Song Building - Speak Easy 2

SPEAK EASY 2

Bass line added.

SPEAK EASY 2

Song Building - Speak Easy

SPEAK EASY 1

So, this is the song where Stealthman meets Sam and talks him into being his sidekick. This part is the melody of the chorus that will be sung by the city folk. The scene will be a fantasy set from Stealhtman's perspective and so will be in the late 20's early 30's with prohibition in effect. This is the melody only.

SPEAK EASY 1

Off Topic Post - Demos

So I've been putting together some demos for another potential project and so I haven't gotten a ton done with STEALTHMAN the last few days. But I thought I'd go ahead and post the demos I developed here.

The first is from a video game I did the music for a while back called Monkey Brains. This piece was written for the opening cinematic sequence that told the back story.

MONKEY BRAINS

This one was written for a different project that hasn't been published yet. It's written as a demo theme for a race of giants who are kept as slaves.

SLAVE GIANTS

Unlike the other songs posted here, these are full songs. They were already written for other projects but I've been converting them to newer sounds with higher quality, etc... Enjoy.

Bad musical ideas

So I was reading today online about the development of a Spiderman musical.

What?!

Are they serious? Does that not just scream "bad idea" to everyone?

I seriously cannot understand how some creators minds work. It has to be that they're only considering the intellectual property and basing the decision on an assumption that anything that's popular in a different form makes for a good marketing decision without any regard whatsoever for whether or not it actually works.

Superhero stories are, generally speaking about the action. Sure there could be some solid dramatic stuff behind the story (as we saw in Spiderman 2 done so well) but, ultimately, Spiderman is about a guy swinging from a web and kicking bad guys...

...while...uh...singing.... ???? COME ON!!!

What's next? The Incredible Hulk the musical?

It's ideas like this that give musical theater a bad rap. It reminds me of the Simpsons episode where Mel Gibson is doing a remake of Mister Smith Goes to Washington and they turn it into an action movie. Certain stories lend themselves to certain mediums. Others? Not so much.

Really, I wouldn't stage Spiderman as a play at all. It lends itself to a movie so very well. Why bother with a stage play? Save the space in the theater for something that lends itself to the medium. Something that's enhanced by live acting and audiences.

Musicals should be written based on subjects and ideas that are enhanced by setting them to music!

I would therefore like to take just a moment to reiterate that STEALTHMAN is not about a superhero. It is not a superhero musical. It is a musical about a guy who thinks he's a superhero, yes, but there will be no web swinging or flying. Especially not while singing!

Leitmotif 3 - Sam

SAM

Okay, so Stealthman, being a superhero and an incarnation of Don Quixote, needs a sidekick, yes?

Enter Sam (placeholder name...who knows, maybe it'll stick). Sam is a homeless drug addict who Stealthman convinces to join him in his adventures. Sam sees it as an opportunity to take advantage of someone and so joins the old man, hoping to get something (drugs or money or whatever) out of it. Through the story, of course, Sam will grow, learn, change and, eventually actually care.

Here's the leitmotif I have for him.

SAM

'Til The End with Vocals

TIL THE END

Kinda just made up some of the lyrics as I sang for this one, but I wanted to show at least an idea of what it was supposed to sound like. First line is meant for female voice (I'm tired...so tired...let me rest...etc...) I'm thinking of reworking the chorus melody just a hair so it's less repetative...but I'm not sure. I kind of like it as is...so I'll let it stew for a while and come back to it.

TIL THE END

Leitmotif 2 - Doctor Nemesis

DOCTOR NEMESIS

Bad guy (at least in our hero's delusion) theme. (Meaning...he's bad in the delusion. The theme is no delusion.)

DOCTOR NEMESIS

Leitmotif 1 - Stealthman

LEITMOTIF - STEALTHMAN

Okay, here's the first character theme. This one is probably the longest (we'll see) but does include 3 separate melodic ideas. This is intentional. The main idea is major and represents the wannabe hero. The second is minor and represents the crazy old man. The third is transitional, to build excitement, and represents the conflict of the character, etc...

LEITMOTIF - STEALTHMAN

Leitmotif and Reprise

So I'm a big fan of leitmotif and reprise. My ideas about how leitmotif should work are fairly simplistic though - more akin to John Williams than Richard Wagner. In particular, I want my leitmotif's to be easilly recognizable, eminantly singable and familiar - in a word - catchy. I don't want people to need PhDs in music theory to be able to recognize every moment of leitmotif I use.

In STEALTHMAN, I intend on assigning themes to each of the characters and maybe to situations or places. These will be orchestral themes, vs. sung themes (but may be the main part sung on certain songs (the chorus or verse) though more likely will be the instrumental core of certain songs.) By doing this I hope to create a familiarity of emotion that I can use to strengthen ideas and scenes.

I intend to use reprise the same way. I don't view reprise in the same manner as some musicals - which would be just a restatement of the most dominant song, resung at the end of the musical. Yes, I might do just that in some places, if appropriate. But I feel reprise is one of the most powerful tools in a musical composer's arsenal, and consequently should be used extensively. I expect the last several scenes will be mostly developed using reprise. But not just reprise for reprise's sake. The intent is to use it as a powerful means of bringing home points or driving home thoughts and emotions. Reprise, when used correctly, can really bring a sense of warmth and familiarity and can carry a huge amount of emotional impact. Of course, if used incorrectly it can feel very cheap too.

