Steinberg HALion Symphonic Orchestra Operation Manual
Have a look at the manual Steinberg HALion Symphonic Orchestra Operation Manual online for free. It’s possible to download the document as PDF or print. UserManuals.tech offer 523 Steinberg manuals and user’s guides for free. Share the user manual or guide on Facebook, Twitter or Google+.
ENGLISH HALion Symphonic Orchestra 91 A typical score 1. Allegro Moderato 2 Oboes 2 Flutes 2 Clarinets (Bb) 2 Bassoons 2 Horns (D) 2 Trumpets (E) 2 Trombones Bass Trombone Timpani Violins 1 Violins 2 Violas Celli Double Basses
HALion Symphonic Orchestra 92 Common Articulations You can use different articulations, i. e. different ways of playing, to vary the sound produced by an instrument. Some articulations are lim- ited to one group of instruments, like the pizzicato, which only can be produced by stringed instruments, by picking a single string with your finger. There is nothing to pick with brass or woodwinds. However, there are other articulations that appear in different groups of instru- ments, but have the same functionality within the orchestral context, even though they are produced with different methods of generating the sound. The most important articulations are: Legato: Connecting the notes in a musical line without a noticeable gap. In the score, legato notes are grouped by a slur marking. Legato is essential for playing melodies and for grouping musical motifs within a melody. Instruments playing legato are found in the woodwinds, brass, and of course in the strings family. In HALion Symphonic Orchestra, you have special instruments that support legato performance. Portamento/Glissando: A portamento is a legato that connects two notes with a big interval between them, without single steps. A porta- mento is possible on strings, woodwinds and brass. There are special string patches in HALion Symphonic Orchestra that support porta- mento. A similar technique is a glissando, where two notes are con- nected with audible single steps. This is used for harps, pianos or pitched percussion instruments like xylophone or vibraphone. Staccato: The opposite of legato. Very short notes played with strokes (strings) or short blows (woodwinds, brass). The notes are clearly separated from each other. Staccato is very useful for building rhythmical structures in accompaniments and melodies. Portato: Located between legato and staccato; the notes are not con- nected, but neither clearly separated from each other. Tip: Melodies or accompanying lines become more interesting and lively when legato and non-legato alternates with staccato and portato.
ENGLISH HALion Symphonic Orchestra 93 Groups of legato notes. Groups of staccato notes. Tremolo: A tremolo consists of very fast repetitions performed over a long note. On stringed instruments it is played with fast up and down bow strokes on a single pitch. In HALion Symphonic Orchestra you will find special string patches that control the transition between nor- mal and tremolo. Trills: Fast repetition of notes alternating between two pitches. Most trills are performed at an interval of one or two halftone steps. Of course there are special instruments in HALion Symphonic Orchestra that support authentic trill handling. Vibrato/non vibrato: vibrato means a pulsation of pitch around the tonal main frequency. Vibrato can be used with different amounts; for very dramatic passages more vibrato is necessary than for more sober mo- ments. Vibrato is caused by vibrating with fingers on stringed instru- ments and by varying the stream of air on brass and woodwinds. Especially for solo instruments the controlled use of vibrato is essen- tial. All instruments of HALion Symphonic Orchestra are recorded with very subtle vibrato. To have more vibrato on certain passages, HALion Symphonic Orchestra uses vibrato generated electronically with the modulation wheel. Please make sure not to overuse this effect. Crescendo/decrescendo: Crescendo/Decrescendo means becom- ing louder/becoming softer; evolving from one point of loudness to another. The distance between two dynamic points could be de- scribed as manifold: from surprising, short dynamic changes to long progressions over several bars. In the score the sign for this articula- tion looks like a V lying on its side; when the tip is on the left it is a cre- scendo, when the tip is on the right it is a decrescendo. A crescendo/ decrescendo is an information about loudness and can be combined with every playing technique. With HALion Symphonic Orchestra, you have special MIDI controllers to control loudness.
