How To Orchestrate A Chord Progression (from Piano to Full Orchestra)

do you often struggle with the idea of taking a basic core progression and articulating it into a full orchestration if that's the case then this video is for you hey what's up guys this is Alex and today we're gonna see how to go from a piano basic core progression to something like this [Music] [Music] so this is based off a cup progression that plays in the intro of a Coldplay song called yes and in the piano it sounds like this [Music] so that basically is what you've heard here but it's articulated in a way that we're gonna analyze now there is also a second different example which doesn't sound so amazing but it's this one so I wanted to show you guys two examples because I want to impress upon you the fact that there is not one single way of writing chord progressions there's like or orchestrating progressions there's infinite ways of doing that and if you're looking for the secret formula to use for the rest of your life don't watch this video because this is gonna be a very long tedious boring video full of information on all of takeaways you can take advantage of too fried you know many chord progressions and it's not one formula it's just many insights into my process and we're gonna analyze these Shue to the bones now chord progressions and orchestrations are very wide subjects if you want to learn how to actually write an original compression from scratch and by ear I made a tutorial about that in the past which I'm gonna live in the description of this video so you can check it out there also if you're new here and you want to delve into your castration because you want to learn how to write orchestral music I'm gonna leave in the description a link to a playlist of all the essential and fundamental and most popular of the tutorials I made in the past because I made around 100 tutorials right now in this channel so it might be a bit difficult to navigate your way around them so I'm gonna leave the playlist there so you can check out the best ones and then get an idea what you can learn here lastly if you want to be even more followed to have a more organized roadmap to get from zero to hero in terms of writing orchestral music to the point that you can actually do this for a living what I recommended to do is to invest into an hour sponsor which is called evident which has a course called cinematic music from idea you've finished recording that is geared to do exactly that take you from not knowing anything about orchestral music to writing stuff that sounds like Hans Zimmer and of so if you go with that course and you really study with rigor and Method it really does wonders if you're interested I'm gonna leave a link to by the course in the description of this video but anyway enough of that let's get into analyzing the chord progression we're gonna start from analyzing the basic shape of it which has features that are gonna be present in any of the orchestrations I made later on basically we have like your three colors each one defines you know one area of disco progression the purple color is the bass viol yellow color is or notes are the harmonic notes and the green notes here are the melodic notes actually the core progression in this one [Music] and the Papapa Papapa is another destorying on top of that now there is a reason why the melody is actually storing on the highest notes here the reason for it is that as I mentioned in many of our tutorials is that if like basically the human here pays attention to the highest pitch sounds the most if you have two different instruments playing at the same volume but one is playing on a higher pitch or a higher octave then the human ear is gonna pay attention to the highest one to the other even they're playing the same body pretty much that's how our ears work so that's the reason why in many orchestrations you notice that the melodies are always soaring on top of the orchestration all high pitched instruments and then what happened that's what happens in marring orchestrated versions of this chord progression while the denotes hear proper notes harder bass notes that represent the bassline and I use them as a reference or my bass instruments in those orchestrations with the yellow nose here these are D harmonic no so if for example we have a C chord [Music] it's a major seaport and the harmonics noise rd e energy which are you know they pretty much determine the character of this call progression if I change the harmonic dots we get a different chord even though it's still see so that's the idea behind your monic knows pretty much and they stay in between the melody and the bass line in this example in most of my cup progression as well it's like that and I like to leave the notes in between the melody and the bass or either the harmony or the Contra melodies so I place both in between and that's what I did in my orchestrations you're gonna see later but you know you can even use a contra melodies on top of melodies if you want the counter melody is to be more noticeable than the melody but basically what's highest is you know the most noticeable notes notes usually unless you you tone them down a lot in terms of volume and what's low lowest represents the low end of the track and at the bottom the foundation of the track and what's in between is like the harmonies and all the strings so that's what happens in my chords here so let's let's check out that I did like I split them in bass voice harmonic boys melody boys and freedom bass boys some harmonic is everything are the things that I just explained rhythm our percussion so let's see how I orchestrated the first one I'm gonna play each one and then we're gonna see what I did in each so the bass voice went from this [Music] to this [Music] so what I'm doing here is just using double basses along with tubas the reason why using both it is that I wanted to