Orchestration is the study or practice of writing music for an orchestra (or, more loosely, for any musical ensemble) or of adapting for orchestra music composed for another medium. It only gradually over the course of music history came to be regarded as a compositional art in itself.

Orchestration as practice[link]

The term orchestration in its specific sense refers to the way instruments are used to portray any musical aspect such as melody or harmony.

For example, a C major chord is made up of the notes C, E, and G. If the notes are held out the entire duration of a measure, the composer or orchestrator will have to decide what instrument(s) play this chord and in what register. Some instruments, including woodwinds and brass are primarily monophonic and can only play one note of the chord at a time. However in a full orchestra there is generally more than one of these instruments, so the composer may choose to outline the chord in its basic form with clarinets or trumpets. Other instruments, including the strings, piano, harp, and pitched percussion are polyphonic and may play more than one note at a time.

Additionally in orchestration, notes may be placed into another register (such as transposed down two octaves for the basses), doubled (both in the same and different octaves), and altered with various levels of dynamics. The choice of instruments, registers, and dynamics affect the overall tone color. If the C major chord was orchestrated for the trumpets and trombones playing fortissimo in their upper registers, it would sound very bright; But if the same chord was orchestrated for the celli and string basses playing sul tasto, doubled by the bassoons and bass clarinet, it might sound heavy and dark.

Note that although the above example discussed orchestrating a chord, a melody or even a single note may be orchestrated in this fashion. Also note that in this specific sense of the word, orchestration is not necessarily limited to an orchestra, as a composer may orchestrate this same C major chord for, say, a woodwind quintet.

Orchestration as adaptation[link]

In a more general sense, orchestration also refers to the re-adaptation of existing music into another medium, particularly a full or reduced orchestra. There are two general kinds of adaptation: transcription, which closely follows the original piece, and arrangement, which tends to change significant aspects of the original piece. In terms of adaptation, orchestration applies, strictly speaking, only to writing for orchestra, whereas the term instrumentation applies to instruments used in the texture of the piece. In the study of orchestration — in contradistinction to the practice — the term instrumentation may also refer to consideration of the defining characteristics of individual instruments rather than to the art of combining instruments.

In commercial music, especially musical theatre and film music, independent orchestrators are often used because it is difficult to meet tight deadlines when the same person is required both to compose and to orchestrate.

Most orchestrators often work from a draft (sketch), or short score, that is, a score written on limited number of independent musical staves. Some orchestrators, particularly those writing for the opera or music theatres, prefer to work from a piano vocal score up, since it is required to start rehearsing a piece long before the whole is fully completed. That was, for instance, method of composition of Jules Massenet. In other instances simple cooperation between various creators are utilized, as does Jonathan Tunick when he orchestrates Stephen Sondheim's songs, or orchestrating from a lead sheet. In the latter case, arranging as well as orchestration will be involved.

Film orchestration[link]

Due to the enormous time constraints of film scoring schedules, orchestrators are employed. Some film composers have made the time to orchestrate their own music; most notably Howard Shore, Ennio Morricone, Don Davis (who started as an orchestrator in the film business). Howard Shore orchestrated his own music for The Lord of the Rings film trilogy (and wanted a rare front end credit stating this). Shore continues to orchestrate all of his own film scores. When Ennio Morricone was asked at a seminar why he doesn't hire an orchestrator, his response was, "Did Beethoven need an orchestrator? Did Bach?"

Although there have been hundreds of orchestrators in film over the years, the most prominent film orchestrators for the latter half of the 20th century have been Herbert W. Spencer, Edward Powell, (who worked almost exclusively with Alfred Newman), and Alexander Courage. Some of the most in-demand orchestrators today (and of the past 30 years) include Jeff Atmajian, Pete Anthony & Brad Dechter (James Newton Howard, Christoper Young, John Powell, Hans Zimmer), Conrad Pope (John Williams), Eddie Karam (John Williams), Tony Blondal (Rolfe Kent, Henry Jackman, Chris Young, Ramin Djawadi et al.), Bruce Fowler (Hans Zimmer, Klaus Badelt), Robert Elhai (Elliot Goldenthal) and J.A.C. Redford (James Horner).

