It's so refreshing hearing you talk about this stuff honestly and openly. I feel like many people always try and strive for perfection and obsess over the tiniest details, but the biggest thing I picked up from this is just how many times you say "you know what, it's fine" and move on, and not in a bad way at all. You often hear composers in other interview conversations almost bragging about how they did XYZ intentionally, and blah blah blah, but to hear you say at the end that you hadn't got a fucking clue, is one of the most encouraging things to me - if you can write this amazing music and still have those feelings of doubt that we all have, then it kinda feels like we're on the right tracks. So thank you, this stuff is really valuable to see.
The fuster cluck at the end works just fine to me! I like the peek into the mind of a working composer without hype or sugarcoating but including the obstacles so I'll see you in the next one! :D
Gotta burn the world one piccolo at a time! Could you do an in-depth look at how you create the piano sketch? Doesn't look like you're playing them in all the time, I guess you create various variations when you're making your suite and adjust the notes and conform different stuff? But you must also be "writing" new versions of stuff when you're adjusting for tempo, time changes (like that 7/8 section), or just padding in extra bars. Would love to see your thought process on that aspect. Thanks for the video!
Hi Anne Love seeing your videos, and learning tips you provide! Would be cool to even see a sampling of how Anne goes from creating piano sketch in its parts, -to- implementing/divides them into the actual instrument parts that are chosen to play for various colors and how that breaks down. Hoping Anne to see that in a future video , or even something related or if there's a different or separate video that you already made that has example of going from piano sketch to orchestrating parts. Thanks!
I was very careful not to miss anything from the conversation because your way of speaking was professional and everything that was said was really valuable. I am thankful for sharing your musical ideas with us. Thank you from the ❤️
A real gem of a clip. In addition to scoring and composing, you also include some bits and pieces of the production process and provide an insightful background to the ungrateful lot of the orchestrator. 41:48
37:04 “some fucking cluster, i mean who cares” …if i wasn’t already inspired, i certainly am now. jokes aside, you’re awesome, Anne and your channel is S tier!
Amazing content ! Coming from a professional, your words have a lot of value. Very interesting to learn your workflow and how you approach scoring. I would definitely love to see more about how you come up with your piano sketch. It really is the backbone of the piece. Love your attitude and teaching style. Thanks a loooot !
39:09 - “The players around the piccolo were … really happy about that. ”Could I have stopped it? Yeah. Did I want to? Nope. “Sometimes I just like to see the world burn.” Keep up this anarchy and Batman’s gonna come after you
Thank you Anne so much for these videos, they're extremely helpful and insightful. As an aspriring composer, it's crazy how many things are out there which I'm still not aware of after years of music writing and learning in the topic. Other composers on youtube often talk about the same things over and over again, which kind of getting boring and not bring my knowledge and skillset forward, but you're kind to share kind of untold things with us, therefore I'm highly grateful. On the sidenote, I love your sense of humor! :D
I'm so glad these are helpful! It's definitely a pet peeve of mine when other professionals just turn on a camera and start rambling on for 30 minutes without making concise points or providing any actionable information. The goal of my channel is to give everyone very actionable tools in every video that they can directly apply immediately.
Congrats on the growth of your channel! I think I became a subscriber around the 2k mark. It's fun to find a channel that you just know is going to explode in subscribers... before it explodes. As you've mentioned in other videos, the actual amount of careers similar to yours in the industry is quite small. In fact, your subscriber base is already larger than the number you previously mentioned. I think this fact is important to recognize for future videos... that many people watching are either just hobbyist or very curious about the process. I, myself, am a hobbyist and only got into this stuff due to the pandemic and wanting a hobby that was both interesting and deep so that I could explore it for a long time! I have absolutely no expectation that I will ever make a living off of any type of music writing/composition/production but it's super interesting and fun to learn. I'm certainly enjoying the process. Thanks for contributing your insights to this exciting journey!
