Contrast and Orchestration

Working on my current project ‘I Paint Music‘, it’s difficult to write an aggressive effect, because the tutti sound of strings and tuba/euphonium is very warm and fuzzy. I might have to reconsider this orchestration, because it might not be suitable for a more aggressive and contrasting passage I’m planning. But to do that properly,… Continue reading Contrast and Orchestration


When you think of contrast in music, you often think about that one LOUD standing chord with a SILENCE before and after. This is the most extreme form of contrast: White – Black – White. I discussed this type of music earlier in a blog on SILENCE, because a lone standing chord by itself has… Continue reading COLOR THE CONTRASTS

What orchestration can do for your composition.

Orchestration is the fingerprint of the composer. All composers have a favorite mix of sound-colors, by the orchestration alone you can often already recognize a composer. Here is a famous example of a composition for piano, that is orchestrated by another composer: Pictures at an Exhibition, composed by Mussorgski, orchestrated by Ravel. Or listen to… Continue reading What orchestration can do for your composition.


During my lessons with Stephen Melillo we talked about the analogy between composing and sculpturing. When you make a sculpture out of marble, you remove the material you do not want. When you write music you should also remove everything that is not needed. Composers can choose not to write notes, passages (see the blog… Continue reading Silences