon so is clarinets and bassoons being doubled on Celeste as well the melody has been taken by high strings in octaves and oboist I'm doubling on the lowest one the a complement is being provided by brass and violas tréminis [Music] and in the meantime you have some appreciations or counter lines going on on the cellos and for the bass just pizza cutter contra bases [Music] number ten almost done [Music] the most important elements for this brass in general the melody has been taken by the French horns again I mean I've been using them a lot and you have these coals on top of it on the trumpets some counter lines going on on the trombones in the tuba and the rest is just a blinks pretty much all either in octaves or in the same register let me let me play the brass for you [Music] I want a mute for a second the trumpets so that you can hear the counter melodies that was talking about before [Music] in terms of doublings I'm using flutes to double the melody two octaves up clarinets to double the melody again in the same register elbows to soften the sound of the trumpets a little bit and then as soon as doubling the bass trombones I guess let's have a listen to the movements percussion is just playing us accents that's how quick listen again [Music] so there we go before we open up I need to make a very quick announcement people have been asking me for project files and PDF scores and to see my piano sketches and stuff like that so I've opened the patron page because they figured I needed a place specifically designed for these kind of things I don't know if you might be interested but I've put a link in the description below I mean it's very affordable it's nothing too crazy and of course it's gonna help me a great deal as well I really hope you enjoyed the video and stick around for part two if you want to check out the other equations I made and of course don't forget to hit that like button and subscribe leave a comment below if you have some suggestions so you want me to talk about something more specifically next time in the meantime thank you very much for watching and see you soon bye

Channel: Mattia Chiappa

Views: 76,813

Keywords: 10 Orchestration techniques you should use now! episode 1, Mattia Chiappa, Common Orchestrations, Orchestration Techniques, How to Orchestrate, How to arrange for orchestra, 10 orchestral presets, Orchestral presets, How to compose for orchestra, 10 orchestral arrangements, learn to orchestrate, beginner orchestration, 10 orchestrations breakdown, top orchestration techniques, steal these 10 orchestrations, orchestrate like john williams, classic orchestrations

Id: -HgLti_MFRM

Length: 26min 16sec (1576 seconds)

Published: Sat Apr 04 2020