The best ways to voice Trumpets in your orchestration?
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- Опубликовано: 3 авг 2024
- MY NEW BOOK - www.spitfireaudio.com/the-pro...
A look at the use of Trumpets alone and in combination with other instruments - what is more successful and why!
* in the intro I say the desire to play higher notes when of course I mean higher HARMONICS!! *
The other videos mentioned:
LOW BRASS VOICING: • The best ways to voice...
WOODWINDS VOICING: • The Best Ways to Voice...
STRINGS VOICING: • The Best Ways to Voice... 
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The Paul Thomson school of orchestration strikes again
This series has been so enlightening. At first I thought "god, is he just going to play every instrument beside every other", but I quickly realised that I've misunderstood the beautiful sounds I heard from great pieces. Examples like the "colouring" of the trumpets with Cor Anglais etc has made me realise how much variety in tone there is to chose from when designing a piece. It must take years of practice to know straight where to go to for your intended theme, but at least I can start to try and apply it.
The best RUclips channel is back
Thanks Billy!
Loved this, it was so insightful!
Thank you so much Paul for this video ❤️
Super useful, keep them coming and many thanks!
Thank you Paul for yet another great video 👍🏻
Yes!!! Another orchestration video, love these, thanks so much!
I always learn so much from your videos man! Thank you!
I think you and Christian are creating some of the most useful content on RUclips at the moment. Really appreciated - thank you!
Thanks Tim!
This was fantastic! will definitely be experimenting with these doublings soon!
...and you’re back with part 2, as promised! Thank you for these amazing videos!
Really enjoying these videos. Thank you Mr. Thompson!
...your tutorials are really helpful, thank you for taking the time to help us!
love the videos....I get so excited when one pops up in my subscription feed. :)
Thank you very much for putting these lessons out here. I really enjoy them, and yeah, I learned a few things, too! Thanks for the perspectives!
I'm really loving these series of videos. Thank you so much for sharing your knowledge.
Wonderful tutorial, Paul -- Thanks a bunch for sharing
You have reinvigorated my adventures into orchestration. You are a true inspiration Paul! :)
Amazing series! The brass and woodwind videos have been so so helpful. You cover all the things i'd have been afraid to ask. Also love the breakdown/secret scoring weapon videos.
Thanks Paul - great information. Enjoy seeing the mix/match approach with various SF libraries.
Amazing!
Your coverage of instrument voicings in relation to orchestration is superb Paul. I'm not quite so bothered about the tech side. I tend to give each part to a single instrument for my first draft, so I'm just about to embark on thickening textures without making it lumpy. I'm learning to translate your implied judgements - what you call "successful", I'd call conventional or conforming to expectations. Sometimes I want the effect of making a plain chord sound more avant-garde by using unusual spacing of voices. That's not a criticism, just a translation for my own purposes
Thanks master, very helpful 🙌🏼🙌🏼
Thank you!
First time here and I frankly got quite impressed with everything! That's EXTREMELY realistic.
I can see myself doing this when I get retired.
I could watch these over & over. Wait a minute. I am...
Thank you very much.
Excellent video.
I've made for my own use some premade combinations with BBC SO and Logic stacked instruments (low brass + low strings, trumpet + xylo, celeste + harp, etc etc... the usual things), it's very usefull.
Hey Paul love your videos really helpful. Could you make a video creating an Icelandic style score like Olafur Arnold’s, Atli Overson etc. Thanks
Nice!
Thanks Paul. Big takeaway for me is to let each instrument sing in its own range. No one, in their right mind, would let me sing soprano; so why should force an instrument to sing outside its comfort zone.
very interesting
13:56. Yes, indeed. Whoda thunk it. I always tend to regard trumpets as part of the rebel rowdy faction that have their obvious uses but require careful handling. Interesting. Thanks.
Janacek Sinfonietta's a nice score to look at in terms of varied trumpet writing.More than a little in common with much popular cinematic scoring.
Love your tutorial Paul. I am a trumpet player/film composer and really like how you fully explain in all of your videos. Also does anyone know what microphone and pop filter he is using in this video?
I'm disappointed by the lack of excitement in the intro, loving the use of the word ameliorate however.
At this particular context the best way is, as you well said, close harmony. But in a situation that you want the brass not to loud the best way is to have the 1st and the 2nd trumpets away from each other and the horns felling that gap between the trumpet. Suggestion: check Nights in the Gardens of Spain by Manuel de Falla, specially the beginning.
Very interesting I will check this out! Thanks Afonso!
I enjoyed the tute and demonstration of how the voicing makes a difference in glueing things together for both lyrical and impact orchestration. The photo of the hall with the pipe organ that was shown has raised a question I have often thought about. Do some pipes resonate with given frequencies of certain instruments being recorded?
Thank you for your insightful videos! Could you show us the score or piano roll (or at least the keyboard from above) with all parts in each example, please? Sometimes it's hard to keep track of where all instruments are...
