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1930's "Crooner" style song

Discussion in 'Critique & Feedback' started by Doug Gibson, Jan 4, 2020.

  1. #1 Doug Gibson, Jan 4, 2020
    Just Sibelius and Noteperformer.

    There is meant to be, in the final version, a singer. I left a middle section out as that has two characters talking to each other.

    Basically, some space is left for the voices to fill in, which you won't hear.

    Any and all feedback is most welcome, and thanks for your time

    Doug

     
    Paul T McGraw, Rohann van Rensburg and John Eldridge like this.
  2. #2 John Eldridge, Jan 4, 2020
    Swanky. I don't really have any feedback on it, just some context and how-to questions if you don't mind.

    ​
    Do you have the singer's line already in mind? I'm curious to see how you reinforce/play against/complement the main singer's line from the backing ensemble. Is this for live action theater or film? Would that context change your approach at all?
     
  3. #3 Doug Gibson, Jan 5, 2020
    Yes, I do. It was/is the saxophone line from the intro. Below is the singers' melody: First is just as solo Sax. The next is the melody place with the verse
    section as a voice. I simply hate the Sibelius voice, you'll hear why in a second, so I leave it out as I can just hear it in my head.

    I started with the melody and the lyrics.



    Well, in this case, I am writing this just for my own fun. Also to keep up the rhythm of writing every day, so I am just picking things that are light enough for me to do.

    To answer your question: Yes, usually the composer has to serve the action, so you don't really have a choice. Only instruction.


    Thank you, John, for listening, and taking the time to comment!

    Many best wishes

    Doug
     
    John Eldridge likes this.
  4. #4 John Eldridge, Jan 5, 2020
    Thanks for sharing that render. This sounds great to me (your integration of the melody, not the Sibelius voice :)).

    Got it. Thanks for the context. My question was more about whether you approach things differently if you know it will be for live ensemble performance versus recorded. I suppose with professional players the difference disappears. For some reason your piece reminded me of the time I played in pit orchestra for a small town civic theater doing musicals many years ago. None of us were full time professional players, but it was a really great experience. One of the challenges was that the theater space was quite "cozy" which meant the orchestra was positioned backstage. So we could hear the actors directly when they sang but couldn't see them. We had a conductor to keep the orchestra together, but sometimes was a challenge without visual cues for musicals which would bounce between dialog and singing.
     
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