General Info:
1. Work alone or with one other person in Music 414.
2. You may work as follows: A), import your video into Logic Pro X and score it directly with EastWest instruments as a final mix and then transcribe your notated score afterward, OR, B) import your video into Finale or Sibelius and score it there, export your MIDI data and import that into Logic Pro X with the video and then realize it with East West instruments as a final mix.
3. Visit a variety of public domain sites and choose your own film/video clip(s) that you’d like to use for Scoring Project #4. Analyze the clip(s). Pay attention to both aesthetic, emotive, narrative and psychological content. Score the clip(s) as you wish.
4. Need help with Logic Pro X? You’ll be learning it in Lab, but also go to the Logic Pro X Info page for links to helpful training videos at lynda.com.
5. How about help with video tracks in Logic Pro X? Return to the Logic Pro X Info page and click on the link to Scott Hirsch’s Logic Pro X Essential Training, then find “Chapter 10: Working with Picture” for basics on video scoring in Logic Pro X. F
6. Need help with EastWest? You’ll be learning it in Lab, and at Office Hours with Seth G.
Submission Dates!
1. Essay 1 – DUE Wednesday, 4/17, 11:59 pm.
Essay 1 should describe your plans for your Scoring Project #4 including your video source, aesthetic intentions, and orchestral forces. Submit it online at Canvas. A 300-word count – minimum.
2. ‘In-Progress’ Project Submission – DUE Friday, 4/26, 11:59 pm.
Your ‘In-Progress’ Project submitted online at Canvas as a .zip archive. This should be EITHER: 1) a first-draft, completed notation score file with video, OR 2) a first-draft, completed Logic Pro X file with video. In either case, include the musical requirements listed below.
3. Class Presentation – DUE in class on Tuesday, 4/30, 2:30 pm.
The presentation of your Scoring Project #4! Include your notation score and your Logic Pro X file with EastWest instrumentation with video.
3. Completed Project file Submission – DUE Thursday, 5/2, 11:59 pm.
BOTH your finished notation score file AND your completed Logic Pro X file with EastWest realization submitted online as a .zip archive.
5. Essay 2 – DUE Friday, 5/3, 11:59 pm.
Essay 2 should describe your actual Scoring Project #4 as an “after-action report” detailing what worked and what didn’t, how you changed course, and what you learned. How did you meet your aesthetic goals? How did you meet the prescribed musical and technical requirements? A 600-word count – minimum.
EastWest & Logic Pro X Requirements:
- 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 6 to 8 woodwind players in typical orchestral arrangement plus any desired auxiliary instruments 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 4-8 brass players in typical orchestral arrangement plus any desired auxiliary instruments 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; any other non-pitched percussion 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 musically 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 musically expressive bow markings. Indicate down bows and up bows. Apply at least 3 idiomatic string techniques as you wish, but be creative! Be sure you notate them correctly.
Using 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 idiomatic harp techniques as you wish, but be creative! Be sure you notate them correctly.
Other: Use the mallet keyboard percussion, additional non-pitched percussion and various auxiliary instruments to add color to your different melodic and harmonic groupings described belowed. Score for them idiomatically.
Groupings: Create at least 3 melodic groupings to rotate both the main foreground melodic material and any middleground material. Use dovetailing technique and double at the octave AND/OR at greater intervals. Create at least 3 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.