Moscow sessions
They call it professional development, I call it being let out to play. I took an orchestration job for 2 composers writing a score for an ice ballet theatre production. (Tim Duncan and Ed Barnwell composing for the Imperial Ice Stars). My role entailed turning the audio and midi data from the writers into notated scores for the musicians, in this case the Moscow Film Orchestra, recorded over 2 days at Mosfilms.
On an orchestral session, there are a large number of people, each with his/her own responsibility that contributes to the smooth running of the recordings. In fact, by the time recording starts, most of my work is done; if I have prepared the parts competently, they will have all the appropriate markings (not just pitch and rhythm, but articulations, phrasings, dynamics, tempi and expression) that communicate directly with musicians, without any need to rely on verbal communication. Particularly helpful in Russia. I do need to attend the session, however, as a go-between, with an understanding of both the aims of the composer and the working practices of orchestral musicians. It really is an honour to take part in these events, to witness so many talented professionals striving to enliven musical ideas that have only existed as demos and notation up to now.
This experience will have an impact on my teaching role next academic year – delivering the new Media Music module of the Foundation Degree in Popular Music and Production (from September 2008), with an insight into current practices
