Summary of Orchestration with midi II | GOUNI

Orchestration with midi II

What is Orchestration?

Orchestration is the art and technique of arranging music for an orchestra or ensemble, where different instruments are assigned specific parts of a musical composition. It involves deciding how various instruments will play together, blending their unique timbres, ranges, and dynamics to create a balanced, expressive, and cohesive sound.

In orchestration, composers and arrangers must consider the roles of each instrument or section (strings, woodwinds, brass, percussion), how they interact, and how the overall texture and mood of the piece are shaped by the choices made for instrumentation. The goal is to use the orchestra's full potential to convey the emotions and ideas of the music.

What is MIDI

MIDI (Musical Instrument Digital Interface) has revolutionized the world of music composition and orchestration, allowing composers to craft complex arrangements using virtual instruments. In this lecture, we will explore how foundational concepts of musical notation and harmony apply to orchestration using MIDI technology. Understanding these principles in traditional music will help you harness MIDI's full potential to create realistic, expressive, and well-balanced orchestrations.

Musical Notation

1.1 Pitch Notation in MIDI

Staff and Clefs: In traditional music, notes are placed on a staff that indicates their pitch based on the clef (e.g., treble or bass). MIDI mirrors this by assigning numbers to each pitch, with each MIDI note number representing a specific frequency.

Example: Middle C is denoted by note 60 in MIDI.

Octave Naming: MIDI organizes pitches into octaves (C0, C1, C2, etc.). When orchestrating, it is crucial to place instruments in their natural ranges (e.g., cellos in lower octaves, violins in higher).

Octave Naming in Music:

Understanding octave naming is essential for composers, musicians, and anyone working with MIDI or orchestration. It helps in identifying specific pitches across the entire range of musical notes. Octave naming also ensures consistency when communicating musical ideas, especially in the context of digital music production, where precise pitch control is critical.

What is an Octave?

We know the definition of the traditional meaning of octave as the interval of twelve semitones spanning eight degrees of the diatonic scale.

In reference to midi orchestration, an octave is the interval between one musical pitch and another with double or half its frequency. For example, the note A at 440 Hz is an A4, and the A one octave higher is A5 at 880 Hz, while the A one octave lower is A3 at 220 Hz.

The term "octave" comes from the Latin word "octavus," meaning "eighth," because there are eight notes (in diatonic scales) from one note to its octave, including both the starting and ending notes.

The Basics of Octave Naming

In Western music, the system of octave naming refers to dividing the audible range of pitches into octaves, each labeled with a number to distinguish one octave from another. The most widely used system is known as Scientific Pitch Notation (SPN), which is a combination of the note name (A, B, C, etc.) and the octave number.

Here’s how the system works:

Middle C (C4): The most commonly referenced pitch, especially in piano music, is called Middle C and is designated as C4 in SPN.

Octaves in Either Direction: Moving up or down from Middle C, the octave numbers increase or decrease:

The octave from C4 to B4 is the fourth octave.

The octave from C3 to B3 is the third octave.

The octave from C5 to B5 is the fifth octave, and so on.

This means that every note name (A, B, C, etc.) appears in multiple octaves but with a different number indicating the specific range.

On a standard piano, Middle C (C4) is the note located in the middle of the keyboard. It is a key reference point for octave naming in SPN. From Middle C:

The keys to the right ascend in pitch, increasing the octave number (C5, C6, etc.).

The keys to the left descend in pitch, decreasing the octave number (C3, C2, etc.).

A full-sized piano usually has 88 keys, ranging from A0 (the lowest note) to C8 (the highest note), covering about 7 full octaves.

Fig 1. Midi numbering in a workflow

Octave Naming in MIDI

In MIDI, octave naming is essential for programming and identifying exact notes. MIDI uses a numerical system where each key on a keyboard corresponds to a specific MIDI note number.

MIDI Note Numbers: The MIDI protocol assigns a number to each key from 0 to 127, with MIDI note 60 corresponding to Middle C (C4).

The lowest possible note in MIDI is C-1 (MIDI note 0).

The highest possible note in MIDI is G9 (MIDI note 127).

MIDI sequencers and DAWs often label notes based on this system, ensuring consistency between digital instruments.

MIDI Octave Naming Variations

Different DAWs or MIDI hardware might display octave numbers differently:

Some DAWs: Some software might label Middle C as C3 instead of C4, shifting the entire octave numbering by one. This can cause confusion if you’re moving between different platforms, so it's important to check how your software handles octave naming.

For example, Ableton Live typically uses C3 for Middle C, while Logic Pro uses C4. Understanding this difference helps you stay consistent when working across platforms.

Octave Naming and Orchestration

When orchestrating music using MIDI, octave naming helps with:

Identifying Instruments' Ranges: Each instrument in the orchestra has a specific pitch range that corresponds to certain octaves.

String instruments: The violin's range typically spans from G3 (G below Middle C) to C8, while the cello's range is from C2 to A5.

Woodwinds and Brass: The flute ranges from C4 to C7, while the trumpet covers pitches from F#3 to D6. Knowing the appropriate octave for each instrument ensures that notes written for them will be playable and sound correct.

Setting Virtual Instruments: MIDI orchestration often involves working with sample libraries or virtual instruments, each programmed to play in specific octaves. Understanding how octave naming works in MIDI helps in assigning the correct pitch ranges for instruments.

If a violin sample library covers C3 to C6, for instance, writing notes outside this range in your MIDI sequencer will either result in no sound or an unnatural shift in tone.

Handling Transposing Instruments: Octave naming is especially important when working with transposing instruments in MIDI. For example:

A B♭ clarinet part written in its standard key (a whole step higher than concert pitch) might need to be transposed down by a whole step in MIDI, but you will still need to place the notes in the correct octave to maintain the instrument's proper range.

Octave Equivalence

One key feature of octaves is octave equivalence—the idea that notes an octave apart sound perceptually similar even though they are in different registers. This concept is important when orchestrating, as doubling a melody at the octave above or below creates a richer, fuller texture without changing the harmonic content of the music.

For instance:

Doubling a violin line one octave higher with a flute can emphasize the melody without clashing harmonically.

Similarly, MIDI allows you to quickly duplicate parts in different octaves to create these effects digitally.

Application in Orchestration with MIDI

When orchestrating with MIDI, octave naming provides a framework for:

Instrument Ranges: Assigning each instrument or virtual instrument the correct octave range to ensure realistic playback.

