http://www.orchestrationforum.com/ Sat, 06 Sep 2008 13:31:53 -0700 MyBB http://www.orchestrationforum.com/showthread.php?tid=48 Sun, 31 Aug 2008 06:31:58 -0700 http://www.orchestrationforum.com/showthread.php?tid=48
I'm not sure how much discussion this is going to generate, because we've all got our secret/guarded tricks and shortcuts. But, we're all colleagues/friends here, right? I've seen it mentioned on 1 or 2 columns in FM Mag, so I thought I'd bring it up here.

In any case, I'll dive right in: I'm cross-trained as an arranger/composer/orchestrator and copyist, and I am always in search of ways to get the "perfect template" in Finale (sorry Sibelius users) which, in my humble opinion, only serves to make compositions and orchestrations look better, equalling more work. With each copy job, I try to come away with some little nugget of wisdom that is going to make it better, especially when I get to work with guys who are primarily copyists.

To date, I have 3 templates, in order of use:
1. Parts only
2. Score only
3. Playback

1) I get the most use out of, because I do most of my copy for a guy who pencils it into a score as he orchestrates; it's all set up to "Extract..." to perfectly formatted parts, ready to print with minor adjustments. 2) Is set up to look nice and readable (translation: BIG) for a conductor. 3) is basically a sketch score, but with midi channels set up so that a STD midi file can be exported and imported into Cubase with little modification, which CAN be printed out and used, but isn't necessarily of the quality of 1) and 2).

As regards parts and score, here's what I generally shoot for in a template:
1. Appearance (obviously)
2. Ease of use
3. Speed
4. Flexibility

To explain, 1) sounds like a no-brainer, but I want something that looks as close to generic published as possible, yet has a personal touch without being too self-serving (after all, it's about the music, right?). 2) basically means to me that I want to sit down and everything's ready to go, I just pour in notes, extract, print and go; no muss, no fuss. 3) basically means what it says-time is money; I have all of my hotkeys set, and the Finale "bells and whistles" turned off to shave those millisecons of time/per note off (I can go into detail if necessary). And 4) means that I can take a job (or composition, I guess), either a jazz leadsheet or 20th century harp solo, and should have no more than the usual time-gobbling issues.

I've heard lots of philosophies and ideas regarding all of the above, and likewise ways of getting it done. My biggest time sucker is usually chord changes, so I'm eager for some wisdom on that subject. I could go into details about how I do it my way, but I think a discussion about concepts is a good way to break the ice, so, let's hear it!

What do you need from a template?
How do you get it done?]]>
I'm not sure how much discussion this is going to generate, because we've all got our secret/guarded tricks and shortcuts. But, we're all colleagues/friends here, right? I've seen it mentioned on 1 or 2 columns in FM Mag, so I thought I'd bring it up here.

In any case, I'll dive right in: I'm cross-trained as an arranger/composer/orchestrator and copyist, and I am always in search of ways to get the "perfect template" in Finale (sorry Sibelius users) which, in my humble opinion, only serves to make compositions and orchestrations look better, equalling more work. With each copy job, I try to come away with some little nugget of wisdom that is going to make it better, especially when I get to work with guys who are primarily copyists.

To date, I have 3 templates, in order of use:
1. Parts only
2. Score only
3. Playback

1) I get the most use out of, because I do most of my copy for a guy who pencils it into a score as he orchestrates; it's all set up to "Extract..." to perfectly formatted parts, ready to print with minor adjustments. 2) Is set up to look nice and readable (translation: BIG) for a conductor. 3) is basically a sketch score, but with midi channels set up so that a STD midi file can be exported and imported into Cubase with little modification, which CAN be printed out and used, but isn't necessarily of the quality of 1) and 2).

As regards parts and score, here's what I generally shoot for in a template:
1. Appearance (obviously)
2. Ease of use
3. Speed
4. Flexibility

To explain, 1) sounds like a no-brainer, but I want something that looks as close to generic published as possible, yet has a personal touch without being too self-serving (after all, it's about the music, right?). 2) basically means to me that I want to sit down and everything's ready to go, I just pour in notes, extract, print and go; no muss, no fuss. 3) basically means what it says-time is money; I have all of my hotkeys set, and the Finale "bells and whistles" turned off to shave those millisecons of time/per note off (I can go into detail if necessary). And 4) means that I can take a job (or composition, I guess), either a jazz leadsheet or 20th century harp solo, and should have no more than the usual time-gobbling issues.

I've heard lots of philosophies and ideas regarding all of the above, and likewise ways of getting it done. My biggest time sucker is usually chord changes, so I'm eager for some wisdom on that subject. I could go into details about how I do it my way, but I think a discussion about concepts is a good way to break the ice, so, let's hear it!