reach a broader range of octaves to have a thicker that were more dense sort of bass bass signal so the double bass is here and tubas are doing this actually it sounds like it's the same octave but you know you know this libraries are interpreting them a bit differently but even though they're bringing the same octave their sound is a bit different so I like them together as a layer they just create a more big low end which is you know it sounds nice I wouldn't I wouldn't have done this on violas for example because if you go solo with violas then you don't get anything you know when you when you the reason why you want to use the full range of orchestral instruments is that each instrument has its own range its instrument shines more on certain ranges of octaves and everything so you know it's like having singers you can have Coldplay singer play and then seeing very high notes but for example if you have me I cannot go so high as well because that's not my voice I have a much deeper voice so I go like lies well yeah you that's so ideally in your case is the same like you want to use instruments that belong to the range of writing for so in the case of bass you want to use double basses tubas and they're amazing for that as soon as if you want bass trombones are amazing as well cellos they can take care of the bass notes and also the harmonic notes and all those things but I would never play like a high melody on tubas so the idea here is to for each range to use a specific type of instrument and a cool thing to do actually if you don't know about don't know anything about these things about instrumentation is what is called knowing your instrument instrumentation you don't know the ranges of the instruments and everything I think there is a cheat sheet on google-like search or orchestral instrument cheat sheet and you get like a graphic with all the instruments but a cool thing to do actually is to just open up your your contact patches and just play around with them then you know up in the bass patch you see oh these are the notes I can play with the bass pattern you just play around on the keyboard and see without the limits see were where the bass is sound the clearest and all those things and you just learn it becomes second nature on the harmonic voice here we're doing this [Music] [Applause] [Music] [Applause] [Music] and this is where things start to become interesting now there isn't really a reason why I am using way more layers here than I did in the base voice and there's a reason why this sounds way more colorful now I like one thing you want to avoid in the base and I'm not sure if I talked about this in previous tutorials but one thing you want to with him in the base is to have you know chords playing in the base because basically it's a bit complicated but when you have a note playing in the base on low octaves that note tends to have a more super dirty sound and also warmer but dirty air in the sense that the harmonics of that note for example have this note on key on the piano if you check out the spectrum you see it's way more full then if I take the same note and play on a higher octave see how much how much more sharp this is compared to this even if it's the same you know this an F but when we go lower it becomes a bit more dirty and more full that means that if I play chords on lower octaves I can play a low C chord it's like what the hell is this but if I played on the high notes it's totally well-defined so there is what you want what you want to avoid having like complex orchestration in your low end is that like the low end it's best if you only play some specific notes not too fast because that creates Rumble traits like chaos but play like very clear basic and not our Monica Lee complex notes now the notes you play in the low end are gonna enforce the harmony in specific ways so if I change the baselines here for example here we have like C note and F and C sharp and everything if I change this then if I move this you like I don't know G sharp if I have the baseline on g-sharp it sort of C sharp in that Bay then in the whole arm on your things the C sharp note is gonna be way you know weaker so pretty much the baseline it's gonna add to the color of your harmonies which is why you know it's important to write a good baseline and the baseline can change a bit of how the song feels but you need your baselines to be decisive decisive and clear and all those things in the harmonic notes you can go a bit wild which is is what's happening here let's check out the instrument on its own because I don't even remember what I did we have the shadows which I think are doubling the bass notes they are not doubling the base note there'll actually harmonizing on the base notes let's see if I can enable them to show you what I mean [Music] so they are just like playing harmonies on top of the notes we have in the base another thing that happens in the shadow is this this is what you call a tremolo now Tremeloes are very impaired you know interesting to create tension because they have that sort of sound to it that they they vibrate very high art that's what tremolo means in Italian much like vibrate vibration pretty much then we have some violas here to check out what mood Royals are doing here [Music] and again they are harmonizing these are the harmonic voices and what you see in every instrument we checked out so far is that they they all have these to speak cattles here sometimes it's good to change articulations you know and that's what I did in this violas patch for example this is a thing that beginners tend to never do and you can you know this this harmonic voice is nothing they're not taking away too much from the core progression we which we saw before but they are adding character because they are playing different articulations like the shadows are bringing tremolo here we have some speak at those alternating with