@@DarwinIsInCharge I 2nd that 100% This is honestly one of the best, most well intention-ed, "tutorials" I've ever watched. Kinda like you can give a man a fish and he can feed for a day, but give him the tools to learn how do full score reductions and he'll stop being shit... or something along those lines. Super empowering stuff. Either way I'm making a FSR of Beethoven's 9th atm due to the inspiration from this so THANK YOU!!! :)
@@TomMAF4 Tom I sincerely appreciate your words as its a lot of work (and thinking)! The next one is 3-4 days away from being finished - thanks for your support.
STUDY METHODS 1) General Score Study (with comparative listening) 1:28 2) Piano Reduction Study 11:29 3) Piano Expansion Comparison Study 13:59 4) Presentation Study 17:05 5) Live Study - 23:12
I've been looking for information about this precise topic for SO LONG. I can't thank you enough for uploading this video! I already study from scores from years but this really cleared my mind about the "big picture" of it. Thanks, thanks, thanks!
I played your orchestration of "Beauty and the Beast" in a life-to-film concert last year and I really enjoyed it a lot! Great work and great lesson too! Thank you!
7:30 sometimes you want that rough coordination. If you wrote it like they end up playing it, that would be insane. I think I like that effect in the right place.
Excellent video. Confirms many of my own observations in score study. IMSLP is a godsend for those of you who don't know about it. One thing that always strikes me as odd when listening to different versions of the same piece is the panning of the brass. Each brass section is sometimes in a wildly different location on the stage (or in the mix). Anyone have any insight into that? Is it dependent on the venue/soundstage/orchestra/conductor's preference ... all of the above?
Wonderful video! An other very good resource Michael! What's the name of your piece? Its "hollywood sound" is fantastic! Can I find it on Spotify /UA-cam?
Another Great video Mike ! As a jazz pianist/NHL organist and composer myself, I find your insight especially valuable, because it is cinematic-scoring oriented. How to achieve "that" specific sound. I like the selections you choose, especially originating from somehow neglected Italian opera scores. But that's exactly what early Hollywood masters studied themselves ! Opera scores for balance and color. I use tons of sample libraries, (including almost all CineSamples products) for my orchestral mockups. I'm looking forward to perhaps expanding your orchestral insight into scoring a particular piece with sample libraries, and pointing out what they CAN do, and what is somehow hard to achieve without live players. I'm tempted to devote time and energy (after my NHL season is over) to record entire score, either by Lili Boulanger or Ravel, all with sample libraries. I'll keep you posted...
awesome i’m rooting for tampa bay as a rangers fan so we can get your first round draft pick instead of the second - and you have half our team - that’s awesome !
Expanding on my earlier comment : which other classical scores would you suggest to study for achieving that “cinematic style and approach” ? In addition of course to the “obvious ones” that everyone already knows: The Planets, Pictures at an Exhibition, The Nutcracker etc. The thing is : “action music” style has been pretty much well covered in countless mockups, sample libraries analysis all over the internet. I like the “other styles” you suggested in your great video : romantic, melancholic and most of all, perhaps the hardest : the comedy. Yes ! The comedy. Which classical scores are good, valuable sources for that “instant memory recall” if one’s faced with comedy scoring assignment ? Pizzicatos, glisses, quirky melodies- but not necessarily “Mickey-Mousing” sounds and licks...
I really like Rachmaninoff Vespers, Fantasia on Thomas Tallis; Rachmaninoff Symphony 2, Shostakovich 11, Shostakovich Piano Concerto 2, West Side Story Symphonic Dances, Gershwin American in Paris for some pieces you may find film sections in.
This was a hidden gem! I am glad I stumbled upon this video. To the point and clear!! Thank you for your service. And I loved the sample of your piece, what is the name of that track ? It reminded me of my favorite Gershwin moments
What a insightful video!!!! Thanks so much!!!!! One question, at 16:09, what are the strings and horns libraries used in the recording?? Are they from cinesamples?? They sound really good together.
@@DarwinIsInCharge Absolutely yes ! There are many things that would be so hard, and almost next to impossible to fully achieve with just sample libraries. I love your composition and how you choose colors in the orchestra. Excellent example of going from piano to orch...
Great, informative and inspiring video! :-) Please, upload some similar tips. It's great that you combine composition and orchestration with conducting, playing live and recording situations.
