12 Common Scoring Errors
Вставка
- Опубліковано 7 чер 2024
- A video outlining a dozen common scoring errors that turn up in scores I evaluate, especially years Orchestration Challenge scores.
A list of linked media that might be useful:
100 MORE Orchestration Tips product page:
orchestrationonline.com/produ...
Intro to Orchestration Part 6: Biggest Mistakes • Intro to Orchestration...
Orchestration Lecture III: Balance • Orchestration Lecture ...
Duration of Double Bass Pizzicato Notation
orchestrationonline.com/durat...
Orchestration Lesson: Mahler, Part 1 • Orchestration Lesson: ...
Music Engraving Tips Channel / musicengravingtips
Orchestration Tip: Stratospheric Oboes Solos • Orchestration Tip: Str...
Visit the official Orchestration Online website and subscribe to our newsletter. orchestrationonline.com
Join the orchestration online community by subscribing to this channel, checking in on Twitter @OrchestrationOL, and being part of the conversation on Facebook. / 278568792265515
As a professional harpist, I clicked on this video in the sole hope for #9. :-)
Conversely, when the harp glissandi part in anything other than C major is doubled onto the piano part just in case there isn't a harp available. Ouch my fingers.
@@markphillips4265 This is not really a problem for me
As a semi-professional Harpist, my sister would second you.
all those cupcakes in a row made me chuckle
@@ValkyRiver But it is for me
I used to have a piano teacher who also played the harp. I think it was at my 1st lesson with her that I told her what you said about the harp a few years ago: "A harp is not a piano!" She replied: "If everyone understood that, my life would be so much easier!" and went on to tell me that once a soprano had asked her to accompany her, and given her the original piano score of the song she wanted to sing. The result: 42 pedal changes and a very awkward piece to perform. Let this be a lesson to composers and arrangers around the world...
There's some of that with simple lead sheets for guitar to piano as I hear it.
I hired a harpist for a gig and wound up writing her a handful of arrangements as part of the process. I know full well that a harp cannot play piano scores verbatim, so I tried to be very aware and sensitive about not writing anything impossible or too crazy. When I handed her the scores, I immediately apologized for anything non-idiomatic and welcomed her critiques. She reworked a few of the passages and sat down with me after the gig to show me what she changed. This was so helpful! I highly recommend that non-harpists try to find a good player to help them with their orchestration. So few of us truly know the instrument well enough to write well for it, and having a real harpist review our scores is invaluable.
What about a set of timpani is not a piano? 🤭
True and also not an organ!
Honestly, why would anyone thumbs down this? This is excellent free content!
Hurt feelings maybe? Striking too close to home perhaps.
Thanks so much for your kind words.
They were obviously violists
Some people just want to watch the world burn
“Never use unison or divisi for winds” is something I genuinely didn’t know! I mostly have played in concert bands, that may explain it though.
Yeah, I guess if you're orchestrating for wind band/concert band/wind ensemble, it's acceptable, as Thomas said in the video! Ticheli, Markowski, and many others have used these directions in their band scores (sometimes with just div. I think, since the unison is usually implied whenever it appears). I guess that I never catched that it doesn't appear in orchestral scores.
Basically, unison/divisi are only for tutti parts written for more than one player to play (as orchestral string parts are, and concert band parts often are). All orchestral wind/brass parts (with rare exception) are written to be played one on a part, so even though scores usually put e.g. both flute parts on a staff, they're still different parts.
I never heard "unison" and "divisi" before this video, as I'm in a wind orchestra and play flute.
Already have watched this video third time, for the ease of future reviewing:
1:33 1. timid dynamics
3:11 2. staccato on pizzicato
4:21 3. long durations ties and slurs on pizzicato
6:22 4. Long durations on triple or quadruple-stops
7:35 5. Not splitting the middle between rhythm groups
9:26 6. Failure to clearly mark entrances
11:25 7. Transcribing piano-style phrasing directly onto strings, winds, and brass
12:54 8. Slurring across a pickup
14:05 9. Dumping the piano score onto the harp part
16:30 10. Unbalanced use of wind & brass registers
18:37 11. Sticking to the exact pitches and registers of a source score no matter what
20:55 12. Not conveying the spirit of the original music as performed
You’re welcome
I’m a simple man. I see a new Orchestration Online video. I watch and click like
A very likeable and clickable comment.
