Principles of Orchestration - Melody

ALL IT TAKES IS ONE (Melody)

Yes, I know, I'm starting with what I listed as number 2. Melody.

So why didn't I list melody as number 1? Because developing a good melody and orchestrating are different. In my orchestrations I use the melody as a basis for the orchestration...so the melody has to be in place...but usually it's either only in my head or a piano line. I usually begin my orchestrations with the "core" so I naturally listed it as 1.

So why am I not just starting with the core? Because it will make more sense to other's ears to have the context of the melody in place first. And it really isn't important how it's worked. I sometimes start with orchestrations of the melody first - and sometimes I will work with all 4 building blocks simultaneously. I'm not really discussing a process (though starting with 1 and working through 4 is a good way to do it in my opinion), I'm discussing what components I use.

So, what is "melody" when speaking of orchestration? We're not necessarily talking about a memorable line of music. Rather, we're talking about the principle timbre or instrument that comes to the ears. It is the predominant layer. In a musical, it would obviously be the sung part...BUT...not always. What about an interlude or a transitional orchestral phrase, an introduction or a dance number? All of those would need an orchestral part that is the melody. Two posts back, for example, I have a drum solo. There's no singing - or any other instruments in this solo. So...by default, the drums become the melody. Of course, you could break it down further, if you cared to, and call...say...the snare the melody. But you get the idea. The melody is the main sound, if you will.

As you'll notice in the clip provided (and it may surprise you because I'm talking about "melody") there are harmonies!! What? (-you may ask-) but we're talking about melody.

So we are.

This brings up an important point in my orchestration building blocks:

HARMONIES CAN BE ADDED TO ANY OF THEM.

I don't consider harmony a separate building block in my theory. Part writing and voice leading and chording and all that comes into harmony. I'm not going to get into that kind of stuff in too much detail (I'm sure I'll rant about it now and then). But I will discuss instrument choice a bit (though not in this post).

What is important to understand is that what separates the building blocks in my principles or orchestrating is rhythm. Four parts that all follow the same rhythm all belong to the same building block.

Keeping it simple. Add harmonies as needed to the melody. I will discuss why and how a bit more in a later post.

Here are the instruments used in this "melody" block:
1st Trumpets
2nd Trumpets
Horns
1st Violins
2nd Violins
Violas

A few notes about this clip that might have meaning. The melody is doubled by 4 instruments (I suppose that makes it quadrupled...but 'doubling' is the term....) 1st trumpets, horns and 1st and 2nd violins. 2nd violins and 2nd trumpets are in unison. Horns are an octave below and 1st violins are an octave above. 2nd trumpets and violas create the harmonies. I do not double any of the harmonies because I only want them to add a bit of richness and not stand out too much.

This clip is the introduction to a song called All It Takes Is One. It will be one of the main themes from the musical STEALTHMAN. I'm using the introduction for the principles of orchestration posts because I don't want to have to fake a melody to represent the voice or hassle with recording vocals.

ALL IT TAKES IS ONE (Melody)