sustains and then another thing we have of course is the modulation wheel movements here so that gives the sort work like swelling feeling to the thing so here what I did is I took those basic idea and I've wrote them but translating them from strings which means having tremors and all those things I did the same thing with the brass instruments so we have this bass from under this [Applause] and as you see pretty much this is not like this is moving around like it's like it goes low and goes high and then it goes super low here so that's a cool thing you can do now I'm when I orchestrate this way I'm not like super critical about oh my god am I using the same exact note in the chord progression am i doing like the C flat over the street I'm like no I just do what feels natural to me I try to keep in mind the main idea I had in the corporation but then I try to move my instruments and a cool thing like went with the brass it's amazing when you do it with the brass you go like I am and this Papa really makes this part stand out more so just try to play around with it you know and again here I change with staccato smart Otto's saying basically when I want to do this sort of notes here I'm using sustain when I want to do short super short notes I use paddles when I want to do something in between the sustain and the staccato I will do Marcato so this is my data this way I think is market or short and that's what the bass Ramon is doing I'd argue that this sounds more like a pace like no it's something like more like business rather than I knows but the reason why the bass woman translates nicely to the harmonic voice is that actually it's actually you know it goes to deport Octavian he actually sounds a bit sounds way sharper than the tubas but if I wanted I could use the bass Ramon as a low-end the instrument too if I because it allows you to build or you know so if you go here you might want to use it but the base but if you go higher you can use it for harmonies then we have the French one which is like my favourite instrument producer popping and does something similar to the bass from one I think sorry we have two French ones they do this [Music] I should have done this oh my god but yeah basically we have two French horns one is doing the this thing pairing the melody a bit not the melody but harmony and just like the other instruments it has like this sort of staccato nose sometimes because I put staccato notes in synced over many instruments because I wanted to give that extra boost and that's one cool thing you can do when you orchestrate and you want to give some extra oomph to your orchestration you can add staccatos and add them throughout your whole orchestration so when you have a staccato stand certain instruments your instruments are following so you have a met like a soft rock a TP staccato on everything and it's way more noticeable rather than having staccato on a few instruments and other instruments playing sustains at the same time because when you have a tutti staccato it creates some breaks some little silences in between the all the staccato sand that really helps into just making it sound awesome in this case some instrument dough will play sustained notes but for the most part everything is like staccato and so yeah the French art thing is you know it's very similar things in terms of rhythm and that's a good thing you can do you can follow the same rhythm on different instruments but make them go up and down in independent ways that's what creates a rich harmony because then you're gonna have chords playing in between those instruments and what I do is I've write voice by voice which is a bit messy but it helped me into keeping track of everything so I've wrote a cello then I wrote two Biola's then I wrote the bass drum and then I wrote the French horn then after writing this French one I wanted the French want to sound a bit more more developed so I added some scoops and crescendos which are these guys [Music] that thing this thing is just great it's like you know going from c4 to c5 it's like just that this coupe is where they do that they go one they boost they it's this one short note that goes higher by one octave and in this case what it creates is this I can even remove this if I want right but I think with this it's way more you know believable and underneath that we have the which should connect to the pom-pom so the idea is to have a bit but it didn't really so well because it didn't spend so much time making it sound amazing but that's the idea so you might want to use scoops and crescendos to carry on the tension carry on the energy to not let it die as you do like you move to different notes and I don't mean that you need to do this every single time but if you want to give more I don't know more powered monuments make certain notes more noticeable then put a scoop before it and also put some percent of before the notes but they need to link the note so in this case this thing I can fair enough it's not like here out of rhythm [Music] you know in that case it doesn't make sense it's linked it goes it's just this connection so you want to put your scoops like in time before a certain note like I say I see people using scoops and they don't link to anything they use crescendos without linking to anything so it's like your presenters like it means growing and you're growing too what if you if you're not linking that to another note or if you're not using crescendo source oops for a transition or to link to a certain note then what are you growing into like what why are you using it so if you if you decide to use these things use them as a way to enforce other notes so what I did is I added the scoop only after coming up with this bump that I thought okay what can I make what can I do to make this bah bah bah even more amazing and then I answered with well another scoop and this Pinos so that's why I did that long