Adam Daniel Maxfield's Lounge Discussions

I am not an admin but I did notice this post stuck around for a bit last week and then disappeared. I was assuming it was moved since it was predominantly considered 'self promotion'. So here is an idea.... why don't you talk about what exactly constitutes a style or even your style and how your music defines that. Do you rely on certain genres? Do you work with one particular/set of synthesized sounds or instruments? Do you like to stay diatonic, do lean towards chromaticism, do you modulate, do prefer certain tempos or time signatures? And those are just some example of things that make your music standout and be recognized. How do you feel about creating a hook in your sound and what form does it take?

What I think people want to know about in this forum is more about what goes on behind the scenes - how exactly do you go through the process of composing and/or arranging or perhaps something about what processes you go through to market your music. I assume that anyone that wants to hear my music can always go to my profile here to follow my various posts announcing and promoting my music. The only time I mention my music at all in this forum is in support of some point or idea I am trying to convey. In that context my music is not the topic of the posts, in my opinion it is only incidental to the topic.

Funny, I thought the whole point of this site was self promotion through networking and advertising projects! But hey if you think it's in the wrong forum then who am I to argue.

not my call. im not the admin. just trying to come up with some ideas to minimize having the post/discussion moved based on what I have seen here over the last few years. Sharing the 'how' and the 'behind the scenes' is greatly valued here.

One from the heart was a great score.. Tom Waits. I sing Take me home all the time when I perform.. broken bicycles too.

Thomas Newman, John Williams yes.. always see him at tanglewood.. For years.. amazing.

Hans zimmer and Junkie XL

Henry Jackman, Tom Holkenborg.

Whoever committed Oompa.

Very good points all. The biggest dislike of mine is doing "covers"! I've done one in 25 years (which I really like perversely) and have always believed in doing what's within me rather than someone else. I guess though it depends on what I want to do with my musical career! I have given myself 5 years to get up and running as a viable business so that gives me scope to experiment a bit. Find a micro niche perhaps or stick to cues rather than scoring?! Who knows, a vast amount of talent goes under the radar so.....only time will tell!

Adam, here is a twist on 'covers'. When I was first learning to orchestrate, I had no-one available for me to perform live. There might be many opportunities to write for a single instrument or even perhaps a string or other trio or quartet, but go try to find a large ensemble. Unless you are a full time student at a large university or blessed with excellent musicians such as at Julliard or here at Rice, it is unlikely you will have orchestral ensembles you can practice your 4 and 5 parts harmonies with. But my teacher and early mentor suggested instead I learn how to write idiomatically for big band. The music may be 'different', but one quickly discovers that big band writing normally consists of 5 sax staffs (2 alto, 2 tenor and bari), as well as 4 or 5 trumpet staffs , 4 trombones staffs, a rhythm section (piano, guitar, bass and drums) and sometimes, a solo singer, a duet, or an SATB jazz choral group - quite a few staffs. Also, arrangements often are fast paced, generally in 'swing', and rely on many different types of 'articulations'.

But to the topic here, the best way to start and learn is to 'transcribe' an existing track (of piece that you did not compose). As I recollect, the first one I ever did that was performed live back in 2005 was "It's Been A Long Long Time" - the famous Harry James track that is associated with "VE Day" which ended World War II in 1945. I wrote the charts without a string section but had a vocal part which got sung.

It doesn't even have to be a 1920s - 1940s big band/jazz specific transcription. Some years ago, I posted a transcription video here I did to the famous Top 40 Cozie Cole track from 1958 called, "Topsy, Part II". You can listen to an original track on Youtube and then watch a 'first reading' (which they nailed) of my charts by the Houston Community College big band back in Sept. 2011.

https://www.stage32.com/media/644309202969309144

The point of doing these 'transcriptions' which is sort of a cover is not necessarily to get it into a film (with a sync license of course :) ) but it is (1) a great learning exercise to learn many aspects of large ensemble writing and learning to interact and possibly conduct live musicians and (2) hearing music we have written performed live.

So if you aren't lucky enough to have an orchestra at your disposal, try transcriptions for a big band.

Now that is food for thought! Mind you it's been 20+ years since I touched upon theory/written/sheet music!! Could be time to dive in again!

In the meantime, here's a little something I put together

https://youtu.be/KRXfLpwnekU

Good point also Robert! Do everything, keep all doors open :) Never turn down an opportunity... well, at least until you're Hans Zimmer and can be a little picky about who you work for

I have been known to play "heavy metal Piano". Interested?

Welcome Adam!

Welcome!! :-D

hi Adam :)

So, like I said I write a lot!!! This is a new one up on my new Soundcloud page which is the main track in a concept I am writing about Time! Please have a listen and let me know what you think. Peace https://soundcloud.com/admmusic/broken-time