“Where None Would Go” (Gettysburg Memorial Song) is a piece I wrote to commemorate the Battle of Gettysburg, July 1-3, 1863. This song released July 4, 2016. Words and Music by Conrad Askland. Vocalist: Leisha Skinner. To a variation of the melody “Shenandoah”.
I was inspired to write this song after spending many hours of discussion on the Civil War with my friend, Joe Bowen. He is a scholar of American History where he studied the Civil War at Harvard College. He will setup battle tactics and battle strategies on tables using napkins, playing cards, cups – whatever is around – to really immerse me in details of the Civil War. The conversations usually start with prose, then get into historical details and facts of the battles and politics of the time, then end with philosophical musings, anecdotes and quotes from soldier’s letters.
This is the original full length overture from the premiere of my theatre work “Romeo and Juliet the musical” which premiered February 2015 at the Historic Lincoln Theatre in Mount Vernon, WA.
(Score sample of Keyboard Two part from Conrad Askland’s “Romeo and Juliet – the musical”, July 2014)
As I’m working on orchestrations for my third full length musical, “Romeo and Juliet” (http://www.RJmusical.com), I realize the need for a particular scoring approach for the Keyboard Two part. Here is the solution I came up with to incorporate Apple’s MainStage with Sibelius for use in orchestrations and creating the final Keyboard Two patch setup.
I’ve just had the very frustrating experience of scoring the drum part for half of an entire musical theater score, and doing it wrong. Arghh! I got some bad advice so I’m posting some clarification here for other arrangers that are new to scoring drum parts. Hopefully this will save you some headaches.
Orchestrations of Stephen Sondheim’s Broadway Musicals
Range of the Bb Clarinet and characteristics of different registers. Low register called the Chalumeau octave.
More information on Clarinet construction and use in the orchestra available at:
I had not realized before how flexible and nimble the oboe is. Here is an excerpt of the oboe score from Mozart’s Sinfonia Concertante, K. 297, third movement. So this is just a note to myself to remember to score more interesting and diverse parts when I write for oboe. We want to keep the oboe players happy.
“The oboist gives a good representation of staccato articulation and the wide leaps that it can play.” (Norton, The Study of Orchestration.)
For several months I am studying woodwinds and strings with an online music school to get more tricks and creativity into my scoring. (Yes, it’s very fun!)
PDF Download: Guide to Drum and Percussion Notation
PDF Download: drums-percussion-notation
Congas, woodblock, gong, and individual drum kit (toms, cymbals, etc.)
Also this information on notation and performance for Concert Band Percussion Instruments:
by Staff Sergeant Bill Elliott
and Staff Sergeant Steven Hearn
CONTENTS: Triangles; Tambourine; Concert Bass Drum; Cymbals
Download PDF: Percussion
Playing techniques and notation examples for music orchestration.
I did not like this piece on first listen – then I read about it’s background: the description of Janacek’s unrequited love and pining. And now the piece is very powerful to me.
Janacek once wrote: “I maintain that a pure musical note means nothing unless it is pinned down in life, blood and locale; otherwise, it is a worthless toy.”
And that is exactly true for this piece, the “Intimate Letters”. How many songs do we each have in our personal lives that are tied to a certain event or emotion that triggers our memory when we hear it? Or to have a piece like this framed with new information so the performance takes on a deeper perceived meaning.
Adam Guettel is the composer and lyricist for “The Light In The Piazza” – a musical, but really worthy of the title “opera”. I’ll tell you first why Piazza and Guettel interest me, and then following will be more biographical info and article links.
Leonard Bernstein. Young people’s concerts. What is Orchestration?. March 8, 1958
Bernstein discusses orchestration beginning with Rimsky-Korsakov live performance examples. He also plays examples of bad orchestration.
Introduction to Orchestration by Thomas Goss. See my “Orchestration” category here on my blog for more music orchestration study tips.
Gustav Holst – The Planets Op.32 Mercury, the Winged Messenger
Here is an example of the full score and following that is a two piano reduction. I have been racking my brain in several futile attempts to find the most economical and free way to do orchestral sketches on the computer – and I think the two piano reduction idea is fantastic. It seems like a painfully obvious approach to me now – but I was very frustrated with the idea of sketching with a single piano part because it’s difficult to think in tonal colors and sections with that approach. I don’t want to spend a lot of time editing – I want to input the ideas. The 2 piano approach gives me room for counterpoint between sections – and to insinuate different textures. Orchestrally, the counterpoint happens between sections and textures rather than just notes – so Viola!
Piano sketches by Aaron Copland of his Fanfare for the Common Man orchestra work. A look into how the composer prepares an orchestral sketch before full orchestration.
Insight into how Aaron Copland would sketch his music before full orchestration.
Appalachian Spring rough sketch page 15 by Aaron Copland. Copland wrote his orchestra sketches at the piano at a slow pace, often at night.
Aaron Copland sketches can be found here:
Appalachian Spring second sketch, a little cleaner with more notes and info on score: