# Best online courses for composing and orchestration?



## Hanu_H

Hi guys,

Please recommend me some online courses you like and tell me why you like the course. There is so many options available at the moment and it's easy to get confused. I would love to be able to write all kind of orchestral music faster and more focused, but mainly I am interested in composers like Debussy, Holts, Stravinsky, Ravel, Bartok, etc...

Would EIS be good option for me?

-Hannes


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## Blackster

Well, I'd say, every course that teaches you something new will make you a better composer! With having that in mind, there are not really any wrong decisions.

EIS will teach you a lot, no question about it! How do I know? - I'm a graduate!  ... 
Just in case you have missed it, I've published a free ebook (including audio examples) some weeks ago about how to use the Overtone Series in composition. Just sign up for the newsletter and get the ebook for free. 

http://musicintervaltheory.academy/store_ebooks/

This is just a tiny example of how I approach composition and orchestraion. If you wanna learn more about MIT, please talk to me via PM.


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## Parsifal666

Hanu_H said:


> Hi guys,
> 
> Please recommend me some online courses you like and tell me why you like the course. There is so many options available at the moment and it's easy to get confused. I would love to be able to write all kind of orchestral music faster and more focused, but mainly I am interested in composers like Debussy, Holts, Stravinsky, Ravel, Bartok, etc...
> 
> Would EIS be good option for me?
> 
> -Hannes





Hanu_H said:


> Hi guys,
> 
> Please recommend me some online courses you like and tell me why you like the course. There is so many options available at the moment and it's easy to get confused. I would love to be able to write all kind of orchestral music faster and more focused, but mainly I am interested in composers like Debussy, Holts, Stravinsky, Ravel, Bartok, etc...
> 
> Would EIS be good option for me?
> 
> -Hannes



I know Garritan.com has a really good orchestration course taken directly from Rimsky-Korsakov's book on the subject. I've even gone on there looking to refresh my memory and it seems laid out really well. The said book is a really good one, too.

If you have any time to just kick back with a book and an mp3 player, I would recommend above all Samuel Adler's The Study of Orchestration. It is the best book out there on the subject, in mine and many other folks' opinions. I recommend glossing through the book first so you can scoop up mp3s of the famous musical examples contained within though. That book will do at least as much as any online course or otherwise, and it is something to keep with and around you forever...it's that helpful.


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## Farkle

Hanu_H said:


> Hi guys,
> 
> Please recommend me some online courses you like and tell me why you like the course. There is so many options available at the moment and it's easy to get confused. I would love to be able to write all kind of orchestral music faster and more focused, but mainly I am interested in composers like Debussy, Holts, Stravinsky, Ravel, Bartok, etc...
> 
> Would EIS be good option for me?
> 
> -Hannes



Alain Mayrand has some excellent courses. I've taken "orchestrating the line", and found it to be very compositionally strategic and free'ing. Meaning, he walks you through a strategy to get from piano sketch to orchestration of your main idea/line.

EIS is amazing. It helped me switch from writing "piano scores" to true orchestration, with rich harmony and great linear writing. I'm 4 classes away from graduating, will be done sometime in February, so I've run the gauntlet. It _is _expensive, but, in my opinion, it's completely worth it. Like you, I love Stravinsky, Ravel, and Copland, and EIS unlocked the door to allow me to write faster and more assuredly in those styles (and in many others).

Leon Willett is another excellent resource. I've studied under him, and he's a fun, thoughtful, and very talented composer and teacher.

And, of course, Mike Verta's masterclasses are a steal for the price, although they are not as much theory/technique oriented, as they are strategy and philosophy. But they are absolutely top quality, and great value.

I hope this helps.

Mike


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## Mike Marino

I'd certainly take a look at Mike Verta's Composition 1 class as well as his Orchestration 1 & 2 classes. As Farkle said they're a steal for the price....and 30% off right now (I believe).


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## Hanu_H

Thanks guys. Great suggestions from all of you. I guess, I am looking more ways to expand my composing skills as much as possible. I am pretty confident with my orchestration skills at the moment, so I would like to focus more on the composing. I have read The Guide to Midi Orchestration years ago and that was really good way to start. I've also studied some other orchestration books.

What do you guys think about this?
http://courses.evenant.com/p/cinematic-music-from-idea-to-finished-recording/

I know, I have to focus on two things. Getting better and faster composer for media and then on my spare time, focus on my passion for composing classical music.

I am really interested on EIS. Can you tell me a bit more about it? How much does it cost? 