Thank you thank you for all this. I am scoring my first project right now and your videos get me pumped to sit at that computer and less intimidated and alone. 🧡🤘🧡
Damn is this cool. I honestly was just eagerly waiting for it... Amd once it arrived, I found myself listening to a small segment at a time. Then stopping and letting the imagination fly like that motorcycle Really I have a lot of admiration and respect... Though I kept laughing along the way to those remarks. So much fun, you spend as much time using one side of the brain as the other which is why this works so well. You make a strong case for templates!!
Great video, Anne...I've watched it three times already since you put so much interesting info in it, besides composing and orchestration you teach an "attitude" to face the whole process, so thank you.!! Grettings from Chile...!!
Really nice both parts. It's like sitting there with you sharing all your workflow.(btw: I like your "going from here to there" filling material.) I think You re one of the few that makes "real" videos about this art. Keep going on!!! Thank you!!!
Hi Anne, love your content and your workflow! Thanks for sharing, they are really helpful. Keep it up and good luck with your projects. Groetjes uit Nederland :)
Fantastic tutorials and videos in general, astounding channel, a real gem. Thank you so much for sharing your knowledge in such a clear and comprehensive way!
What a nice voice ;) To the jump cue maybe deep brass and bass chords with dissonance and crescendo, broken chromatic rise and fall played with the strings. The woodwinds with the harp are making runs but shifted by half a bar. Percussions with metals. A Final chord when he catches the spaceship Thanks and greatings from Belgium
That Heroic main theme is so good ! 'Simple' yet really effective, especially for an animation. Has that kind of Powell's How to train your dragon vibe. Love it. Now, back to the beginning of the first part to hear that full scene's score again. And congrats on an amply deserved on-going channel growth. Edit : I think I will adopt the "truck drivers' gear change" expression.
Congratulations I’m so pleased your channel is growing and so it should do, you deserve the very best, you share and care. I always look forward to any video that you produce, thank you, thank you so much.
I think I might be one of the crazy ones you're talking about. I've worked on several films and TV shows and have written all my music on a notation program. I can get so much done, so fast this way. I've also been lucky in the sense that the people I worked with have been okay with the sounds produced from the notation program; with a little bit of magic from me. LOL. I am currently working on a film where that isn't the case. So, I brought in a friend who knows how to make mock-ups. This is my first time doing it this way and we're both are having a blast. I can pump out music daily and he can start putting it into his DAW. He is a genius and we are a great team. I hope to do more in the future. Hopefully one day we noth can just print our music from the notation program and give it to a real orchestra. That's the dream. Til then.
I’d be very careful skipping over such a crucial skill. The moment studios (and money) are involved, this is a sure way to get yourself fired or not hired in the first place. You’re also very much closing yourself off from any non-orchestral production and experimentation which is also a pretty sure way to get fired or not hired. If you want a serious future in this, you won’t get around this skill.
@@AnneKathrinDernComposer You're right, and I'm seeing a lot more of the non-orchestral/soundscape type scores. I have purchased a DAW, and I am practicing, but I'm having a hard time making it my main tool for music creating. I still write on paper, like the old guys, and try to input it into the DAW later, but the notation program just makes me sense to me. I can see the music. Also, I just get bogged down with the whole production part of it. At one point I even made a template to help me along, but it still does interrupt my creative flow when I can't see the notes, you know? I'm learning, but it's taking me longer than I thought. Bus this, automate here, render that; it's just too much and then frustrates me, then I just give up and do nothing. Yes I want this to be a career goal someday and any help that professionals give me I will take. I'll get there one day. Thank you for your reply.
I'll be brutally honest your music is the only good thing about this scene. The editing is all over the place. The music somehow holds it together and stops it from being a confusing mess. Thank you for explaining your process :)
Anne, wenn du weiter so machst, verdienst du bald deine Brötchen als profesionelle CZcamsrin die nur zum Spass nebenbei komponiert :-D Ich als absolut unmusikalischer Quereinsteiger auf diesem Gebiet finde es immer sehr interessant was du erzählst, da lernt man was und ich bekomme Lust es selbst zu probieren. Habe mir auch gerade die erste Library gekauft. Mach weiter so.
