No copyright infringement intended. I re-uploaded a better version of this classic, enjoy!
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We haven't found any concrete evidence that Burt Bacharach had studied the System. There is a paper regarding Oscar Levant but I will check with Lou if he haas studied the System.
Finally took the plunge and purchased East/West Quantum Leap Symphonic Choirs. It's installed & functional but it took all day to get it to work. Haven't messed around with Wordbuilder yet.
From "An American In Paris", featuring Oscar Levant (with Gene Kelly) awesome scene.
From Wikipedia: "In New York, Schillinger flourished, becoming famous as the advisor to many of America’s leading popular musicians and concert music composers including George Gershwin, Earle Brown, Burt Bacharach, Benny Goodman, Glenn Miller, Oscar Levant, Tommy Dorsey and Henry Cowell."
Not sure how much influence Schillinger had on Oscar Levant, that I would really like to know.
In the Theory of Rhythm section on Instrumental Form there are techniques for distributing attacks through different instrumental groups. This really helps in arranging. Also the techniques on distribution of attacks helps writing counterpoint lines or arrangement strata.
Circular permutations can be used for voice leading. The theory of rhythm is the back bone of the Schillinger's theories.
cool ideas. I guess, these permutations can be applied to different functions of a score, i.e. to be used as comping, bass, drums, melody etc as they all are related to the basic r5:3? Phew
How much in the schillinger system at least in the arrangement realm is guess work, how much can you develop here in JS logical ways regarding an arrangements.
Is there a way to develop which permutation serves which function? I will get some more infos in the universe in JS´s book then we should skype a bit on the overall approach.
Hey Phil, is there a class tonight? I'm lost. The link you sent was to the last weeks recording.
I check out the rhythms and made a version of 5:3 attached below.
My first idea was to divide the major generator (5) into smaller bits of (2+3) and (3+2) to create more melodic flow for a still to find theme.
How can I apply this basic rhythm arrangement into greater forms with Schillingers concept for film orchestra?
My personal idea is to use a certain rhythm and harmonize the different instrument groups note for note as you do it in a big band approach (block chords), sure that will work. Another idea is coupling of violin with flute, cello with bassoon and so on.
But how can you transform these interlocking rhythmical patterns into a bigger (rhythmical) template for bigger ensembles. Is there a certain Schillinger method?
Thx so much#Best
Tank you for the drop 2 examples. the drop voices are great and work well for voice leading but still a bit of a finger stretch and takes some time to master.
Usually film scoring leads to very huge material. I usually double a lot of the voices. These are not too polyphonic, when I create from my own imagination...
Can Schiillinger help here?, as I am stuck a bit in the two generators and their behaviour creating small bits. Where to look for more complex generation of musical material in his work and how to overcome the palindromes in the resultants???