J. Anthony Allen teaches how to write for orchestral strings, covering foreground and background layers, chord voicings, texture, and examples from Beethoven. The principles apply to all orchestral instruments, not just strings.
Hey, everyone. Welcome to Orchestration Part four. So in this class, we are going to dive in deep and focus on the strings. This is probably the thing that people ask me about most, because if you're. When a lot of people think about orchestra, they're thinking about strings. And when they're thinking about making those big, lush film scores, they're thinking about strings. So in this class, we're really going to focus in on what makes that big, lush film score sound or just that really nice orchestra sound. It's not just about having good samples. That's a big part of it. And we're going to cover that very, very soon. But in this class, we're going to talk about what it takes to write for the strings that will make it sound good. So we need to take full advantage of the things that the strings can do. That's basically the gist of it. So we're going to talk about traditional things like foreground, middle ground, background writing, voicings of chords and harmonies and melodies, working with texture. We're gonna dive into some Beethoven to see how he did it. We'll, at the very end, look at some of my music and pick that apart a little bit and talk about some of the things that I like to do in the strings, which is a lot, because I really like writing for strings. Now, one thing that I noticed in filming this class is that while we are focusing on the strings, and I'll say this again in just a few videos, but most of the things we talk about apply to all the instruments here. It's just I'm kind of focusing in on the strings. But a lot of this stuff can be applied to all instruments. So even if you're not all that interested in the strings, this class is really important. Okay, that being said, let's dive in. Sam.
