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  2. If this was written five years ago, I'd love to hear your writing now! This was a very relevant post for me, as I am also looking into John Williams' score for orchestration guidance and ideas, and I have to say this piece has some excellent melodic and harmonic ideas that are truly inspiring. I don't want to comment too much on your orchestration skills as you have most likely improved greatly as an orchestrator and composer since writing this. However I want to share a small idea that might be of use to you (if no one ever mentioned it). I recommend dove-tailing the woodwinds in measure 113 and onwards (sharing the sixteenth runs between the first and second players to increase fluidity of line). Other than that, your orchestration was masterful. I think we can all learn something from this. Nothing is better than live players and it isn't safe to rely on samples or midi to give us an accurate representation of what the score will sound like. In particular, the flutist was excellent and it was fantastic to hear; for example, the solo at m. 71, and the flutter-tonguing at m. 163 sounded excellent and can't be reproduced from today's samples (or even the glorious NotePerformer!). I've always had a sour look on my face listening to samples, too. But this gave me the idea to incorporate live players and samples to produce the best recording you can (at a steep discount to professionally recording it!). Lastly, I am a stickler for notation and your score was notated beautifully. As we are both Sibelius users, I want to learn how to add the little part numbers (1 & 2) to the right of the instrument names. I can't find a solution out there, but hopefully you can send me in the right direction, haha. Great work.
  3. Nicely done! I have some food for thought as you continue to broaden your 'large ensemble' tool belt. 1. You have a knack for nice melodic ideas and there are some nice melodies throughout, however there should be more development of those ideas. In other words, give us a melody that will build and means something significant that you can reference later in the piece, for example. Speaking of which, I think there's more potential more that 3-note motif in measure 90. That can definitely become a signature motif that you can start exploiting near the beginning of the piece (and eventually shows up at the end, as it is); also explore more harmonic ideas that can further enhance your writing. For that motif, maybe experiment with contrary motion (harmonies go in opposite directions) to provide some added interest instead of an orchestral unison. 2. The strings acted like a good 'padding' for the piece and provided the main harmonic accompaniment for the piece; however, that seemed like their only purpose. I felt as if it was the strings vs. the woodwinds (and french horn). You can give the woodwinds some chordal structures and accompaniment as well, especially if this to be played by real performers. The strings could also take some melodic ideas too! Based on the instrumentation, the bassoon can provide a rich, low end (not that its are particularly loud) that you can use to your advantage to increase the orchestral 'flavor'. The clarinets also have a resonant low-end that you can use to fill that tenor range, and maybe have the clarinets divisi (one plays low, the other high in order to rise above the texture). The oboes and flutes can also provide interesting textures too, instead of playing intermittent soloistic melodies. All-in-all, incorporate the woodwinds and strings together instead of woodwinds accompanied by strings. 3. Finally, be aware of how the different instruments mix together. For a majority of the piece, the strings are written at piano and the woodwinds play at forte. In real life, those woodwind players would play at a dynamic level that would distort the sweet-sounding melodies you had in mind, since the quiet woodwinds are trying to rise above the entire string section. You can go about this in a few ways: one, double the melody on more than one instrument and maybe experiment with octaves here. You don't wanna overdo it, just an idea. Also, take some time to research the ranges of each instrument and how they sound in those ranges. If you want a solo flute (well, most instruments in that matter) to stand above the orchestral texture, make sure to write it in its higher register. But be careful not to go crazy here, as some instruments don't usually go as high as MuseScore or Sibelius say they can without screeching. Speaking of ranges, you did pretty well in the woodwind section, but keeping in mind that flutes are one the quietest acoustic instrument in their low register (maybe C5 and below?); you can give that lower melody to the oboe or clarinet. The oboe range was pretty reasonable, but be careful not to write it too high (same with clarients); they are not flutes. The high 'E' in measure 53 is out of the range of most players (except flute), especially at the end of a piece. I don't know how deliberate and intentional your instrumentation decisions were, however the lack of a full brass section certainly changes the textures you could be missing out on, but that is purely subjective. Final note, this is a non-transposing score, which is fine. However, make sure to give your players their transposed part if they are a transposing instrument (i.e. Clarinets, and French Horn). Great job and keep writing!
  4. Today
  5. You must've put a lot of work into this piece! I'd love if you'd attached a score!
  6. This sounds fantastic. Judging from the lack of a score, I'm assuming you have a D.A.W. workflow(?) I'm curious as to what your composing process is to create such an immersive sound!
  7. I like this piece a lot! Your orchestral textures really sell the 'menacing'/'haunting' vibe you're going for.
  8. EDIT: I have finished this song! In case anyone wanted to see what orchestration things I added/changed. https://www.youtube.com/watch?v=TmJpzXYXq2I
  9. Yesterday
  10. Nice subject! Im liking it! I also like the length of it as well. Its long enough to give the listener an adventure, but its not drawing itself out.
  11. Its a canon-like piece in the sense that the alto voice is mimiced in the bass throughout the whole piece.
  12. Thanks! Not much really. I don't have any fix idea usually. Most of the pieces come from "impromptus", so 90% of my pieces are variations or pretty much based on something I've improvised. Sometimes I just get the motif/idea/theme from improvising, others I get the whole piece, it's not something consistent. As for the preludes, right now I just had some ideas that I watch from my window (using concepts) or while trying to get something out of an idea, be it something I just had when woke up, or rather and more usual at midnight. At the moment I have some written stuff, like the Prelude in A major, but really the only thing I plan is the key I will write the piece and very few times the time signature.
  13. I like how it sounds! The tempo and mood fits nicely. I think as far as form goes, you could probably turn it into a minuet and trio. By creating a C section following the second part and then after the C you could go back to the A section to end it. I too feel like it should go back and maybe end on that first half.
  14. Hey all! Here will be my first post of one of my full pieces. Im still in the learning stages and I feel that this is my best so far. It feedback is welcomed I am still trying to improve. Thanks!
  15. These preludes sound great! I really like the contrast in character between the preludes. I think im liking No. 2 the best.I really like the character of No 4 as well! What other ideas do you plan for the other preludes? I would love to hear what you come up with!
  16. Nice! Very Chopin-like. Im liking the harmonies that you are using. I think that going into a chorale like thing after that would be cool, and have a nice contrast with the arpeggiated figures that starts it off
  17. Hey, so im new here, and I am trying to become more consistent with my composing, as well as putting things out there for feedback. Right now I have been trying to focus on form and composing more structured ideas. Im am going through Alan Belkins Musical composition book, and I have come to the chapter dealing with Sonata form. Here is theme Idea I came up with and I was wondering does it sound like a solid theme to build off of. How could I improve upon it? Any advice would be appreciated. Thanks!
  18. Last week
  19. People, please send the ideas to me. The idea is that people don’t know what options there are, nor what they are getting.
  20. Ok. I sent my ideas to Left Unexplained. Hope they get passed on.
  21. 4 preludes of a set that will probably contain up to 12-15 preludes.
  22. @caters Whatever fills 2 paragraphs tops and can serve as inspiration/constraint for who receives it.
  23. So wait, what are we sending? I thought of messaging you but didn't know what to send.
  24. @Quinn I'm the one who will take care of all the submissions, so if you want to participate send your stuff to me. Then, I'll assign each one a random idea, and will send them directly to each person.
  25. So....who is involved in organising this, doing what?
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