What do you need from a template?
How do you get it done?]]> http://www.orchestrationforum.com/showthread.php?tid=47 Fri, 29 Aug 2008 09:23:57 -0700 http://www.orchestrationforum.com/showthread.php?tid=47
Visit us: http://www.FavorGoods.com/]]>
Visit us: http://www.FavorGoods.com/]]> http://www.orchestrationforum.com/showthread.php?tid=46 Fri, 29 Aug 2008 09:21:06 -0700 http://www.orchestrationforum.com/showthread.php?tid=46
Visit us: http://www.FavorGoods.com/]]>
Visit us: http://www.FavorGoods.com/]]> http://www.orchestrationforum.com/showthread.php?tid=45 Fri, 29 Aug 2008 09:19:54 -0700 http://www.orchestrationforum.com/showthread.php?tid=45
Visit us: http://www.FavorGoods.com/]]>
Visit us: http://www.FavorGoods.com/]]> http://www.orchestrationforum.com/showthread.php?tid=44 Thu, 28 Aug 2008 02:04:56 -0700 http://www.orchestrationforum.com/showthread.php?tid=44
My first post here at the forums! :)
I will probably make a post with a little information about myself in a little while...

I just wanted to ask the chart doctor whether he would recommend Finale over Sibelius? I've been using Sibelius up til' now, but it seems the minority of this community uses Finale. Why? Are there anything significantly different between these programs?

Lars]]>
My first post here at the forums! :)
I will probably make a post with a little information about myself in a little while...

I just wanted to ask the chart doctor whether he would recommend Finale over Sibelius? I've been using Sibelius up til' now, but it seems the minority of this community uses Finale. Why? Are there anything significantly different between these programs?

Lars]]> http://www.orchestrationforum.com/showthread.php?tid=43 Sat, 16 Aug 2008 07:54:05 -0700 http://www.orchestrationforum.com/showthread.php?tid=43
Anyway, the text mentions that the second basses play a B harmonic, but this is actually written on the low G of the bass clef. It then ascends to a written D, which I assume is actally played as an A, as this would probably fit the final cadence nicely. I'd hazard a guess that perhaps the first note is the second harmonic of the E string and perhaps the second note is the first harmonic of the A string - or the second harmonic of the D string - more likely I suppose.

Could someone explain please what is going on here? Why is the B written as a G, and what is the second note (written D)?

Ironically, I am asking this as an ex double bass player, but to be fair to myself I was 18 at the time (25 years ago!), I only reached grade 5 and I don't think I ever even had to play any harmonics :|]]>
Anyway, the text mentions that the second basses play a B harmonic, but this is actually written on the low G of the bass clef. It then ascends to a written D, which I assume is actally played as an A, as this would probably fit the final cadence nicely. I'd hazard a guess that perhaps the first note is the second harmonic of the E string and perhaps the second note is the first harmonic of the A string - or the second harmonic of the D string - more likely I suppose.

Could someone explain please what is going on here? Why is the B written as a G, and what is the second note (written D)?

Ironically, I am asking this as an ex double bass player, but to be fair to myself I was 18 at the time (25 years ago!), I only reached grade 5 and I don't think I ever even had to play any harmonics :|]]> http://www.orchestrationforum.com/showthread.php?tid=42 Wed, 13 Aug 2008 00:02:01 -0700 http://www.orchestrationforum.com/showthread.php?tid=42
I am only getting on the soap box briefly, because I know that there is the issue of not wanting to "give away" your knowledge. I understand that. I just wanted to clear that off my chest, as I don't want to step on anyones foot, and feel we are all healthiest when getting rewarded for our work.


Now... Sorry for the ramble.... Let me show you an excerpt of mine called Avalanche. Here are the first 2 pages to my score. I will include a little Audio example, and a pdf explaining the composition process to this piece. This uses the concept Scott talked about ( which is very common) of having 3 elements in your music. This piece has been played by the Kiev Philharmonic, and is about to be released on a CD titled Masters works of the New Era, conducted by Robert Ian Winstin. Should be out in the fall via ERM Media.

Since this section of the forum is called Orchestral problem... maybe I could ask anyone for advice on my mock ups. I am more comfortable with real players than my samples and I do want to improve. Perhaps I could post the sample version and ask for critiques ?

Audio and PDF of compositional process will be posted within 24 hours.

Take care Orchestrators and best wishes

Doug]]>
I am only getting on the soap box briefly, because I know that there is the issue of not wanting to "give away" your knowledge. I understand that. I just wanted to clear that off my chest, as I don't want to step on anyones foot, and feel we are all healthiest when getting rewarded for our work.


Now... Sorry for the ramble.... Let me show you an excerpt of mine called Avalanche. Here are the first 2 pages to my score. I will include a little Audio example, and a pdf explaining the composition process to this piece. This uses the concept Scott talked about ( which is very common) of having 3 elements in your music. This piece has been played by the Kiev Philharmonic, and is about to be released on a CD titled Masters works of the New Era, conducted by Robert Ian Winstin. Should be out in the fall via ERM Media.

Since this section of the forum is called Orchestral problem... maybe I could ask anyone for advice on my mock ups. I am more comfortable with real players than my samples and I do want to improve. Perhaps I could post the sample version and ask for critiques ?

Audio and PDF of compositional process will be posted within 24 hours.

Take care Orchestrators and best wishes

Doug]]> http://www.orchestrationforum.com/showthread.php?tid=41 Mon, 11 Aug 2008 14:42:07 -0700 http://www.orchestrationforum.com/showthread.php?tid=41 We are able to manage your music project from A to Z.
We spend a lot of time reading your music and improving it by giving you some orchestration ideas if required… It is important for us to get all your music feelings and intentions.

