Timeline: Pamela Soria Sánchez (Composing Project)

Hello everyone!

As the title says, here is the draft of Timeline I've made for this project, I tried to follow the examples that Paola shared:

 

 



 

Click here for full screen view

 

Yes, its hand made. Yes, it's a scan. I hope that the image is fully seen and not chopped... While making this, I realize that, although I have the visual idea in my head, I find it better to describe rather than drawing it or finding concrete and already made images.

 

I think the scan here pretty much says a lot, but one of the ideas that came to my head while trying to imagine this as a performance rather than a shortfilm...some ideas came out. I think maybe some actors could represent each of the two men, but then some kind of projection, or colors would have to create the landscape; the contrast of the two sides we all have, the good and the evil. What do you think? I'd love to hear suggestions or even new ideas.

 

I also tried to incorporate background sounds to this -which is quite fun! Because I never considered that before- I like the idea of hearing the Big man speak only in the end. But maybe there could be room for a narrator, or even the written text to appear in the background -I imagine it now as two separated video projections...one that covers the images (landscapes where the characters interact) and another that only has colors and key words from the poem.

 

I also have to confess that I didn't understand that Paola had made sound effects using my voice reading the poem -honestly, I had no clue!- I realized this only after the chat we had last monday...maybe some of those effects may be used in the projection I just mentioned in the last paragraph. *where can I find this audio? hehehe.

 

I like that while devolping this on paper...these ideas started to come out...it actually sounds more like a performance now...at least in my head hahaha.

 

I think the timeline needs polishing...but the general idea of what I'm looking for is there. Maybe I have to improve the most important visual cues...I don't know.

 

A thing I do consider needs to be extended, is the length of the struggle.

 

Another detail that I recently noticed, and its fun to share, is that I chose the oboe and bassoon as characters...and in Kandinsky's poems he has two of them which are named Oboe and Bassoon...that was sooo fun to see! hehe. And thinking now in a performance...maybe those two instruments could play live.

 

Well, that's all for now. Comments are certainly welcome.

Greetings!

 

P.S. I chose to draw the characters like that -fictional, cartoonish- because I think we can all relate better to imaginary characters than with predefined human faces. I took this idea from interviews to Marjane Satrapi regarding her movie 'Persepolis' which I really recommend.

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Comment by Pamela Soria Sánchez on March 4, 2012 at 12:29am

Hi Paola. Don't worry about the Kandinsky. Please do resend the audio you made! I remember it when you played it, and I liked the effects you combined. About re-recording it with a man's voice, I think yes, but with a certain type of tone of voice, like neutrum. I would love to work with a visual artist for this! I think it would complement so much of what I think I lack. Regarding the questions for the visual prompts:

  • What in your instruments (extended techniques or effects) can make the sounds of prisons, chains, wind? I don't understand this question quite well, do you mean if the oboe, piano or bassoon can make those sounds? If so, probably not...perhaps the piano may create an atmosphere...but the concrete image no. I think I would have to record actual chains, wind...both sounds could have certain effects to create depth, like reverb, changing the panning, volume to add the sens of proximity of getting closer to the listener or something, and in the case of prison, I think images may help. Since the chain, the sense of being at the prison may be achieved musically using the sequence, the initial chain.
  • Can this be done with super calmness in the opening? This could be in addition to the electronic soundscape? Hehe, I suppose if my understanding of the first question was not accurate...my answer for this will not be either. Anyway, I think yes...the sounds of chains and wind may be added in the opening or even before any music or any visual prompt appears. What do you mean with electronic soundscape? (sorry, I'm not familiar with those terms hehe)

  • Do you have the singing moment in the music? Or, the door opening moment? These are fantastic and I'd love to know how you think of them musically! The singing I don't really have it yet. Mmm, perhaps it could even be included in the opening, along with the chains and the wind. Yes, like all of them appearing in layers. I imagine it now like singing vowels (like 'ahh') Maybe the musical line that the piano has in the intro could serve to the singer/singers. I have an idea: in the opening the voice will sing with a vowel, then, when the intro kicks in, the singer/singers may take the musical line that the piano has with certain words from the poem this time.
  • For the door opening, we may use the voice with an exclamation. For example: a delicate yet surprised glizzando with the finla note sustained until the silence is marked. Yes, to help achieve the sense of climax and surprise when silence is achieved. I could try to think where else may singing be used...but I think those two moments may be a good start.

