Conclusion to the course, and a look ahead

[belkina]

The sections of RK on orchestrating with singers are indeed important. We may be able to do someting about them at a later date. For the moment, the simulation of voices is still a problem, but that is gradually changing. Meanwhile there are other things on the way before much longer. ;-)

What happened to the chapters at the end of the book, dealing with orchestrating for vocalists? I suppose that would have been too hard to illustrate aurally. However, since I have a copy of this book and am thoroughly familiar with it, the real value of this course for me was the input from more modern composers. I was looking forward to what they would have to say about arranging vocals and how to score accompaniment for singers Perhaps, that should be the next logical step for the next course.

[wes37]

How long will this material stay on this forum? I'm currently deployed and won't be able to really invest time in this course until I return.

Any additional thought to bundling the course on a CD-Rom and selling it?

[rino]

Any additional thought to bundling the course on a CD-Rom and selling it?

...same thought here!

[snorlax]

We have reached the end of the course already! We started last April and have gone thrpough quite a bit of material. It has been a worthwhile learning adventure and I thank you all for participating.

To my knowledge, nothing like this has been done before. I hope it serves as a model for other courses.

And a big thank you is in order for Prof. Alan Belkin and the other professors who asissted in this course.

In this extensive orchestration course, you have built a foundation for learning more about orchestration. There are many resources available. This course will remain here so people can come in and learn at their convenience.

If you'd like to learn more, we'd love for you to continue to join us for future courses.

Gary Garritan

I would like to add a few words as the course comes to an end...

My first word is THANKS to all of you who made public and private posts to me about the low brass instruments, how they work, and how best to write for them. Your questions were insightful. Stay tuned; there's more to come on low brass!! I promise...ALSO: PLEASE DON'T STOP DEVELOPING!! Just because the course is "over" doesn't mean that you stop working--KEEP GOING!!

My second word is THANKS, as relayed to me by many low brass players, who saw what I wrote about the instruments, saw what some of YOU wrote for them, and beamed with enthusiasm...today's low brass players are better than ever and await your further efforts!

My third word is THANKS to all of you who participated, in public or in private. Many of you have bravely subjected your work to public scrutiny--the comments were both kind and developmental--it couldn't have been done any better.

My fourth and fifth words are THANKS to Gary for putting this course online. He has stated so many times that his goal is to make music more available to people, and he has scored a big Peyton Manning Touchdown success(sorry--a Colts fan!) with this course. I'd also like to express my appreciation for Gary's allowing me to play a small role in this by copying some of the excerpts and advising on the low brass.

Finally, but certainly not least, THANKS to Alan Belkin for his pivotal role in helping us to develop our skills. He is both a powerful composer and a wonderful educator.

Again, as an educator myself, my parting words to my students every semester are that LEARNING NEVER STOPS, even when class is "over." Please use this as a start and KEEP GOING!!

Jim Williams

[andrewjs]

There are a lot of threads for this course, so forgive me if this question has already been asked.

Are all the audio examples throughout the course made *exclusively* using the Garritan Orchestra library? Or were any other libraries used? You don't have to name them if they were, but I'd like to know if these samples genuinely represent solely Garritan.

Thanks,
Andrew

[Garritan]

There are a lot of threads for this course, so forgive me if this question has already been asked.

Are all the audio examples throughout the course made *exclusively* using the Garritan Orchestra library? Or were any other libraries used? You don't have to name them if they were, but I'd like to know if these samples genuinely represent solely Garritan.

Thanks,
Andrew

Andrew,

The vast majority of the scores used GPO. In a few cases the Strad, JABB, GOS and GPOA were used.

Gary Garritan

[Jeannot Welter]

With the study of Rimsky everybody should have a solid fundamental knowledge of orchestration. To further develop orchestration techniques I recommend the study of scores by Debussy and Ravel, especially the scores that exist in both piano and orchestral versions.
Another interesting study is Ravel's orchestration of Moussorgsky's "pictures".
Prokofiev and Bartok are two other favorites of mine, sometimes they go against mainstream principles and are highly successful...

Jeannot Welter.

[andrewjs]

Andrew,

The vast majority of the scores used GPO. In a few cases the Strad, JABB, GOS and GPOA were used.

Gary Garritan

Are all of the sound samples in this series created by playing the scores through Finale with GPO or the other libraries you mention? Or were they scored then exported into sequencers and tweaked, for example? I am trying to understand the process for using these libraries to create decent sounding orchestral mockups, and the ones I've heard so far here in this course sound quite good.

Also, what is GPOA? Is there a page dedicated to this product that explains its differences over GPO?

Thanks,
Andrew

[kinikinik]

I enjoyed the course immensly and can't wait for the next sessions to begin.

I have no formal education beyond high school (and school band), so this, to me at least, gives me a taste of what the heart of orchestration and music composition really boils down to. I have found a new respect for both the classical and modern composers alike, and their music.

At 71 years of age, I am playing "catch up" with self education. I have learned so very much from this extremely vital course. Please keep it going.

--Don Moore (kinikinik)

[snorlax]

I enjoyed the course immensly and can't wait for the next sessions to begin.

I have no formal education beyond high school (and school band), so this, to me at least, gives me a taste of what the heart of orchestration and music composition really boils down to. I have found a new respect for both the classical and modern composers alike, and their music.

At 71 years of age, I am playing "catch up" with self education. I have learned so very much from this extremely vital course. Please keep it going.

--Don Moore (kinikinik)

Glad you liked it...I'm "only" 55 and I'm having a great time. This is a great learning place...stick around; there's more to come!!
Jim