Symphony Composition

[AmadeusGrey]

Hey, all. I'm in the process of writing an aggressive symphony, and I need some help. I have the piano part all written out, but I don't know where to find any charts for the notes of other instruments! I need the music for the violin, trumpet, French horn, harp (if possible). If anyone knows of any way I could find the music for these, I'd much appreciate it!

Thaks.

-AmadeusG

[Retrosaurus Rex]

http://www.independentrecording.net/irn/resources/freqchart/main_display.htm

[CHasR]

Samuel Adler's 'The Study of Orchestration' http://www.goodreads.com/book/show/333298.The_Study_of_Orchestration

is likely the most direct way to get a permanent hold of instruments ranges, transpositions, and idiomatic writing. (apart from spending 7 years in music conservatory) :thumbsup:

[thetau]

It depends upon where you are in training and experience regarding music theory, harmony, counter point etc.

If you are a noob (so to speak), ie. maybe just a piano player that reads music, then I suggest that you take an entirely

different road, as orchestration is not the best first step, and it would be more complex a task and too great a learning curve.

For example the clarinet is not even written in the same key as the other instruments, and it doesn't play the same way as a horn

or a piano plays. It has a different set of riffs. Some things on a piano could not be played on a clarinet or a horn and visa versa

So for the less experienced there is a lot of sub-strata that needs to be clairified in your own mind. My suggestion in this case

would be to learn the arrangement techniques and styles of todays (the last 100 years) music which has fewer parts and

makes for an easier learning curve. By this I mean a small band or music group, which includes the most basic orchestrational

parts or sections in their simplest form (no matter how complicated the song).

You have the Percussion section (Drums one instrument usually), the rhythm section (one or two instruments like guitar

or piano), usually a bass (but not always), the melody either on an instrument or vocals (both of which can include the

harmonies). Finally a solo part, which embelishes and brings life to the piece. This is only five parts compared to a hundred

that you might find in a full orchstration.

How ever if instead you are already experienced at these basics, then the obvious approach would be to study the orchestrations

of others. It will Pay... to Study in depth the classics on the one hand, and and the movie and film soundtracks on the other.

I'd suggest taking one at a time and ones that you believe to be similar to what you are trying to achieve. Get an audio copy

and a written copy of the full orchestration. Pick it to pieces regarding instrumentation, voicing etc. then apply

those principles to your own tune.

Russ

[TapperMike]

Usually brass/horn sections follow the shearing method for jazz and cinematic jazz if you are into writing from either the chord progression or attempting to reharmonize.

https://www.youtube.com/watch?v=m-CI9FABTw4

The energy power comes not really from the actual notes but the emphasis you give them.

No granted in a classical situation you wouldn't be swinging the notes and you might not be always using a tight shearing structure you might want to reach out and try a red garland "Open chord" with bass fills. This is going to always seem choppy trying to do it all on one instrument or string/brass patch. So you'll prolly have to get the "big idea" down then go back and play the parts individually..

Oddly for string sections nothing beats....Led Zepplin. The upper four strings of a guitar when using "smart voicing" closely resemble how one would arrange Cello, viola and two violins.

Note even though there is often doubling of the first violin with the second for re enforcing the melody the second violin and viola do classic fills and the harmonization is tight between first/second violin and the viola. The cello does standard walkdowns and lead in notes as would a folk bassist or all four instruments much like the actual guitar rhythm work of Jimmy Page.

With the rest it's really about the overall energy of the piece. Dynamics and Rubato make all the difference.