# EIS Student Examples



## Craig Sharmat (Aug 3, 2015)

I have decided to create a sticky for student examples. Everyone but Spud is considered a student including graduates of the course. The rules are simple, if you want to place a piece reply to the thread and start your own little section. Please add only to your own post moving forward by editing it and adding new pieces there. I realize this may not be a perfect system as there may be responses to some student examples but the other solution is to lock and unlock this thread anytime someone wants to put up a new piece. Hopefully on the new site it can be kept cleaner. If you have a new piece you want to be heard you can post it in your area here, but may also mention it in the main area for discussion whenever you wish. You can add pieces for whatever reason, in whatever format, mp3, pdf etc, you need not follow my format below. A pdf of a score takes work by the listener so do not expect any responses when doing that, however a pdf can still be useful for demonstration purposes which is what this sticky is about. Remember what you post reflects on you and EIS so keep this in mind.


----------



## Craig Sharmat (Aug 3, 2015)

These examples use mostly one technique with a few other ideas thrown in for musical variety, so I consider them exercises more than pieces, but am generally happy with the purposed result. These have been done over a period of time so production values vary per example. This is a very small sampling of techniques in the course. As you will notice I have added where in the course the techniques are acquired from. Hope you find this helpful. Be aware that someone else using the same techniques might come up with something so different it might be unrecognizable from my approach, one of great things about the course.
27 examples as of my last edit.



https://soundcloud.com/craig-sharmat/trope-with-a-rope
https://soundcloud.com/craig-sharmat/thoughts-on-a-train-1-reflection
https://soundcloud.com/craig-sharmat/sms-164-pulsation
https://soundcloud.com/craig-sharmat/spuds-dissonance



https://soundcloud.com/craig-sharmat/smj041a-putting-on-the-ms-full-book9-l1-2
https://soundcloud.com/craig-sharmat/shrouded-in-mystery-book-2-l5
https://soundcloud.com/craig-sharmat/polytonal-investigation
https://soundcloud.com/craig-sharmat/revolutions-interval-relations
https://soundcloud.com/craig-sharmat/requiem-for-a-dove-imitation
https://soundcloud.com/craig-sharmat/possible-tragedy-bk2l6
https://soundcloud.com/craig-sharmat/ongoing-investigation-minor-9th-resolutions
https://soundcloud.com/craig-sharmat/odd-occurrences-double-ground-motives
https://soundcloud.com/craig-sharmat/nyc-cacophony-tropes
https://soundcloud.com/craig-sharmat/h3-4part-example
https://soundcloud.com/craig-sharmat/falling-downbassruns
https://soundcloud.com/craig-sharmat/demonic-soul-trope
https://soundcloud.com/craig-sharmat/clubbers-in-danger-soharmonis
https://soundcloud.com/craig-sharmat/bk11-l12
https://soundcloud.com/craig-sharmat/bass-in-motion
https://soundcloud.com/craig-sharmat/bass-in-motion-cop
https://soundcloud.com/craig-sharmat/all-concerning-book-11-l8


----------



## careyford (Aug 26, 2015)

Thanks Craig for getting this going! I'm going to add an example which is one piece that I wrote using exercises from page 335-345, the end of Book 7 into Book 8. I'm constantly amazed by how much ground a dozen pages covers in this course and what it inspires in my professional writing. I turned these exercises into an Octet for Winds designed to be played alongside Stravinsky's piece with the same instrumentation. These are the Sibelius audio which I will update after the live performances later this year.

Also Composing with Equal Intervals Book 7 page 335. The title is "Horizontal Baby."


Horizontal composition Book 8 page 339. The title is "Marilyn Estates" for the peaceful neighborhood we live in.


Cheekily called "Ostinato This" is from Book 8 page 340.


"Flash Flood" is taken from Book 8 page 343 and was prophetically named on a rainy day in May one year before our neighborhood was drowned in our 2nd once in a hundred year flood in three years.


"Pattern and Design" from Book 8 page 345.


