1. Didja accidentally blow through the whole, "We're using our real names" thing on registration? No problem, just send me (Mike) a Conversation message and I'll get you sorted, by which I mean hammered-into-obedient-line because I'm SO about having a lot of individuality-destroying, oppressive shit all over my forum.
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  2. You're only as good as the harshest criticism you're willing to hear.
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Masterworks -- A Comprehensive, Collaborative List

Discussion in 'Score Study Resources' started by Rohann van Rensburg, Jul 11, 2018.

  1. All the tracks?
  2. Four Sea Interludes from "Peter Grimes"

    Rohann van Rensburg likes this.
  3. Thanks Doug
  4. Mike, I think you really really need to do a masterclass on transcribing!
  5. And I really think you should take a look at this!
    Rohann van Rensburg likes this.
  6. thanks
  7. Beat me to it, thanks for posting.
  8. Probably a dumb question, but... should I use a notation program (easier) or I can transcribe directly on a DAW (probably harder)?
  9. Whatever your most comfortable with as long as your transcribing lol.

    I prefer notation because I see how it's laid out on the score easier. Once it's on the score I can make educated assumptions on the orchestration and be more accurate because alot of the same orchestration shows up with the same composer or techniques.

    Transcribing in your DAW could be easier for you though. Especially cause you can load up a trumpet patch for example and play with the song to make sure your accurate or not.
  10. Try both and see what works for you.
    Dillon DeRosa likes this.
  11. Directly on a DAW, as in inputting MIDI notes?

    Have you seen Mike's video about transcribing? I think transcribing directly into the DAW would remove some of the fundamental training aspects of transcription, namely seeing the notes in front of you in the form of a cohesive score, being able to understand how parts are laid out for different instruments and their ranges, how different sections gel with one another, how individual lines look per instrument, which instruments simply double, etc. You'll get this all while inputting it as MIDI, but you won't have it in front of you in the form of a complete picture. None of this is as intuitive or language-like when simply doing MIDI input. It's arduous notating at first, but it's a kind of essential beginner skill IMO.
    Dillon DeRosa and Mario Zeffiro like this.
  12. Yep I think you hit the right point (saw it few hours ago). As for now I have serious issues to recognize instruments... being a violin player I get the melody and the voices that stick out of the mix pretty easily, but I can't really tell what is going on in the "muddy" part of the mix... maybe I should take the orchestrations classes.
  13. I'd recommend Mike's courses if you haven't taken any. They alone will probably serve you well for years. My recommended order would be something like Composition 1 & 2, Structure, Orchestration 1 & 2 (if you want to dive into it), Mod Squad, etc. Mike may have a different recommended order. Comp 1 and 2 alone, or Orch 1 and 2, will probably provide you with enough to last a long time.

    I don't think you need orchestration classes to recognize instruments. What worked for me is just listening to the quality of each instrument via a concerto or the like, and watching recorded performances (even short ones). Then just sit down with a piece of music, listen to a few bars and try to pick out what's doing what. Refer to the real score afterwards and see if you got it right (I have a handful of John Williams scores, the LOTR symphony score, etc, PM me if you want a PDF. You can get a lot of classical scores for free online). After a while you stop needing to hear certain instruments because they're mostly used to double, pad, etc if they're not sticking out, and you can make a highly informed guess as to what they're doing. It becomes fairly manageable after a while.

    The fantastic thing about approaching composition the way Mike does is that simply doing it is 90% of the work.

    @Sam Miller Has a great instrumentation app I constantly use for reference as well, especially with transposing instruments.
    Sam Miller and Mario Zeffiro like this.
  14. Man, thank you again for the useful tips! I'll probably get comp 1,2 and orc 1,2 (if I can also the structure, mod squad and rhythms and perc).

    I'll try out your method and see if it works for me aswel, looks promising already^^

    And finally yep, I'd love to see some film scores (to reference once I'll be done with the transcriptions of the same). Tho I'll start by transcribing classical music since there are live performances of it!
    Rohann van Rensburg likes this.
  15. My pleasure, just passing on what others have passed to me!

    Comp 1 and 2 alone are things I constantly refer back to because they contain the basics of the approach and the principles in there apply to everything else.

    PS -- If you're interested in brass writing later on, I'd highly recommend the Brass Masterclass. That class is really underrated. Mike provided piano sketches and brass mockups (with sheet music) so one can transcribe and check one's work, and then when the class came he showed what works and doesn't with live players.
  16. Almost forgot! 40% off sale for a little while yet. Coupon code is "taxman".
    Mario Zeffiro likes this.
  17. Wagner seems to get little mention on this forum, but his influence is inarguable. Any nominations? Parsifal? Tristan und Isolde?
    Mauro Pantin and Dillon DeRosa like this.
  18. Those are great. I would just add Der Ring des Nibelungen, which is a favorite for me. I saw the complete Ring cycle live and it was so transformative as an experience that I just can't see how anything would be on par with it.
    Dillon DeRosa likes this.
  19. Studying Wagner would not be a waste, especially Tristan un Isolde or the Ring cycle. Everyone would find great techniques on LONG development and leit motif.

    However, I personally, agree with my hero Tchaikovsky to find Wagner boring. There's alot you can learn and certain areas which I study but overall it's too long and boring to sustain my interest.

    I'm 100% Italian so Puccini for me if we're going opera. Or even Mozart (he wrote in an Italian flair).

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