So I decided to score the fantasia 2000 Firebird segment with my own score for training/learning and because the imagery is just too beautiful to pass. I got very curios how I would do.
Structurally, I had to acknowledge all things that were acknowledged by Stravinsky's score mostly in the same manner and I did a lot more acknowledgments that weren't in the original score.
I'm so used to it now that I'm not sure how I did so I'm counting on everyone's opinion if it works or doesn't!
I hope you all enjoy it!
You hit most, if not all, the major and minor cues in the film perfectly, or at least close to perfect.
I also really liked how you didn't take the idea of motifs and themes for character literally but we still had an idea of who was on the screen by instrumentation.
The only problem I had was mainly orchestration. I felt that it lacked power in some scenes and lack intimacy in other.
The beginning for example, I felt that it didnt reflect as best as it could the intimate interplay between the deer and mother nature. More solo lines carried in the woodwinds would really help in the part and less strings and maybe no brass (except for maybe a single horn). That would give the sense of intimacy and help make the other scenes that much more powerful.
The firebird scene and the ending scene, I felt, needed some power. what you wrote was great but I felt that we didnt hear everything you wanted to say. A tip I learned at a film scoring workshop to give power to an orchestra without sacrificing sections is this:
Woodwinds only if you need to bring the orchestra down a few dynamic (like section where it suddenly goes piano)
MUCH MUCH more brass
and a very special was of scoring strings as followed: 1st and 2nd Violins play in Unison in a high register, Viola plays an octave below the violins, basses and cello play either their own bass line and/or double with low brass.
It sounds crazy but it works like a charm and you will be able to hear every thing.
Other then that, everything was very good. You musical ideas matched what was on the screen and you didn't sacrifice your own ideas. You obviously are very sensitive to what is on the screen and I appreciate that you actually used an piece of film and not just randomly wrote a piece and called it film music. Very good.
Douglas Edward, thank you for your complement! glad you liked it!