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ComposerMITA

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ComposerMITA last won the day on December 3 2018

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  1. Well i just looked back at my files, and it took approx 1 month to write a quite basic orchestral sketch. That was like version 1 (V1). It took another 3 month to finish the orchestration (V50) + export all the audio files from Sibelius played by Note Performer to load into Reaper, and tweak the dynamics and everything until i'm kinda satistfied + preparing the final score. Of course Note Performer makes everything easier, but still the afterwork always seem to be much more work, than just simply writing a piece. I can see now why professionals in the industry outsource the orchestration part, the score preparation and mixing parts to different teams/people, it takes like forever for one person. But i like these longer projects one can learn a lot by just writing one of these.
  2. Hello everyone! I'm Norbert from Hungary and want to share one of my pieces i was working on recently called "Escape from Robot City". https://drive.google.com/drive/folders/1plwbNrJ_LAgKc9oKeu5a0WltstjJyT2A?usp=sharing Soundcloud link: (Now while i added a little backstory to the score as a guide, you can ignore it and rely solely on your imagination what might happen on the screen if it were soundtrack for a real movie) Hope you'll enjoy it!
  3. Thank you very much for your comment! I'm glad that my post inspired you to work with live musicians on your own pieces, believe me it's a great fun! Also your remark about measure 113 is perfectly valid! I'm a piano and brass player (f. horn) and i tend to forget how demanding could be to play runs on a wind instrument for example. If i think about it the guy playing the wind parts were actually struggling on that part, there were lots of breathing noises on the original recording he sent, and i was a bit unsatisfied at first, but now that i'm thinking about it i didn't let the guy rest at all for like 9-10 bars. Sure one can breath between the up and down runs, but your idea about dove-tailing that part makes sense. Even Williams let players enough rest between runs when he uses the winds that way (for example in the Indiana Jones score). So good point! Now about the score i was working on that a lot (I still find mistakes every day though). I was inspired by the look of Hal Leonard scores of Williams' music, also I contacted Dynamedion a music company for hiring an orchestra. Now i'm quickly realized that I'm not even close to afford hiring them, but the guy was nice and he sent me the Orchestration Guidelines they use when they work with composers. That includes font sizes, layout sizes, how many bar numbers per page should be used, etc. So i combined that knowledge with what i saw on famous scores and i prepared a little guide and sample score that you guys can use also: DYNAMEDION GUIDELINES + DYNAMEDION.SIB + MY GUIDE HOW TO SET SIBELIUS TO MAKE SOMETHING SIMILAR TO MY SCORE: https://drive.google.com/open?id=1vCC362_zP3tzq2H_Chcf4GTSZhJCxJ5H The part numbers were a matter of adding an "expression text" on the bar and positioning them before the bar. It's a bit tricky though because i tried to maintain a constant distance between the part numbers and the bar, but quickly realized Sibelius messes up the distances pretty quickly (for example the distances are different if you add notes to the score or if the score is empty, or even just adding a time signatures messes up everything) so i precisely measured the distances after every page. It took some time, but i tried to make it look great. If something is not clear from the guide or you have any questions please ask! (also feel free to change everything on the score and use this sample sib file on your own scores)
  4. Thank you very much! I used several orchestration techniques from famous film scores (especially Williams' ones from Star Wars, E. T, and i think the Jaw reference is pretty clear before the last section : )) so i'm glad you felt the pieces like a film score in some places! And yeah putting together the recording was a big challange! I'm planning to do a better one, but now i'm working on other pieces too that hopefully i can present soon.
  5. Thank you for your kind words, really appreciate your feedback! : )
  6. Hello everyone! I'm Norbert from Hungary and want to share one of my pieces with you i've written 5 years ago. I included a little backstory for this piece about how i made a little "Fiverr Orchestra" to play my piece which i mixed in with Note Performer 3's samples. Please read it before making any comment, because context matters! Thanks for listening! Enjoy! : ) (I also included the original midi files, along with the recorded live files and also of course the final mix with score. Also i'm not promoting Fiverr in any way as i stated in the pdf, i just wanted to give credits to the musicians involved, because they deserve it!) Here's the link for the midi version: https://drive.google.com/open?id=1CaRCS_8gdb49YOsqAAbKMmhM5eFNbEUC
  7. Hi Gustav just listened to your piece! I'm not really into atonal sounding pieces (except if it used as an effect) so i will not comment on the piece itself. I just want to react to what you wrote in the description to clarify the method i described before: Yeah that's true, however while the aim with this method that every line on one hand should be independent and should stand on its own as good as possible on the other hand it should sound good together also (one should be able to synchronize their vertical and horizontal writing and balance them). Your free lines are your horizontal lines but the resulting chords are your vertical structure and one should keep attention to this also how you leading voices or how your chord progression sounds. It's not an easy task i know i try to learn this as well, just wanted to point out that if you were to aim for a atonal sound that's perfectly fine, but one can write 'diatonic sounding pieces' with this technique also or write in any style really. So don't think about it as mixing modes randomly to generate random results. One can pick scales that are close to each other also, point is to have a logic in your mind and aim and to learn not only to start writing music by writing block chords first (vertical structure), but one can start with free lines (melody and countermelodies, free lines etc- your horizontal structure) as well. If one are able to balance these two really good results can be achieved.
