# Just 30 sec ... again



## spoon (Jan 26, 2008)

hi there,
hope I don´t bother you with my very short cues.


Those of you who can spare 30 sec please listen to

http://www.lost-son.com/mp3/GeneralWimpy.mp3


and tell me your first impression(s), please.


uhm, to be true, I´m stuck with it at the moment and don´t know how to go on.


I imagined how a General comes aboard a ship to a very important meeting...


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## PolarBear (Jan 27, 2008)

Try fast stac celli with their own theme, while altering the modulation in the upper parts a bit  Well maybe not :D


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## spoon (Jan 29, 2008)

hi,
I added some stacc celli as you mentioned at the end...

http://www.lost-son.com/mp3/GeneralWimpy2.mp3


PS: of course it´s not finished or so, but it gives the general idea that was in my head last night.


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## PolarBear (Jan 29, 2008)

They sound sa bit lonely that way and seeking for some companionship, actually I like the brass interruptions there! Mabe more string stacs (chords) vln1/vln2/vla/db at half the speed (going to sound Zimmerish then I guess) or celli doubled with double basses?

Cheers,
PolarBear


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## spoon (Jan 29, 2008)

hi polarbear,
thank you very much for listening.

Oh yah, I know I the staccs need some companionship.

The idea with the chords is cool.
I´ll try that later.

Atm there are no woodwinds involved: what dou think? Will they improve or "damage" the stuff?


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## spoon (Jan 29, 2008)

hi,
uhm, ah, ok.

I added - not actually - chords but some kind of counter melody.

what do you think...does it fit or better kick it ?


http://www.lost-son.com/mp3/GeneralWimpy3.mp3

o/~


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## Bruce Richardson (Jan 29, 2008)

Hi Spoon,

Let me help you with the "stuck" part...

Try not to finish and orchestrate ideas as you go. It's a trap. What you need is a structure. You mention a top-brass military man approaching for a meeting.

OK, then. You're working from a visual template, one that you're imagining. That will work for you. Fill it out. Imagine how he enters, how long it takes to get from one point to another, how do the people respond, what happens next. Don't get carried away, you're looking for a structure.

NOW...Get that structure laid out in your sequencer. Use markers, whatever it takes, so that you create a space to be filled, with a beginning, middle, and end.

All that remains is to sketch. Don't orchestrate. Get the space filled from beginning to end with some ideas. Once you can play the sequence from beginning to end, even if the only thing you have in some sections is a single piano line to guide you, THEN you can start orchestrating.

The important thing is to avoid getting stuck with a 30-second idea that you continue "perfecting." Because that makes the leap to virgin space a huge let-down. It sounds better to go back, and polish up that first few bars some more...speculate about adding woodwinds. But that's going to keep you stuck in that first few seconds, and the more you polish them, the harder it is to break out.

That's my advice here...what you're doing sounds good. I'm sure there's a piece of music waiting to come from it. But right now, it isn't anything because you don't have the form...

Good luck,
B.


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## spoon (Jan 29, 2008)

Hi Bruce,

thanks for the advice(s)...

To be true, hem hem, I never used markers before... :oops: 

Maybe this was my own noobie point of view that the whole orchestrated piece of music flows right into my mind ... _works only with 30 sec for me_ (o) 

Structure and form.

I will try to use a form in my future stuff...first sketching ideas and than orchestrate them and getting out of my "perfect 30 sec trap"

Again, thank you for your honest words...

marco


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## Bruce Richardson (Jan 29, 2008)

Hey, Marco,

I hope the markers/form idea helps out. I have exactly the same tendency if I don't force myself to sketch out the entire form first!!

B.


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## Rob (Jan 30, 2008)

Hey Bruce, thanks for your advice... I've always found your comments to be particularly intelligent and helpful, thank you sincerely for it!

Rob


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## Bruce Richardson (Jan 30, 2008)

Hi Rob,

Thanks, that's a nice thing to say, and I appreciate it. I'm not sure how intelligent I really am, but I have made a lot of mistakes, and if I can help someone avoid some of the traps I fell into, hopefully the Karma will come back and keep me out of a few!!!

We're all in this together as artists...


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## Craig Sharmat (Jan 30, 2008)

Bruce's response is typical of how many composers approach their work. Sometimes I write with just a stream of consciousness but I do not suggest this approach if you want to stay focused. In Jack Smalley's book he recommends an approach similar to what Bruce suggests and it is a Hollywood norm.


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## Bruce Richardson (Jan 30, 2008)

re: stream of consciousness

I actually prefer that method myself, but as you wisely said, as soon as focus becomes an issue, form is your friend. 

I know I harp on this all the time, but it's really true: Studying and playing jazz will enhance your writing abilities and speed better than anything I know. I'm not talking about holding up a part in a big band, and playing the occasional ride, or doing hotel lounge stuff...more of hard bop or progressive trio-quartet-quintet work where you have to improvise for many minutes at a time on every tune.

Once you've learned to create form in real time, in a way that won't make an audience get up and leave, you've got a very powerful set of tools in the bag. Plus, it's about the most fun you can have with your clothes on.


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## tgfoo (Jan 30, 2008)

Bruce,

Another thanks for the advice. I often find myself falling into the "Well, I have a good 30-45 seconds... now what?" situation as well.


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