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Transcription Requests

Discussion in 'Tips, Tricks & Talk' started by Rohann van Rensburg, Jul 12, 2017.

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  1. #21 Anders Dahnielson, Jul 23, 2017
    Here's a nice GDC talk by Garry Schyman about scoring Bioshock Inifite:

     
  2. #22 Rohann van Rensburg, Jul 24, 2017
    Last edited: Jul 24, 2017
    I had a hard time with that too. There's also (I think?) a piano at 0:27 (or possibly pizz?) that I didn't bother including as I don't really hear it afterwards.

    Thanks for this! Love GDC talks. Not sure how I haven't found this.

    Edit: Sounds like he did it with a solo cello, viola and overdubs? I guess no violins.
     
  3. #23 Alexander Schiborr, Jul 27, 2017
    That sounds really good.
     
  4. #24 Alexander Schiborr, Jul 27, 2017
    Last edited: Jul 27, 2017
    Hey Guys,
    Here is a short transcription of J. Williams Pledge to Love Theme, just a few bars, and I am even not sure if I did that right. I just transcribed it by ear from the orchestral score. Maybe @Mike Verta can confirm or correct me, if there are some wrong notes or chords.
    Here is the mp3 and midi for Dl:

    https://www.dropbox.com/sh/cqf005yaypvy0t6/AACTYVsAzWD0De_0IgxIJO-Ga?dl=0

    chord progression are, somehow: Dm Gm / Dm Gm / Dm Gm / Am Cmj / Bbmj Fmj /// Dm Gm / Ebmj Amj

    Learn effect: your left hand doesn´t need to do much to create strong chord progressions.
     
    Rohann van Rensburg likes this.
  5. #25 Rohann van Rensburg, Aug 26, 2017
    Great idea with the "learn effect" Alexander, that's a useful thing to share.

    I know this one has been done already, but I figured I'd have a run at the second half. I'm enjoying doing stuff with small/unconventional ensembles because it feels relatively manageable. I have a hard time trsnacribing something quickly yet, I do find it takes an awfully long while to get it accurate at times. I'm also trying to more intuitively learn the makeup of a string section -- I have an idea about the standard way to parse things out in a section but I'd love feedback on this.

    https://www.dropbox.com/s/6fc86o48c8wvsew/Revenant Theme Second Half.pdf?dl=0



    I used 2 viola sections as the timbre seemed to indicate so, but I don't know if that's just the mixing or room. I understand violins would be more likely, though there was nothing in violin range in the first half of the piece.

    Let me know if there are any corrections needed (I skipped more accurate dynamics due to Musescore's inability to do it quickly [or rather, my inability to do it quickly within Musescore]).
     
  6. #26 Rohann van Rensburg, Dec 29, 2017
    Last edited: Dec 29, 2017
    Hey folks,

    Anyone care to run this one? It's giving me a hell of a time, not sure why. I could swear there are 4 voices sometimes, and it sounds like altos are singing in tenor range (C3). There's also a quarter-step out-of-tune thing in some passages I wouldn't doubt are intentional which makes this all the more difficult. I'll throw my (likely terrible) transcription up here soon.

     
  7. #27 Doug Gibson, Dec 29, 2017
    What the hell was that ?? !! Smile a little pussycat.

    That's a fucking dirge. Party like it's 1399 everyone.

    Anyhow, post your stuff. It will be much more useful and helpful to you to get feedback from others on your work. And it's easier for other people too. Much better, IMO, to be the "hey check my homework guy" than the "do my homework guy" (that's just a general analogy BTW).

    Here is wild ass guess. With all the sound effects and delay and shit of course it gets muddy.
    Not my scene.

    Screen Shot 2017-12-29 at 10.27.03 AM.png Screen Shot 2017-12-29 at 10.27.13 AM.png
     
    Mike Verta, Aaron Olson, Sylvain Provenzano and 1 other person like this.
  8. #28 Rohann van Rensburg, Dec 29, 2017
    Hahaha this made my morning. Yeah the song is set in a really creepy old Lovecraftian temple of sorts, hence the partying with delay and unsettling drone. Nailed the lyrics by the way, just looked them up.

    And good point re: homework. I'll post mine soon, but thankfully it doesn't look terribly off from yours (so far).
     
  9. #29 Rohann van Rensburg, Jan 11, 2018
    Here's my version of Party Remix 1399, pre-checking against yours, Doug. Musescore can be a bit annoying so some markings (gliss) aren't precisely correct, and neither are timings (I was mostly going for note accuracy), but I'd love a walkthrough on some things I screwed up and why if you find the time (i.e. rhythm and tempo). I can only manage to precisely/individually identify 2-3 voices, not 4. Is this a matter of feeling the overall quality and hearing octaves, or do you hear a distinct 4th voice, i.e. page 3?

    https://www.dropbox.com/s/7kvskqvuyvgr54d/Bloodborne -- Hail the Nightmare.pdf?dl=0
     
  10. #30 Rohann van Rensburg, Jan 16, 2018
    Does anyone have any pointers for deciding on time signatures and the like? Doing Mozart's Lacrimosa from Requiem, and the sheet music I found is in 12/8, rather than the 3/4 at around 120bpm I suspected. Is going by the choir's first "Laaa-aa-acri-moooooo-saaa" a better indicator of time signature, since it would be awkward to divide a single line into 4 bars? I'm not sure how to settle on the time signature for the above Bloodborne piece.
     
