Hi Audun,

well, for this kind of catchyness one of course has to compose a great melody with the stylistically appropriate sound but it´s also a matter of programming it into the audience.
I once wrote a theater music where I composed a pretty catchy melody and it was repeated really often during the show. And of course it made me smile to watch the people going out of the theater whistleing the melody. But what made me really laugh was that at a certain point nearly everybody stumbled and had to stop because I had built in some nasty chromatic shifts which sound completely simple but if you wanted to sing it.... forget it.. [:D]

I made another theme which would be well suited for numerous uses in a film (I was thinking of a film like "Amores perros" or "21 grams". This is my sort of hommage.)
http://www.mathis-nitschke.com/mp3/Lonesome_guitar_mix3.mp3">http://www.mathis-nitschke.com/mp3/Lonesome_guitar_mix3.mp3

It´s much much emptier than the other one...
William, I was thinking about your "order". Actually I think it´s a good one. Stay prepared...

So finally good night, I really need sleep now.
Bests,
- Mathis

@mathis said:

It is comprised of three themes: (every part roughly a minute)
A) Epic, suitable for a "Sandalenfilm", like we germans call it.
B) Romantic, introvert
C) uplifting, should open the heart (Should be suitable for E.T. flying ..., don´t know if I succeeded, seems a bit heavy to me)
Mathis

(A) No problem with that. Very good. That sounds like music in a lot of TV docs.

(B) Theme is fine. Maybe the underlying orchestration could be simpler, fuller and more legato

(C) Bit heavy as you say. But the idea is right for me.

Carter was right about the reverb to my ears Mathis. This is about writing music to a sort of formula isn't it?
A lot of TV/Film melodies are actually quite simple. The one that springs to mind straight away, is the theme to The Magnificant Seven. Fairly simple and memorable theme, but what really makes it, is what's going on underneath. Fred Story made a good point in an earlier post about familiarity with regard to the listening or subconciously listening audience. They don't want things to be too busy. They don't want 'too many notes'.

On the other hand, if your'e writing your 'other' music thats to go on a CD and is not meant to go with pictures, then you can more or less do what you like and thats fine.

Formula wise. Did you suceed with the desired emotions? Umm...yeah. Is it old-fashioned sounding? Do you or I or an audience give a shit, I mean really? If it suceeds, it suceeds. Period! Don't forget, the first thing an 'audience' does, is watch the birdie. They will only worry about the music if it is totally unsuitable (i.e. Flight of the Bumble Bee playing - when a guy is getting his brains blown out on screen) or 'sounds' bad.

With regard to Evan's sound now, as opposed to what's posted on the forum, I would say that the sound now is very different to my ears.

I think your'e a very talented musician Mathis, and I hope you find this reasonable. [:)]

Bests

Paul

@Another User said:

Formula wise. Did you suceed with the desired emotions? Umm...yeah.

I understand why you hesitate. I rarely experience a formula as a real emotion. Usually I´m also very very cautious with naming emotions in music. I rarely find them literally suitable. But I understand the business needs here. A lot of people honestly do think that formulas *are* emotions. And if some music is not fitting this formulas it´s considered unemotional, as much as I disagree with that. This is an attempt to show that I can serve formulas since I intend to make a living out of composing.

Still more reverb? huh.. I have to investigate.
I absolutely agree with Evans todays sound. After hearing Carters treatment I remembered that Evan was doing the same on his older demos and I listened to them again. But it´s certainly not what he´s doing now.

Thanks for your nice words and your comments,
- Mathis

@mathis said:

Hi Paul, thanks for listening and your comments. Yes, exactly, it´s about formulas here. (Sorry to bug you all with formulas...)
I wasn´t thinking about the TV docs. Maybe I should aquire there...
Mathis

No worries at all Mathis. I enjoy listening and it's no bug whatsoever. Look for anything you can write music for, including TV docs especially. They're like mini dramas a lot of the time.

