Weeklybeats is a 52 week long music project in which artists compose and publicly release 1 song a week for the entire year.
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Hayden

By tatecarson on June 21, 2014 12:38 am

I'm a little more happy about this one than previous weeks, not sure why. I went for a little more of a cinematic sound from the beginning, the source seemed dramatic from the start so I took it there. I was thinking about making music for an imaginary movie score that has the loudness and bravado of the Hollywood scores we all know but that I might actually listen to outside of the movie. Hopefully I pulled this off. I've been interested lately in trying to combine synthetic sounds and more traditional "real" sounds together to make new hybrids, i'm starting to study a little bit of classical orchestration to help with that al la the Rimsky-Korsakov book and another great one by Henry Brant. Does anyone else here try to orchestrate using more traditional classical techniques? I know it doesn't always work but just remembering that certain sounds blend well together and being able to use that to make something hide or stand out helps. Let me know your thoughts!

Audio works licensed by author under:
CC Attribution Noncommercial (BY-NC)

Ah, Henry  Brant -- his music was popular in the school I went to. I tried the Piston book on Orchestration, but got most of my info working for Morton Subotnick.

You seem to be doing very well with your orchestration!

This is superb. Tonal, but without that reliance on tertian harmony. Lovely.

Also, since you asked about orchestration: I have the Samuel Adler book on orchestration, which I refer to whenever writing instrumental music and is quite "Classical" (capital C). I don't do instrumental music electronically through samples. But I don't orchestrate classically (as in, built from the foundations of harmony) as I don't tend to write music based on those foundations. My orchestration is done through understanding of the physics of sound. For instance (and apologies for linking to my stuff on your thing: https://soundcloud.com/vince-giles/a-glimmer-of-foresight)

Great piece.  Definitely dig that modern composition vibe. 


Jim Wood wrote:

Ah, Henry  Brant -- his music was popular in the school I went to. I tried the Piston book on Orchestration, but got most of my info working for Morton Subotnick.

Worked for Morton Subotnick??!

You seem to be doing very well with your orchestration!


rdomain wrote:

Great piece.  Definitely dig that modern composition vibe. 


Jim Wood wrote:

Ah, Henry  Brant -- his music was popular in the school I went to. I tried the Piston book on Orchestration, but got most of my info working for Morton Subotnick.

Worked for Morton Subotnick??!

You seem to be doing very well with your orchestration!

Yeah, him and Joan LaBarbara, off and on from 1986 - 1998. A real education.

Jim Wood wrote:
rdomain wrote:

Great piece.  Definitely dig that modern composition vibe. 


Jim Wood wrote:

Ah, Henry  Brant -- his music was popular in the school I went to. I tried the Piston book on Orchestration, but got most of my info working for Morton Subotnick.

Worked for Morton Subotnick??!

You seem to be doing very well with your orchestration!

Yeah, him and Joan LaBarbara, off and on from 1986 - 1998. A real education.

Nice.  What work were you doing with him?

Jim Wood wrote:

Nice.  What work were you doing with him?

Delivering equipment (in 1986 he'd been sponsored by Yamaha to promote their DX line) to concert venues, transcribing his hand-written scores onto computer, graphic design & production for the Voyager CD-ROM "All My Hummingbirds Have Alibis."

In the 80s, we had to deal with c. 400 pounds of synthesizers, sequencers & mixers in Anvil cases; the last time I saw him working, he was using Metasynth on a laptop smile

Apologies to TateCarson for using his post as a chat room smile

It's totally fine, I'm actually trying to encourage this with my long piece explanations. 

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