Also Composing with Equal Intervals Book 7 page 335 "Tuesday Morning" 
https://soundcloud.com/13stepsmusic/octet-tuesday-morning?in=13stepsmusic/sets/octet-for-winds

I'll add some more tracks in the near future.


----------



## kclements (Aug 27, 2015)

Thanks for posting these Richard. I'm just starting with EIS - it's fun to hear what others are doing with it. And how it can be used to write in so many different styles.

Cheers
kc


----------



## careyford (Aug 27, 2015)

kclements said:


> Thanks for posting these Richard. I'm just starting with EIS - it's fun to hear what others are doing with it. And how it can be used to write in so many different styles.
> 
> Cheers
> kc



Thanks KC, and you're welcome! Can't wait to hear what you create.

Richard


----------



## kclements (Aug 27, 2015)

I will be posting some things once I get into it.

I just received The first two books today in the mail. Very exciting.

Cheers
kc


----------



## careyford (Oct 8, 2015)

Buckle up for a wild ride!


----------



## Ashley Kampta (Aug 7, 2016)

Hi Craig,

As a new EIS student, studying under Glenn, I would like to know what the difference is between Bass in Motion from Book 2, and Bass Runs from Book 11. I cannot hear too much of a difference from the examples given (although that could just be due to my current inexperience with EIS), but I am guessing the difference lies in the way they are treated. How are they different?

Please don't go into too much detail though, as I've just started the course and don't want to be overwhelmed!

Many thanks.


----------



## jsaras (Aug 9, 2016)

Ashley Kampta said:


> Hi Craig,
> 
> As a new EIS student, studying under Glenn, I would like to know what the difference is between Bass in Motion from Book 2, and Bass Runs from Book 11. I cannot hear too much of a difference from the examples given (although that could just be due to my current inexperience with EIS), but I am guessing the difference lies in the way they are treated. How are they different?
> 
> ...



Bass runs in Book 11 really have nothing in common with Bass In Motion in Book 2. Bass in motion is essentially a bass line moving in scalar fashion while Bass Runs is a technique that involves bass motions with root tones that move mostly in E1, but varying the intervals above the roots so that they don't sound like strict parallel transpositions. For example, instead of playing parallel fifths moving in E1, you could alternate 5ths with 6ths as the root moves along. 

The technique is no more difficult than the techniques presented earlier on in the course.


----------



## Ashley Kampta (Aug 16, 2016)

Thanks jsaras for your time, and for that explanation. I had a lesson with Glenn last night where he also clarified a few more things about the differences between the two. All I can say is that I'm really excited now to get to future books! Book 2 is already really interesting to me, but I'm really looking forward to future things, in particular: going beyond the diatonic system (the contents of Book 6 and beyond sound really intriguing to me), and also learning about how melody works in this system.


----------



## Farkle (Aug 16, 2016)

Well, even by book 3 (and by book 4), you're thinking "outside the diatonic system", since you are building vertical structures that don't really correspond to traditional triads. Also, you're constantly having root motions in equal intervals, so you are moving in patterns that are not diatonic. But, I agree, Book 6 (polytonality) is eye-opening, and it really expands your compositional options.

EIS actually has melodic lessons peppered throughout its' books; there is one in Book 2 (P 100) I believe, which talks about the formation of good melodies. I'll look it up later. In general, though, a way that I like to think of melodic writing in EIS is (go figure) in line with Spud's central premise.... I think of melodies as linear patterns of equal intervals, that may or may hot have non-chord (substitute tones) added to create pleasurable shapes and forms.

Even just thinking it that way, gets me thinking away from a "scale" melody (unless I want it to be), and gets me into more interesting shapes, etc.

Mike


----------



## Ricardinho (Aug 18, 2016)

Hello from Brazil. I would like to share with you some lessons. 

Studies in Polytonality


----------



## Ricardinho (Aug 20, 2016)

Here´s the Sketch for the lesson. I improvise the melody on the samplemodeling clarinet.


----------



## Noam Guterman (Aug 21, 2016)

Very cool stuff Richard! Thanks for sharing


----------



## Craig Sharmat (Aug 31, 2016)

Thanks Ricardo, very nice musical example of polytonality.


