1. MP-102 Lecture 2: Elements of Orchestration

2. What is orchestration? an arrangement of a piece of music for performance by an orchestra or band. wordnetweb.princeton.edu/perl/webwn Assigning notes and roles to different instruments

3. What can orchestration do? Define sections of a song or arrangement Define the style of a song or arrangement Add color, contrast, interest, or drama Give a feeling of space, depth, and size Give a feeling of time and place

4. Instrument families Voice Soprano, alto, tenor, bass (and everything in between) Strings Bowed, plucked, and struck Winds Flutes, single and double-reeds Brass Cornet, Trombone, and Horns Percussion Electronic Synths, theremin, drum machines, electronic keys & organ, etc. Keyboard (not really…)

5. Elements of Orchestral Compositions Primary Element Most important element of the phrase or section; melody that should be heard most distinctly Secondary Element Secondary melodies, highly important accompaniments or rhythmic devices Tertiary Element Background, true accompaniment Source: Gilreath, Paul. The Guide to MIDI Orchestration, 4 th ed. Focal Press, 2010

6. Another way of looking at it: Roles of instruments in an arrangement Melody Harmony Accompaniment Texture or color Parallel, accents, or doubles Counterpoint Fills & Riffs Rhythmic Counterpoint Foundation

7. Roles of instruments in a mix Lead Fill Foundation Pad Counter rhythm

8. Types of ensembles Orchestra Classical: Baroque, Classical, Romantic, chamber Film Jazz Small combo’s Big band Pop/Rock

9. What to do with chords

10. Chord Voicing Spacing of the notes in block chords Close voicing small spacing between tones mostly 3rds and 2nds Dense sound Open Voicing Large spacing between tones Fifth, Octave(s), or more Drop 2 Drop 2 and 4 Quartal voicing Uses distance of a fourth

11. “Color” Tones Tones beyond the basic triad 7 th 6 th 9 th 11 th 13 th Add “color” or “spice” to a basic harmony Escape from being “bland” More contemporary & “artsy” sound

12. Omitting or Doubling Chord Tones Doubling:“1537” rule (Gilreath) You can’t go wrong doubling the root Be careful about doubling 3 rd ’s, 7 th ’s, and color tones Omitting Root, 3 rd and 7 th are most important Give harmony tension and forward motion Identify the quality of the chord (major, minor, etc.) The 5 th is rarely missed “Open 5ths” Only 5 th and Octave – drop 3rd and 7th can yield an open and ambiguous sound Has no “forward motion” or tension

13. Voice Leading Moving from chord to chord: Keep common tones Stepwise motion when possible Small leaps or skips OK Contrary motion in outer voices V7->I 7 goes to 3 3 goes to root

14. Rhythmic Devices Riffs Hooks

15. Arpeggiation “Broken” chords String of chord tones rather than a block “Alberti bass” Can combine with sustained chord tones

16. Voicing chords across instruments Understand the ranges of the instruments you are using Soprano, alto, tenor, or bass? Overlapping ranges – mixing colors “ 1537 ” rule (Gilreath) Not everything has to come in or play at the same time