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Group transcription for June 29 -July 4th

Discussion in 'Score Study Resources' started by Doug Gibson, Jun 30, 2020.

  1. Hey, awesome job ! I still have the last section to do. My attention was pulled to other jobs this past week.

    I should be able to have a shot a wrapping it up tomorrow and I will post my score too.

    Way to go, and nice to have you on this journey.
    Felix Watson likes this.
  2. This is such a gorgeous tune. The Bill Evans version is great. There was also a version by The Jazz at the Movies band several years ago.

    Paul Poole likes this.
  3. #23 Felix Watson, Jul 29, 2020
    Last edited: Jul 29, 2020
    @Doug Gibson - Straight back at you. Look forward to seeing yours and making picking up a few tricks. Hoping to glean some answers to my bung bits...

    @Paul Poole - Thanks for the kind words of encouragement! What I meant by my initial comment was that in my confusion and stupidity, I'd over divided and gotten myself wound up in a great mess which I think led me a bit astray with some inner voices. I don't know if anyone else has this experience, but some part of transcribing things like this is sort of detective work (fancy guessing or inference). Sometimes inner parts I just have to make up or I follow a line if I'm missing a bit in the middle. That kind of thing. It's a last resort thing.

    @Jay Polk - This is nice stuff. Thanks for the recommendation.

    In between I did transcribe the West Wing main theme which was very straightforward by comparison. Now I'm onto Richard Rodney Bennett's 'A New Dance' if anyone would like to join me.

    Here's my progress this arvo.

    a new dance.jpeg
  4. Ok, so I had time today to reach the final barline.

    Big Disclaimer: This score is basically the "takedown". Truthfully, I see what I should have done is exactly like with composing and do a reduction score first, and then the do the orchestration. I loaded up a template and just started. Big mistake. You will see "divisi-wonderland".

    So, just know the orchestration is bullshit.

    Also, the score is rough, and not something I would present professionally. There is more on the page than needed as I was trying to imitate the recording. You would not need that much on there....unless you really don't trust the orchestra.

    Ok....... so with that disclaimer:

    Here is my transcription.


    Attached Files:

    Felix Watson and Paul Poole like this.
  5. Go @Doug Gibson! I'm going to have a look at this and see what I can pick out. It's really fascinating the things one can miss / hear differently etc. I ended up with divisi soup as well so don't worry!

    I've actually got a divisi question I hope you might be able to help me with - I'm currently orchestrating a small string arrangement to record. It's a kind of folky band session with strings. They only have the funds to book a small string section (4, 3, 3, 2). I'm wondering about dividing such small sections. It's not particularly loud but I'm wary of dividing the 4's and 3's and ending up with a pair on a note. Is it better to divide the a3 and have individuals on a note? This seems a little extreme. My gut tells me that it's okay to do it as normal but I wondered if you had any advice.
  6. Let me know if you feel any part of my transcription is grossly mistaken.

    I will try

    I would be best able to advise if I knew the piece you are orchestrating. There are many ways to divide, but one has to have the big picture of the piece and the "why".

    I had a mixing engineer, who worked on a lot of bug Hollywood films, tell me once (He has no formal composition training) that there were four types of composers/orchestrators.

    1. The music is hard, and it sound hard.
    2. The music is hard to play, but sounds like it is very simple.
    3. The music is simple to play and sounds simple
    4. the music is easy to play and it sounds hard.

    Go more for #4. But again it has to relate to the composition and what kind of texture are you try to create. Is it polyphonic, or more contrapuntal?

    Here is a video I made which has a similar line-up (5-4-3-2-1). This example is unified harmony. No edits to the performance. We did two takes.
    As you will notice the more exposed each line is, the more tuning is an issue. Players (without headphones on) are used to listening to the person in the chair next to them.

    It can actually create a really full sound.

    Felix Watson likes this.
  7. Hi Doug! I didn't mean any offence - I was talking about myself and the things I'd inevitably missed...

    Awesome and thanks for the advice you posted already. Basically its just a session with the arranging done by someone else. Backings mostly for guitar and singing. Basically I'm just worried about that old saying - "3 or 1" - with strings. I guess I'm also asking about orchestration etiquette because it's not necessarily a voicing I might have written for a small ensemble if left to my own devices. In some case there are 8 notes to cover. I'd be happy to send you an email also if you need more details.

    PS. Hope you are holed up and are hanging in there. I'm currently really vibing the verse of this arrangement.

  8. I never took any offence at all. If anyone finds some clear error; I would like to know about it. I make mistakes too.
    Tone always is hard to detect via the computer screen.

    Sure. I am happy to help in any way I can. My personal email is douggibsoncomposer@me.com

    Meh. Please. This fucking sucks. I'm going thru a divorce and being locked-down together is like a bad Japanese game show.

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