What if Mozart was a Film Composer? | Christmas Movie Sketch (MuseScore 4)
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- Опубликовано: 4 окт 2024
- This is a part of a set of sketches I did based on the question: What would Sonata 16 in C Major K. 545 (Sonata Facile) by Mozart sound like if it was rearranged as a film score? I tried to follow the structure of the original exposition section with some deviations here and there.
This is an idea for what a holiday/light-hearted scene might sound like using the theme.
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*narrator voice* This Christmas, coming to theaters near you!
haha nice! (also how did you make that bold?)
@@dankim291 Just put asterisks around the word you want *bolded* :)
*ohhh* that’s pretty neat, thanks!
Spot on haha
“A movie for the whole family…”
This is amazing!! I have the feeling that this is some sort of Home-Alone-type film music. I love this texture, and the references to Jingle Bells and Mozart's Piano Sonata are amazing!!! Well done!!!!
Thanks! Home alone definitely came to mind when I was starting this haha
I got a bit of that vibe too. Well done!
Not only is this arrangement/composition amazing, but also the video and editing is incredible too! I love seeing you orchestrate each part as it's playing, and the notebook sketch is also very nice. Well done.
Thanks, glad you liked it! Please excuse my messy handwriting haha!
@@dankim291 Everyone's handwritten scores are a little messy ;)
great use of the lydian mode, congratulations on this cinematic orchestral arrangment!
Thanks!
Great orchestration!
What an awesome elaboration! Can’t wait to hear more of your work ❤
Thank you!
This is sooooo gooood! I'm super jealous!! Awesome work!!
Thanks! Glad you enjoyed it!
That’s so clever and convincing!
Brought a smile to my face. Really well done. Bravo
Thanks!
You surely have all the technical tools in your tool box! Congratulation to this next colorful variation of KV 545! Although I generally admire Mozart very much, I have to confess that I hate this sonata, which seems so boring and inspirationless to me. But it therefore has obvious enormous potential for being elevated to a next level which you've certainly succeeded to do with your inspiring variations! Thanks for the smile on my face and keep the good works coming! Merry Christmas to you!
I’m glad you liked it! I also have memories of reluctantly playing this sonata as a kid haha. But at the same time I grew up listening to the Baby Mozart CD versions of this and I loved those. Have a wonderful Christmas!
Really wonderful content! I love this.
Thanks!
Wonderful arrangement
I love it! The speedrunning music scores is also incredibly satisfying 👌
Thanks! Glad you liked it!
@@dankim291 Out of curiosity, do you ever think of making concert band scores or a combined setting? I’m trying out ensembles that are basically concert combined with orchestra (concert band with strings).
I’ve done a couple concert band stuff. There’s a piece called Pathways on my channel that the ISU wind symphony performed if you wanna check that out. (I’d link it here but I heard from people that links maybe don’t work or disappear in the comments section)
It’s interesting you define combined as concert band + strings. The way I see concert band is orchestra - strings *+ saxophone*, so a combined group to me would be orchestra + saxophone (which I guess is the same thing as saying concert band + strings, just approached from a different angle). I used to do a lot of that in the past - but only because I didn’t learn proper orchestration and instrument limitations. But ever since I started taking comp lessons I’ve been told that it’s kind of impractical since most orchestras don’t have saxophones on hand. So the chance of such a work getting programmed would be low (since usually new works get programmed alongside the usual stuff: Beethoven Mahler etc which don’t include sax so they’d have to hire saxophonists just for one piece which they might not do unless it’s some famous composer). Obviously this isn’t always the case, but it’s been a big factor for why I’ve lately been staying on the safer side of instrumentation (which is also what most orch competition submissions ask for: 2.2.2.2 4.3.3.1 timp+2, harp, piano/cel, strings)
On the other hand, concert bands are more flexible with instrumentation. While they might not be able to get a full string section, I’ve definitely seen things like concert band + string quartet concertos. Or concert band + some other new music ensemble.
I’d be interested in hearing what you come up with though, so please let me know!
@@dankim291 i’m just doing short songs from movie scenes for fun. Another way that the special instrumentation could be used is so that either ensemble could play the song individually.
If you’re wondering why I didn’t call it an orchestra with saxophones, it’s because concert bands also include euphonium and some lesser known wind instruments like those special clarinets. Just my thoughts. What do you think?
omg! I should be ashamed of myself, euphonium is literally one of my favorite instruments (because of its similar role to the cello)...yet I completely forgot about it haha! You're right though, there's definitely no euph in orch. When you say special clarinets do you mean like the Eb and contraalto? I don't know about contras, but the bass, Eb, and A clarinets are all usually okay to ask for in an orch piece. Same goes for the other woodwind auxiliaries (like picc, contrabassoon, English horn).
