Discover the most popular and inspiring quotes and sayings on the topic of Orchestrating. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Orchestrating Quotes And Sayings by 90 Authors including Joshua Bell,Edgard Varese,George Shearing,Misty Copeland,Atticus Ross for you to enjoy and share.
I mean, the great secret is that an orchestra can actually play without a conductor at all. Of course, a great conductor will have a concept and will help them play together and unify them.
Music is organized sound.
The way it works: The orchestra plays a few selections of its own and I terminate the first part of the programme on piano, usually with a movement from a Mozart concerto.
If the rhythm or beat of the music changes with a live orchestra, you have to think on your feet. If you feel like you are not on your leg, you have to make a decision to make it look as though nothing is going wrong.
My wife is a classically trained piano player, and she also orchestrates.
It may not seem this way at first, but your workplace is actually built on a well-ordered system of individuals and groups with defined stations of importance, all interacting to make your company run and appear busy.
The conductor of an orchestra doesn't make a sound. He depends, for his power, on his ability to make other people powerful.
Five coordinating mechanisms seem to explain the fundamental ways in which organizations coordinate their work: mutual adjustment, direct supervision, standardization of work processes, standardization of work outputs, and standardization of worker skills.
I went to study some orchestration stuff because I got so inspired working with all the orchestras.
It has to be able to play at the maximum expression and communication in every style, and the only way you can do that is - like Verdi said - working with a file, every day, little by little, until the orchestra's collective qualities emerge.
Let me say that I've never thought to conduct because the conductor has to think to the music before the orchestra. And the orchestra comes later. For me, it's terrible.
Not everybody gets to record with an orchestra, and not everybody that gets to record with an orchestra gets to write all their own stuff.
I've done shows with orchestras, and I like writing with orchestras.
I like to create the music I hear in my interior. As a conductor, you have the ability to squeeze the sounds and interpretation you asked for from 50 to 80 people.
When I first wrote for orchestra, I didn't realize, when you have 20 people playing a violin line, that is very different than one person playing that line.
Organizing is what you do before you do something, so that when you do it, it is not all mixed up.
Every work needs proper organization.
The improvisational nature of jazz musicianship is such that a truly competent performer must be prepared to function as an on-the-spot composer who is expected to contribute to the orchestration in progress, not simply to execute the score as it is written and rehearsed.
At a rehearsal I let the orchestra play as they like. At the concert I make them play as I like.
To lead the orchestra, you have to turn your back on the crowd.
plan, organize, integrate, motivate, and measure.
Order in a house ought to be like the machinery in opera, whose effect produces great pleasure, but whose ends must be hid.
The great secret is that an orchestra can actually play without a conductor at all. Of course, a great conductor will have a concept and will help them play together and unify them. But there are conductors that actually inhibit the players from playing with each other properly.
As the manager sits before a performance, as the critics wait like hungry dogs to rip apart the performance, they all become entwined in the theatrics of it all.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
Trying to coordinate everything, it can be really hard to balance.
People clutch onto each other, but the orchestra plays on, because when everything else in life fails, there still has to be music
Want balance in your life? Then sure, get your own act together, but don't forget four powerful disciplines of execution in your team and organization.
I never thought that I would write orchestra music, but in fact I did write a group of orchestra pieces.
The Woodshed Orchestra trade in exuberance and might, a glistening thunderslap on the hind of musical atrophy. These songs leap from disc to lap, a many-legged beast trundling with joy and vision.
I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.
When I am composing, the sounds are leading me to the way I want them to organize.
Order and creativity are complementary.
Musical 'fusion' projects have earned themselves a bad name, but that's mainly because they often involve pop artists conscripting orchestras to play unimaginative backdrops to their acts. What's really exciting is when you spark off a dialogue between very different musical forces.
In a ballet company, you're trying to create unison and uniform when you're in a cour de ballet.
A conductor can do wild things which can feel forced, but if you're directing from within the orchestra, you can't do that, things have to feel natural.
Sometimes, when you do the music for a play, there are very clear boundaries as to what needs to be achieved. You're very much a little cog in a much bigger machine.
You can find the whole world of a film in one instrument, or you can find a world of sound in the orchestra.
You can't play a symphony alone, it takes an orchestra to play it.
Conductors must give unmistakable and suggestive signals to the orchestra - not choreography to the audience.
Organizing is providing people with the opportunity to become aware of their own capabilities and potential.
I see a symphony - and sometimes a grand opera - of elements that can be coordinated and harmonized to create a fantastic and memorable experience.
But an innovation, to grow organically from within, has to be based on an intact tradition, so our idea is to bring together musicians who represent all these traditions, in workshops, festivals, and concerts, to see how we can connect with each other in music.
As a conductor I find the hardest tasks are to listen to the instinct of a musician and to hear the music behind the notes.
I think this orchestra's strengths involve drama and voice.
Organizations, by their very nature are designed to promote order and routine. They are inhospitable environments for innovation.
For me, I work very self-contained. It's literally just me sitting in a room doing it until the very end of the process when other musicians come in and instruments are recorded.
What an orchestra! They just sit there, but their minds are thousands of miles away with their bookies.
Every orchestra is different. Sometimes, you're blown away by a particular musician. If I'm playing the Brahms concerto, it's crucial to have a great oboe player, because we work in tandem.
I've learned a lot from the masters of orchestration, like Ravel and Stravinsky.
I always imagined that to bring an orchestra to play together is not enough for a conductor.
