cinematic orchestration

course overview

• Personal 1-to-1 tuition by a professional film orchestrator

• 30 hours of video tutorials including live orchestral sessions,

top session musicians, scoring demonstrations and interviews

• Study world famous film scores like John Williams’

Star Wars - the full score of the suite is included with your course
materials.

• Detailed instruction in every aspect of working with samples

and demonstrations of the major libraries

• 500 page course text plus dozens of scores and recordings

• Watch the process from first sketch through to a live

recording with our very own 50 piece film orchestra

• Challenging projects for both sampled and live orchestrators

with one-to-one feedback for an industry professional

• Hear your music performed live by soloists and ensembles

in our Student Sessions and get feedback from the players*

• Qualify to take the Diploma in Professional Orchestration

*additional fees may apply to student sessions

cinematic orchestration

Film orchestration is built on solid classical founda-

tions and this course is no exception. But the film
music that inspires many of us, has now taken on a
life of it’s own. It requires specialist techniques, a new
approach to scoring and arranging that you will never
learn from manuals written a hundred years ago.

This course will teach you both the traditional princi-

pals of orchestration and how to advance with new
technologies and techniques to produce uplifting, in-
spiring, nerve tingling orchestral music in a contempo-
rary cinematic style.

Contributors include

Alan Parker (John Williams, Howard Shore, Jerry Goldsmith, Lalo Schifrin)
Where else could you watch the whole
Nick Dodd (Time Travellers Wife, Narnia, Quantum of Solace)
Nic Raine (Star Wars:The Clone Wars, Wallace and Gromit) process from first sketch, through
Nick Phoenix and Doug Rogers of East West Quantum Leap orchestration, and finally to the studio
Herb Trucmandl of the Vienna Symphonic Library recording with a 50 piece orchestra?
Tony Pleath (Dark Knight, Hannibal, Da Vinci Code)
John Rodd (Pirates of the Carribbean, Spiderman 2, Bourne Supremacy)
Howard Blake (The Snowman, Flash Gordon, Monster-in-Law)
A unique opportunity to learn the art
Perry Montague Mason (Iron Man, Shrek, Kung Fu Panda) and craft of orchestration one-to-one
and many, many more..... from working, film professionals.