*Scores everything at just plain "mezzo" and laughs and laughs and laughs.*
🤫
P.S. Slurred pizzicato = Slizzicato. Abbreviated "slizz."
I'll be here all week.
Evil! Eeeeeevil! 😃
You have no idea how many times I practiced saying staccato and pizzicato in the same sentence so I didn't end up saying "pitstaccato"
@@OrchestrationOnline I see no reason why we shouldn't add "pitstaccato" to the classical parlance. 🤔😂
@@OrchestrationOnline You clearly have a sweet tooth, given the examples you give... dessert... sorbetto.... we're gonna SLURP rather than 'slur' hehehe. Great tips by the way. Thanks a lot for your work and a lovely weekend!
@@OrchestrationOnline Jamais! ;)
@@OrchestrationOnline I just laughed up my coffee. It's a caff-tastrophe!!!
Here's one to add. If you're only providing dynamic markings on organ scores with no registration suggestions, you leave the organist guessing what you want. In general, dynamic markings on organ scores only apply to the expression boxes (so that the softest stop with the box open is ff while the loudest stop with the box closed is pp even though it may still be quite loud).
There's a sign at my job which, coincidentally, happens to be a useful piece of advice for orchestration as well: "A place for everything... everything in its place!"
The same sentiment, in a way, as Lili Boulanger's cantata "Vieille Prière Bouddhique."
A good example of the frailty of flutes is the last movement of Mendelssohn's Italian Symphony which features a flute trio. Note the very light scoring of it against the three flutes. This is what makes it a great piece - the orchestration, timbre and musical ideas.
I love your variations on that Chopin prelude! I know it was more for demonstration purposes, but it lends itself well for theme and vari form
Thanks so much! They were really fun to adapt, especially finding many different styles. I ended up not having time to write a tango variation, but maybe if I make another list I'll return to the idea.
The harp one is hilarious, the poor player struggling to play all those notes while drowned out anyway.
I know some harp players that would have killed the composer!
@@ericbingham-kumpfcomposer5293 I bet! Lol mozart harp and flute concerto is a prime example. The harp part is very hard because its written like a piano.
@@Rik77 Plucking individual strings and pressing keyboards are two different things.
@@ericbingham-kumpfcomposer5293 absolutely that's what I mean. Harpists hate the mozarr concerto for good reason.
@@Rik77 dont' say such things! I played it I was 14. It's not really difficult! Harpists don't hate this concerto! Harpists are just bored only to play this and Boieldieu that's all! But wait a few moment and you'll see that new concertos are coming 😉
I'm so glad I spent 9 years playing violin before majoring in piano in college . It makes orchestration 1/3rd easier . Winds not so difficult but brass took some real study . Fr.Horns add support even when you don't hear them . Percussion takes real imagination even after you've learned all their various techniques . Learned a lot about harp music here ! No. unisoni and divisi in brass and winds didn't know that !
I love what you did at the end with the pizz chord and the half note in the woodwinds; it almost sounded like a piano with a soft-sustain. Thanks for sharing this!
A sharp reminder of the many times forgotten basics. Totally useful.Thank you, Thomas.
Grettings from Chile.!!
So glad UA-cam recommended this video. I will definitely be checking out more of your content!
This is brilliant, opens up a whole new world. I have understood that the answer is to learn to play, at least a little, ALL of those instruments, so as to learn their practical difficulties, strengths and weaknesses, according to the tessitura. Many thanks.
Wow. I just found this channel today and I'm thrilled. I've been writing and orchestrating for nearly 50 years and all these tips were learned via the old school of hard knocks. I would have loved this kind of presentation years ago. Anyway, I'm subscribed and looking forward to getting into the website. I hope the challenge is still ongoing. Thanks so much for taking the time to do this.
Hi Charles! The 2021 Orchestration Challenge mentioned in the video is over and done - but the 2022 Challenge will start in a few months. It would be great to get an entry from you. 🙂 Thanks so much for your kind words about the channel. I'm so glad that it resonates with you.
