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Hi All,

This is a short orchestral interlude between two scenes in Act 1 of my opera, Everything Is Possible.

John

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Thanks, MM!

MM Coston said:

This is enjoyable, John. The music seems to be telling a story and, of course, I try to imagine what that story might be. Given that its within a stage production, I imagine stage lights telling the story by shining on different portions of the set (as a sort of artsy substory or visual narration). I say this because when music causes my imagination to run wild as this music has, its a sure sign to me that its what I consider good music.

This is intriguing John...I'm hearing potential. Could you set the stage just a bit and put a frame around it?

Thanks, Jon.  Yes, definitely a transitional piece!

Roger, the rough outline of the plot to this point (we're still in Act 1) is that we've been introduced to the female lead, a strong, quasi-mythological heroine.  In the prior scene, she has just met the male lead, a much more down-to-earth character, on the side of a mountain.  They sing a love duet in which both are enamored by the idea of the other. That scene ends with her compelling him to jump off the cliff in his wingsuit.  Blackout.

The intervening music here is intended to represent the beginnings of their relationship, but also, at the end, foreshadow the "birth of their business idea" which will happen in the following scene.  The curtain opens again ~2:07 and we are now in the couple's shared living room (time has passed), with the male lead alone thinking fondly about her and their relationship.

Hi John, I really like this a lot! Nice, how you melt in some dissonances without completely loosing the grip on (consonant) harmonic progressions.

If this would be my composition I would probably work on two things:

1. I‘m not sure about some of the trills (in the beginning, mainly)

2. I would try to obfuscate the rhythm more, for instance from 1:00 to 1:30 there could be another voice layered in, using a different phrasing or tempo, that creates a nice rhythmic illusion so the listener gets a bit unsure about the beat and measure.

Anyway, nice work, I am going to listen to the other parts, but boy you got a lot of music on your SoundCloud, so there is much to discover:)

Thanks, Timo.  Can you say more about what you mean by "not sure about some of the trills"?

Timo Schuemer said:

Hi John, I really like this a lot! Nice, how you melt in some dissonances without completely loosing the grip on (consonant) harmonic progressions.

If this would be my composition I would probably work on two things:

1. I‘m not sure about some of the trills (in the beginning, mainly)

2. I would try to obfuscate the rhythm more, for instance from 1:00 to 1:30 there could be another voice layered in, using a different phrasing or tempo, that creates a nice rhythmic illusion so the listener gets a bit unsure about the beat and measure.

Anyway, nice work, I am going to listen to the other parts, but boy you got a lot of music on your SoundCloud, so there is much to discover:)

Did you write a score for this, or is it computer produced? Is it intended to be performed by live musicians.

I have my rough draft Finale score.  It's scored for a standard orchestral forces.

Yes, it means I would probably want to change the trills from 0:04 to 0:20. I can’t say what I would exactly do to them but I would probably try to change the notes of the trill until I find some trill intervals or ostinato I like better... 

Also they come in pretty rough, I would try to blend them in more smoothly, maybe going from ppp to mf for example. 

That is just my taste and what I would do, of course, and it is not bad or anything the way it is. 

John Driscoll said:

Thanks, Timo.  Can you say more about what you mean by "not sure about some of the trills"?

Very atmospheric John with a lovely sense of line and mood - great harmony too. Love the crescendo and the seductive resolve. Your language feels highly appropriate for its medium.

Out of interest, when programming, do you automate the release? I ask because some of the ends of phrases sound a little cut off and un-natural.

Thanks for listening, Mike, and calling out the automation.  Did you mean the string chords near the end or a different part?  I did some volume automation for those string chords, in the interest of realism, but realize I made the opposite effect.

BTW, no added reverb here.  Just Spitfire close and tree mics!

I'm looking forward to hearing the entire work.

Will this segue into the next scene, or is there a break? (Just curious)

I'm slowly working my way through the other scenes and interludes you have so far and they are all very good.

Hey Tim,

Thanks for listening.  It all segues (until the end of each act, of course).  Unfortunately, the early stuff is in more sketch mode (also different sound library), but I'm working on it...  Who knew writing an opera would take so long??

John

Tim Marko said:

I'm looking forward to hearing the entire work.

Will this segue into the next scene, or is there a break? (Just curious)

I'm slowly working my way through the other scenes and interludes you have so far and they are all very good.

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