Also, we propose special recording sessions (http://symphonifilm.com/page2/page2.html) for mock-ups and short films. They are low-cost and can be booked by the hour. In this way, we want to facilitate access to the orchestra.

I encourage you to visit our site (still in French : English version coming).
http://symphonifilm.com/index.html
You can also contact me on my e-mail address or on my cell phone.

Best regards

Steve JOURNEY
Steve.journey@symphonifilm.com
+33 (0)6,83,54,55,12]]> We are able to manage your music project from A to Z.
We spend a lot of time reading your music and improving it by giving you some orchestration ideas if required… It is important for us to get all your music feelings and intentions.

Also, we propose special recording sessions (http://symphonifilm.com/page2/page2.html) for mock-ups and short films. They are low-cost and can be booked by the hour. In this way, we want to facilitate access to the orchestra.

I encourage you to visit our site (still in French : English version coming).
http://symphonifilm.com/index.html
You can also contact me on my e-mail address or on my cell phone.

Best regards

Steve JOURNEY
Steve.journey@symphonifilm.com
+33 (0)6,83,54,55,12]]> http://www.orchestrationforum.com/showthread.php?tid=40 Wed, 23 Jul 2008 00:00:27 -0700 http://www.orchestrationforum.com/showthread.php?tid=40

I just found this site yesterday. Was really happy to find a forum like this and thrilled that there seem to be many people here with immense knowledge, and also importantly actively pursing their musical dreams. Looks like a great deal are working on films and really doing it. Very cool.


I thought I would post some of my own ideas on Orchestration. Please know I do not consider myself a fountain of knowledge, but rather it seems we can all spark each others inspiration with a forum like this.

(* please note before reading the good chart doctors comments on context and knowing both the abilities of the players and time for rehearsal )

One of the cool things that has happened to me from working with artist in collaboration is trying to find a common language to speak about music. For example when working with a film director, they never talk to me about timbre, texture, etc. In turn it has changed they way I think about orchestration (composing for that matter to) The pdf I am attaching is what I will call creating waves and ripples.


Please let me know what you think, and if you would be interested in me posting some more ideas.

I have a blog on Myspace about composition. It can be read here.

http://www.myspace.com/douggibsoncomposer

Take care and wishing you all musical inspiration

Best wishes

Doug]]>

I just found this site yesterday. Was really happy to find a forum like this and thrilled that there seem to be many people here with immense knowledge, and also importantly actively pursing their musical dreams. Looks like a great deal are working on films and really doing it. Very cool.


I thought I would post some of my own ideas on Orchestration. Please know I do not consider myself a fountain of knowledge, but rather it seems we can all spark each others inspiration with a forum like this.

(* please note before reading the good chart doctors comments on context and knowing both the abilities of the players and time for rehearsal )

One of the cool things that has happened to me from working with artist in collaboration is trying to find a common language to speak about music. For example when working with a film director, they never talk to me about timbre, texture, etc. In turn it has changed they way I think about orchestration (composing for that matter to) The pdf I am attaching is what I will call creating waves and ripples.


Please let me know what you think, and if you would be interested in me posting some more ideas.

I have a blog on Myspace about composition. It can be read here.

http://www.myspace.com/douggibsoncomposer

Take care and wishing you all musical inspiration

Best wishes

Doug]]> http://www.orchestrationforum.com/showthread.php?tid=38 Sat, 05 Jul 2008 08:15:32 -0700 http://www.orchestrationforum.com/showthread.php?tid=38 Download this software at FAQ : how to convert dvd and video to zune
1. Free download　Zune Video Converter + DVD to Zune Suite at FAQ : how to convert dvd and video to zune , install and launch.

2. Click DVD to Zune Converter component, load your DVD by clicking 'Open DVD' button or choosing 'Open DVD' from 'File' drop down menu, choose the DVD ROM in your PC, it will take you to the DVD menu in the player screen.

3. Click the "Setting" and go to menu "Subtitle", Set Subtitle to what you like.

4. Click the "Setting" and go to menu "Audio Track", Set audiotrack to what you like. To 'Output Folder', Enter the full pathname or choose the path where you want to save your video files by clicking 'Output folder'. The default output format is WMV, which natively supported by Zune. You can also hit "Setting -> Output settings", select other output formats you like (MP4, H.264, WMV7/8/9, MP3, WMA, etc.)

5. The converter will automaticly detect the main movie of your DVDs, it will popup with below window to let you make a decision, just keep the setting of "Record from movie start point" and output file size setting, the default setting is the best for good quality and compact output file size, click "Yes" to start ripping DVD to Zune video files.
Tips: You can also just record any part of movie by drag the slide bar to where you want to start, and click the "Convert" button, please select "Record from current time point". This provide you with more flexibility.

6. Find the .wmv or .mp4 file that DVD to Zune converter created and add it into your Zune software library.

7. Load the .mp4 or .wmv files to Zune by clicking 'Sync contenct to and from your Zune'. Done!


FAQ : how to convert dvd and video to zune ]]> Download this software at FAQ : how to convert dvd and video to zune
1. Free download　Zune Video Converter + DVD to Zune Suite at FAQ : how to convert dvd and video to zune , install and launch.

