Introduction to Orchestration
  • Course Overview
  • What You Need for This Course
  • The Basic Orchestration Process
  • The Most Important Orchestration Concept: 3-Layer Model
  • Identify the 3 layers in this orchestration Piano Reduction
  • Section 1 Quiz
  • Section 1 Review Material
The Strings and the Orchestra
  • The Difference between Orchestration and Instrumentation
  • Orchestrating for Real Players Vs. the Computer
  • Orchestral Sample Libraries and String Libraries
  • The Orchestra: First Detailed Look
  • String Family Instrument Characteristics
  • String Family Sound Characteristics
  • Section 2 Quiz
  • Section 2 Review Material
String Articulations and Techniques
  • Section 3 Introduction
  • String Articulation Chart
  • Fingering Technique and Hand Positions
  • How Bowing works on a Stringed Instrument
  • Bowed Articulations: Detache, Legato, Loure
  • Portamento Vs. Glissando: The Difference
  • Section 3 Mid-Section Quiz
  • Types of Staccato
  • Accents, Marcato, Martele
  • On the String Articulation Writing Exercise
  • Types of Spiccato
  • Thrown Techniques: Jete, Saltando, Sautille
  • Articulation Tip: Give your players freedom!
  • Trills and Tremolo
  • All the Kinds of Pizzicato
  • Section 3 Mid-Section Quiz 2
  • Mutes and Sordino
  • Interesting Bow Techniques: Col Legno, Sul Tasto, Ponticello
  • Natural Harmonics
  • Artificial Harmonics
  • Sul, Vibrato, Scordatura, Bariolage
  • Multiple Stops
  • Contemporary String Techniques
  • Section 3 End of Section Quiz
  • Section 3 Review Material
String Articulations in Real Music Scores (Case Studies)
  • Section 4 Introduction
  • Orchestral Score Order
  • Where to Find Orchestral Scores Legally
  • Bartok String Quartet 4: IV Intro
  • Bartok String Quartet 4: IV Articulation Analysis
  • Grieg - Aase's Death Articulation Analysis
  • Bartok String Quartet 4: II Articulation Analysis Part 1
  • Bartok String Quartet 4: II Articulation Analysis Part 2
  • Mendelssohn Violin Concerto in E minor: I Articulation Analysis Part 1
  • Mendelssohn Violin Concerto in E minor: I Articulation Analysis Part 2
  • Identify this Articulation - Challenge!
  • Contemporary Techniques - Penderecki: Threnody for the Victims of Hiroshima
  • Section 4 Review Material
Individual Stringed Instruments - Special Characteristics
  • Section 5 Introduction
  • Violin Special Characteristics
  • Viola Special Characteristics
  • Viola Orchestration and Blending Capabilities
  • Cello Special Characteristics and Orchestration
  • Double Bass Special Characteristics
  • Double Bass Orchestration Considerations and Limitations
  • Section 5 Quiz
  • Section 5 Review Material
Orchestration Techniques Revealed - How Exactly to Score
  • Section 6 Introduction
  • Texture - The Mindset of an Orchestrator
  • Colour - The Tool of an Orchestrator
  • Different Ways to Score a Melody for Orchestra
  • How to Score Countermelodies and Background
  • How to Score Chords for Orchestra
  • Scoring the Main Melody - How to Score Important Lines
  • How to Create Textures 1: Doubling
  • How to Create Textures 2: Homophony
  • How to Create Textures 3: Polyphony
  • Section 6 Quiz
  • Section 6 Review Material
Orchestration Analysis of Real Music Scores (Case Studies)
  • Section 7 Introduction
  • Beethoven String Quartet 14: VII Orchestration Analysis Part 1
  • Beethoven String Quartet 14: VII Orchestration Analysis Part 2
  • Schubert Death and the Maiden: II Orchestration Analysis Part 1
  • Schubert Death and the Maiden: II Orchestration Analysis Part 2
  • Mendelssohn String Symphony 7: I Intro
  • Mendelssohn String Symphony 7: I Orchestration Analysis Part 1
  • Mendelssohn String Symphony 7: I Orchestration Analysis Part 2
  • Section 7 Review Material
COURSE PROJECT: Compose and Orchestrate Your Own Composition For Strings
  • Section 8 Introduction
  • How to Make a Piano Reduction (Quick & Easy Way)
  • How to Make a Piano Reduction (Thorough Way)
  • Briefly Plan Your String Composition
  • Compose the Basic Idea for Your String Composition
  • Thinking and Planning Your Orchestration
  • Scoring Methods Workshop – How to Approach Scoring your Composition
  • Write the Melody
  • Write the Countermelody