Love these videos (and your channel in general). You mention in part 1 that it’s common to create a “theme suite”. Did you do that for this movie? I would love to see a video about how you go about creating a theme suite, as it’s something I’ve fancied having a go at for while now.
Hey Anne! Love your content and your music. You are incredibly talented and I really appreciate you taking the time to show and talk about all this! A bit of an off-topic question for this video, I am curious on your desk layout when it comes to having the midi keyboard on your left side instead of right in front as many of us do. Makes me wonder if there's any advantage on not having it in front of you all the time. Thanks and looking forward to the next one!
C'mon Anne-Kathrin, every composer knows that if you don't have inspiration to score a jump, you just put a sliding whistle (I can record one for you if you don't own one). ;) All jokes aside, very instructive video as usual.
Great video as usual! Loving your channel so much! A few questions if you don't mind: 1 - In a few of your previous videos, you mentioned layering some libraries to get a better and more realistic sound. Would you mind going a bit more in detail on what you are listening for when blending ? In the LOTR videos, you used a CSB Solo and 4 Horns and a bunch of CS Brass Horns, for example, but here you only used CSB Solo and CS Solo and 6 Horns. I also notice you are using some woodwinds from CW and some from BWW. What usually dictates your choices? 2 - Do you usually have a system for automating modulation and dynamics? Like making it louder for x amount of bars and quieter for y amount of time? I often struggle to make my long strings and brasses sound realistic, and I think it has to a lot to do with how I'm approaching dynamics. Thank you so much for the attention!
Wow, I stumbled on to this by accident and I'm hooked. Thanks to putting this type of video up. I love the thought process. Do you have a patreon page? Good luck I know this is a very competitive business. Blessings?
11:46 - I'm really curious about the comments here. It's actually in a great key and great range for the horn and to me, should be playable by any professional recording studio. I guess my curiousity is in what your experience has been with horn players
Yes, none of the keys in this cue are problematic - which is kind of the point. If the cue was ending there, I wouldn't bother. But it goes on for another 70 bars or so where I continue to modulate and where I then might end up in keys that aren't as comfortable or where all of a sudden the theme would be out of the range of the instrument I want to put it in. That's why the sketch is so important to me in long cues. That way I can instantly see if I'm going places I don't want to go and then I can go back a few bars and figure out a way to land in a different key or a different range. This sketch was not created in a linear fashion so to speak. Sometimes I work my way backwards to be sure everything will work and be playable with the instruments I want. As for the line itself - it's a pretty short passage in a comfortable range but definitely not something I would generally give the horns to play for extended periods of time. This kind of stuff lends itself more to other instruments. Again, London can pretty much play anything, so can LA. But in Eastern Europe for example, I'd already be careful writing something like this since it can come out a bit sloppy without proper rehearsal time. After all, we really just have 3 takes or so, then it needs to be perfect. I just don't want audience members to think that fast ostinatos are generally something to put into the horns.
@@AnneKathrinDernComposer I really appreciate your point of view. It's hard for me to see the problems since I don't record professionally on a regular basis. It definitely makes sense to not write crazy fast and difficult lines unless you know the players or know what you are doing. There are of course some wild horn players here on CZcams (myself included) that may help muddy the waters a bit as well. My only concern about being shy about those lines is that it may take away some epic horn lines, but I'm totally biased when it comes to that ;)
Another awesome video, packed with useful tips. I'd like to ask a question if I may: how would you go about writing a piece of music in a genre you've never attempted before (without ripping off another composer, who is good at that genre)? Thanks again for all the great info.
There are different ways to approach this. If there's time, I usually analyze music written in said genre, figure out the idioms, how I can modify them, and I might even take a private lesson or two with someone who is well-versed in the genre. Another approach is to get team members who can help. This can be musicians who are experienced in the genre or maybe additional writers who can add to the creative vision and teach a little along the way. We all learn from each other all the time. There's always someone who knows more about something than someone else which makes for a great symbiosis. Also, the filmmakers will usually already have a very specific idea of what they want so it's not so much about mastering a genre but rather mastering that particular niche thing they're asking for.