2. Click DVD to Zune Converter component, load your DVD by clicking 'Open DVD' button or choosing 'Open DVD' from 'File' drop down menu, choose the DVD ROM in your PC, it will take you to the DVD menu in the player screen.

3. Click the "Setting" and go to menu "Subtitle", Set Subtitle to what you like.

4. Click the "Setting" and go to menu "Audio Track", Set audiotrack to what you like. To 'Output Folder', Enter the full pathname or choose the path where you want to save your video files by clicking 'Output folder'. The default output format is WMV, which natively supported by Zune. You can also hit "Setting -> Output settings", select other output formats you like (MP4, H.264, WMV7/8/9, MP3, WMA, etc.)

5. The converter will automaticly detect the main movie of your DVDs, it will popup with below window to let you make a decision, just keep the setting of "Record from movie start point" and output file size setting, the default setting is the best for good quality and compact output file size, click "Yes" to start ripping DVD to Zune video files.
Tips: You can also just record any part of movie by drag the slide bar to where you want to start, and click the "Convert" button, please select "Record from current time point". This provide you with more flexibility.

6. Find the .wmv or .mp4 file that DVD to Zune converter created and add it into your Zune software library.

7. Load the .mp4 or .wmv files to Zune by clicking 'Sync contenct to and from your Zune'. Done!


FAQ : how to convert dvd and video to zune ]]> http://www.orchestrationforum.com/showthread.php?tid=37 Sat, 05 Jul 2008 08:14:19 -0700 http://www.orchestrationforum.com/showthread.php?tid=37 Download this software at FAQ : how to rip DVD and convert Video to iPod

The article includes two parts.
Part 1: Rip DVD movie to iPod (Windows)
Part 2: Convert AVI, WMV, MPEG, RM, RMVB, ASF, MOV, DivX, XviD, MPG to iPod MP4 or H264 format (Windows)

[1]How to rip DVD to iPod (Windows)
1. Download the latest version DVD to iPod Converter + iPod Movie/Video Converter Suite at FAQ : how to rip DVD and convert Video to iPod and install it. You can download about it by referrring here.

2. Run the DVD to iPod Converter, load your DVD by clicking 'Open DVD' button or choosing 'Open DVD' from 'File' drop down menu. One or several titles appear in the list after loading DVD.

3. As usual, the longest title is the main file of the movie. You can remove the title you don't like to convert by unchecking the title. Set 'Subtitle', 'Audio Languages' to what you like.

4. To 'Output Folder', Enter the full pathname or choose the path where you want to save your video files by clicking the related button.

5. Click 'Convert' button to start the iPod DVD conversion.

6. Find the .mp4 file that DVD to iPod converter created and drag it into your iTunes library, or select 'Add File to Library' from the 'File' menu and select the encoded movies. Now you can watch it with iTunes or Quicktime Player on your PC.
Tips: Download iTunes 7+quicktime Player package from Apple - QuickTime - Download

7. Load the MP4 files to iPod by clicking 'File -> Update iPod'. Now, you can enjoy the movies on your fifth generation video iPod anywhere and anytime.

[2] How to convert iPod video, such as AVI to iPod, WMV to iPod, MPEG to iPod, RM to iPod, RMVB to iPod, ASF to iPod, MPG to iPod, DivX to iPod, XviD to iPod video using "cucusoft iPod Video Converter + DVD to iPod Suite". (Windows)

1. Download the latest version iPod Video Converter + DVD to iPod Converter Suite, and install it. For more features about it, visting FAQ : how to rip DVD and convert Video to iPod

Related download
* To convert RM/RMVB real media files to iPod, Maybe need to install Realplayer:
RealPlayer - The best audio and video player - Real.com
* To convert WMV, ASF to iPod, Maybe need to install Windows Media Player:
Microsoft Windows Media — Your Digital Entertainment Resource

2. Run iPod Video converter component. And load the video files you'd like to convert by clicking 'Open file' button.

Click 'Output' and choose the pathname where you want to save your video files. Click 'Convert' to start converting video to iPod MP4 or H264 files.

Tips: Before converting, you can click 'Advance -> Video settings' to set 'Video format', 'Resolution', 'Framerate', 'Output Quality'. If you'd like to convert video to H264 files, please set 'Video format' to 'H.264 FQ Variable Bitrate'. 'MPEG4(.mp4) FQ Variable Bitrate' is the default value. Certainly, you can also set 'Audio Bitrate', 'Channels', 'Sample Rate' and 'Volume' in 'Audio Settings' page.

As usual, we set "Resolution" as "320x240" (i.e. default settings), certainly you can also choose other video sizes you like.

3. After converting, you can open the output folder to check and play the iPod video files (.mp4 or .mov) using Quicktime Player (Freeware, Quicktime Player+iTunes downloading address Apple - QuickTime - Download ).

4. Transfer the iPod videos to iTunes by draging or clicking "File -> Add File to Library". Now, you can enjoy them on iTunes. Then hit "File -> Update iPod" to sync to your iPod.

