Greetings! I have been recently starting to score some of my pieces but have realized that I'm having trouble assigning dynamics and especially how the dynamics might affect the other instruments.…Continue
"Haha my favorite conductor used to say the same exact thing to us about finding the melody in the piece. That is so true. With orchestral composing it can be challenging to write and constantly be going back and adjusting sections and parts for…"
"From my POV, any manipulation of the sound file is secondary. The composer's primary concern ought to be with the music itself. This does not mean the quality of the sound file is not important, of course; but the point is that if the music…"
"Learn your software. Know the instruments you are working with.
You don’t need an audio engineer to tell you how to pan and set EQ. But you do need to know how to do it in your software. If I write for string orchestra in Sibelius, it will…"
"I agree with Ondib's "general philosophy" on sound whether humanly or machine produced and I think it raises a lot of questions to both approaches. Still, I think that Bob and Teoh gave god practical advise on the human side of…"
""The first thing you should do is to cultivate a healthy distrust of the sound your computer produces -- because what the computer produces is often very different from what a real orchestra sounds like. Always assume the computer is…"
"One of things my conductor said to me was that part of his job was to find the melody.
He will often ask a player to change the part's dynamics so as to be heard or not heard so much.
Strings generally play everything mf given the chance,…"
"Dynamics are relative to the group, the conductor and the room. All you can do is write what you think you want. But how do you do that? It's not like there is a specific db level assigned to each dynamic level. Do WWs playing forte sound as…"
" "cultivate a healthy distrust of the sound your computer produces" Love it! It is a very scary yet exciting thing to think about how different your music will sound once actually performed. That is something I have…"
"I would highly recommend listening to more orchestral works (by live orchestra, not sequenced). If you cannot afford or it's otherwise inconvenient to attend live concerts, I recommend listening to as many recordings as you can for each…"
Your absolutely right, the best experience would come from the 'hands on' kind. I have practically no experience with a live orchestra. The only thing I can go by is the virtual instruments sound. How that might translate into…"
The best resource is personal experience with the instruments you are using. There is no substitute. There are books on orchestration that can give you an idea of what to do. But in the end, knowing the instruments is the best…"
Greetings! I have been recently starting to score some of my pieces but have realized that I'm having trouble assigning dynamics and especially how the dynamics might affect the other instruments. For example if one instrument is too loud it might drown out another instrument. So I guess what I'm asking is there a general rule or tips/ tricks when adding the dynamics of a piece—like how loud should the melody or secondary melody be in comparison to say the rhythmic or supporting structure? What…See More