It's been a while since the last post, and from time to time, I receive messages of people asking questions about The John Williams Compositional Techniques book.
I am glad that the material presented on this blog has helped many composers around the world. The feedback that I received during these last years served me as a fuel to keep it up. From the lack of new posts, some followers may think my studies came to a halt, but actually, the opposite is right.
The deep and tireless research that I've made of the John Williams scores has transformed the way I approach composition, and the project is more polished today than what it was a few years ago when I released the first post (Creation of Texture Part I) of this blog.
Since the great film composer doesn't show us any interest in publishing any teaching material about his music, one of my biggest dreams was to pass on the knowledge that I gathered by studying his scores. I believe that such a composer should have a legacy even greater than his vast music composition, and I counted with my contribution to add more value to the composer's community.
Unfortunately, not everything was harmonious with our desire to have a book about the John Williams compositional techniques released. While working on the project, I faced some copyright issues, which made me think again about how I should proceed.
Upon trying to overcome the copyright issue, which also involves some big movie companies that John has worked for, I saw myself under an unforeseen condition that was bigger than what I alone could solve.
Paying an attorney to file an approval of every example I wanted to quote on the book didn't seem a reasonable solution to the case. The material that I've got in my hands is vast, and if I want to provide it in its best form, I have to have the freedom to choose whatever part of the composer's work I want to quote.
By thinking about the right solution to this case, I thought the best was to submit the project to John Williams's approval directly. After several attempts for many months, I've had a chance to, face to face, talk about this project with him. Luckily, he was very positive about the idea and requested a sample of it.
John is a worldwide known composer that receives many requests weekly or even daily. Composers of this caliber must be guarded by other professionals (usually agents) that can keep their safety and integrity. However, such protection may sometimes mistakenly take for granted valuable projects like The John Williams Compositional Techniques.
Does it mean the project is doomed?
Definitely no! Since the release of the first article, the project has been of interest to many educational institutions. Some of them have asked me to develop academic lectures about the subject and, it's precisely how the project has been evolving since then.
I've had the privilege to speak about my project to selected audiences in some cities of the country I am from (Brazil). And now, I am happy to share with you some small samples of a couple of lectures from last year (2019).
The John Williams Lectures
Beyond that, I am excited to announce that, once the copyright issue gets solved, The John Williams Compositional book will be replaced by an online course on Gardini School.
With an online course, students may have life-time access to an ever-growing material than can be continuously updated, and have access to forums where they can share valuable information.
In other words, underneath the surface and above all obstacles, the project has evolved thank to some interesting ideas that people brought to me.
Let me know if you have an idea of how I should deal with the copyright situation and how I may present the project to the interest of the author.
Thus, if you are interested in having The John Williams Compositional Techniques Lecture in your institution or event, please get in contact with me. I will be happy to discuss the conditions with you.
In the meanwhile, stay safe and keep improving. Life is beautiful only when we have barriers to overcome.
What are your thoughts about it?