Composing

Hi Joel Irwin! That's a really interesting point about Time Signatures! Honestly, yes. according to me, it's all about down beats, and where you feel them hitting. Moreover, in terms of composing using the time signatures, I've always found them to correlate with the feeling you're trying to get out of your piece, like you had said!

I'd like to see all of these incredible composers perform on stage, Allen Lynch, especially John Carpenter and Danny Elfman!

This lineup is absolutely unreal Allen Lynch what an incredible way to spotlight the genius behind the screen! Seeing composers like Trent Reznor, Terence Blanchard, and John Carpenter take the stage feels like a dream for anyone who lives for cinematic sound.

But I have to say… Danny Elfman is the one who gets my heart every time. Seeing him live at the Hollywood Bowl was an experience I still reminisce about fondly. It was electric, emotional, and unforgettable. I would LOVE the chance to see him perform live again.

The festival has an interesting mix of talent. I'd like to see/hear the setlist for Trent & Atticus. Do they lean into their scores or NIN tracks.

Elfman & Carpenter are at the top of my list too, Maurice.

Ashley - Sounds like you had an amazing seeing Danny Elfman live. Did he perform any of his Oingo Boingo stuff?

He did! It was for the 25th Anniversary of The Nightmare Before Christmas at the Hollywood Bowl. They performed the music live with a full orchestra and the original cast. Then at the end, he brought out Oingo Boingo and did a surprise mini performance of a few of their songs. It was amazing.

Wow! That's fantastic!

Definitely the influence of the 1970s and 1980s. Timeless masterpieces to me like the STAR WARS soundtrack. Still deeply vibrational moves.

Star Wars music is Wagnerian, complete with leitmotifs. Similar use of brass. That's why it was called a space opera.

John Williams' scores have influenced generations of film enthusiasts and composers alike with memorable & hummable melodies in some of the most popular films in history.

The music of composers like John Williams and Thomas Newman were staples of my childhood and set the foundation for how music can move me emotionally and enhance a story. Their work taught me early on that a score isn’t just background, it’s a narrative force of its own. That said, I also have a deep appreciation for the modern hybrid approach, how composers today blend orchestral music with electronic textures to create something entirely new. It’s exciting to see how the golden age is constantly being redefined.

Well said, Ashley.

Thanks Geoff - I liked Ludwig's score for Black Panther. Haven't watched Sinners yet, but I'm looking forward to hearing his collaboration with Buddy Guy. Had to compose an orchestral piece featuring Native American flute honoring early Japanese culture for TV.

Allen Lynch that’s great, Allen. That’s a great fusion of styles. I hope it goes well.

It would be great to hear what you think of Göransson’s work on Sinners.

Thanks Geoff Hall, I will let you know after I see Sinners.

My favorite Ludwig Göransson work is in Sinners, Geoff Hall. My favorite song from the movie is I Lied to You. The music and sound really enhance the story!

Maurice Vaughan gotcha, Maurice. I Lied To You was fantastic. And yes, me too. I loved the way the music enhanced the storytelling.

As far as writing concepts, prob. John Williams. I've liked some of Hans Zimmer movies (sound scapes). For the drumming world, it's still Dave Weckyl and Alex Acuna ! Alex is amazing - great player and coordination is awesome. I remember seeing a video how he does Clave with left foot, while all the diff. hand patterns on congas, etc. He's like Dave W. - Dave has some cool Coord. also, while awesome grooves and those ... not on 2 & 4 hits / syncopation. :~).

Hey Kerry, thanks for sharing those Spielberg nuggets of wisdom. Hope everything is going well.

John Williams and Hans Zimmer are my favorite composers, Kerry Kennard. I talked with Hans way back about doing music for a feature film I was producing. He was busy with another project though. He's a nice guy.

Wait, you were asking him to compose ? (as you're producing ? Many hats for sure, ... lol.

I've heard his voice / videos from the Masterclass series (Masterclass.com). Glad you met him..

From my drumming world, I met Alex Acuna at PASiC in passing (hallway) - seems like a great guy also. Haven't met any famous composers in this phase of my life yet.

I started a class with Michael Whittaker last month. It's quite intensive. I need to get back to the 2 min. H. Potter project we're suppose to write to. Michael has good ways to write I haven't learned yet. Mr. Whittaker is very smart in his writing.

( it's the www.ScoreCraftAcademy.com website - for more of his business and what SCA encompasses in his class and other online program).

I was a producer way back, Kerry Kennard. I mainly focus on writing now. Thanks for the link. I'm looking forward to hearing the project you're working on for Michael's class if you're able to share it!

I think we all enjoy feedback and ideas among peers but we should be careful not take too much of it to heart. If we create how and what others feel we should be creating then soon our art is no longer our own. Each artist's path is different. Take the bits and pieces of feedback that resonates and inspires and then ditch the rest that does not. So YES, Absolutely.....Go with your gut!

Art is by nature subjective. I try to separate criticism from critique and advice from opinion. I have to respect the person and know that the spirit in which their opinion was given was meant to benefit my project or me as an artist. Like Mike Hall said, go with your gut!

I’m with Mike Hall - take bits and pieces which resonate and inspires your creativity within the music process.

On a recent post on Facebook, one guy is sharing his new song outside on the porch, which is a great song! Comment saying, it “sounds like the guitar could be done an octave, to not clash with his voice” was more a suggestion.

After thinking my background (studio) and him being outside, it’s totally subjective for the small suggestion I mentioned.

It’s not really bad advice, though subjective to many other narratives going on with guitar and voice.

I definitely am the sensitive type when speaking and sharing my opinions / advice.

Some readers LOVE my stuff. Many on here HATE it. "Too many words", 'missing a slug line" "needed the reader to emotionally identify with the characters' 'need only ONE villain' 'too much detail' and on and on.And yet...how about this?

Hi Jon,

I must say the book is an amazing read, and I can barely put it down.

Sent by Sylvia Jacobs.

And this on ONE IN 7 BILLION, from Mark Glent:

Hi Jon, This is a very considerable amount of work........and an excellent job....so well done.

It's all opinion. I've read so-called award winning scripts. How are they the winners? Technically perfect? Sometimes boring? Who knows? I read an award winner's script for whom I suggested some basic English corrections. Story was good. HUGE number of long parentheticals. Why?

Presentation trumps content?

Many want to 'fix' my stuff for money. Usually they want about 3000$. Rent must be due!

Kat Spencer Feedback can be an incredible tool for growth, but as you pointed out, not all advice is created equal. I love your approach of using a gut check to filter what resonates. That instinct is part of the artist’s compass, especially when the work is personal or emotionally driven.

For me, I try to step back and ask, “Is this feedback challenging me to grow, or is it steering me away from my voice?” If I hear the same feedback from multiple sources, that’s usually when I know it’s time to take it seriously and really examine what might be getting lost in translation.

It’s a fine line between staying open and staying true, and honestly, it’s a skill we all keep honing.

"Other times, it is hearing sounds around me whether nature or others tones of voice." That reminds me of how I get script ideas sometimes, Sherri ZImmerman. Sorry to hear you were in the hospital. I hope you're doing well now.

Maurice No longer here.

Very interesting about you receiving scripts that way... very interesting. Miss you alot!

You're welcome, Sherri ZImmerman. It's great to see you again.

DITTO. If I could put a HEART symbol here I would... LOL