today we're going to see how to go from
this to something more like this
[Music]
basically DDA's I'm gonna show you how
to go from piano to full orchestra
usually people when they have to do that
they take the MIDI from the piano sketch
and they take the dissected maybe this
is the bass line this is the
harmonization of the bass line this is a
staccato pattern we have this is the
main melody and they copy-paste it
around new york is from patches they
have but that's not the only thing you
need to do to get there actually if you
do that this is the results you get
[Music]
which is nowhere as big as the one I
showed you before now but let's analyze
what's going on I'm gonna show you a bit
by bit how I develop this track
basically for these first caches are
stick to piano and I you know put the
you know the bass line on this cellos
patch from a trapeze or Quan actually
those strings patches playing the
sustain so that we had on that bass you
know notice then we have the melody
being played by this we cut the line
and if I showed you the velocity you're
gonna see it changes slightly so I have
this sort of rhythm because of porosity
as well then I have the same melody
playing on cellos on scene at extreme
Chu as for the violas they're doing the
speaker that we heard before
you're Pedro if you will this is from
the trapeze art one and this is from
somatic screens two violins playing
pizzicato x' so those are the strings
and when you play them all together in
the first sketch they will sound like
this which is okay not that it's just
not that much man
you know impressive well for the process
it's time doing this basically we have
one French horn like one bass drum patch
during the bass notes then there's one
trumpets patch during the harmonizations
from the sketch and then we have the
French one playing the melody which is
rendering the best this rentable in
melodies which because it's so bright
and big it's amazing and then we have
the percussion doing this these are a
combination of epic Tom's Iquitos and
timpani from wrap to the orchestral
percussion
but they're not that much impressive for
now so how can we improve upon this well
one thing you can do is to capitalize on
the silences you know in the the part in
the track I showed you now there's some
silences in the in for example the bass
notes you're gonna notice now something
has changed
[Music]
now in between each one of these long
notes being marcado's on bass trombones
are sustained on the bases and shadows
now I also have these short notes which
are staccato notes which serve as a way
to fill those silences with energy
because there's the Kato's and they play
this sort like fanfare rhythms so good
and that really helps and it's very
simple I'm not most of doing anything
crazy
it's very same the other thing that's
happening is that of course here I
didn't have this degree of bass here I
actually added I added this layer this
is the low strings patch for metropolis
arkanese freakin wicked even the bass
trombones and stuff are more developed
slightly because now other than having
the main base vinyl base from one
I also added this harmonization so it's
like C and G it's one fifth above our C
now there is why I'm doing like I'm not
doing crazy course on my bass trombones
and the reason for it is that I always
try to not be super complex on the low
range you want to be quiet you know do
some spatial score so it's not a bad
thing to use with fifths and stuff and
it create brings more color than doing
this you know it's more uplifting this
way depending on your drown drama music
you're making your scale and stuff you
might want to pick different notes not
necessarily cng as for the percussion
they are also following the satellite
brakes we added you see now it's not
only one strike but in between each
strikers like
these sort of things and this is a sheet
with you know writing with different
velocities of course this is still not
to the level we heard in the beginning
as the last thing we added more detail
we added some runs on the strings
now the violins are doing this
destruction of petrol by the way and
basically this aperture plays on the
first half of the main map that before
the first half of the memo applies and
then before the repetition of the main
melody it plays again so it kind of
serves as a way to open up the track
before the melody is present presented
once more we also have that sort of like
run slash slash arpeggio in our flutes
in the woodwinds layer to our strings
just helps that arpeggio to be more
noticeable we also have a sort of a
variant of that in our French horn I
think
yeah it's almost a multiple but it's
like this sound this is a called a horn
rip I suppose a scoop
basically I played it all the time
whenever I played those runs it's just
the brass way to do the runs you
wouldn't want to do sort of like super
fast arpeggios around some brass cool
sound very blurry but this is very nice
and as a second thing what we have here
is actually other cool thing another
cool aspect of this track right now is
the fact that there's a counter melody
that comes in after a while which is
the idea behind the Contra melodies to
add something that you can add on top of
the melody and it doesn't take away
anything from the middle because maybe
they're in the same harmony maybe the
Contra melody plays world America crest
or maybe they just sound cool for some
reason if you want to learn more about
how to write great melodies of melodies
I have a stirrup for that called exactly
AG that how to write great melodies
guitar melodies and basically the idea
here is I wanted this repetition to not
sound boring and I also did this here
like I want to do a bit of variation
here so in this bit instead of repeating
that I actually did something here where
I took that arpeggio which is now
layered in many different string parts
and in this bed it goes super low
so on one side you're like you're not
bored because it's like wow it's doing
Thursday's arpeggio and it's going lower
wow I didn't expect that and then at the
end there is also the run and then on
the repetition before you get bored
because you learn this track by heart
here comes them in order
which feels so uplifting and the reason
for it is a hotter er again the
percussion are doing something
interesting here they are adding these
symbols and this sorta like rising
percussive pattern and this taiko rule
so it's like it's splashing like a wave
of excitement BAM so good and when you
play it together with the French horn
countermelody and stuff which by the way
the French I can't values you saw it's
being layered on French horn but also
woodwinds but also staccato strings on
the violin but also on low cellos so
it's like I'm doing this contour melody
but I'm doing like three different
octaves in different articulations and
that really helps to make that
continuity stand out if I only played it
on fracture it wouldn't be so impressive
but now
so good and the cool thing about these
come to meld is that it might be
different from the memory in the first
off but in the second half it ends kinda
like in my memory Papapa Papapa so it's
like kind of the same motions but
different notes and its really
harmonizing very interestingly so in the
beginning you might feel a bit lost but
at the end you're like okay this is this
is the this is the same track it's the
same melody so there is just the example
of how I actually restricted the intro
of this song you know this track is this
is the fool track it's a bit of a
project I think one of my proudest
orchestrations want to check it out
completely I have it on my like some
kind of music channel and also made the
tutorial about this track I year ago
which is like 40 minutes long you can
check it out description this video so
if you want to learn more about
orchestration and stuff like that more
to subscribe to this channel because I
make this worse on a weekly basis and I
hope you learned something today it is
one so see you next one bye