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.
    Dismiss Notice
  2. Happy 2018, Everybody! Thanks for making Redbanned such a cool, helpful, and inviting place. Here's to another great year!
    Dismiss Notice

Snippets and Ideas

Discussion in 'Critique & Feedback' started by Rohann van Rensburg, Sep 6, 2018.

  1. And now the same example with strings added in. All of this is only Note-Performer btw.

     
    Rohann van Rensburg likes this.
  2. Wonderful, thanks for the reply. I think I need to study modules more. Time to transcribe some Herrmann.

    How would you go about ending this piece? I'll have to transcribe it (or just read it more slowly) but from an initial listen it sounds like there are 2 modules with varying complexity. Would you add a third or simply vary the second/first?
     
  3. Again, initial listens, but do you use the string counter-line intentionally to connect the first module to the second or was that coincidental?
     
  4. I am not sure what you mean. Personally I was only thinking of a single "module" and continuously developing that.

    Here is the score, if that helps.

    Screen Shot 2018-10-11 at 5.45.51 AM.png Screen Shot 2018-10-11 at 5.46.03 AM.png
     
  5. Thank you! Will study this tomorrow.

    Listening to it with headphones now (instead of on a phone speaker) I can hear that it's a single module now (I couldn't really hear the lower register initially). So would this "module" approach be more similar to the first movemenet of i.e. Isle of the Dead, vs Herrmann?
     
  6. #26 Doug Gibson, Oct 11, 2018
    Last edited: Oct 11, 2018
    I was not thinking of either at all. If I had to say what it reminds me of would be the Philip Glass scores like Dracula. But really I am just trying to make something interesting along the Aesthetic lines you mentioned, and some of your material that stuck in my mind.



     
    Rohann van Rensburg likes this.
  7. Oh it's definitely interesting, I love how it builds, I'm just unfamiliar with the form and how to continue or develop it. Thank you for posting though, I need to study it and play around.
     
  8. I hate posting my own work, but in the end I'm trying to get better, so here goes:

    Since this was mostly done, and I want to get better at actually completing pieces, I orchestrated this (...that's arguable, but here it is anyway). My template isn't balanced, and so this isn't well mixed. I mostly stuck to strings because they were easier to balance (some piano and questionably-placed horns are present as well).

    Issues I've noticed:
    1. I need to work on my initial ideas still (go figure). It works as a really simple piano piece, albeit with some weaker melodic aspects at some points. Doug's video caught my attention again at a helpful time (
    ) -- if I'm writing something for a solo instrument I find this a lot easier, because I imagine the solo instrument, but when it comes to "writing on piano" I sometimes struggle with allowing for time/space/harmonic reimagination.
    Interestingly, looking back on older string pieces I've written, writing just with virtual instruments meant allowing for quite a bit more space and varied rhythms between sections. I need to bridge this gap between cohesive developmental writing on piano and writing idiomatically. It ended up being a bit "ostinato-y". The piano part needs work, I'm unsure whether to include it at all, as does the aleatoric stuff.

    2. I also find that if I go straight to virtual instruments, I start adding stuff and begin to lose track of the arrangement's balance as a whole. I think I may have over-written in some areas to compensate for interesting harmonic variation (not necessarily in progression but in texture, rhythm, etc).

    3. There isn't really an intro. Continuing the staccato rhythm sounded overly repetitive, so unsure of what to do there.


    In any case, would love feedback.

    Doug: Going to work on your idea now. Will try to write and develop a single short theme (I still have no idea how to end something like that, but I'll dig into what you've posted), and then maybe try playing with modules. Thanks again, as always.

    https://www.dropbox.com/s/1urwpdnsh2prbki/Intro.mp3?dl=0
     
  9. Hey !

    Overall, I would say you piece is developing too quickly. Take your time more......pace it.

    As far as how to end it. That a little like asking "what is the sound of one hand clapping".

    I would not suggest this is THE WAY.

    Actually it might even be good for you to write 3-5 possible endings. Sort of a choose your own adventure story.
    You can investigate pieces you like only for how they end.

    Below I took what I posted before....made a gap (pretend the piece continues) and then added on a ending.
    The break is where the piece would continue until the part you hear.

     
    Rohann van Rensburg likes this.
  10. Thanks Doug. Just add this thread to my tab ;).
     

Share This Page