Orchestration Reloaded: The MeHaRyTe Method

Orchestration seems like a dark art, a daunting task to understand...not anymore!

Enjoy this lecture taken from our upcoming course Orchestration Reloaded: Strings, where Anže Rozman walks you through his method of simplifying orchestration and understanding the roles of each of the layers.

Head to our site below to check out the course!

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[mirzaaljic]

Can't wait to delve into the course!

[MonkeyDLuffy-cqlo]

what software do you use for composing and playback sound engine?

[zaharishtonov]

Looking forward to getting this course! Thank you for the preview lesson!

[alainpatry]

Wow, this sounds too good to be sample libraries.... are they LIVE orchestra?

[JeremieFriez]

Awesome! Just being curious, the course seem to focus only on strings, will there be other segments that are about percs, woodwinds and brass? If so, will they be added to the course or sold as different courses at the same price?

[snarf]

Don't get me wrong, I like and respect Anže, but some parts of this model seem confusing to me:
- how do bass lines and countermelodies fit in this model? Under melodies? Chords? Does it depend on how active the lines are written? I think even the pop model, which is quite similar (melody, chords, bass, drums), includes at least the bass (not texture though, which I think is a good addition). Perhaps MeHaBaRyTe doesn't roll off the tongue as well?
- at 5:41: how is rhythm not connected with the texture? Seems like it would be as important as the others for determining the texture. Isn't that also why we have all these rhythmic/pointilistic texture sample libraries (Kepler Orchestra, Orchestral Swarm, Time Micro/Macro etc)
- if strings are the glue/fundament of the orchestra, what does that make of harmony orchestra (okay this one is a bit tongue-in-cheek)

Again, I love the musical examples, I completely agree with the Ravel recommendation, I am still interested in his course, but I was just wondering what you would make of these observations?