----------



## Ricardinho (Sep 6, 2016)

Craig Sharmat said:


> Thanks Ricardo, very nice musical example of polytonality.


You´re welcome Craig Sharmat


----------



## Ricardinho (Sep 6, 2016)

Noam Guterman said:


> Very cool stuff Richard! Thanks for sharing


you're welcome Noam


----------



## ModalRealist (Sep 10, 2016)

Greatly enjoyed my firs EIS lesson. Was inspired to do some quick improvisations... These are played live, no MIDI tweaking (they also served as a test for a new patch I built). Hope you like them:





And here's A without any effects on the signal chain (I'm really not sure I improved the sound... whoops...):


----------



## Craig Sharmat (Sep 10, 2016)

That's ambitious for the first lesson....lots of inspiration coming.


----------



## Ashley Kampta (Sep 11, 2016)

ModalRealist, you've inspired me to post the first thing that I created using (or rather, being inspired by) EIS. After my first lesson in April, I ended up practising the Equal Interval progressions on the piano, and when I got to E5, I started on C, and followed the range limit, repeating it a bunch of times. As it naturally sped up while practising, I thought, "This would make a great ostinato!" – so I sketched out a short cue using the piano, and then arranged it. This is the result.

The bass line is the E5 cycle starting on C initially, but it moves up to Eb eventually, and down to D, before getting back to C, while always following the range limit. The melody line and chords are basically three-note stacked E5s, moving in parallel.


----------



## just2high (Nov 14, 2016)

Hi All,

Been thinking of posting something for a while and just finally got a bit of break to do so. The following are a series of mockups of music I've written since starting EIS. Pieces that I used for a project have a title, pieces composed primarily for assignments are labelled "Assignment". I also wanted to note that while some of the later examples are labelled Book 9, 11 etc., really the system builds on itself and all later lessons do draw on knowledge/experience gained from before, just as with any other form of learning.

If anyone perusing wants just a quick overview, the Dial M for Murder material and the track Open World (further down the playlist) are the most realized compositions as those were for real world projects.

It's been a pleasure learning EIS and I've gained so much from it, hopefully it shows.



@jsaras Thanks for your comment, here's another track I made early on which is more in the jazz vein. My background is classical and so I tend to lean in that direction, but EIS has helped my harmonic understanding and so I can pull out quasi-jazz stuff when I need to for a project. That's what's great about EIS is it really is a theory of music and not a style of music.


----------



## douggibson (Nov 14, 2016)

Cool, and I love the avatar name. Wish I was !


----------



## jemu999 (Nov 14, 2016)

just2high said:


> Hi All,
> 
> Been thinking of posting something for a while and just finally got a bit of break to do so. The following are a series of mockups of music I've written since starting EIS. Pieces that I used for a project have a title, pieces composed primarily for assignments are labelled "Assignment". I also wanted to note that while some of the later examples are labelled Book 9, 11 etc., really the system builds on itself and all later lessons do draw on knowledge/experience gained from before, just as with any other form of learning.
> 
> ...




Nice work! Curious as to what strings you are using for the runs in:
EIS "Murder (Dial M for Murder)" -- Bk 11-1, 11-2, 11-3, Vertical Equal Intervals?

Just started EIS, it is such an interesting course!


----------



## just2high (Nov 14, 2016)

jemu999 said:


> Nice work! Curious as to what strings you are using for the runs in:
> EIS "Murder (Dial M for Murder)" -- Bk 11-1, 11-2, 11-3, Vertical Equal Intervals?
> 
> Just started EIS, it is such an interesting course!



@douggibson @jemu999 Thanks!

@jemu999 All of the Dial M stuff is Spitfire Mural, but if you're referring to the aleatoric rise that is Albion IV.


----------



## jsaras (Nov 15, 2016)

just2high said:


> Hi All,
> 
> Been thinking of posting something for a while and just finally got a bit of break to do so. The following are a series of mockups of music I've written since starting EIS. Pieces that I used for a project have a title, pieces composed primarily for assignments are labelled "Assignment". I also wanted to note that while some of the later examples are labelled Book 9, 11 etc., really the system builds on itself and all later lessons do draw on knowledge/experience gained from before, just as with any other form of learning.
> 
> ...