HALion Symphonic Orchestra 94 An example for crescendo An example for decrescendo Accent: An accent can be added to every note to emphasize one note for rhythmical and/or sound shaping reasons. Accents on notes Transposing instruments There are two kinds of instruments in a score: transposing instruments that sound in another pitch than the one you can see in the score, and non-transposing instruments, that sound in the scored pitch. Most clarinets, horns and trumpets are transposing instruments; a trumpet in Bb, e. g., means that we read a C but hear a Bb, two halftones lower. So if you want all instruments to play in harmony, and the piece is in C, you have to transpose the trumpet’s voice two halftones up to D. Flutes and violins are examples for non transposing instruments. The indicated range of the instruments in this compendium is related to the range of the sampled instruments in HALion Symphonic Orchestra and not always exactly to the range of the real instrument. Sometimes the real instrument might go one or two halftones higher. The note num- bers of ranges refer to the MIDI note numbers as displayed in Cubase SX 3, where a middle C is C-3. Scored pitch of clarinet in Bb. Sounding pitch (transposed -2 halftones).
ENGLISH HALion Symphonic Orchestra 95 Woodwinds There a three ways of producing sound with a woodwind instrument. The first one is used by flutes, when a stream of air is split into two parts by an embouchure hole. One part of air escapes to the outside over the edge, while the other, smaller part of streaming air is directed into the hole, causing a vibration in the instrument and producing sound. The second method, found in oboes and bassoons, uses a pair of curved reeds, buzzing against each other with a nasal sound amplified by the body of the instrument. The vibrating pillar of air is shortened or lengthened with finger holes. The third woodwind method uses one single flat reed only that vi- brates against the mouthpiece. Clarinets and saxophones produce their sounds this way, from covered to husky. The woodwind section sits in the middle of the orchestra, behind the strings. The sound of the woodwind section is breathy and can add power to the strings section without becoming too harsh. The pro- duced sounds can sometimes remind the listener of the human voice because of their rich articulation. Flute Transposing: No Range: H2 to E6 Register: 3; low, middle, high Agility: High Description: The flute as a solo instrument is very suitable for lyrical pas- sages, especially in the low register that lacks loudness, but has a very rich and beautiful sound. The flute can be played very fast. Fast runs and long notes may alternate frequently. The middle register sounds mellow and brilliant and is excellent for melodic work. The accompaniment must be light in texture to make sure the flute has enough contrast to the or- chestral background. Combinations: The high register is brighter and possesses a bright tone which can add brilliance to other woodwinds or to strings. The combination of violins and flutes (one octave higher) playing a melody
HALion Symphonic Orchestra 96 is typical. The flute blends very well with strings, horns, trombones and other woodwinds and always adds something noble, soft and shimmering to the sound. Range for the flute: H2-E6. Registers for the flute: Soft/weak, powerful/rich, bright/clear, and penetrating. Oboe Transposing: No Range: Bb3 to G5 Register: 3; lower, middle, high Agility: High Description: The nasal and sometimes penetrating sound of this dou- ble-reed instrument is very suitable for expressive passages and essen- tial for melodic solo work. From C6 upwards, the sound gets almost too thin, compared to the flute, but between E3 and E4 it has a really charming character. The low notes sound fat and melancholic. It is very nice for short submissions and for dialogs with other woodwinds. Combinations: Often the oboe is too flashy for long notes and har- monic work together with other instruments. The texture is becoming harsher when an oboe is added to chords played by strings, horns or other woodwinds. It does not blend in as well as the flute. Range for the oboe: Bb3-G5. Registers for the oboe: thick, warm, clear/thin.
