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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.

Page 4 of 7
  1. #61 Claude Ruelle, Oct 31, 2017
    Had a listen to the piano sketch - Very "Copland-esque"! Might give it a shot if I manage to find some free time this week.
     
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  2. #62 Paul T McGraw, Oct 31, 2017
  3. #63 Alexander Schiborr, Nov 1, 2017
    Last edited: Nov 1, 2017
    Yes,it has a bit of that suspended lydian stuff, but actually this kind of stuff is also so Silvestrian, or even a bit morricone. I will tomorrow have to work on other projects but fix some stuff in my orchestrations in the version 3, there are sometimes a bit bullshit going on in the bones where I again was a bit over excited. I think what I need sometimes is everytime I introduce to much instruments to get an electric shock on my chair which goes directly into my Anus.

    Having said that.

    @Paul T McGraw Take what ever you like or find useful. There are actually 3 tracks in this thread available. For you maybe...do you have a bit of time? then maybe try then the newest one "Homeride..."? or for a quicky the fanfare for a man, previous page here.

    In general I will commision all the tracks and downloads together and update my first post later.
     
  4. #64 Paul T McGraw, Nov 1, 2017
    @Alexander Schiborr do you have a score, piano or melody with harmony? I work with notation.
     
  5. #65 Alexander Schiborr, Nov 1, 2017
    I haven´t notated these tracks, they are recorded 2 hand piano performances which contain melody / harmony and they are available here for download. Of course you can download the midi and put it into your notation programm.
     
  6. #66 Paul T McGraw, Nov 1, 2017
    Were you thinking 12/8, 9/8, or possibly 4/4 with lots of triplet quarters and triplet eighths?
     
  7. #67 Alexander Schiborr, Nov 1, 2017
    The Homeride is 4/4 at 110 BPM around. My orchestral rendition is a bit faster though. You are not dogmatic bound to the sketch you can add a little bit of your own thing to it if you like or think if needed. Whats more important for me is that you aim and train to create a meaningful orchestration.
     
  8. #68 Alexander Schiborr, Nov 2, 2017
    If you need anything or in case you have questions, just ask.
     
  9. #69 Paul T McGraw, Nov 2, 2017
    After spending some time looking at it, I don't think I would have anything interesting to offer. Your own version is very good, and fits the mood and style of the piano reduction very nicely.
     
  10. #70 Alexander Schiborr, Nov 2, 2017
    I mean I don´t feel to convince you, Paul, as you know that "training by practise" is the best thing you can do. At least that is for me the whole point of the thread: To practise those things to get better. I even don´t know if I bring something good to my examples, but it doesn´t matter because I sit down, try out, trial and error and internalize..the things..believe me, that is a very effective way to get better. And there are many many other ways how you can orchestrate such a piece. My version is just really...one of so many other possibilities. I am even not sure if it is such good. You know..
     
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  11. #71 Paul T McGraw, Nov 2, 2017
    Last edited: Nov 2, 2017
    I think yours is very good. It fits the Hollywood western style perfectly. I remember back when I was studying orchestration in university, as our final project we were assigned a Beethoven piano sonata and had to orchestrate the first 64 bars. Now that was hard! And tons of work since no computer software to help. There were about 12 of us in the class that finished the project. The student orchestra did a reading of each of our orchestrations. Mine was OK, but nothing great. At least I didn't make any transposition errors as did many of the students. It was very interesting to hear how each person orchestrated and to get comments back from the orchestra.
     
  12. #72 Paul T McGraw, Nov 2, 2017
    Hey, we could do that for fun here on this forum. Maybe @Mike Verta would post a short melody. Just a melody, not even any harmony. Just maybe 16 bars. Then each of us could orchestrate those 16 bars, coming up with our own harmony, and submit to Mike. Once all are received he could then post all at once with comments. Wow, that would be fun. Do you think he might do it?

    The melody should be something fairly generic, so that it could be used in a variety of ways. What do you think?
     
  13. #73 Sylvain Provenzano, Nov 2, 2017
    It's a great idea ! Not necessarily by Mike though. Any of you can propose interesting stuff since you're all good. It could be fun to see all different approaches, especially for the member who post the original melody.

    For my own case, I need to work on simple things such as Alexander's fanfare, so... :)
     
  14. #74 Claude Ruelle, Nov 2, 2017
    Well, I guess this is what that thread is all about :). To your score pads!
     
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  15. #75 Alexander Schiborr, Nov 3, 2017
    Like I said in my first post page one: Every single one of us can contribute little pieces here. If you like just post something. Of course also Mike. Sure Mike is the one who is doing such things for the longest time, and therefore he has the most experience and knowledge. But that doesn´t mean other people here aren´t able to present interesting sophisticated music which we can practise to orchestrate. As Sylvain said already very correctly. So of course when you don´t feeel that this kind of track is something for you, there is no problem at all. Maybe you can try the other 2 tracks out. The previous one was a short 20 second fanfarish motif (entitled Fanfare of a Man) and the first one was a 30 second piece (Polychordal Deep Space). From those 2, I would say that the fanfare is definitely the simpler one or easier one to work on.
     
  16. #76 Alexander Schiborr, Nov 3, 2017
    Had not that much time this week but today I went through the piece, I added one minor thing before I get back in the A Section and that is a Modulation before. This is nothing what was entirely mandatory, but I like to modulate..just a stylistic thing..so here we go..

     
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  17. #77 Aaron Venture, Nov 4, 2017
    Last edited: Nov 6, 2017
    Here's my take on Fanfare For a Man. I've made some changes, most noticeable one being the ending.

    Thank you Alex, this was great fun!

    Lossless stream HERE.



    EDIT: Track updated
     
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  18. #78 Alexander Schiborr, Nov 4, 2017
    Hi Aaron, thank you for the file, I will take later in a short a listen to it. Excited to hear what you did.
     
  19. #79 Alexander Schiborr, Nov 6, 2017
  20. #80 Aaron Venture, Nov 6, 2017
    Holy shit, 30 minutes! I feel like we went for a drink, except you did all the talking :D (or the beer did). I really appreciate the effort!

    If anyone is interested, Alex opens his own project and talks about his process and orchestration and goes through each section one by one from 16:00 'till about 30:00.

    You asked for some info about my take, so here goes.

    This is the first time I've done a fanfare and it was great learning. It never occurred to me to go and transcribe Newman's fanfare (which I did after doing this) before. It took me a whole afternoon for the whole orchestration, and mixing (mixing was a rather short process as my template is already balanced and the piece is short). I'm more and more looking to go and do work on paper (maybe Sibelius) and then just come back and play it all in, as I think this takes longer than it should, as simply playing it in will take time to get right.

    The first thing I did was change the ending as I kept hearing two more measures. Then I first played in the focus parts - the horns from the start, along with the trumpets while they double and then just the trumpets when I figured I would have horns go down below to do harmony stuff as I'll have flutes and violins here so it might get crowded. Then I orchestrated the rest of the brass section, then the winds, the strings and finally percussion.

    I agree about mid-highs being a tad too sharp in the climax. I'm rendering the fixed version and will update the post soon. About the low end, I like it hard-hitting and pronounced, that's just a personal preference.

    The whole thing turned out exactly how I imagined it at the beginning so I'm slowly becoming confident about switching to paper orchestration (the problem might be with the way I imagined it but I'm sure that will improve through work and transcription and further learning). I guess I'll just dive right in and do the trial by fire and see how it turns out.
     
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