Above Guy Michelmore (left) the course director and

award winning film composer, EMMY and ANNIE Nominee.
Nic Raine (right) the Course Orchestrator and Conductor.
your tutors
These are some of the people who will listen to your work, look over your scores, listen to
your mock-ups and judge them by the standard currently expected by the industry. All our tu-
James Semple from the
tors are currently working professionally as film orchestrators or composers, including regular
UK is forging a career
sessions with live orchestra. We are the only course in the world to be able to say that.
as a film and television
composer with his foot
Charles Fernandez, composer and orchestrator, EMMY and ANNIE Nominee already firmly on the lad-
with a host of credits for Disney, MGM, Warner Brothers and Universal.
der.
Charles is a graduate of University of California, Loyola University and the
Royal College of Music. His work spans everything from orchestrating film
trailers to concert commissions, composing and orchestrating feature films “The course is an essential and
and television. Charles is based in Los Angeles, California. comprehensive guide to work-
ing with a modern orchestra. It
Milton Nelson is a composer and orchestrator with credits including the
Haunting in Connecticut, Pokemon and Jackie Chan movies, TV shows including covers thorough details of the
Scrubs, The Wayne Brady Show, The Tonight Show and High School Musi- various orchestral instruments
cal: Get In The Picture. He works both with samples and live orchestra and is and how to arrange for both small and large orchestras in
based in Los Angeles California. a modern cinematic style. All of the detailed course notes
Adam Klemens is a conductor and orchestrator with credits including are backed with hours of fantastic video footage including
District 9 (US box office number 1), Brian Tylers score for Final Destination some excellent interviews with seasoned orchestrators. The
and with Mark Isham on The Bad Liuetenant. He is based in Prague where he process of taking a MIDI mockup and turning it into a full
has worked on dozens of Hollywood movies. He taught music theory at the live orchestral work is detailed meticulously and an actual
Prague Conservatiore until 2007. working example is given with video footage of the orchestra
actually recording the music. The assignments are certainly
Robin Hoffmann is a young up and coming orchestrator with credits in challenging and combined with the course materials will
both feature films and games. He studied composition at the University of provide a thorough grounding for someone wanting to learn
Dresden. His music speaks volumes for his skill as an orchestrator. Check about contemporary orchestration.”
out his music on our website and you’ll see why we were so keen to have
him join our team of tutors.
student’s view
Jamie Christopherson is a game and film composer based in Hollywood. He
has an exhaustive knowledge of sampled orchestration but also works regu-
larly with live orchestra on major games projects including Lord of the Rings,
Spiderman, Command and Conquer and Mortal Kombat. “A course is only as good
as the people who teach it.
Our Real-Deal Guarantee And the tutors here are as
Go to our website and you can hear examples
of the work of each of our tutors.
good as you get.”
how it works
Who is this course aimed at?
Musicians who want to write and arrange orchestral mu-
sic in a cinematic style, whether writing for live players
or samples. Many will be composers interested in film,
television or games. Others maybe inspired to write by
great film scores.
What will I learn?
You will learn to write and arrange orchestral music that
is both technically competent and creatively interesting.
You will learn the range, articulations, strengths and
weaknesses of each section and instrument of the or-
chestra. You will learn common combinations and scor-
ing techniques, how to balance and blend the sections of
the orchestra, different voicings, doublings and articu-
lations. You will understand how to create convincing
orchestral mock-ups using sample libraries, keyswitch-
ing, legato mode, multiple articulations and controllers.
You will also be able to produce a playable score for a
live orchestra or musician, and understand the process
of taking a score from a simple sketch or midi mockup to
a live recording.
Obviously where you end up depends on the skills you
have to start with. To achieve the outcomes I have
outlined above you would need to enter the course with
a good working knowledge of music theory including har-