It's interesting how differently each student applies the lessons to their own music. You heard them fitting into an orchestral/film music context while I found them to be a perfect fit for my jazz fusion tendencies.


----------



## Craig Sharmat (Dec 16, 2016)

Thanks for posting and some very nice writing. The mockups can be improved, though I know that is a totally different discipline. In rhythm tracks watch the reverb, it should not be the same as if you are doing orchestral. When doing orchestral sometimes it seems you could choose better arts so things don't keep ramping in on notes, also watch how notes finished. Obviously with mallets and pianos that is not as much of an issue. On faster runs you might consider layering arts. You have done a great job at learning the course and you write very well, a lot of graduates are wonderful writers but could be better mockup people. It also might not be that important.


----------



## jsaras (Dec 17, 2016)

Here are some short clips of the Equal Interval System mostly in jazzy contexts:https://jonasaras.wordpress.com/music-equal-interval-system-eis-examples/


----------



## Ashley Kampta (Nov 18, 2017)

I'm now a couple of lessons into Book 3, so in order to keep up with and review Book 2 concepts, I came up with a Mixed Progression a couple of weeks ago that I kinda like, so I mocked it up and stuck it on YouTube.


----------



## jonathanparham (Nov 18, 2017)

jsaras said:


> Here are some short clips of the Equal Interval System mostly in jazzy contexts:https://jonasaras.wordpress.com/music-equal-interval-system-eis-examples/


_ I really enjoyed those_


----------



## Ken Still (Nov 19, 2017)

Ashley Kampta said:


> I'm now a couple of lessons into Book 3, so in order to keep up with and review Book 2 concepts, I came up with a Mixed Progression a couple of weeks ago that I kinda like, so I mocked it up and stuck it on YouTube.




Hi, Ashley. Very nice work!! You are a couple of lessons ahead of me. I am just at lesson 18 in book 2.


----------



## Craig Sharmat (Nov 19, 2017)

Very nice Ashley,

Just as a point it is easy to get nice sounding progressions in EIS but it is worth the time to make the mockup sound good.


----------



## jsaras (Nov 21, 2017)

jonathanparham said:


> _ I really enjoyed those_


Thank you!!


----------



## Craig Sharmat (Nov 21, 2017)

I must have missed these Jonas...great stuff and terrific EIS examples.


----------



## Woodie1972 (Mar 15, 2018)

First official piece based on my EIS study so far. I've almost finished book 2, so most of you know where I'm about right now. 
It's an up tempo Bossa nova, with Tenor Sax and Flugelhorn soloists, accompanied by Rhythm Guitar (Acoustic), Bass Guitar, Drums and Percussion. The concept was written in finale, then exported to Cubase, making use of Virtual instruments.
Any feedback appreciated!


----------



## Craig Sharmat (Mar 15, 2018)

It is a very nice example, I presume based on page 100. I know when I realize a piece when creating it in something like Finale (Sibelius in my case) I take the time to print out the score and then replay all the instruments in if I think someone else may hear it. I'll finesse things and take the time to try and make it sound as good as I can within a reasonable time frame. If the purpose is just to make sure you are doing well with the exercise...well you are!


----------



## jsaras (Mar 26, 2018)

Woodie1972 said:


> First official piece based on my EIS study so far. I've almost finished book 2, so most of you know where I'm about right now.
> It's an up tempo Bossa nova, with Tenor Sax and Flugelhorn soloists, accompanied by Rhythm Guitar (Acoustic), Bass Guitar, Drums and Percussion. The concept was written in finale, then exported to Cubase, making use of Virtual instruments.
> Any feedback appreciated!




It brings back fond memories of the little ditty I wrote 10 years ago for that assignment. At some point I'll have to revisit it and record it with real players and round-out the arrangement a bit: http://www.audiorecordingandservices.com/p100_latin.mp3


----------



## laurikoivisto (Aug 7, 2018)

I just finished book 2 couple of weeks ago. This piece goes by quite fast but there's lot of things I learned from books 1 & 2 + just talking with Craig.