Emotion is what it's all about. A strong musical conveys strong emotion. That's not to say it's always dramatic emotion. It can be comedy or light-heartedness as well. But I want my musical's emotion to be strong. The obvious prime difference in a musical as compared to a play is music (duh). And music is a medium for conveying emotion. It is capable of strengthening emotional moments. I find it interesting that a lot of people talk about hating musicals...the predominant reason given being that it's unrealistic and dumb to have people just randomly break into song. And yet, they love movies. I can't help but wonder if they would love the movies as much without the musical score. But is it realistic to have dramatic music underscore an intense situation? Of course not. I agree that some musicals and musical moments are cheesy and dumb. But so are some movie scores. A well done musical is strengthened by the music just like a good movie score strengthens the movie and helps to bring greater emotion to it.

Anyhow, I think it will work really well for me to present character themes for the blog because at this early stage of the musical's development, I'm mostly limited to orchestral work (unless I record myself singing in the living room - something I'm not hugely inclined to do too much because it's a lot of work without a lot of purpose behind it.) So over the next several posts I will introduce some ideas for character themes - which may or may not end up being what I actually use.

Song Building - (I'll Love You) 'Til The End 3

'TIL THE END 3

I decided "'Til The End" was a better title than "I'll Love You 'Til The End". And it works better for they lyrics I've been working on too - particularly where the first lyric of the chorus is "'Til the end..."

Anyhow, this is basically the finished orchestrations for this part. I intend on sticking some placeholder vocals in as well and posting them, but otherwise, this clip is pretty close to being done.

'TIL THE END 3

Song Building - I'll Love You 'Til The End 2

I'LL LOVE YOU 'TIL THE END 2

Melody and Harmonies slightly reworked. Basic core developed. Coming along nicely I think.

I'LL LOVE YOU 'TIL THE END 2

Song Building - I'll Love You 'Til The End - 1

I'LL LOVE YOU 'TIL THE END 1

This is a song where Stealthman and an old Lady from the resthome (Susan) have snuck away to go on adventure. They have broken into an old building and suddenly Susan finds herself tired. She sits down, asking for a moment of rest. Stealthman, of course, lets her rest, promising that he'll always be with her. They pledge their renewed love, "I'll love you 'til the end." But Susan is still tired...oh so tired. She leans back against the wall to rest for a bit. Just to sleep for a moment. Stealthman continues to sing to her, comforting her and loving her as she rests, then, quietly, she passes away.

Of course, upon realizing she is not just sleeping, Stealthman will blame his evil rival Doctor Nemesis for using some kind of death ray on her and will swear revenge.

This is the melody only of the first verse and chorus of the song. Susan's part is represented by violins and Stealthman by cellos. Ranges aren't all worked out yet (Susan's part kind of jumps all over the place right now) but you get the basic feel and idea.

I'LL LOVE YOU 'TIL THE END 1

Opening - Idea 7

STEALTHMAN OPENING 7

So what happened to #6? I didn't like it. Maybe I'll post it anyhow. It wasn't horrible, but not as an opening. Maybe for something transitional. I'll post it tomorrow...perhaps.

#7 though...?

I like! I think that some form of this will likely be the final choice.

STEALTHMAN OPENING 7

Majestic Flight

MAJESTIC FLIGHT

So...this song has no place in the show yet. But I want to use it, so we'll see if it ends up fitting anywhere.

MAJESTIC FLIGHT

Evil Deeds

EVIL DEEDS

So this is the song that the latest opening idea was taken from. It is written as an dark scene where Doctor Nemesis is doing something horrible to the world (as a fantasy of Stealthman's) - perhaps killing thousands of innocent people or something. It is meant to play toward the end of the second act of the musical as a high-tension, dramatic, intense scene. As you might have gathered by words like 'meant', this scene has not been written or even thoroughly designed yet.

On a side note: This is the kind of song you get when the composer of the musical is a Metallica fan. :)

EVIL DEEDS

Opening - Idea 5

STEALTHMAN OPENING 5

Okay...so this uses a different song idea entirely for the opening.

However, then I got the idea that the first sung parts (which are based off the Stealthman theme song (which I've used for the overture and many of the opening ideas) might work as a counterpoint to this idea. So I have the opening instrumentation, followed by the first sung notes (represented by a Bassoon and English Horn).

I really like the sung part over this ostinato. It's kind of out there, but I think repetitive enough to still be catch.

The opening sequence will be a fantasy scene that is a stand off between Stealthman and his arch rival Dr. Nemesis.

The first few lyrics of the show (at present) are:

STEALTHMAN
DOCTOR NEMESIS...

DOCTOR NEMESIS
NOW I HAVE YOU STEALTHMAN

STEALTHMAN
HAS IT COME TO THIS EVIL?

DOCTOR NEMESIS
YOU ARE MINE NOW STEALTHMAN

STEALTHMAN OPENING 5

Opening - Idea 4

STEALTHMAN OPENING 4

So I think this is the last one I'll try with this basic melody idea. Not in love with this as the very first thing that will be heard...but it has some potential for other places in the show I think.