mony and a reasonable grasp of how to work with music
technology and sequencers.
How will learn?
The 500 page course text is the backbone of the course.
There we explain for example, how the cello works,
its technical restrictions and the range of colours and
articulations. We then introduce video tutorials with
Tony Pleath, who’s cello solos you would have heard on
Hans Zimmer’s scores like Gladiator and Batman. He
plays examples and explains what different techniques
sound like in practice. Then a Hollywood orchestrator on
video analyses a particularly the string writing in Star
Wars. You follow the tutorial in your own copy of the
score. Then orchestrator Nic Raine takes a simple piano
sketch and, in real time on video, orchestrate the piece
for string orchestra. Finally we record the piece with
our own live string orchestra. Now film composer Guy
Michelmore takes you through sampled orchestration,
creating a string template, choosing a library and gives
you a scoring demonstration applying advanced tech-
niques in practice.
You then choose a project. It could be a simple scor-
ing assignment for string quartet, creating a sampled
mockup of a famous film score, transcribing a MIDI file
or MP3 file for live orchestra. There are assignments for
every level of ability and every area of interest. You then
receive detailed feedback on your work from a profes-
sional film orchestrator or composer.
Are there face-to-face classes as well?
We organise regular workshops and seminars for
students. There will also be opportunities to have a
short piece of your music recorded by a live musician or
ensemble at a reasonable cost. They are not compulsory
but most students find them inspiring and invaluable.
They are however completely optional and additional
seminar and session fees apply.
How long will it take?
The course lasts 12 months and you can start whenever
you like. If you need extra time you can simply pay an an-
nual tuition fee and stay as long as you like.
Do I get a qualification?
When you complete the course you will receive a Cer-
tificate of Course Completion. This will qualify you to
enter the Diploma examination which is a typical, short,
professional orchestration assignment to be completed
in a set period of time. There is a separate entry fee for
the Diploma examination but it is entirely optional. The
Diploma is accredited in the UK by the Open and Dis-
tance Learning Quality Council.
Is everything included in the price?
Yes including all the scores but we will ask you to pur-
chase a small number of additional recordings which we
are not able to licence cost effectively.
Do I need to read music?
Yes. We don’t require fluent sight reading but when you
open an orchestral score you need to know what you’re
looking at. However, some students do complete the
course with no music theory at all, just concentrating on
sampled orchestration.
Do I need to know about technology?
Yes to some extent. You should be able to write and re-
cord a simple demo in a computer sequencer/ That said
some students do complete the course just submitting
scores from Sibelius or Finale.
See the full course requirements for more details.
How much does it cost?
The course is available at an introductory price of £599
/ $995. Check the website for complete pricing informa-
tion. Note that the number of student places is limited.
the course: unit by unit
Unit 1: An Introduction to
Orchestration
What is orchestration, how to read orchestral
scores, video examples with our live orchestra, dif-
ferent approaches to sampled and live scoring and
workflow, take-downs and how to orchestrate from
audio files.
Unit 2: Strings 1
A detailed look at the ranges, articulations,
strengths and weaknesses of the individual string in-
struments. Extensive video tutorials with top session
players. In sampled orchestration we look at how
to build your string template and the library choices
available to you.
Unit 3: Strings 2
String writing in practice, approaches to common
string applications, a detailed analysis of the writing
for strings in John William’s Star Wars, Howard
Blake’s The Snowman and Peter Warlock’s Capriol
Suite. Watch a top orchestrator arrange a piece
from scratch in Sibelius, then record the piece with
a live string orchestra. Live scoring examples of
writing for sampled strings.
Unit 4: Woodwind 1
A detailed look at the ranges, articulations,
strengths and weaknesses of the individual wind
instruments. Extensive video tutorials with a top
session player. In sampled orchestration we look at
how to build your woodwind template and the library