FAQ : how to rip DVD and convert Video to iPod]]> Download this software at FAQ : how to rip DVD and convert Video to iPod

The article includes two parts.
Part 1: Rip DVD movie to iPod (Windows)
Part 2: Convert AVI, WMV, MPEG, RM, RMVB, ASF, MOV, DivX, XviD, MPG to iPod MP4 or H264 format (Windows)

[1]How to rip DVD to iPod (Windows)
1. Download the latest version DVD to iPod Converter + iPod Movie/Video Converter Suite at FAQ : how to rip DVD and convert Video to iPod and install it. You can download about it by referrring here.

2. Run the DVD to iPod Converter, load your DVD by clicking 'Open DVD' button or choosing 'Open DVD' from 'File' drop down menu. One or several titles appear in the list after loading DVD.

3. As usual, the longest title is the main file of the movie. You can remove the title you don't like to convert by unchecking the title. Set 'Subtitle', 'Audio Languages' to what you like.

4. To 'Output Folder', Enter the full pathname or choose the path where you want to save your video files by clicking the related button.

5. Click 'Convert' button to start the iPod DVD conversion.

6. Find the .mp4 file that DVD to iPod converter created and drag it into your iTunes library, or select 'Add File to Library' from the 'File' menu and select the encoded movies. Now you can watch it with iTunes or Quicktime Player on your PC.
Tips: Download iTunes 7+quicktime Player package from Apple - QuickTime - Download

7. Load the MP4 files to iPod by clicking 'File -> Update iPod'. Now, you can enjoy the movies on your fifth generation video iPod anywhere and anytime.

[2] How to convert iPod video, such as AVI to iPod, WMV to iPod, MPEG to iPod, RM to iPod, RMVB to iPod, ASF to iPod, MPG to iPod, DivX to iPod, XviD to iPod video using "cucusoft iPod Video Converter + DVD to iPod Suite". (Windows)

1. Download the latest version iPod Video Converter + DVD to iPod Converter Suite, and install it. For more features about it, visting FAQ : how to rip DVD and convert Video to iPod

Related download
* To convert RM/RMVB real media files to iPod, Maybe need to install Realplayer:
RealPlayer - The best audio and video player - Real.com
* To convert WMV, ASF to iPod, Maybe need to install Windows Media Player:
Microsoft Windows Media — Your Digital Entertainment Resource

2. Run iPod Video converter component. And load the video files you'd like to convert by clicking 'Open file' button.

Click 'Output' and choose the pathname where you want to save your video files. Click 'Convert' to start converting video to iPod MP4 or H264 files.

Tips: Before converting, you can click 'Advance -> Video settings' to set 'Video format', 'Resolution', 'Framerate', 'Output Quality'. If you'd like to convert video to H264 files, please set 'Video format' to 'H.264 FQ Variable Bitrate'. 'MPEG4(.mp4) FQ Variable Bitrate' is the default value. Certainly, you can also set 'Audio Bitrate', 'Channels', 'Sample Rate' and 'Volume' in 'Audio Settings' page.

As usual, we set "Resolution" as "320x240" (i.e. default settings), certainly you can also choose other video sizes you like.

3. After converting, you can open the output folder to check and play the iPod video files (.mp4 or .mov) using Quicktime Player (Freeware, Quicktime Player+iTunes downloading address Apple - QuickTime - Download ).

4. Transfer the iPod videos to iTunes by draging or clicking "File -> Add File to Library". Now, you can enjoy them on iTunes. Then hit "File -> Update iPod" to sync to your iPod.

FAQ : how to rip DVD and convert Video to iPod]]> http://www.orchestrationforum.com/showthread.php?tid=36 Wed, 25 Jun 2008 14:25:04 -0700 http://www.orchestrationforum.com/showthread.php?tid=36
I think this is a question many will be able to relate to if they're doing score preparation on Finale and are trying to or need to get a real "off-the-shelf-looking" score.

I am putting the final touches on a large, 14-minute piece for string orchestra,
where all sections except the Basses are often divisi on the page. I need to send this to my publisher and I found myself having some real puzzling moments figuring out techniques to get an "optimized", professional looking score, also in terms of how what I do on the score will reflect upon the parts, and the way they should look (since sometimes what's good for the score isn't ideal for the part).

Just to give a typical example: say I have two staffs for the violas divisi, playing different music, and at some point they "merge" and DO play the same music. Now, I have a score with two viola lines playing the same material for no reason, and then at some point the split off again. Now, I realize I could be making a third
Viola staff that would be the "non divisi", use that one when they're playing the same part, and optimize the two divisi Viola staves out of there on certain pages.
Then repeat the same for the parts. That MIGHT be the best solution to use, but is there is a smarter, quicker way to do something like this? We can also, in places with divisi and "moderate staff action", merge the two different divisi lines into ONE staff. But, what if we want that to appear in the score, but in the parts we want those staffs to still be separate, for ease of reading.

I also realize that a good strategy might be to work from a "non-optimized" final file of the completed piece. Then "save as" into two different files - one that will be geared towards a SCORE, the second for the parts, so wild edits on the score side won't create a mess on the parts, that I'll then need to deal with. But I'm not 100% sure that's the best road to walk down.

