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Orchestration Project with Redbanned members (Update 1.st post)

Discussion in 'Tips, Tricks & Talk' started by Alexander Schiborr, Aug 29, 2017.

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  1. #21 Alexander Schiborr, Sep 6, 2017
    Thank you so much for taking the time in writing all this comments down. I will go tomorrow morning and revisit the spots you mentioned and come back with a response. I am looking forward to your rendition and thank you for chiming in and contribution.

    Of course everyone is welcome to take part of our little exercise here.
     
  2. #22 Doug Gibson, Sep 8, 2017
    Is there freedom to make changes to the actual piano reduction score......aka composition ? (ie. reharmonization, Tempo, prolongation, zig where there was a zag)
     
    Alexander Schiborr likes this.
  3. #23 Alexander Schiborr, Sep 8, 2017
    Sure Doug you are welcome to do what ever you feel like. Though it is aimed as an orchestration exercise, I welcome such things you mentioned, because it gives even more training to the matter of composing. Great thing, and welcome and I am looking forward what you do. :)
     
  4. #24 Doug Gibson, Sep 11, 2017
    Screen Shot 2017-09-11 at 1.47.06 AM.png

    So I had a chance to sketch out some ideas. I made 5 sketch ideas for variations and managed to orchestrate the most "abstract" one of them.

    It's pretty different than the original, but since this is only about the orchestration I thought I would go for it. After all, it's good to keep things a little weird, or as I like to say "Friends don't let friends write music that sounds like Brian Tyler"

    By all means fire away, or lament. This variation is inspired by the Opening of 2001 and Ligeti's vocal piece. I'll see if I can make any time this week to orchestrate one of the more "straight forward" variations.

    Basically I took the opening motif and took out the rhythms. Then went off from there. (bottom is the original)

    Screen Shot 2017-09-11 at 2.26.00 AM.png

    I called it "Lost in an Echo Chamber"

     
    Alexander Schiborr likes this.
  5. #25 Alexander Schiborr, Sep 11, 2017
    Very cool, Doug. Sure you went a way far more out than I expected, but very interesting take on it and I like it. I have to listen to your piece a couple of times more to get a better idea about it though. I guess it has still more harmonically or scalewise elements from my piece. Structurally I am not sure if you considered to transform to your rendition. Hard to tell at this point.
     
  6. #26 Doug Gibson, Sep 12, 2017
    I'll try and get to the MUCH more inside- straight ahead version over the weekend, and post that. I don't have a great reason to explain going for the more abstract variation first, other than my muse at the time. Not sure how to post scores, without DB. See if this works here is the score.

    Yes, it is structurally different because I picked two of your motifs and then just did my thing. (I also used your quasi-cadence from 21... hence the defending chromatic line, but I changed it around)

    Anyhow, I'll get the "straight ahead version" post ASAP.

    Cheers

    Doug
     

    Attached Files:

  7. #27 Doug Gibson, Sep 18, 2017
    Hey !

    I didn't have a lot of time lately, but I fleshed out a 1st sketch of Variation #2. Much closer to your original material this time.
    I hope you do not mind, that I am making changes to the original material. Your version is very cool, and sounds great....
    just felt it (meaning even the piano reduction) had such a strong derivation from "Mars" that I wanted to keep away from for myself. (Been there, got the T-shirt etc.)

    Here is a rough draft, with some holes in it for Var 2 (I did 5). It just cuts off, but you'll get the gist of it. By all means fire away with any comments.



    To give you an idea how I did what I did:

    Original: I added in a B, as that was your bass note.
    Screen Shot 2017-09-17 at 10.14.04 PM.png

    From this I created the Flute part: Which uses the Dyads (minus 1 as I went to 3/4) as it's basis.
    Screen Shot 2017-09-17 at 10.13.25 PM.png

    Main Melody: I stretched out your melody and also... I moved the 2nd measure of it down a semi tone as I felt it was more of the melodic idea I was after (I doubled the values for what you see here)

    Original
    Screen Shot 2017-09-17 at 10.27.29 PM.png

    Variation
    Screen Shot 2017-09-17 at 10.15.13 PM.png


    Thanks again for the idea. I understand it's meant to only be commentary on the orchestration..... fire away !
     
