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Omni music publishing - poltergeist full score available

dcoscina said:

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Nice!

Just one more question (sorry). My two favorite tracks off of the album are "Twisted abduction" and "Rebirth". I find them both to be sublime. I worry that neither title is present in the overview of the book from Omni. Could it be that "Twisted abduction" is the same as what Omni refers to as "The Closet" and that "Rebirth" is the same as what Omni calls "Lets get her, part 2"?

EDIT: Also, I feel myself much more enticed by all the scores at Omni than by the 50% Spitfire sale. Surely that must be against the VI-control rules?! (Though, to be honest, my love affair with Staffpad is probably just as much of an explanation.)
 
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gussunkri said:
EDIT: Also, I feel myself much more enticed by all the scores at Omni than by the 50% Spitfire sale. Surely that must be against the VI-control rules?! (Though, to be honest, my love affair with Staffpad is probably just as much of an explanation.)
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I love a good flash sale, but you will probably get more from an Omni score than any sample library. Once they have an EU retailer, I will be picking some up, though as still a beginner, these scores are a bit daunting learn from.
 
Markrs said:
I love a good flash sale, but you will probably get more from an Omni score than any sample library. Once they have an EU retailer, I will be picking some up, though as still a beginner, these scores are a bit daunting learn from.
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The nice thing is you can grow into them. They are a significant investment but ultimately will endure long after most sample libraries.

I don't buy many of them, mind you. My criteria because of the expense is whether I love the film score and feel I could learn something from it. So I have The Matrix (impossible to lift most of it by ear), Total Recall, ST:TMP, and now Poltergeist. I would probably spring for HTTYD if the opportunity arose much like I would get Chris Siddall's lovely Iron Giant. I have Chris' Aliens book as well.
 
gussunkri said:
Nice!

Just one more question (sorry). My two favorite tracks off of the album are "Twisted abduction" and "Rebirth". I find them both to be sublime. I worry that neither title is present in the overview of the book from Omni. Could it be that "Twisted abduction" is the same as what Omni refers to as "The Closet" and that "Rebirth" is the same as what Omni calls "Lets get her, part 2"?

EDIT: Also, I feel myself much more enticed by all the scores at Omni than by the 50% Spitfire sale. Surely that must be against the VI-control rules?! (Though, to be honest, my love affair with Staffpad is probably just as much of an explanation.)
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they are Both in the full score. Every note is in the OMNI book . Also the notes that TIm has written in the foreword are golden. THIS is why these are essential purchases and should take precedent over the latest multisampled cowbell library in full surround complete with Alan Meyerson mixes ( i know you can never have enough of these bastards ! ). You will learn a shit load from studying this !

best

ed
 
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Warning: newb alert. What is the best way to go about studying scores? Do you go through a cue and do harmonic analysis as you enter notes into a scoring program or a DAW? Or are they more a reference for how a particular color or effect is achieved? I have HTTYD and I can follow along with the music easily enough, but having done that with a couple of cues I didn't really have any new insights so I'm thinking I have to go much deeper and go much slower.
 
there are two completely separate bits of info in a film score, they should really be studied apart.

1, Music...this is really just like studying any music with the exception of not being too concerned about form. That is dictated by the film so tbh best ignored. Instead concentrate on what you would look for in any composition that interest you. Harmony, melody , colour etc. With very few exceptions this will be similar to music outside of film too, which is why you should not do this without having also studied the masters. A lot of film scores have given composers the opportunity to indulge themselves in fantastic collections of instruments. Bernard Herrmann in "The Day The Earth Stood Still" or Hans Zimmer with INTERSTELLAR. It takes a special person to write a space opera on a pipe organ.....

2,Drama : the best film composers are master dramatists. They sometimes have to write about the full story and emotions NOT always what is happening at that moment on screen.



again the music is playing to the whole story....Religion and unshakable faith VS Science and fact ,NOT someone saving a city from a huge explosion with a helicopter !!!. So a film score can give clues as to how this happens. Sometimes there is what we call "mickey mousing" when the music will directly play against the subject. Again the best composers hint at this, sometimes a Wagnerian discipline of leitmotif's is on full display ! So a good film score will display ALL this.

best

e
 
tpoots said:
Warning: newb alert. What is the best way to go about studying scores? Do you go through a cue and do harmonic analysis as you enter notes into a scoring program or a DAW? Or are they more a reference for how a particular color or effect is achieved? I have HTTYD and I can follow along with the music easily enough, but having done that with a couple of cues I didn't really have any new insights so I'm thinking I have to go much deeper and go much slower.
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Speaking only for myself (so take it for what it's worth)....just following the music with my eyes, while somewhat interesting, doesn't really give me much new insight either.

