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Live Composing - When You Don't Feel Like It

Discussion in 'RedBanned TV' started by Mike Verta, Jul 14, 2017.

  1. #1 Mike Verta, Jul 14, 2017
    Last edited: Jul 17, 2017


     
  2. Coincidentally fitting for today, thanks Mike.
     
    Samuel Diaz likes this.
  3. It was quite beautiful.
     
    Samuel Diaz likes this.
  4. How Mike began is how I feel most days after work. I actually found this terribly motivating.
     
    Samuel Diaz likes this.
  5. Great video. Thanks for putting yourself out there with this. And now for the Uleashing. jking- :)). Its interesting that you're thinking mostly harmonically while extending the melodic concept. I don't recall you mentioning about instrumentation either but you likely had something in mind? It would be really interesting to see the process of how you would realize this idea with instrumentation. Do you sketch/write it out at this point? Or do you have a complete enough idea that you'd just work out instrumentation in the DAW? What about a B section? Just curious as to where you'd take it next. Its both inspiring and interesting to see how others work. Thanks Mike.
     
    Gary Williams and Samuel Diaz like this.
  6. Perhaps Mike, you could vlog your work on this piece maybe once a week or two, depending on your schedule? Just has Gregory has mentioned, It would be fascinating to see it develope from something that started when you were quite unmotivated into a finished piece.
     
    Rohann van Rensburg likes this.
  7. Harmonic motion is the development, and as such is primarily what I focus on. I have no instrumentation in mind, but orchestrating this should be a simple matter, because all the clues for what it should be are already there. Perhaps I'll do a follow-up. B-Section-wise, I don't think this piece needs anything else. I think it's said all it has to say. After one has literally resolved every chromatic step/dissonance-consonance on the wheel, DO we need to say any more? I dunno. I COULD, but I don't feel like it needs to.
     
  8. I think that is indeed one of many lessons that I am still to drum into my own head.
     
  9. I've decided to do a follow-up - maybe two. I'll try to record it later today.
     
  10. Part 2 added to first post.
     
  11. Thanks for doing this its great to see the process from another perspective!!!
     
  12. Part Three will be going up later today, but if you don't mind spoilers, here's how the orchestration in Part Two ended up sounding:

     
  13. Thats so awesome you must never sleep!
     
  14. I have not had time to watch Part Two yet, but what strikes me (and I thought about this during part One) is that on piano, it sounds very dissonant. Yet, when orchestrated, its pleasingly tonal and aurally very interesting. I'm not sure how many of the notes were changed as I haven't watched yet, but dissonant chords on the piano often sound quite different when played by strings (N.B. I've repeated my own theme twice there). I noticed this also while watching Alan Belkin's YT tutorials too. Some of his piano realizations sounded extremely dissonant, something I wouldn't write at all, yet when he realized them orchestrally I was surprised how I suddenly found the same passage rather pleasing. So this is an interesting realization that I will have to consider while composing. In other words, an orchestrated composition requires a certain level of complexity to maintain interest. And our ear seems more tolerate of complexity in an orchestration with different timbres allowing our ear to connect dots between the lines and make sense of this complexity. Mike, thanks so much for doing this, its most interesting.
     
  15. The mock-up is unchanged from the version seen in Part Two. And yes, in Part Two I talk about the difference between how things sound on piano vs. how they're realized on instruments of different colors!
     
  16. Yes, I just ran across this very important point:
    15m45s - Piano vs Orchestration - “Things on the piano sound very different than they will when we orchestrate them”. And there are some things, some of the really dissonant bitey stuff in here, just does not sound like it works on piano and it totally totally works on strings when its orchestrated.”
     
  17. I think Mike touched on something that a lot of us deal with. The skill/discipline of writing when you don't feel like it is a necessity for professional composers. There is a lot of mythology and "woo-woo" surrounding the creative process that is deliberatly played up to make the work of creative people seem literally magical to outsiders. To a certain extent, it also plays to the ego of creatives who need to rely on a belief that there is some inherent natural thing inside of them called "talent" that makes them better human beings than everyone else.

    The truth is so much more boring. Are there some people who have fantastic aptitude and somehow always feel inspired? Sure. But talent is far less important than skill, and inspiration is less important than having good habits and consistently-practiced discipline. In movies they have supporting characters going on about the protagonist's genius. At least in the 80's they would admit that skill is earned with a montage and a cheesy song with applicable lyrics.

    Even though I'm writing this, I'll be the first to admit I have problems detaching from that kind of thinking. So hearing "I'm not going to compose music, I'm going to give myself a problem to solve." was really helpful. I have a terrible habit of avoiding working in this situation and I'm trying to be better- it's easy to blow off something when you are at home and comfortable and don't have anyone looking over your shoulder. (By the way, I think people have this fantasy of working for themselves or working from home and don't realize what that really means and how much discipline it takes.) One of the most important "tricks" I've found for getting around the initial lack of motivation/inspiration is to find one thing I know I CAN do, no matter how insignificant. I feel crushed by the weight of this deadline. Ok, fine, I'm going to open Cubase and load my template. That's nothing, I can do that. Ok, next I'm going to pick a common chord progression I know works and just get the notes in. etc etc. until I feel better and it gets done.
     
  18. And...Part 3 is now live!
     
    Samuel Diaz likes this.
  19. There is no audio in the video before around 15:53. Just to let you know.
    By the way its really cool to watch the whole process, thanks for uploading this!
     
    Samuel Diaz likes this.
  20. YouTube has corrupted the video and I will have to re-upload I guess. I hate YouTube so deeply.
     

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