I watched Al Pacino briefly talking about his acting career on TV last night. Brilliant actor! He said he must have loaded more guns on screen than he'd had sips of coffee. BUT, everytime he has to do it again, it's going to be different. He said it's like starting afresh and everything becomes a blank canvas again.
Writing music is very much akin to that in my view. Although, you need to rely on some formulas and techniques, which of course, Al Pacino does when acting. However, it goes from being good to brilliant, as with Pacino's acting, when you don't have to think about technique and formula and you stop thinking and analysing an ants backside.

Thinking is good, but not too much. Just write! It's about being prolific and writing good and bad music as I may have mentioned before. No need to worry about what other musicians think too much. They won't hire you and they won't pay your bills my friend. [:)]

Bests

Paul

I don't like this cheerful acceptance of "formulas."

A formula is nothing but a copy of somebody else's idea. A good composer doesn't copy - he creates. Then all the hacks copy his "formula."

Funny how everybody right here on this forum can ridicule and criticize big name composers for being hacks - but when it's time for them to avoid formulas and be original, well hey! We're struggling. We can't worry about things like that now. We're trying to pay bills.

Well guess what: you can pay bills and not be a hack, though nobody believes that. But never mind - this is all just playing with ideas to most people, as opposed to something to live by.

William, it´s also about recreating it for learning the formula and learning the difference between the formula and me. Eventually it´s about finding myself. Too often I thought of something as original to only discover later that it actually is a formula or was made already (well, ok, that´s some time ago, now I know more but still far from everything). I just want to understand what´s around me and this I can best with re-creating it.
Since I actually don´t have the impression that I´m very good in doing formulas I regard the chance thankfully quite low for getting hired doing formula work.

I just want to compose as much as possible and am curious like a pig smelling truffles. I lost so many years in my life not composing because I wanted to stay morally integer and doing only pieces worth the art. Now I have to catch up with this lost time.
Tomorrow there will be another piece.

I hope I didn´t piss you off too much, my friend.
Bests,
- M

"Great music is that which penetrates the ear with facility and leaves the memory with difficulty. Magical music never leaves the memory."

- Sir Thomas Beecham

He also said, ""Composers should write tunes that chauffeurs and errand boys can whistle."

But my all time favorite Beecham quote has to be...

"Mediocre composers borrow. Great composers steal." (This quote - or variations of it - is attributed to many others, including Stravinsky.)

I know I've been guilty of trying so hard to be original, I forget that music should make someone FEEL something. I try to ask myself if I've crossed the line of self-indulgence, the result being that what I have to say is only interesting to ME.

It's a question we constantly struggle with...each in our own way. Life imposes demands. We have to eat and have a place to hang our hat. That takes money. But music imposes its own demands. And if ever there were two more diametrically opposed sets of demands...

I want to be original...I want people to like my music...I want to make a living...I want to be remembered...I want to never compromise...I want to take a vacation from time to time...I want to give my music all the time it requires...I want to spend more time with my family. How the hell do we ever resolve all that? Or DO we ever? If anyone does, please bottle the answer and sell it on the web. I may have enough equity in my house to afford it...and would spend it in a heartbeat.

In my search to get the above quotes correct, I came across these as well. And we think things are worse today?

“Please write music like Wagner, only louder.”
-Sam Goldwyn, instructing composer for a movie

"[Musicians] talk of nothing but money and jobs. Give me business- men every time. They really are interested in music and art."
- Jean Sibelius, explaining why he rarely invited musicians to his home.

"Only become a musician if there is absolutely no other way you can make a living."
- Kirke Mecham, on his life as a composer

Fred Story

This post of Fred's is one of the best things I've ever read on this forum.

These are things that really disturb me so I may be obnoxious in my responses. But one other thing is that there are two types of stealing or unoriginality - one is the stealing done by a hack who knowingly cobbles together something he thinks will please somebody; the other is the kind of stealing that is done by someone who loves and is obsessed by music and so cannot help copying that which he loves. The first is contemptible, the second is inevitable if you are a real composer and should be done without worry, because once you do it you will outgrow it. I think that's what Stravinski was talking about. It is funny that one of the most shockingly original composers in the history of music would say that. But if he "stole" he did so in the way that Shakespeare did - everything he touched or found or adapted he made his own.

