David Coscina 3 Posted December 26, 2011 Share Posted December 26, 2011 This just kind of fell into place a few weeks back. I did do a longer piece with a jazz ending but I'm not sure a lot of you dig jazz so this is version 2,http://snd.sc/suHIMl Link to comment Share on other sites More sharing options...
BLUMENKOHL 1,068 Posted December 27, 2011 Share Posted December 27, 2011 Interesting. Something about the opening is not enjoyable, the rhythm sounds off putting rather than organic. Possibly because of the glockenspiel (is that what it is)? Having it play along exactly (and constantly) with what's playing under it in the beginning makes it too mechanical . They are most offensive around .32-.40. See if you can make them more organic there? The glockenspiel sounds infinitely better when it punctuates and lingers (.45-.51). In other words serving as a textural element.1.15 on sounds lovely. Link to comment Share on other sites More sharing options...
pixie_twinkle 48 Posted December 27, 2011 Share Posted December 27, 2011 Lovely! Very magical scoring. Unlike Blume I think the glock works beautifully throughout. Glock doubling harp is hardly "mechanical"; it's effective doubling IMO. I like the mix of Williamsy melodic material (0'50 - 1'05) and Debussian augmented and half-diminished harmonic stuff (1'37 etc). The ending is a bit of a letdown and feels a bit like an afterthought. Are you happy with the ending? I'd love to hear your original ending as I love jazz. Aside from the ending this is really very beautiful. Nice job! Ok, found the jazzy version on your website. Very nice, MUCH better (although I wish the sax sample was a little more convincing!) Link to comment Share on other sites More sharing options...
David Coscina 3 Posted December 28, 2011 Author Share Posted December 28, 2011 Thanks guys for your feedback. Yes, the jazz does bookend this piece much better as I envisioned it as a suite of reflections of my memories of xmas. I do see where blumenkohl is coming from as Mike Verta also commented on that too. Perhaps just adjusting the mix so it's not so up front? The reason I put the glock in there is because the staccato winds were buried behind the countermelody and I needed to accentuate them. At least that was my reasoning at the time. And yes, a lot of people like the jazz but don't dig the sax sample. I should get a real sax player to go over that part. pixie, I was trying to go for a little Herrmann mid way through. Did that at all sound like Herrmann where the low brass comes in? And yes, you did pick up on the Debussian part that follows thereafter. Thanks for that! Link to comment Share on other sites More sharing options...
crocodile 7,939 Posted January 3, 2012 Share Posted January 3, 2012 Nice piece, David. Just listened to it.Karol Link to comment Share on other sites More sharing options...
Thor 7,385 Posted January 4, 2012 Share Posted January 4, 2012 Cool! Mike Verta is the master of Williams pastiche, so if you got some comments from him, that tells a lot. Link to comment Share on other sites More sharing options...
David Coscina 3 Posted January 4, 2012 Author Share Posted January 4, 2012 Cool! Mike Verta is the master of Williams pastiche, so if you got some comments from him, that tells a lot.Yes, I deeply respect Mike's skills and I'm also happy to get feedback here too. Incidentally, Gabriel Yared enjoyed this piece quite a bit which is a nice chuck on the shoulder.Thor, if you have a moment, please check out my Goldsmith piece I posed elsewhere on here. I was aping his style (awful pun I admit) for a new sample library demo I did. Link to comment Share on other sites More sharing options...
Marc 749 Posted January 4, 2012 Share Posted January 4, 2012 Sounds great !Are those VSL horns ? Link to comment Share on other sites More sharing options...
David Coscina 3 Posted January 4, 2012 Author Share Posted January 4, 2012 Sounds great !Are those VSL horns ?Nope. CineBrass solo horn legato. Link to comment Share on other sites More sharing options...
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