----------



## Craig Sharmat (Aug 7, 2018)

Very good and you used nice counterpoint so it works as it should!


----------



## careyford (Aug 22, 2018)

laurikoivisto said:


> I just finished book 2 couple of weeks ago. This piece goes by quite fast but there's lot of things I learned from books 1 & 2 + just talking with Craig.




Well done! Have fun with book 3 (and I go back to book 2 all the time!)


----------



## jonathanparham (Aug 23, 2018)

laurikoivisto said:


> I just finished book 2 couple of weeks ago. This piece goes by quite fast but there's lot of things I learned from books 1 & 2 + just talking with Craig.



Very nice


----------



## laurikoivisto (Nov 4, 2018)

Here's something from a first couple of lessons from book 4 
https://www.dropbox.com/s/400h1o8e0gehvbm/FOURTH_CHORDS_01.wav?dl=0
https://www.dropbox.com/s/rclt8ocqftoebk1/PENTATONICS_01.wav?dl=0


----------



## Woodie1972 (Nov 4, 2018)

Very nice, especially the pentatonic one!


----------



## Craig Sharmat (Nov 5, 2018)

Always gratifying to hear well done examples of the course.


----------



## laurikoivisto (Nov 24, 2018)

fourths are fun! https://www.dropbox.com/s/f6vfij84ldnafo2/FOURTHS AND FIFTHS.wav?dl=0


----------



## Craig Sharmat (Nov 26, 2018)

As always, skillfully done!


----------



## laurikoivisto (Nov 29, 2018)

I thought i'd share few stingers I made for a video game.
https://www.dropbox.com/s/3ma5xds4fqxwads/STINGER_ITEM.JPG?dl=0
https://www.dropbox.com/s/rancnx5778nil63/STINGER_ITEM.wav?dl=0

https://www.dropbox.com/s/zxw7zlf6kzdt3ap/STINGER_DEATH.JPG?dl=0
https://www.dropbox.com/s/m7ypx3opb10kg1e/STINGER_DEATH.wav?dl=0


----------



## MatFluor (Nov 29, 2018)

Here's a little A section I made the other day - I hope you enjoy it 

[AUDIOPLUS=https://vi-control.net/community/attachments/emotional-a-mp3.16776/][/AUDIOPLUS]


----------



## laurikoivisto (Jan 3, 2019)

little something from books 3 and 4
https://www.dropbox.com/s/8khe5jat1kzk6ro/books3&4.wav?dl=0

and the shortscore
https://www.dropbox.com/s/cosb2jjs27lissx/books3&4.pdf?dl=0


----------



## Craig Sharmat (Jan 5, 2019)

Nice stuff!


----------



## Farkle (Jan 5, 2019)

Love the sketch and the orchestration, Lauri. Ugh, Noteperformer... doesn't do it justice. I say, put aside a day or two, and blast this out as a mockup. Love the use of H4's in this. Nice work!

Mike


----------



## Wallander (Jan 8, 2019)

Farkle said:


> Love the sketch and the orchestration, Lauri. Ugh, Noteperformer... doesn't do it justice. I say, put aside a day or two, and blast this out as a mockup. Love the use of H4's in this. Nice work!
> 
> Mike


I don’t think this is NotePerformer playback. 

Please correct me if I’m wrong, in which case I’ll stand corrected. I may simply be listening to the wrong clip.


----------



## laurikoivisto (Jan 9, 2019)

those are orchestral tools  + vsl harp and solo flute from symphobia 2


----------



## laurikoivisto (Jan 9, 2019)

I re-scored this animation and the piece is from it


----------



## Farkle (Jan 9, 2019)

laurikoivisto said:


> those are orchestral tools  + vsl harp and solo flute from symphobia 2



Lauri, I say this in a supportive way, you should work on your mockup spatialization, and the performance in of the MIDI lines. They are not "set up" on the soundstage correctly, and the legato performances have some of that "sucking" sound as the legatos move around. Try stacking staccatos and portatos on your legato line, to fake the sound a bit.