-Hannes


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## Hanu_H

Mike Marino said:


> I'd certainly take a look at Mike Verta's Composition 1 class as well as his Orchestration 1 & 2 classes. As Farkle said they're a steal for the price....and 30% off right now (I believe).


I can't see any discount, do I need a coupon code for that or what?

-Hannes


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## Fab

Hanu_H said:


> I am really interested on EIS. Can you tell me a bit more about it? How much does it cost?
> 
> -Hannes



From what I understand EIS is more like a way of life, a covenant if you will...you have to actually live and breath it rather than it being 'explained' to you.


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## Vavastrasza

I was thinking of buying this bundle.

http://www.alexanderpublishing.com/...-Orchestration-PDFMP3-Home-Study-Bundles.aspx

Anyone have good/bad things to say about it?


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## Mike Marino

Hanu_H said:


> I can't see any discount, do I need a coupon code for that or what?
> 
> -Hannes


Hannes, yeah you'll need the code. Here's what Mike Verta posted on Monday:
"Speaking of which, I'm extending the 30% off coupon (code: dealyo) on masterclasses because I feel bad we didn't get to everyone's pieces!"


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## Farkle

Fab said:


> From what I understand EIS is more like a way of life, a covenant if you will...you have to actually live and breath it rather than it being 'explained' to you.



Here is a link to the website,

www.theequalintervalsystem.com

And here is a sample document that illustrates examples of various EIS lessons being implemented

https://app.box.com/s/3zoorww072ai9rp4cnaldkuboag9ii0a

If you're further interested, you can reach out to Craig Sharmat, and he can help you with more information.

Mike


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## Parsifal666

douggibson said:


> Think I care if another wanna-be composers music sucks or get anything out of it trying to convince them otherwise
> (oh wait my free toaster just arrived in the mail from EIS).



Free toaster?!!! Shoot man, I'm signing up NOW, thanks!


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## TIM_STEVE_97

Hanu_H said:


> Hi guys,
> 
> Please recommend me some online courses you like and tell me why you like the course. There is so many options available at the moment and it's easy to get confused. I would love to be able to write all kind of orchestral music faster and more focused, but mainly I am interested in composers like Debussy, Holts, Stravinsky, Ravel, Bartok, etc...
> 
> Would EIS be good option for me?
> 
> -Hannes


I'm a student at Berklee online. The courses are great. Finished Orchestration 1 and some arranging courses last term and learnt a lot.. But one thing with berklee is, what you gain from the course depends upon your level of interest and ability.. They also have a very diverse catalog. Check it out! 
www.online.berklee.edu


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## Fab

douggibson said:


> Really ? Thanks Negative Nancy.
> 
> Maybe EIS should advertise with Alex Jones these days ? Why does any topic about EIS devolve time after time with
> the idiot house making some kind of religious analogy ? Most likely it is due to their inability to articulate any kind of logical musical criticism. * (Criticisms of EIS compositions that are based on musical craft and terminology would be most welcome. AKA Mike Verta's style feedback perfectly valid. I, in fact, have plenty of my own.)
> 
> About 5 years ago I went through book 6 and posted a few cues using techniques from them. About a month later I received like 4-5 "war and peace" style emails from people asking me about EIS, how does it differ to 12-tone atonal music, is it a cult. WTF ?
> 
> First, never was any other topic discussed other than music and harmony or counterpoint during my lessons.
> Why would it ? Personally, I thought it was cool working with the orchestrator from "The Simpsons".
> 
> Usually on this forum then people reply asking for explanations, or proving XYZ to them.
> I could, but why would I ? Take a lesson with one of the instructors.
> 
> Think I care if another wanna-be composers music sucks or get anything out of it trying to convince them otherwise
> (oh wait my free toaster just arrived in the mail from EIS).
> 
> Last thing to mention: EIS is simply another music compositional approach. It's a tool in the tool box, just as voice leading 4 part Bach chorales is a tool. Use it when needed. Use another device when appropriate. There is really nothing more significant than that. You will still need your ears, and imagination, and creativity. You still need to practice transcribing, sight-singing, piano, and other tried and true foundations of being a composer. Oh, and for media, you still need to be able to tell a story with your music, and be a good collaborator.
> 
> I couldn't care less if anyone ever takes a EIS lesson or not. I just don't get the silliness that always comes up.
> Take the Scott Smalley Orchestration course if you want some weird otherworldly stuff. I am glad I took the Smalley course live, and yes, the entire room was awkwardly silent at the end. That would be a 10 on the awkward scale, and EIS is like a 1.The only thing that is "secretive" is you have to commit to buying the books and work with a teacher. You are doing the same thing when you sign up for an online course. EIS is just about 30 years behind the time tech wise.