As usual, very interesting and enjoyable - I learned a lot! Makes me wonder: does anybody know how the "Mid Brass" Patch from the Bernard Herrmann Composer Toolkit is orchestrated?
i guess the closed chord will always highlight better the accent of any phrase when you want this to be harsher. The more space the smoothier will be any chord, thats why is is perfect for sweet atonal chords like those of Berg or Webern. For the same reason lower tones are used with space and in more opened chords. What i think you say is that this position makes especial sense with the trumpets cause they are mostly used to higihligh something and to be "agressive" in orchestral scores
Spitfire audio: these samples do everything well except read scores
I notate my work in Sibelius and transport it to logic Pro X. I’m trying to get BBC Symphony orchestra samples to sound good
There really should be some defaults - where BBC Symphony orchestra samples sound good out of the box in reading a score, dynamics, expression markings, and even live velocity midi-data
It shouldn’t be that much work on a score of that is already complete!
i see you using SSO alot. Fair to say its one of your favorites? Im considering the Studio Orchestra pro because i absolutely love the euphonium
Great video Paul! Any chance we can get a video on low woodwind voicings? Thanks!!!
Next up!!
@@PaulThomsonMusic Thanks for being so generous with your knowledge!
great, but where are the professional mixes the symphonic brass to buy? we have been waiting for them for years
Coming very soon!
@@PaulThomsonMusic I've been waiting for the brass professional too. Those brass outriggers are so nice, great vid as always!
@@NovaRahmanvisuals thanks Nova!
@@PaulThomsonMusic Thanks Paul
@@PaulThomsonMusic how soon is soon? :)
Always used to find it helped when playing two trumpet fanfare figures in octaves to have the 2nd trumpet just a little louder than marked to give the first player something to sit on top of.If the lower octave is even a little quieter it never sounds right in this context to me.
we percieve lower frequencies quieter than higher ones (at least from 20 - 1000 Hz), which could explain it
Thank you I learned a lot! One thing though, when you said concert pitch, what do you mean and do you talk about that in any of your videos? Are you referring to the A 432hz tuning thing? Are you using that with all the instruments in the orchestration/song?
Thanks! So basically it means slightly different things depending on the context. For tuning it would mean the overall ref which is commonly A = 440hz. However when talking about transposing instruments it means the sounding pitch as opposed to the written. If you are talking about octave transpositions then it means the non transposed version. It’s a bit messy - professional working musicians have expressions that are colloquially understood that sometimes vary from the dictionary or strict academic definitions!
@@PaulThomsonMusic Oh ok cool! If I'm understanding you correctly then, when you said concert pitch you were talking about the second meaning then, transposing to the sounding/played pitch, versus the (original, I'm assuming) written pitch? And I think I know what you mean for the third meaning, I've been transposing root notes of some chords in my compositions lately an octave up or down, sometimes doubling or even tripling from the original non-transposed note - two or three of the same root note, each one an octave apart, don't know how common practice that is, but it sounds good lol. I'll have to re-watch the video to double check, to see if I'm on the same page lol sorry.
Awesome, Paul many thanks again. Can I ask, do you normally copy midi when working with samples, instead of replaying the phrase? I quite like the slight imperfections, as long as it isn't too sloppy. What do you think?
Usually replay! If I do copy, I tweak it to make it a bit different.
What do trumpets have in common with pirates?
Terror on the high C’s.
yaaarrrr :P
what DAW is that and what are your thoughts on using a tracker like Renoise for orchestral, sir? :3
Wow those brass instruments sound way better than the Spitfire BBC Symphony ones. I cannot the life of me get good short notes on the trumpets or horns. The brass is just not great on that library, unless I'm doing something wrong.
I know you probably get this question all the time but what keyboard are you using?
You appear to be using Kontakt standalone. I typically use Komplete Kontrol in my DAW since I have an NI Kontrol S49 keyboard but I could use Kontakt instead. Is it only possible to load those multiple instruments such that different instruments can be played simultaneously, as you are doing, with Kontakt or is that also possible with Komplete Kontrol? I do have some Spitfire libraries but your videos have me drooling for more even if my pocketbook says otherwise.
Hes doing that in the daw
@@samuelgl That does not appear to be the case. The various instruments are clearly stacked inside of a single instance of a Kontakt GUI.
@@davmar9923 Timestamp? Anyways that is completely possible to do in the daw
@@leemichaelvacaro Just load multiple patches on Kontakt and change the midi channel to 1 (or whatever you want)
Nice haircut Paul 😜
Thanks 😂
meanwhile my humble BBC discovery and labs cannot read the velocity information direct from the keyboard (...)
HOW IS THIS FREE FOR ALL OF US TO WATCH ON RUclips??
Dark studio
Paul Thompson teaches.
I thought almost all professional trumpet players prefer to read their parts in C these days, no?
Only if they are playing C trumpet. C trumpet has an advantage with playing higher notes than a Bb trumpet
I wish someone would make a sound library where the brass instruments didn’t sound like ants playing kazoos 😣