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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. Why don't you put it on Vimeo instead? Or even on the Forum-server with a Plugin? @Andre Lefebvre it's just a thought, and if Mike thinks it's ok, it might be fancy for "forum-intern" videos
    Andre Lefebvre likes this.
  2. That could become heavy on the server, but let me look into it, Matthias.

  3. Bloody hell!! I'm finding it hard to know what to type so I'll just waflle on. If ever there was an example of what can be accoumplished and what can exist, that never did before, if you just 'push on' when you are feeling unmotivated, I know of none better than what I just heard. Now some poor bastard has to go and make a film or animation worthy enough to have this as a piece of score for it. Magestic, dreamy, escapist, hopeful and unnerving. In awe, as usual.
    I really think you should consider this being incorporated into a future masterclass about motivation and persistance. One more time... Bloody hell!!
    Claude Ruelle likes this.
  4. And another big thankyou for these (not so little) insights. Puts my working processes to shame. :)
    And the music sings.
  5. I would like a sequel called "Composing When You DO Feel Like it". I have yet to experience such a strange phenomenon.
    Samuel Diaz likes this.
  6. Part Three's video has been replaced and has all its audio.
  7. Thank you, Mike for doing this. It's so inspiring and motivating!
  8. For me that's jaw dropping! I'm amazed how good it turned out in the end.
    And in three hours flat! Two minutes of music in three hours (including on screen explanations). From chord progression that is hard to work with to an orchestrated mock-up piece.
    Is it good? Yes. Does it work? Hell yes!
    Three things I've learned in this series of videos.
    1. Don't scrap the idea just because it doesn't sound extra good in the piano sketch. Some things that sound kinda off on the piano, work beautifully when orchestrated properly. Don't be afraid to go even when in doubt. It's easier to fix a problem later in the process than to stop the whole process completely trying to come up with a solution to a problem that might self-resolve later.
    2. Paper-Orchestration-Sketch really speeds up the process and helps to organize a workflow. I need to get those score pads.
    3. I'm not transcribing enough...
    T.j. Prinssen likes this.
  9. Blown away by the end result. Thanks for allowing us to see your process. Lot's to take from it!
  10. Really great video series! Watching the whole process is really something different than just talk about. Big thanks for that!
  11. Very informative, thank you v much. I agree faster if written straight to paper. However even better if you can put it straight to notation program via apple pencil that lets you playback and also publish..
    I don't have perfect pitch, though i develop ideas in my head cos im not good enough on keyboard (im a guitarist) and just punch in the notes in a notation program...then if im stuck i will grab the guitar and try to dig my way out via new chord progression.
    I hear you adding a few embellishments near the hour mark..would you have had that inspiration if you had just put this baby to paper?...in the allocated 3 hours..or is it due to the benefit of playback with vsts? Or is this the 'other shit' (black pen) you said you would do at the last stage of the composition whether on paper or computer?

    I never judge a piece on the realism of one's programming abilities-you can't sliverplate a turd. Always Composition first...That's why i was never too keen with VI.
    What you've done is great-it works bloody well on both composition and sequencer playback... due to your good ears/orchestration skills and positive arrogance*- if it works on paper it works on computer.
    cheers ; )
  12. Despite the live nature of it, this video was not-indicative-of-my-composing-process in a couple ways, namely that while doing it I had to talk the entire time, describe what I was doing, and be on camera at the same time. If you listen to the final mock-up, you'll notice a couple of things chordally and orchestrationally which are different even than they were at the end of video three. That's because at the end of the final video, when I turned the camera off, that was the first time that I was able to just focus on what I'd done; by myself and with full attention. In that moment I was instantly able to hear a couple things which needed fixing. I didn't have to talk or explain anything. This would've been the case for each stage, so in general I'd say the "private" version of this process is somewhat faster and definitely more focused.
    Samuel Diaz and Pinda Dhanoya like this.
  13. Makes a lot of sense, especially not giving the process the 'full attention' due to teaching/talking whilst composing..still impressive. Cheers
  14. Hi Mike :)

    Thank you so much for these videos! I have two questions, please:

    1) You mentioned an orchestrator. If you were working with one, would you be able to give that sheet music to them as-is, or would you have to spend more time prepping the sheet music, to make things more clear? If it was someone you had a good rapport with, who was familiar with your "language?", then maybe not?

    2) If this were you scoring a large, big budget Hollywood feature, with deadlines and editing, etc... would you go and do the MIDI mockup for the director, or would you have someone else working for you do it? What would they work off of?

  15. Thanks Mike! :)

    I have seen the name Robin Hoffman around, and heard some of his music, which i thought really good. Is he really that good an orchestrator?
  16. He's great.
  17. Nice to see my pal Hoffmann getting some love !
  18. I remember when I was starting of with orchestral music back in 2012, one of the first guys I stumbled accidently over was Robin and I really thought back then: Wow, that´s cool stuff he does with the orchestra, it sounds so rich and classic. And I had some short briefly mails with him a while ago and he seems to be a very nice down to earth guy.
  19. Interesting. Why spend the time on the mock up and not on a score reduction that is detailed ? (ie. like Williams)

    Can you say a little more as to why ? Personally, when I get hired as an orchestrator I feel that detailed mock-ups are like getting a "Temp track"
    for a scene. Yes, it can make it clear what the desired end result to sound like. But it can also cause the same creativity sucking feeling.

    I mean, its a little different for you because you are so heavily trained in traditional orchestration and thinking symphonically, and how you play/write etc.

    I am happy to get gigs where I basically am just doing extensive score prep, but my favorite is when I can make suggestions and have a little degree
    of freedom. Its kinda gratifying to work with a composer who has only a piano and they ask : What can you do.

    Now days, it seems everyone sends over hyper-completed things. That is too bad IMO. Then as you say....... just flesh it out yourself.

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