STEALTHMAN OPENING 4

Opening - Idea 3 in minor

STEALHTMAN OPENING 3 (minor)

Opening idea number 3 put into a minor key. I like this better as a potential opener, but I'm not sure if it's quite right.

STEALHTMAN OPENING 3 (minor)

Opening - Idea 3

STEALTHMAN OPENING 3

This one is based on one of the orchestral counterpoint blocks from All It Takes Is One.

This one isn't right at all. I like it...will likely even use it somewhere in the show (if it fits) but it doesn't have the right flavor for the opening. I didn't spend a ton of time on the orchestrations though because it wasn't feeling quite right. If I use it, I will tweak the orchestrations.

I might consider it as an opening idea still with different orchestrations though. The orchestrations themselves could be contributing to the wrong flavor. The flute part, for example - I could use a bass instrument of some sort for that (a few octaves lower, of course) and it might really change the flavor. I may play around with this one further.

STEALTHMAN OPENING 3

Opening - Idea 2.5

STEALTHMAN OPENING 2.5

So I added a bit more to this one to show how I might go with it. So you get two clips for today. This is exactly the same at the start but goes on a bit further to show how I might take the piece were I to ultimately use it.

STEALTHMAN OPENING 2.5

Opening - Idea 2

STEALTHMAN OPENING 2

Okay, so here's the first attempt. The idea behind this one is the same melody (sort of) as the original melody...but LOUD!

Why is it only sort of? Well I use 2 rhythms for this melody. The overture is the first (see 3rd post). But the song STEALTHMAN (which is where the overture is taken from) uses the rhythm like is heard in the opening. This opening is using the rhythm from the overture.

STEALTHMAN OPENING 2

New Musical Marketability - Opening Number Ideas

So, one of the main considerations when writing a new musical is the marketability of it. I tend to feel that art and commercialism are inexorably linked. Good art will sell because it will appeal on some level. That's not to say all art must be beautiful. But it has to connect and communicate or it fails.

I remember when I first got hooked on the idea of musical theater. My sister brought home a copy of The Phantom of the Opera by Andrew Lloyd Webber. It was the highlights version and so it began with the overture. She put it into our stereo, cranked up the volume and... Well, it was quite the experience. It was such a familiar piece even though I'd never heard it. It just resonated and drew me in. Immediately I was hooked. I took the cassette to my room and listened to it with headphones again and again. Wore out the tape, actually. It was years later that I found Les Miserables followed quickly by Miss Saigon (my favorite). The original version of Les Mis opens with a descending string ostinato that is interesting, but not quite as accessible as the current opening. Miss Saigon, perhaps, has the least accessible opening...and yet it is my favorite. It draws you into the feel of the show very well. I can't necessarily separate that from sentiment though.

In retrospect, I'd have to give Phantom the 'best overture' award. It's not my favorite musical...in fact, as an overall show, I find it a bit weak. Some of the music is magical...but the story and whatnot...meh. But Phantom doesn't actually open with the overture. It opens with recitative and dialogue. The only of these three mega-hits that has a real 'bang' for the first note is Les Mis.

So where am I going with all this. Well, I'm trying to rethink my opener.

I want to have that moment of glory. I want people who hear it for the first time to be immediately drawn in and captivated via memorability and strong song-writing. I also want it to clearly bring out the flavor of the overall show.

The current (as heard in the 2nd post of the blog) opener is okay. But it's not quite there. I don't get chills from it at least.

This is an interesting thing though. I have written a fair amount of music that I think is very good (at the risk of sounding arrogant - read: tremendous!). But I very rarely do it by forcing it. I would very much like to be able to force it though. I don't know if that's possible. I feel that being strong as a composer as far as marketability goes is something you either have a feel for or you don't. When it comes to that, even with my idea that some of my music is 'tremendous' I also freely admit that my thinking its tremendous has little to do with whether others find it tremendous or not. Either way...the stuff that I think is really good, more often than not, I just came up with by...I dunno...dreaming it or something. Just feeling it. Just a surge from the soul, if you will, vs. analytical design.

So...here's where I'm going. Over the next several posts I will attempt to rework the opening. I will write several introductions and post them. The attempt will be to 'force' a superb opening. Maybe none of my efforts will stand. But it will be fun to try. Then, sometime in the future, maybe I'll dream the real opener and all this work will go out the window. Who knows.

Never Before intro complete...maybe

NEVER BEFORE

So here is the completed song building of the intro for this song. I've been kind of rethinking it however. I definitely like what I have here. I'm just not sure if it's exactly how I want the intro to this song to sound. I'm thinking something a bit more... I dunno ...commercial??? Something catchier. Perhaps. I'm going to let it stew for a while and then come back to it.

NEVER BEFORE

Never Before #3

NEVER BEFORE #3

Here's the next version. This has added most of the texture I think I want for this intro. I want it mellow. I will likely add some cymbal rolls to it (soft) and perhaps play with the tempo...perhaps tack on a pre-into/post-intro bit.

NEVER BEFORE #3

Never Before #2 - Bass added

NEVER BEFORE #2

Part 2 - add the bass.

Also, just to have a bit more to the post, I thought I'd talk about about the process of developing a new musical from thin air.

