Orchestration
From Yesterday and Today
Essential for adding depth, another color, and richness to a composition,
we also engage in the art of orchestration.
Beyond the “simple” assignment of instruments to a melody, it is a delicate sculpting process.
Enriching a composition by choosing the appropriate timbres, pitches, and dynamics for each instrument creates an alchemy that transforms a mere melody into immersive and novel music, capable of transporting listeners to a different, interesting, and new sonore world.
Valse Stellaire
Matin Parti - Piano
Matin Parti - Full
Drawing from our academic experiences and achievements in concerts, recordings, films, classes, presentations, etc… across various musical domains, we are ready to tackle your orchestration challenges.
Whether it’s for small ensembles, diverse groups, or symphony orchestras, our expertise in achieving balance, honed through our musical explorations, allows us to bring our orchestrations to life and give life to the most diverse music.
Whether you have a simple melody or a piano part, we have all the tools to transform your ideas into captivating and sensitive arrangements. We understand the importance of every detail and strive to create orchestrations where every note is an enhancement.
Matin Parti - Piano
Matin Parti - Full
Drawing from our academic experiences and achievements in concerts, recordings, films, classes, presentations, etc… across various musical domains, we are ready to tackle your orchestration challenges.
Whether it’s for small ensembles, diverse groups, or symphony orchestras, our expertise in achieving balance, honed through our musical explorations, allows us to bring our orchestrations to life and give life to the most diverse music.
Whether you have a simple melody or a piano part, we have all the tools to transform your ideas into captivating and sensitive arrangements. We understand the importance of every detail and strive to create orchestrations where every note is an enhancement.
Matin Parti - Piano
Matin Parti - Full
Practical case
Here is an excerpt from the beginning of “Laideronnette, Impératrice des Pagodes”, a piece by Maurice Ravel originally written for piano four hands.
The timbre here is very homogeneous because only one instrument is used throughout the entire score.
Ravel 1
Here is an excerpt from the beginning of “Laideronnette, Impératrice des Pagodes”, a piece by Maurice Ravel originally written for piano four hands.
The timbre here is very homogeneous because only one instrument is used throughout the entire score.
Ravel 1
Here is the same excerpt from “Laideronnette, Impératrice des Pagodes,” arranged by me in a version for orchestra and percussion. The range of each instrument is respected so that it is playable, but also to highlight the different melodic lines with various timbres.
Here is the same excerpt from “Laideronnette, Impératrice des Pagodes,” arranged by me in a version for orchestra and percussion. The range of each instrument is respected so that it is playable, but also to highlight the different melodic lines with various timbres.
Ravel 2
Here is the same excerpt from “Laideronnette, Impératrice des Pagodes,” arranged by me in a version for orchestra and percussion. The range of each instrument is respected so that it is playable, but also to highlight the different melodic lines with various timbres.
Ravel 2
Here is the same excerpt from Ravel, arranged in a new version for an orchestra similar to the previous version (with the addition of trumpets).
We can see a very different version in terms of orchestral distribution to achieve very different colors. This variation is carried out while keeping in mind the limitations and properties of each instrument.
Ravel 3
Ravel 3
Here is the same excerpt from Ravel, arranged in a new version for an orchestra similar to the previous version (with the addition of trumpets).
We can see a very different version in terms of orchestral distribution to achieve very different colors. This variation is carried out while keeping in mind the limitations and properties of each instrument.
Here, more than an orchestration work, an arrangement work is done. Starting again from the same piece by Ravel, this time the original material is transformed into a waltz for a classic orchestra doubled.
The themes and melodic elements are kept, adapted, or reduced to remain recognizable and faithful to the original.
Here, more than an orchestration work, an arrangement work is done. Starting again from the same piece by Ravel, this time the original material is transformed into a waltz for a classic orchestra doubled.
The themes and melodic elements are kept, adapted, or reduced to remain recognizable and faithful to the original.
Ravel 4
Here, more than an orchestration work, an arrangement work is done. Starting again from the same piece by Ravel, this time the original material is transformed into a waltz for a classic orchestra doubled.
The themes and melodic elements are kept, adapted, or reduced to remain recognizable and faithful to the original.