I will buy you a Korean meal, rather than a pizza (despite being Italian), with beer and coffee, of course! Much healthier 😊 Again, thank you for dong this cue breakdown video, I look forward to seeing new ones, tia!
Very interesting, as usual. I don't know if somebody else already asked, but, is there any chance you might have done a video with the London recording of this cue?
Very nice to see your approach to such a scene, thanks so much! Do you sometimes wake up and think „what the hell have I sketched out yesterday? … but I’m going to orchestrate it anyway…“ ?
Hard quantization doesn´t make it a little risky in terms of getting approval/convincing a director? I have always tried to make it sound as realistic as possible, but I am starting to think it´s a waste of time 🤔
Hi, i have a question of scoring for a long cue. The score should lasts for three scenes..normally i end music from eight bars..still struggling to comeup with an idea to keep the score long and still relevant ..any help..
Hi, You speak about negative delays (in some of your previous videos too), but....how could you determine them, please ? Only by ear, or by convert MIDI notes to stems and see the differents start points ? I dont know how, really.... And thanks a lot for your videos, always interesting and instructive !
Dan, she talks about this in Part 2 of her template series. I just posted a question about this in the Cubase Sub Reddit hoping to hear what others do to easily align a string part with a kick drum in a more pop oriented setting. I'm hoping for a good discussion there.
@jimp5713 15 hours ago Hi Anne Love seeing your videos, and learning tips you provide! Would be cool to even see a sampling of how Anne goes from creating piano sketch in its parts, to implementing/divides them into the actual instrument parts that are chosen to play for various colors and how that breaks down. Hoping Anne to see that in a future video , or even something related or if there's a different or separate video that you already made that has example of going from piano sketch to orchestrating parts. Thanks!
Moi God you are one beauty , sure as heck intelligent too, how many times do the people assume you is related to Taylor Swift? Many a times i bet honey buns, rock on .
Hey Anne-Kathrin! Diese Videos sind unglaublich hilfreich. Habe gerade gelesen, dass du bei musicube warst. Ist ja lustig, ich habe mich mal dort vor vielleicht 15 Jahren als blutiger Anfänger vorgestellt und mich total geschämt, als der Lehrer sich meine lausige Musik angehört hat. 😅 Zumindest habe ich es aber auch später in die Industrie geschafft. Ich wünsche dir weiter viel Erfolg!!
It's so refreshing hearing you talk about this stuff honestly and openly. I feel like many people always try and strive for perfection and obsess over the tiniest details, but the biggest thing I picked up from this is just how many times you say "you know what, it's fine" and move on, and not in a bad way at all.
You often hear composers in other interview conversations almost bragging about how they did XYZ intentionally, and blah blah blah, but to hear you say at the end that you hadn't got a fucking clue, is one of the most encouraging things to me - if you can write this amazing music and still have those feelings of doubt that we all have, then it kinda feels like we're on the right tracks.
So thank you, this stuff is really valuable to see.
dat da. darara ra rat da. da ra ra ra ra ra da raaaa. :) Süper
this one cracked me up 😂 “then the orchestrator will look at this and regret their life choices.. most likely” haha thanks Anne🙏🏼
“I just like to see the world burn.” 😂
The fuster cluck at the end works just fine to me!
I like the peek into the mind of a working composer without hype or sugarcoating but including the obstacles so I'll see you in the next one! :D
Hahaha, it seems people are always drawn to the stuff my brain did on too much coffee and sleep deprivation. 😅
Gotta burn the world one piccolo at a time!
Could you do an in-depth look at how you create the piano sketch? Doesn't look like you're playing them in all the time, I guess you create various variations when you're making your suite and adjust the notes and conform different stuff? But you must also be "writing" new versions of stuff when you're adjusting for tempo, time changes (like that 7/8 section), or just padding in extra bars. Would love to see your thought process on that aspect. Thanks for the video!
Hi Anne Love seeing your videos, and learning tips you provide! Would be cool to even see a sampling of how Anne goes from creating piano sketch in its parts, -to- implementing/divides them into the actual instrument parts that are chosen to play for various colors and how that breaks down. Hoping Anne to see that in a future video , or even something related or if there's a different or separate video that you already made that has example of going from piano sketch to orchestrating parts. Thanks!