...yes, ok. Fine no more jokes. EIS could be a totally valid and serious set of tools, it just happens to make a good target for cheeky joke making. Mine was pretty damn relaxed as well. i apologize, Im not funny...

All Hail the Equal Interval System.


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## Norman

Do you want *your music to stand out* from the pack? Do you want to take one on one, *private lessons with an industry pro*? Do you have questions on how to *develop your musical ideas *or add pro touches to your orchestrations? 

If you answer yes, then check out my private lessons, offered via Skype or through email. 

I work as an orchestrator for *Michael Giacchino*, teach in the *UCLA Film Scoring Program*, have taught *hundreds of students*, *have lectured all over the world*, and written *8 books on music*.

Private lessons start at $75, with a package of six (including a free ebook) lowering the price to $60.


*Lessons: https://www.musicnewapproach.com/lessons*
*
https://vi-control.net/community/file://localhost/Testimonials/%2520https/::www.musicnewapproach.com:testimonials (Testimonials: https://www.musicnewapproach.com/testimonials)


Take the first step in your advancement as a pro!*


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## Publius

I have viewed some nice orchestration courses on macprovideo.com. I got a 90 day subscription in the close-out bin of a guitar center 90 days ago for something like $20. They have purchase and monthly options. My though is that the monthy option is best as you can see all you want and I hardly ever want to review the material a second time if I purchased it.

Udemy.com may have some offerings as well--best to review the course as much as possible before signing up. Also, never pay more than $12 for a udemy course as they are always on sale from their high list prices.

My feeling is the macprovideo courses are generally better and I have a number of udemy courses I bought that I lost interest in--which is why I like a monthly subscription better.


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## Daisser

The Guide to Midi Orchestation is an excellent book. Mike Verta's lessons are the best, truly amazing, and cheap.

Norman Ludwin (posted above) is a gifted instructor and a kind, eloquent teacher. If you'd like consistent educated feedback, it's a great option to consider lessons with him.


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## g.c.

I am always dissappointed when orchestration courses are spoken of that no one brings up the Orch Play Music program-"www.*orchplay*music.com".
Please do yourself a favor and take a look at this program before you commit to anything. I don't have any afiliation with the company, I would just like to see their idea succeed.
It is a yearly subscription to carry it in your system (I think $130). But for me it has been well worth it. For me ,this fis the kind of working audio-visual reference that I've always wanted., even as an addendum to a more traditional approach to the study.
Good luck---
g.c.


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## Maximvs

Is anyone enrolled into the MITA (Music Interval Theory Academy)program? 

https://musicintervaltheory.academy/


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## Lassi Tani

g.c. said:


> I am always dissappointed when orchestration courses are spoken of that no one brings up the Orch Play Music program-"www.*orchplay*music.com".
> Please do yourself a favor and take a look at this program before you commit to anything. I don't have any afiliation with the company, I would just like to see their idea succeed.
> It is a yearly subscription to carry it in your system (I think $130). But for me it has been well worth it. For me ,this fis the kind of working audio-visual reference that I've always wanted., even as an addendum to a more traditional approach to the study.
> Good luck---
> g.c.



How do you like the mockups? I was listening to some of the demos, and some of them are quite good, but some of them were lacking, e.g. strings intonations, I guess it's just how samples behave.

For studying composing and orchestration I would rather buy a score and listen to a well recorded and played version of the music. I think I'm much more from that than from listening to samples playing.


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## jononotbono

Norman said:


> Do you want *your music to stand out* from the pack? Do you want to take one on one, *private lessons with an industry pro*? Do you have questions on how to *develop your musical ideas *or add pro touches to your orchestrations?
> 
> If you answer yes, then check out my private lessons, offered via Skype or through email.
> 
> I work as an orchestrator for *Michael Giacchino*, teach in the *UCLA Film Scoring Program*, have taught *hundreds of students*, *have lectured all over the world*, and written *8 books on music*.
> 
> Private lessons start at $75, with a package of six (including a free ebook) lowering the price to $60.
> 
> 
> *Lessons: https://www.musicnewapproach.com/lessons*
> 
> *https://vi-control.net/community/file://localhost/Testimonials/%2520https/::www.musicnewapproach.com:testimonials (Testimonials: https://www.musicnewapproach.com/testimonials)*
> 
> 
> *Take the first step in your advancement as a pro!*



Brilliant to know and When I can afford it I will likely buy the package of six.