I watched this with interest. I have a 1991 degree in composition, but switched to computer programming for a career. I learned to read scores at 13, and that along with listening has been my education since.
Much off the video was confusing for me. Most mistakes you discussed would have not occurred to me. For example, harp is not something that I would use.
I appreciate this video. It opens my eyes to ways to go wrong.
Great to hear, Brian! I'd say - build on the new knowledge with more score-reading, noticing where the reverse of certain errors (i.e. the right way of doing things you hadn't thought of before) represents solid approaches in the scoring of great composers. And even where they bend the rules in powerful ways, like the Mahler excerpt.
I'm in the process of arranging (expanding, somehow technically) the St. Anne Prelude and Fugue BWV 552 from the Busoni piano arrangement into a string nontet (4 vln, 2 vla, 2 vcl, and electric 5-string bass). I found these tips quite useful, and I'm so glad I've already taken the last 2 tips to heart. Hopefully I finish it in time to submit to you!
Fantastic video as always! Love learning about the small details about orchestration that make such large impacts for the players!
My pleasure, Scott!
Very good video. Teaching scoring from the viewpoint of what not to do instead of what to do is a really good way of teaching. Since every score is different.
Exactly - and this will help even more (I hope) for them not to be the same in the sense of errors.
@@OrchestrationOnline Will you make a second channel so I can hear the complete version of your Fumblerule Variations on Chopin’s Prelude Op. 28, No. 7?
The musical arrangement examples are awesome, hilarious, and genius! Thank you, Thomas!
Cheers, Bradley! 🍻
Thanks! As a pianist, there's a whole bunch of stuff that I didn't realize I was doing. Subscribed!!!
Thank you so much for this. If only one had had such good teaching sooner.
These tips are absolutely amazing, please make more stuff like this!
Thank you very much for creating this video and sharing orchestration tips! They are very helpful. I'm so grateful I found your video. So inspiring! Thanks very much.
Man, when I clicked on the video I thought this was gonna be interesting. When I saw the first seconds, I repented for a bit because I Thought it'd be a bit boring and the video was 24min long. But in the end, I enjoyed it more than I expected! You've gained a new subscriber :)
I already knew of all of this, but I gladly liked and subscribed to your channel purely because of how well you explain, being down to earth with your explanations.
Great job!
Thank you so much. You have no idea how much you're helping me.
Thanks, very helpful as seen in midst orchestration.
As a pianist with no orchestral experience who has recently started playing with an amateur orchestra, this video was very interesting, thanks.
Excellent video and insights, thank you!
Very good tips! Love it! keep up the great work.
Thank you SO much for including the bit about showing the middle of the bar. It drives me BANANAS when people don't do this. Or worse, argue against this.
Hopefully we can all start a trend of doing it the right way. It harms nothing to get it right.
Just pretend it's two 2/4 measures with an invisible bar in the middle, unless it remains stupid easy to read after ignoring the invisible bar.
im sharing your channel with everyone. The explanations and the examples are absolutely gold. From a student of musical composition who is learning the beautiful world of orchestration: Thank you so much, you are awesome!
I really appreciate your wonderful comment. I'm so glad that my resources are useful to you. Thanks for letting me know.
This was a very useful video. As someone who mostly arranges music for small ensembles, I find it hard to expand a piano part as described at 18:35 because I still have a similar natural limit to the number of voices/amount of sound the musicians can produce.
I've been running on fumes and vibes starting out (several years piano experience, a bit of cello and clarinet) so this will help a lot!
This is amazing, with a mere classical training in the guitar, and two years in classical piano, I can understand everything he is explaning, thanks!
Thank you so much for your comment, Ricardo! That is the best compliment of all - that my points are accessible and useful at many different levels and perspectives. I appreciate you letting me know.
Bravo Thomas, this is such a fine video! So far as the Harp, I am no expert at scoring for the Harp, though I have used it in many of my works. What many composers do not know, is that (unlike the piano) the Harpist only plays with 4 fingers on each hand. Although you can use more than 8 notes in a 'roll," the Harpist can not play more than 8 notes at a time, as you can while playing piano. In my last 2 orchestral works that included Harp ("Autumn Poem" and "Ballad of Wounded Knee") I discussed the Harp parts with each Conductor before the rehearsals. The Harp parts in each piece were for "musical color" and "tone color," though I wanted the Harp just a bit more present in the "Ballad of Wounded Knee" than in the "Autumn Poem." Sometimes, just dynamic markings are not enough, and actual conversation is needed with the Conductor and/or musicians, to let them know the Composers "personal" wishes and/or intentions for particular instruments or parts beyond the written score.....Peace!
