General Info:
1. Students should propose a final project piece for Dr. A.’s consideration, which must still involve orchestrating/scoring as instructed for full symphonic orchestra. Proposed final project pieces may be in any style or genre (original concert music, film music, or music theater, to name just a few), but must fulfill the orchestration and Logic Pro X and EastWest requirements. You only need to score 30 bars from your selected piece. E-mail Dr. A for approval of your selected piece no later than Tuesday, Nov. 29th by 11:59 pm.
2. Conversely, if you can’t settle on a piece, you may choose from either of the two options listed here and orchestrate/score as instructed for full symphonic orchestra to fulfill the orchestration and Logic Pro X and EastWest requirements:
a. Score mm. 1-29 of Milhaud’s “Trois Rag Caprices, Op. 78, #1″ as instructed.
b. Score mm. 1-28 of Bartok’s “Wrestling” as instructed.
3. Need help with Logic Pro X? You’ll continue learning it in Lab, but also go to the Logic Pro X Info page for links to helpful training videos at lynda.com and macprovideo.com.
4. Need help with EastWest? You’ll continue learning it in Lab, but also go to the EastWest Info page for links to helpful training videos at macprovideo.com.
Submission Dates!
1. Essay 1 – DUE Friday, 12/2, 11:59 pm. = 4%
Essay 1 should describe your plans for your Final Scoring Project including your aesthetic intentions and orchestral forces. Submit it online at Canvas. An 800 word count – minimum.
2. Completed Notation Score – DUE Monday, 12/12, 11:59 pm. = 6%
Your completed notation file submitted online at Canvas as a .zip archive. This should be a polished notation file and include the requirements listed below.
3. Project file Submission – DUE Tuesday, 12/13, 4:00 pm. = 6%
Your Logic Pro X file with EastWest realization submitted online at Canvas as a .zip archive.
4. Class Presentation – DUE in class on Wednesday, 12/14, 2:30 pm. = 5%
The presentation of your Final Scoring Project. Include your notation score and your Logic Pro X file with EastWest realization.
5. Essay 2 – DUE Friday, 12/16, 11:59 pm. = 4%
Essay 2 should describe your actual Final Scoring Project as an “after-action report” detailing what worked and what didn’t, how you changed course, what you learned. How did you meet your aesthetic goals? How did you meet the prescribed musical and technical requirements? A 1200 word count – minimum.
EastWest & Logic Pro X Requirements:
Your notation file must be realized in Logic Pro X with EastWest instrumentation:
- Use of keyswitching & note velocity data
- Logic’s mixer settings for panning & overall volume levels
- Player’s mic positions & reverb environments
- Automation data – CC7 for MIDI volume
- Automation data – CC11 for MIDI expression
Scoring Requirements:
Pick from the following instrumentation: at least 8 woodwind players from piccolo, C flute, alto flute, oboes, english horn in F, clarinet in D or Eb, clarinet in A or Bb, bass clarinet in Bb, bassoon and contrabassoon; at least 8 brass players from trumpet in C or Bb, piccolo trumpet, flugelhorn, horn in F, tenor trombones, bass trombone and tuba; at least 2 mallet percussion from xylophone, marimba, vibraphone, glockenspiel, crotales and chimes; at least 6 other percussion instruments of your choosing; at least one auxiliary instrument from celesta, piano or harp; any other auxiliary instrument(s) of your choosing; and, a five-part string orchestra: violin I, violin II, viola, violoncello and double bass.
Supply dynamics throughout to provide ‘dynamic variety’ to your scoring, with a range from ppp to fff. Include crescendo and decrescendo markings. Remember the unique registral characteristics of each of the instruments in regard to dynamics.
Brass & woodwinds: apply detailed & expressive articulation markings. Be sure to allow for the breathing needs of each brass and woodwind player. Apply at least 3 idiomatic brass and woodwind techniques as you wish, but be creative! Be sure you notate them correctly.
Strings: apply detailed & expressive bow markings. Indicate down bows and up bows. Apply at least 4 idiomatic string techniques as you wish, but be creative! Be sure you notate them correctly.
Harp: use correct pedal markings. Begin with a pedal diagram at the first harp entrance. Allow time for pedal changes and indicate them in the score either by letter or with a new harp diagram. Be sure that you notate your harp pedaling correctly! Apply at least 2 idiomatic harp techniques as you wish, but be creative! Be sure you notate them correctly.
Mallet Keyboard Percussion: use the mallet keyboard percussion to add color to your different melodic and harmonic groupings described below. Score for them idiomatically.
All Other Percussion: use the other percussion to also add color to your different melodic and harmonic groupings described below. Score for them idiomatically.
Groupings: Create at least 6 melodic groupings to rotate both the main foreground melodic material and any middleground material. Use dovetailing technique and double mostly at the octave or at multiple octave intervals. Create at least 6 harmonic groupings and organize your groupings to utilize all 4 chord structure types: interlocking, juxtaposing, enclosing and overlapping. Your chord structures must be distributed between 2 to 4 octaves. Do not have any registral conflicts between your melodic material and chordal structures.
Hint – your melodic and harmonic groupings may be the same instrumentation!
Use a minimum of a 3 octave range for every single pitched instrument.
Notation: be certain that your notated score accurately reflects the beat. Sibelius or Finale may incorrectly choose note values or beaming in a manner that obscures the beat, so be sure to fix those problems.