A little about EIS
- Thread starter Glenn Jordan
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Frederick Russ
Founder Emeritus
Welcome to the forum Glenn! Its incredible that you've had the good fortune to complete the training - a few of us here at V.I. just started but personally I'm floored with the amount of useful knowledge offered in the EIS course.
Looking forward to your future posts - when the mood strikes give an intro in the Introduce Yourself forum and let us know what you've been up to, including any projects you've been involved with and/or any mp3s you'd like to share with us.
Thanks!
Looking forward to your future posts - when the mood strikes give an intro in the Introduce Yourself forum and let us know what you've been up to, including any projects you've been involved with and/or any mp3s you'd like to share with us.
Thanks!
Thanks Glenn for that information,
Glenn is one of the people who I talked to before I started with Spud. Spud's rule was you had to talk to 3 people who had taken the course before you could start with him. Glenn's numerous credits include "The X Files" and "Pee Wee's Playhouse" (no, he was not caught naked in an X rated movie theatre).
Glenn is one of the people who I talked to before I started with Spud. Spud's rule was you had to talk to 3 people who had taken the course before you could start with him. Glenn's numerous credits include "The X Files" and "Pee Wee's Playhouse" (no, he was not caught naked in an X rated movie theatre).
Frederick Russ
Founder Emeritus
Hi Alex, there is a website to check it out that they're updating soon: https://www.equalintervalsystem.com
EIS can be used in a variety of music genres - the course seems to point out early that it wasn't intended to teach a style but an approach - although the older website has a lot of jazz artists endorsing EIS, its not restricted to jazz in the least.
EIS can be used in a variety of music genres - the course seems to point out early that it wasn't intended to teach a style but an approach - although the older website has a lot of jazz artists endorsing EIS, its not restricted to jazz in the least.
I believe when Mark was busy he handed some of the work off to Glenn. Maybe Glenn can clarify, but I remember at some point while the show was in production, talking to Glenn, and that he was working on the show for Mark.
Herman Witkam
Member
This EIS theory, what is it based on? Because only recently I discovered that some of the American composers which later became film composers were tought by Europeans and Russians in the early half of the 20th century. Using equal intervals would be something like C D E F-sharp G-sharp A-sharp C, or using every semitone as equal notes (dodecaphony / 12 tone system) or using minor 3rds would qualify as equal intervals as well. So is it mostly based on these (as far as I know) European theories, or am I missing something here?
Stephen Navoyosky
New Member
Allow me to also interrupt and say that EIS is not a theory in itself. Spud's course is based on equal intervals for horizontal composition. You will find yourself thinking more in intervals and scales than chords themselves, for vertical structures of that type are limited. 'Chords' are really a notation means to name any vertical structure, even those derived through horizontal writing. However, those 'names' do not represent progressions per se as you may have also found in traditional diatonic writing.
In this course you will eventually learn how to write music three ways: equal interval, free, as well as the best in diatonic. And in order to do these things you must start at the beginning and proceed systematically....if you want to be an effective EIS writer....and I'll explain further.
I'm an older dude, and I did not get into EIS until after I had been writing for some 30 odd years and after I studied with some great guys like Marty Paich. I started with EIS graduate Sal Aglora who was the first graduate to finish the course and who's applications can be found moreso in the very advanced theories. In other words, he pioneered all that Advanced Theory stuff just based on discussions with Spud who posed the theory. So in pursuing the EIS material, I found the best action was to learn it from the bottom up or else I'd be in a mess. You see, it's best to take on any new proposition regardless of how smart and effective you might think you are if you truly are sincere in being a professional and maintaining a professional attitude. Never get the course and look for 'meat' and discard the rest. You'll be sorry later you didn't spend the time.
I was fortunate to be one of the SPUDcorp members (in abstentia as I live in Ohio) in the attempt to perpetuate Spud Murphy's EIS course via the Internet marketing and also through correspondence courses. The latter is my main function as I have EIS students as far as New Zealand and as close as my music cubical here at home. The website will change as another has mentioned and there will be EIS instructors noted as well as linking websites.
I studied the Schillinger system and thought it was the end, but after going through the Murphy System of Horizontal Composition based on Equal Intervals, no other music course surpasses EIS. There isn't a composition or arrangement, or even performance of mine where I don't use equal interval in some fashion. After all the previous study and with some fine writers, I am now entirely free to write thanks to Spud.
Stephen J. Navoyosky
EIS graduate (and Disciple)
In this course you will eventually learn how to write music three ways: equal interval, free, as well as the best in diatonic. And in order to do these things you must start at the beginning and proceed systematically....if you want to be an effective EIS writer....and I'll explain further.