MIDI Data Entry: Correctly identifying MIDI note numbers and their corresponding octaves ensures that each part is written within the playable range of the instrument.

Transposition and Key Changes: MIDI makes it easy to transpose notes across different octaves without affecting the integrity of the composition.

Octave naming provides a universal system for identifying and organizing pitches across musical instruments and in digital formats like MIDI. In orchestration, understanding how octaves work—both in terms of instrument ranges and pitch relationships—ensures accuracy in writing and arranging music, whether for live performance or digital production. Familiarity with octave naming allows you to communicate musical ideas clearly and apply precise pitch control when orchestrating with MIDI.

Transposing Instruments and MIDI

Transposing Instruments: Certain instruments (e.g., clarinet, trumpet) transpose to different keys in traditional notation. MIDI handles this internally, but understanding how transposing works helps maintain clarity in virtual orchestrations.

What Are Transposing Instruments?

Transposing instruments are musical instruments that sound pitches different from the notes written in standard notation. The written note for a transposing instrument is not the actual pitch that is heard when the instrument is played. This is primarily done to simplify the reading and playing of music across instruments that are constructed in different keys.

Examples of common transposing instruments include:

Clarinet in B♭: When a clarinetist plays a written C, the pitch heard is actually a B♭, a whole step lower.

Trumpet in B♭: Similar to the clarinet, the trumpet in B♭ sounds a whole step lower than the written note.

French Horn in F: The French horn sounds a perfect fifth lower than written. If you write a C for a French horn, it will sound as F.

In contrast, non-transposing instruments like the piano or flute sound exactly as written.

Fig 2. Picture view in cubase 13 showing the use of groove agent, alongside automated transposed midi.

Purpose of Transposing Instruments

The historical reason for transposing instruments stems from standardizing fingerings across different keys. For example, a trumpet player who is used to playing a B♭ trumpet can easily switch to an E♭ trumpet without needing to learn a completely different set of fingerings. The written music adapts for the player, even though the pitch produced will change.

How MIDI Handles Transposing Instruments

When working with MIDI orchestration, transposing instruments are handled automatically and more flexibly than in traditional notation. Unlike in live performances, where the musician has to adjust their playing to account for transposition, MIDI simplifies this process by directly outputting the correct pitch based on a programmed MIDI note number.

MIDI and Pitch Representation

MIDI represents pitch using numbers, where Middle C (C4) is assigned the value 60. Each step above or below this number corresponds to a semitone difference.

When orchestrating for transposing instruments, MIDI allows you to input notes as if they were for a concert-pitch instrument, and the software automatically adjusts the pitch.

This means that the note you enter into your MIDI sequencer for a transposing instrument can be in concert pitch (what you hear), or written pitch (what you see), depending on the software settings.

Transposition in MIDI

Automatic Transposition: Many MIDI software packages have built-in features to handle transposing instruments. When you assign a MIDI channel to a specific instrument (e.g., clarinet in B♭), the software automatically transposes the note for playback.

Example: You input a C in your MIDI sequencer for the clarinet in B♭. The software will automatically output the sound of a B♭ (one whole step lower than the written note), so the actual pitch heard corresponds to the instrument's transposition.

Manual Transposition: If the software does not automatically handle transpositions, you can manually transpose the notes. For example, if you write a melody for a trumpet in B♭ and you want it to sound in concert pitch, you can shift all notes in the sequence down by a major second (two semitones).

Example: Suppose you input a C for a trumpet in B♭, and you want the output to sound correctly in concert pitch. You can set a manual transpose function in your MIDI editor to lower the pitch by 2 semitones.

MIDI and Key Signatures

When working with transposing instruments in traditional sheet music, composers often need to change the key signature to match the instrument’s transposition. For instance, a piece in C major for a B♭ trumpet would require the trumpet part to be written in D major.

In MIDI orchestration, key signatures are usually less of a concern, as MIDI works primarily with absolute pitches. However, if you are converting MIDI data into traditional notation (e.g., for printing a score), some DAWs (Digital Audio Workstations) and notation software like Sibelius or Finale allow you to assign key signatures based on the instrument's transposition.

Practical Example of MIDI Transposition for Orchestration

Let’s take a scenario where you are orchestrating a passage for a wind ensemble, including a B♭ clarinet and a French horn in F. The piece is in C major (concert pitch). Practical based

For the Clarinet in B♭:

The concert pitch is C major. In traditional notation, you would write the part for the clarinet in D major (a whole step higher) so that when the clarinet plays, the sound aligns with C major.

In your MIDI sequencer, you can input the notes as if writing for a C major concert pitch, and the software will automatically adjust the output to sound one step lower. Alternatively, you can input the clarinet’s part in D major (its written key) and let the software interpret it correctly for playback.

For the French Horn in F:

Since the French horn sounds a perfect fifth lower than written, you would typically write the part in G major (a perfect fifth above the concert key of C major).

In MIDI orchestration, you can either write in concert pitch (C major) and let the software transpose it to the correct pitch (F major), or manually transpose the notes by a fifth if needed.

Advantages of MIDI in Handling Transposing Instruments

Simplifies the Process: In traditional orchestration, a composer has to think about the transposition when writing for specific instruments, adjusting both notes and key signatures. MIDI automation eliminates this step by handling transposition seamlessly. You can focus on the music without worrying about the technicalities of each instrument’s transposition.

Accurate Playback: MIDI ensures that even if you write in concert pitch, the playback will be accurate. This is particularly useful when using virtual instrument libraries, as the instruments will sound correct based on their transposition without any additional effort from the composer.

Flexible Workflow: You can compose, orchestrate, and arrange music in MIDI while keeping everything in concert pitch. Only when exporting or converting to traditional notation do you need to consider transposing instruments, making the process far more intuitive.

Immediate Adjustments: If you need to switch the transposing instrument (e.g., from a trumpet in B♭ to one in C), MIDI allows you to make quick adjustments without needing to rewrite the part. Simply change the transposition setting, and the software will handle the rest.

N.B: Handling transposing instruments in traditional orchestration can be a complex task, but MIDI technology simplifies it dramatically. With automatic or manual transposition features, MIDI allows composers to focus on the music rather than the technical intricacies of each instrument’s transposition. By leveraging MIDI’s ability to work in concert pitch while outputting the correct transposed sound, composers can create realistic orchestrations efficiently. Understanding how to work with transposing instruments in MIDI is crucial for producing polished, professional orchestral scores that translate easily into live performances or recordings.

