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Post by Mike Hewer on Aug 24, 2018 7:27:52 GMT
Teoh, Don't worry about the break, players overcome that sort of technicality and besides, the actual break is from bflat to b natural. I hear your opening theme on the clarinet quite naturally and I also believe that given the expressive nature of it, you should keep it solo. If I was arranging it, I'd go to the clarinet as the timbre suits the emotion imv. If you want to, have a listen to one of my pieces also in Gminor that has 1 and then 2 clarinets in thirds in exactly the range your theme is in. Listen to the first piece on the page, it's called AT&T 'Belly Buttons' linkWhat a lovely piece! Brings to mind some of Joby Talbot's orchestrations for Neil Hannon/The Divine Comedy, and of course Ratatouille and Amelie because that's the fate of accordions in music. Or is it a concertina? Thanks Dave. The brief was Amelie as was virtually every other brief for a while back then, such was the influence of that great score. It is actually 2 accordions along with 2 clarinets, a sampled harpsichord and a medium sized string band. That was the only session I can recall where there was a brief discussion about the bowing I'd marked in. In the end it was changed slightly and as a result, contributed a much easier fluency to the phrasing. It'd probably be instructive to see the differences, but the score is pre NS, the altered parts are now lost and I'm buggered if I can remember what was changed.
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Post by Dave Dexter on Aug 24, 2018 17:29:41 GMT
What a lovely piece! Brings to mind some of Joby Talbot's orchestrations for Neil Hannon/The Divine Comedy, and of course Ratatouille and Amelie because that's the fate of accordions in music. Or is it a concertina? Thanks Dave. The brief was Amelie as was virtually every other brief for a while back then, such was the influence of that great score. It is actually 2 accordions along with 2 clarinets, a sampled harpsichord and a medium sized string band. That was the only session I can recall where there was a brief discussion about the bowing I'd marked in. In the end it was changed slightly and as a result, contributed a much easier fluency to the phrasing. It'd probably be instructive to see the differences, but the score is pre NS, the altered parts are now lost and I'm buggered if I can remember what was changed. They questioned you? Ingrates! Do you recall the length of session, was it all one take, yadda yadda... such things interest me. The Amelie guy had a great gig. I looked him up today, turns out the director just loved all his solo material after hearing it by chance and shoved in as much as he could, along with some new ones. I need to find a director who loves my work enough that he bends the very film around it - I think they're rare though.
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Post by fuguestate on Aug 24, 2018 17:52:59 GMT
Thanks for the advice, Mike. I was actually thinking of using the solo Cl only from the end of m.2 to m.4. Not sure what to do with the rest of the phrase until m.6, currently considering continuing with the Cl but add first violins at the end of m.4, and maybe some other combination for the last 7 notes of the phrase (probably drop the Cl and let the strings take over in the diminuendo).
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Post by Mike Hewer on Aug 25, 2018 5:30:11 GMT
Thanks for the advice, Mike. I was actually thinking of using the solo Cl only from the end of m.2 to m.4. Not sure what to do with the rest of the phrase until m.6, currently considering continuing with the Cl but add first violins at the end of m.4, and maybe some other combination for the last 7 notes of the phrase (probably drop the Cl and let the strings take over in the diminuendo). I'd give the clt solo a much longer solo. Too much change too early on might mitigate against your theme. Start simply as indeed the piece does and let the sound establish itself and breathe, there is plenty of time to develop timbre.
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Post by Mike Hewer on Aug 25, 2018 5:41:35 GMT
They questioned you? Ingrates! Do you recall the length of session, was it all one take, yadda yadda... such things interest me. The Amelie guy had a great gig. I looked him up today, turns out the director just loved all his solo material after hearing it by chance and shoved in as much as he could, along with some new ones. I need to find a director who loves my work enough that he bends the very film around it - I think they're rare though. The session was an hour in the Beatles studio at Abbey Rd. It was nailed by the second take I think, but we did another and that was the print. We then had to do another track, completely different for the same ad campaign. All in all, I think we were done in 30-40 mins or so and I was regretting the fact that I didn't have one of my own pieces for them to play (one that wasn't being paid for by a client that is). Then, it was beer in the bar.
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Post by Dave Dexter on Aug 25, 2018 17:04:27 GMT
The session was an hour in the Beatles studio at Abbey Rd. It was nailed by the second take I think, but we did another and that was the print. We then had to do another track, completely different for the same ad campaign. All in all, I think we were done in 30-40 mins or so and I was regretting the fact that I didn't have one of my own pieces for them to play (one that wasn't being paid for by a client that is). Then, it was beer in the bar. I'm going to end up with maybe 5-7 minutes of spare music in Prague, deciding which pieces to prioritise changes daily. Well, it sounds great and is now stuck in my head, damn you.
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