Model #: ProOrch2B-PDF
Manufacturer: Alexander Publishing

Professional Orchestration Vol 2B PDF: Orchestrating the Melody Within the Winds & Brass

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In Professional Orchestration™ Volume 1: Solo Instruments and Instrumentation Notes, the focus is on instrumentation, registration of instruments and how they sound in four specific registers, and learning how to do score reductions through the *Professional Mentor Workbook* (available separately, or in one of the Home Study Bundles for Vol. 1).

With Volume 2B (part two of the Second Key in learning Professional Orchestration), we move from instrumentation into the actual study of orchestration by learning specific combinations of instruments within the woodwind and brass sections supported by eClassical audio packages (available for separate purchase).

What you see, you hear. What you hear, you learn in your inner ear so that when you hear the device in your musical imagination, you know what it is and how to write for it. Building on this foundation from Volume 1, Professional Orchestration Volume 2B: Orchestrating the Melody Within the Woodwinds and Brass gives you the time tested writing techniques for both winds and brass that breathe life into your music and give your work the professional sound and touch.

For fast referencing, the techniques are grouped into these categories: Woodwind Unisons, Woodwind Octaves, Woodwind Combinations in Two- to Five-Parts, Light Vertical Harmony in the Woodwinds, then combinations for the French horns, trumpets and Trombones.

Each technique has a brief commentary starting you off on identifying the technique and what else is happening within the score. There are also MIDI mock-up insights. Volume 2B is approx. 700-pages, formatted in 8.25"x11" size, with full page/full score examples. A PDF Syllabus is included as a guide to studying the book.

You've been waiting for such a long time to learn and apply all these wonderful techniques. Why wait any longer?

Important Note: to get the most out of Professional Orchestration, you need to read music. If you learn mostly by ear, please see our Visual Orchestration series of courses, based on the Spectrotone Chart, where no textbook is required.

Download Info:

  • Your download file(s) will be available for 30 days after purchase.
  • x1 .zip file containing your PDF book and Syllabus for Vol. 2B.
  • approx. 172MB size.

  • SAMPLE PAGES (Click to open in a new window)
    Professional Orchestration Vol 2B: Introduction

    A paperback edition of this title is available to order from Amazon or through most major bookstores using the information below:
    Title: Professional Orchestration Vol 2B: Orchestrating the Melody Within the Woodwinds & Brass
    Author: Peter Lawrence Alexander / ISBN: 978-0-939067-93-0

    Table of Contents

    Chapter 1 - The Woodwind Family
    Chapter 2 - Woodwind Section Sizes

    Section 1 - Woodwind Unisons
    Chapter 3 - Flute Unisons
    Chapter 4 - Flute + Oboe
    Chapter 5 - Flute + English Horn
    Chapter 6 - Flute + Clarinet
    Chapter 7 - Oboe Unisons
    Chapter 8 - Oboe + Clarinet
    Chapter 9 - English Horn + Clarinet
    Chapter 10 - English Horn + Bassoon
    Chapter 11 - Clarinet + Clarinet
    Chapter 12 - Clarinet + Bassoon
    Chapter 13 - Bassoon + Bassoon
    Chapter 14 - Bassoon + Sarrusaphone
    Chapter 15 - Bassoon + Contrabassoon
    Chapter 16 - Flute + Oboe + Clarinet
    Chapter 17 - Flute + English Horn + Oboe + Clarinet
    Chapter 18 - Flute + Oboe + Clarinet + Eb Clarinet
    Chapter 19 - Oboe + Clarinet + English Horn
    Chapter 20 - English Horn + Clarinet + Bassoon

    Section 2 - Woodwind Octaves
    Chapter 21 - Piccolo - Flute
    Chapter 22 - Piccolo - Oboe
    Chapter 23 - Piccolo - Clarinet
    Chapter 24 - Flute - Flute
    Chapter 25 - Flute - Oboe
    Chapter 26 - Flute - Clarinet
    Chapter 27 - Flute - Bassoon
    Chapter 28 - Oboe - Oboe
    Chapter 29 - Oboe - Clarinet
    Chapter 30 - Oboe - English Horn
    Chapter 31 - Oboe - Bassoon
    Chapter 32 - English Horn - Bassoon
    Chapter 33 - Clarinet - Clarinet
    Chapter 34 - Clarinet - Bass Clarinet
    Chapter 35 - Clarinet - Bassoon
    Chapter 36 - Bassoon - Bassoon
    Chapter 37 - Bassoon - Contrabassoon

