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  1. 2 points
    This is what Hans Zimmer would sound like if he ever got out of D minor.
  2. 2 points
    Thanks for taking such a thorough look at this NRKulus. I'm afraid the tritones don't bother me. I had fun with the text painting in this piece. There's nothing inherently wrong with a tritone, they just want to resolve, so having one at measure 13, on the word "desiderat" feels very appropriate. How better to express the verb "to desire" (some editions translate it as "to long," "to thirst," or "to pant") for water, than with chords that ache particularly harshly for a resolution? The main objection to them in choral music is that they can be hard for singers to hear in their heads, so sometimes a few people land on the wrong note, and the tuning falters. There's a tritone in, I want to say the Faure "Requiem"? that half the alto section chronically misses because they are leaping down to it and it feels so much more intuitive to leap to the tenor note. (Audiences don't notice, because the altos who get it wrong are still on a note in the chord). But in this case, it's a harmonic tritone, not a melodic one, and the notes are in the key already, and are approached by step, not by leap, so it should be solidly tuned without any problem. At measure 40, the Bb in the alto is serving a similar purpose of text painting. The psalm text is all about the soul longing for God, so "anima mea," "my soul" crawls its way chromatically, hand-over-hand up the scale. The journey is supposed to be a struggle musically, since the text compares longing for God with a wild animal desperate for water. So we're crawling by half-steps. The thinning of the texture at the top of page 5 was to another way to play with dynamics (four voices in harmony at forte is quieter than four voices in unison at forte because of the way the sound waves cancel each other out or augment each other). At the end, I really like inverted chords, and since the text speaks of longing, but never of union with God being achieved, it felt appropriate to leave the audience hanging. We resolve a little, out of all that polyphony, we're at least quieting down into homophony and heading back home when we finally get to the text "ad te Deus" and find out what it is all this unquenchable desire has been about, but there's no promise that we've found God, so landing on an inverted chord, and then cutting the lights and saying, "that's all folks, show's over" felt fun to me. Does it all work? I don't know. Your objections are certainly valid and well-reasoned and there may be better ways I could have supported my intentions. Shrug. I'll have to see if I can get someone to sing it and see how it sounds live. (:
  3. 2 points
    Thanks for taking the time to listen, Willibald - I'm glad you enjoyed it. Regarding the composer competition, I certainly agree with you. I've seldom found much enjoyment in listening to mid to late 20th-century art music. The peculiar thing is that the general market is not actually especially interested in academic music. There's interest among performers and composers, but the vast majority of concert-goers would prefer listening to a Brahms, Bach, or Mozart over a Boulez, Babbitt, or Cage, for instance. Modern composers are often quite removed from this market, partly because it is incredibly difficult to gain a foothold against the established repertoire, and partly because there simply isn't enough demand for classical music to allow most composers to make a living of it. Thus, they pursue it as a hobby in the way that Ives did, while earning their living doing something else. I think what's really at play here is that most post-secondary composition instructors of the past couple of generations grew up in the academic climate of the 50s through 70s - an era that was marked by a striking intolerance for utilizing stylistic elements from past eras in an effort to advance music in the same way that all other fields were advancing - and they push their students to continue this tradition. Most composers are intelligent people, and they pride themselves on this intelligence. They do not want to be regarded as unoriginal, nor as individuals incapable of handling the complexities of highly advanced modern music. Those who did dare write more traditional music (Barber, for instance) often received scathing criticism from the proponents of the new style, and students who were not lucky enough to have an open-minded professor at school were likewise scolded for their lack of originality. This peer pressure can be extremely persuasive, and in my opinion is the primary reason that avant garde styles came to dominate the art music world. Unfortunately, this played a significant role in killing off demand for serious art music (which was seen as necessary by many of the chief proponents of the avant garde movement). The effects are still