I think that's a really cool idea though! It kind of reminds of like the flex band pieces that just label parts by their general register (SATB) rather than by instrument. How would that work? Would it be like flipping between the ensembles throughout the piece? Or is it more like you have a piece that's arranged in two different ways?
Fantastic!
If I could describe what looking at an orchestral score was like when I had my final exam in Conducting 101, it would be this. I had NO idea what I was looking at once the music started and I just kept gesturing the 4/4 motions until the orchestra stopped playing.
haha I knew I messed up when I kept conducting and everyone else was holding a fermata….
Lovely!
Brilliant!
Very cool 🙂 Well done, again!
Thanks!
Awesome ❤and I kinda like this version more
Amazing!!!
Thanks!
Great job Daniel! Did you load this score into a DAW and have sample libraries 'perform' this score, or is the audio all created/exported from MuseScore?!?
Thanks! It's all in MuseScore with the new sound library they came out with. I used to use CineSamples in logic, but the new musescore has been way more convenient sinnce I don't have to worry about key switches and stuff. That being said, to get musescore to 'perform' the way I wanted to, I had to make some tweaks that would'nt musically make sense - like setting bassoons at FFF because otherwise it'll sound like a P.
@@dankim291 Wow! Interesting...I work with Cinesamples in Logic now, but I'm really impressed by the latest MuseScore recordings that I'm hearing... Fascinating!
Sounds like HOME ALONE film BGM
I was thinking so too when writing it haha
To you, I am just a young padawan
Do you teach compousing online? Im from México, Im interested.
I don't have an official teaching system set up; however, if you'd like to chat about your music, I'm always happy to hop on a phone call, Zoom, or Discord! Just shoot me an email if you're interested!
He was - he wrote the theme tune for the film Elvira Madigan.
That’s actually pretty cool! I remember when I was little I saw something like “Elvira Madigan Concerto” on CDs, but I never knew why until now! (I always thought it was a dedication like fur Elise or something)
Super
Do you ever have problems with musescore crashing on larger projects?
Not crashing, but it does get veeeeerrrry laggy. I remember it did used to crash a lot on large projects in Musescore 1 & 2. The worst part was when it crashes and then says it’s corrupted when you reload. That’s one of the reasons I switched over to Sibelius, to avoid all the crashes and lag. But it is pricey…
@@dankim291 sibelius then back to musescore haha
where can one find a pdf of the full score? would love to study this piece
I'd be happy to share the piece with you! If you'd like the pdf (or even the musescore or mxl file) please reach out to me via the email on my profile page. Eventually I'll try to set up a patreon or some other platform to upload the score files at the same time as the video, but I'm not sure what's most convenient for everyone. Sorry I don't have a better method at the moment; I wasn't expecting so many people to drop by this video, so I'm quickly trying to figure things out!
May you please share the mscz or music XML file of this please?
I'd love to share it with you! But I don't think I can through RUclips. If you'd like the mscz file can you reach out to me via email? You can find it on my profile page. Thanks!
Damn, how did you get so good?
I think starting from short scores really helped!
@@dankim291Could you share more about your background and training? Also what kind of practice would you recommend for beginner composer? And the last one: do you have perfect pitch?
I started piano round 6 y.o and discovered musescore in 2012. I started off just writing pieces similar to whatever I liked listening to at the time. Then in high school I started copying scores from the band library to study orchestration and then properly studied in undergrad. I draw mainly from Korngold, Williams, Prokofiev, Rach, Nichijou (anime), and Genshin (game). I switched over to Sibelius in 2018 but the new musescore sounds drew me back to musescore a couple months ago and I’ve been trying to relearn it ever since. I have relative pitch/recognize pitch by song - like E is fur Elise. C# is Hungarian rhapsody 2 etc etc. I wish I had perfect pitch tho. Some general advice is to copy your favorite scores inside your notation program - when you do that you can almost feel like you’re composing the piece and can really help get into how the piece works rather than just analyzing. It’s also great to practice going against your tendencies. For me it was avoiding authentic cadences, cliche progressions (I-vi-IV-V-I) and trying more things like polychords or modulation by thirds. If you listen to my IDRS Suite it’ll sound completely different from this piece, and while I personally enjoy the style of this piece more, it’s because I write things like that suite that I can broaden my musical language and have more techniques to draw from when writing the pieces in styles I enjoy. (Hopefully that makes sense!) There’s a ton of other tips and I’d love to tell you em all but it’s hard to know what to say without knowing things like your goals, styles, mediums, etc. If you wanna discuss more you can find my contact info in my bio I think. I’d be down to chat or listen to any stuff you enjoy written via email text discord or whatever is most convenient for you!
Sorry for the long reply! Oof.
@@dankim291thanks so much for taking time to reply! Your skills are amazing, I''ll definitely will follow your advice!
Lacks the finesse and sense of humor that Mozart would have written with though.
