I consider midi transcription to be any or all of these things:
--Deleting redundant and/or empty tracks from a midi file
--Quantizing each remaining track within my sequencer so that it will come into Finale nicely after export.
--Exporting cleaned up and quantized midi file and then importing it into Finale.
--Taking down any other loop or sample information that is part of the piece but may not be fully indicated as notes in the file (I ask the composer to provide an audio file along with the midi file to make sure my work is accurate and has everything included.)
--Setting up a completed sketch from the imported file in Finale which is an accurate representation of what is going on in the midi file complete with brief indications of where horns are muted, stopped etc. and strings are pizz, arco etc. and what notes are in harp glisses for example. Also if articulations are part of a patch name, I'll include a note about that in my sketch (i.e. stacc. horns) This final sketch should be similar to what a composer might normally hand his/her orchestrator.
Your work method is good to see. I wonder, though, whether the usual six-staff sketch is viable in Finale, as there are so many fussy details that are easy to sketch in by hand with a pencil that are a pain (or more to the point, not time-effective) to do in Finale.
Sometimes I print out the midi file part of the sketch when I am done with just that part and then fill in other things with pencil such as loop information that doesn't necessarily come in as "notes" or audio that may be in the audio file but not as midi. You are right...it is often quicker and easier this way! But ultimately, it all goes into the final sketch in Finale especially if it is going to an orchestrator. I think that is much more professional.
What I am thinking of here are things like multiple sets of stems on one staff,
I usually break differing rhythms out in my sequencer and put them onto their own staff. Then bring into Finale and use layers to put things on one staff if it makes sense to do that. Everything stays very clean that way!
instruments that only play a few notes like harp and percussion,
I keep these on their own lines....they will have to go on their own lines in the score anyway so I just leave them that way. It's faster when it comes time to orchestrate either for the orchestrator or for me...whoever the orchestrator happens to be :-)
or very dense passages with overlapping parts.
I try to figure this out in the sequencer as much as possible and put things on their own staff if necessary as I mentioned above. Once everything is broken out and quantized, it is often amazing how much clearer things are than it originally looked like it was going to be.
Does your sketch vary in numbers of staves,
Yes...it is more of a mini score than the traditional 6 stave sketch. As many staves as it takes to be clear but not so many that it isn't as consolidated as possible.
and do you keep dissimilar parts always on different staves?
Yes and no...I may use layers in some instances to do stems up and stems down on one staff if it makes sense to do so (sometimes in the strings if it looks like violins will be divisi for example) Other than that, I'm not afraid to pop an extra staff in there to keep the clutter down.
Do you mix Finale and pencil on the same sketch?
Not as the final sketch...only as an interim step if it is easier for me to do...
How do you deal with synth effects? I usually am asked to leave them out of the score, but I always feel that the conductor should know that there is a missing element, and the orchestrator DEFINITELY needs to know (which is usually me in my jobs!)
This depends on what the client wants...will the synth be part of the performance/recording session? If this is the case, I will put cues in the conductor's score if they want me to. If the synth part is part of the midi file but isn't really a single instrument but something that the orchestrator will have to adapt for real players, I'll make sure that the synth parts are in the sketch. I'll name the staff the same name as the patch(es) that was used . For example "orch hits" will be named as such and then I'll use rhythmic notation to show where the hits are exactly. One just has to think about what will be the most clear. But, as a rule, I'll ask the client what they want to see up front and ask if I'm not sure about something as the project goes along.
You are right here.... both are credited as orchestrator. And, yes, John Williams' sketches are very detailed already.
Hmm, there seems to be some difference of opinion on that point. Bruce has weighed in recently with info to the contrary...
I saw that David Hage cleared this up. The notation that Bruce was describing sounded like the way coma sopras are written in paper and pencil scores...cue names have letters and numbers and then of course the measure numbers that are being repeated are written in. Coma sopras are common for example if a cue has been revised and also for another example in an "end credit medley" so to speak.
To me, composing and orchestrating are one in the same from a creative standpoint. But there isn't enough time in the day to write out everything every time given the amount of music in a film, the fact that A list composers sometimes have more than one film going at a time, and the time constraints of deadlines. Hence the need for midi transcriptionists and/or orchestrators.
Nor would I begrudge a busy composer the help he needs (I've had to subcontract at times myself.) I just believe in calling the work by the correct name, so everyone is clear on who did what exactly.
Agreed :-)
.....and arranging?
In my mind, arranging is more about a chart for a pop/show tune or a jazz composition. I charge a flat rate for the whole arrangement if I am writing the arrangement. Fees will vary based on instrumentation and how long the chart is and of course, again, how well established the arranger is. Copying is a separate charge. Any takedown/transcription that is necessary as part of this processes is also charged separately. Takedowns in this situation would be charged at an hourly rate. Copying at the usual page rate. Again, I would again follow Brad's suggestion here...be very specific about what you are charging for and break it out for the client.
Of course, there are gray areas here too. When dealing with Film and Television, even "Tunes" are often treated as orchestrations rather than arrangements depending on their context and whether or not they are falling under the category of underscore (including source music)
Could you elaborate here? What do you mean by a "tune" as opposed to other kinds of music?
Sorry, my jazz is showing! I'm talking about a song that in any other context (album, live performance) would be arranged...arranger hired and paid a fee for the arrangement. But in film, the "arranger" may be the composer/orchestrator combo instead. I can think of an example where there was a marching band in a film I was working on. Normally an arranger may be called in to do a marching band for anything other than a film.....and they would be called an arranger and paid their fee. But since this was for a film and the composer wrote the cue, there was no "arranger" so to speak and it was part of the underscore...in other words it was called composition/orchestration instead of arranging. This may also happen if say a big band was coming out of a radio on screen (source music)...assuming that it is an original composition that the composer wrote...it would also be treated as underscore and billed and credited to composer and orchestrator the same as the rest of the score.
What difference would it make if it was underscore, source music, or the wailing ballad over the closing credits?
For credit purposes, billing, licensing etc. Underscore and source music (written by the composer specifically for the film) would usually all be considered underscore. The wailing ballad or even a song somewhere else in the film, if an already existing song by a recording artist or band, would be taken care of by the music supervisor and wouldn't be considered underscore. It would most likely be licensed instead.
I think you are talking about those cases where you get very little from the "composer" and you do the brunt of the work. If I take a job like this, it is my job to make him/her look good and make it sound as good as I possibly can. But yes, your rates should reflect the amount of work you put into a situation like this and the fact that you have the skills to be able to do this sort of work. You need to feel like the job is worth your while.
Which I suppose is the underlying basis for any price chart I would give.
I had one of my professors tell me once to always know why you are taking a gig. For the money? Experience? Credit? To get to hone your chops in an area that you might not otherwise get an opportunity? For the glory? Or in the best case scenario, all of the above??? :-)
So now, I make a deal with myself before every job that I take. I know why I am taking it and what to expect...it has saved me many a resentment!! And of course...there are also those dream jobs that are the best of all worlds :-) where I just count my blessings and enjoy!!
Thanks so much for the incredible detail and complete response to my questions. Happy new year!
You bet! Your posts are excellent (you are amazing with that percussion map stuff!) and I'm sure you'll bail me out at some point! Gotta love this list! Happy New Year to you as well!
-K
___________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
-- _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