explanation but basically the scoops scoops articulations that I think there are they're unique to French horn I'm not unique to brass so make use of them when you're Brighton brass they sound pretty good so all these things together it's honor it is [Music] [Applause] [Music] [Applause] [Music] so so as you saw pretty much everything is following very similar rhythms but everything is going in different ways in terms of our harmonies but they're all in key and they cannot preserve the idea we had before from the manor history and they're in a progression now let's check out what the melodic voice is like [Music] [Applause] [Music] oh my god this is gonna be complicated to explain because I just noticed I did a few things here and there that I like what so basically in the beginning we have this cellist are doing this [Music] and then it stops I just put it there because I felt like in the beginning the melody was a bit weak but I didn't want to use like trumpets in the beginning and choir so I I put the Celeste along with the fluid which is doing a similar thing but the first thing you notice is that sedessa does the pom pom pom but also you also have this G sharp pipe note it just makes it a bit more interesting I could take it away if I wanted but I added it there just to add character which is one thing I like to do with my instruments then I have the fluid doing something similar now here the flute does the staccato and then here instead of doing them I decided to add more color and more character so what it's doing here is sort of like a contour melody along with some you know articulation so it sounds like this now [Music] so this that is called trail and it's sort of like reminds us of the tremolo but the Trier is like is this pretty much let me open like piano that's the trail and so I think major trail and this is like a minor trail so it's like two intervals being played at very fast like stupid explanation but yeah it's just two notes being played and a certain interval at very fast frequency and that creates that effective eight now I use this to just again carry the tension forward carry the energy forward another thing I did is of course using the motivation wheel to just make it dynamic and as you see here you have this trio here and then and that's a counter melody that is gonna play along with the melody so you know a cool thing you can do is to this is just a simple idea but I just decided to not repeat this melody again and a bit more character to it but I didn't make it so loud that it would steal so much attention from the main thing and in the second half there's also other things that come on so even if the fluid was carrying the first half in the second half there is new elements coming in so there now the new elements will be carrying the melody as you're gonna see other than that in the intro we also have NEX re-entry in the beginning we also have violins that sound like this and they're layered with second balance that play the same thing but on a higher octave so together now they still repeat in the second half but in the second half I took the second balance and I increase them by one octave lifting and then we have the Tremeloes well going on now the reason why I did this thing where I increase the octave is that I felt as I orchestrated this that that in the second half things were getting a bit messy and the main melody was getting a bit lost so I went up an octave so as I should I told you before the things that are highest pitch are the things we tend to pay attention to the most so since in the second half I introduced a few contra melodies I still water the melody to be in the front though I decided to go up and I'll take with the second violins and I think I did that with the power as well let's check out the well the trumpets are doing we have two trumpets that are doing this and they come in after a certain point [Music] so this is just comes from LD playing with the melody the highest trumpet is playing the main melody and again on the highest branch trumpet because of the reason I mentioned so many needs so much in this tutorial and I didn't want to do the thing where both trumpets start exactly at the same point which is like when the second prepetition comes in I decided to introduce one from a bit a bit earlier this guy here does it remind you something this is exactly what the bass trombone was doing before just playing on a high rock and then we also have this because again this is like the powerful tutti in the middle which this to t hear this statistic otto wasn't included in main in the main chord progression if you check out Coldplay song it doesn't sound anything like this just something I added because I something I decided to add in my orchestration because I wanted this to sound a bit like this a bit cinematic bit romantic and everything so that's why I use the 2t I also have the 2t as you know in in the choir I introduced the pyrometer took T move from Paseo [Applause] [Music] so there is one layer of fire during the main melody and the other is doing the memory and the Contra melody the Contra melody sounds oh my god sorry the Contra melody sounds like this at the end pretty much and yeah so you know it sounds complex when you hear it but when you dissect it it's like okay you're just doing the main melody on different instruments from different octaves and in the second half since you didn't want to bore listeners to death you added a counter melody on the lowest layers of trumpets and on the flute and you did some good trills and the other song Tremeloes at the end to make it sound more interesting that's all I did you know so it's like basic idea and then added to details and that's basically what I did if I remove the triggers and remove the Tremeloes this wouldn't sound as impressive for example [Music] [Applause] [Music] like it's still the same thing but it doesn't sound as if