I’ve been figuring this dilemma out as well... I assume just doing the techniques, piano reductions etc. of “core pieces” (such as The nutcracker suite, the planets by Gustavo holst, la mer by Debussy, firebird by Stravinsky, etc.) will ultimately develop your fundamental understandings. As well as composing on Own... trail and error with feedback 🙏
@DarwinIsInCharge PLEASE, if we can have the score whether it’s just the one page or more, or your own composition example, it would mean everything :) 🙏
Nice video, but again I always feel like all these videos on youtube give people the illusion/hope they will actually learn something in a few minutes they can then use to write like a classically trained musician. It is absolutely false. Writing and orchestrating like a John Williams for example takes decades to master. At the bare minimum, if you already read music fluently, you will need to dedicate at least 5 years of your life to harmony and four-part writing which is the basis of classical composition, and then give another 5 years to orchestration. And that is if your gifted... Mind you I am not saying you cannot screw around with all the awesome sound libraries now available and make cool music. You might even make it big in the industry, after all Hans Zimmer knows very little about music and has made with his team great soundtracks and millions of dollars. But again if we are talking about J.Williams level composers, Jerry Goldsmith, Bernard Herrmann, John Barry, Sergio Leon, all this guys were classically trained for many years before being able to write anything worthwhile.
This is more "give a man a fish and you've fed him for a day; teach a man to fish and you've fed him for a lifetime." The 10,000 hours rule still applies.
I've liked the video itself, but I must register my strong protest against "to classical score study" as a verb! Why not entitle the video "How to study classical scores from the perspective of a film composer"?
Wow!! The orchestration of his own piece was mind-blowing!
Would love more of these videos, Mike! :D
Thanks! I will try and think up some others
@@DarwinIsInCharge I 2nd that 100% This is honestly one of the best, most well intention-ed, "tutorials" I've ever watched. Kinda like you can give a man a fish and he can feed for a day, but give him the tools to learn how do full score reductions and he'll stop being shit... or something along those lines. Super empowering stuff. Either way I'm making a FSR of Beethoven's 9th atm due to the inspiration from this so THANK YOU!!! :)
@@TomMAF4 Tom I sincerely appreciate your words as its a lot of work (and thinking)! The next one is 3-4 days away from being finished - thanks for your support.
STUDY METHODS
1) General Score Study (with comparative listening) 1:28
2) Piano Reduction Study 11:29
3) Piano Expansion Comparison Study 13:59
4) Presentation Study 17:05
5) Live Study - 23:12
Comparative Listening - 05:39
16:09 - 16:27 is magic!! Really great writing!
no kidding! I gasped audibly
Deadass sex music
That is the most sexy thing I've ever listening.
For those that dont know who's voice it is. his name is Anthony Parnther, now one of the top conductors in Hollywood.
I've been looking for information about this precise topic for SO LONG. I can't thank you enough for uploading this video! I already study from scores from years but this really cleared my mind about the "big picture" of it. Thanks, thanks, thanks!
I've learned more from this channel on orchestration than in my college. Thank you for these amazingly high-quality materials!
Nice work. Every film music student should watch this on their first day.
I played your orchestration of "Beauty and the Beast" in a life-to-film concert last year and I really enjoyed it a lot! Great work and great lesson too! Thank you!
Why is no one talking about this goosebumping voice?))
That was extremely good. Now I'm completely inspired to go pull out all of my favorite scores to study. Thanks, Anthony.
Great to hear!
Thank you so much for this video. So many jaw-dropping and game-changing pieces of info
7:30 sometimes you want that rough coordination. If you wrote it like they end up playing it, that would be insane. I think I like that effect in the right place.
Excellent video. Confirms many of my own observations in score study. IMSLP is a godsend for those of you who don't know about it. One thing that always strikes me as odd when listening to different versions of the same piece is the panning of the brass. Each brass section is sometimes in a wildly different location on the stage (or in the mix). Anyone have any insight into that? Is it dependent on the venue/soundstage/orchestra/conductor's preference ... all of the above?
incredible explanation with an excellent voice
This video is pure gold
Welcome back, CineSamples. Finally started uploading videos again. You have a lot to keep up with Spitfire.
Wonderful video! An other very good resource Michael!
What's the name of your piece? Its "hollywood sound" is fantastic!
Can I find it on Spotify /UA-cam?
Another Great video Mike ! As a jazz pianist/NHL organist and composer myself, I find your insight especially valuable, because it is cinematic-scoring oriented. How to achieve "that" specific sound. I like the selections you choose, especially originating from somehow neglected Italian opera scores. But that's exactly what early Hollywood masters studied themselves ! Opera scores for balance and color. I use tons of sample libraries, (including almost all CineSamples products) for my orchestral mockups. I'm looking forward to perhaps expanding your orchestral insight into scoring a particular piece with sample libraries, and pointing out what they CAN do, and what is somehow hard to achieve without live players. I'm tempted to devote time and energy (after my NHL season is over) to record entire score, either by Lili Boulanger or Ravel, all with sample libraries. I'll keep you posted...
thats cool - I am a huge hockey fan what team do you play for?
Tampa Bay Lightning :-)@@DarwinIsInCharge
awesome i’m rooting for tampa bay as a rangers fan so we can get your first round draft pick instead of the second - and you have half our team - that’s awesome !
DarwinIsInCharge Yes. Agree ! I particularly like JT Miller, who moved to TBL from NY Rangers.
My god what an amazingly informative video, learned so much!
