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Discussion in 'Critique & Feedback' started by Alexander Schiborr, Oct 2, 2017.

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  1. #41 Alexander Schiborr, Oct 11, 2017
    Last edited: Oct 11, 2017
    Woo..many thanks Doug. that is fantastic...so many notes there. I listened to it and I think you are pretty close. Yeah..production wise the runs sounds good in his example..but speaking of "realistic" performance..I have my doubts how such a situation would be with a live recording session..this track fires on all holes..it is just..not the way I would write..but let me see what I get done today..Yes, you can just use the "safe" scales based upon the current harmony. Most safe would be an arpeggiating figure with root, 3rd, and fifth, but with scale wise motion you have also tensional notes which color the melody more. And in his case I feel that uses in a clever way the runs not only just to create decorational excitement but to enrich the harmony. Which is for me the main point also in doing agile lines. I am not sure if they have to say so fast. When you ask..8th triplets would be a way more "human".
     
  2. #42 Phillip J. Faddoul, Oct 11, 2017
    Man, if it makes you feel any better, I would actually prefer that part of Thomas' track without those vln runs. To me they're a little bit annoying and distracting. I think it would be a lot more satisfying if they just shut up and let the horn sing its melody. I don't see any purpose for them to be doing that.
     
  3. #43 Alexander Schiborr, Oct 11, 2017
    So actuallly with the help of Doug I found out that those runs, though they are fast and seem to be somehow loose and randonm but no..they have a structure and a pattern. So actually I am fiddling around trying to make a pattern..with them..just to let you know guys..
     
  4. #44 Alexander Schiborr, Oct 11, 2017
    Last edited: Oct 11, 2017
    Aaron Venture likes this.
  5. #45 Doug Gibson, Oct 12, 2017
    You met my wife ?
     
  6. #46 Doug Gibson, Oct 12, 2017
    There are a lot of options you can do here. If you refer back to the initial scores I posted (Stravinsky, Adams) they basically use what is sometimes referred to as "Pan-tonality". I didn't make up the term. Basically, as long as you avoid min. 2, or other really crunchy shit, its going to sound nice. Not everyone has to play the same pattern. Matrix is a good example. If there is a convincing "line" then the ear can forgive momentary vertical clashes.

    However, that's not really what is going with the TSFH example. As you, and the other guy, have already said the piece is a molotov cocktail of familiar tropes executed really well. Pomp and Circumstance on meth.

    For inventing a pattern, at this tempo I would say that thinking/researching patterns string players practice all the time (ie. idiomatic writing) is just as important, if not more, than the vertical harmony.

    If you think about it, with G add 9, and C add 9 the background harmonic structure is 5ths ..... just like the tuning of the open strings.
    So the harmony is already "baked-in" to a certain degree.

    Avoid awkward contours, and exotic scales are best avoided. (or deduce a way to make simpler. There are tricks for this.)

    Open strings are your friend too.

    The other reason why you want to know what "patterns" all professional string players use is that it will save a tremendous amount of time in the studio. If they see a G major scale or arpeggio they will know it straight away and it takes little mental effort because they process it as a whole.

    Just like when you see one of those really long German words you process it as one "thing". Someone unfamiliar will have to go through each letter.


    Sounding good. If you need it, I can post some score examples of fast string runs like I am describing above.
     
  7. #47 Doug Gibson, Oct 12, 2017
    Just listened to your mock-up. At :18 it caught my ear your basses are pretty soft. I would bring up to hear that run. That's their moment.


    One idea of things you can do for fast runs, is to give support to them with the other strings. I don't think the TSFH is doing this, but
    for an example you take what I posted yesterday and add some 16ths in the viola. Mostly open strings.

    Screen Shot 2017-10-11 at 10.06.42 PM.png

    Again, there are many devices for these. Just keep on making a catalogue of what you like and add to your vocabulary.




    PS. Did you catch what I did with "another fast run" ?
     
    Phillip J. Faddoul likes this.
  8. #48 Phillip J. Faddoul, Oct 12, 2017
    Star sword?
     
  9. #49 Doug Gibson, Oct 12, 2017
    You're a good person.
     
    Phillip J. Faddoul likes this.
  10. #50 Alexander Schiborr, Oct 12, 2017
    Last edited: Oct 12, 2017
    Hej Doug,

    Yes, is that right what Phill is referring to?

    Sounds also good! Thanks again for all your work and contributions to help out here. Much appreciated.
     
  11. #51 Alexander Schiborr, Oct 12, 2017
    Last edited: Oct 12, 2017
    Actually and also recently not. But is that a New Yorker joke? :D I like your humour and I think you should have like a late night stand up comedian show :D
     
  12. #52 Sylvain Provenzano, Oct 12, 2017
  13. #53 Alexander Schiborr, Oct 12, 2017
    Thank you, didnt had that feel yet, but that motivates to continue :D
     
  14. #54 Doug Gibson, Oct 13, 2017
    Yes.
     
  15. #55 Alexander Schiborr, Oct 13, 2017
    Cool, maybe also interesting for Louis? @Louis Calabrese

    Btw: When I am done, I will upload on provide for you guys here the single stems of that orchestral track.
     
  16. #56 Alexander Schiborr, Oct 14, 2017
    Last edited: Oct 14, 2017
    Aaron Venture likes this.
  17. #57 Sylvain Provenzano, Oct 14, 2017
    How much time do you work on your piece each day ? Do you keep a snapshot of every version ?
     
    Alexander Schiborr likes this.
  18. #58 Alexander Schiborr, Oct 14, 2017
    Drinking now but i think 4 hours each day around
     
    Aaron Venture likes this.
  19. #59 Sylvain Provenzano, Oct 14, 2017
    Drinking is working. :D
     
  20. #60 Alexander Schiborr, Oct 14, 2017
    Drinking in a salsa bar yeah bam
     
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