it has a soul now it's a bit like that inside so you know articulations they go a long way really so guys I highly recommend attrition you tried them out now the percussion is that they in this case they're just mpany and cymbals and a few Tom's and tubular bells which is a cool thing to do with quantum force the melody so the tubular bear is doing this very simple and the rest of the percussion is doing this [Music] now the two most important aspects are this so the symbols that play exactly when I want the orchestra to be accentuated so let me remove all the percussion I'll show you how the orchestra sounds with the cymbals alone [Music] so what I did is they used I think these are PRT and these are symbols I use the symbols for the biggest accents I also use some simple rules at the end here which rise in terms of partyman intensity because I have this dynamic bill other than that I did something similar with the timpani so when you check out the percussion you just hear they play on unison what we have is this here introduce the timpani and then at the end in the timpani as well we have this important role which is a cool thing to build up tension or to build up energy and all those things and then we just have some Tom's layer that does give you the same thing you know nothing can impress me just bring more fine definition to the cymbals and to the percussion so you know it's just everything is sinking into some rhythm everything is sinking on that insane 2 P we had in there and the melody stands on the highest instruments on the highest pitch instruments I'm not doing too many complex things in the bass not doing too many complex things in the melodic boys either I am doing the sort of complex complex stuff in the harmonic voice because in there I can go a bit crazy but even in there I'm just playing the same rhythm on everything it's just instruments going high and low however they had the hell they want now there needs to be a certain like breaker and logic in-between there of course you don't want you know your instruments we just do whatever the hell they want but you get like you as you play around with them you get there and this is something that you might not be able to do a piano because when you write for piano well you're writing for someone who uses two hands when you write for orchestra you're writing for like 60 people so with 60 people you can do stuff you couldn't do with two hands so you know just capitalize on that you know try to give character to each but try to also have points where they think like this is potatoes and try to make sure that sometimes certain instruments bring more to the table by having particular like scoob's and I don't know like Tremeloes and you know the trails and the things we heard before now this thing about articulations it's more important if you're writing a purely organic orchestration like a very orchestrated orchestration but if you're writing trailer music like I did like I tried actually to do here if you try writing something that is more cinematic more like powerful and edgy and a bit more like pop kind of then maybe you don't need to have so many articulations that's just something you can take advantage of but if you want to write something some more simple then you can do something like this now the reason why this doesn't sound so clear is that I actually messed up a little bit I tried to think to do things way too much complicated especially in the bass voice I had to treat this quite a while because I notice I did some weird things in the bass so let's check out what's happening in this second version are gonna be a bit faster now because I took a really like poor team initially the first one when I thought this story would take like five minutes dude but yeah let's let's check out what we're doing here okay so here we have four different instruments on bases some cellos some tubas and bass trombone actually the bases and cellos are the low strings patch from metropolis art so it's actually bases and cellos together but I just split them that way because that makes it easier for me to think and orchestrate and I arranged my thing basically what I'm doing is even though it's the same patch in the bassist patch I'm using octave 3 in its shuttle patch I'm using octave poor pretty much or higher octaves and let's check out how it sounds like the bass sounds like this remember before when I told you to not have harmonious in your base that's the reason like this as a few harmonies going there I think it's because of the shadows and that that was very hard to like it was hard to reconcile the harmonies with the clarity of the sound so that's why it doesn't sound so clear partly but basically let's see what happens so we have this bass doing this just looking for some melodies there the baselines there then we have cello sing this [Music] and I think somewhere again it's not exactly correct and precise my idea here works which I had to just have this cello that just plays around and goes high because again when you move the bass that way you give more color to the track because you give sort of like in the harmony when you move the base to a different note you just change a bit of the color will attract so a little example of that is actually he's a pirate from the parts of the Caribbean but about but about but about bumper about up we check out the bass line in that part of the song that bass line is trippy it moves a lot in creates a lot of cholera that's why it sounds so amazing even though it's like this basic guide in staccato you have that base underneath that maybe you don't even pay attention to be just hearing and it sounds very rich and I tried and even this is also noticeable in John Williams track tracks the bass in his tracks is just amazing and he moves it around the basement so prey he moves it moves them around in beautiful ways but he knows what he is doing because