  11. #31 Aaron Venture, Jan 16, 2018
    It's not very important what you make it out to be, as long as it makes sense to you. If this makes sense.

    Think of barlines like commas in a sentence. Then you just count your notes and breaks.
     
  12. #32 Rohann van Rensburg, Jan 17, 2018
    So it's arguably more of a "feel" thing then? I.e. the aforementioned example of counting the choir line in the Mozart piece.
     
  13. #33 Thomas van der Burg, Jan 17, 2018
    Personally most of the time there will be a clear answer to what the time signature is. But there are a lot of exeption's, especially in filmmusic as it is music that has to be timed to what happens on screen. But there will almost always be a clear pulse, and if you hesitate, feel free to ask :)
     
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  14. #34 Aaron Venture, Jan 17, 2018
    When in doubt, zoom out.

    This is a good answer. For me, the idea of measures is to help with communicating structure.

    The primary reason for notating music is for communication. So I guess the final answer is: Whatever makes it clearer.

    If you're notating in 4/4, it makes no sense to suddenly switch do 12/8 - it's much easier on the reader to mark it as 6/4, or two measures of 3/4. Whatever will make it clearer in the grand scope of things, so that when one looks at it, they can instantly see different "sections" of a song, with as little confusion as possible.
     
  15. #35 Rohann van Rensburg, Jan 22, 2018
    Good quote!
    Hmm, good points.

    Re: 12/8 -- it's easier to mark it 6/4 instead? The sheet music I found for it did happen to be in 12/8, oddly.
     
  16. #36 Aaron Venture, Jan 22, 2018
    In my case, I'd rather see 6/4 than 12/8 if I was reading in 4/4 prior to that.

    If the score is written in 8/8, then I guess it would make more sense to write 12/8 instead of 6/4. The outcome is the same = that measure is 50% longer than the prior one. Try it in your DAW and see if it makes sense. Input 12/8 after 4/4.
     
    Rohann van Rensburg likes this.
  17. #37 Doug Gibson, Jan 22, 2018
    :)
    :confused:

    :)

    :eek: :confused: :( :mad:

    Are you trolling me ? Ask your piano teacher about this. Whenever ever you hear the phrase "Is this your homework" substitute it in your mind
    with "Is this piece in 12/8?"

     
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  18. #38 Rohann van Rensburg, Jan 22, 2018
    The "oddly" part was in reference to the idea that 6/4 is easier than 12/8, but I see now Aaron meant going from 4/4 to 6/4 is easier, which makes perfect sense.

    Haha no, I'm not trolling, oddly. I've spent years playing obscure time signatures with a drummer playing polyrhythms but I've never really notated it before, it's a bit new to me.
     
  19. #39 Francesco Bortolussi, Jan 16, 2019
    Time to resuscitate this thread almost a year later! I've quickly transcribed "Stoic Theme" from Shawshank Redemption, being inspired by the multiple mentions Thomas Newman during the last Unleashed (including one when my piece was critiqued).

    I'm pretty sure about most of it, except in the two passages when the horns come in. It's not perfect, but I think I'm 90% there, it's an easy one.
    Oh, and I forgot to transcribe the 5-6 piano chords there are at some point, but nobody cares about the piano anyway.

    Original:


    Noteperfomer transcription:
    https://www.dropbox.com/s/k7s71akhiqpko2m/shawshank redemption stoic theme.mp3?dl=0

    Score attached.

    Let me know if you have any remark!
     

    Attached Files:

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  20. #40 Francesco Bortolussi, Jan 18, 2019
    I have just finished my transcription of Mike's Berlin Woodwinds demo! I'm very dubious about certain passages, and I have no idea how the balance of the section is achieved: it sounds like most of the times we hear single instruments play, but oftentimes you need part doubling to achieve chords (especially with clarinets, I don't know how many times they would actually be doubled). The ensemble was pure guesswork, even though Mike gave me a tip in the chat - it should be a normal symphonic section (3 flutes/piccolo, 2 oboes, 3 clarinets, 2 bassoons and 1 contrabassoon).

    Transcribing this piece turned out to be way harder than expected! I think I've spent around 3-5 hours working on this transcription and I'm still very unsure about some parts of it. I consider this transcription a little bit better than a draft, but for now I'm not planning on spending a lot more time on it. If you guys could help me out improve it, that would be amazing!

    Original:


    Score:
    https://www.dropbox.com/s/dgyjh37xr44llev/berlin woodwinds mverta - Full Score.pdf?dl=0

    Noteperfomer rendition:
     
    Rohann van Rensburg, Mattia Chiappa, Dillon DeRosa and 1 other person like this.
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