I was very careful not to miss anything from the conversation because your way of speaking was professional and everything that was said was really valuable. I am thankful for sharing your musical ideas with us. Thank you from the ❤️
Thank you for watching! 😃
I watch this stuff whenever I don't feel like writing music
This is so useful @Anne - thank you! And pretty hilarious towards the end too! Amazing job on the score! 🙌
Thank you so much!
9:42 for the change from D to F, a "truck drivers' gear change". Great description!
A real gem of a clip.
In addition to scoring and composing, you also include some bits and pieces of the production process and provide an insightful background to the ungrateful lot of the orchestrator. 41:48
I very like this two videos,
This style thad you break down the score
Do more like this
um this mockup sounds amazing
37:04 “some fucking cluster, i mean who cares” …if i wasn’t already inspired, i certainly am now. jokes aside, you’re awesome, Anne and your channel is S tier!
Amazing content ! Coming from a professional, your words have a lot of value. Very interesting to learn your workflow and how you approach scoring. I would definitely love to see more about how you come up with your piano sketch. It really is the backbone of the piece. Love your attitude and teaching style. Thanks a loooot !
It's a great scene you've done! Thank you so much for the overview!!)
Very interesting and what a treat to see a professional Composer hard at work brilliant job Best wishes Anne Phil UK England 👍🙏
Glad you liked it!
You could do a course on Orchestration and I'd buy it. You have a very clear way of explaining!
Glad you like the way I present my content. Not sure teaching is in my future though. 🙂
39:09 - “The players around the piccolo were … really happy about that.
”Could I have stopped it? Yeah. Did I want to? Nope.
“Sometimes I just like to see the world burn.”
Keep up this anarchy and Batman’s gonna come after you
😁😜😁
Thank you Anne so much for these videos, they're extremely helpful and insightful. As an aspriring composer, it's crazy how many things are out there which I'm still not aware of after years of music writing and learning in the topic. Other composers on youtube often talk about the same things over and over again, which kind of getting boring and not bring my knowledge and skillset forward, but you're kind to share kind of untold things with us, therefore I'm highly grateful. On the sidenote, I love your sense of humor! :D
I'm so glad these are helpful! It's definitely a pet peeve of mine when other professionals just turn on a camera and start rambling on for 30 minutes without making concise points or providing any actionable information. The goal of my channel is to give everyone very actionable tools in every video that they can directly apply immediately.
The "sing your melodies/voices before" is especially true for horn writing. Not singable probably means not idiomatic horn writing.
Congrats on the growth of your channel! I think I became a subscriber around the 2k mark. It's fun to find a channel that you just know is going to explode in subscribers... before it explodes. As you've mentioned in other videos, the actual amount of careers similar to yours in the industry is quite small. In fact, your subscriber base is already larger than the number you previously mentioned. I think this fact is important to recognize for future videos... that many people watching are either just hobbyist or very curious about the process. I, myself, am a hobbyist and only got into this stuff due to the pandemic and wanting a hobby that was both interesting and deep so that I could explore it for a long time! I have absolutely no expectation that I will ever make a living off of any type of music writing/composition/production but it's super interesting and fun to learn. I'm certainly enjoying the process. Thanks for contributing your insights to this exciting journey!
Thank you thank you for all this. I am scoring my first project right now and your videos get me pumped to sit at that computer and less intimidated and alone.
🧡🤘🧡
You got this! So glad my content is helpful!
Damn is this cool. I honestly was just eagerly waiting for it... Amd once it arrived, I found myself listening to a small segment at a time. Then stopping and letting the imagination fly like that motorcycle
Really I have a lot of admiration and respect... Though I kept laughing along the way to those remarks.
So much fun, you spend as much time using one side of the brain as the other which is why this works so well.
You make a strong case for templates!!
Yeah! I was waiting for this :-)
Great video, Anne...I've watched it three times already since you put so much interesting info in it, besides composing and orchestration you teach an "attitude" to face the whole process, so thank you.!! Grettings from Chile...!!
