Assignment - From Sketch to Orchestra

From Sketch to Orchestra!

Download the PDF below. The PDF contains a simple sketch (Melody and Harmony) as well as a template score that you'll use to orchestrate it. 

Follow the instructions below to complete the assignment.

Bars 1-2:

  • Melody: an instrument/s of your choice.
  • Harmony: the whole woodwind section.

Bars 3-4:

  • Melody: an instrument/s of your choice.
  • Harmony: the horns plus the trombones.

Bars 5-8:

  • Melody: an instrument/s of your choice.
  • Harmony: start with part of the woodwind section to have the full section towards the bar 7. Do the same with the horns and trombones. For example, start with the horns plus the clarinets and bassoons to end with the full woodwind section plus the horns and trombones.

Bars 9-12:

  • Melody: at least two instruments/sections of your choice.
  • Harmony: the full string section plus the horns OR the trombones.

Bars 13-16:

  • Melody: to help building the crescendo, start with the two previous sections and add gradually more sections/instruments of the orchestra to end up the exercise with at least three/four playing the melody.
  • Harmony: to help building the crescendo, continue with previous sections used for the harmony (you can use some of them for the melody too from now), and keep adding instruments/sections to end the exercise with the full orchestra with either in melody or the harmony side.


Separation: try to keep at all times the melody and harmony layers separated by means of the concepts you learnt in this module.

Melody: you can write the melody in any octave you wish and also double it in several octaves if you see it fits. However, remember to keep the melody and harmony layers separated at all times.


  • You can change the inversion of some chords, but in general try to stick to the root position.
  • You don’t have to follow strictly the harmonic series to voice the root position chords, but try to apply it from the first or second overtone upwards as much as possible. Of course, don’t follow the harmonic series blindly so you end up just doing parallel chords, you should also consider the counterpoint. A trick to avoid these parallel chords is to introduce every now and then a first or second inversion chord.

Download this PDF to complete the assignment.


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