What have you composed for? Or what medium do you work around?
Television, Web
Experimental film using Planetside game environment. our objective was to go far beyond the typical gaming video and create an actual movie with characters and plot. Music and post by yours truly.
"Ann - This is all from action inside a video game, so no cameras involve. I used FRAPS to capture video while my friends played out the action inside the game.
This is our latest trailer.
"
This is our latest trailer.
"
"I am curious about the video format. What kind of cameras did you use? When can we see some it? :)"
"That is a great idea! I am actually a film maker as my day job now, and as such get to write music for my films :)"
"I also disagree that 9/8 isn't the same as 4.5/4. You can have ANY phrasing, ANY implied way to subdivide the bar in ANY time signature. There are conventional things to do in particular time signatures, but you do not need to do them. While…"
"Phil-
I know what you mean. I'm actually not too far behind you and my low IQ days are becoming more numerous and my need to use IMDB to remember "what's his/her name from that movie back in...""
I know what you mean. I'm actually not too far behind you and my low IQ days are becoming more numerous and my need to use IMDB to remember "what's his/her name from that movie back in...""
"Thank you to Tom and Thomas for some really insightful points there - gave me lots to think about. The point about "world music" is a good one. Arguably it is having a huge influence on Western styles now, and probably nowhere is that more evident…"
"Check out Luciano Berio's essay "Meditations on a Twelve Tone Horse" if you get the chance. A classic in the literature. It compares twelve tone composition to fascism."
"I was thinking about the same topic and wrote a piece called "The Emancipation of the Consonance" for String Quartet. Schoenberg's famous "emancipation of the dissonance" went on to enslave many a composer. Meet the new boss same as the old boss,…"
"OK, when you say you're routing MIDI to an audio track, I'm not sure exactly what you mean. Are you routing it to some kind of virtual instrument or an actual audio track?
Deborah Young said:Michael:Thanks for your response. Here are answers to…"
Deborah Young said:Michael:Thanks for your response. Here are answers to…"
"Thanks for the bump on your MS page! BTW, how do I set one one of those up? I have a personal page (and joined yours as a fan.) but would like one where I can post my tunes and such.
-MJL"
-MJL"
"When I first heard "Birth of Cool" from Mikes Davis. I hated it. I tried to like it I listened to it every day for a month hoping it would sink in. it didn't. I loved his later work I loved his later work. I hated the entire "Birth of Cool" album…"
"Great! Really got goose-bumps!
Chris Alpiar said:actually i found that Don Ellis tune on Youtube:https://www.youtube.com/watch?v=WSW-YXUw1PYpretty cool how smooth yet absolutely 19/8 this piece is"
Chris Alpiar said:actually i found that Don Ellis tune on Youtube:https://www.youtube.com/watch?v=WSW-YXUw1PYpretty cool how smooth yet absolutely 19/8 this piece is"
"Thanks again! Your explanation lightened up one (or more) of my blind spots. I'm experimenting on non-binary rhythms by using numerical sequences. And I have momentarily the problem of finding adequate time signatures. I hope I see more clearly now.…"
"9/8 is commonly used as a compound time signature, that isn't in dispute, we're all aware of how it's used as a triplet version of 3/4. it just doesn't have to be used that way, and there are plenty of examples of pieces where it is not.
6/8 is…"
6/8 is…"
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Greetings Michael,
I like Final Voyage. it is very well written and moves very well. Thanks so much for sharing.
Very best,
Larry Elliott
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
Fernando
I checked and I DID add my feelings about Ms Portmans comments about film scoring training on Feb 5th.
Just checking -when one gets to my age, you usually acquire a bad case of CRS* syndrome....
* cant remember s**t !
-MJL
Thanks
http://www.facebook.com/#!/pages/Fernando-Alvaro-Vazquez/446314630401?ref=ts
"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.
basic story -far less work, too many project shop composers, runaway work.
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