2. The Art of Orchestrati on Lennie Moore Cris Velasco Erik Lundborg

3. Who are you guys? Why have you taken over this room? And while you’re at it... why are we here?  Introductions

4. Who are you guys? Why have you taken over this room? And while you’re at it... why are we here?  Introductions  To share information on how to make the leap from music written on a MIDI sequencer to a live performance. (Aka – Is what you wrote playable?)

5. Who are you guys? Why have you taken over this room? And while you’re at it... why are we here?  Introductions  To share information on how to make the leap from music written on a MIDI sequencer to a live performance. (Aka – Is what you wrote playable?)  To gain a further understanding of orchestration.

6. What are the most common pitfalls you see when orchestrating for a composer with limited or no live player experience?  No place for the woodwinds and brass to breath  Writing in extreme registers and causing fatigue to the players  String Pizz + String harmonics + String Tremolo, “You’re the orchestrator. That’s what I want.”  Complete woodwind omission from synth scores

7. Name three misconceptions composers make when composing with samples vs. composing for live musicians.  “It’s gonna sound exactly like my samples, only better!”  “How come that Alto Flute player can’t play louder than the Trumpet section? He must not be very good.”  “Why do the Strings sound mushy when they play those fast scales? With my Marcato samples I can hear every note!”  “The more notes you give to a string section (divisi) the bigger it'll sound.”

8. Name three misconceptions composers make when composing with samples vs. composing for live musicians.  Unrealistic dynamics in upper or lower registers (trying to get trumpets to play ppp on an ultra high note).  Expecting all instruments to be able to play the passage that was written on a keyboard (fast notes alternating between the I and VII position on a trombone).

9. What do we mean by playable?  Meaning, is it physically possible for an accomplished musician to execute what you wrote.  More importantly, is everything you wrote in your entire score playable? And…  Can it be realistically recorded in the amount of studio time you have booked?

10. What do we mean by playable?  About the musicality of a given line: Does that oboe passage sound characteristic of an oboe? Instruments "like" to play a certain way. Are you taking advantage of this or are you writing an uncharacteristic line because this is the sound you are going for. There's a big difference between wanting that sound and just not knowing.

11. What reference material do you recommend to composers interested in learning about orchestration?

12. Orchestration, Cecil Forsyth (Dover)

13. Principles of Orchestration, Rimsky-Korsakov (Dover)

14. The Technique of Orchestration, Kent Kennan & Donald Grantham (Prentice Hall)

15. Treatise on Instrumentation, Hector Berlioz & Richard Strauss (Dover)

16. What reference material do you recommend to composers interested in learning about orchestration?  Orchestration, Cecil Forsyth (Dover)  Principles of Orchestration, Rimsky-Korsakov (Dover)  The Technique of Orchestration, Kent Kennan & Donald Grantham (Prentice Hall)  Treatise on Instrumentation, Hector Berlioz & Richard Strauss (Dover)  John Williams Signature Edition scores

17. What reference material do you recommend to composers interested in learning about orchestration?  Get a good range and transposition guide.

18. What reference material do you recommend to composers interested in learning about orchestration?  Get a good range and transposition guide.  Get full scores of your favorite orchestral works and study them!

19. Lennie Moore Phrasing

20. Lennie Moore - Phrasing  Woodwinds & Brass players HAVE to breathe.

21. Lennie Moore - Phrasing  Woodwinds & Brass players HAVE to breathe.  Playing a brass instrument is a physical action.

22. Lennie Moore - Phrasing  Woodwinds & Brass players HAVE to breathe.  Playing a brass instrument is a physical action.  Brass players need to reset their embouchure occasionally.

23. Lennie Moore - Phrasing  Woodwinds & Brass players HAVE to breathe.  Playing a brass instrument is a physical action.  Brass players need to reset their embouchure occasionally.  A good rule of thumb is 4-8 bars before giving the player a break.

24. Lennie Moore - Phrasing  Woodwinds & Brass players HAVE to breathe.  Playing a brass instrument is a physical action.  Brass players need to reset their embouchure occasionally.  A good rule of thumb is 4-8 bars before giving the player a break.  Writing nice phrasing for the whole orchestra makes the music sound better.

25. Lennie Moore Intentionality

26. Cris Velasco Economy

27. Cris Velasco - Economy  Overwriting

28. Cris Velasco - Economy  Overwriting  Ultra-divisi, for that really thin sound…

29. Cris Velasco - Economy  Overwriting  Ultra-divisi, for that really thin sound…  Color combinations

30. Cris Velasco - Economy  Overwriting  Ultra-divisi, for that really thin sound…  Color combinations  Sometimes Simplicity is the prefect choice

31. Erik Lundborg Style

32. Erik Lundborg - Style  Big/Heroic

33. Erik Lundborg - Style  Big/Heroic  Creepy/Suspenseful

34. Erik Lundborg - Style  Big/Heroic  Creepy/Suspenseful  Sweet/Gentle

35. Erik Lundborg - Style  Big/Heroic  Creepy/Suspenseful  Sweet/Gentle  Topsy-turvy/Haywire

36. Blatant Plugs!!!  Lennie Moore www.lenniemoore.com  Cris Velasco www.monarchaudio.com  Erik Lundborg  Join G.A.N.G.! www.audiogang.org

37. Questions?