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

Topic Requests

Discussion in 'Info, Requests, etc.' started by Mike Verta, Jul 2, 2017.

  1. That's fair enough.
  2. How about a class on "Unusual" or out of the norm instrument articulations, colors, choices employed by popular composers over the years? We are all accustomed to legatos, sustains, staccatos etc. but how about string bends, brass taps, mute effects and so on? Would be interesting to see which are your favorite and how we as composers can utilize some of these techniques effectively in a modern setting.
  3. You've mentioned that you do a lot of commercial pop music work recently. How about a class on how to add orchestral elements to a pop track without it losing focus? Or how to arrange symphonic metal without it being (too) gimmicky? ;) Something in the same vein as Dimmu Borgir performing live with a fully integrated orchestra.

  4. #64 Rohann van Rensburg, Feb 12, 2018
    Last edited: Feb 12, 2018
    Or how about Fleshgod Apocalypse, or some of Opeth's arrangements (like their Plovdiv show)? FA actually has a conservatory-trained composer as a pianist who does all the arrangements (not that you can hear most it of, haha:

    I'm not sure he'll bite in regard to symphonic metal, but two tropes I've noticed are either the guitars purely acting as really basic rhythm instruments, or the symphonic elements being drone-y synth sounds. It seems like writing good symphonic arrangements in addition to good metal is to do the hard thing and be competent at both, treating the band instruments as part of the orchestra (whether they're in the lead, or otherwise).
  5. I'd say just transcribe some of it and send it to the guy, I can't imagine he wouldn't help you out if you've gone and did the work.
    Plus he can't be that hard to reach, especially with all bands have social media presence nowadays...

    I believe I gigged with with them like 10 - or so years ago around the Euro scene but honestly can't remember when or where.
    They've gotten somewhat 'big' since, I think.. but I'd already largely checked out of the scene by that point (at least mentally, my body followed later).
  6. #66 Rohann van Rensburg, Feb 16, 2018
    Last edited: Feb 16, 2018
    Oh that's a good idea actually. Elegy was a bad example, The Violation has more relevant/interesting/audible orchestration.

    Oh interesting! Who did you play with? Yeah they've gotten a lot more popular since Labyrinth, even then in 2014 they were non-headlining under Wintersun (who aren't massive either).

    For the record this was more facetious than an actual topic request, although I do quite like FA's bombastic/dense orchestration and am curious what his predominant influences would be. Transcribing it is likely the most practical thing to do.
  7. How about a masterclass on B-sections? I find it tricky to create a B section melody that differs enough from the A section, while still being ultimately derived from that A section.
    Bradley Boone likes this.
  8. Already been covered - mainly in the structure class and the mod squad
  9. Ah thanks! I'm yet to get around to those ones.
  10. Cartoon music masterclass would be awesome! (Carl Stalling / Scott Bradley)
  11. I'm not sure if there is one already, but how about a class on writing for choir and orchestra? Tips on how to effectively balance and voice... well the voice against a full orchestra in a live acoustic environment, and not as an overdubbed sound effect. I know there's historical precedent in pieces (I'm trying to get my hands on the score to Carmina Burana) but what does one need to know for the modern film score (without creating 'boner music for 14 year olds'). Thanks again!
  12. May I add a recommendation for a BIG BAND masterclass. Mike mentioned he started to transcribe and write music for big bands. Would be a really interesting class and really useful in case someone has to write some jazzy big band stuff for a project. It could also be part of a JAZZ 2 class. :)
  13. +1

Share This Page