William, I can assure you, it´s *both* in my case...
I´m grown in the scene of composers severely fighting for originality and radicalism, because they believe that only these works will survive them. (Which might be true, after looking to the past.) Although there are sometimes really amazing works coming out of that scene I find myself more and more irritated by that concept. This relentless search for originality just stops my creativity. I can only compose when not thinking about art. I leave to the others judging if the resulting work is a piece of art or not. Of course I love it if my work is considered original but I honestly believe it´s out of my hands. Originality is something one has or has not, it´s not something to desperately search for.
To stay with Stravinsky and Shakespeare, who made everything their own. I think they simply could do no other. So they simply *were* original. But did they really care for it? I doubt it. At least from what I read of Stravinskys speaches and texts.
"All creation presupposes at its origin a sort of appetite that is brought on by the foretaste of discovery. ... This appetite that is aroused in me at the mere thought of putting in order musical elements that have attracted my attention is not all a fortuitous thing like inspiration, but as habitual and periodic, if not as constant, as a natural need.
This premonition of an obligation, this foretaste of a pleasure, this conditional reflex, as a modern physiologist would say, shows clearly that it is the idea of discovery and hard work that attracts me."
(from "poetics of music") A bit earlier he deconstructs the idea of inspiration.
Hm, I don´t know if that quote is relevant to our discussion here, but it´s an interesting one anyway.

Because I´m grown in that world (in where also filmmusic is worth nothing) I feel the urge to belittle my current works. But honestly I enjoy working on these things. All these formulas at least once in my life really moved me and I want to find out why. A formula isn´t a formula only because someone great once created it. An idea becomes a formula or clichée because it moved a lot of people. That is a real mystery to me and very interesting.

Thanks, Fred for these quotes and your thoughts. I can identify with a lot of it.

Bests,
- M

Mathis,

I think this Stravinsky quote is EXTREMELY relevant!

I was going to share a story I've posted here before, but I didn't want my message to get TOO long winded. However, your reply put me in mind of it once more. So, please forgive me for repeating myself...

Years ago while studying with Ziggy Hurwitz (whom I revere and owe my career to), I was having a particularly frustrating day. I would skip out of my day job for lessons, wanting desperately to be able to kiss it goodbye and write music for a living. Ziggy could tell something was wrong. When he inquired, I answered, "Dammit Ziggy. I just want to do something thats...thats...well..."

"Significant?", Ziggy asked - raising an eyebrow with a smile on his face.

"Well...yes!", I answered.

So what was his response to my dark moment of career desperation? He leaned toward me and quietly said, "Don't worry Bubby. You'll get over it."

At the time I thought he was just being flip. It was years later that I came to realize he was speaking of EXACTLY the same thing Stravinksy said in that quote. It's the need, the desire, the discovery that matter...not the recognition. Not even satisfying the goal of being 'original'. (How can we make that determination for ourselves, anyway?)

I realized that my wish to be significant was probably a guarantee that I never would be. I would be focused on entirely the wrong thing. (Not that it's impossible. But I suspect it would require a LOT more raw talent than I posess.)

It's one of the best lessons I ever learned from my friend and mentor.

Another is that it's never a good idea to use live monkeys in a musical performance. (Telling that story WOULD make this post long-winded.)

Fred Story

@"Fred Story
"[Musicians said:

talk of nothing but money and jobs. Give me business- men every time. They really are interested in music and art."
- Jean Sibelius, explaining why he rarely invited musicians to his home.
Fred Story

Hahhaa! Thats great! I knew Sibelius was one of my favourite composers for a reason. Thats brilliant! I can't STAND having musicians in my house. It's usually an absolute pain. A nightmare. I hadn't heard that one before. Excellent! And the other way round too!

