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  4. How do I achieve these low-end horn stabs with VI?

  • How do I achieve these low-end horn stabs with VI?

    S
    S
    Hi all,

    Action-cue time...

    Listen to "LowHorn_Stabs1.mp3".....Can you tell me what is going on there?

    Obviously on top of the low timps/gran cassa's/concert-toms, there is some fat brass.....this is a very familiar action texture, that I never seem to get right..

    Questions: What is the orchestration of the low brass hits on the timps...are we talking minor 2nd intervals way low? Clusters?...or is it alot more straight forward than I think?

    Are we talking multiple bass-trombones + tubas + horns?


    How complex are the low brass chords?.......I wanna learn this help me [;)]

    link:

    http://homepage.mac.com/WebObjects/FileSharing.woa/wa/default?user=svonkampen&templatefn=FileSharing1.html&xmlfn=TKDocument.1.xml&sitefn=RootSite.xml&aff=consumer&cty=US&lang=en

    thanx,

    SvK
  • B
    B
    My guess is that it's 2 or 3 trombones + 1 bass trombone all playing the same single notes in unison in the low end. This is just the low stabs not the high ones. I don't hear a chord in the bass. Just lots of harmonics from the single note stabs
  • S
    S
    Bruce,

    If it's that simple that would make my day....

    So maybe the timpani is playing a different note than the unison Brass to achieve an "interval" sound?

    So even the low-brass shots at the very end (the pacey ones) are to your ear just single unison notes?

    thanx,

    SvK
  • B
    B
    the unison brass are playing a semitone scale phrase the tymps are hard and dissonant there's probably bassses + celli in 5ths there too it goes by so fast it's hard to say exactly what is going on so even with head phones it's more of a percussive effect than anything musical i'm sure you can redo it by experiment! best, bruce
  • S
    S
    Bruce,

    Thanx......I will try this approach tommorow...

    I am hearing the pizzi Basses+Celli in 5ths

    And am now realising that it IS Unison......

    To funny ....harmonics in brass are so powerful....had me thinking clusters hahaha

    thanx again,

    SvK
  • B
    B
    svk: wait-- I might be wrong... listened again after posting -on the cans at at a much lower volume and i could hear that the bones are not always playing a unison! there may be a cluster there... don't forget the bass drum too!
  • S
    S
    Bruce,

    I'm so afraid of using "bassy" clusters..........I don't trust my instincts on these...........Are minor 2nd intervals in the low brass fairly common place for these applications?

    I know "THERE ARE NO RULES" however, these type of cues are my weak point and rules of thumb would help.

    Goldsmith is really a master in this area.........I need to start thinking of these low-parts (stabs) as SFX, rather than musically, I think then my results will be far less "Vanilla"........it's that whole balancing low bassy "discordance" with "musicality" at the top end to keep it all glued together.

    thanx,

    SvK
  • S
    S
    Bruce,

    The pacey low stabs at end.....

    Could it be this?

    e + g
    d# + f#
    d + g
    d# + f#

    rep

    SvK
  • B
    B
    well the ist 10-15 sec are def. unisons then there is a slight departure from that in the last 8 sec or so of the clip where at least 1 bone is playing a different note where the others are a semitone above. no not normal I wouldn't do it-but this isn't my style perhaps it is a mistake or intended doesn't really matter it is just an effect- the horns and trumpets carry the upper parts just saw a movie 'Firewall' and all I can remember about the music except for the fact that the composer credit was 1/2 a frame so I couldn't actually read the last name was that the whole thing was built on 1 note- 1 note score with underlying percussion and metal guitars- effect city- brass swells- BORING. give me Goldsmith anyday.
  • B
    B
    e f e

    e e/f e

    your phrase will sound better
  • S
    S
    BTW

    The clip is Goldsmith's "The Edge"

    SvK
  • D
    D
    SVK
    This voicing is derived from the split 9th/13th modal voicings. Take its modal derivative a little further and you get :

    Left hand : B F# B
    Right Hand : G C# F#

    Goldsmith substituted an Eb7 b9th by dropping the left hand 2 steps. My guess is he got this voicing from the intro voicings of Billy Joal's "Don't go changing"

    This is the voicings that the idea is culminated from with emotional Brass.
    Of-course its from the piano.

    There are alot of Modal voicings that can be derived. and at play here.