Trying to cull this information from the Finale Help files sometimes leaves me with the impression that they don't get that deep into more complex situations.

What do you think is the best resource or way to study heavy-weight use of Finale (assuming no one enjoys crows pecking at their liver)?

Thanks so much,

Daniel

=====================

Daniel Alcheh
Composer | Orchestrator

W: (310) 598-6525
M: (845) 480-6767
daniel@danielalcheh.com

http://www.danielalcheh.com

http://imdb.com/name/nm2015594/

KeyChain Music
keychainmusic@mac.com]]>
I think this is a question many will be able to relate to if they're doing score preparation on Finale and are trying to or need to get a real "off-the-shelf-looking" score.

I am putting the final touches on a large, 14-minute piece for string orchestra,
where all sections except the Basses are often divisi on the page. I need to send this to my publisher and I found myself having some real puzzling moments figuring out techniques to get an "optimized", professional looking score, also in terms of how what I do on the score will reflect upon the parts, and the way they should look (since sometimes what's good for the score isn't ideal for the part).

Just to give a typical example: say I have two staffs for the violas divisi, playing different music, and at some point they "merge" and DO play the same music. Now, I have a score with two viola lines playing the same material for no reason, and then at some point the split off again. Now, I realize I could be making a third
Viola staff that would be the "non divisi", use that one when they're playing the same part, and optimize the two divisi Viola staves out of there on certain pages.
Then repeat the same for the parts. That MIGHT be the best solution to use, but is there is a smarter, quicker way to do something like this? We can also, in places with divisi and "moderate staff action", merge the two different divisi lines into ONE staff. But, what if we want that to appear in the score, but in the parts we want those staffs to still be separate, for ease of reading.

I also realize that a good strategy might be to work from a "non-optimized" final file of the completed piece. Then "save as" into two different files - one that will be geared towards a SCORE, the second for the parts, so wild edits on the score side won't create a mess on the parts, that I'll then need to deal with. But I'm not 100% sure that's the best road to walk down.

Trying to cull this information from the Finale Help files sometimes leaves me with the impression that they don't get that deep into more complex situations.

What do you think is the best resource or way to study heavy-weight use of Finale (assuming no one enjoys crows pecking at their liver)?

Thanks so much,

Daniel

=====================

Daniel Alcheh
Composer | Orchestrator

W: (310) 598-6525
M: (845) 480-6767
daniel@danielalcheh.com

http://www.danielalcheh.com

http://imdb.com/name/nm2015594/

KeyChain Music
keychainmusic@mac.com]]> http://www.orchestrationforum.com/showthread.php?tid=35 Mon, 02 Jun 2008 10:33:01 -0700 http://www.orchestrationforum.com/showthread.php?tid=35
This may be too broad a question, but I'll give it a shot anyway as I don't really know where else to start.

I'm looking for books (or anything else) that deal with how to achieve various 'textures' in orchestration. There are sounds that I hear common to both modern film scores and classical music that are instantly recognizable as 'haunting', 'exciting', 'sombre', 'powerful' etc.

I know that a big part of this is compositional skill and learning the ranges/voices of the instruments, but I can't help feeling if I'd had the benefit of music college that I'd have learnt tricks of the trade such as "use close-voiced muted horns in the lower registers" to achieve x, or "double the low strings with such-and-such woods" to achieve y.

In other words, as an example suppose you were given notes, chords, rhythms, counter-melodies etc. that are set in stone, how best to pick the right instrument, articulation, register, and timbre to typify a mood.

All the books on orchestration/arranging I've looked at tend to concentrate on the business of note-choice, rhythm harmonization etc. as opposed to sound and texture.

Any advice would be much appreciated.

Thanks]]>
This may be too broad a question, but I'll give it a shot anyway as I don't really know where else to start.

I'm looking for books (or anything else) that deal with how to achieve various 'textures' in orchestration. There are sounds that I hear common to both modern film scores and classical music that are instantly recognizable as 'haunting', 'exciting', 'sombre', 'powerful' etc.

I know that a big part of this is compositional skill and learning the ranges/voices of the instruments, but I can't help feeling if I'd had the benefit of music college that I'd have learnt tricks of the trade such as "use close-voiced muted horns in the lower registers" to achieve x, or "double the low strings with such-and-such woods" to achieve y.

In other words, as an example suppose you were given notes, chords, rhythms, counter-melodies etc. that are set in stone, how best to pick the right instrument, articulation, register, and timbre to typify a mood.

All the books on orchestration/arranging I've looked at tend to concentrate on the business of note-choice, rhythm harmonization etc. as opposed to sound and texture.

Any advice would be much appreciated.

Thanks]]> http://www.orchestrationforum.com/showthread.php?tid=34 Sun, 01 Jun 2008 05:29:44 -0700 http://www.orchestrationforum.com/showthread.php?tid=34
I'm looking to update my meager studio setup, which is basically a laptop, keyboard and FW drive. Any suggestions on a cheap setup for hosting VST sample libraries? I'd be running Cubase4 on a laptop and using whatever I get for a dedicated sample box.

