Hi guys,

I know Synthestration is officially over, but I'm still trying to catch up with the work I had not done (at the time it was too difficult for me, on top of other classes).

Last class, I lent Ed my only copy of the sketches (Farewell to the King and Bucket Race), but forgot to get it back from him, and am now unable to finish my version.

Could anyone scan a copy of theirs and send it to me, or bring a copy to Film Scoring I today?
I would greatly appreciate it. My email is renatamellao@hotmail.com

Thanks again.

R

Finals...

Here's the best I could do with my tracks:

Film Scoring I:
Rat Race Cue

Strings:
I posted it to my myspace music page (non-film scoring related).
Serenade for String Quintet

Anyone else pick up their CDs yet? Some mixing was definitely called for in order to get it to sound a bit better.

Robot From HELL!!

What the heck. Bruce Broughton made this as difficult as possible just to mess with us. Case in point: Violin I @ mm. 88 & 89. It's the same measure repeated but he uses D# instead of Eb the second time for no apparent reason. On top of that, doesn't measure 89 look like the strings have 4 beats? It should be 3/4 there. UGH!!!!

Rat Race

I'm having a hard time seeing the "western" in this clip. Anybody else? The actual clip for this scene bounces back and forth between a waltz and an opera.

Rat Race Cow Scene

FTP question

Hi everyone.

I updated Transfer, the program I use to best access and download from Ed's FTP, and somehow lost all the user info I had saved in my favorites. I can't remember the site name, or the password Ed gave us (was it UCLA?) and would appreciate it if someone could send these to me so I can access the files needed for our assignments.
Thanks for your help.

R

Synthestration . . . .

I know this is a dumb question, but what's the assignment for this week?

I know the "Robots" cue is due in the last class-- when is "Ice Age" supposed to be finished? What about the one-line sketch-- is that for this week?

Thanks,
Evan

Sync

Dear All

Can anyone give me insight into syncing the Ice Age movie so that the movie itself starts at Bar 1.. At them moment there is so much backroll that, by the time the  snow appears, I'm at bar 11 or something...   The manual hasn't been too much help...  Thanks for any help you can give with regard to SYNC, SYMPTE TIME CODE and ....

Steve

Synthestration Update

Hi all,

For those in Synthestration class: I didn't make it to class last Saturday. I wrote to Ed to try and catch up, but it doesn't look like he has the time to answer; I would greatly appreciate any updates on the class from anyone.

What did Ed talk about? Was there any new technique or information that may come in handy?
About our next assignment: are we supposed to write a cue for "Spirit"? Are there any details I should keep in mind?

Please get back to me when you can.
Hope everyone is doing well.

Beowolf

OK, I have no idea what I am supposed to do with this. Any hints? It looks like the mp3 might be the same as the score, but I wanted to check.

audio without temp track

Does anybody know how to get the diologue without the temp music as an audio file?

thanks

Steve

Scary Sax

Can anyone else confirm the movie's audio cuts out at 1:04? Very strange.

BP Frame Rate

Hello Y'all

Thought I would get the back and forth going early in the week on this one... 

So what is the frame rate on this one?  I remember somebody asking in class, Ed making a joke and then .....  ?

looking forward to the thread..

Steve 'Night Moves' Day

Walker Chicken Scratch

This is so hard to read. Would I be correct in assuming the accidentals carry over from measure to measure even though they aren't notated? So hard to tell.

Film Scoring I - Strawberry Shortcake

How are we all doing on this 1st assignment? I feel like mine is the gearing up to be the cheesiest piece of music ever written. But then again...it is just a girl getting a cupcake.

New Quarter, Negative Time!! Film Scoring I Homework

The new quarter s underway and there hardly seems to be a moment to spare!

It looks like out SIbelius/Finale class over the summer is going to be extensively used in Synthestration, Film Scoring I, and Strings. As for the Film Scoring I homework, does anyone have an idea as to how many hit points we should cram in for the minute and 19 second clip?

Everyone's Next Quarter Schedule

Who's taking what???

From Renata:
"I just wanted to ask what classes everyone is taking next quarter.
Joe and I are taking Film Scoring 1, Synthestration and Writing for Strings (with Norman).
Aaron is taking Film Scoring one, and I believe the "how to" guide lectures, and I'm not sure about the third one. Sarah, are you taking any classes in September? Anyone else?
R"

Orchestration - Real People!!

Sorry I haven't been keeping up. These last few assignments have been real killers. Did Norman say we do or don't need to write in bowing for the strings?

This harpy is killing me

Is anyone finding luck with #2 on the Orchestration homework? I began with something like:
---|^-^^ (minus sign means natural)
but everything kind of goes to heck at the 4th chord. I don't know if I exactly feel right omitting a note to make it playable-it kind of seems like cheating. Speaking of cheating, I put this in Sibelius and the least amount of changes I could get 2a down to was 8. And that's with 2 on the same foot before the 3rd and 4th chords.

Does anyone have any suggestions of notes to omit to make this a little nicer? Are 2 moves on one foot forbidden or just not advised?

The Poulenc PIece

I downloaded it off iTunes. Have any of you listened to it? It's like a million miles an hour! I'm sure I can get Finale to do it but Aaron, is this really a piece that a percussion ensemble would play??

Hello Fall Courses,

goodbye bank account.

Advanced Orchestration: $1,595
Film Scoring I: $1,595
Anatomy of a Film Score: $550

Ouch.

Mandatory Viewing

Or it should be...



From Netflix:
Some of the world's greatest composers and directors discuss the important link between music and images as they explain how to create a movie score in this documentary featuring Francis Ford Coppola, Spike Lee, Terence Blanchard and many others. A score can make -- or break -- a film, and these veteran filmmakers and composers share some of the secrets of their craft and show how music can dramatically affect the impact of a scene.

Orchestration - Brass Arrangement

pg 104-105

Sibelius Week 4

Is the homework really as easy as it seems? Create SATB for Frere Jacques then copy and paste in the lyrics? I hope so because I just found out I can't save with my Sibelius and will have to re-do it before class on Monday.

Orchestration - Week 4 Homework

Page 69 in the Orchestration Workbook. Arrange Debussy for 5-String Quintet, Oboe, and Bassoon.

Tonal Harmony - Week 4 Homework

Any questions or comments, put em here! Let's all go to the Hollywood Bowl on Thursday!

Tonal Harmony - Extra Credit

Analyze this score:

Sibelius - Homework #3

Tonal Harmony - Week 3 Homework

Did anyone get a good chord for measure 28 of the Well Tempered Clavier? That G is along for the ride from the last measure but how does A7-dim fit in with the analysis? And is it still A7-dim even though it's written with an F# instead of a Gb?

Orchestration - Week 2 Homework

Are we to make up our bowing/ties/accents/and dynamics as we see fit for #4 and #5 in the workbook? It's not a very uh...musical piece of work (to my ear at least) so the accents and dynamics seem like they can pretty much go anywhere.

Also, Norman mentioned that we shouldn't score by hand (unless we have beautiful calligraphy) but does using Sibelius/Finale kind of defeat the purpose of transcribing from one clef to another?

See ya'll Monday,
-Joe

Welcome.

Blogs are the new bulletin board. I hope this might be a good forum for all of us potential film scorers to get help/clarification/pose questions to one another. I'll get started with...