1.2 Rhythm and Time Signatures

Rhythm and Time Signature in Orchestration with MIDI

When orchestrating with MIDI, rhythm and time signature are crucial elements that shape the overall feel and flow of your composition. Understanding how they work together allows you to create more dynamic, intricate, and expressive orchestral arrangements.

1. Rhythm in MIDI Orchestration

Rhythm refers to the pattern of notes and silences in music, defined by their duration and timing. In MIDI orchestration, rhythm is expressed digitally through MIDI data, which dictates when a note is played, how long it is sustained, and when it stops. Here's how rhythm plays a role in orchestration:

MIDI Grid and Quantization: The MIDI grid is a visual representation of time in a sequencer or digital audio workstation (DAW). It helps in aligning notes and controlling rhythmic precision. Quantization is used to lock notes onto the grid, ensuring timing accuracy. This feature is especially useful in orchestration where multiple instruments need to play in tight synchrony.

Velocity and Dynamics: The strength of each note is expressed in MIDI as "velocity." This controls how soft or loud a note is played. Rhythm isn't just about timing; it's also about feel, which can be manipulated by changing the velocity of notes to create accents and dynamic contrasts.

Syncopation and Rhythmic Variations: MIDI allows you to easily program syncopation (off-beat rhythms) and rhythmic variations across different instruments, giving your orchestration a more complex and human feel. By playing with the placement of notes, you can introduce polyrhythms or irregular rhythmic patterns that add tension and interest.

Note Length and Articulation: The length of the notes (whole, half, quarter, etc.) and the use of articulations (staccato, legato, etc.) directly affect the rhythm in MIDI orchestration. MIDI controllers can be used to adjust note duration, mimicking the natural attack and decay of real instruments.

2. Time Signature in MIDI Orchestration

Time signature defines the number of beats in each measure and the note value that gets the beat. It sets the framework within which rhythms are created. In MIDI orchestration:

Common Time Signatures: 4/4 is the most common time signature in orchestral music, but 3/4, 6/8, and other compound time signatures are also frequently used to give different feels (e.g., waltzes, marches, etc.). MIDI sequencers allow you to set the time signature, affecting how the grid is divided.

Changing Time Signatures: MIDI allows you to easily change the time signature mid-piece. This is particularly useful in film scoring or complex orchestral works where the music needs to follow dynamic shifts in mood, action, or scene changes. Time signature changes can also introduce surprise and excitement to the orchestration.

Subdivisions and Beat Emphasis: The way beats are subdivided in a time signature (e.g., eighth notes, sixteenth notes) influences the rhythmic texture of your orchestration. MIDI allows you to manipulate these subdivisions precisely, providing control over whether the rhythm feels tight or loose. Beat emphasis can be controlled through velocity and note placement, creating a sense of push or pull in the music.

Polymeter and Polyrhythm: With MIDI, you can easily orchestrate pieces where different instruments are playing in different time signatures (polymeter) or rhythms (polyrhythm) simultaneously. This creates complex rhythmic textures and interactions that can enhance the depth of your orchestration.

3. Tools for Managing Rhythm and Time Signature in MIDI

MIDI Controllers: Devices such as the mod wheel, expression pedal, or custom MIDI controllers allow you to add human-like variation to the timing and dynamics of your rhythm, ensuring that your orchestration doesn't sound robotic.

Tempo Mapping: In film and game scoring, tempo mapping can synchronize the music's rhythm to specific events on the screen. MIDI allows for precise tempo control, including gradual changes (ritardando, accelerando) and abrupt shifts.

Swing and Groove Templates: Most DAWs allow you to apply swing or groove templates to your MIDI data. This subtly shifts the timing of certain notes to create a more natural or "human" feel, which is often desired in orchestral music.

4. Practical Application in Orchestration

Layering Rhythmic Patterns: In MIDI orchestration, rhythm is often created by layering different patterns across the orchestra. For instance, strings may play a steady rhythm in 4/4 while the percussion adds syncopation, and woodwinds introduce a different rhythmic subdivision. MIDI allows you to easily manage these rhythmic layers.

Orchestration Across Different Sections: Different sections of the orchestra (strings, woodwinds, brass, percussion) can have contrasting rhythmic patterns that create tension or drive. MIDI makes it simple to arrange these sections on separate tracks, allowing precise control over their rhythmic interaction.

Rhythmic Motifs: You can use MIDI to repeat rhythmic motifs or sequences, creating cohesion within your orchestration. This is often done by repeating certain rhythmic figures across different instruments, creating a unified but dynamic texture.

N.B: Rhythm and time signature in MIDI orchestration are foundational in creating a cohesive, expressive, and dynamic orchestral score. Through the use of MIDI's precise control over timing, velocity, and dynamics, you can manipulate rhythmic patterns and time signatures in ways that closely mimic live performance while exploring complex interactions that would be challenging to achieve with real players.

Quantization: In MIDI, quantization helps align note values to a grid, ensuring rhythmic precision. However, over-quantization can result in mechanical, unrealistic performances. Humanization features can be applied to mimic natural playing.

Part II

Introduction to String Basics and String Family

Understanding String Instruments

String instruments are musical instruments that produce sound through the vibration of stretched strings. The sound is either amplified acoustically by a resonating body or electronically through pickups and amplification.

String Instruments in Western Music

The Western orchestral string family consists of the following:

Violin

The smallest and highest-pitched instrument in the string family.

Tuned G-D-A-E (from lowest to highest).

Used for melodies, solos, and fast runs in orchestration.

Example MIDI usage: In Cinematic Scoring, violin sections provide high-energy staccato rhythms or sweeping legato passages.

Viola

Slightly larger than the violin, with a deeper, warmer sound.

Tuned C-G-D-A (a perfect fifth lower than the violin).

Often used for harmonies and inner melodies in orchestration.

Example MIDI usage: MIDI violas add richness to string sections and reinforce melodies with a mellow tone.

Cello

A large, expressive instrument with a rich low-to-mid range.

Tuned C-G-D-A (an octave lower than the viola).

Used for deep basslines, melodic solos, and accompaniment.

Example MIDI usage: Cellos in MIDI orchestration can provide emotional depth in film scores.

Double Bass

The largest and lowest-pitched orchestral string instrument.

Tuned E-A-D-G (similar to a bass guitar, but one octave lower).

Provides the foundation of the orchestra, reinforcing the harmony.

Example MIDI usage: MIDI double basses create heavy, grounded basslines in orchestral arrangements.

