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Elfman Violin Concerto

Discussion in 'The RedBanned Bar & Grill' started by Mattia Chiappa, Oct 13, 2019.

  1. If anyone is interested, I actually found a "preview" version of the full score: http://scorelibrary.fabermusic.com/Concerto-for-Violin-and-Orchestra-Eleven-Eleven-36433.aspx
    I was really surprised to find out that we could actually look at it in this perusal version... but I'm not gonna complain!

    I was also surprised to discover that the violin is supposed to be amplified. In the recording it does sound like it wouldn't work AS WELL without pushing the volume of the violin a bit, but I guess I didn't quite consciously realize it. Maybe it'll be way more obvious on my next listen, who knows :D

  2. Sweet !! I guess my work here is done. Yeah, I agree; it does not sound like an amplified violin. Maybe for the studio recording, there was no need for it?

    I was just looking over the part in the score from the last video, and indeed it is notated very differently than what I suggested.
    Well......there you go. :oops: Such is life.
  3. I've redone the "Going to Gotham" part in Sibelius because I love it. I need to know how to write stuff like this.

    Doug Gibson likes this.
  4. Nice find Francesco! Thank you.

    @Doug - I wonder how much we'll miss if you don't continue your analysis? Sure we will learn new things from the score, although I really appreciate it seeing it through your eyes/ears as it was very helpful to see a different way of looking at it/thinking about it than I would have done myself.

    @Sylvian - Nice mockup in Sib. Sib is nice as you can isolate sections and hear what they sound like playing individually or in groups which is a bit harder to do as quickly with a full sample mix. I also like to put a piano reduction at the bottom which helps me with analyzing all the staves.
  5. Man, I had a long reply that got deleted. Basically I asked if there is any spots anyone would like me to go over ?
    I have not heard the final movement, but so far the 2nd is my favorite by a long shot.

    I also asked for some "gifs" like this from ya'll.

    Doug Is Funky.gif

    Lastly, I claimed that if Eflman can quote Donna Summer in his piece I get the first claim on this song for a Russian inspired piano concerto.

  6. Hi @Gregory D. Moore ,

    Apologies for the late reply. I loved and enjoyed watching you play Tchaikovsky Op.39 No. 3. You really inspired me and reminded me that Tchaikovsky wrote that Children Album and I think I'll join you and learning/playing through them.

    That's hilarious and amazing of you to take your son's music history course in place of him. I wish someone could've done the same for me as mine was quite boring as well. My teacher was though a semi-famous Russian pianist who was kind of a dick in my opinion, but the course was like him reading from a textbook. Congrats on your son's two engineering degrees, that's madly impressive. I have to believe that got him a serious job as you said now that you work for your son. I still get mad that my degree gets me nothing in life but massive student loans. I'm applying for a part-time job now to help with the bills of my new house and my degree means nothing to these jobs other than that I'm educated.

    Thank you for sharing Pejacevic's cello sonata. I've never heard of her and this was beautiful.

    I definitely don't have the best "mixing" position I'd say because my speakers make quite a large equilateral triangle. Mainly because I have 6 computer-screens and have to place my speakers on the sides of the screen setup. However, I've been mixing with it for 5+ years now and have gotten used to this wider sound I guess haha. Although, now that I'm in my new space I have to learn the new room. It's another work in progress but well worth it. Before, I had my desk studio setup and my bed right next to each other in a small dorm room kind of look with somehow an upright piano squeezed in there. Now I actually have separate rooms for everything haha.

    I'm glad you took a listen to Souvenir de Florence, Op. 70. And no worries, it's above my level too. It's definitely at the end of my Tchaikovsky studying list to rip apart and learn from.

    @Doug Gibson ,

    Thank you for taking the time to make these videos. I feel bad that I suggested it and I haven't finished all your videos yet. I've downloaded them and am slowly getting through them and taking notes. I really appreciate you doing this Doug and am learning a lot. I still so far even after listening to a few more times of his concerto that I don't like it, but I'm learning to appreciate and hear what Elfman is trying to do with the help of your ears and transcriptions.

    Thanks Doug.
  7. You are very welcome. I was thinking about doing one for mov. 2 which I think is the best movement. I have not heard mov 4 yet.

    Overall, I really think the concerto is too long. Not because of time duration, but it feels unfocused and that a revision and tightening up of the
    ideas would really take the concerto up a notch or two.

    The other thing is since we now have the score, I could talk more about the theory/concepts rather than my John Madden - play - by- play form.
    Dillon DeRosa likes this.
  8. @Dillion - Thanks Dillon. Even though I find building piano skills helpful, through studying Tchaikovsky, I also notice that many of his pieces are less pianisitic and more melodic. In fact, Mike Verta should consider doing a class on composing for non-pianists or "Melodic Composing" as I think many people have difficulty bridging the vertical and linear aspects of music and tend to latch onto one or the other rather than building upon both as Tchaikovsky did.

    I'm sorry to hear about your student loans, that's a tremendous burden to carry. My sons two degrees did not directly get him jobs. School allowed him to work full time programming and he saved up quite a bit of money. What he learned in school absolutely did not prepare him for commercial work. Almost everything we do today, we learned on our own. Other companies don't share their secrets so we just learned by trial and (many) errors. The same happened with me when I started doing commercial music in Japan. I had three years of music college but that had really nothing to do with the music business. My wife took demo tapes I made to every agency we could find and the first job I got was from Ryuichi Sakamoto's producer. We didn't have recording equipment so we borrowed a two-track tape deck from Roland and mastered onto that. After that, we did many more commercials and bought equipment one at a time. I also started programming for Ryuichi Sakamoto in the studio and worked with his synth band member from Yellow Magic doing studio sessions and pop songs. Later after that, I stared working exclusively with Sony for about 15 years doing demos and various promo production (video CDs, 3D graphic, etc.). The point is, music school didn't help get into the business of music, but knocking on doors did. And yet, the music business didn't help me to learn what I really wanted to learn about classical music. So now I'm going back (with gray hair) to learn what I wished I had been able to learn in college and working a full-time job for my son.

    Why six computer screens? Don't they obstruct the sound path? I have my speakers raised up above the top my monitors so the sound path is direct-to-my-ear which really seems to help.

    In dissecting Tchaikovsky's Overture in F, I'm learning a lot about his orchestration techniques. I would say he had a "bag of tricks" which you hear used all over the place in his other scores as well. Some of these are so "trademarked" you wouldn't want to use them but others are more universal tools. In any case, I find it very interesting. I don't want to drown this thread out with Tchaikovsky talk, but if you want to contact me via e-mail, feel free to @ [email protected] I'll be going nuts with Tchaikovsky for the next several months at least.

    @Doug - I'd love to hear your thoughts on Elfman's second movement. I just found it very interesting listening to how you approached analysing/ transcribing as I learned some very useful different ways to approach than I would normally use. Yeah, we have the score, but those copy-protection marks are so annoying. Also, I'm curious to hear if you see/hear inspiration from Shostakovich's violin concerto? Elfman says this inpired him and he listened to it over and over, yet, I don't quite see the connection. Do you?
    Dillon DeRosa likes this.
  9. I really love the first movement of the piano quartet on the same album. I certainly would suggest others to check it out.

    Do we know if Elfman did all the orchestration on the Violin Concerto?
  10. I listened to about five minutes. I'll withhold comment on the music itself. As for the recording, I don't like the way it is produced. Over-slick film scoring sound rather than the space, distance and transparency of a straightforward orchestral recording. Thick, dark, and in your face.

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