DIGITAL MEDIA, EXPERIMENTAL FILM, MUSIC, ANIMATION RESOURCE FOR ARTISTS, MUSICIANS, FILMMAKERS, DESIGNERS and ANIMATORS IN THE 21st CENTURY. Grants, Scholarships, Music Marketing, Music Business, Education, and More!
FILMMAKER MUSIC SCHOOL - LOGIC TUTORIAL - SABRINA PENA YOUNG
Film Music Workshop by Award-Winning Composer Sabrina Pena Young Buffalo New York October 16 2017
Learn basic audio editing and advanced effects and sound design.
10. Indicating the wrong mallets for an instrument. Brass mallets on vibes? Try a hammer on a violin!
9. Writing the glockenspiel part as heard. You shouldn't have to climb a ladder of leger lines to read a glock part. Keep it in the staff.
8. When in doubt, adding more suspended cymbal. This is a huge mistake made by arrangers. Yep, cymbals add automatic intensity to a piece, but so can a bass drum roll, a rousing hand drum part, exciting mallet licks, or a hundred other combinations. Well-written percussion parts stand out in the band and church repertoire.
7. Better means more complicated, right? This is my main mistake. A percussion part can be simple enough for a middle school, but it is the ability to use the different tone colors of the percussion palette properly that indicates a maturity in writing, not that impossible part for the timpanist that has them playing timpani, gong, crash cymbals, and triangle in the span of two beats.
NMR Artist Spotlight Exclusive: Greek Classical Film Composer George KalyvasWhat is your story? I was born and grew up in Athens Greece and musically I started with piano lessons at the age of 9 which lasted for four years as I didn’t like the environment where I had to study just for the annual exams. I thought at the time that music was more of a discovery from inside out rather than learning how to place your fingers at the keyboard and play what you see. Of course when I grew up and at the age of 19 I understood what is the meaning of a composition and I was intrigued, as I started guitar, music theory and music harmony lessons where I obtained my first degree in music, by the story of each composition and about the mechanics of it.
I later decided to study on my own counterpoint, fugue and to start analysing scores from quartets to symphonies of the great classical composers. Now I am living in the UK and I am pursuing a career in the music industry. I already have scored 3 short f…