![]() ![]() With electronic scoring we create a new category: sounds that have never before existed which we must then learn, through application, how to use and score with. So when I and others like me started out, we often did so with a beginning set of unidentified musical memories that we couldn’t fully draw on until we knew what it was we were hearing, coupled with learning new scoring devices along the way, either from writing or score study. This learning path is important because it illustrates both how music people learn and the goal of musical education for composers: to build musical memory so that intuition has something to draw from. So for many, the first steps in the desire to learn orchestration and arranging starts with identifying what you’re already hearing in your musical memory, while going after new combinations to add to it. But what was I hearing so I could write it down? That was the question that not only drove my search to learn, but also drives others who would learn to effectively arrange and orchestrate, too. My lifelong love affair with arranging and orchestration began when I was in high school as I began hearing full arrangements in my head. ![]()
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