These two pieces FEAR-title sequence and FEAR-chase scene, were done as a favor to a high school friend. He is going to the FSU school of Film and I'm going to go to the FSU school of music to major in comercial music so I figured I'd help him out with a student film (which I actually star in....hehe) since hopefully we'll be working with each other in college. Comments are always welcome. Thanks ahead of time!
-Evan Gamble http://www.audiostreet.net/artist.aspx?artistid=7084
Sounds very good. Keep writing music and get it out to as many filmmakers you can find. The Hollywood Creative directory is a good pro resource. Also doing student films is a good way to keep your chops up and to try new things between gigs.
On the Music side I find that your string orchestration and arranging could be more professional. Strings are usually the most expressive body of the orchestra. You can write some string quartets and have your friends play them to get experience in what strings can do. And a little more harmonic movement would break up the repetition of the rhythms. But all this will come as you do more composing and look for more technique to express your ideas. Lastly, your sequencing seems a little stiff at times which makes the performances a little unatural. When you're starting out this is what filmmakers usually complain about the most as they want there $5000.00 to get them a "Real" orchestra sound and they pick out things that sound unnatural.
On a personal note-- as you're getting your music out there you may get a lot of "advice" on how what you do isn't this way or that way. I lost a job because I didn't sound like Hanz Zimmer?!! Don't listen. Just keep writing. Keep scoring and keep being the best composer that you can be. You're well on your way to being a great composer already. Trust your instincts and always seek to improve your craft. It's a brutal business at times but it's all about the music and making money.
I'm pretty long winded I know. But don't let your age be a barrier to anything you want to do in the business. Your musical ideas are already as good as most working professionals maybe even better. Just work on your orchestration and music production(programming and engineering). The best way to do that is just to keep working on projects.
Firstly thanks alot for the reply....it is VERY much appreciated. Secondly when you mean "harmonic movement" with my string arrangments, do you mean perhaps less unison. Like getting the cellos and violins and Double Basses to react to each other more? Because that would definantly make sense on this piece, I basically copied and pasted and lowered/raised to the octave which was suitable, probably why it isnt as interesting as it should be. Also when you say "stiff" are you referring to too mechanical, perhaps because I quantized? My friend Aaron Sapp said he never quantizes with orchestral music because of that, I kinda just sluffed it off, whoops
Boy do I wish I had friends that played strings. Here in the south all the high school music programs have are band/chorus related .
Thanks alot for these comments I think it should really help!
[QUOTE=Evan Gamble]Boy do I wish I had friends that played strings. Here in the south all the high school music programs have are band/chorus related .
If you go to usc there will be lots of string players. And, band and chorus are also important to write for.
As far as harmonic movement I would suggest drilling the different triads with in the tonic scale until you have this cold then figure out how the triads relate to other keys. Music theory class will be helpful for this, but don't forget that theory isn't enough-- there's also application.
If you do this it will be clear what I mean. Also, any of Dick Groves books could be very helpful to start with. Then study Bach and all the big classical boys. This could help too.
Hehe...I'm sure Florida State will have a couple of string players as well. Ok, I understand what you mean now as far as harmonic movement. But what about how it sounds unnatural. Could anyone give me some general rules or guidlines in which to use samples to get the most "natural" sound out of them? Thanks ahead of time .
OH I see. My mistake. I thought you are heading towards USC. I misread your original posting. Yeah. I'm sure FSU has many good string players as well.
No guidelines for natural sounding sequences that I've ever found. Just get a recording and score of your favorite composers and sequece the score. Then A/B your recording with the recording of the real orchestra. Try and get yours to match it exactly. Then you'll start to get a real feel of how sequencing differs from performance and how to loosten up sequences.
Only rule I follow is that wind players breath and strings bow. There's a lot of movement even in realtively static notes.
Also, If you play an instrument join lots of groups of different instrumentation to get a feel of how live players respond.
Man I wish I could afford out of state tuition for USC or UCLA ! I think FSU should do fine for at least the first 4 years. But thanks alot for all the help and inspiration you've given me josejherring!
Sorry that I can't help you with anything, but what I can do is say how much I liked the Chase Scene score!
I hope that someday I'll be able to do something nearly as good as this... (half as good would be cool, too)