Orchestral Pop/Rock

Something I started a little less than week ago. Some of it is a little repetitive, but it's supposed to be that way, since it's a Rock/Pop song. Nothing I'm too proud of, it's only lightly orchestrated, but I had fun making it.

SoundClick song info: Orchestral Rock/Pop by Songjun - Song info page with free MP3 music downloads

Questions:
1. Is it good enough to listen to a 2nd time?
2. What's the Good-/Bad-?
3. Were the strings too repetitive?
4. Do you think I should put out a new version, or just leave this one alone and move on?
5. Anything else..

You seem to have a problem with unprepared/unresolved dissonances and clashes between the bassline and melody (or merely other parts).

There are also a couple of orchestration issues that I identified - it would probably be a good idea to transpose the music box and flute up one octave so they don't crowd the register already occupied by the piano.

The last B natural of bar 8 in the music box part constitutes an unprepared dissonance. Since the piano's playing an A#, it would be wise not to sound any B naturals in the other parts unless they are properly prepared and resolved. You may want to look into this concept if you don't already know anything about it.

Next big problem occurs at bar 14 onwards, where the piano and the bass insistently drum out a B, yet the other parts move around. Not only is this rather static, it is also overly dissonant. Try playing the piano LH, bass and cello together to see what I mean.

I've attached a MIDI to this message with a few corrections. I had to hazard a couple of guesses as to your musical intent in some cases, bear in mind. Also Sibelius has decided to re-voice the piano as a violin for some bizarre reason, but you should still be able to see what's going on.

Hey, I'm still learning about composing so it's nice having people give me composing advice. I had no idea to what you were talking about, but I looked at the midi, and I think I get what you mean. It wasn't intentional, when I made this I was really just making some music, and I didn't check over it so I didn't notice it. I appreciate the comment, if I remake it then I'll add the corrections.

Originally Posted by Mike

The last B natural of bar 8 in the music box part constitutes an unprepared dissonance. Since the piano's playing an A#, it would be wise not to sound any B naturals in the other parts unless they are properly prepared and resolved. You may want to look into this concept if you don't already know anything about it.

I'm not sure if this is true. The piano left hand is playing a B natural almost constantly since the start of the piece. Granted, it clashes with the piano's A# in the other hand, but surely since it doesn't function as a suspension. . . . .

I personally think the B natural is needed for the strange beating effect you've got going on. Mike's version is improved in many respects, but the 'violin' voice sounds far too open.

I'm not sure if this is true. The piano left hand is playing a B natural almost constantly since the start of the piece. Granted, it clashes with the piano's A# in the other hand, but surely since it doesn't function as a suspension. . . . .

You seem to be referring to when the B occurs in the bass. Leaving a major 7th unresolved in first inversion is perfectly acceptable given the idiom.

I personally think the B natural is needed for the strange beating effect you've got going on. Mike's version is improved in many respects, but the 'violin' voice sounds far too open.

Which bit(s) are you referring to here? Maybe my bar 13 could do with some zouping up...

Quiet of a nice piece you got here, I didn't look at the score so I can give you any constructive comments. Nice tune, and seems very smooth. Is there any chance of seeing lyrics being added on to this piece? Again Nice Work.