Fig 3. Image of philharmonic strings gear on cubase 13pro. Culled from BBC orchestra

Harp

A plucked string instrument with a bright, resonant tone.

Commonly used for glissandos, arpeggios, and ethereal textures.

Example MIDI usage: MIDI harps are great for fantasy themes and ambient textures.

String Techniques in Orchestration

Arco (Bowing): Produces smooth, sustained tones.

Pizzicato (Plucking): A short, percussive sound.

Legato: Connected, smooth phrasing.

Staccato: Short, separated notes.

Spiccato: Bouncing bow effect.

Tremolo: Rapid bow movement for tension.

MIDI Implementation of Strings

Velocity Mapping: Adjusting how hard or soft a note is played.

Articulation Switching: Using MIDI keyswitches for legato, pizzicato, and staccato.

Expression Automation: Controlling dynamics with MIDI CC (e.g., CC1 for mod wheel dynamics).

2. Familiarization with Tone Qualities and Textures of Various Musical Instruments

Understanding Timbre in Orchestration

Timbre (or tone quality) refers to the unique sound characteristic of an instrument. It determines whether a violin sounds different from a flute, even when playing the same note.

Tone Qualities of Common Orchestral Instruments

Bright & Sharp: Trumpet, violin, piccolo.

Warm & Mellow: French horn, cello, clarinet.

Dark & Deep: Double bass, bassoon, tuba.

Metallic & Piercing: Cymbals, electric guitar, synthesizers.

Textures in Orchestration

Texture refers to the way different musical lines interact in a piece.

Monophonic Texture: A single melody line with no accompaniment (e.g., solo flute).

Homophonic Texture: A melody with chordal accompaniment (e.g., voice and piano).

Polyphonic Texture: Multiple independent melodies played together (e.g., a fugue).

Heterophonic Texture: A variation of the same melody played by different instruments.

MIDI Implementation for Realistic Textures

Layering Different Libraries: Combining different MIDI instruments to create a fuller sound.

Velocity Variation: Using dynamic MIDI velocity to avoid robotic sounds.

Panning and Reverb: Positioning instruments in the stereo field for realism.

3. Basic Knowledge of Categories and Classifications of Musical Instruments (Western and Native)

Western Instrument Classification

Strings: Violin, viola, cello, double bass, guitar.

Woodwinds: Flute, oboe, clarinet, bassoon.

Brass: Trumpet, French horn, trombone, tuba.

Percussion: Timpani, snare drum, xylophone, cymbals.

Keyboard: Piano, organ, synthesizers.

Native (Traditional) Instrument Classification

Each culture classifies instruments differently, but they generally fall into:

Chordophones (String Instruments): Kora (West Africa), Sitar (India).

Aerophones (Wind Instruments): Flute (Native American), Shakuhachi (Japan).

Membranophones (Drums): Talking Drum (Africa), Tabla (India).

Idiophones (Self-Sounding Percussion): Balafon (Africa), Gongs (Asia).

In traditional music orchestration, some VSTs comes perfect for it's use and great output, for example, Battery VST, Hypersonic 2 VST, Native Instruments VST, real percussion app, heritage percussions etc

Using MIDI for Cultural Orchestration

Sampling Traditional Instruments – Using MIDI to replicate native sounds.

Blending Genres – Mixing Western and native instruments for hybrid compositions.

4. Basic Knowledge on the Use of MIDI in Music

MIDI (Musical Instrument Digital Interface) is a digital protocol that allows musical devices to communicate. MIDI does not generate sound, but it sends performance data (e.g., note pitch, velocity, modulation).

Core Components of MIDI

MIDI Messages:

Note On/Off: Determines when a note starts and stops.

Velocity: Controls how forcefully a note is played.

Control Change (CC): Adjusts volume, modulation, expression.

MIDI Channels: Allow up to 16 instruments to play simultaneously.

MIDI Controllers: Keyboards, drum pads, expression pedals.

Fig. 8. One strand channel of an instrument (guitar) which serves as a mono fader and mix

Using MIDI for Orchestration

Virtual Instruments (VSTs): Libraries like EastWest, Spitfire, and Kontakt for realistic orchestration.

MIDI Programming: Using expression curves, automation, and articulation control.

Humanization Techniques: Adjusting note timing and velocity to avoid mechanical sounds.

Advantages of MIDI in Orchestration

✔ Flexibility: MIDI performances can be edited and adjusted.

✔ Realism: Advanced VST libraries provide authentic instrument sounds.

✔ Cost-effective: No need for large orchestras in recording.

In the image above, this describes typical panning and virtual philharmonic arrangement for a perfect and distinct output.

N.B: This lecture note covers essential concepts in orchestrating with MIDI, focusing on string instruments, timbre, orchestral textures, musical instrument classifications, and MIDI techniques. By integrating traditional and digital orchestration, composers can create expressive and dynamic arrangements.

Practical Steps:

Practical MIDI exercises in DAW (Logic Pro, Cubase, FL Studio). We will be using cubase 5 or 13 and FL 20.

Hands-on experimentation with virtual orchestras.

Importing and prepping for midi

Importing and Prepping with MIDI

MIDI is a crucial tool in modern orchestration, allowing composers and producers to manipulate musical elements digitally. The process of importing and prepping MIDI files is essential for achieving a clean and efficient workflow in digital orchestration. This section covers the steps and best practices for bringing MIDI data into a Digital Audio Workstation (DAW) and preparing it for orchestration.

1. Importing MIDI Files

A. Sources of MIDI Files

MIDI files can be obtained from various sources, including:

Composed MIDI: Sequences created within a DAW or notation software.

Downloaded MIDI: Files from online resources or virtual instrument libraries.

Recorded MIDI: Performances captured using a MIDI keyboard, drum pad, or other controllers.

Converted MIDI: Audio-to-MIDI conversion tools that extract MIDI from recordings.

B. Importing into a DAW

The process varies slightly depending on the DAW, but generally follows these steps:

Drag and Drop: Many DAWs support direct MIDI file dragging onto the workspace.

File Menu Import: Navigate to File > Import > MIDI File and select the desired file.

Track Assignment: DAWs often prompt for track routing, allowing you to assign instruments or MIDI channels.

Tempo & Time Signature Sync: Some MIDI files contain embedded tempo data, which can be matched to the DAW’s settings.

