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A bit of Korngold - excerpt from Kings Row

Discussion in 'Member's Compositions' started by muk, Mar 12, 2018.

  1. muk

    muk Senior Member

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    Jan 21, 2009
    Hi everyone,

    thinking about writing some nostalgic sweet strings pieces, so I made a mockup of an excerpt of Korngold's Kings Row as a preparation. High strings playing loudly are a bit of a nemesis for sample libraries as it quickly tends to sound synthy. I tried to avoid that as much as possible. The compromise is that there is not quite as much bite as I would like to have.

    Korngolds music and orchestration is phenomenal, so there was a lot to learn from it. As always, any comments are appreciated:

    https://app.box.com/s/ivvpyuj14vbmmsrglbsrl00jkmt5k802
     
    Last edited: Mar 12, 2018
    TGV, Gerald, ghandizilla and 4 others like this.
  2. Paul T McGraw

    Paul T McGraw Senior Member

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    Awesome! Sounds beautiful.
     
    muk likes this.
  3. OP
    OP
    muk

    muk Senior Member

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  4. T.j.

    T.j. Senior Member

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    Excellent!
     
    muk likes this.
  5. AlexanderSchiborr

    AlexanderSchiborr Senior Member

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    Nice muk. You can try to get better results with the rendering when you work with more dynamics in the strings. I know to pull off that with samples is always pretty challenging. What I would do is also to use a reference for a/b which can also help for the right phrasing, tempo idiomatics for live performance as well. Also you can inject a bit more "oldschool" sound into the strings, by trying to lowcut the very high hiss, but adding a a nice curve before the 12 KhZ. Maybe a settle layering with a small ensemble with molto Vibrato expression would add more intention to the longs?

    What did you learn from that excerpt. I know Korngold quite a bit and did transcribe a few bars from the Kings Row Main Title. Thank you for sharing.
     
  6. OP
    OP
    muk

    muk Senior Member

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    Thanks @T.j. !
    Thanks for your input Alexander. The dynamics are a bit limited because I found that it starts to sound fake quickly if I use the highest dynamics in the high register. But maybe there is a bit more leeway, I'll experiment with that.

    Orchestrational things mostly. His use of the harp and the celesta is very clever, something I never would have thought of myself. Especially the celesta. You don't even hear that it is there, but if it wasn't you would hear that it is not - if that makes any sense. And the way he uses divisi throughout is a takeaway too.
     
  7. Gerald

    Gerald Senior Member

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    Excellent work!
     
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  8. OP
    OP
    muk

    muk Senior Member

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    Thank you Gerald.
     

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