# Do you ever sequence existing music? for fun, or to learn orchestration, or for temp tracks



## JohnG (Sep 20, 2010)

I have and once in a while still do. It is very good for calibrating one's sample template, and one's ear. Even if the music one is writing is going to be replaced by an orchestra (maybe especially in that case), to try emulating every single thing in a favourite passage of music can reveal a lot about the shortcomings of samples. Doesn't have to be a very long passage -- four to eight bars is helpful, I believe. Best to do some passages that are big / loud / note-y, some smaller.

The idea is to get the balance right between sections, really listen hard to just how loud percussion and brass get when they are playing fully, continually comparing the virtual and actual recordings. Equally, though, it's nice to understand how quiet something can be (relatively) and still provide a lot of energy.

So definitely I personally have found realising scores on samples useful in that respect. 

If it's well orchestrated or you have the score, it's a nice way to learn some orchestration and arranging too.

As far as learning harmony, or even "composition," I find it less useful. For that, playing through a score, even if it's slow, is more useful, in my own haphazard studying experience.


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## Farkle (Sep 20, 2010)

adg21 @ Mon Sep 20 said:


> adg21 @ Mon Sep 20 said:
> 
> 
> > This, to me, seems like a healthy idea and is something I've not done before. Do any of you do this (routinely or otherwise)?
> ...



I have done this in the past, and it is a fantastic drill to improve your orchestration and your mockup skills. I haven't done it in 2-3 years, but I'm just starting to trancsribe again, so I'll post some cues, when I do them.

Basically, I pick a short section of a film cue (16-64 bars), and notate it out in short score. I really try to pick out how the chords are distributed among instruments. I'll do it in short score, on paper, or in Sibelius. 

I'll usually use that transcription to inspire a short piece, and use that for mockup practice. I have some old transcription pdf's around somewhere, I'll see if I can find them. 

Pick cues you love, and cues you want to learn something from. I transcribed parts of To Kill A Mockingbird, and Spirited Away, because I loved their sound. Totally worth it!

Does this help?

Mike


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## SergeD (Sep 20, 2010)

+1 John & Mike

I've done it with Holst Mercury and now completing Debussy La Mer 2nd part.

Those 2 scores helped me to get the sonic feeling of the stage. On stage pp and ff dynamics have not that volume gap we find in samples and only this worth the journey into scores. In scores you see how they bring to front somes lines while pushing back some others and Debussy is terrific in that way. 

Also, everything is there , doubling at octave and unisson, runs spreaded across differents sections (Mercury has a lot), orchestral colors using differents instruments, divisi etc...

And most of all it's a wonderful trip in their musical park where you are staggered by such creativity and talent.

SergeD


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## adg21 (Sep 20, 2010)

Cheers.


JohnG @ Mon Sep 20 said:


> It is very good for calibrating one's sample template, and one's ear.


exactly my thoughts. 
I think I'll try one scored and one scoreless (i.e. modern) and see how I get on.
cheers


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## poseur (Sep 20, 2010)

we're all different, and even our own desires & needs do change, over time.
IOW? i'm old.
ha!

imo,
it's only as "healthy" a practise as the practitioner's approach & attitude towards it
are.

i only seem to do that, when i either:

a) really want to learn to play something of someone else's, for myself, or

2) when a director is addicted to something in his/her temp-score,
and i either love or hate that piece (or, both),
and know that i absolutely do not wanna copy it, or even "cop" it;
then, i learn the piece, in order to avoid it as best i can, while absorbing what "feelings"
i believe it represents to the director.

d


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## anogo (Sep 20, 2010)

I've never done this, but I'd like to try sequencing part of a string quartet (Bartok or Shostakovich, probably) to see what I can learn from the process. Of course, I don't have sampled strings to play with.


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## skyy38 (Aug 8, 2011)

Oh yeah, almost every chance I get!

http://soundcloud.com/skyy38/death-star-motif-t1


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## Mike Marino (Aug 8, 2011)

John,

I like to work on these types of exercises every once in a while. I've found it to be an excellent exercise for me as I'm not classically trained in orchestration and such.

I always learn something!

- Mike (the other Mike)


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## wst3 (Aug 8, 2011)

Yes indeed. For a lot of reasons...

1) to learn how to use a new library, or when I switched from GS to Kontakt to learn how to use a new sample player<G>!

2) to improve my transcription, and listening skills

3) to figure out how to get a specific effect (I am still trying to learn how to write horn charts like Pankow!)

4) just to practice when I don't have any projects of my own

I think it is an excellent exercise, not at all different than learning guitar solos or parts. But I do have to remember that it is a means to an end, that is, it is a form of practice. I can sometimes become obsessed and then I don't get much else accomplished!


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## impressions (Aug 10, 2011)

just been doing it as you guys said it. no question, it's the best way to really learn orchestral.


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## lux (Sep 17, 2011)

always promise myself and never do.


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