very much present to this day. A few years ago when I was checking in here more regularly, I remember seeing numerous examples of composers in this forum posting nicely written music in traditional styles who were admonished that they should be "finding a fresh, original voice" rather than imitating styles of the past. Invariably, these detractors were modernists, and ironically, their music was seldom any more creative or original than the composers they scorned - they were just imitating a somewhat more recent style of music. The idea they persisted in advancing - that one MUST employ the tools of the modern era in order for his or her music to be relevant to the modern era - always struck me as deeply flawed. If older musical styles are no longer relevant, why do we still listen to and adore them? Why are they still, to this day, more popular among the concert-going public than modern art music styles? The argument only makes sense if one feels that the primary purpose of music is to advance and evolve. All that said, it also makes no sense to me that anyone would claim the world would be better off had avant garde music never been explored. There are some musicians who genuinely believe that this is the most beautiful and expressive music in the world, and they should not be scorned for it. There are also many who find a real sense of fascination and intellectual fulfillment in the process of writing in serialist, aleatoric, and other avant garde styles. I actually think that for many of them, that is of much more importance and relevance than the resulting sound. And there can be no denying that such music is a greater communicator of certain emotions than the tonal system could be. I suppose, in a nutshell, that I wish people would stop trying to pressure each other into writing in their own preferred style. Write what you enjoy - not what you're told you should write. Unless, of course, you make a living writing music for other people, in which case what you write should probably be something they want to hear. :-)
  4. 2 points
    First of all, great that you want to learn to compose! I can share my composing advice. When I started to compose, which is circa 2,5 years ago, I did not know anything about music theory. I did play saxophone and I learnt to play keyboard. So, I was familiar with reading notes and chords, but harmony, form, counterpoint etc. were terms I never had heard of. To be clear: my first compositions were garbage, but I am so glad that I wrote them. Every 'mistake' you make, will help you with composing the next piece. Experience and doing it is the key. I started to imitate and copy Mozart's first minuets so that I became familiar with standard forms and harmony. Furthermore, I listened to all kinds of music. Since you say that you already have some knowledge of theory, I think you should just start composing. When you do not like the result, do not delete it, but look why you do not like it and what you could change so that you will like it. Good luck!
  5. 2 points
    Maybe you're trying to do too much at once. Harmony, rhythm, colour, tempo, melody, feel, orchestration, dynamics, yada yada yada... it's a lot of stuff to consider. SO. Try eliminating a lot of it. Limit various elements and focus on one thing. Take an existing harmonic progression, write a new melody for it. Take an existing melody and re-harmonize. Take a piano piece and re-orchestrate it for a string quartet. Take a piano + soloist piece and write some accompanying background figures for it. Or whatever. Artificially limiting yourself will force you to focus on one or two elements, you'll learn a lot along the way. You'll also write some terrible stuff. Embrace it. Eventually good things will flow. Don't expect any of these exercises to be actual, presentable pieces - it's homework. It's practice. They're musical workouts. You have to get in shape before you try and run the race. So, don't worry about being blocked. Knock away one block at a time, be patient with yourself and don't expect great things right off the bat.
  6. 1 point
    The worst thing about choral music mockups is that, unlike instrumental music, the digital rendering makes no attempt to even sound natural. That makes following the score a must. Fortunately, you did - thus making possible a detailed review by an experienced choral composer such as Pate. The experience of listening to your work - or rather, to imagine it sung as it should - is pretty cool. You strived towards simplicity, and audiences will thank you for that in a choral environment. Granted, I love polyphony very much, but sometimes I just want to understand whatever is being sung, and it's already tough enough when the lyrics are in a language I'm not fluent at, such as German, Russian or Latin. So I must say I'm really satisfied that you went out to polish your music without disregarding your audience. Thanks for your work!
