The Strange world of snowboy and Crow - feedback on score.

[Musicologo]

http://tiagovideira.com/2012/09/09/the- ... -and-crow/

This was my first real challenge and also my first work with a "beginning, middle and end".

I've asked feedback on technical/sound details elsewhere. Here I'd like to ask what do you think about the SCORE. The music, the "symbols" part, the composition on itself, forgetting the rendition/sound outcome.

What do you think are my merits, my flaws and the aspects that I really should change and improve in my next challenges? What should be my next steps?

I tried to evolve and do new things in every episode, so I would say that the last episode score is much more evolved than the first or second one, but perhaps I'm wrong.

I'm thinking in doing an orchestral suite and also a piano version based on this and I'm still studying how should I do that.

The little themes that sometimes are 10 seconds on show, can be 1 minute movements in the end. The opening and credits can also be expanded...

As an example I can paste the credit theme, I think this could be a somewhat larger movement.

https://dl.dropbox.com/u/14207055/Tiago ... 0theme.pdf

Give me your thoughts.

[Ogg Vorbis]

Nice work! Everything looks very pretty. Mechanically, I see just about everything where it ought to be. Except your perc part is at the bottom, which is a bit non-traditional. A conductor would be used to seeing it in score order and if you are in one of those frantic "run and gun" recording sessions for film, having a non-traditional score order introduces a "variable x" into the equation which may slow things down and frustrate a conductor who is trying to cue entrances, etc. The books I've read about film score recording sessions recommends "no surprises" which can require even minute interpretation or variation of routine.

The score also lacks detail which can help a session along. For example, what percussion? What am I cueing as a conductor or what am I playing...is it a grand casa? a guiro? suspended cymbals? It looks like a timp. part. If it is, you ought to label it thus.

Chimes...if I were the player, I'd want to know if you want me to stop the sound or let it go. You've written eighth notes with eighth note rests. Is this what you really want? If so, you should indicate it. If not, you should write quarter notes or half notes with a slur flowing into the rest with l.v. above them (laissez vibrer).

(I'm guessing you want them to ring like evil church bells)

You also need to specify how many players of each of your ww and brass. Again, don't make assumptions and don't cause others to make assumptions. If you are calling for one player on horn, the score should say so.

Bar numbers and rehearsal letters...ware are dey???

You have mf in the pizz and ww, but the trumpet is marked p. You are trying to balance your ensemble through editing. I don't blame you! But if you are after a blended and balanced homogenous sound, then I think you ought to mark everyone with the melodic figure with the same dynamic level . Good tpt players will automatically balance themselves accordingly. If not, then the conductor will balance them. You shouldn't have to second-guess this process too much.

So musically...wow, okay no introduction. It just jumps right in. Is this due to fitting the cue into a specific time? If you have the time, then try prepping your listener with a couple of bars of the string figure and let the melody come in after the energy is established a bit. Just a thought...

Also, even though this is a very short cue, I feel that it can have a lot more variety in the orchestration. By bar 6 or 8 or so (oh, there ARE measure numbers! no reh. letters tho) you should have changed up the sound. Keep the winds going but maybe bring the strings in arco with some fast coloristic runs to paint in the background, etc.. Move the melody around. Let the cellos have a shot at it in their upper range for a bar or so to support the horn or the melody itself.

This also helps keep your players entertained.

Last two bars...strings are still pizz and mf? Again, I think this is begging for way more contrast. Strings should switch to arco and follow your winds with the arpeggio figure (chimes should NOT - I don't think this will work).

In general I think you should turn up the contrast and variety knobs about a dozen clicks. Right now they are set at "1". There is a lot of color and variety you can build, even into a very short piece like this. Listening to any cinematic orchestral works, especially if it's a fun, spooky halloween type of thing, will show you that you have to have LOTS of character and movement.

Watch your characters in the video (wait, is there video?). Their expressions, their voice inflection, their gestures and movement all probably have lots of character and animation (I hope, anyway). Watch the action and see how it moves and changes tempo or perspective. Bring these aspects into your cue. Flood your listener's ears with brilliant flashes of animated color.

For reference, maybe listen to some of Eflman's score of "Nightmare Before XMas"

Again, bravo for creating a solid foundation, establishing the right mood and having things in their proper place. And bravo for being brave and putting yourself out there for people to throw rocks at. You have more boldness than most!

[Musicologo]

Thank you very much for your valuable and detailed feedback! I'm always trying to improve following advice from people more experienced than I am