@Angelo Clematide said:

but I had two American co-producer who studied there in the early seventies, .

You didn't bore them to death did you though? I don't think you're that old btw.

@Angelo Clematide said:

but I had two American co-producer who studied there in the early seventies, .

You didn't bore them to death did you though? I don't think you're that old btw.

no, but it was always me who had to play the stuff into the synclavier, otherwise one would fall asleep from the royal swing.

53, was never that old before, and googeling as dedicated amateur since 1970 thru the music business, to say it once William conform.

.

Colin,
You could be forgiven for thinking it's time to reach for the virtual Flak Jacket, but rest assured, it's merely a case of running out of Cognac. (And as your musical career blossoms, you will learn to appreciate the gentle aroma of a Louis XV, as opposed to that more popular, but decidely less delightful, 'Chateau De Gorilla', an insidous nectar that would be decidedly better use as aviation fuel, but instead, sadly, is the staple 'creativity aid' of many a musical aspirant.)

I'm not going to light another fire here, so STRICTLY as a personal opinion, based on my own modest experiences, Paul has given you good advice. I remember at 17, it being pretty tough not knowing which information to treat as a priority, simply because i didn't know at that stage which info WAS a priority. (And even then i chased a coupple of red herrings...)
And there could be another 'enthusiastic' discussion here about the merits of a formal education versus the 'free spirited' approach. So again, from my personal viewpoint, it could be worth you considering extra tuition or study in musical theory, including Harmony, Counterpoint, Composition and Orchestration. You might not be at the stage of absorbing this information just yet, but the theory of music, and intense study of it, has saved me a lot of time trying to figure things out, and write what i actually want to.

I don't know which direction you'd like to pursue as a musical journey, but if it's film, then there is an old adage that roughly translates as:
If you want to write concert music, study the Europeans, e.g. Beethoven (my personal favourite) Mozart, Bach. (Notice how most of 'em lived or worked in Austria? Dietz is very proud i'm sure.)
If you want to write film music, then a good place to start is the 'Russians.'
Rimsky-Korsakov, Khachaturian, Tchaikovsky, Shostakovich, and the great Borodin, just for starters.
And learning to read music well with notation for all the orchestral instruments, will give you an important tool to use when studying scores, a useful occupation i have found particularly helpful in the last 30 years. Listening to the music and reading the score at the same time, opens many doors in the skull, as you realise exactly what it is and WHY it happens.

This a rough and ready rule with exceptions, but it has some merit. (IMHO)

As you go along your particular road, please ask if you have questions. Despite the fact that we've run out of Virtual Cognac AGAIN, (I blame Michi. Since he took over the bar, things have been hell.) there is a wealth of experience here that can help, not only from us crusty middle aged farts, who still like working with parchment, but younger chaps too, with considerable abiility in mixing, sound sculpting, sample manipulation, and the digital aspects of musical production, in addition to their own performance skills. (Some of these crusty farts are pretty adept at digital stuff too. Me, i still buy light bulbs by the candle.)

Now, I'm off to see if that Michi fellow is asleep under a stool somewhere, after giving OUR Cognac a serious tasting.

Regards, and the very best of luck to you Colin,

Alex.

p.s. Some reference books that may help you, possibly now depending on your current standard, but defintely useful in the future as your skills mature.

Principles of Orchestration...............Rimsky-Korsakov.

Treatise on Instrumentation............Berlioz and Strauss. (That's Richard Strauss, not Johan, or the myriad other Straussettes.)

Instrumentation and Orchestration.....Blatter.

I miss Evan...

@mathis said:

I miss Evan...

Me too.

He drank beer, and left the decent stuff for the rest of us.....

[[:|]]

Actually I'm not sure if he drank beer. But somehow it was more entertaining than some old blokes comparing their penis lengths.

@mathis said:

Actually I'm not sure if he drank beer. But somehow it was more entertaining than some old blokes comparing their penis lengths.

He just transmittet me the first page of his new work, looks like a neo-arrogant waltz, possibly dedicated to PaulR

http://www.henryk-broder.de/images2/tbla04_13-02.jpg">



.

Angelo,

I deleted my post since I realized that earnest, respectable young man Colin was more respectable than I was.

Unfortunately Mr. Google, that means you are not even on the fucking scale.


Oh and one other thing -

YOU ARE TOO CHICKEN TO POST ANY MUSIC. YOU ARE A SPINELESS WIMP WHO IS FULL OF HOT AIR



Colin
- my only adivce to you is don't let what has happened to us old decrepit geezers comparing penis sizes happen to you.

@William said:

YOU ARE TOO CHICKEN TO POST ANY MUSIC. YOU ARE A SPINELESS WIMP WHO IS FULL OF HOT AIR

more and more I come to the conclusion that you are absolutely right, as always...

and I guess I'm a happy bloke too that I don't know what your real name is, and never heard what you composed.

.

o.K., well here is the first page of my newest composition - Sonata No. 73 in F, "Phallusissimo Grande" for Contrabassoon, Digerido and Large Orchestra. Please note the LENGTH of the instrumentation, and the SIZE of the score paper required to notate this MASSIVE PIECE. It is so LONG it has to be LAID on the floor to be photographed, and even then it does not FIT IN to the picture area.

http://www.williamkersten.com/sonata">http://www.williamkersten.com/sonata

Welcome Mr. William Kersten,

nice floor, enlarged 400% in IE, can't hardly read anything

Hors d'oeuvre...eeeeh L'Oeuvre, Angelo Clematide

Lukubration 1970
Rhythmology 1971
Ambidexterity 1972
Trio für Orchester 1973
Speed Balance Impact 1974
Terror 1975
Nostradamus 1976
OM 1978
Mantra 1979
2 hoch 88 1979 (piano solo, 1644 Seiten)
Harem 1981
String Largo 1982
Africa 1983
Stratofonie I-XIII 1983
Vektor 1984
Fibonacci 1984
Karma über Deutschland 1985
Color 1986
Levitation 1986
2.9 Kelvin 1987
Pro Forma 1987
Niederschlag 1987
Katachrese I-IX piano pieces 1988
Laufzeit 1989
Sagittarius 1988
Cygnus X-1 1989
Cerebration 1990
Un giorno ti vedro 1991
Error (fatal error) 1991
2nd Nature 1991
Spyro-Khana 1991
Dots 1991
Arschloch Variationen 1992 (piano solo)
Time Distortion 1992
Magnitude 1992
Le secret de la vegetation 1992
Kleptofonie 1992
Essai sur le nom de U-N-I-V-E-R-S 1992
Espace 1992
Pharmakon 1993
Abendfüllende Muster 1994
AUOM 1995
Chess 1996
Erleuchtungsmaschine 1997
Om Shanti 1997
An Evening Without Angels 1997
Pulsar 1997
Massenpanik 1998
Pornos für Metzger 1999
Bodenbier 2000
Koan 2001
Serengeti 2001
Kalashnikov 2002

.

..... sigh ....

Sorry, this thread is closed. What a pity, as it was a very interesting topic initially.