Conrad Salinger was the most prominent orchestrator of MGM musicals from the 1940s to 1962. Jonathan Tunick is the most prominent orchestrator on Broadway and is one of twelve people (and the only orchestrator) who has won an award in all four categories of Oscar, Grammy, Emmy, and Tony.^[1]

Process[link]

Most films require 30 to 120 minutes of musical score. Each individual piece of music in a film is called a "cue". There are roughly 20-80 cues per film. A dramatic film may require slow and sparse music while an action film may require 80 cues of highly active music. Each cue can range in length from five seconds to more than ten minutes as needed per scene in the film. After the composer is finished composing the cue, this sketch score is delivered to the orchestrator either as hand written or computer generated. Most composers in Hollywood today compose their music using sequencing software (e.g. Digital Performer, Logic Pro, or Cubase). These software programs are basically glorified recording devices with many different orchestral instruments (referred to as samples). A sketch score can be generated through the use of a midi file which is then imported into a music notation program such as Finale or Sibelius. Thus begins the job of the orchestrator.

Every composer works differently and the orchestrator's job is to understand what is required from one composer to the next. If the music is created with sequencing software then the orchestrator is given a midi sketch score and a synthesized recording of the cue. The midi sketch score only contains the musical notes (e.g. eighth notes, quarter notes, etc.) with no phrasing, articulations, or dynamics. The orchestrator studies this synthesized "mockup" recording listening to dynamics and phrasing (just as the composer has played them in). He or she then accurately tries to represent these elements in the orchestra. However some voicings on a synthesizer (synthestration) will not work in the same way when orchestrated for the live orchestra. The sound samples are oftentimes doubled up very prominently and thickly with other sounds in order to get the music to "speak" louder. The orchestrator sometimes changes these synth voicings to traditional orchestral voicings in order to make the music flow better. He or she may move intervals up or down the octave (or omit them entirely), double certain passages with other instruments in the orchestra, add percussion instruments to provide colour, and add Italian performance marks (e.g. Allegro con brio, Adagio, ritardando, dolce, staccato, etc.). If a composer writes a large action cue, and no woodwinds are used, the orchestrator will often add woodwinds by doubling the brass music up an octave. The orchestra size is determined from the music budget of the film. The orchestrator is told in advance the number of instruments he or she has to work with and has to abide by what is available. Sometimes a composer will write a three part chord for three flutes, although only two flutes have been hired. The orchestrator decides on where to put the third note. After the orchestrated cue is complete it is delivered to the copying house (generally by placing on a server) so that each instrument of the orchestra can be extracted, printed, and delivered to the scoring stage.

The major film composers in Hollywood each have a lead orchestrator. Generally the lead orchestrator attempts to orchestrate as much of the music as possible if time allows. If the schedule is too demanding, a team of orchestrators (ranging from two to eight) will work on a film. The lead orchestrator decides on the assignment of cues to other orchestrators on the team. Most films can be orchestrated in one to two weeks with a team of five orchestrators. New orchestrators trying to obtain work will often approach a film composer asking to be hired. They are generally referred to the lead orchestrator for consideration.

At the scoring stage the orchestrator will often assist the composer in the recording booth giving suggestions on how to improve the performance, the music, or the recording. If the composer is conducting, sometimes the orchestrator will remain in the recording booth to assist as a producer. Sometimes the roles are reversed with the orchestrator conducting and the composer producing from the booth.

Payment[link]

Orchestrators in Hollywood have always been paid "by the page" (meaning every four measures) with rates determined by the Los Angeles Local 47 Musician's Union. Score paper, usually purchased from Valle Music, Judy Green Music, or King Brand, would already have four barlines drawn on each page. However, most orchestrators today use music notation software (e.g. Finale or Sibelius) instead of writing the music out by hand. If the union rate is $60 per page and 20 measures were orchestrated then the orchestrator's bill would be $300 plus 10% for health and pension. Orchestrators also receive royalties from films recorded with AFM American orchestras. These royalties, also called secondary payments, are generated not from the film's theatrical release, but from secondary markets (e.g. cable television and DVD sales and rental).