I'm an older dude, and I did not get into EIS until after I had been writing for some 30 odd years and after I studied with some great guys like Marty Paich. I started with EIS graduate Sal Aglora who was the first graduate to finish the course and who's applications can be found moreso in the very advanced theories. In other words, he pioneered all that Advanced Theory stuff just based on discussions with Spud who posed the theory. So in pursuing the EIS material, I found the best action was to learn it from the bottom up or else I'd be in a mess. You see, it's best to take on any new proposition regardless of how smart and effective you might think you are if you truly are sincere in being a professional and maintaining a professional attitude. Never get the course and look for 'meat' and discard the rest. You'll be sorry later you didn't spend the time.
I was fortunate to be one of the SPUDcorp members (in abstentia as I live in Ohio) in the attempt to perpetuate Spud Murphy's EIS course via the Internet marketing and also through correspondence courses. The latter is my main function as I have EIS students as far as New Zealand and as close as my music cubical here at home. The website will change as another has mentioned and there will be EIS instructors noted as well as linking websites.
I studied the Schillinger system and thought it was the end, but after going through the Murphy System of Horizontal Composition based on Equal Intervals, no other music course surpasses EIS. There isn't a composition or arrangement, or even performance of mine where I don't use equal interval in some fashion. After all the previous study and with some fine writers, I am now entirely free to write thanks to Spud.
Stephen J. Navoyosky
EIS graduate (and Disciple)
Thanks Stephen for your insight and welcome to the forum.
Frederick Russ
Founder Emeritus
Welcome to the forum Stephen - and thanks for sharing your walk with Spud. Looking forward to seeing more posts from you.
Craig Sharmat said:
I would love to know the score on this. I was an avid viewer of X-Files and Snows music and his sounds and style are quite recognisable. The only person I know that might have ghost wrote for Snow on x-files is Sean Callery from 24, or perhaps Louis Febre from Smallville (but you can tell whos score it is from the sounds)
Ed
Glenn Jordan
New Member
X-files--The truth is in here
Hi,
Well did he or didn't he and what was it?
I have been doing various things with and for Mark Snow since I met him on Peewee's in 1990.
Mark did score every episode of X-files. He guarded the underscore very religiously and you are right he did develop a very unique and wonderful palette. What Mark did call me to do was create special material for scenes or musical flavors that were off the beaten path of the score. I.E. too time consuming to do himself.
In my resume that is what it credits me for in the show (with Mark's blessing).
for instance in the episode Rain King the writers and producers decided that this socially inept guy who could cause it to rain by dancing should have a piece of music specifically for him to dance to. 4 meetings, 6 mixes and a lot of angst later there existed a piece of music that the sound effects guys deemed worthy of being played out of a boom box and being buried under thunderclaps. My X-files work was all of that nature. You can hear me singing by the way in the episode where David Duchovny and Michael McKean switch bodies. Mark needed some country western bar music in that one.
I did the same sort of thing on Millennium. I did quite a bit of work on a show where Frank tried to find a serial killer at some raves. All the rave stuff is me.
When Chris Carter spun off The Lone Gunmen I wound up scoring about 40 percent of that show as an uncredited composer with Mark . Needless to say I wish it had run longer.
I hope that clears up the confusion.
I will have my web site up soon with a complete list of credits and some musical examples. I have to go back to the part of the EIS course on composing web sites and brush up before I finish. Spud covers everything. javascript:emoticon(':D')
Glenn Jordan :D
Hi,
Well did he or didn't he and what was it?
I have been doing various things with and for Mark Snow since I met him on Peewee's in 1990.
Mark did score every episode of X-files. He guarded the underscore very religiously and you are right he did develop a very unique and wonderful palette. What Mark did call me to do was create special material for scenes or musical flavors that were off the beaten path of the score. I.E. too time consuming to do himself.
In my resume that is what it credits me for in the show (with Mark's blessing).
for instance in the episode Rain King the writers and producers decided that this socially inept guy who could cause it to rain by dancing should have a piece of music specifically for him to dance to. 4 meetings, 6 mixes and a lot of angst later there existed a piece of music that the sound effects guys deemed worthy of being played out of a boom box and being buried under thunderclaps. My X-files work was all of that nature. You can hear me singing by the way in the episode where David Duchovny and Michael McKean switch bodies. Mark needed some country western bar music in that one.
I did the same sort of thing on Millennium. I did quite a bit of work on a show where Frank tried to find a serial killer at some raves. All the rave stuff is me.
When Chris Carter spun off The Lone Gunmen I wound up scoring about 40 percent of that show as an uncredited composer with Mark . Needless to say I wish it had run longer.
I hope that clears up the confusion.
I will have my web site up soon with a complete list of credits and some musical examples. I have to go back to the part of the EIS course on composing web sites and brush up before I finish. Spud covers everything. javascript:emoticon(':D')
Glenn Jordan :D
Frederick Russ
Founder Emeritus
I split the Mark Snow discussion into a separate thread by that name into the Sample Talk forum since the discussion was trailing very off topic and focused on samples specifically rather than on the origins of the thread.
