orchestra piece - Page 6

the recordist · 2nd May 2010

Quote:

Originally Posted by siloo

Upon reading the opening to this thread, I've succumbed to a weird mixture of emotions. Rarely have I ever been so simultaneously amused, offended, shocked, and entertained by such a God-awful proposition.

Are you serious???? Really????

I think I might actually print this out and hand it out to the players at my next orchestral session. They would get a serious kick out of this. Oh, and of course, I will leave the original spelling in there for that extra added value...

BTW, please submit a recording of your first "arrangement". I can't wait....

wow!....a snob are we? Look everyone, Mozart is back with tales of adventure!....lighten up CUZ!....I know you're a god but some of us can't know everything...If you knew everything you'd know that's the point of asking questions...

A little advice to the poster from a modest musician...If you have good ears/passion for melody then the rest is just trial and error...yeah it's helpful to know some technical things and terminology, and it may take yrs to get scoring right...but if you stay interested and involved in it, you will pick that up along the way anyhow...but in the end all the knowledge in the world can't buy talent...you've either got it or you don't, and you know if you've got it or not...just remember, everyone's a critic and most people suck, especially insecure know it all holier than thou musicians who can't remember when they were the one asking questions...everyone has to start somewhere...Except Mozart up there born on a cloud of enlightenment made of magic...good luck

subby33 · 3rd May 2010

Quote:

Originally Posted by the recordist

wow!....a snob are we? Look everyone, Mozart is back with tales of adventure!....lighten up CUZ!....I know you're a god but some of us can't know everything...If you knew everything you'd know that's the point of asking questions...

A little advice to the poster from a modest musician...If you have good ears/passion for melody then the rest is just trial and error...yeah it's helpful to know some technical things and terminology, and it may take yrs to get scoring right...but if you stay interested and involved in it, you will pick that up along the way anyhow...but in the end all the knowledge in the world can't buy talent...you've either got it or you don't, and you know if you've got it or not...just remember, everyone's a critic and most people suck, especially insecure know it all holier than thou musicians who can't remember when they were the one asking questions...everyone has to start somewhere...Except Mozart up there born on a cloud of enlightenment made of magic...good luck

I felt the exact same way as you after reading this threAd. Snob central in here. Totally uncalled for.

I also agree with your sentiments on talent. You got it or you don't. Passion as well.

jrubbernek · 7th May 2010

thanks guys

saovi · 7th May 2010

I sincerely applaud you for trying to do this - no time like the present to learn this essential art form. That said, lets look at it clearly: arranging is not painting by numbers. Many arrangers who constantly are working are also seriously talented. (And a note to one arranger in particular: although I can see some of your points, there is need to discourage others from trying it or ridicule those expressing an interest in it.)

Please know however that you're in for a lot of competition. You'll need to be prepared - its not like the 80s where a synth pad would suffice for dance material. I won't lie to you. To even show up on the map, there is a monumental amount of homework involved beforehand in arranging, orchestration, scoring, learning the intricacies of midi mockup, collecting the best sample libraries to realize your dream plus the computer hardware necessary to run it.

Realize too that Danny Elfman - although a neophyte in film scoring initially, was surrounded by a venerable team of orchestrators, arrangers and music producers when he broke into film scoring. Most go at it alone though so you have to wear a lot of hats. Still want to do this?

Good luck.

n8tron · 7th May 2010

I'd highly suggest picking up a beginners book about orchestration. This will familiarize yourself with the instruments and give a you a base of knowledge to start. From there I'd suggest taking a class on composition and arranging. It will simply be the fastest and best way to learn what you want to know, and you can also avoid the attitudes of a public forum. No one here is really going to be enough help anyway.

Anyone who tries to belittle someone for wanting to learn something should never have children... Please ignore them.

About the argument of writing music... people see the word writing and immediately relate it to pen and paper. However music is sound! If you sit at a piano and play a specific set of notes with specific rhythm you have "written" a piece of music. The act of getting it on paper is just a way of communicating the music and having a concrete way to remember what you played.

Ethan Winer · 7th May 2010

Quote:

Originally Posted by n8tron

Anyone who tries to belittle someone for wanting to learn something should never have children.

I nominate this for quote of the week.

