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Alan Silvestri - Ready Player One (Theme) Transcription

Discussion in 'Score Study Resources' started by Aaron Venture, Jun 10, 2018.

  1. I recently made some changes to my transcription workflow and will now focus in detail on orchestration as well, rather than focusing on getting the composition down to two-handed piano and then doing an orchestration sketch. So I might as well document stuff that I transcribe this way here.

    First piece:


    I've transcribed the first 8 bars. I'll post more as I make progress. Everyone's welcome to comment on my transcription, if I've missed something or made a mistake. Also feel free to share your own.

    Concert pitch.

    upload_2018-6-10_7-51-24.png upload_2018-6-10_7-51-46.png
     
  2. Bravo !!

    giphy.gif

    Thats what I am talking about AV styles. Hell yeah. I need the inspiration too, or I get lazy.

    Just a quick look over the excerpt - I don't know the piece - it looks plausible.

    Your harp gliss has left you. That is just a silly Sibelius thing I am sure, but it looks odd to see one dinky note. (Unless I can't see it. How do
    you make the score full screen ?)

    The other thing..... and I am listening only through my MacBook speakers without headphones so the audio quality is poor --- is the Cello might be divisi
    to double the trombone part. Try it out and see.


    Is this thread only for takes on this cue or can I post another full score on here ?

    Time to get motivated

    Cocaine.gif
     
  3. :D
    Indeed. I probably hit "Undo". I've set it up so that all my important commands are on my mouse so the workflow is a breeze, but sometimes I'll accidentally click the undo button :)

    Middle-clicking any link will open it in a new tab.

    The second trombone? For trombones I literally copies over the viola part. Actually if I drop the upper bone voice an octave it makes more sense along with the BTbn as tight triads, and then cello doubling that (now lower) voice would be
    upload_2018-6-10_13-18-44.png

    I opened the thread for this cue so we can discuss it/analyze it and together arrive at the end. I'll post my updates here and will drop the final PDF/XML here at the end. I'd love to improve my analysis skills too so it'd be great to hear/see how someone else looks at things.

    Feel free to open a new one, I'm sure no one will mind :cool:
     
    Paul T McGraw likes this.
  4. Hmm,...yes.....that is a distinct possibility. :oops:

    Ok..... so I put on my head phones and middle clicked:)confused:) on your score.

    First, and main comment would be to correct the accidentals. Sibelius does not do this very well. You can probably just run the "flats to sharps" plug in
    under the notation menu. It's actually pretty important. Those Eb's are confusing. Since it is so clearly tonal then accidentals have more of a road map/landmark role. For example, since we are in B major, if in the next measure we have Eb's then there would be some kind of enharmonic shift, causing us to be thrown to the other side of the circle of 5ths. Let's say he used the D# (3rd) as the Eb (b7th) of the next harmony. F7 for example.

    Now F7 sets up an expectation in our ears/mind. We get a sign pointing to Bb, and that set-up can either be confirmed or denied (ie. deceptive cadence)


    Second: Use BOLD dynamics. Make sure you are holding down command (mac) or right click on mouse while you type.
    This seems "ticky-tacky" until it is put on the podium and the conductor is about 3-5 feet away from the music. It just pops out more, and has a
    much more professional look.

    Third: Slurs Gone Wild ! Yes, everyones favorite spring break party romp is back. Especially in the Bassoon, Trombone and Cello at measure 8.
    Also while you are at it: fix the stem direction. Cello and Trombones for sure.

    Regarding the Cello at 7. Since you have the unison later, make sure the note on beat 1 has stems in both directions. It's very confusing as of now.

    Lastly: measure 5 clear out the B on the Cello, and drop the bass trombone/Bassoon down an octave.

    In big band writing you often read more about "lower limits". That C# next to the B (major 2nd) in that register is going to create a "mud" sound.

    Try isolating it in the playback.

    If you have Bass, Tuba, BassTombone, Bassoon, and give your ContraBassoon the B too that is more than enough support.
     
    Aaron Venture likes this.
  5. As an aside to specific comments on this transcription attempt, I loved this score and the production quality. Easily my favorite score of the year so far. I'm glad you're doing it.
     
    Aaron Venture likes this.
  6. I actually did this and (somewhat) understand why it needs to be done, but that Eb escaped me! You can see the D# in the previous bar - it was also an Eb once. I did it manually note by note, but I'll check out that plug-in. And thanks for the further clear-up.

    Roger

    It's still early and my coffee is still too hot. Do you mean that thy're not "pointing" to where they should?

    Can I manually do it? Or do I have to insert another voice? Also can I manually change the stem direction?

    Sorry, where exactly? Second page, right?

    Also, do I have to write "divisi" for wind instruments? It should be implied, no?
     
  7. I made you a little video re the notation. It goes by fast, but I figure you can always pause, and go back as needed.

     
    Dillon DeRosa and Aaron Venture like this.
  8. Thanks for the notation video Doug and the great tips!

    General Question: Why is it that audio guys rarely do narration on their videos? Even the laziest gamers and vloggers put narration on their videos. Surely its not the routing of the audio and mic as I'm sure all musicians know how to do that. Surely its not laziness, musicians are the hardest workers. So what is it? Maybe they don't like the sound of their voice?

    We'd love to hear you!
     
  9. Downsides and upsides for both. Not too much information to share using words, and it's more about the picture? Text works without sound/on mute and you can pause and read it, instead of having to rewind and listen over and over again.

    A lot of thoughts that you have to share in order to get the entire idea across? Speech is much easier and the experience will feel more natural with you talking rather than the viewer having to pause every 2 seconds to read your huge chunk of text.
     
  10. Cause ya'll a bunch of cheap ass mother-fuckers who don't pay me shit for this. :)

    Talk to my agent. Doug Gibson does not fucking step foot in any room for under $2,000.

    If you want I can make a version where I not only speak but you can see me too.

    Screen Shot 2018-06-12 at 1.14.48 PM.png

    ___________________________________________________________________________________________________

    I hope you can tell the above reply is just my humor. I do have many videos in which I actually speak. Also ones where you can see me.



     
  11. #11 Aaron Venture, Jun 18, 2018 at 1:53 AM
    Last edited: Jun 18, 2018 at 2:05 AM
    Next two pages

    upload_2018-6-18_2-53-2.png upload_2018-6-18_2-54-4.png

    I like how there's a 16th note at the end of the run in m.12, to just let it break apart from the following line. And this entire brass voicing for the B section is so simple.

    Then there's the ascending pizz in the celli in m.13 and m.14 that makes these two measures feel like they're on hold, before the downward motion pushes the momentum further. It's a simple fill with the violas and there's always more than half an octave of space between the violas and the violin line, so the melody remains clear.

    Violas are spread thin, but horns and clarinets help cement the harmony. I winged the clarinets in m.16 and m.17—I can't actually hear them, but that's how I would do it and it makes sense to me. Please tell me if I'm wrong.

    The runs in m.16 and m.17 are also simple (they always are, no?), always having chord tones and using passing tones from the scale as well as adding the 7th to the chord.

    Low strings, timps and cymbals ascend up until the final 16th note, and at that point even out with the dynamic of the hit in the climax (next page, but not finished yet).
     

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