    Section 3 - Woodwind Combinations in Two- to Five-Parts
    Chapter 38 - Two Parts: Low to Medium Registers
    Chapter 39 - Two Parts: Medium Register
    Chapter 40 - Two Parts: Medium to High Register
    Chapter 41 - Two Parts: High Register
    Chapter 42 - Two Parts: Very High Register
    Chapter 43 - Three Parts: High Register
    Chapter 44 - Three Parts: Very High Register
    Chapter 45 - Four to Five-Parts

    Section 4 - Light Vertical Harmony in the Woodwinds
    Chapter 46 - Light Harmony in the Flutes
    Chapter 47 - Light Harmony in the Oboes
    Chapter 48 - Light Harmony in the Clarinets
    Chapter 49 - Light Harmony in the Bassoons
    Chapter 50 - Two-Part Light Harmony: Thirds in Unison
    Chapter 51 - Two-Part Light Harmony: Thirds in Octave
    Chapter 52 - Three-Part Light Harmony: Thirds in Multiple Octaves

    Chapter 53 - French Horns in Unison
    Chapter 54 - French Horns in Octaves (Two Parts)
    Chapter 55 - French Horns in 3rds and 6ths
    Chapter 56 - Trumpets in Unison
    Chapter 57 - Trumpets in Octaves (Two Parts)
    Chapter 58 - Trumpets in Thirds
    Chapter 59 - Trombones in Unison
    Chapter 60 - Trombones in Octaves (Two Parts)
    Chapter 61 - Trombones in Thirds

    More Info

    Works Quoted in Volume 2B

    Beethoven - Symphony #5
    Beethoven - Symphony #9
    Berlioz - Symphony Fantastique
    Bizet - Carmen Suites
    Bizet - L'Arlesienne Suites
    Borodin - Symphony #2
    Borodin - Polovtsian Dances
    Borodin - In the Steppes of Central Asia
    Brahms - Symphony #1
    Brahms - Symphony #2
    Debussy - La Mer
    Debussy - Images
    Debussy - Prelude to the Afternoon of a Faun
    Debussy - Nocturnes
    Dukas - Sorcerer's Apprentice
    Dvorak - Symphony #9 "The New World"
    Faure - Pavanne
    Faure - Requiem in D Minor
    Holst - The Planets
    Lalo - Symphony Espagnole
    Mahler - Das Lied Von Der Erde
    Mahler - Symphony #1
    Mahler - Symphony #2
    Mahler - Symphony #3
    Mahler - Symphony #4
    Mahler - Symphony #5
    Mahler - Symphony #8
    Mahler - Symphony #9
    Mendelssohn - A Midsummer Night's Dream
    Mozart - Symphony #41
    Mussorgsky - Night on Bald Mountain
    Ravel - Tombeau de Couperin
    Ravel - La Valse
    Ravel - Noble and Sentimental Waltzes
    Ravel - Rhapsodie Espagnole
    Ravel - Daphnis and Chloe
    Ravel - L'Heure Espagnole
    Respighi - Fountains of Rome
    Stravinsky - Rite of Spring
    Stravinsky - Firebird
    Stravinsky - Petrushka
    Saint-Saens - Danse Macabre
    Richard Strauss - Till Eulenspiegel's Merry Pranks
    Richard Strauss - Ein Heldenleben
    Tchaikovsky - The Nutcracker Suite
    Wagner - Flying Dutchman Overture
    Wagner - Tannhauser Overture

    Endorsements: Professional Orchestration Volume 2B

    Michael Barry
    Project Manager for the Cinesamples library Hollywood Winds
    Since it can be easily argued that the winds are the hardest section to synthistrate, knowing how to effectively write for woodwinds gives a composer's work a definite sense of professionalism, an advantage over a colleague who isn't writing for them. However, balancing the unique tones from the main instruments found in the woodwind choir can become problematic at times without a proper understanding of how to write for them.

    In Professional Orchestration Volume 2B, Orchestrating the Melody Within the Woodwind and Brass Sections, you'll find a unique departure from the generic descriptions provided in the classical orchestration textbooks. Peter has edited and streamlined this information so you can take it straight to your sequencer. You can learn the breakthroughs achieved by Ravel, Stravinsky, among others, which you can then apply to your own music.

