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It’s really a pleasure to read that this very niche content can be helpful! And I was the same, I learned these ways to play with rhythm and tempo instinctively, and later got to understand the theory behind it. Have fun on your compositional journey !

Only the first beat, the rest can be played double stops no problem. it was just an example to talk about div versus non div, I didn’t meant to be like : this excerpt would be perfect for double stops

Oui merci on me l’a déjà soulevé ! Tu peux l’entendre à 16:45, c’est le même :)

@@adavidcompo Oui, et ça sonne très bien! Est-ce que tu donnes des cours privés? Je demande ça pour un ami... 😏

Oui j’offre des cours privés ! Tu peux avoir les détails sur mon site web www.alexandredavid.ca

Yes it’s in D minor, here’s the chord progression : D min, C maj, F maj G min, D min A min

Thanks! Yes, sorry, not sure why it didn’t export with the video, it’s the same as the one at 16:45! It’s a very efficient way to voice the strings and to integrate chords to a melody! It’s interesting to consider these voicing in regard to other parts, like a choir part. You can wrap a choir like you say, but you can also support only it’s lower register, or add brightness to a group of baritone’s notes by including some higher notes in the violins.

Thanks for your comment, and glad this is helping. You can use these voicings and expand them by adding counterpoint to the lines, or doing short marcato notes. The important thing about this lesson here is the register of the instruments and the distance between the notes. Although I didn’t do this here and although it might not work with every sound libraries, I usually record two violin 1 lines, playing together in the tutti parts and each one doing a note when divisi. It’s the only way to have a natural divisi sound with a sample library, since lowering expression doesn’t change the timbre, but only the volume of a sound. This technique might although lead to having too big of a sound if you already have a patch that sound large.

Glad this helped 😊

Thanks a lot!

Merci Pierre! Je donne d’ailleurs un cours de simulation MIDI orchestrale à l’Université de Montréal cet automne, j’en profiterai pour vous en partager du contenu!

Thanks a lot! Oops you’re right, it’s the same as 16:45. Thanks for pointing this out!

Can i ask if you purposely didnt overlap the notes in the piece (ie no legato) ......or is it the daw or string library you're using doesn't require you to overlap the notes to create legato...or did you puposely not want any lines to be played legato ?

I’m also looking into Nucleus, I’m really feeling the limitations of not having individual sections or instruments !

@adavidcompo The full version Nucleus is for sure a much more capable product than Albion One. The dynamics, the solo instruments, even the fine grain control over attack/decay. It has a much more neutral sound out of the box, but can certainly be eq'd to sound more like Albion if that's what you want. Another hidden gem I keep going back to is East West Symphony Orchestra. It goes on sale for dirt cheap and has a ton of flexibility, despite being a bit older it has a very natural sound to it.

😂 that’s so weird that somebody will do that…people do that with like some John Williams scores ?

@@adavidcompo yes if you type '' ____ epic version on youtube'' you will surely find some.

That’s a great point, and a big point of education in Contemporary Classical music. Especially when you’re starting out as a composer, softwares can limit your creativity to the extent of your knowledge of them. If you don’t know how to change one staff into two, how to include some less common symbols or layout, you might be less inclined to do them. I, myself, always try to at least start things on paper. A few of my works have been completely done on paper (the creative phase) and then put onto the computer afterwards (the editing phase). Although, for when you’re in a rush, it’s helpful to learn also how to use the same kind of creativity on the computer, but yeah I definitely encourage you to keep up this habit, and explore it even more !

@@adavidcompo Oh i meant im doing this on software, so i can play something immediately and hear what it's like. I don't have the training or habit to be do it all on paper without hearing. At least for more than a few notes... I don't do classical compositions though, more like rock pop jazzy stuff. Normally I would keep track of what i do by writing chord abbreviations, tabs etc. But I like putting it down on a staff when i get stuck, it feels more precise and malleable there.

Yeah in that case it's also a great tool! This kind of back and forth can be helpful to just have a different perspective.

Thanks a lot! If you have the time, I strongly suggest you try and compose by hand. I do it myself for as many projects as possible, although sometimes it’s just not possible when working with tight deadlines, because it does take a lot of time. In that case, I like to note on paper all my main ideas, and then orchestrate it more precisely on the final score. I do also enjoy the idea of separating the composition process and the editing process. It’s a lot faster to just edit a score that already have all the information on it (dynamics, articulations, etc), then composing on the software and then forgetting to add the proper dynamic, etc..

@@adavidcompo You are very kind for answering my question. Greetings from Colombia.

Ça fait plaisir 😊

Tout à fait ! Reste qu’il y en a de moins bonnes que d’autres !

It is!

@@adavidcompo Fantastic.

It’s my pleasure! Thanks for watching!

thanks a lot ! It’s amazing what you can do with a 500$ library these days :)

Yeah it’s indeed an appropriate response from us composers and also movie-series-video games producers and directors !

Thanks a lot! Yes indeed, it’s often helpful to have input from the composer himself !

Thank you so much and thanks for listening! In each video I try to rotate between focusing more on MIDI and more on the score. I strongly agree that a score is much clearer, but I know a lot of my viewers here don't work out of scores. Here's a video where I only work on the score though if you're interesting in seeing me work this way : ruclips.net/video/wb3N6Z7s778/видео.html

@@adavidcompo Merci..!!