Obviously, the first step is the basic idea. In this case, I had STEALTHMAN, about 15 years back. That was it. A show about STEALTHMAN. But I didn't want to make a superhero musical because I felt it would be cheesy. So I decided to do it about a crazy old man who thought he was a super hero. The funny thing is that even though I was a big fan of Don Quixote and even of the musical Man of La Mancha, I never equated my idea with Don Quixote. But, obviously, when I would tell people about the idea, they'd say "like Don Quixote." So eventually I decided to embrace that side of it. I didn't want to actually do Don Quixote. But I did want to play up the idea that the show was based on that.

The core elements from Don Quixote I decided to use (beyond the old-man-goes-mad idea) are the idea of a side-kick (which I felt particularly worked for a superhero too, a la Batman and Robin) and the idea of a motivating ideal. In Don Quixote, the motivation for much of what he does is Dulcinea. I did not want to have a girl be his motivation, so Stealthman's movivation is power. Super powers, to be exact. He wants more power to save the world from evil. He is driven by his quest to gain more power. That is his Dulcinea.

There are a few other ideas taken from Don Quixote, (like I have two rest home workers that will play similar roles to the Duke and Dutchess) but overall, beyond that it is an entirely unique story.

Anyhow, here is the next song building effort for Never Before.

NEVER BEFORE #2

Song Building 2 - Never Before

NEVER BEFORE #1 - melody only

Another song in development. This one is a solo for our young female lead, Danae - who takes on a job at the dilapidated care home for the elderly after getting fired from a job as an exotic dancer.

This is a solo for her that is meant to be a lament.

In the musical STEALTHMAN, the real world is a mess. Most of our characters are poor, sad and bitter. Danae is trying to work though college and can't find work. She becomes an exotic dancer, but then gets fired from it (due to her defending the crazy old man who comes into the club acting like he's a super-hero, raises a ruckus.) She helps Nick (Stealthman's son) take the old man to a care home and finds out they need help there. She's able to get a job there but it ends up being a nasty place for employees as well as patients.

This song will likely fall after she first takes the job as an exotic dancer...but maybe after she gets fired from it.

Here's the first pass of Never Before (placeholder name) with only the melody. This orchestration will be of the intro (no singing) but the melody will be the same as the sung verse.

NEVER BEFORE #1 - melody only

Old Man Rap

STEALTHMAN OLD MAN RAP

So when Stealthman gets himself in trouble with the cops (and with his son) he gets tossed into a care home for the elderly. There, he sets about stirring up the other patients (or at least in his mind he's stirring them up) to believe in and support Stealthman - the hero of the night! Then it all comes to a head one day in the cafeteria and the residents (or at least is seems that way to our hero) join with Stealthman in a massive revolt...

...and we have the song STEALTHMAN, the end of the musical's first act.

I've already given you the drum solo from this song. Now, here's the old man rap, where at one point, three patients climb up onto one of the tables and join in the melee with a rap.

Enjoy.

STEALTHMAN OLD MAN RAP

Destined to Be - with Vocals

DESTINED TO BE (with vocals)

So, unfortunately the only one I have to sing for me right now is me.

Actually I'm working with some other people to sing...but for now - you get me. I'm okay at certain styles of songs. This one??? Not so great in my opinion. Well, my voice was thrashed today. Still, this style of singing isn't my best. I tend to be more of a folk/rock singer. In the final recording I may end up doing some character voices. Maybe.

Anyhow, here is the finished version of the DESTINED TO BE song building exercise clip.

Keep in mind a few things. 1. Imagine Colm Wilkinson, Mandy Patinkin or your favorite older broadway star singing instead. 2. It doesn't have the female vocals. 3. It isn't mixed so sometimes the instruments are too loud and sometimes the voices are too loud.

Still, this should give you an idea of what the melody sounds like and basically how the song will sound.

DESTINED TO BE (with vocals)

Love Is Nothing But A Lie

LOVE IS NOTHING BUT A LIE

So here's the introduction to a clip from a song called Love Is Nothing But A Lie. This will be a duet between Nick, Stealthman's son, an embittered cop, and Danae, a resthome worker who moonlights as an exotic dancer. It's sort of a love song...meaning the song is about how neither of them believe in love...and yet, they are falling for each other.

Enjoy.

LOVE IS NOTHING BUT A LIE

Principles of Orchestration Q&A

Q: Do you have to use all four components when orchestrating? (Core, Melody, Counterpart, Fills)
A: Definitely not. Use what works. However, when I orchestrate, I will usually use all four.

Q: Doesn't it make it a bit 'busy' to use all four components?
A: Not at all. It can. But it doesn't have to. You don't have to have complicated parts. A core can be a simple bass line. A counterpoint can be nothing more than a pad (a long drawn out note over the top of everything) and a fill nothing more than a soft cymbal roll. It can be very simple or very elaborate.

Q: Can this technique be applied to other musical styles?
A: Yes. Very well. Take a rock song. The drums would be the core. The vocal part the melody (or the guitar solo). The guitar would be the counterpoint...or a counter point to the core...or maybe the core. The keyboards might be a counterpoint to the counterpoint. Fills would happen with drum fills, guitar licks, bass runs, etc., etc... Different parts of the song would work differently, of course. The guitar might be the melody for the intro, or even the core. The drums might be thought of as a counterpoint instead of as the core. It depends on the intent.