Again, this is wholly different from your composition, which is great! And, please, take my feedback as one EIS'er trying to help another!

Mike


----------



## Farkle (Jan 9, 2019)

Wallander said:


> I don’t think this is NotePerformer playback.
> 
> Please correct me if I’m wrong, in which case I’ll stand corrected. I may simply be listening to the wrong clip.



Oh, My Apologies, Arne, it's NOT Noteperformer. I'm so sorry.

FWIW, I'm a big user of Noteperformer, and I've gotten some pretty decent representations from it. Here's a NotePerformer render (full orch score) from a sci-fi game theme I did a while ago. All Noteperformer.

https://app.box.com/s/f7jgr28qoishu08s32124ahzjt8i5cvx

Mike


----------



## Wallander (Jan 10, 2019)

Farkle said:


> Oh, My Apologies, Arne, it's NOT Noteperformer. I'm so sorry.
> 
> FWIW, I'm a big user of Noteperformer, and I've gotten some pretty decent representations from it. Here's a NotePerformer render (full orch score) from a sci-fi game theme I did a while ago. All Noteperformer.
> 
> ...


No need for apologies.  The timbre and expression just didn't seem to match NP's.

I realise we're a bit off topic, but regarding your posted clip, is this rendered with NotePerformer 1.x?


----------



## Farkle (Jan 10, 2019)

Wallander said:


> No need for apologies.  The timbre and expression just didn't seem to match NP's.
> 
> I realise we're a bit off topic, but regarding your posted clip, is this rendered with NotePerformer 1.x?



Umm, I *think* NP 2.x.


----------



## Wallander (Jan 10, 2019)

Farkle said:


> Umm, I *think* NP 2.x.


No worries.  Just checking! FWIW, NotePerformer 3 would probably do wonders to this piece.


----------



## Chris Richter (Feb 14, 2019)

Hey guys,
I am 2/3rds through book 2 (which equals around 6 months) and did this piece to explore some darker harmonies. @Farkle asked me to share this here.
I had no former music education before EIS besides school knowledge + some YouTube videos (for good or bad *lol*), in case that is important to you.

[AUDIOPLUS=https://vi-control.net/community/attachments/he-is-coming-mp3.18471/][/AUDIOPLUS]


----------



## Farkle (Feb 20, 2019)

Nice use of 7th and 9th chords with Scale #11, Chris. I think you developed a good, contemporary action/horror cue with this, and it develops really nicely! Never gets boring, has a sense of waves of building dread. Very musical and cinematic. Nice work!

Mike


----------



## MatFluor (Feb 24, 2019)

Tried my hand in some 90s Videogame Castlevania style based on a reference track, which is mainly 3 parts stitched together.
Very cool to see and hear EIS coming together on paper and then in the final "mockup".

[AUDIOPLUS=https://vi-control.net/community/attachments/illusionist-dance-mp3.18624/][/AUDIOPLUS]


----------



## MatFluor (Apr 30, 2019)

Just leveraged some of Book V for a small cue - render from Sibelius with Noteperformer.

Reason was that somebody needed a 32 bar cue with Flute and Piano in E Major - I think it turned out ok and that it was worth sharing 

[AUDIOPLUS=https://vi-control.net/community/attachments/piece-for-solo-flute-with-piano-mp3.19749/][/AUDIOPLUS]


----------



## Farkle (Apr 30, 2019)

"diatonic" inversions FTW! Nice work, Mat! It's pretty, it's elegant, it works. I think you can swap piano for harp as an alternate "arrangement"... flute and harp lay together really well, ask Ravel.  Very nice work!

Mike


----------



## laurikoivisto (Jun 5, 2019)

Here's my assignment for book 7 lesson 4 "Equal Interval Runs"
PDF: https://www.dropbox.com/s/tt4xwh2v7vjwece/EIS_0703_MORE_ABOUT_EQUAL_INTERVAL_RUNS.pdf?dl=0
MP3: https://www.dropbox.com/s/9q8n2gvqsa976ll/EQUAL INTERVAL RUNS.mp3?dl=0


----------



## AlexanderSchiborr (Jun 5, 2019)

laurikoivisto said:


> Here's my assignment for book 7 lesson 4 "Equal Interval Runs"
> PDF: https://www.dropbox.com/s/tt4xwh2v7vjwece/EIS_0703_MORE_ABOUT_EQUAL_INTERVAL_RUNS.pdf?dl=0
> MP3: https://www.dropbox.com/s/9q8n2gvqsa976ll/EQUAL INTERVAL RUNS.mp3?dl=0



Is that a composition or something? I am not quite sure what that is supposed to be..


