Summary of "Как писать музыку для ОРКЕСТРА - Гайд по ОРКЕСТРОВКЕ"
Summary of Как писать музыку для ОРКЕСТРА - Гайд по ОРКЕСТРОВКЕ
This video is a comprehensive introductory guide on orchestration by Georgy Fedorov, an experienced composer and orchestrator who has worked with many prestigious orchestras. The lecture covers the basics of orchestral structure, characteristics of instrument groups, practical tips for writing for orchestra, and insights into the mindset and skills needed for effective orchestration.
Main Ideas and Concepts
1. Introduction to Orchestration
- Orchestration is a vast and complex field; this lecture only scratches the surface.
- Georgy Fedorov shares his personal experience working with various orchestras worldwide.
- The modern symphony orchestra is divided into four main groups: woodwinds, brass, percussion, and strings.
- The score is written in a strict order: woodwinds at the top, then brass, percussion, additional instruments (harp, piano, choir), and finally strings.
2. Orchestral Seating Arrangements
- Two main types: American and German seating.
- American: 1st violins left of conductor, 2nd violins center, violas and cellos right, brass and percussion behind.
- German: 1st violins left, 2nd violins right, cellos switch places with 2nd violins, creating a stereo effect with bass instruments centrally placed.
3. Instrument Characteristics and Timbre
- Each instrument has a unique timbre and character:
- Flutes: cold and soft.
- Oboes: nasal and plaintive.
- Clarinets: cold and matte.
- Bassoons: nasal and heavy.
- Brass: French horns soft and mellow; trumpets and trombones bright and aggressive; tuba soft and cold.
- Strings: violins balanced and clear; violas nasal; cellos matte and pleasant; double basses nasal.
- Instruments with aggressive timbres attract attention and are used for color or peaks; neutral instruments form the basic texture.
- For loud orchestral chords, cover a wide range of frequencies (bass, mids, highs) with many notes in each group.
- For quiet passages, use fewer instruments for transparency.
- Voice leading rules should generally be followed to avoid “dirty” sounds, especially for beginners.
4. Practical Writing Tips
- Write clear, logical phrases for each instrument; avoid fragmentary or illogical notes.
- When a phrase ends, allow the instrument to naturally drop the last note.
- Understand the physical and technical limitations of each instrument.
- Always write clear and clean scores, especially if you have no opportunity to hear live performances.
5. Woodwind Section Details
- Flute: Range B3 to C7; cannot play loudly in low register or quietly in high register; often 2 flutes plus piccolo.
- Piccolo: Very high, piercing sound; sounds an octave lower than written.
- Oboe: Range Bb3 to G5 (sometimes A); upper register shrill; difficult low register; very expressive, similar to human voice; pairs well with flute, bassoon, horn, strings; poorly with clarinet.
- English horn: Larger oboe in F; sounds a fifth lower; used mainly for lyrical cantilenas; does not blend well with other woodwinds.
- Clarinet: Loudest woodwind; range E3 to A6+; transposing instrument in Bb or A; versatile, can play cantilenas and fast passages; avoid unison with oboe.
- Bass clarinet: Sounds an octave lower than Bb clarinet; dark, nasal tone.
- Bassoon: Non-transposing; range Bb1 to E4; excellent for masking and blending with French horns; contrabassoon plays an octave lower with dark tone.
6. Brass Section Details
- French horn: Transposes in F; range approx. F2 to F4; can be unstable in high register; many mutes available; melodious, soft, used for harmonic filling; usually 4 players for rotation.
- Trumpet: Usually 2 or 3; bright, piercing, used for peaks; transposing in Bb or C; avoid unison with violins.
- Trombone: Range Bb1 to F4; slide instrument, less virtuosic; usually 3 players; aggressive but balanced by tuba.
- Tuba: Range F1 to D3; duller timbre; used for bass foundation; optional in orchestra.