You didn't disappoint. Thanks for part 2! Keep'em coming. Coffee/beer/pizza on me! 👏👏
More to come for sure! Thank you for watching!
@@AnneKathrinDernComposer do you offer any kind of one on one mentoring?
Love your stuff truly!! Congrats on the growing of your channel and Happy Valentine's Day btw😁
Thank you. This was excellent.
Very helpful, Thank you, Anne-Kathrin
Just brilliant!
Thank you!
Absolutely brilliant, and thank you for sharing your knowledge with us. Everything is so clear on your Channel.
That's great to hear! I always try to explain things as concisely and clearly as possible.
Really nice both parts. It's like sitting there with you sharing all your workflow.(btw: I like your "going from here to there" filling material.) I think You re one of the few that makes "real" videos about this art. Keep going on!!! Thank you!!!
Hi Anne, love your content and your workflow! Thanks for sharing, they are really helpful. Keep it up and good luck with your projects. Groetjes uit Nederland :)
So glad to hear that!
Fantastic tutorials and videos in general, astounding channel, a real gem. Thank you so much for sharing your knowledge in such a clear and comprehensive way!
So glad you like my channel! I try my best to be as concise and clear as possible. :-)
Great work on this! Thanks for being so generous with your knowledge and process! Loving this series!
What a nice voice ;)
To the jump cue maybe deep brass and bass chords with dissonance and crescendo, broken chromatic rise and fall played with the strings.
The woodwinds with the harp are making runs but shifted by half a bar. Percussions with metals.
A Final chord when he catches the spaceship
Thanks and greatings from Belgium
Very helpful video ! thank you Anne !
Thanks for watching!
It's here!!!! Will check it out now. Just wanted to say congratulations on the growth of your channel Dern. Well deserved..............🙏🏾🌞🙌🏾
Thank you! 🙏🏻
This is awesome!
thank you again
That Heroic main theme is so good ! 'Simple' yet really effective, especially for an animation.
Has that kind of Powell's How to train your dragon vibe. Love it.
Now, back to the beginning of the first part to hear that full scene's score again.
And congrats on an amply deserved on-going channel growth.
Edit : I think I will adopt the "truck drivers' gear change" expression.
Thank you so much! That's all really kind of you to say! 😃
🚀Awesome!
Congratulations I’m so pleased your channel is growing and so it should do, you deserve the very best, you share and care. I always look forward to any video that you produce, thank you, thank you so much.
this was great. Very informative. Thank You!
I think I might be one of the crazy ones you're talking about. I've worked on several films and TV shows and have written all my music on a notation program. I can get so much done, so fast this way. I've also been lucky in the sense that the people I worked with have been okay with the sounds produced from the notation program; with a little bit of magic from me. LOL. I am currently working on a film where that isn't the case. So, I brought in a friend who knows how to make mock-ups. This is my first time doing it this way and we're both are having a blast. I can pump out music daily and he can start putting it into his DAW. He is a genius and we are a great team. I hope to do more in the future. Hopefully one day we noth can just print our music from the notation program and give it to a real orchestra. That's the dream. Til then.
I’d be very careful skipping over such a crucial skill. The moment studios (and money) are involved, this is a sure way to get yourself fired or not hired in the first place. You’re also very much closing yourself off from any non-orchestral production and experimentation which is also a pretty sure way to get fired or not hired. If you want a serious future in this, you won’t get around this skill.
@@AnneKathrinDernComposer You're right, and I'm seeing a lot more of the non-orchestral/soundscape type scores. I have purchased a DAW, and I am practicing, but I'm having a hard time making it my main tool for music creating. I still write on paper, like the old guys, and try to input it into the DAW later, but the notation program just makes me sense to me. I can see the music. Also, I just get bogged down with the whole production part of it. At one point I even made a template to help me along, but it still does interrupt my creative flow when I can't see the notes, you know? I'm learning, but it's taking me longer than I thought. Bus this, automate here, render that; it's just too much and then frustrates me, then I just give up and do nothing. Yes I want this to be a career goal someday and any help that professionals give me I will take. I'll get there one day. Thank you for your reply.
