# Short film cue



## Patrick de Caumette (Nov 16, 2005)

Lately, my high energy fusion past has been tamed by projects that required very light, minimalistic chamber settings.

This piece was writen for the short film "Scumbling" directed by Lynn Denton.

http://www.decamusic.com/the_performing_arts/Scumbling.mp3 (www.decamusic.com/the_performing_arts/Scumbling.mp3)

Guess what libraries I am using here :wink:


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## ComposerDude (Nov 16, 2005)

Hey Patrick, this is really nice.

Very light, but well balanced, as much as can be heard on the laptop speakers. Nice reverb ambience too.

-Peter


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## Jackull (Nov 16, 2005)

Nice Patrick, very intimate... is that the Horizon Chamber Strings? I wonder what's the setting of the film or scene like? 
How do you find scoring using minimal instruments compared to la large set-ups? 

Thanks
jackULL


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## Patrick de Caumette (Nov 16, 2005)

Thanks dudes  ,

I'll spill the beans: these are EWQLSO (not Pro) solo violin and cello.
There is a light Atmosphere string patch in the back and the piano is PMI Bos290. Before the Pro upgrade, the solo cello had about 4 articulations, so in the piece, I find the cello lacking at times but I did write to the cello's strenght or else its limitations would have been obvious...

The IR for the reverb is the Sony Concertgebouw. Can't wait for my Samplicity set from Peter 

This movie is a psycho drama taking place in the seventies about a young woman raised in a very conservative family that experiences depression and mental disorders but that eventually finds her way to self assertion.

I knew I had to go the intimate route when the director told me that she liked the movie as is, without any music :lol: 
So the instrumentation is basically, solo cello, violin, piano, harp, a touch of Hans Cool Vibes. I managed to squeeze in one cue with orchestral touches :wink: 

The movie is 32 minutes long and I must have writen about 5 minutes of music tops, respecting the director's desire for sparceness.

To be honest, I find that writing for a small ensemble offers many opportunities for excitement: counterpuntal, harmonic and of course emotional. I have a tendency to approach the music from a melodic, emotional perspective but I'd like to work on my counterpoint more, as well as to try writing in a more modern context. I just saw these Bartok string quartets booklets at the university where I teach so hopefully there is hope after all!


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## Dr.Quest (Nov 16, 2005)

Very lovely piece, nicely realized! It's hard to write sparsely but you did a great job here.
J


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## Patrick de Caumette (Nov 17, 2005)

Dr.Quest said:


> Very lovely piece, nicely realized! It's hard to write sparsely but you did a great job here.
> J



Thank you so much my friend


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## Patrick de Caumette (Nov 18, 2005)

Happy you enjoyed it Sid.
Thank you


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## PaulR (Nov 19, 2005)

Nice sounds Patrick. Very relaxing and effective.


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## Patrick de Caumette (Nov 19, 2005)

Hey man, glad to hear I contributed to make your day stress free!
 8)


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## Craig Sharmat (Nov 19, 2005)

Nice piece and realization. Solo cello is a tough nut and you have it exposed here. I think you did as well as one could with the limited articulations of that particular sample set.


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## Scott Cairns (Nov 20, 2005)

Hi Patrick, great work buddy.  I really like this piece.

There should be more cues of this vibe in film IMHO.


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## Patrick de Caumette (Nov 20, 2005)

Craig and Scott, thank you so much my friends  
I appreciate the support!

Scott, when are you gonna shave that beard off, it makes you look older than you actually are :twisted:


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## rJames (Nov 20, 2005)

Nice to hear this music. I have a tough time with quietness and elegant simplicity. Clean and beautiful, Patrick.


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## Patrick de Caumette (Nov 21, 2005)

Thanks so much Ron!

BTW: really enjoyed your demos for EWQLSO Pro 8)


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## Ned Bouhalassa (Nov 21, 2005)

Patrick,

Well done. I enjoyed the mood, and the dialogue between the piano and the cello. My only gripe is that the attack/envelope of the cello started to get on my nerves after awhile, as I wanted it to be less the same all the time, to have more variety in the way the notes develop. But I realise that a) you may have no control over that, as the sample still gives you what you want; b) that's actually exactly what you want the cello to do; and c) I never post any instrumental pieces anyways so I should shut my loud mouth! :lol:

PS: Huh, I replied without reading the other comments, and so I now understand that you were quite limited to begin with. So just consider my first comments, along with... letter c) :wink:


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## Patrick de Caumette (Nov 21, 2005)

Ned Bouhalassa said:


> Patrick,
> 
> Well done. I enjoyed the mood, and the dialogue between the piano and the cello. My only gripe is that the attack/envelope of the cello started to get on my nerves after awhile, as I wanted it to be less the same all the time, to have more variety in the way the notes develop. But I realise that a) you may have no control over that, as the sample still gives you what you want; b) that's actually exactly what you want the cello to do; and c) I never post any instrumental pieces anyways so I should shut my loud mouth! :lol:
> 
> PS: Huh, I replied without reading the other comments, and so I now understand that you were quite limited to begin with. So just consider my first comments, along with... letter c) :wink:



Thanks Ned.
Your point is very relevant: 
I also have an issue at times with the same articulation repeating over and over.
The EWQLSO articulation list for the solo cello is very limited, so I couldn't find anything else to use for variations and since I am not TJ, tweaking the samples was out of the question at that point.

Did you move to Germany for good?


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## Ned Bouhalassa (Nov 22, 2005)

Patrick de Caumette said:


> Did you move to Germany for good?



No, no! I'm back. Though I wouldn't mind living in Berlin at some point - it's a great place for artists.


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