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## Will Blackburn

Does anyone know if the Adler book or anything orchestration related was turned into an audio book ever? Love listening to stuff like that when im in bed or in the car etc.


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## mikeh-375

WCB,
The 2nd edition Adler came with set of 5 cds, but that was years ago, probably doesn't help you, why did I even post.........but maybe you can still get them somewhere.....


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## jonathanparham

mikeh-375 said:


> WCB,
> The 2nd edition Adler came with set of 5 cds, but that was years ago, probably doesn't help you, why did I even post.........but maybe you can still get them somewhere.....


Yes I have the 3rd addition of these. I also have the workbook unused @wcb123 if interested.


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## Zoot_Rollo

g.c. said:


> I am always dissappointed when orchestration courses are spoken of that no one brings up the Orch Play Music program-"www.*orchplay*music.com".
> Please do yourself a favor and take a look at this program before you commit to anything. I don't have any afiliation with the company, I would just like to see their idea succeed.
> It is a yearly subscription to carry it in your system (I think $130). But for me it has been well worth it. For me ,this fis the kind of working audio-visual reference that I've always wanted., even as an addendum to a more traditional approach to the study.
> Good luck---
> g.c.




This looks really good.

Is there courseware that goes with it?

Or is it strictly reference material.


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## milesito

Massimo said:


> Is anyone enrolled into the MITA (Music Interval Theory Academy)program?
> 
> https://musicintervaltheory.academy/


Hi Massimo, I have been going through MITA for the past few years. It has been a great experience and it has dramatically expanded my writing abilities and perspective. I would be happy to chat more about it if you like but it is structured as online Skype lessons with materials and assignements. I have taken my fair share of music composition and theory courses throughout my life but this definitely has a lot of new info to supplement and challenge what I already know.


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## Maximvs

milesito said:


> Hi Massimo, I have been going through MITA for the past few years. It has been a great experience and it has dramatically expanded my writing abilities and perspective. I would be happy to chat more about it if you like but it is structured as online Skype lessons with materials and assignements. I have taken my fair share of music composition and theory courses throughout my life but this definitely has a lot of new info to supplement and challenge what I already know.


Thanks a lot for your feedback about MITA, I have actually decided to enrolled and had my first lesson last week... Cheers, Max


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## marco berco

I am not a young man now and after having studied traditional Harmony, Fugue and Counterpoint at the conservatory in France when a young man, then studying modern writing at Berklee College of Music between 1979-1981 and at last studying EIS with David Blumberg for 3 years before he passed away, I am now studying the M.I.TA. course. since this last summer.

What I can say, it is by far the best course I have ever taken in my whole life. This, I don't say the other courses and methods were not good, they all were very good and I have done my professional career thanks to them but, none of them gave me as much pleasure than M.I.TA. and also I discovered tons of musical devices I was not aware of before.

What is great is it doesn't replace what you have done or learnt before, but it adds to your knowledge and skills. I am about the middle of the way at Lesson 25 and I have made a really big jump in my writing, even if I write compositions-orchestrations-arrangements for decades, this proves there is always something to learn to improve your skills until your death.

This course is a must, especially for one who want to master the film scoring, TV shows, Video Games writing. It needs also to put a lot of work in it as there is no secret apart the efforts you have to do in order to be successful in your tasks. Here, there is no button to push for getting a big sound, only a lot of writing.

Generally, the assignments are divided in two parts, one is for the technical part of the Lesson and the second part is devolved to orchestrate a piece mainly with the devices studied in the concerned lesson.

With no doubts, M.I.TA. is a choice one should consider if he wants to master the film scoring and Video Games writing.


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## Robin Wade

I’ve been studying M.I.T.A. since 2016 and completely agree with Miles Ito and Marco Berco about the effectiveness of this approach. The initial attraction of M.I.T.A. to me was that it promised to end writer’s block. It’s already done this and opened my mind to so many useful compositional ideas! Highly recommended!

Welcome Massimo by the way


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## Maximvs

Robin Wade said:


> I’ve been studying M.I.T.A. since 2016 and completely agree with Miles Ito and Marco Berco about the effectiveness of this approach. The initial attraction of M.I.T.A. to me was that it promised to end writer’s block. It’s already done this and opened my mind to so many useful compositional ideas! Highly recommended!
> 
> Welcome Massimo by the way


Thanks Robin and all the very best for your musical journey


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