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- Alexander publishing spectrotone chart how to#
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- Alexander publishing spectrotone chart professional#
I have two Visual Orchestration courses posted with a third to be announced shortly called DOING The Basic Orchestral Mix. And if you had questions, you could have written me first and I would have gladly answered them. That was the ONLY research you needed - just reading the product description. Your review is off, because the order page explains EXACTLY why it's called Visual Orchestration. Our company is the only one selling it, so you can only get it from us. Well, G.E.PRODUCTIONS, I can't find your order in our records. It's probably my own fault because I should have researched to find out what he means by "visual" before getting it. To my surprise,the Visual Orchestration courses had the same information covered in that book(but condensed) but no actual visual demonstration which I was expecting.What I'm trying to say is that the word "visual" can be misleading.I'm not by any means saying he did not do a good job with the lectures. I have this book The Guide to MIDI Orchestration 4e: Paul Gilreath: 9780240814131: : Books and after reading it I thought to myself "Okay,this book was great but I could also use some VISUAL demonstration to better understand what was being talked about in this book."
Alexander publishing spectrotone chart pdf#
The best thing would be to work with live orchestra / musicians.as this teaches you other things you can´t see or learn with samples, but as for the midi composer guy like me, I find help in such procedures.Don't get me wrong,he does have a pdf file included with each chapter where you can find some links to pieces of music where a certain thing he talked about was used or for example demonstrations of different bowings when he talked about the string section:īut guess what? I can find all those things in a book as well. Sure for that you should have some descent sampled libraries. I try with that way to deconstruct the things with samples which helps me to learn how the colors blend. Another thing is that I mock up with samples famous pieces with help of a live reference and I look up why certain blends work and how they sound. I do that in playing solo lines a lot in all registers and all available dynamic timbres.
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Alexander publishing spectrotone chart how to#
To your question, I am not sure if I get that right: So you mean what is the best way to know how to write effectively to the strongs of the instrument? If so.I would say: Get to know the timbre characteristics of the instrument or section. Reminds me a little on the spectrotone chart, but yours looks clearer and to the point and not so packed with trillions of colors. I'm sure lots of juicy WW details will be covered in Orchestration IV but I welcome anyone's thoughts about what are the best ways to consider distinct woodwind registers when score reading and when orchestrating?Ĭlick to expand.First of all, great work on that chart. This is what I have so far -Įverything is placed "as written" because I'm going to use this chart while score reading.
Alexander publishing spectrotone chart professional#
I'm also going to be able to survey a professional orchestra or 2 before Christmas. Right now I'm working on a concordance of tone-registers based on consulting every orchestration text I can find (Adler, Piston, Forsyth, the Spectratone chart, Korsakov, and Kennan are all sitting on my desk right now.). and as a non woodwind player I have no idea who's authoritative. However, every orchestration book seems to have a different breakdown of where woodwind registers start and stop. These considerations also apply slightly to the brass and, even as a string player, I can tell you that the cello has SOMEWHAT distinct tone-registers despite its smoothness of sound throughout the range.
Alexander publishing spectrotone chart manuals#
I'm trying to develop a shorthand language for orchestration and one of the elements I think is very important to encode is register.Īll the orchestration manuals agree that woodwind registers are fairly distinct in tone color & have important differences in how well they blend, stand out, get covered etc. This is somewhat inspired by Mike's "Orchestration III"seminar.