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Topic: Stage 2. Inputting a rough draft.

  1. #1

    Stage 2. Inputting a rough draft.

    OK. As so much of the input here is about film music, i thought i'd do a quick rough draft of the start of my work in progress 6th Symphony third movement. This is a condensed version of the beginning.

    There is none of the following.

    Effects, except a 5% reverb to take the flatness out.
    Dynamics are as played, so no finished dynamic soundscape.
    No quantise.
    All samples are mono, and have not been placed in the mix.
    Three sections in the slow beginning have been shortened, as this is a short excerpt for perusal.

    Whether you comment or not is up to you, this is more for those who are considering writing concert music, and to demonstrate the flexibility of using a sample library for straight concert work. This rough draft is the first of many revisions. Dynamics, alternate lines, etc. all play a part. I've often taken 30 or 40 revisions before a piece starts to get near finished, and that's before the final processing. Even harmonic choices and melody are not sacrosanct in this.
    There were comments in another thread about methods of working, so this is the second part of process, after the plan is laid out from beginning to end in rough score format. I used to stick rigidly to the score once i'd completed, but i've grown up since then
    Also note the answering phrases for w/w are often written in to place them in the score, and don't always represent the final result. I find it easier to stick a simple line in and develop the tonal draft, then go back and refine that line. That way i don't get hung up on a sound or phrase and lose flow.
    I hope this gives some of you at least, a real picture of my working system, and how a piece comes to life for me.

    The orchestra in my head is alive and well and performs superbly, and for me this is the essence of the process. The samples are, for me, only a representation of what i hear, and i don't write to samples, ever. The mental/emotional orchestra comes first, sample performance second.

    No doubt you'll also note some notes don't finish or start properly. At this stage of development i don't worry about that stuff, and get on with getting everything in as naturally as possible. I think many get hung up with this, refining every start and finish until they're doing a note an hour!
    Forget it. Write. Finish first draft. Drink Coffee. Smoke if you wish. Second draft, etc........

    Sounds are;

    My very old collection of soundfonts, built from recordings of fellow orchestral players many years ago.
    Miroslav Strings, again very old, and converted into SF2 some years ago with a bit of softening here and there.
    G/Band samples, modified.
    Various bits and pieces......

    Compiled on a G4 laptop.

    I hope the link works. Please let me know if it doesn't, and i'll try a new provider.



    On the road in Moscow, armed with parchment, Ink, Quill, and a laptop,
    and the most important knowledge of all...........

    Melody is King.

  2. #2
    Senior Member
    Join Date
    Jan 2002
    UK- teeming with life....

    Re: Stage 2. Inputting a rough draft.

    Perhaps I'm thick but I can't see where your piece is.


  3. #3

    Re: Stage 2. Inputting a rough draft.

    Didn't seem to work: clicked on it and it (i.e. the site) tried to get me to register. Right-clicked but nothing of consequence happened either.

    Perhaps it's just me...

    P.S. Am very interested to hear your work after all your erudite comments on the VSL forum.

  4. #4

    Re: Stage 2. Inputting a rough draft.

    Yeah, I don't think you've got the link right. It worked on another forum fine for one of our posters, so I'm not sure what went wrong.

  5. #5

    Re: Stage 2. Inputting a rough draft.

    Right. Had to change links.

    I've just tried this one and it works.




  6. #6

    Re: Stage 2. Inputting a rough draft.

    It was a pain in the butt trying to download so i thought i'd put it up here for easier:


    I have spare bandwidth so its no trouble at all
    Theo Krueger - Composer


    Kontakt 2 Scripts

  7. #7

    Re: Stage 2. Inputting a rough draft.

    Quote Originally Posted by Theodor
    It was a pain in the butt trying to download so i thought i'd put it up here for easier:


    I have spare bandwidth so its no trouble at all
    Thanks Theo. I had a few problems trying to get this going.



  8. #8

    Re: Stage 2. Inputting a rough draft.

    Woow it sounds very nice, even though you said it's far from being "refined"!
    Has some very intimate sentiments.

    BTW, added you to my friend list on myspace I will come back and listen again, gotta sleep now! (it's almost 6am in Hong Kong )

    Dell Precision T3500 (Xeon W3520, 12GB RAM) / Windows 7 x64 / Sonar 8 / VE Pro / WIVI 2.3 / Kontakt 4 / G-Player 1.2

  9. #9

    Re: Stage 2. Inputting a rough draft.

    Listened with pleasure, and interest. You've said it's still rough, so these few comments may be irrelevant in another version or two ... the 19th century feeling is going to cause trouble; i get some criticisms about my '18th century' sound, so am sympathetic, and don't have any good ideas about how to get around it. Specifics on first listen: 0:46, transition doesn't seem as strong as it could be to the next material; 2:45, big 2nd inversion chord doesn't move the way we're trained to expect it, even though most of the harmonic movement DOES move as expected; 4:10, growth began to seem inorganic, too many ideas or too loose construction; 4:35, definitely too many new threads to weave.

    But overall, good ideas, well orchestrated, pretty well supported in the inner voices -- I look forward to more.

  10. #10

    Re: Stage 2. Inputting a rough draft.

    Quote Originally Posted by Prince of Music
    First let me say that I'm am not inplying in any way shape for form, any kind of negative comment. I'm honestly curious about this which is why I'm asking. I am a regular subscriber to the Seattle Symphony which is pretty good in programming new works and from what I have heard from there it seems the chances of them including a new work that is written in a 19th century style. While in the US you would have a much better chance getting something like this in a film score. Is the concert world different in that respect in Moscow?

    I like this work. It definately has a Czech/Russian feel to it. I look forward to hearing this in it's completed state.

    No offence taken at all Tom, i appreciate your honesty.
    I'm studying here, and learning much about the music and the culture that inspired it. And always writing.
    This idea came about some 6 months ago, and i've been mulling it over since then, adding to a draft i have.
    This is a work at it's simplest 'sample performance stage'. It has none of the polish of a completed piece, and once completed in movement will then undergo many changes. And, as i wrote in the intro post, I often write simple lines to keep the flow going through to the end, and not get bogged down in the processing. Even now, as i listen, i can hear a better w/w line and natural tempo changes, that i write down, and try in successive drafts.

    The concert world in Moscow is very much alive, and playing a fair amount of new stuff, although the old malaise seems to linger in the top outfits as they play the favourites frequently.
    But there are many others who try different things, including new stuff. I've heard much new material, and like you, think of some of it as more suited to film or a different style, or maybe it would work better with a different tempo, etc. And the concert world, and film world are much closer here, than in other places. A lot of interaction goes on both ways.



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