I already learned so much from Rimsky's writings, even without studying all his obscure opera scores that much. Thanks, Thomas, for shedding light on the other gems in this repertoire. This is extremely valuable, and I look forward to the next episodes of your commentaries.
I know that Thomas has been talking about doing these kinds of videos. I hope that he makes this the start of a series of individual videos that focus on individual composers and how they construct tutti chords.
@@jonathanp935 Hi Jonathan! There are tutti chord breakdowns in the new format of score analysis, and two videos already devoted to major and minor tutti chords. But more will come, as time goes by.
I've had a copy of RK's book since I was in high school, and I remember being somewhat frustrated that it was- in many ways- so out of date. It's a fantastic idea to do this and you certainly seem the absolute right man for the job! I don't know if I can afford it when it comes out, LOL but I'm excited for you and everyone who gets to read it!!!
Thank you! I'm just beginning to study orchestration and your material is a gold mine. After watching this I listened to Kitezh for the first time. Wow! I'm happy to have joined your Patreon members.
Hey Thomas! I love me some tutti chords! I really like the way Gil Evans writes his tuttis, do you enjoy his writing as well? Ever consider doing a lesson on him? Would love to see it! Thanks!
10:02 is there really a good reason for having the two horns playing that D3, instead of just letting the bass trombone play it, as it is in its ideal range?
Yes. Absolutely there is a good reason. R-K wants the trombones clustered in that tenor register 6/3 voicing, where they'll all brighten the inside of the chord together - while in the lower octave position with the tuba, the 2 horns actually have better timbral unity, as all three instruments are conical. Were those two positions switched, the lower octave would be brighter and the trombone chord less unified and bright.
Will there be more tutti chord breakdown videos looking at different composers? Also, will you have any of the in depth orchestration analysis on the channel? Very interesting material to go through, would definitely watch more of these tutti chord breakdowns in the future.
That first C chord - why would Rimksy write tuba on 8' and 2nd bassoon on 16'? This looks odd enough when e.g. Elgar is writing for a smaller bore bass tuba, but wasn't Rimksy writing for a BBb contrabass?
@@OrchestrationOnline Got it thanks - I couldn't make out the text above and assumed it was indicating a unison, but from 0:30 I see the instrument names apply to all the example chords. And imslp confirms there is no tuba for the entire opera.