  7. 1 point
    Sounding good! Were you intentionally playing with word stresses? You frequently have a rhythmic stress on the second syllable of "Ubi," for instance. (If you made the word half-note, followed by quarter, instead of quarter-note followed by half, it would fit with the natural way we speak more seamlessly). Nothing wrong with playing with that to add some complexity to a piece, but I just wanted to be sure you were doing it on purpose, since your treatment of the text is generally aiming for simplicity. With a text that so many people will recognize from the chanted prayer, that's the sort of small detail that will stand out as a strong musical statement. You might consider putting an additional marking under the "u" of "ubi" to suggest the stress to help people sight-read it correctly on the first run through if you like this the way it is. An accent, a tenuto, some dynamic marking... whatever is in line with the feel you envision for the piece, but reminds readers not to give any extra weight to the second syllable of the word. I like that you are treating the text homophonically. Because it's such a lovely verse, it's a good to let the audience really hear the words, and it forces the choir to really treat the text as special and take it tenderly.
  8. 1 point
    Very nice harmonies. I think the intro is too short, and it starts the "cut time" abruptly. Perhaps you can stretch that part a bit more?
  9. 1 point
    "Free our Mind" is a track based on the song "Money Trees" by Kendrick Lamar
  10. 1 point
    Aw shucks, thank you, and yes I do need to "find myself" musically.
  11. 1 point
    You're welcome. For what it is worth, I was actually criticizing Zimmer I'd say perhaps you're trying too hard to sound cinematic-pirate-like. You actually do it so well that it backfires against finding your own musical identity, which is what I think composing should be about in the first place. You can, and should, freely stick to the style you're more comfortable with - but your listener should have a genuine reason to pick you over Hans Zimmer. That is why I am doubtful about using this as a part of your porfolio: it obviously proves you're very capable of writing music that screams "Pirates!" for a movie or videogame, but it doesn't help you to stand out from the pack of composers who could do likewise. I'm writing this with the confidence that I'm not coming through as too harsh - since you said there's no "too harsh" upon the criticism you're asking for. I hope I'm actually being helpful by asking you to move closer to your musical self.
  12. 1 point
    I have been trying to improve my forest nocturne. The_forest_nocturne.pdf
  13. 1 point
    @Rabbival507 Beautiful. It sounds like music from a fairy tale.
  14. 1 point
    Nice, I turned it into a PC set.
  15. 1 point
    Pause at :15 was awkward and doesn't have the effect I think you want it to. Main chord progression going IV to v is a little bit weird. Should be reinforced better. :35-:40, melody shouldn't jump around like that with continuous appoggiaturas. :45, melody resting on G is boring and takes away from the energy you build. 1:00, mixing and soundfont on the accordion is significantly worse. Only using it briefly on its own diminishes the difference it makes. Move into 1:30 was good. Tighten up the Klangfarbenmelodie at 2:00. Modulation into G major was awkward. Focus on common tones. The modulation into A minor was much better. The last percussion hit at the end was unnecessary. I don't like Hans Zimmer's music, personally. The Pirates soundtrack is particularly one of my least favorites, besides Interstellar's because of how repetitive and anticlimactic they are. This track improves upon some of those traits, but falls into what I consider the main pitfalls of his writing. There are more rhythms in 6/8 to use than hemiola 3/4 and 2+1+2+1. The shifting modes ware nice and for the most part quite smooth. Don't be afraid to do new shit. Just because Zimmer is famous doesn't mean he's right.
  16. 1 point
    I thought it sounded wonderful. Great themes, and had a lot of momentum the whole way through - lots of potential. Better than anything I can make! Good job! 8.5/10!
  17. 1 point
    It's okay, definitely "very heavily" influenced by Hans Zimmer. It's certainly very listenable but I'm not sure how a music college would view the lack of originality. However, your mixing abilities are in good display here.