he studied so much of music theory I guess I never study music theory so much so I'm kinda limited in that regard if I start to mess around with those things are a bit more sensible I can do bad stuff so I try to not go there as much but it's interesting what you think create by having it a moving bass anyway then we have these tubas doing this and based on we're not doing the same thing this is an example of layering you see they're doing the same thing but the bass trombone sounds a bit more sharp so it gives a bit of air a bit of you know sharp edge to this brass here [Music] and yeah the shadow is pretty much ruining everything that but anyway anyway that's what they are doing the harmonic voice here is actually pretty simple sounds like this [Music] so in this bit I think I messed it up by using butter but but I wanted to add it there because it sounds like it sounds good to me anyway so what we're doing is we're having this arpeggio and this is something I don't recommend that just something added personally and the idea is to have these are patches that evolves with the harmonies with the course and everything because of course if you have this then that creates harmonies at you you you start to use notes and if they don't fit in the core that you're creating with the overall registration then it's gonna sound a bit weird so I try to move it around to sort of light feeling the harmony at that moment and that created this very interesting adventure when you hear it on its own it's actually picking amazing but if also follows a certain pattern so this is a one cool thing to do when you have our pages in your songs you have it's almost you know a pattern you can move it around it creates interesting out harmonica you know outcomes and stuff but yeah other than that which is wasn't the best thing to add but I sounded closer I did it we have this viola doing this and I'd argue we can remove this and just do this or we can do this which is what a beginner will do but I think syncopated notes are way more interesting with syncopated notes I mean the notes in between each one of days so bump up above a bump up about this nose here sorry business here those notes are there just to sort of like create a rhythm inside the rhythm inside these pom pom pom accents you have these syncopated notes and you can you know do that have a syncopated notes in all yours picados and your percussion whatever and if you do like also velocity changes in between because if you do this it's not the same thing as this so what I do is to have accent be bold and strong and syncopated notes I just you know make them move this way with velocities that go lower and that can create a bit of bumpiness to your track and another thing you see is that so I keep it changing sometimes you have syncopated notes sometimes I have this like pum pum pum and these softer coincide in the melody with the metal with some melodic notes that you're gonna see the looper and as you see again they move around it's like a bumper on parabrahma I thought these two things repeated to oblivion I make it rise and fall so yeah let's check out yeah there's other things I forgot to mention like check out the French horn here [Music] so what the French are not doing are just accompanying the violas but by giving them a bit of accents like this again I'm using as you see the scoops if I remove the scoops this one sounds good I mean it still sounds nice because of this pam pam pam pam pam pam pam and this is something that just came on top of my head but you know when you have the scoops there it just it just creates that boost of energy that just makes things you know way more interesting then we have the fluid doing the same thing as last time French were enacted and and constant part sorry so that's the idea behind the harmonic stuff and the melodic stuff is very simple I like this [Music] so let's check out what each voice is doing here we have another actually another layer of violas doing this which is the main melody then you're not they've five and it's following the same rhythm as the violas in the harmonic boys then so that's that's just taking the ba bla and making it rhythmic by using syncopated notes using velocities and having you know cool like cool accents and stuff then we have valleys doing what I do remember these are actually this is the high strings back from metropolis arc and these are more violas than bodies work and they're playing the pom pom pom source rock counter melody that we heard again in the harmonic waste before so it's something they cannot blend together in this bit there's a BLT collected here and then we have this voice openings in the second half [Music] dad just plays the main melody until this bit where I do this because I wanted to close it a bit different and then we have some French horn and trumpet doing everything memory again yeah so it's but it's ending with Papa Papa which different way to and that melody and then below that we have the pyre doing this so the whole melodic voice does these and there are following the same accent pretty much so the full orchestrated version without percussion sounds like this it's in a chaotic as we probably sound better if I remove the shadows and and and the arpeggio there but I like those and this is just a sketch anyway anyway the percussion sounds a bit different from the first one because I wanted this to be more trader ish so we have this so what is happening here exactly we have some symbols we have some process percussion we have some dolls and tongues and some trailer hits let's check out this one very fast so the symbols are just again creating accents so just like in the first one we heard they play on specific parts and there's got be playing as well then we have the process drums now when when you make like spread of music you make like hard-hitting and cinematic stuff like modern fairy music one thing you