  8. Nice! Please share what you would came up with! I would like to listen to it! : )
  9. Well you are right that the piece is not entirely modal! Occasionally there are some notes that not part of the given mode or scale : ) Ok i'll try to give a little bit of context here, because your confusion is actually perfectly valid: You can see in my name the word "MITA" that stands for "Music Interval Theory Academy" which teaches a system similar to Spud Murphy's EIS (Equal Interval System) method. (First of all I want to make clear that I DO NOT COME HERE TO ADVERTISE ANY ORGANIZATION OR SYSTEM! I am just trying to give a little bit of context how this piece came to be! So I hope this post and thread will not banned to infinity by the mods just because i mentioned this) The point is both systems have a kind of intervallic aproach to music composition meaning they focus more on the distance between different notes and intervallic formulas instead of thinking in strict tonal centers and scale degrees while also teaching a mindset and giving tools that actually generate music. There are some free courses online you can check it out if you interested and also some YT videos explaining the basics... ---------------------------------------- Now more about the guidelines: So this was originally an assignment about Combining Modes using a set of rules. It goes like this: 1. First write the melody for the soprano part from bar 1 to 16 (line writing) paying attention to choose every second bar a new tonal center and a new mode! 2. Next write a counter melody in the tenor part (without thinking in vertically or in chord structures (!) only horizontally!) doing the same as the soprano choosing every two bar a new tonal center and mode (different from the soprano part)! 3. Now write the alto part using the same modes/tonic as the soprano 4. Do the same with the bass using the same modes/tonic as the tenor 5. Profit (???) ---------------------------------------- Now how i applied the concepts? 1. First i came up with a LOGIC how i will choose my tonal centers and scales: 1a. Tonal centers: - In the Soprano/Alto: Mostly following the Circle of Fifth (It's called a Root Cycle 5 in MITA or just RC5) except the last two bars: D - A - E - B - F# - C# - Ab - D(!) - A(!) - In the Tenor/Bass: It's more complicated, but basically its a combination of different RCs (there are more than just your basic Circle of Fifth - actually there are 6 different RCs in an octave that you can combine freely) 1b. Modes: Random (but paying attention to always choose one not used before and use only scales with 7 notes) 2. Second i wrote the melody first in the soprano paying attention to all the mode changes, then wrote all the other parts afterwards Now here comes the source of your confusion basically (at least what i assume): - The melody is not your usual 8 bar period with two half periods, so it seems like it doesn't have a structure (even though it literally has) - The scale/mode changing picked randomly which result in not the smoothest transitions possible (if someone wants to achieve that one can choose neighbouring scales that's close together only differing in 1 scale tone at once - like Ionian/Lydian etc.) - Third source of confusion come from that on top of that i added some out of scale notes sparingly (that adds to the more cromatic/chaotic feeling to it, which is a nice technique to hide or mask your original ideas/scales, but also it can confuse the hell out of people in some cases i guess) - Also in the final score I rearranged the the whole score to more fit to the tempo changes i applied to them in my DAW (because originally i felt some notes should held longer in the melody, or should be quicker, I marked these places with fermatas) This results in what you mentioned that at the same bar there is a C# and a C which originally occured in two different bars. All in all i can easily understand why you felt confused, and thanks for your clarification also! See the attached original sketch i made the final score from posted above, maybe it can clear up some things. (Also I'm still learning to use this technique btw, this was my first attempt, never wrote polytonal/polymodal pieces before, but this can be a very powerful tool to came up with interesting new musical ideas for writing freely while applying logic and rules at the same time that guide you in the process) I know it sounds confusing so, if someone has a question just ask!
  10. This piece is based on the simple logic of switching both tonic centers and scales every two bars with the twist of the soprano/alto and tenor/bass always using different scales/tonic. So it's both polytonal and polymodal at the same time. (The scales were picked randomly, but that was the challange part of it) But why was it hard for you to follow it? Please elaborate.
  11. A short experimental composition excercise using various modalities.
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