How to Write Orchestral Sketch StaffPad #3 | Composer Music Toolkit

I’m excited about this orchestral sketch. Cause the approach is different than in the other ones I did so far. I was kinda triggered by one of the comments. Oscar mentioned working with counterpoint, cause the sketches were very vertical until now. Homophonic I would say. And he’s right. So this week I do it slightly different. I’m gonna do some counterpoint writing!

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The steps: from piano to symphonic (orchestral) version

• 00:54 – First listening piano melody and orchestrated version
• 02:11 – The melody line
• 04:14 – Counterpoint (intervals, motion and first, second and third species counterpoint)
• 09:58 – Counterpoint part 2
• 12:38 – Decoration (trills and pedal note)
• 13:53 – Orchestration / Symphonic version (the full score)

I keep saying this, cause I think it’s really important. This is not about writing the best melody lines. Writing your best music ever. No, and if I may quote Thomas who perfectly described it in the comments of sketch one: “The DOING without any judgement is what it’s all about.” Beautifully said Thomas! 

This is about learning and experimenting. Developing our skills and growing our talent. Writing short phrases of music to get a better understanding of it. Building up a library of short snippets of music that will help us to be ready when we need to be ready.

Start point: Cantus Firmus

In this part of the video we take a look at the line I started with this time. My cantus firmus. It looks quite simple. And it is! When we listen to it, it doesn’t sound any special at all.

But, there is a pattern in it. It follows a certain line. And we humans love patterns! So this is something to keep in mind when you write a melody or music in general.

Counterpoint: first, second and third species

Do you remember that I talked about intervals in my previous orchestral sketch? Intervals like 3s, 6s and 10s? Well, I used that approach in this step too.

Another thing to be aware of is the motion of the melody. Is it going up, down or follows it the same (static) line. In this part of the video I go more in depth.

And then of course I talk about counterpoint. First species counterpoint, second species counterpoint and third species counterpoint. I have used them all. If you don’t know what this is all about, don’t panic! I’ll explain and show it to you.

Decoration: trills and pedal note

I don’t know what kind of feeling you get when listening to the piano sketch, but I find it joyful. It makes me happy. To get a little bit more excitement, I added a trill. It’s not on the foreground, but it’s there. And it’s just enough.

And to make the bottom-end a little bit more present, I added a pedal-note. Nice!

Orchestration: the symphonic version

In this part I show you my orchestrated score. This is my idea, definitely not the truth. You can make many different decisions and orchestrate it in many ways.

For me the woodwinds play the main role. That was straight clear to me when writing the melody. I ended up with a clarinet and flute playing the melody lines. Supported by the bassoon and contra-bassoon.

The woodwinds are backed up by the strings. The violins 2 support the flute. The cello support the bassoon. And the double basses hold the pedal note while the violins 1 do their trill. With a soft triangle in the background making it a little bit more silvery.

I hope you liked it!