Historically significant orchestration texts[link]

• Michael Praetorius (1619): Syntagma musicum volume two, De Organographia.
• Valentin Roeser (1764): Essai de l'instruction à l'usage de ceux, qui composent pour la clarinet et le cor.
• Hector Berlioz (1844): Grand traité d’instrumentation et d’orchestration modernes (Treatise on Instrumentation).
• François-Auguste Gevaert (1863): Traité general d’instrumentation.
• Charles-Marie Widor (1904) : Technique de l’orchestre moderne (Manual of Practical Instrumentation).
• Nikolay Rimsky-Korsakov (1912): Основы оркестровки (Principles of Orchestration).
• Cecil Forsyth (1914): Orchestration.
• Alfredo Casella: (1950) La Tecnica dell'Orchestra Contemporanea.
• Charles Koechlin (1954–9): Traité de l'Orchestration (4 vols).
• Walter Piston (1955): Orchestration.
• Samuel Adler (1982, 1989, 2002): The Study of Orchestration.^[2]
• Nelson Riddle (1985): Arranged by Nelson Riddle
• Alfred Blatter (1997) : Instrumentation and Orchestration (Second edition).

See also[link]

• Musical notation
• Elastic scoring
• Klangfarbenmelodie
• Orchestral enhancement
• Arrangement

References[link]

External links[link]

• Rimsky-Korsakov's
• Principles of Orchestration at Project Gutenberg - full, searchable text with music images, mp3 files, and MusicXML files
• Rimsky-Korsakov's Principles of Orchestration (full text with "interactive scores")
• Short Guide to Orchestration by Kentaro Sato
• Artistic Orchestration by Alan Belkin.
• The Orchestra: A User's Manual by Andrew Hugill with The Philharmonia Orchestra. In depth information on orchestration including examples and video interviews with instrumentalists of each instrument.

Kool Savas
Kool Savas in 2010
Background information
Birth name	Savaş Yurderi
Also known as	King Kool Savas (KKS), Juks, Jux, Essah
Born	(1975-02-10) February 10, 1975 (age 37) Aachen, North Rhine-Westphalia, Germany
Origin	Turkey
Genres	German hip hop
Labels	Essah Entertainment
Associated acts	M.O.R., Azad, Samy Deluxe, Lumidee, 40 Glocc, Ying Yang Twins
Website	Official website

Savas Yurderi (born 10 February 1975) also known as Kool Savas (or as well King Kool Savas), is a German rapper and hip hop artist. Savas is mostly referred to as "King of Rap" or "King of German Rap".^[1]

"Savaş" is the Turkish word for "war".

Biography[link]

Born in Aachen, Germany to a German mother and a Turkish father, Savas' family moved back to Turkey when he was one year old. His father, who is from Çorum, Turkey, was arrested because of his political posture against the government in Turkey, and as a result of his father's arrest, his mother was forced to return to Aachen with Savas.^[2] By 1987, his father was released and the entire family was reunited and relocated to Berlin. It was in Berlin where Savas first came across Hip Hop music.^{[citation needed]}

Savas lived with his girlfriend, Melbeatz, in Berlin for an extended amount of time. As a result, the majority of Savas' beats were produced by her. Although Savas and his girlfriend are no longer together, they remain close friends.^{[citation needed]}

Although Savas is popularly called a "Berlin rapper," he resides in Heidelberg. He is also a vegetarian.^{[citation needed]}

Career[link]

2000: Early career[link]

Savas started his rap career with the EP Warum rappst du, containing rather provocative lyrics in songs such as "L.M.S.", "Schwule Rapper" and "Pimplegionär". He first started under the name Juks and rapped mostly in English. He became successful through the groups Masters of Rap (M.O.R.) and Westberlin Maskulin.

In 2001, he and all of M.O.R. left former label Put Da Needle To Da Records, because of personal and artistic differences. They released a diss track against former label CEO Peter Sreckovic titled "Track gegen Peter" where Savas gave reason for his exit.

