Hi, Avelino. I wasn't able to hear it. You must make the foder public. It is requiring to ask for permission to access!

Tell me more about what you wrote! What was your motivation?

Heres the fixed link , Igor, thank you for letting me know
https://drive.google.com/file/d/1YKiF_SukIc54Y8R-cdC49bYHuvCSYolO/view?usp=sharing

Hi Igor, I had visited my local orchestras which are somewhat the official orchestra of India my country and I just loved the concer.I also had a keen interest in orchestral music which inspired me to make this theme. It was a part of an old idea that I had written about eight months back and the folder was just lying in my laptop so I decided to make this theme and I also wanted to make a really interactive and fun video. So please do check out the link that I fixed. also Igor tell me more about yourself

That's great! Have you been studying an orchestration book? I'm just starting the woodwinds, more specifically the Clarinet in B flat. For a while I avoided learning to write for transposing instruments. Existing transposing instruments seemed stupid to me, but it just seemed... I knew that an art that has been developing for centuries, through so many brilliant minds, would inherently have the axiom of keeping things simple if the desired effect can be achieved. But now I finally understand how it works, and it's not that difficult. After being able to read fluently in the treble, bass, soprano, alto, tenor clefs; and being familiar with key signatures, having instruments that require writing a different note than the one you want to sound, seemed like too much! Notation softwares nowadays gives us the option to write in concert pitch, and with a single click it transposes everything instantly, but I don't connect with that kind of way of doing things. Because it can help the flow of writing for those who are not familiar with transposing instruments, but to read and study scores we simply have to know, for example, that the written D sounds like C, and so on.

Awesome work, Avelino. I appreciate the valiant, triumphant feel that this piece evokes. Thanks for sharing, and I look forward to hearing more from you.

No i dont have any books Igor,I reference material and learn by ear . then go to my laptop and create magic! I really like your take on this, sometimes the best things are simple things. I would like to hear more of your take on it. what do you mean by a written D sounds like a C

thank you so much Al i do have alot to share if u would like

@Avelino SOB : About a written D sounding like a C: certain instruments in the brass and woodwind family are what's known as transposing instruments. Scores for these instruments typically show different pitches from what actually issues from the instrument. This is so that players of these instruments can easily transfer the fingering of on instrument to another -- when they see a C on the score, for instance, they think more in terms of a particular fingering position, which will then produce a different pitch on different instruments. Google the term transposing instrument for more.

Some scoring programs, like MuseScore, let you check a button for Concert Pitch so you can compose without having to worry about the transposition, but then you can uncheck the box and it transforms everything to the transposed pitch players of such instruments would expect.

Victor summarized it perfectly. Players of certain instruments learn where is the C, the D, E, and so on, and the same family of instruments will have the notes in the same positions, for example, a Clarinet in Bb and a Clarinet in Eb.

That in Bb and in Eb means that the written C on the score will be played by the C position on the instrument, but the actual sound that we will hear, the actual pitch, will be Bb (a major 2nd LOWER) or Eb (a major 6th lower).

So, if you actually want the sound of a C coming out of a Clarinet in Bb, you will have to write the note a major 2nd ABOVE the C, which is the D.

Therefore, if you are in the tonality of C, you must insert the key signature of D on the Clarinet in Bb staff (two sharps, on F and C). This is for keeping the same intervalic relations of the tonality of C.

For the Clarinet in Eb, if you want to sound a C, you must write the note a major 6th ABOVE the C, which is the A. The player will read A, and will play the A where it is in his instrument, but the frequency heard will be the one intended by the composer: C. Here, if the piece tonality is in C, you must insert on the Clarinet in Eb staff the key signature of A (three sharps, on F, C and G).

Is a tool like the Concert Pitch button on MuseScore, referred to by Victor, is actually good?

I wouldn't say so.

First of all, if you are writing for an orchestra, one of the indispensable ways of mastering it is by studying orchestral pieces. By trying to keep up with what is happening on the transposing instruments, you will soon become fluent in reading them.

And second, because each instrument is different not only from one another, but WITHIN ITSELF, just like each string of a violin, for example, has a different character, and the timbre of the exactly same note and frequency on two different strings sounds different. It is widespread finding sul G (over the G string) or sul E (over the E string) in scores.

So, every instrument will have different timbres on its own, regarding its lowest, middle, and higher registers. Not only do their characteristics change, but also what kind of dynamics and articulations are going to work on each of these registers. Notes that need more air to be produced, for example, can't be held as long as others on the same instrument. The composer must know this. To write something unpractical is very, very bad... Those differences WITHIN each instrument means, also, that each register, timbre, dynamics, and articulations will COMBINE differently with other instruments according to their registers, timbres, etc. This will impact, for example, different ways in which you can write a chord for a flute, a clarinet, and a bassoon, for example. Depending on the register you are writing each note of the chord of one of the instruments, some orders of arranging will be more or less useful for the composer's purposes.

Using tools like Concert Pitch on MuseScore, without having all consciously about what you want and what you are doing, will hold you back as a composer and lead you to write unpractical things, and not achieve the effect you wish.

