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Group Transcription for this week?

Discussion in 'Score Study Resources' started by Doug Gibson, Jun 20, 2020.

  1. I like all of the exotica, easy listening, light classical, ... music from the 50-60s. It's campy music, written for an age of post-war exuberance fueled by gin martinis and cars with fins. It's like listening to the cultural history of the time, as they dreamed of a future world that would never come.

    This type of music is a good study in form I think. Unlike traditional classical music, whose forms can be complicated, the goals of this music is different and requires short, straightforwards communication of musical ideas.

    In the 50s-60s, the average person was exposed to a tremendous amount of orchestral music played by accomplished musicians: TV, radio, elevators, department stores, dentist offices, .... MUZAK (who Mike worked with) cranked this stuff out like a factory). That faded in the later 60's and sentiments got dark.

    This exotica by Ron Goodwin (Hitchkock's Frenzy) is amusing in that at 00:50 the violins mimic a theremin. 1958. Nicely recorded.

    I'd like to see your score of The High and Mighty.
  2. I had some time this morning to dig into The High and Mighty. Rather than go very detailed bar by bar, I took a pass all the way through and grabbed what I could of the basic structure and harmony. There's lots to still fill in and probably some wrong notes, especially in that end section, but here is what I have so far.

    Doug Gibson likes this.
  3. @Sean Barrett

    Bravo Sean! Way to go!!

    You know, I saw your post, and it gave me the kick-in-the-butt inspiration I knew I would need to reach the end. So thanks!

    I found myself these last few days doing other things, as I began to find the song too repetitive, and that I had already grabbed the essence of the piece.

    As for the end section, (if I am thinking of the part you are talking about) I think it is just half-diminished chords moving parallel motion.

    (This stave is meant to be in treble clef)


    Then a Bbmaj7/C

    I don't have perfect pitch, so it's just a guess. I'll export my Sibelius playback and upload the note-performer rendition and my score.
  4. Yeah.... I bet you would. :p :D ;)

    Ok........ Here is a link to the score.

    https://www.dropbox.com/s/8dgi131z1...e High and the Mighty - SCORE (in C).pdf?dl=0

    Keep in mind there is some "Arranging" on my part.

    The theremin at the bottom of the score is to simulate the whistle. There is no theremin in the soundtrack.

    Here is the Sibelius/Noteperformer playback

    Be well everyone and have a groovy rest of your weekend

    Sean Barrett and Alex O'Hagan like this.
  5. whoops. so the way I did it was to figure out all the parts on piano for like a page, then check the score and see what it actually was and correct it. I like doing it like that so I don't re-enforce my "bad guesses" but Ill try doing it all by ear next time.
    Things I learned:
    1. The beginning rhythm that I couldn't figure out was just a 60 Bpm bar of 4/4 followed by a bar of 3/4. Also the choir comes in the upbeat of the 3/4 bar leading into the 4/4. kinda throws you off rhythm in a good way. I like how it turns from uncertain to very obvious rhythm later in the cue.
    2. the string chords that come in are just closed position triads that change inversion until it goes into that cadence thing. (way more simple than I thought it was)
    3. the wind effects that you hear in the actual track is made by the horn players blowing air though their instrument with no mouth piece. (kinda cool)
    4. strings and horns playing triads + bassoons doubling the root and third + bass clarinet on the root = really nice swelling texture.
    Also cellos and basses in octaves + bass clarinet is a really powerful low end sound.

    So I realize now that the group challenge was probably to all work on the same score lol. Sorry I think I misread it, but this was fun anyways!

  6. Hey Alex!

    Look, what the process you outlined certainly is helpful. What I do a lot, when I have the actual score, is write it out by hand first, and then enter it into Sibelius (that is just what I use). It's a very useful practice, and I learn a lot from it. What I used to do was go to either the Juilliard or Lincoln Center Library and spend hours doing just that.

    Now if you actually had the discipline to go page by page, first by ear only: You have a way to measure the gap between what you notated and what the score was. This is also very useful.

    I don't have any kind of agenda for these group transcriptions. Personally, I am glad you picked a piece that you are inspired by.
    I think it is kind of nice to have a variety. I might even try the opening of Willow soon. I don't have the score, but I have your notes :D

    When I heard it, I was reminded of Seigfried's Funeral music. I just love watching this clip. From a different era.
    Don't do this on the podium unless you are Solti

  7. Thanks, and bravo to you as well! I'm glad I could help motivate you to finish it, and I like the arranging you did. I managed to finish mine today and I did a little arranging as well. Mostly in the woodwinds since I can't hear much of what they are doing anyway. I attached my score as well.

    Yeah, that ending section with the half diminished chords is pretty crunchy. That's more or less what I had but I am hearing it a little differently. I think I have it much closer now, but I'm not 100% confident on it. I may just be hearing what I want to hear, haha.


    Attached Files:

  8. yeah that sounds like a really good practice, I'm gonna try it once I get my full notation software. (I'm using dorico elements at the moment so no full orchestral stuff).
    Ok Cool! if you do end up doing it I can check it for you lol.
    lol he's feeling it. that does have a very similar vibe. I really like that slow soft building type of stuff. I'm fairly new to listening to "classical" style music but my favorite in that style so far is "isle of the dead"

    im gonna transcribe the beginning of this soon
    Paul Poole likes this.
  9. It's such a terrific piece. Really paints a picture. I first heard it years ago on a classical radio station and bought the Ashkenazy version right away.

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