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…
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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…
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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…
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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…
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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…
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Orchestration Tip – Hobbits in the Horn Section

Orchestration Tip – Hobbits in the Horn Section

Recently in the middle of the current ongoing massive run of 165 evaluations for the 2021 Orchestration Challenge, it occurred to me just how much the horn section resembled the four hobbits of J.R.R. Tolkien’s Lord of the Rings trilogy. This happened in the middle of an evaluation, explaining the traditional roles of each horn player;…
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Strings: Slurring/Rearticulating Glissandos

Strings: Slurring/Rearticulating Glissandos

When to add a slur over a glissando mark – and when not to. (Tip no. 91 from 100 MORE Orchestration Tips, to be released in 2020.) One of the most common bugaboos of the developing orchestrator is the unintentional ambiguity of their string glissando scoring. I see this all the time: a composer has scored a…
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Bassoon A Extension Do’s & Dont’s

Bassoon A Extension Do’s & Dont’s

(Tip no. 30 from 100 MORE Orchestration Tips) The use of an A extension may give you an extra half-step lower in a bassoon part, but it’s not without consequence. The lower limits of any orchestral instrument are constantly being challenged. Double basses have had their low E strings turned into extensions down to low…
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Orchestration Tip: Divisi vs. Double Stops

Orchestration Tip: Divisi vs. Double Stops

(Tip no. 81 from 100 MORE Orchestration Tips, to be released in 2020) Don’t assume that you always need to score double-stops instead of divisi in order to balance strings against other sections. A common challenge for developing orchestrators is deciding when to score divisi and when to score double stops (“non divisi”). It’s not…
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