I was so unaware of this, but thank you so much for letting me know.this is one place where I can learn much more

@igor dinotte : I agree that understanding an instrument's timbre, register, idiosyncrasies, and limitations is important to a composer. But none of those things require composing in transposed pitch.

However, the point about reading scores is applicable to the question of transposed versus concert pitch, and is a good point.

I don't think it makes the feature a bad thing, though. One can use the feature and still be aware of everything you said. One can be OK at reading transposed pitch but still prefer writing in concert pitch.

I think the important thing is what is limiting each individual at any given time. If you find that not being able to read transposed pitch more fluently is holding you back from a deeper understanding of orchestration, then by all means become more fluent in reading transposed pitch. If you feel that not being able to write transposed pitch easily is holding you back from just getting in there and composing and seeing what works for YOUR particular musical sense, then don't let it hold you back when there is a feature that can get you going.

We should also be aware that a lot of us hobbyists are never going to put a piece in front of a live orchestra. Maybe we are writing some orchestral sections that we want to insert into whatever other project we are working on. Maybe the music is never going to be anything but electronic/synthesized. This can be true of a lot of game music, so even some pros may rarely if ever put their music in front of a live orchestra, depending on the idiom within which they are working. Heck, some well-known composers (e.g. Prokofiev) write in concert pitch even if they are writing for live orchestra.

Bottom line: there is not one-size-fits-all, this feature is good, this feature is bad, answer. Use the tools that work for your particular situation and preferences.

Very wise comments, Victor, thank you!

You are absolutely right that knowing the characteristics of each transposing instrument does not require you to be fluent in transposed writing. I believe this will depend on the source from which instrumentation is studied, which should be clear about the frequencies under discussion.

In fact, Prokofiev is a reference, even if he is one of the exceptions in writing in a concert tone. And I don't even know if he does it in all his compositions. I imagine that orchestras provided players with transposing instruments with their parts transcribed into the transposed tone. Otherwise, the work that the composer did not have to transpose (which for Prokofiev would not be any difficulty, with absolute certainty) is transferred to the instrumentalists. These instrumentalists have already dedicated a lot to acquiring the technique to play several instruments from the same family, and, in my opinion, it would be too much to ask them to transpose on their own, let alone at first sight in a rehearsal.

Your wise answer is a universal answer, actually. And I completely agree with this flexible and intuitive view of which path we should follow. But it is necessary to emphasize that reaching a point where someone acquires confidence to be able to trust their own instincts, already requires a degree of knowledge and experience.

The orchestra is the subject of some of my greatest reflections in the world of music. It is possible that we are living in the twilight of what can be called the greatest instrument ever created.

Why?

I will begin my answer by mentioning my own experience as a former concert season subscriber. In my city we have a good Philharmonic Orchestra, with an excellent concert hall. And listening to a good orchestra, in good acoustics, is something very powerful and unique. However... Sometimes my attention was distracted by conversations, whispers, falling objects and, not so rarely, cell phone rings. The very light from a cell phone screen, from someone sitting in a row in front of me, was already distracting me. Just like people changing seats after the concert started.

So... it takes a while to get to the concert hall and get back home. And this involves expenses beyond the ticket price.

Added to this, I, particularly, as I acquired more and more classical music CDs to form my collection, came into contact with the music played by the best orchestras in the world, led by the best conductors. The experience of listening to the Berlin Philharmonic with Claudio Abbado is not standard. Now, in the age of Spotify, where I have all orchestral literature, in various versions by different orchestras and conductors, and can listen to it with my best earphones or on a surround system, it's much better to listen at home.

Added to this are the social and technological changes that affect the job market and the choices of new generations. Being a professional trumpeter or oboist, or a conductor, may not be as attractive as getting a degree in mechatronics or IT for basic survival reasons.

Furthermore, our ears are always looking for new sounds. Throughout history, composers have added more players and more instruments to orchestras when their artistic impulse demands it. Can this, and continues, to be done? Clear. But we are at the dawn of the popularization of virtual instruments and sound design. The future of music seems distant, to some or a large extent, from acoustic instruments, even though we emulate their sound through computers.

But there is something that the orchestra, and the study of instrumentation and orchestration, enables that is of immeasurable value and difficult to find, to the same extent, in any other way.
I speak specifically of the combination of timbres, or, in other words, of different harmonics generated by different sources; and to the various layers of sound that exist in an orchestral work and how melodic, rhythmic and harmonic resources emerge and submerge within the intricate hierarchical web of sounds in an orchestra; and, furthermore, how the overall form of a musical work influences and is influenced by the choice of different timbres, combinations and textures.

I see good EDM producers dealing with so many layers in their productions and sound design that they even resemble the orchestration process. But even so, orchestral literature has harmonies, contrapuntal writings and rhythms, in quantity and complexity far beyond pop music. Since I mentioned EDM, it is a very unsophisticated style in these aspects.

I confess that in my daydreams I have seen correlations between the work of a DJ playing live and a conductor, even though the conductor rehearses what he is going to present and the DJ can react to what happens on the dance floor. But it is similar in terms of choosing frequencies that should be more or less emphasized, music tempo, volume, etc.