Orchestrating Chords/Melodies

Hello!

I have a question concerning orchestration of (simple) melodies, especially relating to the first bars of a cue of a soundtrack:

http://www.youtube.com/watch?v=141ulkAEnyw

This is what I hear:

However, the sound of the piece is very "rich". I can hear also some of the middle voices, but not all of them. I often orchestrate chords using sustained notes, but it usually sounds rather dull and motionless, especially played with sample libraries (I use EWQL). On the other hand, if I put arpeggios in some of the accompanying instruments, the sound becomes unbalanced.

How would you orchestrate this melody using the same instruments? (2 violins, viola, violoncello, double bass, 2 french horns, chimes, harp, timpani... Are there any others?)

Can some of you hear what the composer wrote?

Kenman:

Every composer has their taste and reflection. Since I ardor film music John Williams and his themes, I would orchestrate this theme in that manner...attaching to a certain character. Not only that, but reharmonizing it and expanding it to fit the story of the show. that is how I would do it. Really Wagner of me, no.

It's a hard question to answer, "how do I orchestrate X?" I mean, this is pretty much the essence of being a large ensemble composer.

Sometimes, sustained chords under the melody will work out just fine. Other times, that plus a counter melody, or a chord with a tremolo or trill to give it both a sustained and a "moving" quality. Maybe re-articulating or re-voicing the chord, even though it doesn't change per se. Sometimes unpitched percussion is the only other ingredient needed.

In this piece in particular, other than the melody you've notated in the violins, I hear brass sustaining the chord, a timpani re-articulating the root note, indeterminate wind chimes, a cello line that moves when the melody doesn't, a french horn counter-melody, adding woodwinds to the melody in the second "verse" (:13 ish), and a harp arpeggiation, though there might be more. Almost all of these things work below the surface, where you can't really notice them unless you try, to contribute to that "rich" sound you hear. I'm not really sure if this is helping you or answering your question; the point is that a) it's the small things and b)much of orchestration has to be discovered by trial and error.

Also be aware that some film soundtracks will be part- or fully synthesized, which makes for a 'thicker' sound than a fully acoustic ensemble. Even then, the sound engineers will play around with the levels which can cover up lazy or over-thick orchestration.

Richness can also be the result of doubling. Having the first and second violins double at the octave creates a much more prominent sound than having them play the same pitch, even though the number of players and the volume would be identical. 4 horns+2 clarinets+2 bassoons will make a four-part chord subtly richer than 4 horns alone.

Generally a good rule-of-thumb in orchestration is to think about each instrument's part as 'horizontal' rather than just filling in part of 'vertical' chords. Each period should be a coherent phrase in itself and not just a 'sound' from bar to bar. A basic knowledge of good vocal voice-leading practice will be equally applicable to instrumental writing.

I'm sure the opening 30 seconds of this cue started life as part of a Janacek opera...