cnegrad

Just got back from a week in Guatemala. Where do we stand?

David, Ah, then please allow me to wholeheartedly recommend the following two cd's to all of you. IMHO, these two recordings represent the epitome of what I'd like to achieve: Michael Brecker / Claus Ogerman: "Cityscape" Click Here Vince Mendoza "Epiphany" Click Here Enjoy!

David, Thanks for your insight. I honestly don't know whom their influences are. Regarding the above mentioned suggested composers: Can you recommend specific pieces that exhibit sophisticated harmonic content? Not to sound snobbish, but conventional "safe" harmony bores me. What little I've heard from Copeland (the "Americana" stuff) doesn't really do anything for me. If you've heard the scores that Mendoza and Ogerman have done with Michael Brecker, THAT'S the kind of harmonicism and orchestrational colors that I'm looking for.

Ok, I've caught up and completed Chapters 1 and 2. Seems very straightforward thus far. Of course, application is a whole 'nother story. For me personally, this process is complicated by the fact that I don't enjoy much classical music or film music. The music I want to create is more harmonically modern, along the lines of Claus Ogerman, Don Sebesky and Vince Mendoza. But I'll play along....

Will catch up asap.

Oct 17 during the day is fine with me. Night, I'll be unavailable. Linwood, Call Empire Publishing 818-784-8918 At this point, I've only ordered a catalog. I'm not yet certain whether these are full scores, or a "songbook" (I hope not). If it's anything but full scores I'll be disappointed.

Ready when you are. (I'm psyched; I just ordered a Sebesky score and a catalog of Ogerman compositions.)

I don't mind waiting. I think we all stand to benefit by having larger group participation. The only downside to waiting is running the risk that when everyone is ready, that I might then be too busy with other stuff. But I'm cool with that; I won't try to hold up the rest of the group if that happens.

I'm back and ready when you are...

Got mine...

Thanks Geoff; I just ordered it.

Geoff, Thanks for your exhaustive reply! It's funny, I don't remember participating in that original thread, but there I am. Ironically, I was asking the same question back then as I did today. Is there a place to get this book at the cheapest possible price, or is everyone selling the 3rd edition for the same $69.95? Thanks.

Geoff, Please clarify something for me: Is this book more about choice and combination of instruments or how to use virtual instruments? In other words, I'm not a newbie to vsti's so their use isn't really something that I need to learn about. But if it gets into orchestration (ie, combinations of woodwinds, strings, articulations, to achieve various tone colors, etc), then I'm interested. TIA!

Geoff, Really? I was unaware of that. Are you aware of any real world examples of that? Agreed. What I'm trying to convey, is that I want my music to "be the movie". In other words, I want the listener to close his/her eyes and feel what I'm trying to convey, via my own "musical plot line", so to speak. For me, the music should tell the whole story, without the aid of picture. That's not to preclude you or anyone else in being interested in it and discussing it here. It's just not my cup of tea. I know that, and you know that. Now I just wish that someone would tell the aspiring soundtrack composers on those other websites that. (You know the sites I mean.) Thank you; I appreciate that. But my path will (hopefully) be more in the direction of Claus Ogerman, Vince Mendoza and perhaps a little bit of Don Sebesky. But I'll continue to monitor all the composition threads for any techniques that we have in common. Thanks, -Mark

Geoff, I think you've got a great idea, and I hate to make your first response a negative one, BUT: Do we have to discuss writing to picture? I'd rather simply discuss composition and orchestration on it's own. Why? As I understand it, most music written for picture is composed very differently than a composition written to stand on it's own. Usually in soundtrack music, the music takes a subservient (sp?) roll to whatever is happening on screen. Also, when reading discussions about soundtracks and listening to peoples results, most of them are extremely deriviative, as if "lifted" from the most well known film composers of our time. They sound like they all went to the same school and learned how to do "a Hans Zimmer" or "a John Williams" or "a Danny Elfman". My personal preference would be to discuss composition and orchestration in and of itself. (I know virtually nothing on the subject.) If I'm the only one that feels this way, I'll not argue any further. I'm just offering my own opinion. Thank you for taking the initiative.

Same here; not a single comment.

Greetings, My old jazz/fusion material can be heard here: http://www.irishacts.com/forum/phpBB2/viewtopic.php?t=7782 and our Contemporary Christian CD can be heard here: http://www.jacobsjourney.com/index.cfm?action=listen Enjoy!