This "zigzagging" you're talking about has been a real eye-opener for me. I was under the impression that you MUST double all of the lines in the chorale and not mess with them as a rule.
This was very useful, Alan. I liked your comment near the end when you state that "audio results given by standard notation programs can be very misleading." That has been one of my challenges as a composer.
Not only that, since many of us are using DAWs even the best libraries kinda give an unnatural equalized sound to the instruments, so all the inaudible things can sound TOO audible
Incredibly valuable lesson!!! I just wanted to understand why scoring horns as 1&3/2&4 is a better solution than 1&2/3&4. I've seen somewhere that the first combination is easier to tune/match, but I don't know the reason
It still mattes nowadays as there are still high and low specialists in orchestras. It is still much better to stay in pairs of 1/2 and 3/4 for intimate passages because good second hornists will always adjust perfectly to their neighbour, which is 1st horn for the second and 3rd for the 4th as they are sitting next to their bells. I recommend very very much to read the articles from Thomas Goss about that topic: orchestrationonline.com/category/instruments/horns/
One thing for naming instruments at a concert pitch score: it is unlogic to include "in F" or "in Bb" when the score is in concert pitch. Just say horn or "Horn in C" even if you hand your parts in F.
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
This "zigzagging" you're talking about has been a real eye-opener for me. I was under the impression that you MUST double all of the lines in the chorale and not mess with them as a rule.
This was very useful, Alan. I liked your comment near the end when you state that "audio results given by standard notation programs can be very misleading." That has been one of my challenges as a composer.
Not only that, since many of us are using DAWs even the best libraries kinda give an unnatural equalized sound to the instruments, so all the inaudible things can sound TOO audible
Great video! Very informative.
Thank you very much for this insightful lesson.
Mister Belkin you are wonderful. Merci.
Thanks, Alan. Great examples!
Thank you!
Thank you very much, Alan!
For only 6 minutes, the video was loaded with good information that I had to write it down in my notebook!
excellent information, thanks for sharing.
This course is saving my life!
Thanks!!!
thank you for these concise lessons!
Great source to learn from!
5:09 I think chord #4 is from a symphony intro... but I forgot which one :(
I think it resembles the sonority of the opening chord of “Prelude to Act III”, from Tristan und Isolde.
@@rodrigodemarsillac it's similar... but that's not it. I remember after the F minor chord in the beginning, then Fm again then Eb Ab
Yes, I know. It's not the same chord, but it has a very similar sound character, due to the low orchestration.
@@rodrigodemarsillac I FOUND IT!!!! It is Egmont overture!!! My hunch is right it's Beethoven's :')
Lol nevermind actually it's very different.... Egmont is strings only, the example has low brass winds and low strings
"the violas don't make a lot of difference" oof
Incredibly valuable lesson!!! I just wanted to understand why scoring horns as 1&3/2&4 is a better solution than 1&2/3&4. I've seen somewhere that the first combination is easier to tune/match, but I don't know the reason
It still mattes nowadays as there are still high and low specialists in orchestras. It is still much better to stay in pairs of 1/2 and 3/4 for intimate passages because good second hornists will always adjust perfectly to their neighbour, which is 1st horn for the second and 3rd for the 4th as they are sitting next to their bells. I recommend very very much to read the articles from Thomas Goss about that topic: orchestrationonline.com/category/instruments/horns/
I'd just wish that there was a sheet like last time
Thank
👍
One thing for naming instruments at a concert pitch score: it is unlogic to include "in F" or "in Bb" when the score is in concert pitch. Just say horn or "Horn in C" even if you hand your parts in F.
Obvious fallacy that the violas could add only significantly less than e.g. second volins. Great video nonetheless
do you think he knows this is free? XD
lol poor violas