Q: So can I take any song and analyse it with these building blocks.
A: If you really would like to, it should work. But you'd be guessing because you don't always know the intent. Is that bass line the core or a counterpoint? Who knows. These are BUILDING blocks for orchestration, not analytical tools. But I must admit that I've taken Beethoven, Mozart, Wagner and even John Williams and analysed them in this way. It was a fun and challenging listening experience...but ultimately just a game.

Q: Won't the song get old if you do the same thing throughout?
A: Yes. Don't do the same thing throughout.

Q: But don't these building blocks make is so you're doing the same thing throughout?
A: Each Moment in the song can be treated as a separate entity to apply the building blocks too. A measure, a phrase, a verse. However much feels right. The first measure can use one counterpoint, the second another. You can also reuse and reemphasise parts as different building blocks. What was once the core can now be a counterpoint. What was only a fill can be repeated as an ostinato to become a core. A melody can become a core and a counterpoint can become the melody. Plus, naturally, throughout a well written song the melody will change from verse to chorus, part A to part B, bridge to refrain, etc... Each of these would probably call for new cores, new counterparts and new fills.

Q: What about timbre. You haven't discussed timbre.
A: Timbre is beyond the scope of what I'm explaining here. To learn timbre, I recommend you get into samples and sequencing. Even better, join an orchestra. Take classes. Mess around with different instruments. And, if you have to, read about timbre...though that would be like trying to learn what salt tasted like from a book. I LOVE samples for orchestrating. We are not living in the days of Mozart. There's no reason on earth to not be able to hear what you compose as you go. The technology supports it. Embrace the advantage! If you utilize samples (hopefully quality ones) to learn, you will come to a natural understanding of timbre and what instruments work for what parts, etc... There's still study to be done (learning ranges, learning about tesatura, learning what can and can't be played easily or at all, etc...) but to get an understanding of the emotion and flavor behind an instruments tone, I highly recommend utilizing samples.

Q: What about the orchestration techniques you learn in college or in books? Shouldn't I learn them first.
A: First? Maybe. Learn them at all? Of course. All knowledge can benefit you. Treat them as doctrine? Please don't. I really dislike how music theory is treated like some sort of dogma. It's an art and rules don't apply. Art is art!!! Not science.

Q: So what about Rimsky-Korsakov's Principles of Orchestration? Doesn't that already tell me what I would need?
A: It has some very good information, though somewhat hard to understand if just reading as an inexperienced composer. However, there is an excellent online version of it that would be very useful to anyone learning orchestration and has notes by other professors and experts:

http://www.garritan.com/Rimsky-Korsakov.html

It would be useful. I just recommend that you don't take it all as doctrine. Personally, when I read it, I disagreed with a lot of the ideas. I found some of them to be outdated and pretentious. But that's only my opinion. My opinion shouldn't be taken as dogma either.

Q: So why have a different approach if there's already solid information out there?
A: My approach is meant to be understood from a lay person's perspective. But, moreover, my approach is...well, mine. It's how I think when I orchestrate. My hope is that when others read my information that it will help them develop a solid approach quicker. It took me many years of study and practice to develop a solid understanding of what I was actually doing with it. I hope by sharing, others might come to that understanding quicker.

Principles of Orchestration - All Together

ALL IT TAKES IS ONE

Principles of Orchestration - Fills

ALL IT TAKES IS ONE - Fills

Fills are simply short counterpoints that are usually transitional (but don't have to be). Defining a clear difference between a fill and a counterpoint is not really important. If you think of it as a fill, it's a fill.

For this clip, a lot of the fills could really be considered counterpoint instead. The snare, the cymbals and the triangle all repeat the same thing pretty much throughout the song and, really, I would think of them more as counterpoint because of that. However, they are also transitional - helping to move from phrase to phrase, etc... and so they are also fills from a certain point of view.

The clearest example of what I would think of as a fill in this piece is the short woodwind snippet in the middle and the harp gliss at the end. There is also a wood wind gliss that you hear on the end of one of the counterpoint clips that fades out that would clearly be a fill and isn't included here.

Fills are the little decorations. They add a lot to the piece in some cases. A blast of a few trumpet notes. A cymbal roll. A quick glissando. A drum roll. Etc., etc...

ALL IT TAKES IS ONE - Fills

Principles of Orchestration - Counterpoint

ALL IT TAKES IS ONE - Counterpoint with Melody and Core

All right! Now the fun stuff. Counterpoint!

Now, for anyone who's thinking in terms of traditional countepoint that one would learn in Music Theory, this only barely even qualifies as the same thing.

Here's Merriam-Webster on it:
1 a: one or more independent melodies added above or below a given melody b: the combination of two or more independent melodies into a single harmonic texture in which each retains its linear character : polyphony
2 a: a complementing or contrasting item : opposite b: use of contrast or interplay of elements in a work of art (as a drama)

Combine these two definitions -throwing some of it out - and you basically have what I mean as counterpoint. But pretty much any and all harmonic rules you might learn in a theory class -- throw 'em out! Not to say you can't follow them if you'd like. They just aren't requisite to my orchestrating theory.

A counterpoint building block is simply a part that is contrasting rhythmically with the melodic (or other) building block(s). It doesn't have to be melodic or maintain it's linear character (as per m-w above.) It only needs to be independent rhythmically.

