Heard your composition "My Museum" on here tonight. So lovely! And inspirational, I might add. I'm currently working on a score for an independent feature film that touches strongly on jazz elements. Thank you for sharing your music here; it both inspires and encourages.
Thank you, Mr Kelly ! I'm really honored you accepted my request. I've listened to the work you've posted here, and I can't tell you enough how much in awe I am of your abilities. I even told my wife I was afraid you wouldn't bother with the likes of me... My stuff isn't really any good, as of yet, but I intend to keep working on it. I'm TRYING to break away from old styles, and to develop much better mixing skills... I'm also completely self-taught, and thereby am more than a little lacking in some of the other fundamentals... But thanks so much again for accepting my request ! It means a lot to me.
thanks for your nice comment. Sorry i didn't reply back any sooner.
At the moment i'm more focus t on Orchestral based like music. I need to get more different styles into it.
It is more sound design what i do right now. I'm busy to score a movie which was made just after the second world war.
So there is no sound at it. I have to build up from scratch, sound and music, and i love to do that.
Here in Holland it is very difficult to get grip onto the business. But slowly getting into it.
What i love to do is make a living out of scoring and composing (but i guess a lot of us want that too).
Rainy days (like today) are filled with colors (so i can lock my self up in my studio haha).
And sorry for my bad English.
I've always appreciated the work of Arrangers like yourself who can transform a basic tune into a full blown production piece. Frank Sinatra was so lucky that he fell into the arrangers he was associated with like Mr. Riddle, Mr. May, Mr. Jenkins (who started out playing banjo a plucked instrument, there's hope for me???), Don Costa, and a few others. I read about them in the fine book by the late Gene Lees called "Arranging the Score". Good health to you and keep up the good work.
Sonofagun your arrangements sound like they were done by Nelson Riddle and Billy May cloned. I'm mainly a song writer and a novice in arranging myself. I've been studying the arrangements of others for awhile and although I haven't had any formal training I'm plugging along. Keep up the good work.
Phil, I have a question. Being a veteral professional, I'm sure this is a novelty in your existance - questions from avoctional composers. But something tells me you know lots of stuff, so here goes. ;)
I read recently in an interview with Rachel Portman that too many composers today simply are not trained for the craft. She says something to the affect that in the old days, composers were trained to actually compose.
No,w I've studied a lot of stuff and something I've always wondered about is the simple fact that there isn't an actual body of work which directly addresses the craft. We have plenty of firmly established standards in describing various tools - counterpoint, harmony, orchestration. But nothing that really says "this is how to swing a hammer". Rather we are referred to others who have done it and are told to analyze their work. That's like looking at a house and trying to glean the procedure for framing a wall.
And then I read her comment and thought "Training? What training? Where?" So my question to you: what are the elements and procedures of the of actual training for a composer that you think she might be alluding to?
First of all, most of whatever TV music there is these days is done in home project studios by one guy ( or with only occasional overdubs ). Next, the number of movies that are scored with live players have decreased ( both due to stylistic choices by producers to employ less live scoring ( read costs ) and runaway production to European sources when the life work is required. Add to that the demise of live TV using musicians ( other than AI and the dancing contest show, and the small bands on late night TV, name any live gigs. )
The upshot of all this is that first call guys that used to be busy on sounstages
recording movies are now forced into going back to playing theatrical pit shows
and /or doing college residencies and clinics ffor money to pay the freight on the mortgage, etc.
Sorry Phil, I think we got our wires crossed. I wanted to know if you would like me to reproduce your 2 minute contribution to Chris Merritt's project, as you said that the Finale soundfonts were very poor.
And yes, Phillip Glass's operas were a joke, although his violin concerto has some nice moments