choices available to you.
Unit 5: Woodwind 2
Woodwind writing in practice, approaches to com-
mon wind applications, a detailed analysis of the
writing for woodwind in Princess Leah’s Theme
form Star Wars, Howard Blake’s The Snowman and
Reicha’s Wind Quintet No 2. Watch a top orches-
trator arrange a piece for woodwind and strings
from scratch in Sibelius, then record the piece with
a live orchestra. Scoring demonstration of writing
for woodwind and strings.
Unit 6: Brass 1
A detailed look at the ranges, articulations,
strengths and weaknesses of the individual brass
instruments. Extensive video tutorials with top trum-
pet, trombone and french horn session players with
credits from Narnia to the James Bond movies. In
sampled orchestration we look at how to build your
brass template and the library choices available.
Unit 7: Brass 2
Brass writing in practice, approaches to common
wind applications, a detailed analysis of the writing
for brass in John William’s Star Wars and Howard
Blake’s The Snowman. A masterclass in swing band
writing with Moulin Rouge arranger Steve Sidwell.
Watch a top orchestrator arrange a piece for live
orchestra from scratch in Sibelius, then record the
piece with a live orchestra. Live scoring examples
for samples.
Unit 8: Writing for Harp
and Percussion
This unit looks at the highly technical area of writing
for both harp and percussion. There is a master-
class with Kevin Hathway, Professor of percussion
at the Royal College of Music and top film session
player. There’s a close examination of hard and per-
cussion in both Star Wars and The Snowman. We
show you how to create that wall of sound percus-
sion track with samples with live scoring demonstra-
tions.
Unit 9: Writing for Small Orchestra
This unit starts bringing it all together. Specific
requirements of working with smaller ensembles, a
bar by bar analysis of The Snowman with the com-
poser, Howard Blake, plus live scoring demonstra-
tions, how to work with short score and much else
besides.
Unit10: Writing for Large Orchestra
A bar by bar analysis of the Main Title of Star Wars
with Hollywood orchestrator and composer Charles
Fernandez, live scoring demonstration from piano
score to final recording of large action and heroic
cues, lice scoring demonstrations on how to create
that epic sound using just samples.
Unit11: Working with Musicians
From sequencer to score, how to take a midi demo
and turn it into a performable piece of music. The
million and one things you need to know about pre-
paring scores, parts, backing tracks, click tracks,
running orders, mix minuses, Pro Tools session and
a lot more besides. Watch the process as we take
a score and record it with our live orchestra. And
finally advice on mixing orchestral music from two
top scoring mixers.
Sampling Technology Supplement
Everything you could possibly want to know about
how sampling works, the technology, the librar-
ies and the developers. Demonstrations and video
tutorials of everything from how to use multiple
articulations and controllers, key-switching, legato
mode and overcoming the machine gun effect.
Video interviews from Vienna and LA with the men
behind both VSL and the EWQL libraries. Choosing
a library, setting up a multi-computer rig,
The Diploma in Professional Orchestration
and The Diploma in Sampled Orchestration. Thiago Spada is a composer
from Brazil already working in
Students successfully completing the course may apply to take the one of the two film, television and games.
Diploma examinations. These are exams where we will set you a professional project
under time-limited conditions. Those who produce professional quality work will pass. “Hours of excellent videos from work-
For example, a student taking the Diploma in Professional Orchestration might be ing professionals with a lot of useful
given an MP3 and a MIDI file and asked to produce a performable orchestral score for information. And of course, the practi-
a given line up of players. A student applying for the Diploma in Sampled Orchestration cal assignments and the feedback,
might be ask to produce a sampled mock up of a given piece of music. the knowledge shared by professional
Taking the exam is entirely optional. Re-takes are available at an additional fee. Only tutors is the best way to learn how to
students who have completed the course may enter the examinations. do it. There is no better investment you
can make in your career as an orches-
The Diploma is accredited in UK by the Open and Distance Learning Quality Council trator or composer.”