    Paul T McGraw, Aaron Venture and Alexander Schiborr like this.
  8. #28 Alexander Schiborr, Sep 18, 2017
    Good Morning Doug,
    That´s fantastic approach and many thanks for sharing it. Its great to see also how you take the idea and transform and develop it. I think this example I like even better just from my personal taste, and it is also very useful to see what you can do with it. Orchestration is also very cool here. Your new part would also fit very good for a continuation of the piece.
     
    Paul T McGraw likes this.
  9. #29 Alexander Schiborr, Sep 18, 2017
    I am curious also what the other guys here have? Still saw some more people were interested in posting, but yet didn´t heard anything.
     
  10. #30 Alexander Schiborr, Sep 19, 2017
    Hey @Doug Gibson

    On my own I have continued the track by composing more piano parts and then orchestrating them. Actually the exercises evolved into a 4 minute track by now. I am planning 6 minutes. Then I am revising everything and plan to learn all piano parts to play for 2 handed piano as an exercises to cement the ideas.

     
    Aaron Venture likes this.
  11. #31 Aaron Venture, Sep 19, 2017
    Great stuff, Alex. It's really shaping up nicely. I look forward to hearing the full piece :D

    But man, it sure does sound like the samples are letting you down (mainly the brass) and it's making it a pain to listen to :(. If that's Spitfire Brass (it sounds like it), I completely understand and sympathize.
     
  12. #32 Alexander Schiborr, Sep 19, 2017
    Last edited: Sep 19, 2017
    Yes, it is all spitfire here. What do you mean with the samples or the brass, Aaron? Thank you for the words
     
  13. #33 Aaron Venture, Sep 19, 2017
    Last edited: Sep 20, 2017
    It just sounds wonky and... "inconsistent", for lack of a better word. I don't believe you played it badly, because if it is Spitfire Brass, it's just a tough one to use.
     
  14. #34 Alexander Schiborr, Sep 19, 2017
    Yes, it is. I can tell you that I didn´t yet cleaned any timings. I do this at a later stage when I am completed. It is not the spitfire brass, it is because I just hammered in with very free performance and timings the midi notes. :D Another aspect which makes it not that easy: Everything is completely free. There is no metronom or lets say: i just played everything completely free without any click. So backbouncing a more steady pulse to tighten performances is one thing I do once I have done the composition and orchestration. This process is very tedious with sample libraries becaus of the different attacks of the notes..I mostly hate this kind of work.
     
    Aaron Venture likes this.
  15. #35 Aaron Venture, Sep 20, 2017
    Yeah, it's visible from the screencast that it's not "on click". I'll take your word for it, and just look forward to hearing it once it's all one and done :D
     
    Alexander Schiborr likes this.
  16. #36 Alexander Schiborr, Sep 20, 2017
    Apart from that, how about your own version? Would you like to join?
     
  17. #37 Aaron Venture, Sep 20, 2017
    At the moment I barely manage to steal some hours to work on my own stuff. I should be done with the current job in about 3-4 weeks, so I'll see if I can take up whatever you guys will be orchestrating then :)
     
  18. #38 Doug Gibson, Sep 21, 2017
    Hey great to know ! Keep going. It's sounding really good.

    Perhaps it's my headphones, but I don't hear any low woodwinds. I think in the more "space" sections things like contra-bassoon would be a nice color to fill out the Basses in the string.

    BTW, at 52" is this the same spot from a long time ago I mentioned that one note needed to resolve. This moment still drives me nuts.
    Sounds like your flute player just goes "ah, fuck it. I'm done." I would sustain it longer and, while you resolve it later (57") I would do so before before the phrase so you can take a little more time.

    It's interesting...... in listening to your piece this is the one, and main spot where you are using a technique that is really very effective, and something I think would give you a "5th gear" ........ If you would like me to expand I can shoot you a PM, or post here or start another thread. If not, that's cool too. It already sounds really good.
     
  19. #39 Alexander Schiborr, Sep 21, 2017
    Just shoot everything related here.
     
  20. #40 Alexander Schiborr, Oct 24, 2017
    Last edited: Oct 24, 2017
    Heja guys,
    This thread got a bit rusted. So today morning I stood up and before I took a shit I thought that we need some more examples here to work on, and So I created that short fanfare.

    Anybody interested in orchestrating this?

    I will and everybody else who is interested can join! Just let me know if you are interested. Here is the midi download:

    https://www.dropbox.com/sh/h7vw1sro1434svf/AABUH8xy0xiVuBgfQ1ooB24Ea?dl=0

     
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