Beginning in 2002, he founded his own label, Optik Records, where he released his first solo album titled Der beste Tag meines Lebens, for which he won a Comet award. For the album, Savas worked together with several domestic and foreign musicians including Azad, Samy Deluxe, Kurupt, 40 Glocc, Dem Franchize Boyz, Lumidee, RZA, Moses Pelham, J-Luv, Bligg, Jadakiss, Royce da 5'9", Xavier Naidoo, Mobb Deep, Ying Yang Twins and Illmatic. The album sold over 90,000 copies worldwide.

With his record label, Savas tried to build up other artists. He discovered Eko Fresh and signed many upcoming artists such as DJ Nicon, Melbeatz, Ercandize, Caput, Amar, Sinan and Moe Mitchell.

In 2004, Savas released his first mixtape, "Kool Savas goes Hollywood" which was later made available as free online download.

Since early 2005, Savas has been supporting the efforts of his younger brother Sinan, his cousin Dimi and his brother-in-law Igor in their blooming rap careers.

In 2005, he released his mixtape titled "Die John Bello Story". It was the most successful mixtape in Europe in 2005 and also Savas' best to date at over 60,000 sold copies. In the same year he produced the album "One", together with Azad. The hit single "All 4 One" peaked at 4 in the German Top 100 Singles.

In 2006, Savas released the label sampler "Optik Takeover", a collaboration with several other artists signed to Optik Records. Also in 2006, he released an album with Optik Schweiz, the Swiss counterpart of Optik Records, titled "Wer Hatz Erfunden".

His second solo album, Tot oder Lebendig (eng. Dead or Alive), was released in 2007 and proved to be successful at 50,000 sold copies.

Savas released the sequel mixtape "Die John Bello Story 2" in 2008. He then went on to release an updated version labeled the "Brainwash Edition".

In 2009, he released the EP "Was hat S.A.V da vor" with the Hip Hop Magazine Juice. The same year saw the release of a collaboration album with Optik Russia which was called "New Russian Standard".

On March 12, 2010, Savas released "Die John Bello Story 3" which sold roughly 50,000 copies. The album featured fellow rappers Azad, Curse, Ying Yang Twins, Olli Banjo, Ercandize, Moe Mitchell, Amar, Franky Kubrick, Kaas, Mo Trip, Sinan, Tua, Vega, Kitty Kat, Laas Unltd. and more.

His 2011 album Aura included a single with the same name and a song featuring Xavier Naidoo, titled LMS 2012.

Controversy[link]

Eko Fresh[link]

In 2002 Eko Fresh and Savas began to dispute. Eko Fresh left the label and continued his career without his colleague. He released "Die Abrechnung", a song which spoke out against Kool Savas and other German rappers. Savas replied with "Das Urteil", which also became a hit song.

Discography[link]

• 2002: Der beste Tag meines Lebens
• 2004: Die besten Tage sind gezählt
• 2007: Tot oder Lebendig
• 2011: Aura

References[link]

External links[link]

Wikimedia Commons has media related to: Kool Savas

• YouTube
• Official Homepage'
• Official Facebook Page'

John Joseph Bello (born March 30, 1946 in New Britain, CT) is an American entrepreneur best known for creating and building the SoBe brand of New Age beverages.

Early life[link]

Bello grew up in Plainville, Connecticut, the son of the late Generoso “Jerry” and Edith (Melito) Bello. He is a 1964 graduate of Plainville High School in Plainville, Connecticut, where he played football, was student council president and was named to The National Honor Society. Bello went on to matriculate at Tufts University in Medford, Massachusetts, on a Navy ROTC scholarship. There, he played football for two years, was a member of Delta Upsilon fraternity, and played drums in a rock band called “The What Four.” He earned a bachelors degree cum laude in history in 1968. While at Tufts he also met the former Nancy Nelson, to whom he was married 1969.