I have some experience building computers, so I may go that route, so any input on sound cards, motherboards, etc. (or just plain builds) would be helpful. ALSO I'd be running WinXP or Linux. NO MAC (I have my reasons). I've already checked out the MuseResearch Receptor's, and if I had truckloads of disposable income, I'd get one or two, but I'd like to keep it in the neighborhood of $500-$1000. I've already got all the EWQLSO sounds I need; I just need a box to run them on.

Any thoughts?]]>
I'm looking to update my meager studio setup, which is basically a laptop, keyboard and FW drive. Any suggestions on a cheap setup for hosting VST sample libraries? I'd be running Cubase4 on a laptop and using whatever I get for a dedicated sample box.

I have some experience building computers, so I may go that route, so any input on sound cards, motherboards, etc. (or just plain builds) would be helpful. ALSO I'd be running WinXP or Linux. NO MAC (I have my reasons). I've already checked out the MuseResearch Receptor's, and if I had truckloads of disposable income, I'd get one or two, but I'd like to keep it in the neighborhood of $500-$1000. I've already got all the EWQLSO sounds I need; I just need a box to run them on.

Any thoughts?]]> http://www.orchestrationforum.com/showthread.php?tid=33 Fri, 30 May 2008 14:54:43 -0700 http://www.orchestrationforum.com/showthread.php?tid=33
I am writing a harp part to an orchestra/choral piece and I've been trying to find notation examples on how to write a particular harp glissando. It's a series of upward glissandi where the hands alternate. Each gliss overlaps the previous gliss. (It's the typical cheesy harp lick but it's what I want.) I remember seeing in old hand written scores that they indicated that with a bunch of loops but somehow I don't think that is the correct notation. Does anyone know how that should be notated? Is there a Finale symbol for that or would I have to create one?

I took up the celtic harp a few years ago to learn how to write a little more intelligently for it but I haven't run across this particular notation in my books yet.

Thanks for any suggestions.

Janet]]>
I am writing a harp part to an orchestra/choral piece and I've been trying to find notation examples on how to write a particular harp glissando. It's a series of upward glissandi where the hands alternate. Each gliss overlaps the previous gliss. (It's the typical cheesy harp lick but it's what I want.) I remember seeing in old hand written scores that they indicated that with a bunch of loops but somehow I don't think that is the correct notation. Does anyone know how that should be notated? Is there a Finale symbol for that or would I have to create one?

I took up the celtic harp a few years ago to learn how to write a little more intelligently for it but I haven't run across this particular notation in my books yet.

Thanks for any suggestions.

Janet]]> http://www.orchestrationforum.com/showthread.php?tid=32 Wed, 14 May 2008 11:56:57 -0700 http://www.orchestrationforum.com/showthread.php?tid=32
I loved the recent article about conducting! I hope this isn't a stupid question, or one that's out of place, but I can't think of anywhere else to ask it.

I am a big fan of Monty Python's Flying Circus, and there's a cue of orchestral music that I've heard in 1 or 2 episodes, and I can't, for the life of me, figure out what it is. I played it for a music librarian who's heard "everything" and she said it sounded like Walton, but I can't find a piece by Walton that matches.

Could you (or any forum participants) have a listen and tell me if you recognize it? I'd be eternally grateful.

Also, for some reason, I can't attach mp3 files, so download and change the file extension from "doc" to "mp3".
[attachment=8]

Cheers,]]>
I loved the recent article about conducting! I hope this isn't a stupid question, or one that's out of place, but I can't think of anywhere else to ask it.

I am a big fan of Monty Python's Flying Circus, and there's a cue of orchestral music that I've heard in 1 or 2 episodes, and I can't, for the life of me, figure out what it is. I played it for a music librarian who's heard "everything" and she said it sounded like Walton, but I can't find a piece by Walton that matches.

Could you (or any forum participants) have a listen and tell me if you recognize it? I'd be eternally grateful.

Also, for some reason, I can't attach mp3 files, so download and change the file extension from "doc" to "mp3".
[attachment=8]

Cheers,]]> http://www.orchestrationforum.com/showthread.php?tid=31 Mon, 12 May 2008 07:40:28 -0700 http://www.orchestrationforum.com/showthread.php?tid=31
I'll preface this by saying that if based in Amercica (I'm not, I'm in London) and if I had the budget, obviously I would go with an AFM orchestra - Hollywood Studio Symphony or some such.

The reality is that most composers starting out are trying to give as much bang for their buck as possible and of course Eastern block orchestras are cheaper than their London or LA/New York counter parts. I was wondering if those with experience in this area could chime in with some of the pros & cons? How does the experience compare? I ask because my only experience of being in an orchestral session was conducting the BBC Concert Orchestra at Angel studios in London and that was a real pleasure - they see, they play, it sounds great. Is Eastern Block recording really bargain basement or just good value? I've also had my music recorded in China with the China Philharmonic and the results of that were pretty good too.

Los Angeles Times says that The Bulgarian Symphony Orchestra – SIF309 is the new Hot spot for U.S. movie scores.

Read the article by Veselin Toshkov: http://www.latimes.com/entertainment/la-...1372.story
You can check it out also on Grammy.com.

