Answer:
An orchestrator takes a composer's musical sketch and turns it into a score for orchestra, ensemble, or choral group, assigning the instruments and voices according to the composer's intentions.
An orchestrator takes a composer's musical sketch and turns it into a score for orchestra, ensemble, or choral group, assigning the instruments and voices according to the composer's intentions.
Orchestras are made up of four main sections: strings, woodwind, brass and percussion. Of these four, the string family is typically the largest section, often comprising half the orchestra performers.
The orchestra began with only twelve members, but now there are 50, sometimes even 60 on very large stages.
The path to obtaining a job in an orchestra is somewhat straightforward. First, you nearly always have to attend a great music school, at least at the Master's degree level. It is true that some undergraduates can go straight into an orchestral position, but it is rare.
Georgia Napolitano
In normal times, the Hallé takes to the stage for around 70 concerts a year at The Bridgewater Hall, its Manchester home, and it placesgreat pride in giving over 40 concerts annually throughout the rest of Britain.
To create a “perfect” orchestral mix, you will have to cut every instrument at the right spot, even if it's just 1db or 2, and the combination of all your EQ moves should result in a balanced frequency response which makes the ensemble coherent and represents the tone of each instrument nicely.
Works. Revueltas wrote film music, chamber music, songs, and a number of other works. His best-known work is a suite by José Ives Limantour drawn from his film score for La Noche de los Mayas, although some dissenting opinions hold that the orchestral work Sensemayá is better known.
The Principal of the First Violin section is also the Leader of the orchestra. Violin. Read more. Violin. Viola. Read more. Viola. Cello. Read more. Cello. Double bass. Read more. Double bass.
Russia
The double bass, also called the string bass (pronounced “base” as in first base) or just “bass” for short, is the largest and lowest-pitched bowed stringed instrument, an octave lower than the cello.
The piano, in common with two other percussion instruments, cannot be played in an orchestral ensemble without being recognised. But, unlike those others, it happens to possess the capacity of all key- board instruments for rendering full melodic, harmonic and contra- puntal effects.
The double bass is the biggest string instrument in the orchestra. It emits low and muted tones, sometimes rhythmic, sometimes long, but almost always incredibly powerful. The double bass part often forms a stable foundation over which the rest of the orchestra's notes can resound.
As the soprano voice, the trumpets often lead the brass section often carrying the melody. Because of its roots in medieval courts, it is often used to be an example of prestige and nobility. It plays an important role in orchestra and is often featured in modern concert bands.
1999
Violins
The Concertmaster (American English) or leader (British English) is the most important violinist in an orchestra. He or she will sit in the front seat, by the conductor's left.
The New York Philharmonic
Bagatelle: a short, light instrumental piece of music of no specified form, usually for piano.
Coloquially, crescendo is often used--inaccurately--to refer to this. Climax might be used, but a musical climax is not necessarily about volume, and this term is not included in the Oxford Dictionary of Music.
Mahori Ensemble Khrueang sai (stringed ensemble) when combined with the Pi-phat (Thai classical percussion ensemble) creates the third and final important Thai classical music ensemble known as Mahori.
A symphony orchestra and a philharmonic are the same thing - sort of. They're the same size and they play the same kind of music. ... “Symphony orchestra” is a generic term, whereas “philharmonic orchestra” is always part of a proper name.
The conductor is there to bring a musical score to life, communicating their own highly refined sense of the work through an individual language of gestures, which might sculpt the musical line, tease out nuances, emphasise certain musical elements while controlling others, and essentially re-imagine an old piece anew.