I, for one, have really been looking forward to hearing some of your "Julies Caesar" incidental music - theatre buff that I am. I remember you telling us about the project awhile back and was hoping you'd finally have time to post some cues for us to hear.
Niiice! These sound great. Full of the conspiratorial drama and tragedy befitting the play. Rich, full use of GPO - Your director must have been more than pleased!
Side note - You said, "...It went over pretty well in the theater, but the real test is posting it here!..."
I need to gently differ with you. Your pieces were written for the theatre and THAt is the real test - if you're interested in "tests."
Of course it's great fun to share what you've done here, and maybe there will be constructive criticism offered which you may find useful. But replies here are one thing, but working with your director and the cast in that live theatre situation - That's what this was all about. - Taking your quote literally for a moment, I was just inspired to lecture you briefly. I hope you don't mind.
Half way through the first one was the introduction of what is no doubt a leitmotif heard previously in the production. It was very effective, and then re-stated in yet another way in your second cue posted. Working with themes is at the heart of theatre music, and you clearly know that.
I'm wishing I could have seen how the underscoring worked in conjunction with the stage action. When the music is at its fullest, with storming Tympani et al, I imagine these passages were during transition moments without dialogue?
And I see you chose to write in a somewhat Wagnerian style, with a slight suggestion of how the play would have worked in the Elizabethan era, but without reference really to the ancient Roman milieu. Did you arrive at this approach at your own and then run it by the stage director, or was it from watching in rehearsal the kind of style the production was being done in?
Hey - I hope you post more of these for us. I found the music and the project itself invigorating. Thank you!
First off, Thank you for listening!!!!!
You said, "Your pieces were written for the theatre and THAt is the real test - if you're interested in 'tests'."
To be perfectly honest...you are right. However, the producer was so in shock over getting fully orchestrated pieces that she did not really get critical of the work. If I am not careful...I could develop an ego for it all! LOL Seriously, it went over very well, but it is nice to get the approval of fellow composers.
Apparently, the last night of the show...the sound design team was nominated for an intercollegiate theater competition. I have not gotten all the details, but apparently the first round is in South Carolina…then if we pass muster, I think, we go to Washington DC for the nationals. Suffice to say, I am pleased.
This version of Caesar was set in the modern day…so the score was a mixture of rock and classical. The other sound designer did all the rock stuff…I handled the orchestral. The language was left alone…but the costumes were suits and ties kind of stuff. Of course Portia in a sexy nightgown is pretty awesome! LOL Her boyfriend could only stand to see the scene one time…never watched the play after opening night. It is understandable…they did portray Portia as a sexy little minx!
Anyway, I need to get back to work,
Prowland the posting Ninja
Hey, Paul! Great to see you back with us!
And with some solid work, too. The Conspiracy Theme
is right on the mark; well done, and able writing in it
that will serve perfectly in context.
Put a Sting in Him, though, to me, that's got more
potential than just the theatrical, Paul. There's very
strong material in this, that I'd enjoy seeing you take
further as a formal, independent piece.
In your spare time, of course... lol!
All my best,
Both of these are very well produced. Great composing and rendering.
As David said, there is some great material in Sting and it would expand very well.
Great Job and good luck with the competition
David and Ron,
I was thinking of trying out the Sonata Allegro form...Put a Sting in Him might just be the material to try it out on...Hmmm...
I have not formally studied the Form yet. If you guys know a couple of different layouts, I would be much obliged.
The only one I know is: Theme I, Theme II in the secondary Dominant's key, Theme I, Development, Theme I, Theme II in the main key, End
Is this the common form?
Duh...I could just look it up on-line! College education paying off already!
Anyway...back to studying...Finals all this week!
Prowland the posting Ninja
It's amazing what we can learn in college. The most important thing I learned this semester was never again take a course when the Professor is a senile, incompetent fool. And even more important, don't tell the professor that she is a senile, incompetant fool.
I gave an oral report and she gave me a grade of a "C".
I asked her if she was in the same room as the rest of us when I gave my presentation. She upped it to a "B" when she saw that she had given me
The idiots they let teach.
I also have finals this week and next.
Good Luck on your Finals, Ron!
Prowland the posting Ninja
I should have added there, I am almost finished with my courses and I have a 4.0 GPA until this semester when I got stuck with the senile witch.
Good Luck to you as well
Very nicely done - I like the continuous trill in Sting; reminds me of Strauss's Salome. These seem to work very well, although I'm not sure the exact place/scene they are meant to underscore. That said, the music is quite vivid, with the second having some great contrasts.
Was the production a success? I'm sure that your music moved it in the right direction.
Good luck with finals; although, as a teacher, luck really has nothing to do with it!