Mercoledì 5 aprile, Ore 10-13, 14-17 Aula 1, II piano
Join composer/arranger Ned Paul Ginsburg for a close examination of the relationship between composing and
orchestrating, as it relates to commercial work in musical theater, film, television and live concerts. Ned will present
several “before and after” scores from Broadway and Hollywood highlighting the adjustments and enhancements
that an orchestrator can bring to a songwriter’s or scoring composer’s work. Topics will include: the necessary
background and training for entering the profession; writing for ensembles large and small; for drums and guitar;
for background choral singers; reducing scores from one configuration to another; working from lead sheets, piano
parts and/or demos; integrating synthesizers with orchestral sounds; transcription and transposition; orchestrating
one's own compositions -- when does one hat go on and the other off?
In the lecture the relationship between composing and orchestrating is demonstrated through “before and after”
examples of work on various projects in film, television and live theater, including, for Liza Minnelli/Phil Ramone;
Elliot Goldenthal (the Oscar-nominated score to the Warner Bros. film “Michael Collins”); and "Galavant" for ABCTV (Alan Menken, composer/Executive Producer). Also included, “Aladdin” (currently on Broadway and in London),
and “Wonder Pets” (Nickelodeon cartoon, worldwide.). Score samples match playback audio, and can be projected
onto a screen. While Ned has plenty of personal composing to his credit, the emphasis in this lecture is the
professional, commercial arena of orchestration and arranging.
Persons who might benefit from this information would include composers learning to orchestrate their own music;
aspiring orchestrators; songwriters or lyricists and other musical theater folk eager to get perspective on the
transformation of piano accompaniment into orchestrated accompaniment; musicians of any nationality wanting to
learn what the American system of music-making is all about.
There are different forms a visit could take: a) a single one, two, or three-hour session in front of a group of any size;
b) a group lecture followed by one-on-one meetings with individual students and their scores; c) activities spread
out over more than one day, to include perhaps performances of works by a jazz or studio ensemble.
For inquiries, please contact Ned directly at:
Ned Paul Ginsburg, New York City
212 714 2951 email@example.com www.nylamusic.com (This website is currently under reconstruction.)
BIO: Ned Paul Ginsburg
Born in New York and raised and educated in Los Angeles, Jerusalem, Paris, and
Rochester, Ned Paul Ginsburg made his public debut as a composer on the radio program
“First Applause” at age sixteen. He has received awards or recognition from The National
Endowment for the Arts, N.A.R.A.S., Songwriters Guild of America, International
Association of Jazz Educators, and Downbeat Magazine. Commissioned theater pieces
as composer include THEY CHOSE ME for TADA, A TALMUD TALE for Maqom, and
ARNIE!, THE TV MUSICAL for Silver Burdett Ginn. His musical BOYNTON BEACH
CLUB, co-written with filmmaker Susan Seidelman and lyricists Michael Colby and
Cornelia Ravenal debuted in 2017 and will be produced again in 2019.
Orchestrations: KISS ME KATE (Broadway), ALADDIN (Broadway and West End),
BEAUTY AND THE BEAST, LIZA AT THE PALACE, MINNELLI ON MINNELLI,
GALAVANT (ABC-TV), THE ACADEMY AWARDS SHOW, LITTLE MERMAID,
WONDER PETS (Nickelodeon & worldwide), SAMMY (The Old Globe), PAPER MOON,
INSIDE OUT, A LETTER TO HARVEY MILK, THE NEW YORK SPRING
SPECTACULAR, THE TIMES, CASPER, SWEENEY TODD, S'WONDERFUL, RADIO
CITY EASTER SHOW, NIGHT OF 1000 STARS, SUNDAY NIGHT AT THE PALLADIUM,
THE NEW YORK POPS, THE BROADWAY KIDS cd series, several Warner Bros. films
(including the Oscar-nominated score of MICHAEL COLLINS), and for many composers
and entertainers, including: Alan Menken, Elliot Goldenthal, Bobby Lopez, Leslie
Bricusse, Jason Robert Brown, Jerry Bock & Sheldon Harnick, Glen Roven, Bernadette
Peters, Liza Minnelli, Diahann Carroll, Lea Salonga, Kathie Lee Gifford, Elaine Stritch,
Isabelle Leonard, Faith Prince, Tony Danza, Rebecca Luker, and many others.
Modalità di Partecipazione. Le Masterclass e i Seminari sono rivolti a tutti gli interessati.
-> La frequenza è gratuita per gli allievi interni del Conservatorio “G. B. Martini” di Bologna. L'iscrizione va effettuata obbligatoriamente inviando una e-mail a firstname.lastname@example.org almeno tre giorni prima dell’inizio della masterclass/seminario.
-> Per gli esterni è previsto un contributo per la partecipazione attiva di € 100,00 (partecipanti effettivi) e di € 50,00 per chi assiste come uditore. Per gli ex allievi del Conservatorio “G. B. Martini” di Bologna, diplomati negli ultimi 12 mesi, è previsto un contributo di partecipazione di € 50,00. Il versamento può essere effettuato secondo le seguenti modalità: Conto corrente bancario Cassa di Ravenna S.p.A. IT 22 E 06270 13199 T20990000657 intestato a Conservatorio di Musica "G.B. Martini".
Si ricorda che l’attestazione di versamento del contributo di partecipazione dovrà essere consegnata presso l’Ufficio Protocollo e Affari Generali o, in alternativa, inviata all’indirizzo e-mail email@example.com almeno tre giorni prima dell’inizio della masterclass/seminario. Alla fine del corso verrà rilasciato dall’Ufficio Protocollo e Affari Generali un attestato di partecipazione.