I do have a question about EIS and the course you can do on it.
What level do you need to be at to profit from such a course?
I know my theory from learning piano at an early age although I'm probably missing some of the specific lingo (which I could probably brush up on easily enough).
But I never studied theory at any "high" level.
Can someone at such a level start a course like this and profit greatly from it? Will this person be completely lost and not develop at all because their foundation isn't strong enough?
It's not that I don't have theory in the string of techniques - I think I've read enough posts now to know this a good thing to be familiar with - but if I'm missing the basic tools to comprehend it then maybe it won't be that useful for me.
Anyway - just curious.
I've just started teaching myself some jazz theory to improve my compositional knowledge so I'm currently looking.
Caleb
What level do you need to be at to profit from such a course?
I know my theory from learning piano at an early age although I'm probably missing some of the specific lingo (which I could probably brush up on easily enough).
But I never studied theory at any "high" level.
Can someone at such a level start a course like this and profit greatly from it? Will this person be completely lost and not develop at all because their foundation isn't strong enough?
It's not that I don't have theory in the string of techniques - I think I've read enough posts now to know this a good thing to be familiar with - but if I'm missing the basic tools to comprehend it then maybe it won't be that useful for me.
Anyway - just curious.
I've just started teaching myself some jazz theory to improve my compositional knowledge so I'm currently looking.
Caleb
Frederick Russ
Founder Emeritus
Welcome to the forum Caleb!
There doesn't seem to be an easy way to explain EIS unless you are in the course because without some key basics it seems mysterious. EIS is Equal Interval System, developed by Lyle "Spud" Murphy, which is a simple yet very accurate system of counting and spacing the horizontal and vertical intervals used in modern music, yet remaining architectually correct compositionally when examined using more traditional forms. It doesn't teach style but a method to arrive at virtually all styles of music.
The course begins with a series of Horizontal Root Lines which are based on Equal Intervals where every Root Tone is a Tonic. As students go through the course they embark upon Advanced Theory in a complete Equal Interval System which involves all intervals, vertical as well as horizontal, in all possible combinations. It goes without saying that this allows an unprecedented freedom in the compositional process while still remaining architectually correct. Later lessons involve advanced orchestration and arrangement techniques in the EIS system.
EIS graduates have a complete grounding in the Equal Interval System - many of them are working professionals from virtually all genres of music applying EIS to their music on a daily basis.
Craig is our resident forum EIS guy. Be sure to check out his spotlight page - there are some mp3s that I think you'll really like:
Spotlight: Craig Sharmat
There are also some interesting work found around the forum by Spud Murphy, Mary Eckler and some of the newer students as well. Hope this helps.
There doesn't seem to be an easy way to explain EIS unless you are in the course because without some key basics it seems mysterious. EIS is Equal Interval System, developed by Lyle "Spud" Murphy, which is a simple yet very accurate system of counting and spacing the horizontal and vertical intervals used in modern music, yet remaining architectually correct compositionally when examined using more traditional forms. It doesn't teach style but a method to arrive at virtually all styles of music.
The course begins with a series of Horizontal Root Lines which are based on Equal Intervals where every Root Tone is a Tonic. As students go through the course they embark upon Advanced Theory in a complete Equal Interval System which involves all intervals, vertical as well as horizontal, in all possible combinations. It goes without saying that this allows an unprecedented freedom in the compositional process while still remaining architectually correct. Later lessons involve advanced orchestration and arrangement techniques in the EIS system.
EIS graduates have a complete grounding in the Equal Interval System - many of them are working professionals from virtually all genres of music applying EIS to their music on a daily basis.
Craig is our resident forum EIS guy. Be sure to check out his spotlight page - there are some mp3s that I think you'll really like:
Spotlight: Craig Sharmat
There are also some interesting work found around the forum by Spud Murphy, Mary Eckler and some of the newer students as well. Hope this helps.
Hi Caleb,
Being able to at least recognize notes on the treble and bass clefs is neccsasary to start the course. Knowing a C to a G is a perfect 5th is helpful. If you understand this you can probably get started using EIS. If you are looking for a jazz theory, this course is also a great choice. Herbie Hancock recommends it as does Quincy Jones. Oscar Peterson would fly down every week from San Fransisco to study the method...it's in his autobiogrophy. While these are advanced musicians you do start at the ground floor and build from there.
Being able to at least recognize notes on the treble and bass clefs is neccsasary to start the course. Knowing a C to a G is a perfect 5th is helpful. If you understand this you can probably get started using EIS. If you are looking for a jazz theory, this course is also a great choice. Herbie Hancock recommends it as does Quincy Jones. Oscar Peterson would fly down every week from San Fransisco to study the method...it's in his autobiogrophy. While these are advanced musicians you do start at the ground floor and build from there.