    For students coming out of a rock/jazz background, you'll find Peter's detailed descriptions of instrument combinations akin to "lead" signal chains: "Take a Les Paul Marshall stack, add a dark Strat up an octave and you get this, you can hear it on this track from this album" ...becomes... "Take a Flute, add Oboe, add Bb Clarinet, add Eb clarinet and you get this tone, you can hear it in Mahler Symphony #8 - here is the score, and oh yes, the additional MP3s from eClassical and videos from YouTube where available.

    All in all, Professional Orchestration 2B and the entire Professional Orchestration Series is a fantastic tool for those wishing to improve their own musicality.

    Stephen Melillo
    Winner, Telly and Ava Gold Awards

    Nominated five times for a Grammy

    Nominated for the Pulitzer Prize

    Leaving a major of Physics and beginning studies at the Boston Conservatory of Music, I had multiple reasons for going to a pawn shop and buying one of each instrument, then setting up private lessons with Boston Symphony Musicians. In addition to preparing myself as a teacher, I needed to know what books couldn’t tell me.

    Orchestration, a one-semester course was often discussed in the factual terms of instrumental ranges, sometimes tessitura, and with minimal, often stylistically-confined examples. But was that really Orchestration?

    My own sensibilities told me that becoming a beginner several times, then advancing while studying and playing each of the instruments myself, while discussing them with professional master-Musicians would provide a better window into the possible.

    Enter Hugo Norden, a professor I was very fortunate to have, and interestingly enough, a teacher Peter and I have in common. “There are 6 ways to voice a triad,” said the 90-year-old genius.

    You have to love it. Three factorial. Simple math, but wow, how liberating that is for someone who never studied theory. Suddenly the massiveness of Music was graspable. A great beginning!

    Now enter Peter Alexander. Let’s recreate his logic in organizing this very powerful document. If you want to play a game, you want to understand not only the rules, but the possibilities. Yes, there are the parameters, the confinements... but what can you DO?

    Although the permutations of Orchestration are greater than voicing a triad, the same logic nevertheless applies in utilizing an instrument or a group of instruments as they interact with another instrument or group of instruments. This is why I have come to deeply respect Peter Alexander. He has taken the time to provide an impressive compilation of possibilities. Why?

    Peter is an autodidact. He is self-taught. In his impassioned quest to uncover the “mysteries” of Orchestration, and enhanced by a high order of personal expectation, Peter has forged ahead for his own acquisition of knowledge and in so doing provided for other self-starters a compendium of devices, combinations, interactions and a means of experimentation that to my mind represent one of the best ways possible to share the history, science, and art of Orchestration. He has provided the rules and the possibilities of the game.

    From the vantage point of someone who has taught instrumental Music for 35 years, and a fellow self-learner who has started young people on the very instruments I was also writing for in everything from young band to professional orchestras across many, many hours of Music, I have learned that the most important aspect of Orchestration... regardless of style, or age, or ensemble... is working experience with the possible. In a word, Orchestration is the study of possibilities. With continued experience, the world of the possible grows and reflects other considerations like rehearsal time and personal knowledge of the Musicians... and much more.

    Peter deserves our respect and gratitude. He has provided a well organized consolidation of possibilities. He has cast these possibilities/devices/combinations/interactions into a carefully laid out, well-articulated self-starter lesson plan. In lieu of having access to Musicians, he has made experimentation possible via the use of carefully plotted exercises with current technologies and virtual libraries. Therefore the book is simultaneously historic and state-of-the-art.

    Many times across the many years I have been asked, “Where is your book on Orchestration?” Now, I am fully confident in responding, “Look up Peter Alexander. That’s the way to go.

    If you, the self-learner will approach this process with the rigor you have imagined in the great Composers of the Past and observe in the working Composers and Orchestrators of the present... if you put yourself through the experimentations and imagine you yourself having compiled such a wonderful, useful resource, then you will gain much from this well-crafted self-teaching tool.

    Peter and I are now friends. Before that friendship, I had read his other book on Orchestration. Through his work, I have found someone with much to offer those who really want to learn and are willing to work hard. For that reason, I am delighted to offer this forward. I wish you and Peter... Godspeed!