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Topic Requests

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

  1. That's fair enough.
     
  2. 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.

     
  3. #63 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).
     
  4. 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).
     
  5. #65 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.
     
  6. 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.
     
    Paul T McGraw and Bradley Boone like this.
  7. Already been covered - mainly in the structure class and the mod squad
     
  8. Ah thanks! I'm yet to get around to those ones.
     
  9. Cartoon music masterclass would be awesome! (Carl Stalling / Scott Bradley)
     
  10. 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!
     
  11. 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. :)
     
  12. +1
     
  13. Is there any chance of doing Masterclasses like you have for Live Symphonic Brass? Strings, Winds and Perc. It would be just amazing with the live players! Sorry if this has been suggested already.
     
    Rohann van Rensburg likes this.
  14. I think (hope) this is in the works. He did talk about players having enjoyed the experience enough to keep it rolling.
     
    Luke Johnson likes this.
  15. How about a class on the birth and death of the long-form development film score?

    An overview of e.g. the late Romantic composers through silent films, the classic Hollywood sound through the 80s & 90s, the influence of technology, the rise of Zimmer, and the supposed death of melody would help me understand where & how different 'sounds' arose and how to better interpret what I'm listening to or transcribing. From a practical standpoint, it would also help me understand what's been done already, what's possible, and where to go for more inspiration.

    Kind of like the Star Trek class (which I loved), but for all of film music.
     
  16. There is a topic where I struggle a lot. It's voicing/voice leading. I would buy an entire masterclass about it, how to make good decisions, how to get the good effects, how to apply it on my own stuff and how to play it on my keyboard.
     
  17. Samuel Diaz and Paul T McGraw like this.
  18. A girant +1 for Rozsa. What a genius he was, very original, and humble enough to parody himself! His last score was my all time favorite comedy . . . "Dead Men Don't Wear Plaid." Get it, love it, laugh insanely.

     
    Daniele Nasuti and Samuel Diaz like this.
  19. A class on Erich Korngold, Max Steiner, Miklos Rozsa would be fantastic! Those guys were beasts!
     
    Daniele Nasuti likes this.
  20. Korngold also would be an interesting class.

    However I read here that many of you like Jerry Goldsmith soundtracks.. did you know that was Miklos Rozsa who taught him to write music? :)
     

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