Based on this theory, the core that I posted would also be a counterpoint. Yes! But it's the MAIN rhythm and the foundation of the rhythm and/or the core of the harmonies...so I consider it a different building block. The counterpoint building block is more secondary. It adds character and texture.

But this is the fun part:

Any building block can have counterpoint added to it. That INCLUDES the counterpoint building block. You build counterpoint to the melody, counterpoint to the core, counterpoint to the counterpoints, and even counterpoint to the fills -- all as needed and artistically valuable to you.

Decision making comes into play big time here (as will all parts or orchestrating.) How many counterpoints should you use? There's no right answer. Zero is okay. So is twenty. It depends on the piece, the intent, and frankly, on your own sense of what works and what doesn't.

What about working out the harmonies within the counterpoint? Well, you can work it out mathmatically (like in theory class) or you can use your ear (particularly if you have sampled sounds and a sequencer) or maybe you're just a prodigy and can just write them. The point is - that's beyond the scope of my orchestration theories. Like I said, good harmonic voice leading and whatnot is a seperate skill, that does come into play, but should really be learned seperately.

It can be a lot of fun to play around with offsetting the rhythms. I recommend letting go of any rules or training or preconceived ideas about it and just let it flow. You may end up with some junk...but you'll learn and grow from it and you'll also hit some really golden moments if by nothing more than sheer chance.

Here are the counterpoints for this piece seperated out a bit. Note that it gets a bit iffy as to what is and isn't counterpoint. Technically, everything but the melody block (since I include any harmonies that follow the same rhythm therein) is a counterpoint...so that includes the core and the fills (fills discussed next time.) And...as you'll note, some instruments can be on the melody, but then leave it for a counterpoint for a bit and then return.

ALL IT TAKES IS ONE - Counterpoint #1
ALL IT TAKES IS ONE - Counterpoint #2
ALL IT TAKES IS ONE - Counterpoint #3
ALL IT TAKES IS ONE - Counterpoint #4

ALL IT TAKES IS ONE - Counterpoint with Melody and Core

Principles of Orchestration - Core

ALL IT TAKES IS ONE (Core)

All IT TAKES IS ONE (Core and Melody)

Part 2. Or...Part 1. Depending on how you look at it.

The Core.

So what do I mean by the core? Well, essentially, it's the primary rhythmic support for the melody. Often, it will be the bass line...supported by other instruments. Not always, of course. Sometimes you won't want to use a base line. In rock music, the core would likely be the rhythm guitar part (many times doubled by the bass). For those of you familiar with ostinato based composition, the ostinato would be the core.

For this composition, the core is played by the basses. It's doubled by the cellos, the trombones, and the timpani.

For context, I've added a clip of the core playing with the melody as well. One thing you might notice, the melody has a few less instruments playing. That's because in developing some of the other parts I made decisions to use those instruments in other ways. In short, the melody is now the trumpets and the violas...which leaves only the 1st trumpets (for now) on the "melody" melody and the 2nd trumpets and violas on harmonies.

Note as well that the core has no harmony at this point. This may or may not change. We'll see...but I don't think so because for this piece I want the core very strong.

Another note: you may notice the tempo is slower. I realized I had set the tempo faster than I intended it to be, so this is more what I had in mind.

Last of all, I wanted to discuss the simplicity of the piece. Anyone musically savvy will notice that the entire piece basically uses a single chord - sort of two, depending on how you look at it. Yes, there are other chords therein...but they're very clearly passing. If you were to accompany this on a guitar, you'd likely just play a C chord repeatedly - maybe jumping quickly to a G now and then. As I add parts, other chords will come out...but mostly they'll just be for color or dissonance.

It's also very repetitive. The same line 4 times in a row. The melody was composed this way prior to my decision to do orchestration principles. But I decided to use this part of this piece because of it's simplicity. The reason for the simplicity and repetitiveness of it is based in the artistic approach I'm using for writing much of the music for STEALTHMAN the musical. Many themes will have a simplicity to them and have a sort of fanfare-style. Not to say that every bit will be simple and repetitive. In fact, the song All It Takes Is One, as I have it right now, will be one of the more complicated songs other than these four repeating lines you hear.

I felt this was a great piece to use for demonstrating the building blocks I use for orchestrating because of its simplicity. You will notice, however, as the orchestrations progress that they are not so simple.

ALL IT TAKES IS ONE (Core)

All IT TAKES IS ONE (Core and Melody)

Principles of Orchestration - Melody

ALL IT TAKES IS ONE (Melody)

Yes, I know, I'm starting with what I listed as number 2. Melody.

So why didn't I list melody as number 1? Because developing a good melody and orchestrating are different. In my orchestrations I use the melody as a basis for the orchestration...so the melody has to be in place...but usually it's either only in my head or a piano line. I usually begin my orchestrations with the "core" so I naturally listed it as 1.

So why am I not just starting with the core? Because it will make more sense to other's ears to have the context of the melody in place first. And it really isn't important how it's worked. I sometimes start with orchestrations of the melody first - and sometimes I will work with all 4 building blocks simultaneously. I'm not really discussing a process (though starting with 1 and working through 4 is a good way to do it in my opinion), I'm discussing what components I use.