Really good points, Gerald! My next orchestration tips book will have a chapter called "No Pinkies!" 😃
@@OrchestrationOnline Ha ha! 😃
Another piece of advice, unless you have a harpist physically there, writing the part with you, Do Not Write The Pedal Changes. Harpists all have different styles with pedal movements, and will probably write their own pedal markings anyway. Pedal charts however are really helpful.
Add this video to my need to watch more than once list!
That "Mahler" hurts my feelings. So happy I got in this at the beginning this time!
It would be great to get an entry from you, Chuck - and to soothe your wounds over my Mahliciousness, click through the link to my Mahler orchestration lessons on the Adagietto for some real love and learning about the piece.
I really loved the string chords you put underneath the flute part at 16:20 (even if the dynamics were unbalanced). Definitely worth repeating at the end!
Great topic! Thank you so much for sharing!
Really happy to, Erik! I've planned this video for over a year.
Gold mine video. Thanks
Wow. 3 minutes in and I have already subscribed....
Thank you for this! I only wish this was made sooner- some of these tips I didn’t encounter until my master’s degree.
Excellent, thank you!
Great work again. 🙏🙏🙏
thank you for making this this will be really useful for me
I'm definitely guilty of adding slurs to upbeats! So thank you very much for making me aware of that!
On the very long phrasing slurs in Liszt: Wagner and Strauss did this a lot too. Strauss as a conductor handled these moments (the Stokowski-way 😂) by allowing the players of the section to decide individually for themselves how many notes they can play within one bow stroke. In a section the individual bow charges won't be noticed so the end result will be one long legato line.
Good video, thank you for sharing!!!
Great video, thanks! 👍🙏 It would be great to have more audio examples here and there domonstrating what you explain (slurred pizz. etc.)..but that would be a great amount of additional work guess..
Thanks for this excellent video!!
Haha, well done. Get your pet peeves out of the way (I know it is more than that, and you present it well). I do love the little fragments of music under each scene. As if you composed a piece to exaggerate the error. Loved that!
Thanks for refreshing the memory, and hope to participate this year again :)
Thanks for your kind words about my Fumblerule Variations! Really looking forward to another entry from you, Jaap!
Very good advices!
I am currently composing a piece for one of the least common and underappreciated ensemble types, the woodwind trio.
Thought I missed the 2021 challenge announcement! Can't wait to see what excerpt comes up this year.
Go check it out, it just dropped today. Manuel de Falla's "Andaluza" from Cuatro Piezas Españolas. Hell on wheels. Would love to get a score from you.
One of my most embarrassing moments in music school was in composition class involving transposing errors. I was conducting a chamber group playing a short, (thankfully) piece of mine.
Great tips, thanks so much!
So glad they were useful, Carlos!
very good points - nice mandolin collection there too mate!
So many of theses are known especially if you have played in an orchestra! I learned about the timid dynamics when recording my string quartet! Also, its fun to guess the mistake before you say it. Thanks for the great content! edit. 18:00 ha! Composers have never cared for players feelings lol, jk, jk, *they didn't seem to!
@12:57 this one is so true! I had this exact situation in “The Stars and Stripes Forever” it was absolutely brutal to deal with.
It can be a tricky judgment sometimes. I'm not completely condemning it, but there always is a danger of a heavily-slurred work turning into slosh.
BEST WISHES TO YOU, SIR
A great excerpt to offer your viewers to score is the 8 bar into to Chopin's first Ballade. It would be a great lesson when to fill in supporting notes or not to with an octave line inn different ranges. Maybe as a warm-up exercise.
Funny, at 17:05 I was thinking that, except for a few of the lowest notes in that passage, I would have thought the flute SHOULD be able to cut through the strings IF the strings played softly enough- like if the strings were at pp or ppp and the flute were at mp or something. So I appreciated your little "post-it note" in the score! :-) (Of course, if that passage were a dynamics "who can play loudest" contest, or in many similar cases, the strings would totally wipe out the sound of the flute in that low register, as you point out.)