student’s view
Student Sessions and Workshops

To hear your music performed by a live musician is thrilling and life changing experience. We regu-
“there is no better
larly offer students the opportunity to have a short piece recorded and give them feedback on their investment you can make in
composition from the players themselves. Because these sessions are shared by many students it
comes at a fraction of the normal cost. The only restriction is that the recording cannot be used in your career as a composer
a commercial context. or orchestrator”
We also organise regular workshops, seminars and hands-on training to supplement your course.
For many students this combination of face to face training and distance learning is the perfect
way to learn in a supportive and creative environment. Additional fees apply to both the student
sessions and the workshops and
seminars.

A group of students attend a four

day intensive workshop in London
(Left). Students came from all
over the world including Brazil
and Australia for the event!
the course: requirements
Technical:
PC: Intel Core Duo or AMD Turion. Windows XP 32-bit SP2 or later, or Win-
dows Vista 32-bit SP1 or later, 1Gb RAM, 5Gbs hard disk space, DVD-ROM
drive
Mac Intel Core Duo or better. OS X 10.4.9 or later or Mac OS X 10.5, 1Gb
RAM, 5Gbs hard disk space, DVD-ROM drive
The video tutorials come as high definiteion MP4 Quicktime Movies. There are
over 40gbs of files in total and you will need to copy them onto your hard drive
in order to watch them otherwise they will stop and start all the time. However
you won’t need all of them on your hard drive at the same time.
A broadband internet connection in order to upload assignments and download
updates.
Software Required
• Quicktime 7 or above
• iTunes plus, preferably, access to the iTunes store
A sequencing package like Logic, Cubase, Digital Performer or Sonar
A set of orchestral samples. You can wait until you start the course to buy
these as you will be able to make a better choice and some suppliers offer a
substantial discount to students.
Minimum: Garritan Personal Orchestra or Philharmonik
Recommended: EWQL Gold Complete
Optional: A score writing programme like Finale or Sibelius.
Sibleius is recommended.
Personal Requirements
Time: The course lasts 12 months and assumes approximately two hours
a week. You are required to submit 8 projects, each of which should take very
roughly 4-8 hours of work. These are very approximate and vary greatly fro
studefnt to student. If you are not able to complete the course in the time you
can extend as long as you like by paying the annual tuition fee, currently £150
or $300. Please check online for the latest prcing information.
Music Knowledge: We are assuming you can read music to some
degree in both treble and bass clef. You have a good understanding of keys,
scales, and the basic principals of harmony. This is roughly equivalent to As-
sociated Board Grade 5 theory. Good knowledge of four part harmony is an
advantage although not essential to start with. The ability to produce a printed
score is a big advantage.
We offer courses in both music theory and harmony if you need to acquire or
improve these skills. These course can be taken either before enrolling in Cin-
ematic Orchestration or run concurrently.
We do not exclude students who want to concetrate largely on sampled or-
chestration and have little or no music theory. However you won’t be able to
follow the course scores and some of the video tutorials and some tutors are
not prepared to work with students who don’t meet the minimum music theory
requirements.
Technology Knowledge: We assume you are familiar with basic
computer operation and can use virtual instruments and a sequencing pro-
gramme to produce a basic audio demo of your work in MP3 format. Ability to
create zipped archives and upload through a website. It is possible to complete
the course just using a score writing programme like Sibelius or Finale as long
as you are also able to create MP3 files fo your work as well.
what it costs
Cinematic Orchestration Course Fee: £599 / US$995 Call Rachel
(Plus postage and packing where applicable)
Why not give us a call or drop us an
This is an introductory price and represents amazing value. A 12 month email to discuss your own situation.
course, 500 page course text and 30 hours of video tutorials, 8 scoring as- Rachel Grave (right), the course man-
signments with feedback from real professional orchestrators and you get a ager, is also a professional orchestra-
load of scores and recordings including John William’s Signature edition of the tor and composer with three music
Star Wars Suite and the complete full orchestral score of The Snowman by degrees. If you want to know if the
Howard Blake. course is right for you, if you have the
right musical level of knowledge or
Course Duration: 12 months / Tutorial Credits: 8 equipment then call Rachel.

IIf you already own the Star War’s Suite then use the promo code JWSW to info@thinkspaceonline.com
exclude this from your course materials and receive a £30 or $50 discount. Tel: +44 (1)243 512000

Instalments: Deposit: £199/US$399 (plus P+P where applicable)

then 6 monthly instalments of £75/US$117 Three Questions
Annual Tuition Fee Extension 12 months: £150 / US$300 We know we’re not the only orchestration course in the world
Additional Tutorial Credits (x 4) £120 / US$240 but we believe passionately that you should get both tuition
based on real-world professional, experience and also great
Instalment Plan: Available for Credit Card Payments only. Instalment total value for money.
includes an administration charge. These figures are a guide and subject to
change. Please check the website for up to date pricing. Postage is free to the So before you enrol on a course ask these three simple
UK, Ireland and USA. For details of postage charges to other countries see questions.
the website. Any additional postage charges must be added to the deposit.
Please read our terms and conditions on the website. For payments by check 1/ What are my tutor’s most recent
or wire transfer contact customer service on the email address below. professional credit?

how to enrol 2/ Can I hear some of his/her music?

You can enrol through our website by clicking on “store” in the left-hand menu 3/ Can I keep all the video tutorials,
or call our admissions office on +44 (1)243 512000. Alternatively, email us scores and course text I’ve paid for after
and we’ll call you back. info@thinkspaceonline.com I’ve finished my course?

ThinkSpace, Atlantic House, 119 Third Avenue, Almodington,

West Sussex PO20 7LB United Kingdom
how good could you be? ThinkSpace