--Ethan

Sqye · 16th September 2011

Quote:

Originally Posted by rack gear

Interactive Frequency Chart - Independent Recording Network

.

Great chart.

Thanks for that!

.

Xill · 16th September 2011

Start listening to all:
Bach, Mozart, Beethoven, Brahms, Schumann, Schubert, Wagner, Debussy, Bartok, Stravinsky, Tchaikovsky, Shostakovich, Mahler, Stravinsky, Bartok, Ligeti, etc

With the scores, and then you should have the basic idea of how it works. The most important is to have heard a vast repertoire and developed an hear to appreciate the subtleties. Of course then you have to at least read a good reference volume on musical form, history and orchestration; not that they will tell you how to write either.

But yeah, seems like a ridiculous thread; but anyone that is seriously dedicated about it can do it. There is a sacrifice to make in what relates to time (every day and on the long run). I agree to the other guy who said 2 decades. One to learn to write something good, and another to write it. that doesn't mean that it's not worth it from the begining however; good ideas are still worth hearing.

I've been at it for over a decade and, after a few orchestra pieces played and more not played, I still feel the orchestra is an unpredictable world, it always behave differently depending on the music that you feed it.

Oh and even if you write something good the orchestra may still play your music like crap because they have been made to hate new music.

7th May 2010	#154
saovi Lives for gear Joined: Mar 2009 Posts: 712	I sincerely applaud you for trying to do this - no time like the present to learn this essential art form. That said, lets look at it clearly: arranging is not painting by numbers. Many arrangers who constantly are working are also seriously talented. (And a note to one arranger in particular: although I can see some of your points, there is need to discourage others from trying it or ridicule those expressing an interest in it.) Please know however that you're in for a lot of competition. You'll need to be prepared - its not like the 80s where a synth pad would suffice for dance material. I won't lie to you. To even show up on the map, there is a monumental amount of homework involved beforehand in arranging, orchestration, scoring, learning the intricacies of midi mockup, collecting the best sample libraries to realize your dream plus the computer hardware necessary to run it. Realize too that Danny Elfman - although a neophyte in film scoring initially, was surrounded by a venerable team of orchestrators, arrangers and music producers when he broke into film scoring. Most go at it alone though so you have to wear a lot of hats. Still want to do this? Good luck. __________________ SaOvI \| mUsIc

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7th May 2010	#153
jrubbernek Gear maniac Joined: May 2009 Posts: 284 Thread Starter	thanks guys

7th May 2010	#155
n8tron Lives for gear Joined: May 2006 Posts: 1,115	I'd highly suggest picking up a beginners book about orchestration. This will familiarize yourself with the instruments and give a you a base of knowledge to start. From there I'd suggest taking a class on composition and arranging. It will simply be the fastest and best way to learn what you want to know, and you can also avoid the attitudes of a public forum. No one here is really going to be enough help anyway. Anyone who tries to belittle someone for wanting to learn something should never have children... Please ignore them. About the argument of writing music... people see the word writing and immediately relate it to pen and paper. However music is sound! If you sit at a piano and play a specific set of notes with specific rhythm you have "written" a piece of music. The act of getting it on paper is just a way of communicating the music and having a concrete way to remember what you played.

16th September 2011	#158
Xill Gear maniac Joined: Jun 2011 Posts: 214	Start listening to all: Bach, Mozart, Beethoven, Brahms, Schumann, Schubert, Wagner, Debussy, Bartok, Stravinsky, Tchaikovsky, Shostakovich, Mahler, Stravinsky, Bartok, Ligeti, etc With the scores, and then you should have the basic idea of how it works. The most important is to have heard a vast repertoire and developed an hear to appreciate the subtleties. Of course then you have to at least read a good reference volume on musical form, history and orchestration; not that they will tell you how to write either. But yeah, seems like a ridiculous thread; but anyone that is seriously dedicated about it can do it. There is a sacrifice to make in what relates to time (every day and on the long run). I agree to the other guy who said 2 decades. One to learn to write something good, and another to write it. that doesn't mean that it's not worth it from the begining however; good ideas are still worth hearing. I've been at it for over a decade and, after a few orchestra pieces played and more not played, I still feel the orchestra is an unpredictable world, it always behave differently depending on the music that you feed it. Oh and even if you write something good the orchestra may still play your music like crap because they have been made to hate new music.