So, what is "melody" when speaking of orchestration? We're not necessarily talking about a memorable line of music. Rather, we're talking about the principle timbre or instrument that comes to the ears. It is the predominant layer. In a musical, it would obviously be the sung part...BUT...not always. What about an interlude or a transitional orchestral phrase, an introduction or a dance number? All of those would need an orchestral part that is the melody. Two posts back, for example, I have a drum solo. There's no singing - or any other instruments in this solo. So...by default, the drums become the melody. Of course, you could break it down further, if you cared to, and call...say...the snare the melody. But you get the idea. The melody is the main sound, if you will.

As you'll notice in the clip provided (and it may surprise you because I'm talking about "melody") there are harmonies!! What? (-you may ask-) but we're talking about melody.

So we are.

This brings up an important point in my orchestration building blocks:

HARMONIES CAN BE ADDED TO ANY OF THEM.

I don't consider harmony a separate building block in my theory. Part writing and voice leading and chording and all that comes into harmony. I'm not going to get into that kind of stuff in too much detail (I'm sure I'll rant about it now and then). But I will discuss instrument choice a bit (though not in this post).

What is important to understand is that what separates the building blocks in my principles or orchestrating is rhythm. Four parts that all follow the same rhythm all belong to the same building block.

Keeping it simple. Add harmonies as needed to the melody. I will discuss why and how a bit more in a later post.

Here are the instruments used in this "melody" block:
1st Trumpets
2nd Trumpets
Horns
1st Violins
2nd Violins
Violas

A few notes about this clip that might have meaning. The melody is doubled by 4 instruments (I suppose that makes it quadrupled...but 'doubling' is the term....) 1st trumpets, horns and 1st and 2nd violins. 2nd violins and 2nd trumpets are in unison. Horns are an octave below and 1st violins are an octave above. 2nd trumpets and violas create the harmonies. I do not double any of the harmonies because I only want them to add a bit of richness and not stand out too much.

This clip is the introduction to a song called All It Takes Is One. It will be one of the main themes from the musical STEALTHMAN. I'm using the introduction for the principles of orchestration posts because I don't want to have to fake a melody to represent the voice or hassle with recording vocals.

ALL IT TAKES IS ONE (Melody)

Principles of Orchestration

So I thought it might be of interest if I shared the technique I utilize for orchestration. Some of these ideas are original and some of them are not - but I believe the presentation and organization of them is original. If not, it's only by chance.

Orchestration is NOT the same as part writing or realizing figured bass or any of that fun college music theory stuff. A lot of people think it is. Those things can play into it, but ultimately, orchestration is the interplay of timbre. You can use really bad voice leading (if there truly is such a thing - music is an art form, afterall) and still have stunning orchestrations (though that is also subjective, when it comes right down to it.)

I'm not going to talk about instrument ranges or transposition or any of that basic stuff that you can get in any orchestration book or class.

My orchestration technique is built of four compositional pieces - or building blocks, if you will.

1. CORE
2. MELODY
3. COUNTERPART
4. FILLS

In coming posts, I will explain each of these, how I use them and why I think the way I do when it comes to orchestration. Some of these are obvious...and some seem obvious but you may find that when I explain them it wasn't quite what you thought.

I will also post audio clips (from the muscial STEALTHMAN) to demonstrate.

My ideas about harmony, theory and orchestration are not entirely conventional. If you don't agree with them, feel free to disregard. But hopefully someone will find the information useful.

Please keep in mind too that this is an idea in development. I orchestrate how I orchestrate...have been for years. But I'm still working on describing the technique in someways. So I may end up with a few retractions or backpeddling moments in coming posts. We'll see.

Stealthman Drum Solo

STEALTHMAN DRUM SOLO

Some of the music for the musical STEALTHMAN was written quite a long time ago. The idea originated in it's very, very basic form in 1991 or 92. Bits of music here and there have been written for it ever since. But mostly it's just sat as an idea for future implementation until now.

This is a drum solo for one of the songs (the song is actually called "Stealthman" which might be the end of the first act. Yes, it's a drum solo. I won't explain it further at this point.)

This drum solo was written by J. Kenworthy Nielson.

STEALTHMAN DRUM SOLO

Destined To Be - #3.5

DESTINED TO BE - #3.5

I'm calling this one 3.5 because it completes the latest orchestration from what I posted last time. So play 3, then 3.5 to hear the entire thing.

Of course I will post a full version of it with further tweaks soon.

I think this is close to being able to add some first pass demo-vocals.

Once again, the vocal line instruments are muted.

DESTINED TO BE - #3.5

Destined To Be - #3

DESTINED TO BE - #3

Here's the third run. Note, the full length of the clip doesn't play because I didn't update anything on the end of it. Also note that the melody is no longer included unless the orchestration is mirroring it.

DESTINED TO BE - #3

Destined to Be - Lyrics (rough)

So, here's the first pass on the lyrics of Destined to Be. (Note: the lyrics posted are only for the section of the song being developed and posted on the blog. The entire lyrics may or may not be posted at a later date (though at this point they have not been written. (Also: take note that I've named my Stealthman character Michael...which may or may not stand.)))

