It's the run up to Christmas, and working in retail I hear Troika everyday, multiple times a day. It made me seek this video out again, remembering it from when the video was first released. Just want to say I really enjoy your analysis and How-to videos and I hope you return to making them.
Bro, make more videos like this and the before ones! You are awesome at exposing the secrets of music, I as a composer know these things but it's great when repeating them 'cause “Repetitio est mater studiorum”. Keep up the great work!
Quality content, as always! Also i really like the sound of the mockups. Any tips how to mix virtual orchestra, so that is sounds cohesive? For example I mainly use Cinematic Studio and Cinesamples.
Thanks a lot. That's a good but also a real big question and I think in a small comment I won't be able to give you any useful advice that go beyond "use a good room and reverb to put all of your samples in the same acoustic space" or "use good samples from the same company, or at least companies that have a similar sample recording approach". But I will do a video about this topic (virtual orchestration/mockups) and I hope to answer your question properly there. This one is definitely on the list! Have a nice day
Thanks a lot! I use Da Vinci Resolve as my editing program (which is great and free) and the scores are mostly made with Sibelius. In this video I also used a printed score found on IMSLP. When it comes to editing I combine multiple layers and masks on top of each other: the basic layer is often my blue background texture, on top of this I insert the scores, adjust their position and zoom factor, listen to the music track and “turn” the pages accordingly, then I invert the color of the score with an effect plugin and use a composite mode called "screen" in Resolve, which let's only the white parts (notes) come through, the remaining part is the blue background. The layer on top is the score-following cursor. This is just a jpg-picture of a thin line with a little bit of transparency. After positioning it I listen to the music again and figure out where every bar has its first beat and insert a keyframe animation for the position of the cursor. The result is the line smoothly following the music and the pages being turned when necessary, so that's all made “by hand”. Its not the fastest process, but it gives me a lot of control over the representation of the music. Wow, longest answer so far :)
Great video! Just out of curiosity, could you also think of the Prokofiev example as a variation of the Period form, where measures 5 and 6 happen to invert the beginning two-bar idea? It's almost like Prokofiev wanted to do Period form but decided to put the second measure first
You are making an excellent point. I was thinking the same when I made the preparation for the video and still think this is an absolute valid point of view. In one of the secondary themes of the same movement, played by the bassoons, Prokofiev inserts two 16th notes in every bar, but each time in a different spot. So its like he was interested in playing the game of permutation at that time, which also backs up your idea. The only reason I didn't include this in the video was, because Prokofiev didn't need the repetition in bar 6, I think he just did it because he felt like it and not because he wanted to fulfill some formal model. And that's how it should be for every composer: compositional inspiration first, music theory second.
This time the algorithm got it right, thank you for your knowledge and love for teaching music, it is much appreciated.
It's the run up to Christmas, and working in retail I hear Troika everyday, multiple times a day. It made me seek this video out again, remembering it from when the video was first released. Just want to say I really enjoy your analysis and How-to videos and I hope you return to making them.
Great topic! Thanks for the clear explanation and examples.
great!!
Bro, make more videos like this and the before ones! You are awesome at exposing the secrets of music, I as a composer know these things but it's great when repeating them 'cause “Repetitio est mater studiorum”. Keep up the great work!
Quality content, as always! Also i really like the sound of the mockups. Any tips how to mix virtual orchestra, so that is sounds cohesive? For example I mainly use Cinematic Studio and Cinesamples.
Thanks a lot. That's a good but also a real big question and I think in a small comment I won't be able to give you any useful advice that go beyond "use a good room and reverb to put all of your samples in the same acoustic space" or "use good samples from the same company, or at least companies that have a similar sample recording approach". But I will do a video about this topic (virtual orchestration/mockups) and I hope to answer your question properly there. This one is definitely on the list! Have a nice day
@@hirchemusic That's great! Thank you and I am looking forward to it!
I absolutely love your editing and visuals. How do you make those score graphics and align them with the playback and moving bar?
Thanks a lot! I use Da Vinci Resolve as my editing program (which is great and free) and the scores are mostly made with Sibelius. In this video I also used a printed score found on IMSLP. When it comes to editing I combine multiple layers and masks on top of each other: the basic layer is often my blue background texture, on top of this I insert the scores, adjust their position and zoom factor, listen to the music track and “turn” the pages accordingly, then I invert the color of the score with an effect plugin and use a composite mode called "screen" in Resolve, which let's only the white parts (notes) come through, the remaining part is the blue background. The layer on top is the score-following cursor. This is just a jpg-picture of a thin line with a little bit of transparency. After positioning it I listen to the music again and figure out where every bar has its first beat and insert a keyframe animation for the position of the cursor. The result is the line smoothly following the music and the pages being turned when necessary, so that's all made “by hand”. Its not the fastest process, but it gives me a lot of control over the representation of the music. Wow, longest answer so far :)
Great video! Just out of curiosity, could you also think of the Prokofiev example as a variation of the Period form, where measures 5 and 6 happen to invert the beginning two-bar idea? It's almost like Prokofiev wanted to do Period form but decided to put the second measure first
You are making an excellent point. I was thinking the same when I made the preparation for the video and still think this is an absolute valid point of view. In one of the secondary themes of the same movement, played by the bassoons, Prokofiev inserts two 16th notes in every bar, but each time in a different spot. So its like he was interested in playing the game of permutation at that time, which also backs up your idea. The only reason I didn't include this in the video was, because Prokofiev didn't need the repetition in bar 6, I think he just did it because he felt like it and not because he wanted to fulfill some formal model. And that's how it should be for every composer: compositional inspiration first, music theory second.
Im Keenan
Mein Name Liam Gerz
Can you say hallo to me My Name is Keenan 😂
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Hallo 😂