Expanding on my earlier comment : which other classical scores would you suggest to study for achieving that “cinematic style and approach” ? In addition of course to the “obvious ones” that everyone already knows: The Planets, Pictures at an Exhibition, The Nutcracker etc. The thing is : “action music” style has been pretty much well covered in countless mockups, sample libraries analysis all over the internet. I like the “other styles” you suggested in your great video : romantic, melancholic and most of all, perhaps the hardest : the comedy. Yes ! The comedy. Which classical scores are good, valuable sources for that “instant memory recall” if one’s faced with comedy scoring assignment ? Pizzicatos, glisses, quirky melodies- but not necessarily “Mickey-Mousing” sounds and licks...
I really like Rachmaninoff Vespers, Fantasia on Thomas Tallis; Rachmaninoff Symphony 2, Shostakovich 11, Shostakovich Piano Concerto 2, West Side Story Symphonic Dances, Gershwin American in Paris for some pieces you may find film sections in.
This was a hidden gem! I am glad I stumbled upon this video. To the point and clear!! Thank you for your service. And I loved the sample of your piece, what is the name of that track ? It reminded me of my favorite Gershwin moments
Extremely valuable information! I really hope to see more content like this from you guys. Fantastic.
Encore! Looking forward to more in the series!
Definitely want more of this. Absolutely fantastic.
What a superb video. This is gold!
I must say thank you for making this video. The information in it have such importance on composing even contemporary classical music.
This was super intriguing, even though I have minimal knowledge in orchestration
Watching this while preparing some notation for string overdubs- this vid was awesome!
What a insightful video!!!! Thanks so much!!!!!
One question, at 16:09, what are the strings and horns libraries used in the recording?? Are they from cinesamples?? They sound really good together.
chang liu Hi! That’s the live Hollywood Scoring Orchestra
@@DarwinIsInCharge Absolutely yes ! There are many things that would be so hard, and almost next to impossible to fully achieve with just sample libraries. I love your composition and how you choose colors in the orchestra. Excellent example of going from piano to orch...
Great, informative and inspiring video! :-) Please, upload some similar tips. It's great that you combine composition and orchestration with conducting, playing live and recording situations.
I can't thank you enough for sharing this wonderful work. Great.
Great vid and what a fantastic narrator! :)
How would we know which pieces to listen to for which techniques if we haven't learn the basics/fundamentals? Are there any resources for this? :)
I’ve been figuring this dilemma out as well... I assume just doing the techniques, piano reductions etc. of “core pieces” (such as The nutcracker suite, the planets by Gustavo holst, la mer by Debussy, firebird by Stravinsky, etc.) will ultimately develop your fundamental understandings. As well as composing on Own... trail and error with feedback 🙏
Excellent vid. Thanks.
Brilliant... Thank you Cinesamples!
Does anybody know of a full version of 16:08? Or anything like it? I'm in love with rising string section
@DarwinIsInCharge PLEASE, if we can have the score whether it’s just the one page or more, or your own composition example, it would mean everything :) 🙏
@@allstarmic6792 I think Cinesamples wrote it himself, and it's just that brief moment... but that moment puts me in tears!
Much gratitude for this video... Cheers, Max T.
SUPER! Thank you Michael:-)
Wow! Thanks for this Mike.
Fantastic video!
This is gold. Thank you!
Some segments in the video are stamped not adjacent to each other
Brilliant. Thank you!
This stuff is gold!
Top information!
EXCELENT!
Is this really free? Damn, this Is gold
Excellent!
Thank you! Thank you! Thank you!
Nice! Thank you.
Anyone else come here from Spitfire's orchestration lessons? 😆
Nice video, but again I always feel like all these videos on youtube give people the illusion/hope they will actually learn something in a few minutes they can then use to write like a classically trained musician. It is absolutely false. Writing and orchestrating like a John Williams for example takes decades to master. At the bare minimum, if you already read music fluently, you will need to dedicate at least 5 years of your life to harmony and four-part writing which is the basis of classical composition, and then give another 5 years to orchestration. And that is if your gifted... Mind you I am not saying you cannot screw around with all the awesome sound libraries now available and make cool music. You might even make it big in the industry, after all Hans Zimmer knows very little about music and has made with his team great soundtracks and millions of dollars. But again if we are talking about J.Williams level composers, Jerry Goldsmith, Bernard Herrmann, John Barry, Sergio Leon, all this guys were classically trained for many years before being able to write anything worthwhile.
This is more "give a man a fish and you've fed him for a day; teach a man to fish and you've fed him for a lifetime." The 10,000 hours rule still applies.
Agree in principle, but I doubt that the John Barry patterns really have such a high level. (Btw Sergio Leone didn't compose anything.)
I've liked the video itself, but I must register my strong protest against "to classical score study" as a verb! Why not entitle the video "How to study classical scores from the perspective of a film composer"?
turandot loll