----------



## laurikoivisto (Jun 5, 2019)

just little snippets. Double bar line separates them.


----------



## Craig Sharmat (Jun 7, 2019)

Really great ideas...Alexander these are a thing called equal Interval runs, first part are single line runs. Second part are equal interval chordal runs. It will make more sense if you read the notes while listening. There are many separate ideas with no continuity (on purpose).

Lauri, you may wish to fix the 3 tones together.


----------



## laurikoivisto (Sep 25, 2019)

Here's another Joe Hisaishi-esque piece.

Short Score: https://www.dropbox.com/s/sn5zkndbhv22tmj/Adventure Awaits.pdf?dl=0


----------



## laurikoivisto (Sep 4, 2020)

Here's a Jeff Beck-ish (EPIC(!!!)) piece I did.









Dropbox - File Deleted


Dropbox is a free service that lets you bring your photos, docs, and videos anywhere and share them easily. Never email yourself a file again!




www.dropbox.com





SHEET MUSIC:








Dropbox - File Deleted


Dropbox is a free service that lets you bring your photos, docs, and videos anywhere and share them easily. Never email yourself a file again!




www.dropbox.com


----------



## Craig Sharmat (Sep 5, 2020)

You make EIS sound great! nicely done!


----------



## Craig Sharmat (Sep 11, 2020)

Here is a Big Band example using a lot of Book 9 and some Book 10...
notation could be a bit cleaner but this how it is to get this playback...


----------



## jsaras (Sep 11, 2020)

Craig Sharmat said:


> Here is a Big Band example using a lot of Book 9 and some Book 10...
> notation could be a bit cleaner but this how it is to get this playback...




I liked the cameo appearance!


----------



## Ashley Kampta (Jan 13, 2021)

Craig, I really, _really_ liked that big band example! I'm trying to write a big band style remake of a piece from one of my favourite video games, and this kind of style and energy is exactly what I want to emulate. Do you mind if I save the video from YouTube and analyse it with a fine-toothed comb?

Did you play in all the parts yourself after notating in Sibelius, or did you choose to directly import the MIDI from Sibelius and then tweak everything in Logic? I'm wondering what it took to get the feel and energy just right.

Also, what brass libraries do you use for jazz/big band? This is a gaping hole in my library that I need to fill!


----------



## disjt (Mar 25, 2021)

laurikoivisto said:


> I re-scored this animation and the piece is from it



Hi Laurikoivisto! I really LIKED what you did to this animation! Where did you find the animation with only sound??


----------



## Craig Sharmat (Mar 26, 2021)

Ashley Kampta said:


> Craig, I really, _really_ liked that big band example! I'm trying to write a big band style remake of a piece from one of my favourite video games, and this kind of style and energy is exactly what I want to emulate. Do you mind if I save the video from YouTube and analyse it with a fine-toothed comb?
> 
> Did you play in all the parts yourself after notating in Sibelius, or did you choose to directly import the MIDI from Sibelius and then tweak everything in Logic? I'm wondering what it took to get the feel and energy just right.
> 
> Also, what brass libraries do you use for jazz/big band? This is a gaping hole in my library that I need to fill!


I didn’t see this to now, sorry. I played everything in, no quantizing. Some of it is in Sibelius and I play it in and other parts I know book 9 well enough I can figure out the parts w/o writing it down. Most of the brass in this is Sample Modeling and Audio Modeling. Happy to send the video.


----------



## laurikoivisto (Mar 26, 2021)

disjt said:


> Hi Laurikoivisto! I really LIKED what you did to this animation! Where did you find the animation with only sound??


