# WWII Russian flick



## Evan Gamble (Nov 18, 2005)

I just got a rough edit(couple things wrong with the mix, and a cue a second off) of a russian war flick that I just finished scoring. I only got 6 days total to work on it to make it to this festival plus studying to do while I was scoring it so it was a very tiring working on it whenever I could (not much sleep/missing a couple classes).
It will prolly take a while to download since its a pretty big file (about 15 Minutes), and hopefully my server wont run out of bandwidth. 

But here is the flick (quiktime)

http://www.evangamble.com/For_The_Motherland-High.mov

And the individual tracks, enjoy!
http://www.evangamble.com/music/Stalin.mp3
http://www.evangamble.com/music/End_Credits.mp3
http://www.evangamble.com/music/charge.mp3
http://www.evangamble.com/music/Ambush.mp3
http://www.evangamble.com/music/Air_Strike.mp3
http://www.evangamble.com/music/The_Order.mp3

comments welcome


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## ComposerDude (Nov 18, 2005)

Nice work, Evan! Good tension, dissonance, interest. Just got the video playing; having heard the audio tracks first, I hope for the final mix they can bring your music up higher in the mix -- it adds a lot to the scene. 

Percussion has good impact. Is that True Strike?

-Peter


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## José Herring (Nov 18, 2005)

Really like the ambush one. Good work very interesting.

The only thing that I think is needed is more polyphony. You have lots of monophonic lines especially in the basses. That should be the exception used for impact rather than the rule.

Cheers,

Jose


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## Niah (Nov 22, 2005)

On a first listening I didn't noticed any motif, perhaps because I was paying too much attention to the subtitles and trying to follow the story. Listening to it again I can see the motif. 

Anyway this raises some questions, when I'm scoring I certainly I'm not thinking about motifs, but if happens it happens. But there's nothing planned, I wonder if you did that or not. The question is, does the film really needed a motif? Does it enchance the story? The characters? I'm certainly seeing less and less motifs and other traditional "tricks" in today's modern scoring.


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## synergy543 (Nov 23, 2005)

Evan, nice score. Very effective. I too think your music should be brought up in the mix. Great work.


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## Evan Gamble (Nov 24, 2005)

Thanks Guys, I Told the director to bring up the music for the next festival, hopefully he'll do it.

I planned the motif to an extent, it wasnt like Its going to play here, here, and here. I just knew I wanted something to play every once in awhile. Im not sure how effective it was, most likely no one noticed it unless I told them. So I dunno. I do know that 15 minutes isnt enough time to expand a motif into a full fledged theme.


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## Houseman (Nov 24, 2005)

Hello Evan

Nice score and pretty cool flick! Yeah, it was too quiet in the movie, I hate when that happens (unless the music sucks but this doesn't suck at all). Some of the sound fx in the movie sound like they were recorded in the stone age (or are some cheap wav files downloaded from the internet), the whole thing would have been loads better if the audio quality wasn't bad.

Anyway, you did your part well so congrats 

Paul


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## Evan Gamble (Nov 24, 2005)

Thanks Paul :D 

Yeah I agree with the sound effects. Actually the day before the due date he asked me if I had any airplane effects because he needed more, the only one I had was a stock one on my Korg Karma, But he used it anyway :lol: :shock:


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## Craig Sharmat (Nov 24, 2005)

"Really makes me feel for guys like Danny Elfman of Horner writing their scores in like 2 weeks. And Newton-howard writing King Kong as we speak "

Yeah i stay up nights feeling terrible for these guys.

Evan, enjoying watching your improvement as a composer. You can still improve the spacing of your mockups, where your instruments sit. Also getting some theory to have a larger vocabulary of harmonic ideas will help not only with your writing but eventually with your creative flow.


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## Evan Gamble (Nov 24, 2005)

Thanks alot craig, means alot from you.

Im in the composition program here at fsu so hopefully the proffesors here will teach me a thing or two.

Thanks again(and I shall work on my spacing)


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## ChasingTheSun_Jeff (Nov 24, 2005)

Very nice work evan! I enjoyed it alot. I thought you did great underscoring with the strings at certain times such as the meeting about the orders to be given. Good job mate! Keep it up!


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## Evan Gamble (Nov 25, 2005)

Thanks Jeff! :D


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## SteveDunster (Nov 25, 2005)

The Charge: there's some super sounds in here Evan. Wonderfully convincing brass - and wow, those wierd sounds after the break - where did they come from, really inventive! The strings are so gentle, excellent. Love the harp work.

Tuba with the double basses in the opening really effective. Rattling wood block, super effects.

And the galloping section with bugle-esque trumpet (I know a few trumpet players that do that for real - lol).

Nice one Evan - sadly I can't download much a day because I'm still on dialup, I'll try and listen to some more over the weekend.

Tough going doing this sort of work AND studying, well done mate

Steve


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## Evan Gamble (Nov 26, 2005)

Thanks for taking the time to listen steve, not sure what weird sounds your talking about but Im glad you like em! :D


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## SteveDunster (Nov 26, 2005)

lol - sorry evan, got a bit too enthusiastic and sacrificed coherence - again!

At around 1:39 you have some awesome fast tumbling sounds. YAY


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## Evan Gamble (Nov 26, 2005)

hehe

it must either be the concert toms or bass drum.


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## Thonex (Nov 26, 2005)

Good job Evan.

I pretty much agree with the suggestions that have already been made.

Insofar as octave doubling... adding more harmony and whatnot, don't be afraid to add some higher register parallel 3rds (major or minor-- experiment).... they seem to work well with these sort of cues -- especially when the root motion is slow. Woodwinds or stings will work well..... hell... JW does it all the time. And as a bonus... it's really easy with a sequencer.... just copy past and transpose  ... that's the nice thing about *parallel* 3rds. 

Keep it up.

T


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