Email question received about Elton John AIDA orchestrations:<\/p>\n
I wondered if you knew of some great orchestration companies or tracks to enhance\u00a0 our production of Elton Johns Aida. We have a small venue and could really use some tracks specifically for transtitions.<\/em><\/p>\n Any information is helpful. Thanks!<\/em><\/p>\n <\/p>\n MY REPLY:<\/strong><\/p>\n I’m not exactly sure what you mean – do you mean orchestrations of Elton John’s AIDA music, or other music? I supposed you could always use some transition music from the original CD soundtrack. There is a lot you could do with ethnic percussion if you had people double up on percussion during transitions – that’s one way to beef it up, but still keep it legit and live.<\/p>\n When I did the show I let the musicians open up a lot on the transitions and underscore music. Lots of great textures from the percussionists. I do remember the drummer using the edge of his stick to scrape the cymbals during the scenes by the river bank – and also one of the percussionists even blowing on an empty plastic soda bottle to get eerie distant wails. I was quite surprised how effective that plastic bottle was.<\/p>\n Check on your contracts for what is allowed and what is not. There are great opportunities in this score to pull from a lot of different tribal sounds and World percussion elements.<\/p>\n And just so no one overlooks the obvious – since you probably have one or two keyboardists in the pit, they can also do thick synth pads and effects.<\/p>\n Conrad<\/p>\n","protected":false},"excerpt":{"rendered":" Email question received about Elton John AIDA orchestrations: I wondered if you knew of some great orchestration companies or tracks to enhance\u00a0 our production of Elton Johns Aida. We have a small venue and could really use some tracks specifically for transtitions. Any information is helpful. Thanks!<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"categories":[9],"tags":[4089,1915,120,1924,1925,1919,1914,1913,1932,1918,1916,1917,1923,1927,1931,1926,1912,1921,1928,1930],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p3C0LX-YF","_links":{"self":[{"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/posts\/3761"}],"collection":[{"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/comments?post=3761"}],"version-history":[{"count":3,"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/posts\/3761\/revisions"}],"predecessor-version":[{"id":3763,"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/posts\/3761\/revisions\/3763"}],"wp:attachment":[{"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/media?parent=3761"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/categories?post=3761"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/conradaskland.com\/blog\/wp-json\/wp\/v2\/tags?post=3761"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}