But when I actually started copying some of the music down, into a notation app (like Staffpad, for instance), I began to internalize and understand the choices and devices being used. It's much like the difference between watching a video tutorial passively, vs. actually doing a proactive exercise with the material. Just transcribing a short section of a part that I like, is really illuminating.

Also, once I've transcribed a bit in the software, I can solo the sections, and hear how the different parts sound and meld together. It starts to internalize how I can use similar choices in my music.

Finally, creating a reduced score from the published score, like Score Club recommends, really hones and distills how the composer originally conceived the orchestration, and helps me to see how I can use the knowledge in my own stuff.
 
I listen intently to the cue and then just read through the score, away from the audio source so I can internalize it. For me, this freeze-frame approach works pretty well. I might play some of it on the piano if I want to work out some of the more complex harmonies.
 
ed buller said:
they are Both in the full score. Every note is in the OMNI book . Also the notes that TIm has written in the foreword are golden. THIS is why these are essential purchases and should take precedent over the latest multisampled cowbell library in full surround complete with Alan Meyerson mixes ( i know you can never have enough of these bastards ! ). You will learn a shit load from studying this !

best

ed
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I don’t know. Have you heard the power legato on that cowbell?

Ordered and awaiting my copy.
 
I caved and ordered Poltergeist and How to train your dragon. I would have ordered Total recall but it was backordered. I was tempted by Batman as well, but perhaps working with two scores is more than enough to keep my busy for awhile.
 
tpoots said:
Warning: newb alert. What is the best way to go about studying scores? Do you go through a cue and do harmonic analysis as you enter notes into a scoring program or a DAW? Or are they more a reference for how a particular color or effect is achieved? I have HTTYD and I can follow along with the music easily enough, but having done that with a couple of cues I didn't really have any new insights so I'm thinking I have to go much deeper and go much slower.
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Gingerbread said:
Finally, creating a reduced score from the published score, like Score Club recommends...
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It's often difficult to know if the person you're trying to help understands what you're talking about if (s)he is a little bit new to this. The OP may benefit from seeing some examples of those reduced scores you've made in the past if you're willing to post them. Nothing teaches like real world models that someone can follow. Just a thought.
 
Gene Pool said:
It's often difficult to know if the person you're trying to help understands what you're talking about if (s)he is a little bit new to this. The OP may benefit from seeing some examples of those reduced scores you've made in the past if you're willing to post them. Nothing teaches like real world models that someone can follow. Just a thought.
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Thanks Gene, real world examples are always welcome. I am going through StaffPad but I have not gotten to where Alain discusses making a score reduction yet. That being said, I also find that seeing a concept demonstrated by multiple people in multiple different ways is always helpful to my understanding.
 
tpoots said:
Thanks Gene, real world examples are always welcome. I am going through StaffPad but I have not gotten to where Alain discusses making a score reduction yet. That being said, I also find that seeing a concept demonstrated by multiple people in multiple different ways is always helpful to my understanding.
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Hang in there. I'm sure someone will eventually step up and demonstrate their methods with real world examples and concrete, practical guidance. I think some people may be shy about doing so for whatever reason, but this is one of those areas where the vagueness of general remarks has its limits.
 
tpoots said:
Thanks Gene, real world examples are always welcome. I am going through StaffPad but I have not gotten to where Alain discusses making a score reduction yet. That being said, I also find that seeing a concept demonstrated by multiple people in multiple different ways is always helpful to my understanding.
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Score reductions are fun! I did that with Shostakovich’s 12th symphony years ago. It’s a great way to get a piano friendly version of a piece. I know some people can play a full score on the fly but I could never do that, so piano reductions of full orchestral scores are helpful to get a handle on the harmonic motion of a piece.
 
tpoots said:
Thanks Gene, real world examples are always welcome. I am going through StaffPad but I have not gotten to where Alain discusses making a score reduction yet. That being said, I also find that seeing a concept demonstrated by multiple people in multiple different ways is always helpful to my understanding.
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Alain does take downs. He use to do one a month. I think it's called scorestudy. Very useful

best

e
 
@tpoots

You don't need to concern yourself with takedown yet. Takedown is transcribing by ear, which is not what you do with printed scores. It's also a union category where you get paid by the four-bar page per number of staves. The kind of takedown you do for yourself is rewarding, but the kind you're hired to do typically is not, except for the plumber's wages.

What you need is a group of strategies that you can adapt for your purposes. I wish I had the time right now to get into the details (it'd take me half an hour to summarize), but overall, how you go about it depends mostly on: (1) what you want to get out of any particular score excerpt; and (2) the specific score excerpt, since each is a law unto itself.

Really sorry about the vagueness here, since I reckon it's not very helpful.
 
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