Thanks! I muted the audio and did the sound design myself.


----------



## Ashley Kampta (Apr 14, 2021)

Craig Sharmat said:


> I didn’t see this to now, sorry. I played everything in, no quantizing. Some of it is in Sibelius and I play it in and other parts I know book 9 well enough I can figure out the parts w/o writing it down. Most of the brass in this is Sample Modeling and Audio Modeling. Happy to send the video.


This is brilliant info. I have had my eyes on the Sample Modelling and Audio Modelling stuff for a while, and I think I'm just going to save up for the complete bundles and go for them. I'll PM you my email address so you can send the video!


----------



## ModalRealist (Jul 7, 2022)

I recently finished Book II and thought I'd post some of my exercise doodlings. Be aware, these are all just short exercise phrases that I wrote as part of the course (so over the last six months or so, I've written probably 200 or so of these phrases).



EIS has been a brilliant experience so far. A well-structured and practice-focused dive into what makes sound sound good. I know interest in EIS around here waxes and wanes (as does the forum opinion of it). What I really love about the course is how it has forced me to confront the fact that writing good music is about hard work and practice, just the same as playing an instrument. The course is better compared with going through weight lifting training, or learning an instrument, than in "magically unlocking" some next-gen theory that will instantly make you John Williams or Hans or something.

That having been said, Spud was clearly a savant when it came to _sound_ and its application to making music, and he absolutely offers a unique way of thinking about harmony and music that allows for very effective organisation of all the available harmonic resources. He's just not interested in giving you the 5-lecture version that will be nothing more than an idle curiosity.

To put this in context, this morning I played the melody from a kids' action TV show I loved, made back in the 60s/70s (so, before my time!). I have *never* been able to figure out the harmony of this piece properly (I like to work intuitively, from memory, rather than transcribe as listening). Today, I _instantly played the piece on the piano, with full and (certainly to my musical memory/feel of it) correct harmony._ I couldn't believe my hands! The things I've learnt just in Book II of EIS absolutely made my natural understanding/instinctive inner ear kick in in a way that it could have not done before. That's not just EIS being a good 'theory', it's EIS being excellent musicianship training.

So thank you awfully to Spud for creating the course and apprenticing as many students as he did. And thank you to his musical descendents who continue to pass on this most excellent and wonderfully idiosyncratic music education.


----------



## laurikoivisto (Jul 7, 2022)

ModalRealist said:


> I recently finished Book II and thought I'd post some of my exercise doodlings. Be aware, these are all just short exercise phrases that I wrote as part of the course (so over the last six months or so, I've written probably 200 or so of these phrases).
> 
> 
> 
> ...



Couldn't have said it any better! He really changed the way I look at music.


----------



## Craig Sharmat (Jul 22, 2022)

Spud probably saved my music career. I was a jazzer and needed to learn more than that and Spud was there for me to learn from after suggestions from my friends whom I had no idea had taken the course.

Nice and varied work Modal Realist. My guess is there are a few OOD's you could suss out but all in all very impressive. It reminds me how much information is in Book 2 and it is easy as one progresses through the course to forget book 2 but it may be the most important one.

As far as the forum's opinion of the course, only those who have never taken the course put it down and of course they can't possibly know what it is.


----------



## midphase (Jul 30, 2022)

Bit of an oldie. I did the score for this short film using a pretty strict EIS methodology. 

Word of warning -- there are some graphic images at a couple of points in the film that might upset some viewers...if you're one of those simply turn your display off and listen since there's not much in the way of dialogue or other sound effects.









RITE


Official Selection, Sundance Film Festival. A short film about a young girl facing an unsettling ritual.




vimeo.com


----------



## Craig Sharmat (Jul 30, 2022)

midphase said:


> Bit of an oldie. I did the score for this short film using a pretty strict EIS methodology.
> 
> Word of warning -- there are some graphic images at a couple of points in the film that might upset some viewers...if you're one of those simply turn your display off and listen since there's not much in the way of dialogue or other sound effects.
> 
> ...


Nice Scoring...pretty creepy film. Appreciate the share, you might want to explain some of your approach or share the score.


----------

