Glad you liked it!

I would say - if you've trained enough in the repertoire with most public domain scores, that gives you enough of a basis to identify what's being done with a more contemporary concert or film score - but not always. Even at that, thanks to Omni and Chris Siddall, there are many film scores to choose from for study that may use techniques or architecture in scores you can't get.

Great minds think alike! I've already released song 3, "Veris leta facies" as full-length video lecture - and I'll releasing another full-length preview chapter by next weekend.

Which song? Pls do Omnia Sol Temperature

@@Noblankit All in good time. My previews have to be shorter movements, I don't want to give too much away until the series drops. But I'll probably drop three previews in total before then.

For me, usually a week or two before the deadline because I'm already onto something else by then.

Apparently it was the only instrument with which he had any real facility - according to some sources.

So glad I could help!

For that, you can look no further than early Hitchcock and Twilight Zone episodes, before the low Bb bass clarinet models started replacing the EEb contra-altos. There are several instances, such as the last chord of the original TZ theme scored by Herrmann. The problem here is the extreme unctuousness and overtones from the octave combination, always so crisp and cutting. So the rich, undefinable weight we see here with contra would become more clear and urgent. That would probably not work here.

Of course - now how am I going to fit all those details into a 60-second video? 🙂 But to look at the literature, it starts with CPE Bach and his contemporaries, so I would call that the Rococo Era, well before Haydn and Mozart. There was a fortepiano at the court of Frederick the Great, which JS Bach tried out and didn't care for too much. Around the same time, Scarlatti's royal pupil Queen Maria Barbara appears to have acquired two fortepianos (probably to accompany Farinelli) - but they were both refitted back into being harpsichords! So definitely the instruments were being used and written for from the late Baroque era onwards.

@@OrchestrationOnline "Pianos were not really used or written for until the Rococo Era". All that aside, your little vids on large-scale orchestration are pretty fascinating and well-done!

In that piece, the pianos are mostly just supporting the choir, so they're still not soloist instruments. When they don't support, they're back to playing patterns and bass rhythm parts.

Not at all - those combinations would be closer to bassoon over contra. This bass clarinet's unique tone is in its lack of even-numbered partials. Baritone, bass sax, and bassoon all have the full spectrum of partials in their overtones.

Thanks again, Kat!

I kind of see why this matters, but at the end of the day, 1,2,3 or 4 are just numbers. Who cares who gets which number? Is there something I'm missing?

@@Mazurking There's a lot to it in concert horn scoring. You might also ask, "If I ignore all that and just have any player play any part, will it still sound good?" And the answer might very well be that you're missing some great chances to make your horns sound better.

@@Mazurking I recommend going to the orchestration online dot com site and just reading my articles on horns. That will catch you up immediately.

@@OrchestrationOnline Thank you!

True, some definitely are, especially in the earlier Gregorian chant-like songs.

It is an essential detail in terms of balance for the way the passage is scored, but not quite enough time in this format to cover. I will deal with this in a video tip soon I hope.

The players would always try to balance - it would be up to the conductor to "re-balance" when dynamics are different between instruments, since the players will normally not know, and assume they are the same. I have played this on contrabassoon many times, and had no idea until now that it has a different dynamic from the bass clarinet!

Well...Catulli Carmina is of course a piano/percussion ensemble, while Afrodite is a much more toned-down work, with more subtle textures. I'll be doing a short piece on this for the Pock Guide at the end.

A lot of that will be in the regular series, but it's a great suggestion for the shorts as well! Thanks!

Freut mich, Kat! Warm greetings from New Zealand! 🙂

Hi Armandoe! Sorry, this is a very old announcement. I should have unlisted it after the sale. But I might do another sale soon. Subscribe to the website, and I'll announce it in an email.

@@OrchestrationOnline sure!! Thanks. Have a nive day.

You have to watch the previous video, where I do indeed discuss Les Notes as being the most influential work - in as much detail as I can fit in 59 seconds.

@@OrchestrationOnline indeed, I had not seen it! Thank you

That will come up at the end of this series of shorts, when I discuss his two sequels.

If you don’t mind sharing, why do you hate it?

Just do a KZbin search on "The Christmas Night Rimsky-Korsakov" and at least one version will pop up.

Missing the context, my guy. This note is in the middle of a 2-3-hour opera that's a big blow for the trumpets. He's doing it so as not to have you crack up there.

@@OrchestrationOnline ohhh mb

@@maxjackson3935 No probs