@@composingchef I suppose DAW-speak and Notation-speak are two different languages, and you are attempting to become bilingual; best wishes!
@@earthcar-music You're not kidding! Yes, it is a whole other language, but hoping to learn it sooner rather than later. Thanks!
I love your channel and videos
just found your channel yesterday and immediately subscribed. this is exactly what i needed, you are doing a wonderful job!
So happy to hear that!
I'll be brutally honest your music is the only good thing about this scene. The editing is all over the place. The music somehow holds it together and stops it from being a confusing mess.
Thank you for explaining your process :)
Thanks
Anne, wenn du weiter so machst, verdienst du bald deine Brötchen als profesionelle CZcamsrin die nur zum Spass nebenbei komponiert :-D
Ich als absolut unmusikalischer Quereinsteiger auf diesem Gebiet finde es immer sehr interessant was du erzählst, da lernt man was und ich bekomme Lust es selbst zu probieren. Habe mir auch gerade die erste Library gekauft. Mach weiter so.
18:00 Anne you are a Shero of modulating a theme
_ARPEGGIOS, FUCK YEAH!!_ 🎵
Love these videos (and your channel in general).
You mention in part 1 that it’s common to create a “theme suite”. Did you do that for this movie?
I would love to see a video about how you go about creating a theme suite, as it’s something I’ve fancied having a go at for while now.
Hey Anne! Love your content and your music. You are incredibly talented and I really appreciate you taking the time to show and talk about all this!
A bit of an off-topic question for this video, I am curious on your desk layout when it comes to having the midi keyboard on your left side instead of right in front as many of us do.
Makes me wonder if there's any advantage on not having it in front of you all the time.
Thanks and looking forward to the next one!
C'mon Anne-Kathrin, every composer knows that if you don't have inspiration to score a jump, you just put a sliding whistle (I can record one for you if you don't own one). ;)
All jokes aside, very instructive video as usual.
Great video as usual! Loving your channel so much!
A few questions if you don't mind:
1 - In a few of your previous videos, you mentioned layering some libraries to get a better and more realistic sound. Would you mind going a bit more in detail on what you are listening for when blending ? In the LOTR videos, you used a CSB Solo and 4 Horns and a bunch of CS Brass Horns, for example, but here you only used CSB Solo and CS Solo and 6 Horns. I also notice you are using some woodwinds from CW and some from BWW. What usually dictates your choices?
2 - Do you usually have a system for automating modulation and dynamics? Like making it louder for x amount of bars and quieter for y amount of time? I often struggle to make my long strings and brasses sound realistic, and I think it has to a lot to do with how I'm approaching dynamics.
Thank you so much for the attention!
Wow, I stumbled on to this by accident and I'm hooked. Thanks to putting this type of video up. I love the thought process. Do you have a patreon page? Good luck I know this is a very competitive business. Blessings?
11:46 - I'm really curious about the comments here. It's actually in a great key and great range for the horn and to me, should be playable by any professional recording studio. I guess my curiousity is in what your experience has been with horn players
Yes, none of the keys in this cue are problematic - which is kind of the point. If the cue was ending there, I wouldn't bother. But it goes on for another 70 bars or so where I continue to modulate and where I then might end up in keys that aren't as comfortable or where all of a sudden the theme would be out of the range of the instrument I want to put it in. That's why the sketch is so important to me in long cues. That way I can instantly see if I'm going places I don't want to go and then I can go back a few bars and figure out a way to land in a different key or a different range. This sketch was not created in a linear fashion so to speak. Sometimes I work my way backwards to be sure everything will work and be playable with the instruments I want.
As for the line itself - it's a pretty short passage in a comfortable range but definitely not something I would generally give the horns to play for extended periods of time. This kind of stuff lends itself more to other instruments. Again, London can pretty much play anything, so can LA. But in Eastern Europe for example, I'd already be careful writing something like this since it can come out a bit sloppy without proper rehearsal time. After all, we really just have 3 takes or so, then it needs to be perfect. I just don't want audience members to think that fast ostinatos are generally something to put into the horns.