MICHAEL
AS I LOOK INTO YOUR EYES
I REALIZE I LOVE YOU
AND AS I TAKE YOUR HAND IN MY HAND
THE WHOLE WORLD SHINES BRIGHT AND NEW

MICHAEL and SUSAN
THIS NIGHT
THESE STORMS
THOUGH DISMAL AND GRAY
THUS NOW FADE AWAY
TONIGHT IS BRIGHTER THAN DAY
THE LOVE
THAT LOOMS
TRUE TREASURES AWAIT
FORGET HURT AND HATE
THE SIMPLE BLESSING OF FATE
DESTINED TO BE
STANDING WITH ME
THIS NIGHT

Destined To Be - #2

DESTINED TO BE - #2

So, I coudn't resist working late on this piece and so I have the next installment this morning.

I thought a bit of context would help. In order to give the context of the song, I have to describe the scene, and to do that I have to describe the characters and the world a bit.

So STEALTHMAN, as I've said, is based on Don Quixote. It is set in contemporary times and our main character (as of yet unnamed) is an old man (much older than Don Quixote who was around 50 - our character will be closer to 80) who has Alzheimer's disease and other age related afflictions of the mind setting in. He is obsessed with comic books and reverts back to when he used to pretend to be a superhero as a kid. But as a kid, he had always been firmly convinced that he truly could be a superhero if only he could find a source of power (like radiation or a spider bite, etc., etc....) So in his disturbed state, he takes on the persona of Stealthman, but is seeking the power that will help him be able to save the world.

In going out to find that power, he ends up getting in trouble with the police and his son and they put him into a run-down old rest home.

In the cafeteria of the rest home, he's looking around at all the other strangers there and his eyes meet Susan's (working name) an old lady who is a patient there as well. Something sparks...a hint of a memory of a dream, perhaps...and they fall immediately and hopelessly in love.

However, in the old man's (Stealthman's) mind, he sees the world differently, and in the play the scenes will often be from his point of view. He will not see an old lady, nor does he see himself as an old man. But he is a superhero (well, the alter-ego of a superhero) in his prime, and Susan a beautiful young woman. They arise, walk toward each other and the world falls away as they have eyes for nothing but each other. They take each others hands and sing a beautiful duet, vowing to always stay true to each other - for this was "destined to be".

Once the song ends, we see that neither of them has actually left their seats in the cafeteria or spoken to each other or moved at all. The entire romantic escapade was nothing but our hero's fantasy.

So....

With that, here is the second pass at the song.

A few things to notice. There's an opening orchestration (incomplete). There are significant tempo changes. The bass uses a different rhythm to underscore the melody. The melody has changed a bit. There are a few added instruments (though not many).

The vocal melody is now represented by a bassoon for the man and an alto flute for the woman.

DESTINED TO BE - #2

Song Building

DESTINED TO BE

So I thought it might be fun to put up clips of a song being created. The song I've chosen for this is called "Destined To Be". It's meant to be a love song between the old man who is Stealthman and an old lady. Having revealed pretty much none of the story yet, there really is no context to understand and judge the song. But, have at it nontheless.

In the coming posts I will reveal more about the story and the context of the song, as well as discuss the process of my song writing approach and orchestration methods and proceedures.

A couple of other potentially interesting notes about this piece: What I'm posting is the first verse/chorus (if you can call it that) in a very rudimentary form. It has a base line and a melody and that's it. (Well, actually, at one point the cellos break from the basses to make just a bit more harmony...but nothing really). By posting this first pass I'll be able to show the growth of the song. The melody may change. The song structure may change. The orchestrations will be built. Lyrics will be revealed (none are actually written yet for this song). And eventually vocals will be recorded. It should be an interesting process (I hope.) Ultimately, the song may not survive because it either doesn't work for the scene, the scene itself doesn't end up working, or the song just isn't good enough. We'll see.

Another interesting point: part of the melody and the basic idea of the song is from the very first song I ever wrote when I was 16 years old. I was looking for an idea for a piece and playing around with melodies and this song came into my head and I started messing around with it, tweaking the melody and whatnot, and decided that it might work very well. As I'm close to 40, that makes this a very old song now. But it's also being altered quite a bit. Time will tell how much it ends up sounding like the original song from so many years back.

Well, here's the first pass, bass and melody rough pass:

DESTINED TO BE

Overture

STEALTHMAN OVERTURE

I will try to post something weekly. But for today I'm putting up two posts.

In the style of contemporary shows, the Overture is going to be short. Just a taste and then onward with the action. This is the current orchestration for the overture. At present it will fall after the first scene (which will be a prologue).

STEALTHMAN OVERTURE

Opening

STEALTHMAN OPENING

Here is the first 30 second audio clip from STEALTHMAN. This is the opening orchestration in its current form. Feel free to comment, give feedback, etc...

STEALTHMAN OPENING

STEALTHMAN

STEALTHMAN is a Musical being developed as a concept album.

The story is based on Don Quixote, but updated to contemporary times, and the character, instead of thinking he is a knight errant, chooses instead, in his madness, to take on the persona of a superhero. STEALTHMAN.

On this blog I will post story ideas, as they develop and change as well as musical clips as the orchestrations and songs are developed.

The story will unfold here as the project is developed.

STEALTHMAN (the musical) is a protected intellectual property. All songs, lyrics and original story developments are copyrighted by Charles Dail Nielson for Folk Prophet Entertainment (a division of Folk Prophet Books) unless otherwise indicated.