Naval career[link]

Upon his graduation from Tufts, Bello was commissioned an Ensign in the United States Navy and served a four-year tour that included a tour of duty in South Vietnam as Supply Officer for PBR Mobile Base II on the Mekong Delta with a mission of combat support for several river patrol boat (PBR) squadrons. He was awarded the Navy Commendation Medal with Combat V for meritorious service.^[1] In 1972, After Vietnam, Bello was assigned to the Moffett Field Naval Air Station Moffett Field as the Navy Exchange Officer. He resigned his commission as a Lieutenant to attend graduate school.

Early Business Career[link]

Bello entered the Amos Tuck School at Dartmouth College, graduating with an MBA in 1974. While at Tuck he was named an Edward Tuck Scholar. After Tuck, his first business position was in brand management at General Foods, where he worked on Sanka and Maxwell House coffee brands. After an interim experience in athletic footwear as product director for Keds Brand footwear,^[2] he moved on to a strategic planning and marketing functions in the Pepsi Cola Division of PepsiCo^[3] where he worked on Mountain Dew and the Pepsi Challenge.

National Football League Properties[link]

In 1979, he joined NFL Properties (NFLP), the marketing and merchandising arm of the National Football League, where he ascended to the position of President of NFL Properties in 1986. At NFLP, he helped transform licensed apparel from a small business selling novelty merchandise in specialty stores into everyday fashion transcending fan-wear, sold at major chain sporting goods and department stores. In addition to creating NFL ProLine authentic sideline gear and apparel made available to consumers to so that they could "Wear What the Pros Wear", Bello drove major sponsorships with Coke, Canon, Gatorade, Miller Brewing, GTE, Apple, Citibank, American Airlines and many consumer food products through a Sunday insert program called the "NFL Tailgate Party." He also played a major role in creating the NFL Experience, a fan festival that is now a fixture and fan favorite at Super Bowls. Also, Bello helped organize the American Bowl series of international pre-season games starting with the 1986 game between the Refrigerator Perry led Super Bowl Champion Chicago Bears and Dallas Cowboys played in front of 81,000 fans at London's Wembley Stadium. Bello's innovative approach to promoting and enhancing the NFL experience included bedecking pro golfer Payne Stewart in NFL Team colors as he played on the tour, sponsoring NASCAR racers, women's lines of NFL team clothing and made for TV events such as the Quarterback Challenge and The NFL's Fastest Man.

During Bello's tenure at NFLP, the business grew from $30 million in retail sales, sponsorships and publishing to $3 billion when he left in 1993. Bello is broadly credited with creating the model by which every major sports league now operates.^[4] He was ranked 46th on Sporting News’ list of Most Powerful People in Sports in 1992.

Bello left NFLP on Labor Day in 1993 amid controversy. He resigned as a result of losing a power struggle with then-NFL Commissioner Paul Tagliabue ^[5] who was seeking to consolidate league operations under the commissioner's office.

SoBe Beverages[link]

Upon his departure from the NFL, Bello took a position as VP Marketing with Brooklyn, New York-based Ferolito, Vultaggio and Sons, makers of AriZona iced tea. At AriZona he joined a former Pepsi colleague Mike Schott, then COO of AriZona Beverages. After four months he left AriZona to create his own beverage company in partnership with Tom Schwalm that became the South Beach Beverage Company, named after the trendy South Beach area of Miami.

The new company, based in Norwalk, Connecticut, marketed so-called "New Age" beverages—exotic juice blends and ready-to-drink iced teas—but faced formidable competition from its predecessors, including Snapple, Mystic, Nantucket Nectars and AriZona. South Beach needed a point of differentiation in the marketplace, so Bello added trace elements of various herbs and nutrients^[6]—such as ginseng, ginkgo biloba, guarana, carnitine, Echinacea, yohimbe, taurine and praline—and promoted their benefits beyond hydration. He launched a "3G" line of drinks, which included supposed energy boosters like ginseng, ginkgo biloba and guarana. He also expanded the brand's iced tea portfolio to include more exotic offerings such as Black Tea, Oolong Tea (with bee pollen), Green Tea (with Echinacea) and Red Tea^{[disambiguation needed ]} (with selenium). Under Bello's direction, SoBe launched a line of "3C" Elixirs (containing calcium, carnitine and chromium) in varieties such as Orange-Carrot, Orange-Tomato (including lycopene), Energy (with guarana, yohimbe and arginina), Power (taurine, creatine and praline), Zen Blend (triple ginseng tea with schizandra), Wisdom (with ginkgo biloba, St. John's wort and gotu kola) and Eros (with dong quai, damiana, foti and zink).^[7]