Will this question limit a collaborator? I thought about this while answering because of what you mentioned before writing them.

Ok, I will work on the struggle and how to make it longer. Thanks for the tips (modulation, repeats, etc).

How do you find the right collaborator? Haha. If I only I knew how! My circle is made up mainly of musicians or friends who don't study art. Maybe design, but the ones I know, I don't see working on this type of project. I think my networking skills for this type of collaborations are still asleep.

Being the 'lead artist' for this? Well, very probably yes - haha - I did create a concept that spoke to me, a destination so to speak, and I got there using what I think I know best: music, but each brain may create a path to get there using the tools they know best drawings, scripts, photos, etc. So, what happens when you open your creative world to another artist? I don't know! I've only worked with someone else using my music once, so I'll believe you: There is risk and pleasure to be expected.

Do you have ideas for a collaborator? I asked a cousin who is a graphic designer if he would be interested in creating some drawings for this. She said yes and showed big interest for the project. I didn't show her my sketches - character drawings - so she could come up with something entirely new and straight from her imagination and vision. Let's see what happens. This would be her first artistic collaboration and I've never seen examples of her work. We'll see. Maybe I could also look for more options just in case, but I think finding someone with whom you feel comfortable, understands, shares and enlarges an idea is very hard, especially if tastes are different.

That said, I think my homework will be to make a struggle between those to men longer - that sounds like a fun job.

Thanks again for your time to comment, your suggestions and your nice words! Are you still coming to Mexico? That's all. Have a great weekend! Hasta pronto!

-Pamela

Comment by Paola Prestini on March 2, 2012 at 12:27am

Pamela

this is amazing! First off, I want to apologize for not posting the Kandinsky. It is in a format that I cannot put here. I will ask Yasmin for help on that!
 
Now, this is an amazing timeline: I love the visual aspect, and also, the ideas for the collaboration!
 
I like the idea of 2 actors, but could see this also animated, so you could have text on screen this way. I can resend the audio I made…but also, we can work on another. Perhaps you want to record a mans voice? The effects I used were delay at different speeds, reverb, and a simple cell (from a harp line I wrote) that I liked and served as a good ostinato. We could do this with something from your piece…a small stem of music that you love, particularly.
 
I think there is something very connected in your approach to the Kadinsky--your sense of synthesis matches his! And I love the fact that you chose oboe and bassoon as did he! Very cool.
 
I think we should pair you with a visual artist for this project: it is too good and ready for that type of collaboration.
 
I think we should work on the soundscape to this, but perhaps wait to see if indeed we can get you started on a collaboration: reason being at this point you would want to let the artist have some creative say since alot of his/her editing would want to be done to this timeline and your existing music. Then, you could add the soundscape.
Now, some of these visual prompts can also affect the music. For example:
  • what in your instruments (extended techniques or effects) can make the sounds of prisons…chains…wind?
  • Can this be done with super calmness in the opening? This could be in addition to the electronic soundscape…
  • Do you have the singing moment in the music? Or, the door opening moment? These are fantastic and I'd love to know how you think of them musically!
 
I agree the struggle can be longer…think about repeats, modulations, and range in terms of how you extend that material. I definitely think the laughter, chains, wind, and "we must keep quiet about this" should appear on the soundscape. What a great and imaginative ending!
 
Now, the hard thing is: you've come up with such a tight concept: how do you find the right collaborator? It sounds like this is a project you'd want to be the lead artist on as you have such a good footing on it…that being said, what happens when you open your creative world to another artist? There is risk and pleasure to be expected… Do you have ideas for a collaborator?
 
Thanks for posting and forgive the delay! I had a big deadline….
Hasta pronto,
Paola

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