It was a very common chord progression (the first part) in baroque music! I think Lully did the version the major chord at the the dominant though

Thanks for your comment! Yeah definitely it’s on my video to-do-list. But yeah I would say, like I’m doing, using an harmonic match through the circle of fifths can get you pretty much anywhere without too much surprise. The key is to make a smooth transition, and knowing what tonalities are close and which one are distant. I might be doing this video in the upcoming weeks, stay tuned !

@jenssieckmann thank you so much!! My plan is indeed to orchestrate this more fully in one of my next videos. It’s hard to put all these different steps, from composing to orchestrating, in one single video without making it an hour long video! Thanks for tuning in and hope to hear more of your feedback in the future!

@Mortyrian you can go see my previous Short, or the full video on my channel if you’re interested to know more!

Ahah I’ll share the recording when it’s premiered !! Thanks a lot 🙏🏽

Yes!

This one will be purely instrumental!

Glad you are! I believe that learning orchestration is always beneficial, whatever kind of project you'll work on later on, wether it's a big orchestral piece or just writing for 2 soloists backed up with other sound design.

Thank you so much! Go check out the rest of the soundtrack, Michel Corriveau is a great composer !

I hope so too!!

Ça fait plaisir ! Merci pour l’écoute !

I'm not in that business either, but I've heard it's a pretty lucrative industry!

​@@adavidcompo Yeah I have multiple friends who do it. I just don't like the unnatural sounding soundscape that people usually create. Its like different type and degree of reverb on multiple instruments in the same mix. 😂 so jarring to listen to. I think you're right though, this trend will probably go away. Might evolve though. What direction do you think it'll go?

For trailers like big triple A video games, I think we need to conserve a certain level of hype, so it’s surely still gonna be something over the top but maybe just with different type of instruments. This is just not sustainable for a whole video game, movie or tv series

Like I said, some producers or composers are not even aware that this is starting to be a thing. This is really from fresh discussions (like last week) from a reliable source who is well connected. Also, you're right, don't limit yourself to one single genre. I myself am specialized in classical orchestral music, contemporary music, electronic music, progressive rock and metal, electroacoustic, but have listened and produced a lot of different kinds of music. And I know a lot of them involve using electronics. Orchestral hybrid music is really a thing though in cinematic movies. All I'm saying is that composers who write more music on the 'realist' side of this style will have more opportunities. This includes working with sample orchestras and being able to make them sound real, so you can still work on a budget! But having an acoustic guitar and a flute in the front of your music played by real players can really help you get this realism without breaking all your budget.

Beautifully said! Yes indeed, constantly being aware of all the possibilities can sometimes be confusing. I do agree, its useful to have a vast knowledge and to just tap into it when necessary. I do personnaly aim for a healthy balance between creative instinct and structuralism in my composition process.

I’m saying string skipping while doing triplets is hard. Even Tosin says so! Being a good musician is also knowing the challenges for the performers, beginners and advanced. And yeah, it’s an incredible guitar. Check out my band Chronochromie : youtube.com/@chronochromiemusic?si=GbDNstn1R80gSeh-

"One note samba"

A great example! And there are many more in the repertoire, it’s a great compositional challenge.

Although I did not mention this example, I did count it in my inversions in the first part !

I said all BASIC chords :) I stopped at maj min dim Aug and 7th Personnally I think these options give a lot of Color available to beginners. But otherwise, there’s just so many chords, classified or not. I mean we could go into 6-7-8 notes chords ! But this would have not been a good beginner video ;)

I think both are the same! I just don’t go all out on creating a crescendo from piano to triple forte here, because the music doesn’t need that much. But yeah, having a whole orchestra play soft I think have an impact on the density, the amount of sound, so in a direct way on the dynamics.

You’re right! Don’t restrain yourself and learn a lot of different things, even this crazy orchestration style! Flexibility is key when learning composition, it allows you to create your unique style and it’s what’s gonna make people want to work with you!

I left a comment on your new video too. pls dont think i'm hating. just tyring to give some advice.. do not limit yourself to one style . I work in game development and pixel art too, not just music. i also do sound design. . Like ppl don't have to learn other genres if they don't want to. but i'm telling you , it really helps with a demo reel. going from hyped up EDM to insane classical epic stuff. it shows how insane creative a composer can be. One my favorite ppl who worked on game music is Lena Raine, they do a perfect blend of synths and real instrumetns and piano with real drums, and some chiptune edge to their sound. really cool composer.

And thanks for all your comment because it helps nuance what I’m saying here. I’m not saying people should NOT learn certain styles. This video is actually for people who ONLY compose a certain way and always with the same tools. I agree with you on all points you’re bringing! Thanks for tuning in again !

This is definitely an option if you want the horn’s appearance to be a bit more supported! The tubas are quite flexible in that way, can pair well with horns, trombone, double bass and bassoon. I haven’t talked about all other subgroups as well, as I wanted to keep this straightforward, but so many possibilities!!!

Merci!!!

Glad you enjoyed it!