Also one nit about modern film scores from a brass player. Brass players have many many dynamics and many film composers ignore it.
Otherwise interesting project.
Yea, I'm more familiar with the Korngold style than I am the galant style.
And the thing about brass is totally true. I keep complaining that musescore has only two volumes for brass instruments - barely audible and blasting loud. As much as I'd like a lyrical trumpet line, the new sound library seems to be tailored towards people wanting to create "epic" scores. As a fellow wind player it also bothers me that there is no distinction between tongued and slurred legato - everything sounds slurred.
Yea! Noteperformer definitely has better articulations, balance, etc. I started on MuseScore in 2012 and switched over to Sibelius/NP in 2018, and just got back on musescore a couple months ago to try out the new sounds. But tbh I still like working in Sibelius more whenever I’m working on music meant for live performers. Mainly cause of how NP is more accurate in its interpretation of the notation and also I’m too lazy to learn how to engrave in musescore haha.
Sims music
He wasn't. The question should be, what if he HAD BEEN a film composer. (And he would have found the prospect quite revolting).
Yes, you’re right. Even Korngold, one of the pioneers of film music, returned to concert music towards the end of his life, as he found writing film music to be too simple and below his capabilities. But when you think about it, a lot of people tend do to things they hate. Why? Money. Lots of film composers see film as their job and not their art. Their art is the separate set of concert works they create without being told what to do by a director or butchering their music because of cuts and edits. Therefore, yes, Mozart could have found the prospect revolting, but that doesn’t mean he wouldn’t have done it if meant earning a good amount of money. And isn’t that technically why Mozart (and composers in general) wrote a lot of his pieces anyways? Because someone commissioned him to? And I’m sure not all commissions were enjoyable to do.
On the other hand, collaborative works like film usually involve having to partially give up control of your music. It must fit the demands of the director and other parties which usually involves lots of cuts, changes, and edits which the composer may disagree with but is forced to do. Another form of collaborative work? Opera. And since opera is pretty much the precursor to film, does that mean Mozart would’ve found opera writing revolting? I’m leaning more towards he wouldn’t’ve found opera revolting. But, alas, what do I know? My job isn’t to guess what a dead man from centuries ago would or wouldn’t have liked.
Also, apologies for my grammar. It seems I must work on my English more.
Mozart wrote the overture to Don Giovanni the day it premiered. What a master. Very nice work @dankim291 please keep making beautiful music!
YUCK!!!
It was wonderful chatting with you today, Mr Gleba! :)
@@dankim291: I found it enjoyable, too! You really are a good sport. I meant to ask you which of my works you subjected yourself to.
@@davidgleba3832
I took a listen to the Offertorium: Assumpta est Maria, Sequentia: Dies Irae, Missa in honorem Sanctissimae Trinitatis: Sanctus et Benedictus, and Agnus Dei.
@@dankim291: Ah, thanks! If you are so inclined, check out the Gloria and the Credo from the same Mass.
Film composers are usually very far below classical composers
It’s true a lot of modern scores are very limited and that might have to do a lot with the influence of minimalism, budgets, temp tracks, current styles of films not matching with traditional orchestral music, and directors’ tastes. But I’d suggest taking a look at Erich Wolfgang Korngold’s King’s Row. He’s one of the first film composers, but was also a child prodigy classical composer like Mozart (his father named him Wolfgang with that intention). Plus, King’s Row is literally the basis for Star Wars. And speaking of John Williams he wasn’t just a film composer. He wrote for the Olympics, NBC, and other big events, similar to how classical composers would write for big events of their time like coronations and stuff. Perhaps it’s not that film composers are subpar, but that the current approach to film scoring (so like very limited underscoring) is restricting composers from writing more complex works like they did in the past.
@@dankim291 Sorry but not even one of them comes even close to Mozart, Beethoven, etc. Not a single one. Never ever.
When you say classical composers were you referring specifically to the classical era?
@@dankim291 Of course, what else? You can also add in baroque and romantic era
Well the classical era specifically refers to composers of the galant style (i.e. Mozart and Haydn). Classical music meanwhile is an umbrella term that can mean anything from Bach, Mozart, Brahms, Beethoven, Mahler, Holst, Scriabin, Liszt, Puccini, Debussy, Rachmaninov, Chopin, Prokofiev, Stravinsky, Schoenberg, Cage, Korngold, Xenakis, Hindemith, Glass, Crumb, Mackey, Tichelli...basically any composer of non-pop music from the earliest of time to the 21st century.
Poor Mozart, his music keeps getting butchered
Haha welp at least it wasn’t “what if Mozart was drunk and got into a bar fight with Haydn over the piano”
@@dankim291 could have been funny
ooo I’ll try to do that next then!
awesome job man, and Marry Christmas
Thanks, Merry Christmas!
Fantastic!!!