Composing

I've been there, Kat Spencer. Sometimes I'll finish the project right away, and sometimes even though I want to finish the project right then, I'll put it away for later since I don't have time.

Kat Spencer, I find myself there all the time. I have written hunrdreds of songs and still writing them. Plus, four animated series, four films and a stage musical. Then yesterday I accidentlally created what could be one of the most viral tunes of all time. This is no time for moedsty. I created a catchy little tune (High Jinka) which consists entirely of nonsense words. That tune is fun enough. However, that is not it. My twisted mind decided to try the exact same words and turn it into a sea shanty called High Seas Jinka. I believe this could go as big as The Duck Song with the right video and promotion. So, I am not a videographer. Have to figure out what to do. Any suggestions are most welcome.

Wyman Brent Hahaha, nice! As for "I'm not a videographer," become one! Or find one on here. I'm sure there are plenty who would love to help.

Maurice Vaughan - I have found that if I put it away, I never return. Out of sight, out of mind, and a little Dory brain :) At least when it comes to musical ideas. I usually write them in 2 hours or so (or the whole night, but never longer). So, if I say "oops" and continue, it means, I'll be up late haha.

Sad to hear - I watched some of those episodes growing up.

Florin Şumălan Oh that is sad :(

Thank you for sharing this, Florin Şumălan!

I'm pure instinct but only after my rituals

I most certainly Agree with the others. We doneedno stinking rules!

Love that Dylan Lee!

Haha Mike Hall - you know I never follow them!

With a Rebel yell. :~). ha ha . It's my R&R coming out.

More of an Pop Rock / Jazz and RnB guy now.

I usually go with what's on screen - writing to what's there.

Though, this last Gravity scene from this class, I decided to use a lot of Minor chords, and near the end, - used a real tense chord - actually Poly chord - and it did work well for extra tense scene. M. Whittaker's class, he says - anything goes, ... and he said ...

keep same tempo throughout; you can always double time and use 1/2 time.

Learning lots.

The music examples given for the H. Potter short scene helped at the end.

It's up on my website and YouTube page - under Film Music examples.

yes! i do! i love piano! its my pleasure to play that instrument

Beautiful setup!!!

Paul Timmich, congratulations on the new studio, it looks and sounds like a labor of love and creative vision. That feeling of having a space that’s truly your own can be such a catalyst for fresh work. I’m especially intrigued by your exploration of prepared piano and sonic experimentation. While I’m not a composer myself, I’ve seen how powerful unconventional techniques can be in shaping a film’s emotional landscape. I hope you’ll keep sharing updates here in the Composing Lounge!

Looks like good mic techniques for the Piano. I've seen a live view where a 2nd mic is placed underneath the piano - for Live use. Sometimes two mics inside the piano for Studio.

Paul Timmich Stunning studio! I definitely have unconventional techniques. I'm sure most would laugh. But I do what I can with what I have. And it works :) Most of the time...

It's brilliant what John Williams did, Tucker Teague! The scene works better without the music. I'm gonna try it in a script. Maybe have a sound happen every time the villain/monster shows up, but not during a big scene. Thanks for sharing the video.

So true, Tucker Teague! I love this, thank you for sharing!

Impressive!

Often times composers are quite literally asked to tone down the uniqueness. I've been told by a client once that what they wanted was "musical wallpaper." I don't love it but it is their project, and you can't argue it's not affective for the average TV viewer.

I take your point Dylan, but this seems to indicate a concerning trend. After all, if clients are content with 'musical wallpaper', then AI can easily generate this without any need to step outside the safe box. Where will this leave the human composer I wonder?

I definitely get it, and it scares me too. As long as filmmakers still appreciate the collaboration aspect, I hope we are safe. But when budgets get tight, we seem to be the first on the chopping block sadly.

wow Dylan Lee , sounds like school music programs (sadly as well). Yes, hope we are safe. Know the composing industry is competitive, though working with Producers and Filmmakers help us with what they want sonicly ( at times) helps us know what is needed in the various scenes - as I am learning these last few months.

Thank U Morgan Aitken Ipg Thank you for your comment, I'm glad you liked it. Hopefully, we can collaborate on something in the future. Best Regards.

Dylan Lee , lots of driving beat. Great for game soundtracks. Longing for Winter is a nice track.

Overall, I've listened to some amazing works. There is talent and drive out there. I've also learned some things from this side of the desk. For instance, what makes for a great demo reel is not just great music, but a demo that makes my job easier.

What I like to hear -- as someone potentially auditioning music, style, and the creator's flexibility and potential to match a project -- is more of a medley, short (<15sec) examples of what a composer can do. I am looking for a range, a variety of styles that tell me that a composer can write to order.

It's really like speed dating, but on an even tighter schedule. My dream demo reel is a medley of styles, tempos, dynamics, melodies (so important: I want to be hooked, emotionally manipulated), and I want it in five or six, 10 to 15 second pieces, dovetailed musically in a way that carries me along from one piece to the next. It shows me, the composer can change gears as fast and as effortlessly as what may be on the screen.

For example: Manu Míguez 's demo is a prime example of what I am talking about.

It might be useful to have several demo reels for different audiences. For instance, one reel for a composer-call (for film/tv) like what I described above. Another reel for musicians, record companies, radio. I love music, and it hurts to cram it down because I am pressed for time, but that's the reality in this biz. You really have only seconds to make your impression.

Thanks for the insight, Morgan Aitken Ipg . Composers need to hear it. As an artist, it goes against everything in my soul to strip a track down to a bite sized piece, but it seems to be the consensus from so many filmmakers that that is what you are looking for, so that is what we must do!

Oh, thank you Morgan Aitken Ipg! I really appreciate that!

Allen Lynch Hahahahahaha. And thank you!

A go-to instrument... good Q. I would have to say, 'I like to play a little tune on my pocket calculator.' Anybody hear of Kraftwerk? But seriously, my go-to instrument is actually my iPhone. (And really, what is an iPhone but a really fancy pocket calculator?)

piano, but I am also into buliding my studio so I can really go with the skills that I have, cause I used to play 12 instruments every day almost :) all :)

Julia Kolasińska 12?! Which ones?

For me the piano Too. :)

Hey Monobjo, this is Lindsay from the Stage 32 team. I just wanted to let you know I moved your post from Cinematography to Composing, as it fits much better there. Let me know if you have any questions, and all the best to you!

Hi Lindsay, thank you for your message and for taking the time to move the post.

I just wanted to clarify that this video isn’t focused on composing or music scoring. It’s a symbolic visual analysis of how Shining and Hereditary use space, rhythm, and cinematographic language to express archetypal structures. The Tarot reference is thematic, but the content is not music-centric.

That said, I respect your decision, even if I don’t fully understand it.