Orchestration 2: Writing Techniques for Full Orchestra - Syllabus http://www.berkleemusic.com/school/course/orchestration-2-wri...

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Browse Orchestration 2: Writing Techniques for Full

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Sample Courses Author: Ben Newhouse

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School Information Lesson 1: Color Choices
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Grouping Instruments by Color, not by Range
Search Online Courses Approaching Color Choices Systematically Questions?
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Waveform Structure
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Color Choices in Appalachian Spring
Simple Gifts Summary
Listening and Discussion: Shostakovich's Symphony No. 5 COURSE INFO

Doubling and Its Effect on Tone Color For-credit tuition: $1,400

Non-credit tuition: $1,200
Orchestral Mockups: The Two Circles Add 6 CEUs: $25.00
Workshop: Feeling Blue Credits: 3

Lesson 2: Orchestrating Dynamics Duration: 12 weeks

Catalog #: BMPR-266
A General Framework for Dynamics
Orchestrating Accents I
Course Faculty
Orchestrating Accents II
Orchestrating a Crescendo or Diminuendo Ben Newhouse
Assistant professor at
Orchestral Mockups: Battling Computing Limitations I
Berklee College of
Lesson 3: Orchestrating Lines Music and a music
supervisor and
Dovetailing Dictated by Range composer on dozens
Dovetailing Dictated by Playing Limitations of television shows,
films, and stage
Lines for Single Instruments and Doublings productions.
Segmenting a Melodic Line
Pointillism and Beyond
Orchestral Mockups: Battling Computing Limitations II

Lesson 4: Orchestrating Harmonic Material

Voicing Chords for Full Orchestra

Combining the Families
Using Woodwinds to Extend the Brass Family
Examples of Chord Voicings
Inversions
First Inversion
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Orchestration 2: Writing Techniques for Full Orchestra - Syllabus http://www.berkleemusic.com/school/course/orchestration-2-wri...

Second Inversion
Sustained Harmonic Accompaniment
Moving Harmonic Accompaniment
Extended Harmonic Passages
Orchestral Mockups: Combining Samples

Lesson 5: Orchestrating Single-Layered Textures

Tutti Statements
Variety in Tutti Statements
Flight of the Hornet Toad
Homophonic Statements
Inexact Doubling
Orchestral Mockups: On-Velocity

Lesson 6: Orchestration in a Two-Layered Environment

Creating Separation
Maintaining Balance
Focus—Guiding the Listener's Attention
Separation, Balance, and Focus in a Two-Layer Texture
Orchestral Mockups: Continuous Controllers and Dynamics

Lesson 7: Orchestration in a Three-Layered Environment

Foreground, Middleground, and Background Material in

Tannhauser
Create a Three-Layered Orchestration
Foreground, Middleground, and Background Material in Bolero
Foreground, Middleground, and Background Material in
Tchaikovsky
Orchestral Mockups: Fine-Tuning Rhythm

Lesson 8: Complex Textures of Four or More Layers

Limits to Human Perception

Stravinsky's Fireworks
Extreme Complexity: The Rite of Spring I
Extreme Complexity: The Rite of Spring II
Controlled Chaos Textures
Orchestral Mockups: Horizontal Placement

Lesson 9: Horizontal Relationships I

Horizontal Relationships
Horizontal Relationships in Tchaikovsky 5, Part I
Horizontal Relationships in Tchaikovsky 5, Part II
Varying Tone Color and Focus over Time
Horizontal Relationships in Tchaikovsky 4, Part I
Horizontal Relationships in Tchaikovsky 4, Part II
Orchestral Mockups: Reverb Background

Lesson 10: Horizontal Relationships II

Horizontal Balance
Horizontal Balance in Beethoven
Horizontal Balance in Orff
Horizontal Balance in Tchaikovsky
Orchestral Mockups: Reverb Routing
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Orchestration 2: Writing Techniques for Full Orchestra - Syllabus http://www.berkleemusic.com/school/course/orchestration-2-wri...

Review of Key Concepts

Lesson 11: Hollywood Textures I

Sustained String Cues

Rozow
Mystery and Magic Cues
Theme Cues I
A Williams-esque Phrase
Orchestral Mockups: Vertical Placement

Lesson 12: Hollywood Textures II

Theme Cues II
Jesse's Bridge
Bouncy Comedy Cues
Action Cues
An Action Sequence Orchestral Mockups: Mastering

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