The red-jacketed band stirred to life. The first musician raised his trumpet. The trombone dipped. The drumstick rose. Lea lowered her clarinet. It had been Brent's idea not to have their insturments rise and fall in unison. The staggered motion gave it a more exciting rhythm.
At every moment, each instrument knew what to play. Its little bit. But none could see the whole thing like this, all at once, only its own part. Just like life. Each person was like a line of music, but nobody knew what the symphony sounded like. Only the conductor had the whole score.
I have my songs ready in my head, gather the guys, play it and then let them go with it. [The music] finds its way, we do what the music says to do ... the song is the producer.
You hear the same work by different orchestras, different conductors, violinists, pianists, singers, and slowly, the work reveals itself and begins to live deeper in you.
When there's a clear vision, and you've got the creative teams working toward that goal, each on their own, it can then come together quite elegantly at the endpoint.
The act of multitrack recording is the act of arranging.
I work in a giant building:
forty floors and forty cubicles
per wing, four wings per floor,
one person and one personal
computer per cubicle, a labyrinth
in which everyone's goal is to stay lost.
I did quite a lot of the arranging, fitting different sections together, tempo changes, all sorts of things like that. I actually acted as a bridge between Robert and Ian. Not so much composing, rather presenting musical ideas at each rehearsal.
I'm developing a record company. I'm learning how to supervise music on a film.
One advantage of hierarchical, process-laden organizations is that it's easy to figure out with whom you need to talk: Just look for the right box on the right chart, and you've got your person. But the steady state of a successful Internet Century venture is chaos.
I can write orchestrations, but I can't sight-read music and play at the same time. I don't have enough facility.
The musician writes for the orchestra what his inner voice sings to him; the painter rarely relies without disadvantage solely upon the images which his inner eye presents to him; nature gives him his forms, study governs his combinations of them.
Stop, collaborate and listen.
When I do an operation, it's half a dozen people. When it goes beautifully, it's like a symphony, with everybody playing their part.
When I want 30 musicians in the orchestra, I get 30.
You do your work as fully as you can, and the ones who hear the sound join in.
Order (self-organizat ion): Set aside time to plan how you will spend your time. Think about what's most important. Then do those things first.
Orchestrating a diversified team can indeed enhance the higher level of harmony.
Organization isn't about perfection; it's about efficiency, reducing stress and clutter, saving time and money and improving your overall quality of life.
An organizer is a leader who does not lead but gets behind the people and pushes.
Music - opera particularly - is a process which is endurable or successful only if it is achieved by people who love to collaborate.
One of the things I'm adamant about as a bandleader is not micromanaging. I'm an advocate for the concept of allowing everyone to be fully vested in what they're doing, so everyone contributes whatever they're inspired to contribute.
As a young pianist in Hollywood, I began orchestrating for others, and I just felt really comfortable doing that.
People must work in unison.
On conducting: If you can just barely hear the French horns on stage, the balance is perfect.
In this business, I don't know how you can have a plan or how you can orchestrate anything. But I've been lucky with my choices. I'm very strong-willed, so I've been able to stick with it. I'm lucky there.
The guitar is an orchestra in itself.
There will have to be times when I'm not conducting because I'm composing. I haven't solved that problem, and perhaps I never will.
These magic moments when rhythms and harmonies extend themselves and jell together and the people become another instrument. These things are priceless and they can't be learned; they can only be felt.
There's only one cook in the kitchen, only one chef. I let the soloists do their thing - you've gotta let a man do a solo the way he wants - but as far as picking the tunes and working on the arrangements, I take full responsibility for it.
In order to lead the orchestra, you must first turn your back to the crowd.
I do basically what a conductor does with a baton, except I also play along with the orchestra. So I have to juggle the roles of playing the concertmaster; sometimes I drop the violin and wave my arms.
To me, the piano in itself is an orchestra.
If you're playing live, I like to think of the ensemble, whether it's the duet or a forty piece orchestra, as one person. And the entire audience, whether it's twelve people or twelve thousand at Madison Square Garden, is the other person. The two of you are going to dance together tonight.
I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.
Choreography and creativity - it's my matrix; let's see where we can move.
My method is much like choreography. I don't sit at a table. I work in a room with people.
A choreographic idea flows only as fast as the initiator can communicate it to bodies and see them realize it.
Organisation - key to success.
You have to have that organizational principle behind the song.
A strategy is multi-dimensional planning, multi-team collaboration, and multitasking action.
There are three orchestras in Munich, all world-quality, in a city of one million. Yet every hall is full.
I see something that has to be done and I organize it.
You're telling the story, creating the sets, doing the lighting, the designing, and establishing the pace.
When it comes to orchestral music, whenever I see a concert with orchestra and strings, and I arrive and there are speakers up, my heart always sinks a little bit, and I think, 'It's going to be down to some sound guy's ideas.' Contact microphones on the violins. I'm a purist, I suppose.
Conductors are performers.
When I don't know what the music is going to be for a scene, I imagine some sort of orchestration going on and damned if they don't usually come up with a similar kind of thing.
In getting good results team leaders become conductor rather than driver, enabling others to play the right music, not by hands-on domination of all decisions and execution, but by providing inspiration, motivation and stimulus.
Increasingly I think of myself as some strange and solitary conductor, introduced to a group of very dynamic musicians who happen to be my characters, and I have no idea how they are going to play together, and I have certainly no idea how I am going to put manners on them.