Sunday, April 27, 2008

Spruill Art Gallery presents BREAKING NEW GROUND: Intersections at the frontier of art and technology

Change is always upon us.

Featuring works by Danielle Roney, Dick Robinson, Kathryn Refi, Philip Galanter, Sarah Emerson
and presenting Gil Weinberg, Jason Freeman, Carla Diana and TristanAl-Haddad of Georgia Institute of Technology.

May 9 to June 26, 2008

Reception: May 8, 6 –9 pm


Spruill Gallery
4681 Ashford Dunwoody Road, Atlanta, GA 30338
Exhibition hours: 11am –5pm Wednesday to Saturday

[Full press release follows in comments with exhibition descriptions.]

Thursday, April 17, 2008

Listening Machines

We are very happy to announce Listening Machines 2008 - the annual concert and exhibition organized by the Music Technology and Digital Media programs at Georgia Tech. The event showcases music and art projects that explore the creative space of human-machine interaction.

Listening Machines will be held at the Eyedrum - 290 MLK Dr. Atlanta GA, Thursday April 24th. Doors will open at 8:00pm for the exhibition. The concert will begin at 9:00pm. Admission is free for Buzz Card holders ($10 for the general public).

(Also: a special good luck to all the folks in the Unseen Forces concert tonight (4/17). My apologies that a conflict is preventing me from making it!)

Wednesday, April 16, 2008

UNSEEN FORCES 2 to be presented at Three Bears, Apr.17 @ 8:00pm

Atlanta Composers Group
presents
Unseen Forces 2: Electronic Music by Atlanta Composers

featuring music by
Mark Gresham, Mike Murray, Adam Scott Neal,
Darren Nelsen, Jason Passmore, Brian Skutle,
Mitchell Turner, Howard Wershil, and Kerwin Young

Thursday, April 17th, 2008 @ 8pm
Three Bears Cafe
105 North Park Square
Marietta, Georgia 30060
PHONE: (678)290-0017
FAX: (678)290-0019
threebearscafe@bellsouth.net

FREE ADMISSION

Following up from the success of its 2007 "Turned On" and 2008 "Unseen Forces" concerts, the Atlanta Composers Group presents "Unseen Forces 2" an electronic music program featuring the works of nine local artists.

Not only is admission to the concert FREE, those attending will also be given a FREE CD at the show which will include works from the "Unseen Forces" and "Turned On" concerts as an additional "Thanks" for being there.

MEDIA CONTACT: For further information, please contact organizer Darren Nelsen by messaging via his MySpace page:
www.myspace.com/dmnmusic

For more about the group visit the Atlanta Composer Group online at www.AtlantaComposers.com and on MySpace at www.myspace.com/atlantacomposers

Friday, April 11, 2008

The Scott Smalley Orchestration Workshop in Nashville, TN

From email sent by Rolin Mains of the Nashville Composers Association:

The Film Music Institute in association with the Nashville Composers Association is pleased to announce the first presentation of the renowned Scott Smalley Orchestration Workshop, currently only available in LA and NYC, in Nashville, Tennessee, May 31st-June 1st, 2008. I have included a blog entry from a film composer/orchestration teacher at the Art Institute of Vancouver that says everything better than I could have said it.


The workshop will be held at the Renaissance Nashville Hotel (in the “Ryman Room” -- http://www.marriott.com/hotels/travel/bnash-renaissance-nashville-hotel/) downtown Nashville, May 31-June 1, 2008 (Saturday-Sunday), from 10am-6pm both days. A special room rate of $169/night is available for Workshop attendees. You may sign up at http://www.filmmusicnashville.com. The Workshop costs $345, but if you sign up before April 20, 2008, the cost is only $270.


Some highlights:


You will learn (among other things):


--> a brief history of the Hollywood "style."


--> the "Z-clef." the control of the tessituric range as one of the most
important methods of keeping individual parts or entire sections
fore-grounded or back-grounded as the need of the moment arises


--> the "mediant chord relationship." This harmonization technique allows you
to keep rolling along from key to key with lots of forward momentum, while not
ever having to resolve your chordal tensions until you decide to exit the
train and confirm your modulation at the time and place of your choice.


What you will get:


--> 400 pages of actual film scores (well worth the price of the course alone)


--> recordings involving the scores


Here is what Doug Blackley, a noted composer from Vancouver, had to say about the workshop:


Who IS Scott Smalley?
Who is Scott Smalley, and why would any crowd of film and TV composers
and orchestrators go to such great lengths to spend two packed days in
his workshop?


The Scott Smalley orchestration is a two day intensive workshop on the
art and craft of orchestration for the Hollywood style film orchestra.
The workshop is offered several times a year in major centres such as
Los Angeles and New York.


Smalley's Credits
Who is Scott? Scott Smalley's credits for orchestration include top
end productions such as "Batman", "Mission: Impossible", and "The
Insider". He has worked with major film composers such as Alan
Silvestri, Danny Elfman, and many more. Scott is the sort of guy who
has been sent a composer's sketch at midnight, to be orchestrated and
parted out for the downbeat of the orchestra at nine am the next
morning! Clearly Scott is a man whose advice on the production of the
Hollywood orchestra sound is to be taken seriously.


Seminar Materials
The workshop begins with the distribution of Scott's package of film
scores for study. This is nearly four hundred pages of conductor's
score, the largest package of orchestral film conductor's scores I
have ever seen together in one place. The contents include scores
from many well known Hollywood films, such as Batman, Judge Dredd,
Robocop, Star Trek, Basic Instinct, Lonesome Dove, and others.


