Michael - I just read your message. And I want to thank you for your comments on my music. I am really thankful that there is someone there that can read deep into the structure of my art...and understand my music language for what it truly is....a work of passion....many have and continue to be fooled, either by academia....or their snobbish peers...and continue to attempt to revolutionize music through logical, yet sterile sounds....music is revolutionary in nature....and as such, it must always evolve...it's just a question of where and how it evolves ...I don't see much of a future for atonality and/or serialism....not so much that it already is difficult for the common ear to understand, but more from the standpoint that it does not relay in any way, shape, or form any structured, poetic message from the composer to the listener....it cannot....because it is not founded on those principles.....Thank you again.....I really enjoyed your works as well....I will keep on listening....Best to you
Thanks for your comment Mike.
"Morning" is effectively different from my other stuffs. I finally decided to learn to play the piano and it changed manythings. First I became more interested in the melody. I you listen to my others pieces, you will find that the're generaly written aroud a rythmic pattern with variations around.
This is not the case with "Morning".
Also, I am a little bit tired about Epic cues.... Big drums and big horns and big sound...
With the EWQLSO Gold, it's quite easy to obtain. But morning was much more difficult to me becouse, I had to find a melody which is more complicated than finding a rythm.
Hoooo I'm still writting Epic Cues, but I will now try other styles....
I think the main thrust of what Ms. Portman is saying is unfortunately true. Many of todays "composers" have not had any formal music compositional background and as a consequence have relied on the increasingly available project srudio tools as a substitute for real musical training.
The second point ( writing for film ) requires a whole separate set of skills : relating to the dramatic aspects of the score, writing under dialog, communicating with other non musical film professionals -directors, editors, producers, etc. In the old days, you got into the business by learning as you go , doing small films until you ( with any luck ) got into bigger projects, apprenticing with a working composer to learn the basics.
Today, there are several schools around the USA
( particularaly the Film Scoring program @ USC) that address some of these basics in an academic setting, but in the end, one still has to go out and actually "score"
actual films to put your book knowledge into perspective.
Yes, because by just listening to the intervals isnt enough to determine what the interval is. A diminished forth sounds just like a major third because a diminished fourth is enharmonically equivalent to a major third.