PUNKADEMIC Orchestration Masterclass Part 2 Brass Voice & Guitar TUTORIAL
Every aspect of composing for the orchestra whether you are working with real players or sampled orchestra libraries
What you’ll learn:
- Compose music for the voice, guitar, brass, and percussion instruments
- The unique properties of every instrument in the orchestra
- How writing for the orchestra works, including scores, parts, shared parts, and more.
- Making your synthesized orchestrations sounds great!
- How to write music for brass.
- How to write music for voice and choir
- How to write music for guitar
- How to write music for harp
Requirements
Understanding how to read music, or the basic principals of notated music will be helpful but is not required.
Orchestration Masterclass, Part 1: The Strings and The Winds is very helpful to have completed prior to this course, but is not required.
Description
100% Answer Rate! Every single question posted to this class is answered within 24 hours by the instructor.
Are you a music maker, performer, composer, or aspiring songwriter looking to up your game? This is the place to start.
It’s time to learn orchestration to give your music the power, the passion, and the prodigiousness that it deserves.
Orchestration is the study of each instrument in the orchestra, how they work, how to write for them, and how each instrument collides with the others to make new sounds. Think of it like painting: The orchestra is your palette of colors. But you don’t want to just mix them all together. You need to understand some principles of mixing those colors together before you put your brush on canvas.
In this series of classes we are going to work on three things:
- Instrumentation: Knowing how all of the instruments in the orchestra work, and how to write for them in an idiomatic way
- Composition: Using the orchestra to write powerful music. Learning how to blend the different sounds of the orchestra to make a new, unique, sound
- Synthestration: Using common production software (Ableton Live, FL Studio, Logic Pro, Pro Tools, Cubase, etc.) to create a realistic orchestra sound using sample libraries
In this class, “Part 2: Brass, Voice, and Guitar” we are going to focus entirely on instrumentation – learning how to write for the brass (trumpet, trombone, french horns, and tuba) the voice (soprano, mezzo-soprano, alto, counter-tenor, tenor, baritone, bass), percussion, guitar and other fretted instruments, piano, accordion, and more.
If you don’t know me, I’ve published a lot of classes here. Those classes have been really successful (top sellers, in fact!), and this has been one of the most requested class that my students (over 1,000,000 of them) have asked for. I’m really excited to finally be able to bring this to you.
Here is a list of some of the topics we will cover:
- How Brass instruments make sound
- Dynamics in Brass
- Breathing
- Brass articulations
- Types of trumpets
- Types of trombones
- Types of tubas
- Types of horns (or French Horns)
- Brass mutes
- Brass forces in an orchestra
- The pitched and unpitched percussion
- Rolls and strokes
- Bowed percussion
- Percussion notation issues
- Drum Kit
- Tessitura and Range of the Voice
- The soprano range and color
- The alto range and color
- The mezzo-soprano range and color
- The counter-tenor range and color
- The tenor range color
- The baritone range and color
- The bass voice range and color
- Writing for the piano
- Writing for the harpsichord, toy piano, and other keyboard instruments
- Writing for the harp
- Writing for the organ
- Writing for the guitar
- Writing for other fretted instruments
- Dynamic issues with the guitar
- Guitar and tablature
- Writing for accordian
- And Much, Much, More!