2. Prepping MIDI for Orchestration

A. Cleaning Up the MIDI Data

Raw MIDI files may contain unnecessary information, so it’s important to refine them:

Remove Unwanted Controllers: Clean up redundant sustain pedal data, pitch bends, or modulations that don’t fit the orchestration.

Quantization: Adjust timing errors while maintaining human feel (use "soft quantization" to avoid robotic playback).

Velocity Adjustments: Ensure dynamic consistency across notes, especially for orchestral instruments.

Note Lengths & Overlaps: Correct note durations to prevent overlapping issues, particularly in legato passages.

B. Organizing MIDI Tracks

To facilitate orchestration, structure your MIDI tracks effectively:

Track Naming: Label each track clearly (e.g., Violin 1, Cello, Horns, Timpani).

Color Coding: Use different colors for sections (strings, brass, woodwinds, percussion).

Grouping: Create folders or track stacks for each instrument family to keep the session organized.

C. Assigning Virtual Instruments

Once MIDI is cleaned and structured, assign suitable virtual instruments:

Orchestral Libraries: Load high-quality sample libraries (e.g., Spitfire Audio, EastWest, Vienna Symphonic Library).

Articulations & Keyswitches: Configure MIDI for legato, staccato, pizzicato, etc., based on the orchestration needs.

Expression Mapping: Assign MIDI CC (continuous controller) data for volume, vibrato, and dynamics.

D. Tempo and Time Signature Adjustments

Ensure the MIDI aligns with the DAW’s tempo map.

Adjust time signatures if needed, especially for complex orchestral passages.

Importing and prepping MIDI files is a foundational step in orchestration. A well-prepared MIDI file leads to a smoother workflow, better playback realism, and more expressive orchestral arrangements. By following structured techniques—cleaning up MIDI data, organizing tracks, and assigning virtual instruments—you ensure that your MIDI sequences are ready for a professional orchestration process.

Selecting an Instrument

1. Selecting an Instrument in MIDI Orchestration

Selecting the right instrument is crucial in achieving an expressive and realistic orchestration. Since MIDI itself doesn’t generate sound but only transmits performance data, the choice of virtual instruments (VSTs, sample libraries, or synthesizers) determines the final quality of the orchestration.

A. Understanding Instrument Roles in Orchestration

Before selecting an instrument, it’s important to understand the role each instrument plays in an arrangement:

Melodic Instruments: These carry the main theme (e.g., violins, flutes, trumpets).

Harmonic Instruments: These support harmony and chord structure (e.g., violas, clarinets, French horns).

Rhythmic Instruments: These emphasize rhythm and dynamics (e.g., percussion, pizzicato strings).

Bass Instruments: These provide foundational depth (e.g., double basses, tubas, contrabassoons).

Each instrument has unique articulations (e.g., legato, staccato, pizzicato) that affect its selection and MIDI programming.

B. Choosing Virtual Instruments

There are different types of virtual instruments available for MIDI orchestration:

Synthesized Instruments – MIDI synthesizers generate sounds algorithmically. Best for electronic scoring.

Sample-Based Libraries – These use pre-recorded samples of real instruments, offering realistic playback. Examples:

Spitfire Audio (BBC Symphony Orchestra)

EastWest Hollywood Orchestra

Vienna Symphonic Library

Hybrid Instruments – Combine samples with synthesis for flexible sound manipulation.

C. Considerations When Selecting an Instrument

Genre & Style: Different styles require different instrument choices (e.g., epic film scoring may need powerful brass, while intimate pieces might require solo strings).

Articulations & Expression Control: Some libraries offer deep articulation control, allowing for expressive playing.

CPU & RAM Usage: High-end orchestral libraries can be CPU-intensive; ensure your system can handle them.

MIDI Compatibility: Some sample libraries respond better to MIDI controllers, allowing smoother dynamics and expressiveness.

Introduction to Note Velocity as a Controller for Dynamics

MIDI velocity is one of the most important parameters for controlling the dynamics and expressiveness of a virtual instrument. Unlike real instruments, where dynamics are controlled by breath, bow pressure, or touch, MIDI instruments rely on velocity and other controllers to simulate expression.

A. What is MIDI Velocity?

Velocity in MIDI refers to how hard or soft a key is pressed on a MIDI controller. It typically ranges from 0 to 127:

Low Velocity (0-40): Soft, delicate notes (e.g., pianissimo in orchestration).

Medium Velocity (41-90): Natural playing intensity (e.g., mezzo-piano to mezzo-forte).

High Velocity (91-127): Strong, loud attacks (e.g., fortissimo in orchestration).

The instruments reactions to velocity

Each instrument reacts differently to velocity. For instance:

Piano: A lower velocity produces a softer tone, while higher velocity increases brightness and intensity.

Strings & Brass: Some sample libraries use velocity to switch between soft and aggressive articulations.

Drums & Percussion: Higher velocity leads to stronger hits (e.g., snare drum rolls).

B. Velocity vs. Continuous Controllers (CCs)

While velocity affects note attacks, MIDI CC controllers are used for continuous dynamic control:

Velocity: Controls attack intensity (single-trigger events).

CC11 (Expression): Adjusts volume and dynamic shaping over time.

CC1 (Modulation): Often mapped to vibrato or dynamics in orchestral libraries.

C. Editing MIDI Velocity for Realistic Performance

Manual Editing in DAW: Most DAWs allow velocity adjustments in the piano roll.

Humanization & Variation: Avoid robotic playback by slightly varying note velocities.

Layering Velocity with CC Expression: Use both velocity and MIDI CCs for nuanced performances.

Conclusion

Selecting the right instrument in MIDI orchestration requires understanding the instrument’s role, choosing appropriate sample libraries, and ensuring MIDI compatibility. Note velocity is a fundamental aspect of MIDI dynamics, influencing the expressiveness of virtual instruments. By mastering velocity control, along with other MIDI CC parameters, orchestrators can create more realistic and expressive performances.

Introduction to the Concept of Humanization

In digital music production, humanization refers to making MIDI performances sound more natural, as if they were played by a real musician rather than programmed. MIDI data, by default, can sound robotic due to the precise nature of computer-generated notes. Humanization techniques help introduce slight imperfections that mimic real-life performances.

Humanization is the process of making MIDI performances sound less robotic and more like a live musician's performance. Unlike a real orchestra where players introduce natural variations, MIDI notes are placed on a strict timing grid with fixed velocities, resulting in an unnatural and mechanical sound.

Humanization helps simulate real-world imperfections such as:

Subtle timing variations – Real musicians don’t play every note at the exact millisecond.