Best

Ed White]]>
I'll preface this by saying that if based in Amercica (I'm not, I'm in London) and if I had the budget, obviously I would go with an AFM orchestra - Hollywood Studio Symphony or some such.

The reality is that most composers starting out are trying to give as much bang for their buck as possible and of course Eastern block orchestras are cheaper than their London or LA/New York counter parts. I was wondering if those with experience in this area could chime in with some of the pros & cons? How does the experience compare? I ask because my only experience of being in an orchestral session was conducting the BBC Concert Orchestra at Angel studios in London and that was a real pleasure - they see, they play, it sounds great. Is Eastern Block recording really bargain basement or just good value? I've also had my music recorded in China with the China Philharmonic and the results of that were pretty good too.

Los Angeles Times says that The Bulgarian Symphony Orchestra – SIF309 is the new Hot spot for U.S. movie scores.

Read the article by Veselin Toshkov: http://www.latimes.com/entertainment/la-...1372.story
You can check it out also on Grammy.com.

Best

Ed White]]> http://www.orchestrationforum.com/showthread.php?tid=30 Fri, 02 May 2008 08:32:44 -0700 http://www.orchestrationforum.com/showthread.php?tid=30
I'm in a fairly good position job-wise, cutting my teeth orchestrationally in all kinds of ways. I've made pretty serious study of orchestration, but I keep hearing things about guys using sample libraries over live players. What gives? It's a complex topic, I know, but here are my thoughts:

I'm not opposed to sample libraries; I personally use them because if I have to make quick demos or mockups, it's nice to have. I have a financially friendly setup, so it's definitely not the Hans Zimmer house of CPU's (so envious, it hurts). HOWEVER, given the choice, and all things being equal, I will take a live group over anything, because:

1) Sample libraries are incapable (regardless, I mean it) of faithfully reproducing EVERYTHING live players can do, at least not without thousands of dollars in computer equipment, effects racks, and exhorbitantly expensive sample libraries which usually have a steep learning curve, and require sequencing software, and all the gear that those sometimes necessitate.

2) I'd learn much more from a crappy community orchestra with only half a string section than I ever will from a sample library/sequencer. In fact, it may prevent some bad orchestrating habits.

I have my own opinions about what people choosing sample libraries over humans may well do to the music industry and the future of composer/arrangers, but I'm curious to hear from some guys out there who may be experiencing this firsthand. I don't want to go out to LA in about 14 years (whe I'll retire from my current job) and find that all of my Rimsky-Korsakov worship will have been for nothing. I have to believe that there will always be a place for people who know what to do with strings (for instance), but here we are exporting all that LA recording to the Czech Republic, which I never would have though would happen.

Your thoughts, if you please.]]>
I'm in a fairly good position job-wise, cutting my teeth orchestrationally in all kinds of ways. I've made pretty serious study of orchestration, but I keep hearing things about guys using sample libraries over live players. What gives? It's a complex topic, I know, but here are my thoughts:

I'm not opposed to sample libraries; I personally use them because if I have to make quick demos or mockups, it's nice to have. I have a financially friendly setup, so it's definitely not the Hans Zimmer house of CPU's (so envious, it hurts). HOWEVER, given the choice, and all things being equal, I will take a live group over anything, because:

1) Sample libraries are incapable (regardless, I mean it) of faithfully reproducing EVERYTHING live players can do, at least not without thousands of dollars in computer equipment, effects racks, and exhorbitantly expensive sample libraries which usually have a steep learning curve, and require sequencing software, and all the gear that those sometimes necessitate.

2) I'd learn much more from a crappy community orchestra with only half a string section than I ever will from a sample library/sequencer. In fact, it may prevent some bad orchestrating habits.

I have my own opinions about what people choosing sample libraries over humans may well do to the music industry and the future of composer/arrangers, but I'm curious to hear from some guys out there who may be experiencing this firsthand. I don't want to go out to LA in about 14 years (whe I'll retire from my current job) and find that all of my Rimsky-Korsakov worship will have been for nothing. I have to believe that there will always be a place for people who know what to do with strings (for instance), but here we are exporting all that LA recording to the Czech Republic, which I never would have though would happen.

Your thoughts, if you please.]]> http://www.orchestrationforum.com/showthread.php?tid=29 Tue, 29 Apr 2008 18:57:34 -0700 http://www.orchestrationforum.com/showthread.php?tid=29 http://www.orchestrationforum.com/showthread.php?tid=28 Fri, 25 Apr 2008 02:08:03 -0700 http://www.orchestrationforum.com/showthread.php?tid=28 I was wondering if the Chart Doctor articles from the magazine that I receive by email, are downloadable by itself. I like to rest of the magazine as well, but at the moment, are mostly interested in improving my writing and this article always has my biggest interest. Is there a special website dedicated on Chart Doctor?

greetings,
André van Haren, Sweden]]> I was wondering if the Chart Doctor articles from the magazine that I receive by email, are downloadable by itself. I like to rest of the magazine as well, but at the moment, are mostly interested in improving my writing and this article always has my biggest interest. Is there a special website dedicated on Chart Doctor?

greetings,
André van Haren, Sweden]]>