$105.00  USD



Using the orchestra as colour, shape and movement like the great composers is one of the most challenging, underused and misunderstood part of writing for orchestra.

Moving beyond thinking in terms of lines, harmony and rhythmic patterns is a huge stumbling point for most if not all composers and orchestrators.

How to you write textures, gestures and runs like Dukas, Debussy, Holst and John Williams? Is there a key? A series of steps? A way to think?

This the puzzle that OTL 3 solves, allowing you to think of the orchestra as colour, shape, movement and effect, all with control and understanding, and in a melodic context.


OTL 3 is the continuation of the two previous courses and has the same main goal: Orchestrating the Line. Here we add the final, more advanced layer and we build and make use of on the concepts presented int he first two courses.

It is highly recommended that you take OTl 1 and 2 first before embarking on this one as they are designed in progressive order.

Like the other two course, OTL 3 is NOT a basic orchestration course but rather designed to be taken once you have knowledge of instrumental registers, techniques and orchestral voicings as a way to bring all of that together in writing like the greats.

The OTL courses are the key to bring it all together.


What I share in OTL 3 is the result of 20+ years of study, professional work and professional work.

I studied a TON to get into the mind of the great composers to understand what they did, where and why so that I could assimilate it for myself and put it into my own writing.

I wanted to write the type of organic, colourful orchestrations I admired in my favourite composers, but not simply by imitating them.

I wanted to understand the basic concepts and functions so that I could apply them in my own music in any way I chose.

It took a long time, but I got there and it was the key to where I wanted to go musically.

I then started sharing this with my students with amazing, transformative results.

This is how OTL 1, 2 and now 3 came to be.


Everything in OTl 3 course is broken down into individual elements, each explained with a high degree of detail so that you gain full understanding and control over each element in any musical scenario.

Then we progressively put them back together, cumulatively putting bigger and bigger textures together so you are clear at every step what, why and how they are put together.

By working with this nuts and bolts approach you gain and understanding that then allows you to not only take the many writing formulas presented, but create your own.


All elements are presented through on-screen, hand-written examples. This methodology allows you to follow the thought process much better, improves understanding and ability to then go and apply.

Longer written examples also take us through the process of applying the concepts in a melodic context with detailed commentary by a working composer.


The ScoreClub credo is “apply, apply, apply”! So for this course clear steps are given for every technique, where and when to use them and also practice steps so you start working right away! You will have the tools to transform your writing, all you have to do is do the work.


It makes sense that, when writing orchestral colours, we should consider very closely the effect and metaphor of every element individually and in combination. This is a cornerstone of this course and what makes the techniques become tools.


The Function of each element is considered so you understand the WHY behind the technique. This crucial part of the course’s pedagogy means you don’t just see a technique, but also a way to understand how to place it in your music, right away.


An important aspect of this course is the placement of the textures, gestures and runs on the “scoring stage” as seen in OTL 2. Writing a texture is one thing, but using it in a melodic context so you still have clarity in your orchestration and everything works when you are on the recording stage, well, that’s another, and OTL 3 covers that.


In this course we support the melodic line, as the title suggests. So we do not cover atonal or aleatoric textures,  but rather focus on  textures in a diatonic context. (A few examples are atonal though…)

However, OTL 3 course covers core concepts that are at the essence of textural writing and can be immediately be applied to any type of harmonic colour chosen.


OTL 3 builds on the concepts seen in the previous two courses.

Many new elements presented here are given the OTL 1 and 2 treatment and also add to what we saw previously, everything linking neatly together to create a complete orchestral writing method.


There are well over 100 audio clips for the on-screen written examples, not to mention a couple of hours of highly detailed score study that builds on the concepts presented.

Score reductions are sometimes given to reach extra clarity and understanding of the concepts.


  • Lifetime access to the course and any future updates
  • Course forum to ask Alain your questions
  • Private student dashboard


OTL 3 is designed for composers intermediate and above.

  • Music rudiments
  • Knowledge of notation and reading
  • Orchestration textbook or course (OTL 3 is not a basic orchestration course)
  • OTL 1 and 2: As this course builds on and makes use of techniques and concepts from the two previous courses,  it is highly recommended, or even necessary, to take them first.


OTL 3 is a thorough and effective method to writing textures, gestures and runs like the greats. It is the type of course I wish I had when I started out, so here it is! All the best and I look forward to seeing you in the ScoreClub forum!


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About Alain Mayrand

Alain is a working composer, orchestrator, conductor and orchestrator. His credits include "Elysium", "Ender's Game" and more.

Read more about Alain on the About Page

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