Dynamic changes in velocity – A pianist doesn’t strike all notes with the same force.

Natural articulations – Bowing, breathing, and phrasing in strings and wind instruments.

Modulation and pitch fluctuations – Slight variations in tuning and vibrato.

Importance of humanization in midi orchestration

Without humanization, MIDI performances sound artificial.

It enhances expressiveness and emotional impact.

Helps blend virtual instruments into live recordings seamlessly.

Essential for film scoring, game music, and professional orchestration.

Key Elements of Humanization

Timing Variations – Real musicians never play perfectly on time. Small shifts in timing make performances more natural.

Velocity Dynamics – The force or intensity of a note (MIDI velocity) varies in real performances, adding expression.

Expression and Articulation – Techniques like legato, staccato, vibrato, and portamento add realism.

Modulation and Pitch Variations – Slight changes in pitch and modulation simulate natural fluctuations in live performances.

Randomization of Notes – Small deviations in note lengths, attack, and sustain prevent mechanical-sounding playback.

2. How to Achieve the Concept of Humanization Manually

Humanization can be achieved using both manual and automated methods. Here, we focus on manual humanization techniques in MIDI orchestration.

Real-World Example:

Compare a fully quantized MIDI piano piece with one that has slight timing fluctuations and velocity variations. The quantized version sounds stiff, while the humanized version feels more natural and engaging.

Step-by-Step Manual Humanization Process

a. Adjusting MIDI Velocity

Velocity controls how soft or hard a note is played, just like how a violinist controls bow pressure or a pianist controls keystroke intensity.

In piano performances, emphasize strong beats and lighten weaker beats.

In strings, introduce crescendo (gradual increase) and decrescendo (gradual decrease) to shape phrases.

Avoid setting all notes to the same velocity—this sounds unnatural.

Instead of setting all notes to the same velocity, introduce slight variations.

Example: In a piano or string passage, softer notes should have lower velocity, while accented notes should have higher velocity.

Most DAWs (Digital Audio Workstations) allow MIDI velocity editing through a velocity lane.

Example in a DAW:

In Cubase, open the MIDI editor and manually adjust the velocity of each note in the velocity lane.

In Logic Pro, use the MIDI Transform tool to randomize velocity values slightly.

b. Introducing Micro-Timing Adjustments

Move MIDI notes slightly forward or backward to avoid rigid timing.

Use the quantize function with a strength setting (e.g., 80%) instead of hard quantization to retain human-like imperfections.

c. Adjusting Note Lengths

Real instrumentalists do not play all notes with the same duration.

Adjust the length of sustained and staccato notes to mimic real performances.

d. Adding Pitch and Modulation Variations

Use pitch bend automation to create slight tuning fluctuations.

Use modulation (CC1 for vibrato or CC11 for expression) to add expressiveness to string and brass sections.

e. Simulating Breath and Bowing Effects

Wind instruments and strings require breathing or bowing breaks.

Introduce slight pauses or dynamic changes to make the performance more natural.

f. Using Different Articulations

Many virtual instruments have key-switches for articulation (e.g., legato, spiccato, pizzicato).

Alternate between articulations to avoid monotonous sound.

3. Arrangement of Music Libraries

A well-organized music library is crucial for an efficient MIDI orchestration workflow. Music libraries contain sampled instruments that can be triggered via MIDI.

Steps to Arrange and Manage Music Libraries

1. Categorizing Instrument Libraries

Organize libraries based on instrument families:

Strings (Violins, Violas, Cellos, Basses)

Brass (Trumpets, Horns, Trombones, Tubas)

Woodwinds (Flutes, Clarinets, Oboes, Bassoons)

Percussion (Timpani, Cymbals, Snare Drums)

Some DAWs allow tagging and color-coding libraries for easier navigation.

2. Choosing High-Quality Sample Libraries

Use industry-standard libraries such as:

Spitfire Audio (BBC Symphony Orchestra, Albion Series)

EastWest Composer Cloud (Hollywood Orchestra)

Vienna Symphonic Library (VSL)

Cinesamples (CineBrass, CineStrings)

Orchestral Tools (Metropolis Ark, Berlin Series)

3. Loading the Right Articulations

Instead of loading all articulations in a single patch, use separate instances for different articulations to save CPU power.

4. Using Templates for Faster Workflow

Create orchestral templates with pre-loaded instruments and routing settings.

Assign instruments to separate MIDI tracks for better organization and mixing.

4. The Use of VST Plugins

Virtual Studio Technology (VST) plugins enhance MIDI orchestration by providing realistic instrument sounds and effects.

Types of VST Plugins Used in Orchestration

1. Sample-Based Virtual Instruments

These plugins use recorded samples of real instruments.

Examples:

Kontakt (Native Instruments)

Play (EastWest)

Vienna Instruments Pro

2. Synthesized Orchestral Instruments

Some VSTs generate orchestral sounds using synthesis instead of samples.

Example: Synth-based orchestral pads for cinematic textures.

3. Effect Plugins for Realism

Reverb – Adds depth and space to orchestral instruments (e.g., Valhalla VintageVerb, Altiverb).

EQ and Compression – Shapes the frequency balance and dynamics.

Saturation and Tape Emulation – Adds warmth to digital instruments.

4. Automation and Expression Control

Many VSTs allow real-time control using MIDI CC automation.

Use expression (CC11) and modulation (CC1) to add life to performances.

5. Virtual Orchestration and Practical Application

Virtual orchestration refers to using MIDI and VST instruments to create a fully orchestrated piece without live musicians.

Practical Steps for Virtual Orchestration

Step 1: Setting Up a Template

Load a pre-made orchestral template with instrument tracks and routing.

Step 2: Composing the MIDI Arrangement

Start with a sketch (piano reduction or basic orchestral outline).

Assign melody, harmony, and rhythm to appropriate instruments.

Step 3: Layering and Doubling Instruments

Layer different instruments for richness (e.g., Cellos and French Horns for warm harmonies).

Use octave doubling to strengthen melodies.

Step 4: Adding Expression and Humanization

Apply velocity variation, modulation, and articulations for realism.

Automate reverb and dynamics for a cinematic feel.

Step 5: Mixing and Finalizing

Balance levels using EQ, compression, and reverb.

Adjust panning to match a real orchestral seating arrangement.

Conclusion

Mastering MIDI orchestration requires an understanding of humanization techniques, VST plugins, and proper music library organization. By applying manual humanization, using high-quality sample libraries, and automating expression, MIDI compositions can sound as realistic and emotional as a live performance.