ENGLISH HALion Symphonic Orchestra 97 Clarinet (Bb) Transposing: Yes Range: D2 to G5 Register: 4; lower, middle, high, highest Agility: High Description: The low register in piano sounds mysteriously dark, soft and warm but lacks enough loudness to win out over an orchestral tutti. The middle register is a little bit dull and weak, followed by the high register, which is the best choice for solo work, with its clear and round timbre. The highest register tends to be shrill and must be in- cluded carefully. Combinations: The clarinet adds some softness with increasing full- ness to the flute. You can also combine clarinet and oboe, with the oboe dominating the lower regions, and the clarinet dominating the higher regions. Within the woodwind section the clarinet works as a mediator between oboe and bassoon. It brings the double reed instru- ments closer together, which otherwise do not blend very well. De- pending on the register the clarinet adds brightness or warmth to trumpets and horns. The combination of clarinet and strings is very satisfying, and clarinet and cello blend well when playing unisono. Range for the Clarinet (Bb): D2-G5 (sounds a major 2nd lower). Registers for the Clarinet (Bb): Deep/throaty, weak/mellow, bright/expressive, penetrating/thin.
HALion Symphonic Orchestra 98 Bassoon Transposing: No Range: Bb0 to E4 Register: 3; low, middle, high Agility: High Description: The bassoon is able to express a wide spectrum of emo- tional temperatures, from soft, warm and lively to significant, melan- cholic and wistful. The low register delivers a solid bass foundation. The middle register is clear and rich in modulated sounds, distantly re- lated to the oboe, but the timbre has more experience and wood. The high register sounds a little bit crimped and narrow and is good for describing fearful and oppressing situations. Combinations: The bassoon has a deep relationship with horns and low strings and delivers the bass foundation in the woodwind section. A rich sound for melodic work will be achieved by adding a flute two octaves above the bassoon. Stunning basses result in the combina- tion with cello, double bass, or trombone and bass clarinet. Range for the bassoon: Bb0-E4. Registers for the bassoon: Dark/solid, expressive/mellow. Registers for the bassoon: Thin, pinched.
ENGLISH HALion Symphonic Orchestra 99 Piccolo Transposing: Yes Range: D4 to C7 Register: 3; lower, middle, high Agility: High Description: The piccolo in C sounds an octave higher than the nor- mal flute. The low register evokes spooky and mysterious scenarios played in piano, while the middle and high registers are excellent for intense and penetrating melodic work. Combinations: In the orchestral tutti the melodic lines can be sharp- ened by adding a piccolo flute, one or two octaves higher. It blends very well with the woodwind section. Range for the piccolo: D4-C7 written range (sounds one octave higher). Registers for the piccolo: Too weak, mellow, clear/bright. Registers for the piccolo: Penetrating. English horn Transposing: Yes Range: B2 to G5 Register: 3; low, middle, high Agility: High Description: The English horn is an alto version of the oboe and sounds darker and more powerful, but even slightly more covered than the oboe. Because of its ability to express archaic, pastoral or melancholic moods it is often used for serious largo melodies.
HALion Symphonic Orchestra 100 Combinations: The English horn fits in best in the middle voices of the woodwind section. It prefers the combination with oboe, clarinet and bass clarinet, but also goes together well with trumpets and horns and with all strings, especially the viola. Range for the English horn: B2-G5 (sounds a fifth lower). Registers for the English horn: Mournful/intense, mellow/warm, clear/thin, too thin. Bass Clarinet (Bb) Transposing: Yes Range: C2 to D5 Register: 4; low, middle, high, highest Agility: High Description: There are very rich overtone structures in the bass clari- net’s low register, sounding dark and substantial. Just as with the clar- inet, the middle register sounds pale and weak. The upper register sounds full and round and delivers a strong sound. The clarinet’s mid- dle register can be replaced by the bass clarinet’s upper register, sounding more powerful. The highest register sounds poor and nar- row and is not suitable for harmonic contexts. Combinations: Because they are of the same construction type, clari- net and bass clarinet deliver a very homogeneous sound when played together, either unisono or with one octave distance. The deeper woodwinds, bassoon and English horn, are very good partners for creating a woody bass foundation. Within the brass family the horn reaches the highest grade of blending with the bass clarinet. The horn’s sound is as substantial and mellow as the bass clarinet’s one. And like the bassoon, the bass clarinet loves low strings: the combi- nation of the low register with a double bass is very impressive and dark, while the unisono between bass clarinet and cellos is very pop- ular because of its soft and round effect.