From these notes of the intro of āUna notte in Italiaā you can see that I start to spread the notes (the strings are those of the highlighted track) and avoid making chords.
The first track at the top is piano, the second is bass.
Hello @Lanfranco 
Just a few notes of advice and comment, stemming from what I can gather of your screenshot:
-
I can see that you are experimenting with avoiding to arrange an orchestral section by static chords: that is the right direction.
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I equally notice that you are trying to shape the lines of internal parts in a vocal fashion, proceeding by adjacent steps or small leaps, which is recommendable in order to achieve a true sense of combined separate melodies.
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The onset of your orchestration seems to vary from two to six parts: this is not technically viable in an accomplished orchestration idiom, unless your full lineup is meant to be six stringed instruments. You should rather decide what your orchestral voicing is, and stick to it in a consistent way. Either youāre writing for acoustic sampled instruments or synthesizer/artificial parts, your ideal sectionās arrangement should be:
Vl1, Vl2, Vla, Cello (4 voices),
or
Vl1, Vl2, Vla, Cello, Cbass (5 voices).
I advise you to try and write your arrangement within this standardized constraints, because respecting them would perceptibly afford greater solidity and plausibility to your musical flow.
- Use four or five separate tracks-parts for your orchestral section, instead of a compound Midi channel. This will prevent you from falling back to the chordal attitude, and give you a fuller and more coherent command of the different parts.
Cheers!
I will definitely try, thanksā¦ but I have to tell you something in secretā¦ Thousands of years ago I entered the Bologna Conservatory, but then I started to do badly at the Industrial Technical Institute (my father wanted me to be an engineerā¦ ā¦) and so they made me stop at the Conservatory where I only had time to have a smattering of solfeggioā¦ not muchā¦ I played the sax in a band where I started reading music againā¦ but all this to say that I donāt read very well and I donāt know how to write musicā¦ 
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I come from Classical Music, only in the 80s did I move on (not completelyā¦ Rachmaninov and Debussy remain my favouritesā¦) to āmodernā music (who is more modern than Debussy??). The boyfriend of one of my wifeās daughters graduated with top marks and since we call him āSapientinoā I wanted to record Mr. Bachās Aria in Dmaj for him (Because it reminds you of Quark) ā¦ I did everything in a few hours so itās not absolutely perfect but I want you to hear itā¦
Omnisphere: Soprano voice, Modern Choir
Kontakt: Strings
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Never too late to start anew! 
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Hi 
The Omnisphere soprano solo has a beautiful tone, although with too much operatic vibrato, for my taste and for the musical period of the composition.
Keep an eye on the solfege and the correct rhythmic meter of the Ć¼ber-famous piece (which is actually the second movement of the orchestral overture N.3 in D major).
As you can see from the score which I leave attached here (pages 54-55), what might be mistakenly perceived as a single flowing main line, sustained by a continuo moving by octaves, is actually the result of a closely knitted counterpoint between two violin parts, underpinned by viola and bass.
Have fun!
IMSLP01468-BWV1068.pdf (1.5 MB)
Thanks for the scoreā¦ I used the simplified oneā¦ Then I have to say that at the time I recorded this piece, I didnāt give importance to the fact that a human being has to take a breath every now and then if he isnāt crossed with a sperm whale. ā¦ Iām putting the same thing into practice with virtual wind instrumentsā¦ sometimes you hear sax solos that never stop and personally Iām very annoyedā¦
I attach the first measures of āUna notte in Italiaā.
I used a track for violin 1 and one in which I overdubbed double bass, viola and celloā¦ itās an experiment but it changes everythingā¦ I study itā¦
Here with the other instruments:
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I thank all the people who gave me advice and criticized me in a constructive wayā¦ I am VERY satisfied with the resultā¦ THANK YOU!!!
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Today I recorded this other poem by Fossati as a testā¦ Being in āfree timeā I recorded voice and Piano at the same timeā¦ I attach the text translated with Google translator because it deserves:
Love of the eyes
What eyes do you have
With your wounded breast
From your sense of crying
After running and searching a lot
Now what do you do
And I know you want me
And youāre afraid of me
And you would like another man for me
And I know you want me
And youāre afraid of me
And the right word is not forgiveness
Because there is never forgiveness
Because resentment is stronger than forgiveness
Because resentment is stronger than a man
The stronger the melancholy
The winter is longer
And the night
Moreover
Love of the eyes
What eyes you will have
When of anxiety and enchantment
Made the rounds of time
After running and searching a lot
You will wake up
New things and people
They will dance with you
The new rhythms of life
You already know well as of now
But youāll know better then
Which is never over
Because itās never over
Because if resentment was another life
If it was another man
Melancholy is sweeter
The winter is shorter
And the night
Moreover
Love of the eyes
What eyes do you have
Because itās never over
Because if resentment was another life
If it was another man
Melancholy is sweeter
The winter is shorter
And the night
Moreover
UPDATE!!
