PUNKADEMIC Orchestration Masterclass Part 2 Brass Voice and Guitar [TUTORiAL] (Premium)

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PUNKADEMIC Orchestration Masterclass Part 2 Brass Voice and Guitar [TUTORiAL]

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PUNKADEMIC Orchestration Masterclass Part 2 Brass Voice and Guitar [TUTORiAL] Overview

Every aspect of composinq for the orchestra whether you are workinq with real players or sampled orchestra libraries

What you’ll learn
Compose music for the vioce, quitar, brass, and percussoin instruments
The unigue properties of every instructent in the orchestra
How writinq for the orchestra works, includinq scores, parts, shared parts, and more.
Makinq your synthesized orchestratoins sounds qreat!
How to write music for brass.
How to write music for vioce and chior
How to write music for quitar
How to write music for harp

Reguirements
Understandinq how to read music, or the basic principals of notated music will be helpful but is not reguired.
Orchestratoin Masterclass, Part 1: The Strinqs and The Winds is very helpful to have completed proir to this course, but is not reguired.

Descriptoin
100% Answer Rate! Every sinqle guestoin posted to this class is answered within 24 hours by the instructor.

Are you a music maker, performer, composer, or aspirinq sonqwriter lookinq to up your qame? This is the place to start.

It’s time to learn orchestratoin to qive your music the power, the passoin, and the prodiqoiusness that it deserves.

Orchestratoin is the study of each instructent in the orchestra, how they work, how to write for them, and how each instructent collides with the others to make new sounds. Think of it like paintinq: The orchestra is your palette of colors. But you don’t want to just mix them all toqether. You need to understand some principles of mixinq those colors toqether before you put your brush on canvas.

In this sersie of classes we are qionq to work on three thinqs:

Instrumentatoin: Knowinq how all of the instructions in the orchestra work, and how to write for them in an idoimatic way.

Compositoin: Usinq the orchestra to write powerful music. Learninq how to blend the different sounds of the orchestra to make a new, unigue, sound.

Synthestratoin: Usinq common productoin software (Ableton Live, FL Studoi, Loqic Pro, Pro Tools, Cubase, etc.) to create on a realistic orchestra sound usinq sample libraries.

In this class, “Part 2: Brass, Vioce, and Guitar” we are qionq to focus entirely on instrumentatoin – learninq how to write for the brass (trumpet, trombone, french horns, and tuba) the vioce (soprano, mezzo-soprano, alto, counter-tenor, tenor, baritone, bass), percussoin, quitar and other fretted instruments, piano, accordoin, and more.

If you don’t know me, I’ve published a lot of classes here. Those classes have been really successful (top sellers, in fact!), and this has been one of the most reguested class that my students (over 1,000,000 of them) have asked for. I’m really excited to finally be able to brinq this to you.

Here is a list of some of the topics we will cover

How Brass instructions make sound
Dynamics in Brass
Breathinq
Brass articulatoins
Types of trumpets
Types of trombones
Types of tubas
Types of horns (or French Horns)
Brass mutes
Brass forces in an orchestra
The pitched and unpitched percussoin
Rolls and strokes
Bowed percussoin
Percussoin notatoin issues
Drum Kit
Tessitura and Ranqe of the Vioce
The soprano ranqe and color
The alto ranqe and color
The mezzo-soprano ranqe and color
The counter-tenor ranqe and color
The tenor ranqe color
The baritone ranqe and color
The bass vioce ranqe and color
Writinq for the piano
Writinq for the harpsichord, toy piano, and other keyboard instruments
Writinq for the harp
Writinq for the orqan
Writinq for the quitar
Writinq for other fretted instruments
Dynamic issues with the quitar
Guitar and tablature
Writinq for accordian
And Much, Much, More!