  18. 1 point
    @Rabbival507 Thank you so very much for your feedback. What you said is 100% true, and I do try and mimic a lot of things I listen to. I think that's not the right way to do things though. So this was an eye opener for sure. I sincerely appreciate the time you took to pass on your comments, and there's no such things as "Too Harsh", I'm just trying to be a better composer. Thank you tons, again! :)
  19. 1 point
    This is a "light" music symphony. It's inspired by the European danceable music. The Scherzo (Danza, Mov. 3) it's made in a folcklore music genre from Puerto Rico (which is where I live) Any opinion and critics are welcomed. I. Andante - Tempo di Valse II. Adagio III. Danza IV. Con brio
  20. 1 point
    Hi all, So, I've been away from this site for a few years - long enough that I find it has changed and my profile is completely empty! It's time to change that. In February, I had the opportunity to perform a recital of my own works, this trio among them. My colleagues and I decided afterwards that it would be worth the trouble to do a house recording of it. This is the result. My personal musical preferences lie squarely in the conservative German branch of the 19th century, and I've always believed that a composer should write the sort of music he or she likes to hear. That's what you can expect from this trio with respect to form, harmony, rhythm, and so forth. It's in four movements. The first movement is a traditional sonata-allegro with slow introduction. The second movement is a scherzo and trio. The third is a theme and variations, based on a melody I wrote when I was 13 or 14 (side note - NEVER throw away the ideas you compose when you're young!) The fourth movement is rondo-like arch form. I hope you enjoy listening to it as much as we enjoyed performing it! I have decided against posting the score. I hate to have to take this stance, but as an essentially unknown composer, I am deeply reluctant to post my scores to an internet site that is open to the world when I know colleagues who have been victimized by thieves stealing their works and claiming them as their own. Even with a legally copyrighted work, it is stressful, time-consuming, and expensive to take these people to court. I apologize to those who would have liked to see it.
  21. 1 point
    I wrote this song to be meaningful, its a fancy song with meter changes and cool sax parts. Tell me what you think, follow me on SoundCloud and Instagram, I would love to follow people back who write and enjoy similar music as me and interact with them. My Instagram is wind_player1 and my SoundCloud is below. Thank You, Cj Rhen. Listen to Back Of My Mind by Cj Rhen #np on #SoundCloud
  22. 1 point
    Thanks! I can indeed adjust the reverb, so maybe I'll try that... the thing with these virtual choir sounds is, they sound pretty choppy and robotic without lots of reverb, so it's a matter of finding the right balance. I also think these sound libraries tend to work better for more homophonic textures, so sometimes in more complex, polyphonic pieces like this one, they can be a little hard to follow. But I still stand by my "better-than-MIDI" comments!
  23. 1 point
    The amount of reverb in the sound makes it a little hard to follow, for me. I know you were looking for a mysterious effect, but if there's a way to adjust it down a little that would make this more effective as a demo. As it is, sometimes it's hard to feel the beat. I like the idea of the chimes as accompaniment. It should help keep the pitch true, since this is a longish piece to hold the key a cappella. You got a good graveyard vibe to the text. Nice job.
  24. 1 point
    Thanks for your suggestion! The transition was bad because I only thought about making a short piece. I didn't want to bore you guys. I'll make it better in the next piece.