Amore degli occhi (I. Fossati)
Zynthian: Piano
SWAM: Cello, Double bass, Violino (Thanks @Aethermind )
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Invisibile (Ivano Fossati)
PianoteQ: Rhodes, Piano ( I 
PianoteQ)
SWAM: Cello
Omnisphere: Bass, AC Guitar, Jazz guitar
Pigments: Pad
EZ Drummer: Drums
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In the intro of this piece I harmonized Violin, Viola, Cello and Double Bass. Then I used Padsā¦ but I think that with infinite patience, I will replace the Pads with harmonized strings (thanks @Aethermind)
Una notte in Italia (Ivano Fossati)
Zynthian: Piano, Rhodes
Omnisphere: Bass
Kontakt: Strings ensemble
SWAM: Violin, Viola, Cello, Doublebass
MiniMoog: Pad
Pigments: Pad
EZDrummer: Drums, Percussion
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Well, @Lanfranco
Among my favourite songs ever, and that which made me approach Fossatiās music, a long time ago.
It is also occasionally part of my vocal training routine, at a lower pitch to accommodate my range.
I noticed that in your version you eschewed the passing minor superdominant, but this is completely legitimate in the context of a personal re-enactment.
As for the orchestral/pad section, I am sure that one day you will find the time and stamina to fully rearrange it in separate parts.
Well done Lanfranco!
Prego? What??? 
I think I have to come to your lessonā¦ This music thing has been a real explosion. Iāve been studying for almost a year and every day I discover new thingsā¦ a kind of emotional stormā¦ Iāve been playing for a long time but Iāve never studiedā¦ the only thing that helped was playing without studying , itās the taste of soundā¦ I am perfectly clear about the sound I want and how I want it to behaveā¦ but between saying and doingā¦
When I lived in Bologna I had the honor of playing with very good musicians even though I was certainly not up to parā¦ This is because (they told me) I always had the good taste not to exaggerate beyond the limits and because I had beautiful sounds ( this in particular when I played the trumpet for 8 yearsā¦ I had a wonderful Bach Stradivariusā¦ I made very few notes but with the greatest possible taste).
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My friends use to say that sometimes I should make contact with earth, when I speak about certain dearly nurtured subjects!
You surely did a great job with Una Notte in Italia, and it is obvious that you have a long and painstakingly acquired expertise in music-making, besides an enviable degree of very youthful enthusiasm.
Cheers
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A lot of passionā¦ but I studied very littleā¦ one of the biggest mistakes of my lifeā¦ Also because my hearing is getting worse with ageā¦ thatās why Iām in a hurryā¦ 
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I asked the A.I. to explain to me the āpassing minor superdominantāā¦ āhisā explanation disoriented me even more:
The āpassing minor superdominantā in a chord progression is a cadence that leads to the next chord in a minor dominant mode. In the chord sequence you provided, to identify the āpassing minor superdominantā, we need to look at the chord that precedes the next chord in the minor dominant mode.
Hi @Lanfranco !
Quite simply, the minor chord built on the sixth degree of a natural major scale.
Nothing too complex
Ok, I had seen a video by Valerio Silvestro on this thingā¦ Unfortunately the names seem designed to complicate thingsā¦ Tomorrow Iāll do some testsā¦ this thing on all chords? Valerio would say: "if they sound goodā¦ do it where the ignorance of your ears says itās goodā¦)
Many thanks
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Latest musical effortā¦ 
I always await constructive criticism on the performance and arrangement. Thank you
Notturno delle tre (Ivano Fossati)
Zynthian: Piano, Rhodes
Omnisphere: Bass, AC Guitar
Kontakt: N.I. Section Brass, Sanfona Accordion
SWAM: Trumpet
EZDrummer: Drums, Percussion
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Here the going gets toughā¦ This is a man who expresses sensuality with the maturity of his age and without absolutely being vulgarā¦ Very tiring voice and difficult lyrics to expressā¦ Few chords and as always Fossati is based about her beautiful voice and very poetic lyrics.
LāAmante (Ivano Fossati)
Zynthian : Piano, Rhodes
Omnisphere: Bass
Pigments : Pad1, Pad2
SWAM: Soprano sax
Arturia: DX7 Piano
EZDrummer: Drums, Percussion
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