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Found 2 results

  1. Star Wars belongs to our cultural heritage. The music is truly phenomenal! Written by John Williams, the man that plays in his own league. He is one of my biggest examples and a never ending inspiration source. How great it is then to attend a live performance of the International Symphony Orchestra of Lviv and the National Choir of Ukraine 'Dumka' playing his music (and from Danny Elfman, Hans Zimmer, Mykola Lysenko, Ramin Djawadi and Vangelis). It was mindblowing! In this video I'll do a short analysis of what is happening on the stage during the Imperial March, Darth Vader's Theme. The music track that has been released in 1980! Hopefully you'll enjoy it! And that it inspires you to write (more) orchestral music for film. Cause maybe on one day ... your work might be performed on stage by a symphony orchestra and choir like this 😉 https://youtu.be/t2L7cB5nRro From a theoretical point of view this composition is also quite fascinating! I can talk about it for many hours. Did you know: During the march all of the pitched instruments playing (strings, horns, and timpani) are at or near the very bottom of their range. The result is a very dark color to the sound. Harmonically, it focuses on the dark sound of minor chords and presents distorted versions of what would otherwise be normal progressions (i–#iv–#v–i in G minor) Melodically, the theme is constantly moving in the downward direction Fascinating!
  2. Hey guys! I'm new to this forum so here's something I've been working on recently ... The Perfect Line is a musical I wrote between May and November 2017. It's a story about young writer in 1960s who wants to pursue his dream of becoming a famous poet but when he moves to New York City, he instantly falls in love with a wrong person and has to deal with other, more serious problems. I absolutely adore music of Bernstein and Sondheim (but also have a thing for contemporary musical theatre) so they were obviously a huge inspiration and influence while writing this score. I use classical forms (such as chaconne, rondo, sonata form in overture) as well as simple song forms there, try to combine interesting harmonies and rhythms with accessible melodies/overall musical language. I wrote both book/lyrics and music, and it was orchestrated for full orchestra only for the premiere performance, normally it would be for smaller ensemble. Also, all the roles are sung by actors, not classically trained singers - they're not always rhythmically exactly accurate and that's not even what I wanted them to do. I believe that MT is mainly about acting, not about singing (at least not the way opera is). I attach few songs from it with the vocal-piano score. Any feedback is appreciated! :) Audio:
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