  25. 1 point
    Love your rhythmic grooves in this. I agree with Hugget about the opening being a little stagnant harmonically, but You have a strength for fitting together inter-locking lines in really fresh and exciting ways! I'm thinking specifically about the ending of mvt. 2. Overall a nice work! Sorry I can't give more feedback right now, I'm listening at work. Cheers, Gustav Johnson
  26. 1 point
    The Good: I found your harmonic ideas beautiful. Also, before having read your post, I did get a sinking feeling that some ideas were reappearing in some guise, which was a great touch. The re-use is subtle because you seem to have so many ideas, but it was there and subtlety is cool. The Bad: I was missing rewarding cadences and transitions to glue it all together, especially in the first half (but later I found it okay sometimes, which means either I got conditioned to it due to the piece's length, or you made it work.) The Ugly: Nothing about it was truly ugly in my opinion. Try a little harder next time
  27. 1 point
    This was written for a collaboration project between the masters students at my conservatoire and some postgraduate astronomy students from another uni, each of whom was working on their own project. Each composer chose an astronomer, to write a piece in some sort of response to the astronomer's research. We had a given instrumentation, which was essentially wind quintet + string trio + electric guitar, and we were free to write for any combination. I decided to just write a wind quintet, since I like writing for winds. I think the rest of the composers all wrote for the full ensemble. My partner's project was to do with how stellar clusters form and grow. Specifically, he was trying to modify an existing simulation to add in another factor (some sort of gas) which has not previously been considered in the growth of stars, just to see if it actually does make a difference. The inspiration I took from this was to do with the general growth of stars (rather than his specific project, which was kind of uninspiring musically). I had the idea to create a piece which starts relatively chaotic, and gradually becomes simpler and calmer while still in some way retaining its initial character. The way I tried to do this was to have one single motif represent the star, and have it present throughout, becoming slower every now and then. This is meant to represent the star forming out of a flurry of gases, and becoming larger, slower, and more predictable over time. It's probably the most 'dissonant' of my pieces so far, which made it very difficult to work on, as my usual musical instincts weren't always present. I'm quite proud of myself for pushing through it though - I think allowing myself more dissonance has really allowed me to experiment more, and I'm happy with the resulting piece. The score isn't quite 'final' yet, I've still got to get some feedback from my tutor before I tidy it up and send it off.
  28. 1 point
    @pateceramics My students sometimes do the same. Just like practicing an instrument, you're not getting better by not doing, that's for sure.
  29. 1 point
    @pateceramics Extremely helpful, thank you so much! The text setting was intentionally a split group Klangfärgenmelodie, so that's why it's a little weird.
  30. 1 point
    It sounds like you've been listening to Schnittke. (: I like what you are doing musically very much. A few notes on vocal music notation protocol: If you combine voices onto fewer staves (SATB with up-stems and down-stems instead of breaking it out into S1, S2, etc.), it will be easier for the singers to sight-read: fewer page turns mean they can read ahead more smoothly, and vertical condensation means they can more easily check themselves by comparing with other voices. I would also suggest including a piano reduction as the bottom staff for use in rehearsal. It's easier than reading an open score and is pretty much expected for a cappella works these days. (Mark the piano reduction "for rehearsal only" and mark the whole piece "a cappella" just under the title.) The phrase markings that you've included across multiple syllables are not really done in vocal music. Ex. T1 at measure 15. In vocal music, slurs imply multiple notes to a single syllable. They are used to help singers keep their eyes on the notes instead of having to constantly look down at the text to see if the next syllable has arrived yet. Just write an expressive direction instead: legato, or as smoothly as possible, or whatever you're looking for. I'd change out the directive about Bel Canto at the beginning for something phrased in the positive instead of the negative. "Without vibrato, simplice, ethereal, floating, etc." sounds less preachy. I'm performing a season of Baroque work at the moment. It's just understood that you minimize vibrato and sing with a lighter tone for Baroque period. If you've been exposed to lots of Bel Canto, it may feel like that's all anyone does, but there are certain classical vocal genres where it is completely stylistically inappropriate, so no one does it. Don't worry, this won't be a novel concept to experienced singers, and inexperienced singers aren't going to be performing your piece. You will definitely turn some heads with your treatment of the text, so I'd think hard about your decisions. (It's a contemporary work, so you can do what you want, but if you weren't meaning to be pushing boundaries, you should know that you are!) It's normal for the text to be broken into phrases so that different voice parts sing different parts of the phrase at different times. It's normal for one voice to start a phrase and a different voice enter and finish the phrase. It's not normal for a voice to sing only some syllables out of word. Ex. T2 and basses at measure 16 "du... ve... est." You can do it, but know it's going to raise a few eyebrows. If you wanted the same effect with a less revolutionary feel, you could make that particular section "duc (half note) - tor (quarter note on the same pitch). The consonants would line up with the T1s, so you wouldn't really notice them, and you could use dynamic markings to minimize the T2 and basses even more. Different publishers have different guidelines for how syllables are split, but going with the way words are split in a standard dictionary is generally a good start. For your text you'd probably come out with et Do-mi-nus qui duc-tor ves-ter est ip-se e-rit te-cum non di-mit-tet nec de-re-lin-quet te no-li ti-me-re nec pa-ve-as. Use commas any time the same part repeats a word or phrase. (et, et, et Dominus...) That's everything I can think of. It should be lovely!