I agree with all! Thanks!
Like the reminder of the difference between marking sol, unison and alternation of players with woodwinds/brass and strings.
Also writing for harp successfully is very difficult - aside from throwing piano parts into the harp.
Thank you!
Thomas thanks for the video as usual very beautiful teaching and lesson. I can't wait for your more videos at 15:00 its looks crazy man and full of notes
Yeah haha that's me being excessively Lisztian for fun, just to make the poor imaginary harpist's life hell. 😃 Thank you for your very kind words, that makes me want to do more videos like this.
@@OrchestrationOnline Thomas you are a Genius it's my word.
This video is phenomenal! However it should be noted that this is directed toward a more classically trained orchestra
The same doesn't necessarily apply to other genres, like jazz for instance
With that said, when working orchestras into jazz, this is a really useful way to accomodate to the classically trained orchestra players!
I just discovered your channel and I love how straightforward and particular your advice is! If you (or anyone familiar with your channel) see(s) this, would you be able to point me in the direction of some good information specifically for wind/concert band? Thank you!
6:21 As a rookie, I usually do this, using forte, 'cause I think it makes clear the bow stroke must be as forte as every string (specially the lowest one) must be played and keep sounding as long as possible 😅 But, obviously, I never use this on piano (p) dynamics.
It makes me happy to know that I already don't do these things. Great video
18:50 Alkan seems to be very good at filling stuff in despite this. Sometimes it genuinely feels like there's more stuff there than there actually is.
EDIT: It's worth mentioning Alkan's Concerto and Symphony for Solo Piano.
Bravo!
I know the video is more about instrumental orchestration, and perhaps this topic was covered in a different video, but I was thinking of another exception to "splitting the middle", particularly when it comes to vocal music. To my understanding, and especially within scores of older composeres, a lot of barred notes (8ths, 16ths, etc.) tend to irregularly extend or split the note bars (or dots) based on the syllable that's being sung. For example, if you have a single syllable on one 8th or 16th note, and the next 8th/16th note is a different syllable, the notes will not be connected by a bar, but the lone syllable will appear under an unbarred note (with it's standard curved "flag").
Good tips here
11:10 in choral music, if two voices (e.g. Soprano and Alto) are shown on the same staff, then I would say unis is needed.
That Chopin's prelude crazy orchestration really made my day🤣🤣
No offence obv, we all make mistakes
its a good feeling when you watch this video and then see that you haven't made any of these mistakes in your score :))
Good on you, Willow!
thank you for this video, these are really good tips. I had a question though. why should unison and divisi only be used for strings?
Good question. When scoring for strings, since the instruments have multiple strings, the bow can play two strings at the same time, creating a harmonic interval or two independent voices. This is called a "double stop." Three or four strings can be played nearly simultaneously with a fast stroke, or slower and intentionally rolled or broken. This is called a "triple-stop" or a "quadruple stop." When you want each player to play all the pitches in this way, it's called "non divisi" - meaning "undivided." But sometimes playing both notes on the same instrument isn't very workable. In this case, you tell the string players "divisi", letting them know that they can divide the pitches between two or more players. When this is finished and you intend them all to play together, then you tell them "unison" - meaning all players come back together to play single notes together.
So here's the thing. Brass and winds cannot play more than one pitch at a time (except for multiphonics, which is as special technique). So there is no need to tell them "divisi" and "unison" - those terms do not apply to them, except as I mentioned in band scoring where you might have a large section of clarinets or some other instrument, and you need to tell them to divide two pitches between all the players instead of just the amount of players per pitch. But that is not a thing in concert orchestration.
Susan Allen at CalArts would've had a bunch of f-bombs at dumping a piano part into the harp part. You quickly learned. :)
Number 10 wow. That's one of the very basics of orchestration. I wonder if this mistake comes from composers using sample libraires when they write.
The first tip is actually hurting me. Just finished a piece with tons of mf, mp… Hahaha, I’m gonna change them tonight before everyone finds out
You don't have to change it all, but just don't let it be everything. That would be my instinct.
