Melody
– keep an Eye on the Root and its Intervals / Scale Relation
– also Melody can be notated in Roman Numerals (as I-V-III-VII for Example)
– able to continue in Any Direction from Note to Note
– introduce Variations of the Melody, so that it doesn’t get boring
– use specific Fragments of the Melody at some places in Arrange (
– original and interesting melody that is well-known & easy to be remembered (and sung)
– Add a Second Melody Line if One is Not Enough
Harmony
– Chords with Inversions
– Melody and Harmony go Hand by Hand most of the Time
– follow the Melodies Content (as VI-II-IV for Example)
– try Diminished / Augmented Triads
– can be as simple as i to III
– Alter Chords by replace Notes to re-define your Ambience (Scale)
Harmony Hint
– Expand on these 2 Foundation Blocks Melody and Harmony
– use HN and Liquid Notes for Ideas / Variations
– until you have Material for 2-3 Minutes
– try unusual Sounds for a too Classic Melody to go somewhere different
– try different Articulations
– Reduce Notes related to Scherer´s Comparison Chart
– try Modulate through Keys
Form
– give it a Structure / Tempo / Parts
– can be as simple as A B A – where a Basic Idea develops into a different Section B, before returning back to a alternate A again
– change Timbre / Sounds to avoid Cheesy Repetitions
– avoid 4/4
Ostinato
– try a Ostinato that Works through out the Composition, means don´t abandon the Pulse
– a Ostinato can also be changed at some point
Counterpoint
– use Proper Note against Note Rules to Enhance a Masterpiece
Midi Orchestration
– follow the Terms of Orchestra Placement (MIR X)
– use Dynamics / Automation in VSL to change Orchestral Expression to turn a Part into something other and develop Harmonies from there
– when you Place Harmony in the Brass Section you don´t need to let the Strings play them also (maybe Double Bass or Cello can follow the Bass-line)
– Double Strings from 2 or more Libraries
– Use the Power of Orchestra but not all the Time
Divisi
– is a Strings Section divided into 2 or more Pieces (to blend together properly Notes / Playing Styles ( Octaves that is tense for One Player to achieve alone)
– think of a Cellist should play a Double Stop in a fast Tempo where he needs should play suddenly a Octave higher in Real Time which not always possible – so you Write for Divisi on Top of the Cellist and the Players will divide the Notes between themselves
– “Violins 1” are basically 2 Players playing 2 Pitches, Top Stand plays High & Below Stand play Low
– the Problem is for that other Notes / Articulations we lost Half of a Strings Section playing another Note / Articulation and therefore Depth and Richness in Sound is missing (8 Cellists will Sound like 4 Cellists and not like a entire Section)
– so in Midi Orchestration you “Fake a Divisi” by Double each Section with the Previous One, means double Celli with Bass (without affecting Main Bass-line) , Double Viola with Celli, 2nd Violin with Violas, Violas with Bassoon etc. & each with Expression reduced to 40-50%
Leave a Reply