The scores represent a problem/solution view of scoring different film genre and
various types of scenes from action/adventure to love scenes. Scott also provides
the attendees with audio recordings of the material from the score package, invaluable for hearing how the orchestrations studied actually sounded in the real world.


Film Composing and Style
The workshop I attended began with discussion of the roots of style
that the Hollywood sound can be traced back too. Much respect is paid
to Goldsmith, and time is spent on various other composers regarding
their use of harmony and overall structure. The discussion shifted
into the control of the tessituric range as one of the most important
methods of keeping individual parts or entire sections fore-grounded
or back-grounded as the need of the moment arises.


Here Scott has created something he calls the "Z" clef, which he uses as a tool and
instructional aid to demonstrate his tessituric control techniques. I
found this to be very effective both as an instructional aid and as a
simple way to check one's own parts for lines that would be
inadvertently fore-grounded by unexpected timbral contrast.


The Mediant Chord Relationship
Next up was Scott's discussion of the mediant chord relationship chord
progression. I am sad to confess that this for me was a real "aha"
moment; a lovely encapsulation of the vibrant shifts of tonality
exploited so often in feature film writing. This harmonization
technique allows you to keep rolling along from key to key with lots
of forward momentum, while not ever having to resolve your chordal
tensions until you decide to exit the train and confirm your
modulation at the time and place of your choice.


The rest of the workshop is where one dives into the actual scores. The
first day focused on arranging strings, while the second shifted
between the remaining sections of the orchestra. Scott directs you to
specific scores and measure numbers, and plays the track in question.
He shows how the orchestration was created with specific goals in
mind, and uses his score and audio examples to demonstrate the sound
in real life.


Scott is an entertaining guy. His industry stories are thrown in
frequently enough to gain a feel for the context in which this sort of
orchestral work takes place, and as well function well to break up the
inevitable mental drain of hours on end of sight-reading film scores
at sometimes breakneck tempos!


Who Should Attend?
Who would benefit from the workshop? In my opinion this is an
advanced workshop. The audience at the session I attended was either
experienced composers, or new composers who have already put in years
of wood-shedding. There is an implied assumption that the attendees
have a basic competence in the theory of music and some ability to
analyze a score, harmonically and colouristically.


If you have worked on orchestral scoring already, and are ready to build your skills to a higher level, then I would say this workshop is absolutely something
worth planning for.

Thursday, April 10, 2008

duoATL Concert Friday (4/11)

FRIDAY, APRIL 11 at 8:00 PM
ONE SHOW ONLY
duoATL
Brian Luckett, Guitar and Nicole Randall, Flute

Don't miss this exciting, intriguing and listener-friendly musical experience! Atlanta's own guitar and flute duo, duoATL will perform one amazing show at Callanwolde Fine Arts Center on Friday, April 11 at 8:00 PM. Enjoy the beautiful ambience of Callanwolde's indoor courtyard as guitarist Brian Luckett and flutist-composer Nicole Randall of duoATL treat audiences to a dynamic pairing of instruments.

Founded in 2005, duoATL will present an intriguing repertoire of contemporary music in a provocative blend of classical and cool. This concert includes the premiere performance of "Mangosteen", a new work written and composed by Nicole Randall.

The duo will also perform music by Astor Piazzolla, Joaquin Rodrigo, Michael Daugherty, Radames Gnattali and more. $10 General Admission. Tickets are sold at the door. For more information call 404-872-5338.

http://www.duoatl.com
http://www.callanwolde.org

Wednesday, April 09, 2008

Film project in need of a composer

Hello all -

This is from a message to our MySpace account:

Hi, my name is Brandon and I am looking for a composer for a pilot that I'm producing with my partner, Yvonne. I was hoping there was someway to get a notice distributed to your members about our search.

We have a half-hour pilot in need of a score. The piece is dark, dramatic, and character driven set in a noir influenced world with a superhero twist. Since Yvonne is a graduate film student at Georgia State and this is serving as her thesis, we are on an extremely limited (read: imaginary) budget and at this time we are unfortunately unable to compensate beyond as much exposure as we can possibly give. It's a really fun project that we expect to continue in the future with the great group of local Atlanta talent we've assembled, which will hopefully include an amazing composer soon. I would love to talk to anyone who might be interested as well as hear some samples of their work.

The best way to contact me is at bley [at] mail [dot] com. Thank you so much.

-Brandon

Monday, April 07, 2008

Mercury Season Concert

Free lunch-time concert of vocally inspired music by Verdi, Mahler, Gershwin, Bernstein, our own Nicole Randall, and more.

Nicole Randall (flute), Mia Alford (clarinet), Paul Poovey (trumpet/cornet), Jay Hanselman (horn), Erik Kofoed (trombone), Bill Pritchard (tuba), and Caroline Kojima (cello) will be performing.

When: Wednesday, April 9, 12:15PM
Where: Georgia Perimeter College Dunwoody Campus
2101 Womack Rd., Dunwoody, GA 30338

Wednesday, April 02, 2008

ACG on the Radio

The Atlanta Composers Group will be featured tonight on WRFG 89.3 FM from 10PM-midnight. It'll be an interview format, with some of our music played in anticipation of the Unseen Forces 2 show (in Marietta on April 17 at the Three Bears Cafe @ 8pm).

Brian Skutle, Adam Scott Neal, Darren Nelsen, Jason Passmore and others will be interviewed to talk about the upcoming show and the Atlanta Composers Group in general.

Please tune in!