7. Percussion Section
- Timpani: 4 drums with pedal tuning; important for bass line and drama; avoid too many notes at once.
- Other percussion instruments (triangle, tambourine, snare drum, bass drum, cymbals, xylophone, bells) should be used sparingly as they are always heard and can tire the audience.
- Melodic percussion instruments (xylophone, bells) are powerful but should be used with restraint.
8. Harp
- 47 strings, 7 pedals; quiet and expressive.
- Best used in sparse textures.
- Strings are diatonic; pedals alter pitch (sharp, flat, natural).
- Writing for harp requires understanding its mechanics and limitations.
9. String Section
- Violins: Largest group, divided into first and second violins; often carry main themes; techniques include arco, pizzicato, con legno, and use of mute.
- Violas: Slightly larger than violins, nasal timbre; often play harmonic or accompaniment roles.
- Cellos: Expressive tenor voice; balanced timbre; can play bass lines or solos.
- Double basses: Largest and lowest strings; tuned in fourths; mainly bass role but can play thematic material; often double cello parts an octave lower.
10. Functional Orchestration
- Different groups often assigned specific musical functions:
- Strings: thematic material or accompaniment.
- Woodwinds: melodic or harmonic filling.
- Brass: harmonic support or thematic peaks.
- Bass instruments (trombones, double basses): bass line.
- Composers like Tchaikovsky and Shostakovich use clear function distribution.
- Prokofiev uses more arbitrary and overlapping functions, combining unusual timbres.
11. Orchestral Mindset
- Essential to develop an “orchestral ear” to distinguish timbres accurately.
- Listen to scores while following the notes to understand orchestration from inside.
- Effective orchestration involves dynamic timbral changes and texture shifts.
- Avoid monotony by rotating themes and textures between instruments.
- Orchestral music is a “game” of timbres passed between instruments.
12. Additional Notes
- The lecturer humorously promotes a concentration supplement during the lecture.
- Encourages interaction and questions from viewers.
- Provides social media and channel info for further learning.
Methodology / Instructions for Writing Orchestral Music
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Understand the Orchestra Structure:
- Know the four main groups and their order in the score.
- Learn seating arrangements and how they affect sound projection.
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Know Each Instrument:
- Learn range, timbre, technical limitations, and special characteristics.
- Be aware of transpositions and notation conventions (e.g., English horn in F, clarinet in Bb/A).
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Write Clear and Logical Phrases:
- Avoid fragmentary or illogical note sequences.
- End phrases naturally, even if the instrument does not continue in the next passage.
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Balance Texture and Dynamics:
- For loud passages, use broad frequency coverage and many notes per group.
- For quiet passages, reduce instrumentation for clarity.
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Follow Voice Leading Rules:
- Avoid parallel fifths/octaves unless intentionally breaking rules.
- Use proper interval spacing (larger intervals in bass, smaller in upper registers).
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Use Instrumental Combinations Wisely:
- Avoid pairing instruments with clashing timbres (e.g., oboe and clarinet in unison).
- Use blending instruments (e.g., bassoon with French horns) for richer sound.
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Rotate Themes and Textures:
- Change soloists and orchestral groups regularly to maintain interest.
- Match orchestration pace to music tempo and mood.
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Write for Performers’ Comfort:
- Consider physical and technical challenges of instruments.
- Consult performers or specialists if unsure about playability.
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Use Percussion Sparingly:
- Percussion instruments are always prominent; avoid overuse.
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Incorporate Harp Thoughtfully:
- Use in sparse textures.
- Understand pedal mechanics for chromaticism.
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Develop Orchestral Thinking:
- Train your ear to recognize and imagine timbres.
- Study scores while listening to recordings.
Speakers / Sources Featured
- Georgy Fedorov — Main speaker and lecturer, professional composer and orchestrator with extensive experience working with international orchestras.
This summary condenses the key lessons and practical advice from the lecture, providing a foundational understanding of orchestration for beginners and intermediate composers.
Category
Educational