@@AnneKathrinDernComposer I really appreciate your point of view. It's hard for me to see the problems since I don't record professionally on a regular basis. It definitely makes sense to not write crazy fast and difficult lines unless you know the players or know what you are doing. There are of course some wild horn players here on CZcams (myself included) that may help muddy the waters a bit as well. My only concern about being shy about those lines is that it may take away some epic horn lines, but I'm totally biased when it comes to that ;)
Another awesome video, packed with useful tips. I'd like to ask a question if I may: how would you go about writing a piece of music in a genre you've never attempted before (without ripping off another composer, who is good at that genre)? Thanks again for all the great info.
There are different ways to approach this. If there's time, I usually analyze music written in said genre, figure out the idioms, how I can modify them, and I might even take a private lesson or two with someone who is well-versed in the genre. Another approach is to get team members who can help. This can be musicians who are experienced in the genre or maybe additional writers who can add to the creative vision and teach a little along the way. We all learn from each other all the time. There's always someone who knows more about something than someone else which makes for a great symbiosis. Also, the filmmakers will usually already have a very specific idea of what they want so it's not so much about mastering a genre but rather mastering that particular niche thing they're asking for.
I will buy you a Korean meal, rather than a pizza (despite being Italian), with beer and coffee, of course! Much healthier 😊 Again, thank you for dong this cue breakdown video, I look forward to seeing new ones, tia!
Thanks for watching!
do you have a video / playlist for writing melodies or how to come up with themes?
Very interesting, as usual. I don't know if somebody else already asked, but, is there any chance you might have done a video with the London recording of this cue?
Very nice to see your approach to such a scene, thanks so much! Do you sometimes wake up and think „what the hell have I sketched out yesterday? … but I’m going to orchestrate it anyway…“ ?
You wore a full track suit but didn’t do a cockney accent, wow 😅
Hard quantization doesn´t make it a little risky in terms of getting approval/convincing a director? I have always tried to make it sound as realistic as possible, but I am starting to think it´s a waste of time 🤔
Hi, i have a question of scoring for a long cue. The score should lasts for three scenes..normally i end music from eight bars..still struggling to comeup with an idea to keep the score long and still relevant ..any help..
Hello, how do you come up or create the musical ideas for each movie?
Hi,
You speak about negative delays (in some of your previous videos too), but....how could you determine them, please ? Only by ear, or by convert MIDI notes to stems and see the differents start points ? I dont know how, really....
And thanks a lot for your videos, always interesting and instructive !
Dan, she talks about this in Part 2 of her template series. I just posted a question about this in the Cubase Sub Reddit hoping to hear what others do to easily align a string part with a kick drum in a more pop oriented setting. I'm hoping for a good discussion there.
What is this DAW?
You should hook up with Taylor Swift and Sigrid ( the other pop artist ) and do some music together , the three sisters from different Mothers . Lol
@jimp5713
15 hours ago
Hi Anne Love seeing your videos, and learning tips you provide! Would be cool to even see a sampling of how Anne goes from creating piano sketch in its parts, to implementing/divides them into the actual instrument parts that are chosen to play for various colors and how that breaks down. Hoping Anne to see that in a future video , or even something related or if there's a different or separate video that you already made that has example of going from piano sketch to orchestrating parts. Thanks!
Moi God you are one beauty , sure as heck intelligent too, how many times do the people assume you is related to Taylor Swift? Many a times i bet honey buns, rock on .
How old are you? You a prodigy Woman!
Hey Anne-Kathrin! Diese Videos sind unglaublich hilfreich. Habe gerade gelesen, dass du bei musicube warst. Ist ja lustig, ich habe mich mal dort vor vielleicht 15 Jahren als blutiger Anfänger vorgestellt und mich total geschämt, als der Lehrer sich meine lausige Musik angehört hat. 😅 Zumindest habe ich es aber auch später in die Industrie geschafft. Ich wünsche dir weiter viel Erfolg!!