  31. 1 point
    If you wait until you know "enough," you will never start, because there is ALWAYS more to know. And as Maarten said, you learn a lot from trying to write. It gives you definite problems to experiment with (is this too high for an oboe?) and well-defined things to research (how do you make an ending feel like an ending?), so it helps organize your music theory reading (which otherwise can feel overwhelming, because there is so much to learn). You didn't need permission to start drawing when you were little, right? No one expected your first crayon sketches to be "good." It was just important that you were enjoying yourself, and you slowly gained coordination. No 6-year-old playing T-ball is "good" at baseball either. That's not the point. The point is to go ahead and start so you can enjoy yourself now, learn as you go, and get better over time. The best part about learning to compose is that, unlike drawing or baseball, it doesn't take up a lot of room for art supplies, and you don't have to worry that your ineptitude is holding back a team. It's hard to find a hobby that's less of a bother to other people, so give yourself permission to start. Have fun and welcome to the club!
  32. 1 point
    Hi guys, Trying to improve my score follow videos and mixing skills: Any questions and comments are welcome! Thomas
  33. 1 point
    Ever composer goes through exactly what you describing. Mental blocks, difficulty in putting what is in my head to paper (or computer screen) etc., I experience this constantly. Honestly, I wish there was an easy way to do it, but for 99.9% of us, composing good music is hard. My advice is to just write and know that much of what you write is not going to be up to your standards off the bat. One of the great American composers (I think it was Samuel Barber though I can't find the exact quote) one said that most important tool for the composer is the eraser. In the end, it's always easier to take a bad piece and keep working on it and honing it to something better, then to come up with something great immediately. Study music that you like and emulate or flat out steal what you think works well and put it into your earlier efforts as you try to get better. Sometimes to try to get inspiration, I'll arrange a piece I like for a different ensemble as a way to learn from the music up close, or write a set of theme and variations where your compositional process is more focused. Save everything you write, no matter how small it is; sometimes coming back and looking at an old work in progress or fragment can be a source of inspiration.
  34. 1 point
    repeat? watch your pace? you can use the note before? watch out for what it's pointing at, very important?
  35. 1 point
    LOL sorry, I wrote it wrongly. :)
  36. 1 point
    Regarding timpani: is there a reason only to stick to three notes? You might want to give the timpani a key signature so it isn't dissonant to the rest. As with my comments on voicing and player numbers they still stand. I would have a lot of comments regarding part layout, but my first note is: keep this one on two pages. Make it fit.
  37. 1 point
    Yep that's completely fine! It's actually surprisingly unusual to play two timpani at once. There's nothing difficult about it, and I certainly wish more composers did it, but I'm just letting you know. I think the reason might be that the timpani generally supports the bass, and having notes close together in the bass can occasionally get muddy - but there's no intrinsic problem with that. Mostly, timps might get written in octaves or 5ths. As long as you're aware of what you're doing though there's no problem with writing them in 3rds or less. The other thing I notice about the part (and it's in other parts too) is your tendency to write quavers in sextuplets, for example starting in bar 108. This is technically correct but can be a little misleading. When I read the part in my mind, my instinct is to play them in the space of a crotchet instead of a minim - and then the last quaver triplet, oddly enough, gets played as a crotchet triplet because I subconsciously realise I have two beats left! I think my brain sees the '6' and automatically assumes that they are semiquavers, because 95% of the time I only see sextuplets with semiquavers. Writing these as separate triplets would be better - even in a full bar of triplets, the safest way of writing them is generally as four separate triplet groups. The same goes for crotchets - it's more common to write a crotchet sextuplet as two separate crotchet triplets, although it's not quite as confusing as the quavers.
