Principles of Orchestration

So I thought it might be of interest if I shared the technique I utilize for orchestration. Some of these ideas are original and some of them are not - but I believe the presentation and organization of them is original. If not, it's only by chance.

Orchestration is NOT the same as part writing or realizing figured bass or any of that fun college music theory stuff. A lot of people think it is. Those things can play into it, but ultimately, orchestration is the interplay of timbre. You can use really bad voice leading (if there truly is such a thing - music is an art form, afterall) and still have stunning orchestrations (though that is also subjective, when it comes right down to it.)

I'm not going to talk about instrument ranges or transposition or any of that basic stuff that you can get in any orchestration book or class.

My orchestration technique is built of four compositional pieces - or building blocks, if you will.

1. CORE
2. MELODY
3. COUNTERPART
4. FILLS

In coming posts, I will explain each of these, how I use them and why I think the way I do when it comes to orchestration. Some of these are obvious...and some seem obvious but you may find that when I explain them it wasn't quite what you thought.

I will also post audio clips (from the muscial STEALTHMAN) to demonstrate.

My ideas about harmony, theory and orchestration are not entirely conventional. If you don't agree with them, feel free to disregard. But hopefully someone will find the information useful.

Please keep in mind too that this is an idea in development. I orchestrate how I orchestrate...have been for years. But I'm still working on describing the technique in someways. So I may end up with a few retractions or backpeddling moments in coming posts. We'll see.