Key point:

Humanization prevents robotic-sounding MIDI performances.

Proper library arrangement speeds up workflow.

VST plugins provide high-quality orchestral sounds.

Virtual orchestration techniques can create professional-quality music for films, games, and symphonies.

FULL ORCHESTRA PART 1: WINDS AND BRASS

Varying Material Tools for Analysis

1. Understanding Wind and Brass Orchestration

The woodwind and brass sections provide both melodic and harmonic support. Their distinct timbres, articulations, and dynamics influence orchestration choices.

Woodwinds: Flute, Oboe, Clarinet, Bassoon

Brass: Trumpet, French Horn, Trombone, Tuba

2. Tools for Analyzing Wind and Brass Orchestration

Spectrograms (e.g., using Izotope RX) – Analyze frequency content.

MIDI velocity mapping – Helps balance dynamics.

Score reduction tools (e.g., Sibelius, Finale) – Study orchestral balance.

3. Effective Use of Markings in MIDI (Mendelssohn’s Hebrides Overture)

Mendelssohn’s Hebrides Overture (Fingal’s Cave) showcases expressive wind and brass writing.

Key Features:

Flute and clarinet introduce the theme with gentle phrasing.

French horns provide harmonic depth.

Brass crescendos add dramatic tension.

Practical MIDI Application

Velocity layering: Simulates breath dynamics.

Modulation (CC1) and Expression (CC11): Mimic real phrasing.

EQ and Reverb: Position brass behind woodwinds.

FULL ORCHESTRA PART 2: STRING ORCHESTRA (E. ELGAR – INTRODUCTION AND ALLEGRO)

1. Overview of String Orchestration

The string section (Violins, Violas, Cellos, Double Basses) forms the orchestra’s foundation.

2. Key Orchestration Techniques in Elgar’s "Introduction and Allegro"

Divisi & Layering:

Elgar frequently divides violin sections for a rich harmonic texture.

Contrasting dynamics:

Soft, lyrical passages vs. bold, fast-moving lines.

Counterpoint and independence:

Multiple string lines move independently for clarity.

3. MIDI Orchestration of Strings

Use legato transitions (e.g., Spitfire’s BBC Symphony Strings).

Balance vibrato and non-vibrato samples.

Reverb: Set close mics for solos, hall mics for ensemble.

Practical MIDI Application

Expression control (CC11): Simulate bowing pressure.

Adjusting note lengths: Legato vs. staccato bowing.

Panning and EQ: Positioning first violins to the left, cellos to the right.

FULL ORCHESTRA PART 3: PERCUSSION, HARP, AND KEYBOARDS

Ludwin’s Law and Instrumental Balance

Ludwin’s Law: "Avoid doubling percussive and sustaining instruments in the same register unless contrast is desired."

Percussion roles:

Rhythmic drive (e.g., timpani, snare drum).

Color and accents (e.g., cymbals, bass drum).

1. Stravinsky’s Petrushka and Percussion Writing

Stravinsky uses percussion as part of the orchestral fabric rather than just an accent.

Syncopation and polyrhythms create rhythmic complexity.

2. Harp and Keyboard Orchestration

Harp glissandos: Used for color and transition.

Piano and celesta: Add brightness to the texture.

Practical MIDI Application

Percussion layering:

Blend orchestral bass drum with subtle timpani rolls.

Harp articulation:

Adjust MIDI velocity for realistic plucking.

Piano resonance:

Use sustain pedal automation for realism.

FINAL PROJECT & RECORDING

Applying Full-Orchestra MIDI Techniques

Choose a short orchestral excerpt (e.g., a theme from film scoring or classical works).

Implement humanization, articulation control, and balance.

Record a finalized MIDI orchestration and compare it to live recordings.

Final Checklist for MIDI Realism

✔ Dynamics (velocity, CC1, CC11) for expressiveness.

✔ Note shaping (legato, staccato, pizzicato).

✔ Orchestral spacing using reverb and panning.

✔ Final mixing adjustments for clarity and depth.

Lecture Note on GOU-OM 231 & 232

(Orchestration with Midi)

Course code: GOU-OM 231 & 232

Course title: Orchestration with Midi (I & II)

Lecturer: Mr Kanife Udochukwu

Department: Music

Faculty: Arts

Introduction

Orchestration with MIDI is a course specially design to equip students with virtual instrumental performance and arrangement that usually sounds real to the listener. It is a complex digital combination and arrangement of western and African instruments in an ensemble. The relevance of this course lies in the ability to create the symphonic music culture, which is lacking in Nigeria due to the non-availability of some of the real instruments in the Nigerian market as well as a dearth of such instructors.

Objectives

The objectives are to:

enhance and promote digital music culture.

train experts/arrangers who can handle such modern complex technological music innovation.

make every interested hard working music student his or her own producer and not always dependent on quite a few music producers around.

explore the interaction between musicologists and music analysts.

facilitate students familiarization with the world of virtual instruments using the keyboard as the MIDI controller.

match music theory of notation with virtual studio technology (VST).

Learning Outcomes

At the completion of this course, students should be able to:

make use of music software or libraries from Virtual Studio Technology (VST).

produce or Compose orchestra works (ensemble of instruments western or African) with MIDI (musical instruments digital interface) as if in reality.

write musical themes for movies, cinemas, dramas and plays as well as jingles.

expand a full orchestra both in philharmonic or chamber music.

Analyse orchestra works composed and arranged by another person as study material for improvement

Demonstrate a practical knowledge and mastery of what he or she has studied by going to do a little teaching practice.

Course Contents

Basic Knowledge of Musical notation and harmony. Introduction to string basics and string family. Familiarization with tone qualities and textures of various musical instruments. Basic knowledge of categories and classifications of musical instruments (western and native). Basic knowledge on the use of MIDI music. Importing and prepping MIDI. Selecting an instrument. Introduction to note velocity as a controller of dynamics. Introduction to the concept of humanization. How to achieve the concept of humanization manually. Arrangement of Music Libraries. The use of VST plugins. Virtual orchestrations and practical. Full orchestra part 1: winds and brass by varying material tools for analysis, using markings effectively (Mendelssohn Hebrides). Full orchestra part 2: string orchestra (E. Elgar) introduction and allegro. Full orchestra part 3: percussion, harp and keyboards (Ludwin's law, I. Stravinsky patroushka). Final project and recording.

