# End scene - WIP *UPDATED 3/3/11 Final Track here*



## Danny_Owen (Feb 3, 2011)

Hey guys,

Been a while since I actually posted any music up here, here's something I'm working on at the moment: http://www.dannyowenmusic.co.uk/Media/hahiiendscenewip.mp3 (http://www.dannyowenmusic.co.uk/Media/h ... enewip.mp3)

The solo cello and clarinet are to be replaced with live musicians, so I haven't spent too much time trying to get them to sound perfect. Also there's inexplicable midi errors (like cello and contrabasses having a sharp attack where they shouldn't, piano sustain dropping out etc), I think it's probably just a buffer problem.

Still early days on this cue but felt like putting it up and seeing what people thought! This is towards the end of the film. I haven't got a final ending yet which is why it fades out, I'm still waiting for the final cut. 

Any comments/feedback would be appreciated 

*UPDATE 3/3/11*

This is how it came out in the end: http://www.dannyowenmusic.co.uk/Media/halfaheartinindiamusiconly2.mp3 (http://www.dannyowenmusic.co.uk/Media/h ... conly2.mp3)

Featuring Matthew Lee on Cello and Rohan Stevenson on Clairnet, these guys were legendary 

I've put the whole thing up this time as it's only 8 minutes long anyway. Through this there are a couple of voiceovers please bear in mind.

*edit* - replaced what I put up here earlier with version 2- I had a terrible EQ on the clairnet that was bringing out all the worst bits (i.e. too much reed and keys)! That's been sorted now though.

Enjoy!


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## windshore (Feb 3, 2011)

It's a lovely cue. As a wind player myself, I'll give a highly subjective opinion. (I suppose even as an orchestrator I might ask the following question...)

Why is the clarinet in this cue at all?

Its first entrance comes in after the timbre of the ensemble seems fairly set and at the point where it enters, it just kind of creeps in as a background. Maybe it's just my personal bias but I find the clarinet distracting in this context.

You've orchestrated in such a way as to highlight the clarinet but you basically never do. If I was sitting in a studio and heard the first 40 seconds of the cue and saw my entrance coming up, I'd want to know that it was going to be "a moment" - that there was good reason for me to come in that late in the cue and that there was purpose to my first line.

I wonder if the clarinet part could be replaced by a viola perhaps. Then it would build into the timbre of the full string section? Either that or make better use of the clarinet and have it take over some counter melody that is now handled by the piano. Then it might feel a bit more like a duet with accompaniment. I just think you should either give the clarinet some meat or leave him out.

Hope I'm not coming off harshly, it is a lovely piece, as a player though, I would feel out-of-place on this session.


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## Danny_Owen (Feb 3, 2011)

Thanks, glad you liked it 

Interesting point, I never thought of it like that.. the Clarinet has a lot more meat throughout the earlier parts of the film, but admittedly there's not much here. Almost all the lead lines in the film are taken by the clarinet or solo cello, they generally take it in turns or work as melody and counter melody together. I brought it back in mainly because it was part of the palette already, but I still wanted the cello to be leading at this point, and then of course the full strings take over.

I might have a play about and see if I can make some more interesting use out of the clarinet then. Cheers for the feedback!


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## jlb (Feb 3, 2011)

*Re: End scene - WIP*

It has real potential Danny, I can hear a few duff notes, or dischords or something in the cello not fitting with the other parts but the cello is gorgeous! Is it LASS first chair?

It has a lovely feel to it. Some very nice chord changes in the piano part.

jlb


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## ricother (Feb 5, 2011)

*Re: End scene - WIP*

Sorry I can't give you advise on orchestration, etc. I just found some moments of real beauty in what you have done. Congratulations. o-[][]-o


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## Jason (Feb 6, 2011)

*Re: End scene - WIP*

I love this piece. I agree with ricother, it has moments of real beauty. I suspect it will add greatly to the ending scenes of the film, hopefully you won't have to edit it too much.

Best,
- Jason


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## Danny_Owen (Feb 8, 2011)

Thanks for the kind words guys  glad you liked it.

I've just seen the latest edit, the end hasn't changed much at all so most of this is safe so far, but they've decided to make a few last cuts so we'll see how that goes!

Can't wait to get some live musicians on there though, exciting :D


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## Ryan Scully (Feb 9, 2011)

*Re: End scene - WIP*

There are some truly serene moments in this cue Danny - nice work. I would like to hear the finished product when you have included the live players.


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## tumeninote (Feb 9, 2011)

*Re: End scene - WIP*

Hi Danny,

Really enjoyed your work here and hope you can share the finished work if possible.


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## Lunatique (Feb 23, 2011)

I like the part when the full strings kick in the most, because the melodic contour became a lot more clear and focused. The solo instrument sections have melodic contours that feel more indecisive, as opposed to contours with clarity and a sense of purposeful pacing. Part of the issue might be that when a melodic line is staying close to a similar spot instead of allowed to travel up and down to other octaves more freely, it tends to feel more static and meandering. But sometimes you don't want a line to have to much motion because you want to keep the drama for the climax, and that's understandable. In cases like that, I think often when melodic lines feel a bit static is when they don't emphasize half-step motions with enough effective pauses or held notes, and the intervals/timings tend to sort of sound the same. 

I tend to assess melodic development on both macro and micro levels, and I think even within each measure, there's some sense of development and dynamics, and then on a larger scale, the entire melodic line in segments of build-up, development, climax..etc. 

This is probably all just my subjective preference though, so I could be just talking out of my ass. :D


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## stevenson-again (Feb 24, 2011)

wow man!

your chops are coming on like a hot BBQ!

i know you've been working hard at this sort of thing and it shows. great WIP - it's going to be awesome!


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## Danny_Owen (Feb 25, 2011)

Cheers Rohan! Means a lot. Should indeed be awesome come Wednesday


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## Danny_Owen (Mar 3, 2011)

*UPDATE 3/3/11*

This is how it came out in the end: http://www.dannyowenmusic.co.uk/Media/halfaheartinindiamusiconly2.mp3 (http://www.dannyowenmusic.co.uk/Media/h ... conly2.mp3)

Featuring Matthew Lee on Cello and Rohan Stevenson on Clairnet, these guys were legendary 

I've put the whole thing up this time as it's only 8 minutes long anyway. Through this there are a couple of voiceovers please bear in mind.

*edit* - replaced what I put up here earlier with version 2- I had a terrible EQ on the clairnet that was bringing out all the worst bits (i.e. too much reed and keys)! That's been sorted now though.

Enjoy!


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## tumeninote (Mar 3, 2011)

Thanks for posting the update. Love the work. Very poignant. Kudos to live players as well.


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## Lunatique (Mar 3, 2011)

Oh wow, this is much, much better, not just because of the performance, but because the composition and orchestration has improved too. The solo lines are now more varied than before, since they intersect or trade-off with each other, which creates more textural variations.


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