@@OrchestrationOnline Thanks, this tip is very helpful!
Hey, thanks for the video! What is the piece at 6:13? It sounds quite nice :D
Most drumming notation software would put the snare on the "C" place, but the actual place of the snare is in the "A". You now see snare on the C because how common this error went, but before scoring softwares, you saw the snare on the A more frequently.
Hello, thank you for the enlightenment!
Huge request, insert subtitles.
Unfortunately, I just started learning English, so I use subtitles with translation. Thank you!
Hello Yaroslav! Would that I had the time. I have huge empathy for the struggle to learn orchestration through another language. I too have pored over texts in other languages for the wisdom they contain, such as the as-yet untranslated (into English) books by Koechlin.
i really agree with this "timid dynamics" thing, but would like more explanations on this. Sometimes mf really needs a whole section. I guess the confusion starts with mf>mp mp>mf everywhere, then it becomes just another way of saying F and p, but then you loose the meaning of p and F
Excellent... beautiful
Thanks a bunch, Franco!
@@OrchestrationOnline please make other videos...we need these type of studies. Please tell me the name of your book on orchestration...thank you.
The ideas under How To Keep On Track will be visible to me at all times ... maybe I'll remember them this time. :-)
😃 I'm sure you will Dave! Thanks as always for your great outlook on things.
Another hot tip. Low brass breathes every few notes in a fortissimo passage and still every other bar or so in any well-sustained mezzo. Watch the Fountains of Rome excerpt played live by any tuba/bone quartet and you'll see what I mean. Sincerely, your tubist.
The 12 (painful) truths we all needed to hear
Here some tips specific to strings:
i don't know who needs to hear this, but dont make string players play left hand pizzicato, it has pretty much the same effect as pizzicato, but is just overly hard.
This is probably already said somewhere, but don't make string players switch from arco to pizzicato too quickly, especially double bassists struggle with changing their grip on such a large bow in a fast manner.
Try avoid string crossings that move over two strings repeatedly at quick tempos . Either make two players play at different registers, slow it down or change it completely.
Try to avoid double stops when writing for the double bass section. This often creates a muddy an unclear texture, and unless you're going for it, try to avoid doing that.
These final tips are pet peeves of mine, but shouldn't necessarily be avoided. Excessive use of trills or fast pizzicato is tiring and often annoying to play, and I myself don't like playing it, but if it benefits your piece, go ahead.
Also WRITE MORE DOUBLE BASS CONCERTOS!! The bass is a very under-utilized instrument, but composers like bottesini, frank proto. Andres Martin and vanhal have written wonderful concertos for the instrument. Hopefully composers will be inspired by them.
A fine example of following the rules so as not to commit error number 11 is Pictures At An Exhibition as is was written for piano v how the orchestral version was done.
Or Une Barque sur l’océan, which Orchestration Online has an entire series on! The arpeggios are often too impractical for transcription from piano to instrument parts, so Ravel completely reworked them and made them more textural
At 8:12, can you/should you break the beaming of the quarter notes to help emphasize the phrasing, especially in the left side example in 4/4? Shortly after you demonstrate how and why Mahler does it, but in the alternate version at 8:12 is specifically what I'm wondering about.
A flag on the 2nd 8th note of beat 3 is a standard engraving approach designed to help clarify the rhythm, but it's not always observed by engravers (or composers!).
Can you do a video that addresses the (realistic) orchestral applications of circular breathing for wind instruments?
Already got you covered in Chapter 1 of 100 MORE Orchestration Tips. My advice is to not rely on it, as it's not yet a universal technique, nor is it a panacea. Score the way the music needs you to score, but try to leave places where players can sneak a breath (like in the middle of a dotted rhythm).
You also have to keep in mind what the software allows. For example in musescore you have to mark the score ib terms of explicit literals for the correct effect as opposed to using more vauge terms for which the software has no rules and must ignore.
I am guilty of Mistake 11. However, the things I score for full orchestra run the gamut of range, sometimes to the extreme *coughcoughScriabinOpus62with-a-D8coughcough*
Now THAT'S bravery!
Dumping the piano part onto the poor harpist including all the chromatics, I had to laugh really hard on that one.