Michael J Lawrence posted a video
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.
Jan 7, 2012
Michael J Lawrence commented on Michael J Lawrence's blog post How to get a film scoring gig - make the film!
"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.  
 "
Aug 22, 2011
Ann Rodela commented on Michael J Lawrence's blog post How to get a film scoring gig - make the film!
"I am curious about the video format.  What kind of cameras did you use?  When can we see some it?  :)"
Aug 18, 2011
Neil Bruce commented on Michael J Lawrence's blog post How to get a film scoring gig - make the film!
"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 :)"
Aug 16, 2011
Streaker Ofinsky replied to Michael J Lawrence's discussion Time signatures and measure bars - do we really need them?
"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…"
Aug 11, 2010
Michael J Lawrence posted a video
My entry for the TCM young composers contest in 2001
Aug 10, 2010
Michael J Lawrence left a comment for phil Kelly
"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...""
Apr 25, 2010
miketorr commented on Michael J Lawrence's blog post The great dissonance hoax
"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…"
Mar 12, 2010
Tombo Rombo commented on Michael J Lawrence's blog post The great dissonance hoax
"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."
Mar 11, 2010
Tombo Rombo commented on Michael J Lawrence's blog post The great dissonance hoax
"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,…"
Mar 10, 2010
Michael J Lawrence replied to Deborah Young's discussion Reaper, Korg and VSTis
"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…"
Mar 1, 2010
Michael J Lawrence left a comment for Michael J Lawrence
"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"
Mar 1, 2010
Mike Chrylser commented on Michael J Lawrence's blog post The great dissonance hoax
"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…"
Feb 22, 2010
Rudi [Rudolf Schmitt] replied to Michael J Lawrence's discussion Time signatures and measure bars - do we really need them?
"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"
Feb 18, 2010
Rudi [Rudolf Schmitt] replied to Michael J Lawrence's discussion Time signatures and measure bars - do we really need them?
"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.…"
Feb 17, 2010
Jesse Boley replied to Michael J Lawrence's discussion Time signatures and measure bars - do we really need them?
"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…"
Feb 17, 2010
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Comments

  • 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

  • Thanks Michael - I think it's a good exercise to try and do certain "style" orchestrations. It's been helpful for me anyway. Good writing - Ryan
  • Michael - checked out your music here. Really enjoyed some of your transitional material in Final Voyage. Some nice dynamic work there. Cheers!
  • Michael :

    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 !
  • 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
  • Martin - I couldn't agree with you more in your blog. Thank you for shedding a true light on today's music. If you don't mind, I have posted your blog on my facebook fan-page.

    Thanks
    http://www.facebook.com/#!/pages/Fernando-Alvaro-Vazquez/446314630401?ref=ts
  • 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....
  • Mike:

    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.
  • sorry - somehow my comment vanished.

    basic story -far less work, too many project shop composers, runaway work.
This reply was deleted.