Hi, great video! I would only say that a lot of the trills you orchestrated are not very practical, as a woodwind you can only trill minor and major 2nds (sometimes minor 3rds) effectively in altissimo registers as trill fingerings exist for those intervals, otherwise the fingerings are extremely complicated to go back and forth between very fast. You'll likely not get the desired effect, as large interval trills tend to sound frantic and primal. Hope this helps!
Hey, great video! How is your work progress when composing a piece? What kind of software do you use at what specific steps? Sometimes I find it very difficult to visualize my score when writing in programs like Cubase where only the midi tracks are shown. But when using MuseScore or other software that illustrates the score all at once in actual notes, I find myself spending very much time transferring a score into Cubase etc, to have it played by e.g. Berlin Orchestra or other VST instruments. Thank you for your help
Thank you... I greatly appreciate your time and effort on this... The added bonus was seeing the midi notes along with the standard notation. It's easier to see where the instruments fall in range with one another.
10:21 Although you’re right about Williams’ scalar runs usually being at the unison or in octaves, there are quite a few examples where he harmonises the lines. What is more surprising to me is to see a descending line like that, I can’t think of anywhere else where he does that.
Would be FAR better if you let us HEAR the examples before, again a few times during, and after the commentary. "Talking about music is like dancing about architecture". For me there are few things more frustrating [as far as learning goes] than listening to someone talk about music. Unless, and until I hear the example, anything said is simply meaningless, and I have no way to relate to it. Of course if your channel is only for people who can read notation and hear it in their heads, then by all means continue doing what most youtubers do.
My #1 gripe too. I'm thinking of starting a channel that teaches music mostly by hearing examples. That way it would also get past all language barriers. It would take some creativity, but I think most people would be able to catch on better by hearing things than having them explained, perhaps with a little text added, which is faster than waiting for someone to enunciate it. "Talking about music is like dancing about architecture". author unknown
Brother, I tried to follow you, but your clinical analysis left me dizzy. I admit I have no "Formal" education" These schematics of form and function are lost to many of us with "Ears and instincts." Although I admire your depth in the technical weeds of this. It's not always about technique or painting by the numbers... It's about imagination. I often dream what many cannot write down. It's organic. Perhaps I have stumbled upon the wrong lesson. You are very talented. I wish you the best. I suppose some music is about architecture, but for some, it is about the dreaming of the sound. God Bless you....
Hi Alex. I liked this video a lot. I would love to know how to do this effectively in Logic or Cubase. Maybe this is something you can touch on in a future video?
Thanks! I've gotten a few requests for a video like that. I think it's completely dependent on what woodwind sample library you have. I could demonstrate with Berlin Woodwinds at some point, if that's of interest!
Well if you take requestsand/or questions. I suppose most of the times regarding runs and flourishes you use the scale of the theme right ? So you ever spicy things up ? I started using scale-chords theory from jazz for my runs, it seems to work, but it is a bit surprising if not a little bit jarring. (Dorian scale on a minor chord, lydian over a major chord, mixolydian and mixolydian b6 over dominant chords) - do you use the same approach scale-wise for harp glisses ? - maybe a video comparing the use of harp glisses and woodwinds glissandos ? When is it too much, when to use one or the other. I'd appreciate your insight.
Hi, great video! I would only say that a lot of the trills you orchestrated are not very practical, as a woodwind you can only trill minor and major 2nds (sometimes minor 3rds) effectively in altissimo registers as trill fingerings exist for those intervals, otherwise the fingerings are extremely complicated to go back and forth between very fast. You'll likely not get the desired effect, as large interval trills tend to sound frantic and primal. Hope this helps!
yes, this is very important!
faster, faster! the audience wants the fancy run :))
I love John Williams. But these are not good woodwind runs. They are just runs.
So, what are 'good' woodwind runs?
Hey, great video! How is your work progress when composing a piece? What kind of software do you use at what specific steps? Sometimes I find it very difficult to visualize my score when writing in programs like Cubase where only the midi tracks are shown. But when using MuseScore or other software that illustrates the score all at once in actual notes, I find myself spending very much time transferring a score into Cubase etc, to have it played by e.g. Berlin Orchestra or other VST instruments. Thank you for your help
Thank you... I greatly appreciate your time and effort on this... The added bonus was seeing the midi notes along with the standard notation. It's easier to see where the instruments fall in range with one another.
10:21 Although you’re right about Williams’ scalar runs usually being at the unison or in octaves, there are quite a few examples where he harmonises the lines. What is more surprising to me is to see a descending line like that, I can’t think of anywhere else where he does that.
Very interesting topic and video! Thanks for sharing.
This was really great. I am working on my first orchestral piece and I needed help with the woodwinds. This is perfect.
That's great to hear! Thanks for watching!
Would be FAR better if you let us HEAR the examples before, again a few times during, and after the commentary. "Talking about music is like dancing about architecture". For me there are few things more frustrating [as far as learning goes] than listening to someone talk about music. Unless, and until I hear the example, anything said is simply meaningless, and I have no way to relate to it. Of course if your channel is only for people who can read notation and hear it in their heads, then by all means continue doing what most youtubers do.
amazing breakdown, tthank you so much
Thanks, Fraser!
The examples would be easier to follow if the different instruments had different spaces on the stereo field, too.
Excellent and very helpful analysis! Thanks ever so much!
Very welcome!
I find it a little exhausting that these videos wait so long before letting us *hear* what's happening.
My #1 gripe too.
I'm thinking of starting a channel that teaches music mostly by hearing examples.
That way it would also get past all language barriers. It would take some creativity, but I think most people would be able to catch on better by hearing things than having them explained, perhaps with a little text added, which is faster than waiting for someone to enunciate it.
"Talking about music is like dancing about architecture". author unknown
Stunning video. Incredible. I can't imagine how much time and hard work went into it. Thank you for doing this!
Thanks! Hope you check out some of my other orchestration videos!
Yes
EXCELLENT video! Subscribed 😊
Awesome, thank you!
great lecture
excellent! loved it, keep up the good work..
Thanks a lot!
Brother, I tried to follow you, but your clinical analysis left me dizzy. I admit I have no "Formal" education" These schematics of form and function are lost to many of us with "Ears and instincts." Although I admire your depth in the technical weeds of this. It's not always about technique or painting by the numbers... It's about imagination. I often dream what many cannot write down. It's organic. Perhaps I have stumbled upon the wrong lesson. You are very talented. I wish you the best. I suppose some music is about architecture, but for some, it is about the dreaming of the sound. God Bless you....
Hi Alex. I liked this video a lot. I would love to know how to do this effectively in Logic or Cubase. Maybe this is something you can touch on in a future video?
Thanks! I've gotten a few requests for a video like that. I think it's completely dependent on what woodwind sample library you have. I could demonstrate with Berlin Woodwinds at some point, if that's of interest!
@@AlexHeppelmann I have OT's Berlin Orchestra, Berklee, so that would work for me. :)
Such a great video. Do you plan to make more ?
Thanks! More woodwind flourish videos? Or something else?
Well if you take requestsand/or questions.
I suppose most of the times regarding runs and flourishes you use the scale of the theme right ? So you ever spicy things up ? I started using scale-chords theory from jazz for my runs, it seems to work, but it is a bit surprising if not a little bit jarring. (Dorian scale on a minor chord, lydian over a major chord, mixolydian and mixolydian b6 over dominant chords)
- do you use the same approach scale-wise for harp glisses ?
- maybe a video comparing the use of harp glisses and woodwinds glissandos ? When is it too much, when to use one or the other.
I'd appreciate your insight.
Thanks
Thank you!
Excellent!
Many thanks!