notice in the genre is that they don't really avoid what is called the machine gun effect and the machine gun effect is here a bow I think in here is like there is not that much difference in between each of these like sticks you know the velocity stays kind of the same but you know that's that's in terms like when you make music one you want to make a card hitting trailer percussion you can use the machine gun effect it's not a big deal although I would accompany that with percussion that all actually have some velocity changes with them so here we have this process drums [Music] just like in the orchestra here for the bass like the low-end percussion I use very steady and clear and slow and linear rhythm I don't do Papa Papa banda by the pump pump pump pump pump pump pump something like that because when you do like superfast stuff it starts to muddy up your mix because it's again for the same reason I showed you before and on the on the top we have this so yeah that then here we have this machine gun a spark now these are not as low so I can do this without getting into trouble and together this is the process side of the things here we have some tools and comes to this let me act this act is to dissect this - or you the dolls from a dive epic dose unlike this hapless lower layer and you notice there's this sort of like rolls here in between that's something you may want to use just like scoops in between to bring the power forward and then we have this and on terms we have other layers that are doing stuff this and this so I'm not doing necessarily different readings on everything I'm just some reasons are slower somebody's run faster but they're pretty much playing the same accent and they are being accompanied by symbols the whole thing together like this and symbols are very important because without them things sounds a bit more closed off in this example not so much but in the first example without symbols it wouldn't be the same other than symbols to make things tradition impactful I had a trailer kids which are these guys here and it's like three is that are changing and alternating between them and in this bit we have this [Music] June June June that like people slamming doors and you know I'm just doing this to bring more punch i'ma rocks into the percussion and then sometimes in between the trailer hits we have this guy it just brings power the thing which is very frightening to do so the whole thing together or something I guess something like what the it's like so many things happening it doesn't leave you space or time to breathe so that's playing underneath our Orchestra and it plays like massive Hales that doesn't actually sound so great but it's like you know the second idea how to orchestrate this whole play song and the original orchestration sound is actually something like this incorporates this [Music] but it sounds way better in Coldplay song for sure but that was the basic string idea here I took that and I kept I worked on it added the 2t added the brass the woodwind percussion and here I just trade Erised it and made it sound like sorry Coldplay it was way better in your song but yeah guys that was the you know the tutorial short tutorial on how to orchestrate a chord progression and there are so many takeaways from this and that's exactly how I wanted this to be I wanted this to be like an eye opener and not rather it I don't want to give you guys a formula I wanted to show you guys if things but as you saw me do ideally your bass lines should be clear and linear and your melodies should stay on top and you can go crazy in harmonies you can do cool things if you let your instruments jump around a lot but you still need to have some logic into that so try that try to write part it starts on a chord progression and fry something that you know it's based on the idea but don't shy away from experimenting with articulations and moving things around you know because that's how we come up with new sounding music and yeah actually starting from a piano idea and then developing internal contrition is a good way to write music without getting gloss into writer's block and as you do that just mess around see what you like see what you don't like and you know stick to what sounds good and write your song so that's this tutorial again guys if you want to learn learn more about orchestration there's a hundred stories on this channel so I'm more geared toward a specific subject others are more broad analysis of my orchestrations so you can learn anything you know that you see me do right pretty much there's also videos where I show you guys how I compose a track completely from scratch so you see they go on the playlist tab on this super you're gonna see series of videos there are different denature I can all help you into learning how to compose orchestral music if you want to get there and yeah another thing I recommend you to do is to get the Aventine course of cinematic music if you want to have a very you know yeah tied up resource that's gonna take you from zero to hero in terms of writing orchestral music its horse I took back in my day when I was just starting out and was one port or what it is now so I highly recommend it because it helped me a lot and it's gonna help you four times three times as much than it did me big deal with me in the past so I'm gonna leave a link to description to get that course if you're interested and that's all for this tutorial I'll see you guys in the next one bye bye

Channel: Alex Moukala Tutorials

Views: 183,585

Keywords: how to orchestrate a chord progression, orchestral tutorial, chord progression orchestra tutorial, how to orchestrate, how to write orchestral music, orchestrating a chord progression, how to write chord progressions for orchestra, how to go from piano to orchestra, orchestra music tutorial

Id: zLliF0kSclg

Length: 51min 41sec (3101 seconds)

Published: Tue Aug 21 2018