He created the "dueling lizards" design^[8] and took a lead role in the company's guerrilla marketing effort, proclaiming himself as the "Lizard King" in radio advertisements. He gave the brand an "attitude" by enlisting athletes who were somewhat out of the mainstream—such as golfer John Daly and downhill skier Bode Miller—as official spokespersons for the brand. The SoBe marketing team also wooed independent beverage distributors, offering them very high margins and a small chunk of equity in the company.^[9]

From its creation in 1995, SoBe's sales rose rapidly and climbed to $275 million by 2000.^[10] The following year, the brand rode the "good-for-you" trend among American consumers to break the quarter billion dollar barrier in 2000.^[11] SoBe was sold to PepsiCo for a reported $370 million cash on October 30, 2000.^[12] Bello remained with Pepsi overseeing SoBe until early 2004.

By the end of 1999 the company had sold 14.8 million cases of drinks and taken in $166.4 million. South Beach challenged rival AriZona in sales and was pursuing Snapple for leadership in the new age drink category. Less than pleased, rival AriZona slapped the company with a lawsuit claiming that SoBe had copied its bottle design or stolen trade secrets.^[13] Then Judge Sonia Sotomayor ruled in SoBe's favor denying a preliminary injunction. Legal action proceeded and persisted on the federal and state level until 2007, long after the company had been sold to PepsiCo. In 2007, the court dismissed all AriZona claims on summary judgement^[14]

In 2001, Bello was named Ernst and Young's National Entrepreneur of the Year in the Consumer Products category for his accomplishments at SoBe.^[15]

Other Business Activity[link]

Upon leaving Pepsi, Bello formed JoNa Ventures, a family investment vehicle that included among other endeavors investment and active involvement in Firefighter Brands and Soup Kitchen International.

With former NFL associates Bruce Burke and Peter French, Bello formed Firefighter Brands, a social enterprise intended to benefit local firefighting units with revenues generated from the sale of Firefighter Branded coffee, chips, chili's, trail mixes and energy drinks. The project was supported by a group of well to do and high profile community minded investors but ultimately failed due to lack of cohesive co-operation among various firefighting entities.

In 2005, Bello invested in and became chairman of Soup Kitchen International, a company he helped found that markets soups created by Al Yeganeh, the New York-based soup chef made famous as the "Soup Nazi" on the popular Seinfeld TV show, for retail stores, and developed franchised restaurants.^[16]

In 2006 Bello became a general partner of Sherbrooke Capital, a venture capital firm that provides growth capital to early stage health and wellness companies that led the $6.35 million equity-financing round for IZZE in early 2005. In the spring of 2006, Bello was appointed Chairman of the Board of the IZZE Beverage Company, a maker of sparkling juices.^[17] Izze was subsequently sold to PepsiCo for an undisclosed sum. In addition, he serves on the board of Boathouse Sports, a Sherbrooke portfolio company and as acting CEO and Chairman of Adina for Life, another Sherbrooke portfolio company.

Personal[link]

Bello's outside activities include: Board of Overseers for Athletics, Tufts University; Board Member, Dartmouth College’s Tuck Center for Private Equity; Board Member Gordon Entrepreneurial Institute at Tufts University and Board of Directors, New York Council Boy Scouts of America. He has lectured at colleges and MBA programs including Tuck, NYU, Yale, Cornell, Georgetown, Tufts, Dartmouth, and at high schools and at business forums and symposiums about his NFL and SoBe experiences and entrepreneurship.

Bello resides in Scottsdale, Arizona and Rye, New York with his wife Nancy. The couple has three grown children: Lauren, Lindsay and John Michael.

References[link]