Orchestral Instruments- an overview

Frodo · Post by **Frodo** » Mon Jun 18, 2007 2:04 pm

I thought it might be fitting to discuss elements of reality to assist with an understanding of creating the same illusion in virtual reality.

For a start, some of you might appreciate this pdf showing quite a bit of detail in a concise chart regarding ranges and techniques used with orchestral instruments:

http://www.elvenmusic.com/vsl/chart/chart.html

Certainly, I'm finding that strings are the most difficult to program because of elements of string crossings, up and down bowings and other techniques. Some VIs don't allow for certain types of articulations-- for example: consecutive down bows, natural and false harmonics, flautando, etc., so there will be some limits to what can be done in MIDI world on a literal basis. However, there are lots of tips and tricks for emulating such things floating around the web, so perhaps those issues are best addressed as questions arise.

Basically, let's use this thread for discussing orchestral instruments themselves, which I hope will help spawn discussions about how one might squeeze out the best of what different virtual instruments have to offer in this regard.

zaster · Post by **zaster** » Mon Jun 18, 2007 2:23 pm

This is a good quick range/transposition reference too:
http://musicarrangers.com/instruments/m ... ments.html

Frodo · Post by **Frodo** » Mon Jun 18, 2007 2:31 pm

zaster wrote:This is a good quick range/transposition reference too:
http://musicarrangers.com/instruments/m ... ments.html

Good one, Zaster! Easy and to the point.

MIDI Life Crisis · Post by **MIDI Life Crisis** » Mon Jun 18, 2007 2:50 pm

Frodo wrote:
zaster wrote:This is a good quick range/transposition reference too:
http://musicarrangers.com/instruments/m ... ments.html
Good one, Zaster! Easy and to the point.

My only complaint would be the exclusion of the organ. But a great resources for fast reference.

zaster · Post by **zaster** » Mon Jun 18, 2007 3:55 pm

I love this quote, under rhythm section:

Rhythm Section players are improvisers. Simplicity is the rule.

The piano part is written as a short score. The player improvises around what you have written. Don't give them complicated melodic and harmonic lines. Write simply. Include all important chords and phrases. The pianist will play good and complicated (if required) if you write clear and simple.

The drummer knows how to play the basic rhythms. Tell them the idiom you want. Let them do the rest. When you want a fill, write fill. Their improvised fill will sound better than your written one. The drummer needs very little: all important brass phrases, conductor markings such as tempo changes, and 8 bar markers so they can take in 8 bars at a time. The drummer needs to be free to feel the band as the band is playing.

Bass gives tonality to the bass drum thud. Bass and drums work together. Most bass players are not worthy improvisers. Write every note you want them to play. Don't trust them with a chord chart.

It's like going instrument by instrument saying "trust the musicians" until it gets to the poor bass player! Cracks me up-
I had to forward that to my bass player friend!

Frodo · Post by **Frodo** » Mon Jun 18, 2007 4:05 pm

Idn't that a crack up?

But we know better, and everything is to be done in moderation (except for maybe moderation itself).

iMAS · Post by **iMAS** » Tue Jun 19, 2007 12:31 am

Principles of Orchestration By Rimsky-Korsakov
Here:

http://www.northernsounds.com/forum/for ... y.php?f=77

Study at your own pace.

zaster · Post by **zaster** » Tue Jun 19, 2007 12:40 am

Evcellent suggestion! I actually love some of these renderings too (all done with GPO) FWIW.

Mr_Clifford · Post by **Mr_Clifford** » Tue Jun 19, 2007 12:51 am

The guitarist wants rhythm and chords. Rhythm guitar accents with the snare drum.

No he doesn't. He wants "solo, improv. 64 bars".

zaster · Post by **zaster** » Tue Jun 19, 2007 1:15 am

They're talking about the rhythm guitarist! Don't you remember the rhythm guitarist?! That's the one who doesn't want a solo!

Keith Richards is rolling in his grave right now!

Wait a minute...

Mr_Clifford · Post by **Mr_Clifford** » Tue Jun 19, 2007 2:07 am

zaster wrote:They're talking about the rhythm guitarist! Don't you remember the rhythm guitarist?!

NO-ONE REMEMBERS THE RHYTHM GUITARIST!!!

zaster · Post by **zaster** » Tue Jun 19, 2007 2:22 am

Mr_Clifford wrote: NO-ONE REMEMBERS THE RHYTHM GUITARIST!!!

Keith Richards is rolling in his grave!

Doh! I did it again!

kinnylandrum · Post by **kinnylandrum** » Tue Jun 19, 2007 3:57 am

I have a few simple rules about any rhythm section writing, from lead sheet to full orchestration: When you know what you want, write it out completely; when you don't, leave it open. And hire good players. But that quote about rhythm players was all to indicative of what too many guys do, either write too much or write too little.

Frodo · Post by **Frodo** » Tue Jun 19, 2007 5:41 am

back to orchestral instruments...

Samuel Adler: Study of Orchestration

This book is a great compliment to the Rimsky-Korsakov, and even the Berlioz Treatise on Instrumentation.

You know, we can create separate threads for arranging and even scoring for a rhythm section specifically. There are enough issues on this topic that warrant unique discussions. What constitutes "too much" or "not enough" being written for a rhythm section depends on the rhythm section. I've got few observations about this myself and will start a thread on it to get a more in depth discussion about it going.

mckelly · Post by **mckelly** » Tue Jun 19, 2007 7:30 am

Here's a good overview of symphonic instruments:

http://vsl.co.at/en-us/70/149/46.vsl