Orchestration Tip: Horn Middle Register

Orchestration Tip: Horn Middle Register

For better control in delicate scoring, use the horn’s middle register, especially in the octave between written G3 to G4 (sounding C3-C4). For this specific area of range, bass clef is recommended if the orchestrator is scoring in concert pitch.  I recently moderated a composers workshop hosted by the Academy of Scoring Arts, in which…
Read more…

Harp: Spectrum of Harmonics vs Normal Notes

Harp: Spectrum of Harmonics vs Normal Notes

Comparing the spectrum of normally played harp notes with harmonic tones reveals a wealth of information useful in understanding dynamics, contrasts, and quality of timbre. The poetic, bell-like tone of harp harmonics is a magical effect. The scores of composers like Ravel and Holst contain beautiful examples, carefully highlighted in ways that draw the attention…
Read more…

Extreme Dynamics, Part 2: A Systematic Approach

Extreme Dynamics, Part 2: A Systematic Approach

While the application of extreme dynamics varies widely in musical meaning between composers, eras, and genres, there are some general characteristics relative to the abilities of orchestral players that can be used to forge a systematic approach; giving today’s composers more confidence in scoring these markings. In my previous tip, “Extreme Dynamics, Part I: Realities…
Read more…

Extreme Dynamics, Part 1: Realities & Limitations

Extreme Dynamics, Part 1: Realities & Limitations

Use extreme caution when applying extreme dynamics, and be aware of the physical realities and limitations for your players; not to mention issues of comparative balance. Extreme dynamics have become ever more common in the modern era, and are often used in scores without any systematic application. Composers will drop in a pppp right after…
Read more…

Orchestration Tip – Horn Bumping

Orchestration Tip – Horn Bumping

EVERYTHING YOU DON’T NEED TO KNOW (BUT MAYBE SHOULD) ABOUT HORN BUMPERS If you were to ask the average seasoned horn player if there’s anything a composer needs to know about bumping, they’ll almost invariably tell you “No. That’s not your concern in any way. Leave that decision to us.” And yet with all respect…
Read more…

Orchestration Tip: Clarinet Textural & Melodic Blending

Orchestration Tip: Clarinet Textural & Melodic Blending

The clarinet is an excellent resource for supporting and colouring harmonic and melodic texture. (Tip no. 18 from 100 Orchestration Tips, 2nd Edition) The unique resonance of the clarinet’s registers are sometimes misconstrued as too individual to blend harmonically or melodically with other instruments. But a little score-reading will immediately reveal the clarinet as the perfect mixer at a…
Read more…

Film Score Access

Film Score Access

This post is an index of legitimate sources of film scores for study, as recommended by the Orchestration Online community and researched by me. If you know of an additional source I haven’t mentioned yet, please leave a comment; either below, or in the original

Clarinet Octave Melodies

Clarinet Octave Melodies

Use extreme caution when scoring octave melodies for clarinets, and be aware that the overtones reinforce each other with great potency. (Tip no. 17 from 100 Orchestration Tips) Octave melodies for wind instruments of the same model are generally problematic. Rimsky-Korsakov gently advises against their use, though he opens the door for doubling by auxiliaries at…
Read more…