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As wonderful as technology is, and as impressive as its advances may be, there still isn't anything that can replace the magic of a live orchestra. Each time I get up to conduct a 50 piece orhcetrsa I am in awe of the fact that probably have over 1000 years worth of musical experience sitting in front of me (on average each musician has 20 years of experience x 50 musicians = 1000 years of experience). So when you have the opportunity to use live musicians, we want you to get the most out of your experience and your music get the quality it deserves.
As a reference guide, I'm going to list some of the more popular instruments used in film scores, list their range, strengths and special techniques to help get a unique flavor for your score. (N.B. - for the range values, first shown is the sounding range, then the written range (inc. transposition) and in the case of the string instruments, the note of each string. Middle C is C3.)
| Instrument |
Range (tesatura) |
Special Notes and Comments |
| Piccolo |
D4 - Bb6 / Written -1 oct.
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The piccolo is wonderful for embellishing high notes with trills and rapid runs. Avoid extreme top and bottom of range unless the top's dynamic is fff. |
| Flute |
C3 - C6 / Non-transposed
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Don't expect loud notes in the lower ranges of the flute nor pp notes in the higher register. You can also have an Alto flute, whose range gores down to the G below middle C. |
| Oboe |
Bb2 - G5 / Non-transposed
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Try to avoid using the oboe under dialogue as it conflicts with the resonance of the voice. Wonderful instrument to carry a melodic lead. For best sound, stay within F3 - Bb4. |
| English Horn |
E2 - F4 / Written up a 5th
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The english horn is a wonderful instrument for expressing sadness or similar emotions. Very rich in its lowest notes. I would recommend staying below E4. Wonderful to use in counterpoint with the oboe. |
| Clarinet (Bb) |
E2 - C6 / Written up a Major 2nd
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Wonderful instrument to both carry a melody as well as support with harmonies. Very haunting in its lower ranges and penetrating in its upper ranges. The top B & C are very difficult so avoid the extreme upper register. |
| Bass Clarinet |
D1 - F4 / Written up an Octave and a Major 2nd in the Treble Clef
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If you're writing a melody in tehbass line for a horror movie - the bass clarinet is WONDERFUL! Very rich sound, doubles well with the cello and isn't quite as 'reedy' as the Bassoon. Use extreme dynamics for added effects as it handles them beautifully. |
| Bassoon |
Bb0 - Eb4 / Non-transposed
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Wonderful instrument for accenting lower notes, doubling cello lines and using in comical scenes with solo melodies. As a general rule avoid going above Bb3 as it loses much of its influence above that. |
| Contra Bassoon |
D0 - F2 / Written 1 Octave higher
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Adds wonderful texture when doubled with the double bass, though use caution when writing in it's extreme ranges. Not advisable to use in fast passages. |
| Trumpet |
F#2 - F#5 / Written up a Major 2nd
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First rules of brass - don't start of on the highest notes. Second rule - don't write huge passages in the upper registers without giving ample breaks. Remember recording sessions are costly so you want to have 'safe' scores. |
| French Horn |
Bb0 - F4 / Written up a 5th
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Incredibly rich sounds in all of the dynamic ranges. Can carry melodies powerfully - and don't forget they are most powerful with their bells up and 'cuivre' (brassy). My advice is to use caution in the extreme ranges - and give your brass players 'lip rests'. |
| Tenor Trombone |
E1 - F4 / Non-transposed
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One of the few instruments with a true portamento (slide between two pitches). Wonderful in all dynamic ranges as well as it's array of emotions. I would suggest using at least 3 trombones in a session, 2 tenors and 1 bass trombone (which has a lower range than shown here). |
| Tuba |
D0 - F3 / Non-transposed
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It takes a lot of air to power one of these - so remember to consider the player's breathing needs inlong or loud passages. Compliments all brass ensembles with it's very rich bass sound. |
| Harp |
C0 - G6 / Non-transposed
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Before writing for harp it's important to understand its mechanics. There are 7 strings per Octave, and each string can be made flat or sharp by use of foot pedals, which can be changed in a piece - but give time and consideration for those changes. Do not consider chromatic runs unles you have 2 harpists. Until you've had experience writing for the harp. it's advised to always give your harpist a look at the work before the session to make sure its possible to play. As two neighbouring strings can be tuned the same, you can get some beautiful textures by writing glissandi with - lets say - F# and Gb, A# and Bb, C# and Db and Eb. Experiement! |
| Piano |
A-1 - C7 / Non-transposed
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Wonderful in all dynamics and ranges. Don't be afraid to experiment too. Cluster chords and striking or scraping the strings internally can give spooky effects for horror music, especially with the dampeners off. You don't need to be elaborate with the piano to be effective. Single note melody lines, or simple runs have their own power to influence the picture. |
The string instrument section is probably the most universally used section as there is such power and emotion that can be played out. From heart pulling solo violin lines to grand, sweeping, romantic scores the strings are undoubtedly the core of the score and also have a wide range of tricks to be used in experiementing. Horror music has used tricks including cluster chords (for 'grungy sounds), harmonics (both natural and artificial) (those are the high screeches you hear two octaves higher than their written note), bowing on the bridge, col legno (means - with wood indicating that the player hits the note with the wooden part of their bows) as well as pizzicatos (plucking the strings) and portamento / glissando (sliding between notes). To try to experiment but also be respectful of the musician's instruments, which are very costly. You want the players to like you before, during and after the session so that you'll get great performances every time! Remember too that the upper notes are very delicate, so treat them that way. Viola parts are best written in the alto clef, unless they have runs consistently higher than G3 in which case the treble clef should be used. Continual change of clef isn't comfortable for most players. Although its range goes to A5 I wouldn't go above E5. The Double Bass generally has its lowest note as an E0 but using a 'key' on its lowest string it can be adjusted so that it plays as low as C0. Unless absolutely necessary, keep the written parts to the E0.
| Violin |
G2 - G6 (and beyond). Strings tuned to G2, D3, A3, E4
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| Viola |
C2 - A5 / Written in the Alto Clef. Strings tuned to C2, G2, D3, A3
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| Cello |
C1 - E4 / Wrtten mainly in the bass and sometimes treble clefs. Strings tuned to C1, G1, D2, A2
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| Double Bass |
(C0)E0 - D3. Written 1 Octave higher than sounds. Strings tuned to E0, A0, D1, G1
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Remember, the Movielines Music Orchestra is right here to help you deliver the score that your art requires. Please get in touch to talk over your project with us and we'll provide you with a service and price that will be hard to rival. Click here to go to our contact page.
During the coming months I will be adding more about other instruments beyond the standard orchestra including: Ethnic Instruments, Guitars, Percussion (including Drum Kit), and the Sax family.
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