  38. 1 point
    Wind bands are extremely widespread and are often happy to play new compositions, even if just once at a rehearsal. I've played student compositions myself while in my uni wind band, and I've had a composition played by them. However, this isn't quite a wind band piece - for example, the standard wind band orchestration includes 2 flute parts, 3 clarinet parts, 2 alto sax parts, 3 trumpet parts, and so on. It's flexible, but having 1 of each part makes it seem like it's for a very specific ensemble. Yes, the timpani part is unplayable as is, because most of the time only 1 timpani is able to go down to that range of E and below, and you've written 3 notes in that range. Putting it up an octave would help, but it's also rare to get the top timp going up to a C.
  39. 1 point
    For me, it feels like two great archs, one to measure 6, the other one the rest, not necessarily like on melody. Both could be used as starting point for further elaboration.
  40. 1 point
    why no string section? Looking at the first 6 bars: You could do well with some variety in your stabs, runs and bass. Trade them off the instruments and double at unison or octaves for emphasis. Timpani is unplayable. Put it up an octave - you'll get more oomph out of it. Select key spots for the cymbals. Now they are too many. Woods/brass: only one of each? Why not voice chords. It will make for a fuller sound.
  41. 1 point
    Hi guys! Trying to figure out how to do these kind of videos for my scores: Would love to hear what you think of it! Thanks, Thomas
  42. 1 point
    Lacrimosa 8dio. Forgotten voices. Mercury and venus. Storm choir 1 and 2. each one serves for sometimes differents.. you have to see what do you want... there are many more good samplers of choirs.
  43. 1 point
    Hi @kylebnjmnross Thanks for your comment. It didn't snow here this winter. Maybe because of this longing I wrote this piece. :)
  44. 1 point
    I've just created my Soundcloud page and i'm looking for feedback
  45. 1 point
    I think that you gave too much to the visual part. The brass and cymbal are super repetitive, don't worry, changing them a bit won't make it less epic. Don't let others define "epic" for you, the fact that many just use four repetitive chords doesn't mean you have to do so as well. I mean, you can keep them if you want, but at least please change... something I guess that in order to create what's defined by today's society as epic you have to use a four chords loop. Then at least please change the bass note. As you probably know already, Dm can not only have a D as it's root, but also F or A or E if you wanna go wild. Also, you four chords loop doesn't have to include the exact same chords every time. Try making an eight chord loop with a tonic in the middle so it keeps the four chords tense and relief circle. Other than that, I think that your choice of instruments was good. *p.s. now I listened again and heard that you changed the base line somewhere around the middle. I still think it should be less static. Moreover, I think you should change scales and add some crazy runs and choir or something.
  46. 1 point
    I think that it could be a great soundtrack, for a theater or something like that.
  47. 1 point
    Hi all, this is my orchstral piece. I hope you like it. Feedback is very welcome (Also on the video I made, accompanying the music). Score:
  48. 1 point
    The music reminds me of medieval games. *Nostalgia* Actually, I think this is great game music: epic orchestration; epic melodies; epic harmonies. The only critique I can give you is that you could spend some more time on making the sounds more real. The dissonant end is marvelous; it creates an open end (if that is an English term). I love it!
  49. 1 point
    It surely sounds my better than my first year of compositions combined. Unfortunately, I just don't see anything bad in the piece so I can't help you make it better XD I'd like to see the notes if possible. I think.
  50. 1 point
    Awesome job! Love the balance between repetition and variation.