What is Orchestration?

What is MIDI

Musical Notation

1.1 Pitch Notation in MIDI

Example: Middle C is denoted by note 60 in MIDI.

Octave Naming in Music:

What is an Octave?

We know the definition of the traditional meaning of octave as the interval of twelve semitones spanning eight degrees of the diatonic scale.

The term "octave" comes from the Latin word "octavus," meaning "eighth," because there are eight notes (in diatonic scales) from one note to its octave, including both the starting and ending notes.

The Basics of Octave Naming

Here’s how the system works:

Middle C (C4): The most commonly referenced pitch, especially in piano music, is called Middle C and is designated as C4 in SPN.

Octaves in Either Direction: Moving up or down from Middle C, the octave numbers increase or decrease:

The octave from C4 to B4 is the fourth octave.

The octave from C3 to B3 is the third octave.

The octave from C5 to B5 is the fifth octave, and so on.

This means that every note name (A, B, C, etc.) appears in multiple octaves but with a different number indicating the specific range.

Full Range of Octave Naming

Here is a breakdown of the standard octave naming system:

Octave number

Starting Note

Ending Note

Range

Octave 0

Lowest range of typical MIDI

Octave 1

Deep bass sounds (e.g., lowest notes on a contrabass)

Octave 2

Bass notes (e.g., bass guitars, bass parts of orchestras)

Octave 3

Low to midrange pitches

Octave 4

C4 (middle C)

Middle range, includes many instrumental and vocal ranges

Octave 5

High range (e.g., upper piano notes, higher vocals)

Octave 6

Very high, typically used for piccolo, high vocals, or solo instruments

Octave 7

Extremely high (e.g., highest piano notes)

Octave 8

Extremely high, rarely used outside specific instruments like the piano

Middle C and the Piano

On a standard piano, Middle C (C4) is the note located in the middle of the keyboard. It is a key reference point for octave naming in SPN. From Middle C:

The keys to the right ascend in pitch, increasing the octave number (C5, C6, etc.).

The keys to the left descend in pitch, decreasing the octave number (C3, C2, etc.).

A full-sized piano usually has 88 keys, ranging from A0 (the lowest note) to C8 (the highest note), covering about 7 full octaves.

Fig 1. Midi numbering in a workflow

Octave Naming in MIDI

In MIDI, octave naming is essential for programming and identifying exact notes. MIDI uses a numerical system where each key on a keyboard corresponds to a specific MIDI note number.

MIDI Note Numbers: The MIDI protocol assigns a number to each key from 0 to 127, with MIDI note 60 corresponding to Middle C (C4).

The lowest possible note in MIDI is C-1 (MIDI note 0).

The highest possible note in MIDI is G9 (MIDI note 127).

MIDI sequencers and DAWs often label notes based on this system, ensuring consistency between digital instruments.

MIDI Octave Naming Variations

Different DAWs or MIDI hardware might display octave numbers differently:

For example, Ableton Live typically uses C3 for Middle C, while Logic Pro uses C4. Understanding this difference helps you stay consistent when working across platforms.

Octave Naming and Orchestration

When orchestrating music using MIDI, octave naming helps with:

Identifying Instruments' Ranges: Each instrument in the orchestra has a specific pitch range that corresponds to certain octaves.

String instruments: The violin's range typically spans from G3 (G below Middle C) to C8, while the cello's range is from C2 to A5.

If a violin sample library covers C3 to C6, for instance, writing notes outside this range in your MIDI sequencer will either result in no sound or an unnatural shift in tone.

Handling Transposing Instruments: Octave naming is especially important when working with transposing instruments in MIDI. For example:

Octave Equivalence

For instance:

Doubling a violin line one octave higher with a flute can emphasize the melody without clashing harmonically.

Similarly, MIDI allows you to quickly duplicate parts in different octaves to create these effects digitally.

Application in Orchestration with MIDI

When orchestrating with MIDI, octave naming provides a framework for:

Instrument Ranges: Assigning each instrument or virtual instrument the correct octave range to ensure realistic playback.

MIDI Data Entry: Correctly identifying MIDI note numbers and their corresponding octaves ensures that each part is written within the playable range of the instrument.

Transposition and Key Changes: MIDI makes it easy to transpose notes across different octaves without affecting the integrity of the composition.

Transposing Instruments and MIDI

What Are Transposing Instruments?

Examples of common transposing instruments include:

Clarinet in B♭: When a clarinetist plays a written C, the pitch heard is actually a B♭, a whole step lower.

Trumpet in B♭: Similar to the clarinet, the trumpet in B♭ sounds a whole step lower than the written note.

French Horn in F: The French horn sounds a perfect fifth lower than written. If you write a C for a French horn, it will sound as F.

In contrast, non-transposing instruments like the piano or flute sound exactly as written.

Fig 2. Picture view in cubase 13 showing the use of groove agent, alongside automated transposed midi.

Purpose of Transposing Instruments

How MIDI Handles Transposing Instruments

MIDI and Pitch Representation

MIDI represents pitch using numbers, where Middle C (C4) is assigned the value 60. Each step above or below this number corresponds to a semitone difference.

When orchestrating for transposing instruments, MIDI allows you to input notes as if they were for a concert-pitch instrument, and the software automatically adjusts the pitch.

This means that the note you enter into your MIDI sequencer for a transposing instrument can be in concert pitch (what you hear), or written pitch (what you see), depending on the software settings.

Transposition in MIDI

MIDI and Key Signatures

Practical Example of MIDI Transposition for Orchestration

Let’s take a scenario where you are orchestrating a passage for a wind ensemble, including a B♭ clarinet and a French horn in F. The piece is in C major (concert pitch). Practical based

For the Clarinet in B♭:

The concert pitch is C major. In traditional notation, you would write the part for the clarinet in D major (a whole step higher) so that when the clarinet plays, the sound aligns with C major.

For the French Horn in F:

Since the French horn sounds a perfect fifth lower than written, you would typically write the part in G major (a perfect fifth above the concert key of C major).

In MIDI orchestration, you can either write in concert pitch (C major) and let the software transpose it to the correct pitch (F major), or manually transpose the notes by a fifth if needed.

Advantages of MIDI in Handling Transposing Instruments

1.2 Rhythm and Time Signatures

Rhythm and Time Signature in Orchestration with MIDI

1. Rhythm in MIDI Orchestration

Lecturer : Kanife Udochukwu

Course info

Orchestration with midi II

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