Hi Everyone! Want to chime in here quick and say hello. I’m a fairly new composer in the industry (3-4 years) and I’m looking forward to connecting and hopefully learning from you all!
Hey Kerry! Good question. I use both- tonal and non-tonal. Often times my samples will start off as non-tonal—then through processing and manipulation—I will end up with tonal sounds-or vice versa.
In context to film-it just depends. Sometimes it’s very much a textural component to a larger score, Other times (as in the case to a short “Collette” I just scored) it’s the entire bedrock and color of the score. I prefer to have my synthesis and sampling be the bedrock to my scores and “try” to avoid jumping into standard conventional instrumentation like strings or orchestration—however that’s often times not possible depending on the film.
Jeff Goldsmith , I understand. The sound palette will differ depending on the scenes and the period set in the Film. Your ideas seem to be a little like.Hans Zimmer ! I saw Dune 2 about 2 weeks ago and there were a lot of effects, though still within a tonal type score, written cue. I mentioned this one musical scene somewhere else on Stage 32 - hearing Djembes with more of a real orchestra type cue, though it did fit the scene - the dry dessert within side one of those holes.... if you've seen any of these movies. i like the action, .... and did not watch the original Dune before this movie.. It was still enjoyable and did follow the story most places. There were a few places where I didn't connect and said to myself, "Ah, this was probably the History I'm missing from Dune I. Have a great week. KK
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Hi Jeff,
I see you’re into Sampling; how do you use this in your music composing ?
Are you doing more non-tonal works, or mostly sampling within tonal centers ?
I use interesting sounds within my music - probably part of Learning tonal and 12-tone Schoenberg educational background, lol
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Have a great week ! - Kerry Kennard
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Hey Kerry! Good question. I use both- tonal and non-tonal. Often times my samples will start off as non-tonal—then through processing and manipulation—I will end up with tonal sounds-or vice versa.
In context to film-it just depends. Sometimes it’s very much a textural component to a larger score, Other times (as in the case to a short “Collette” I just scored) it’s the entire bedrock and color of the score. I prefer to have my synthesis and sampling be the bedrock to my scores and “try” to avoid jumping into standard conventional instrumentation like strings or orchestration—however that’s often times not possible depending on the film.
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Welcome Jeff Goldsmith You'll meet a lot of great people in the community. Be sure to drop a hello in the Introduce Yourself lounge as well.
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Jeff Goldsmith , I understand. The sound palette will differ depending on the scenes and the period set in the Film. Your ideas seem to be a little like.Hans Zimmer ! I saw Dune 2 about 2 weeks ago and there were a lot of effects, though still within a tonal type score, written cue. I mentioned this one musical scene somewhere else on Stage 32 - hearing Djembes with more of a real orchestra type cue, though it did fit the scene - the dry dessert within side one of those holes.... if you've seen any of these movies. i like the action, .... and did not watch the original Dune before this movie.. It was still enjoyable and did follow the story most places. There were a few places where I didn't connect and said to myself, "Ah, this was probably the History I'm missing from Dune I. Have a great week. KK
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Glad to have you here Jeff! Here’s a blog about composing you might like on Stage 32: https://www.stage32.com/blog/3343