I mean, have you ever been in a drummers house. I say house, fairly loosely. Ususally it's a flat, but mostly one room. It's like the place has imploded (not exploded) and everything's finished up in the centre of the room. You dare'nt touch anything, or sit down even. Not all drummers, but mostly was my experience. Litter and porn all over the bloody place. What IS it about drummers. Why can't they be tidy? Keyboard players, on the other hand, are extremely tidy and well-balanced, but they're still a pain if one has to talk to them for more than, say, 20 seconds. Guitarists don't read books. They read magazines. Knowledge of string gauges will get you into their good books. Be honest, I mean, BE honest. How many times has one wished for that thing they use in Men in Black. The thing that they flash in your eyes. [:'(] [:O]ops: [[[[;)]]]] [[[[;)]]]] [[[[;)]]]]

Mathis, I'll send you some truffles as soon as they're ready. They grow in my mother's garden. I love them, but I can't eat them, because I'm allergic.

What was I saying? [*-)]

Bests

Paul

Fred, great story! And now tell the one with your live monkeys. I insist on that. As a compensation I will send you one or two of the truffles Paul will send me.

Geez, Mathis I can't tell you anything. You should be teaching somewhere. Why do you ask for advice? You're far more together in what you're doing than I am. I'm a fragmented, schizoid nutcase on the brink of the Abyss.

I do not disagree with anything being said here, and would add:

Consciously trying to create "Great Art" will result in shit.

The only way to do real art is to keep working hard (and eat occasionally).

Inspiration is an illusion in the old sense of a sudden, divine flash - it's more like having a little idea buzzing around that you suddenly just notice and think - that's o.k. I'll try that. And it turns out to be useable or maybe good.

There is absolutely no way anyone can ever know if what he does is significant. Even the most famous guys. In the 19th Century, the three greatest composers ever were known by everyone to be: Beethoven, Brahms and Spohr.

Beethoven, Brahms and WHO?

So you can only hope you will not be that "WHO?" guy but there is no way to know. So f*** it. You have to just do your best.

p.s. And please, Ludwig Spohr fans on the internet - don't write me indignantly. Maybe his day will come again. Maybe. Possibly? Nah...

@Another User said:

I'm a fragmented, schizoid nutcase on the brink of the Abyss.

Good expression. So let´s move on [[;)]]

Move on?

From where to where?

The only place I have to go is over the edge.

@PaulR said:

keyboard players, on the other hand, are extremely tidy and well-balanced, but they're still a pain if one has to talk to them for more than, say, 20 seconds.

Guilty as charged.

Now who wants to know anything about anything in the universe?

Step right up.

Dave

George Gershwin, "I would like to study composition with you."

Igor Stravinsky, "How much money did you make last year?"

Gershwin, "One hunded and fifty thousand dollars" (Huge sum then)

Stravinsky, "I should be studying with you."

DC

Um, yes, Bill, that was the cheap joke. Mine are often too cheap, sorry.

@dpcon said:

Guilty as charged.Now who wants to know anything about anything in the universe?Step right up.Dave

Hahha! Now Dave, you know we're both keyboard players. I've got talking to myself down to 7 seconds........ have I mentioned what I think about Cellists and Double Bass players?

[:D]

Regarding formulas, I've never relied upon them because it's easier for me to try and come up with something than painstakingly model after something else. I know because I have to knock off identical copies of rock and pop tracks for TV and it's a big pain and not at all artistic or even musical. I threw in a John Williams type passage in "New Life" as a complete joke to mock that kind of thing.

However, if unfortunately some lame director wants you to do something very close to a temp track and won't budge, you either compromise or quit. Take your name off the credits if your unhappy with what you had to deliver. But if a little hack work allows you to keep working on a symphony well why not? Or, do something else to support yourself if it's too painful.

I think each composer knows if he has any artistic integrity. He knows whether he's copying someone else's work or just copying good musical conventions such as orchestral voicings, textures, or balance.

If I could make a killing in any business that totally freed me up artistically I would. Sometimes that other business is the music business.

Dave Connor