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(Or would this actually be orchestral?)A YouTube friend of mine who recently started composing asked me to arrange one of his pieces in my style (I was quite honored ^_^ Another YouTuber also said I was the "god of music"! Must not...feed...ego...)This first piece here is what he gave me to work with, and the second piece here is what I came up with. I hope you enjoy :) Comments/thoughts/criticisms appreciated!P.S. If there are volume/reverb discrepancies in this piece, please forgive me: my good head phones have broken, and I had to work with lousy ones that may have fooled me. If things are bad, maybe try listening with your computer speakers and not headphones. Wandering Meadows

Very nice cue. I'm not sure how you mean to make it fatter though. Do you mean in the synth recording or for the concert stage? Because if its the latter, you'll need to show a score.

JeremyL: Ok :happy: Roy: "A true GOD would have made this even without his headphones or speakers. Heck, he wouldn´t even need a sound card, nore a computer for that matter. Im listening this on some crappy speakers atm so dont worry (for now )." I agree! Like Beethoven with some of his symphonies. He just...wrote 'em down :lol: Beethoven...was a god of music :mellow: I'm sorry you didn't like it :dunno: Your opinion's fine, and your comment isn't crappy, haha. I guess sometimes things just rub people the wrong way. Thank you both for your comments :)

A true GOD would have made this even without his headphones or speakers. Heck, he wouldn´t even need a sound card, nore a computer for that matter. Im listening this on some crappy speakers atm so dont worry (for now :cool: ). Sorry that I have to say this, but I didn´t really like the music; not the original version, and neither your arrangement. Nothing to do with the arrangement itself, just didnt like it. I don´t really have an opinion on it so... please forgive me for this crappy comment :( :ermm:

Thank you all for your comments on this piece *_*

I actually think this would go into the 'choral' or 'voice' section. Very virtuosic harp part in the arrangement, lol. Will be reviewing when I get back from camp in a couple hours.

Love the very beginning. Cool 5/4 feel... and ironically I use that I vi IV chord progression in B all the time when I improvise on piano. :happy: nice choice! personally, I hear the first beat of measure 30 (key of Ab) as a PICK UP and then beat one actually occuring on beat two... just my opinion. I don't know how you hear it, but that's what my ear tells me. I will jump on the bandwagon and say that m38 gets muddy, and an easy fix is a)bring it up the octave or b) use open instead of closed chords. Really nice ending... aside from the fact that there are some minor fixes, and it is apparent in some transitions that this was loosely put together... but you acknowledge that. All around really nice. .....the 5/4 makes me think of stars... mission accomplished my friend....

The viola cannot go that low for a b-flat.

First get back at the woodwinds very shortly, then go to the french horns. Give them a melody that would give you chills :) (that would be your 'real' second theme). And then some heroic section, with thicker orchestra and a bit louder, as the coda before going into development.

Above all I would insert a second theme which is softer, less intimidating, tranquil etc. to oppose this theme. Before doing that you might want to repeat the last 4 measures again, this time with some brass to make it sound broader (or more epic so to say, because most people seem to favour that word here) and to introduce some instruments (brass in this case). The vocals tremble a bit, is that in your original file as well? you might want to check that out. For that second theme: maybe reduce the strings to a background, on the beat chord striking fashion in staccato (not pizzicato though) and very lightly, but still a bit building up to something (especially harmonically, not in volume). A pizzicato part, I think you'd better save that for later on because it gives a beautifull relaxing, calm, sweet and innocent sound to it if applied rightly and for that to work, I think the right mood has to be set very firmly. That way the contrast would be at its greatest within the realms of this kind of music. Keep things very tonal throughout, or else change this first part as well to introduce some of the 'strange' sounds you would apply later on. This (hypothetical) second theme could use a more extended and elaborated melody contrasting the first one, and to make it very lyrical you could use woodwinds. A lyrical melody contrasting (almost battling with) the tension-building strings (very lightly as I said, avoid low registers at first) would work very well there. All between piano-mezzoforte, so it will contrast (again, contrast contrast contrast :P) with the forte section(s) you already wrote. Oh yea don't get the vocals involved in that second theme at first. Later you could experiment with combining the 2nd theme with the vocals in a way they were in the 1st theme, so you could switch between themes, making them interact with eachother, building up to the finale etc. An obvious modulation could do wonders to extend a finale, but if you do it in the dominating melodical sections, modulate gently to something else. Also, listen to some of the game and film music on this site (especially the ones that are like your own), and maybe try to leave a comment with things you liked/didnt like and how you would change it. It helps making you think about the subject apart from the actual writing. It might very well inspire you and lift your block ;) One last thought: harp!

It would be correct if both the f#'s are different voices than the c#-f#-a#-c# part that follows. Although I don't know what you're trying to do with splitting it up in 3 voices in the lower staff. It seems to me though that you'd better remove the rest, and write the upper f# as an 8th note. That way you will have two voices in the lower staff: the low f# which is held the entire measure (if writing for piano you'd probably hold it with pedal), and f#-c#-f#-a#-c# above that as the second voice. And ofcourse the third (or actually first) voice in the upper staff.

Very nice. It reminds me of jrpg "town" music.

Great sound! I like the combination of instruments. In the first section, the notation seems slightly inconsistent; since each bar appears to sound 3/4 + 2/4, perhaps the tied notes in the viola and the piano could be notated as a dotted-half and a half-note. Alternatively, perhaps the notation could match the bass of the piano, using half-eigth-half-eighth pattern. The transition mm. 25-29 felt a bit sudden and thin, but in actual performance maybe the expressiveness of the panpipes will help make it richer. I can almost imagine this portion as a panpipes cadenza where the performer is given freedom to improvise based on the notes provided. I really like the next two sections, especially the piano part in mm. 34-35; I think it utilizes the crisp, percussive character of the piano very well. I think some of the very low piano chords in the next section might sound quite a bit more muddy and ambiguous in actual performance: what if the first note of each measure was a single tone that, when heard in succession among the first notes of other measures, formed an interesting shape? The intervals in the second and third chords of the measure could be opened up a bit more so that the sound becomes clearer. The last couple sections look quite interesting with all the double-sharps! Is it for visual effect? They seem to suggest a certain mood to the performer--something like confliction where the notes are rebelling against the heavily flat key--that might prove an interesting influence on the music. Overall, I think this is a lovely piece; it has a nice emotional impact (especially when paired with the title/description). I really enjoyed it.

Thank you for your comment, JCompose! :) The viola is a bit weak at parts -- I'll think about it :happy:

This is a great work, but at some parts where the pan pipe to a rest I believe it should have kept playing for the sake of fullness, it doesn't sound like the viola can hold it on its own. But good though.

While this is a fine option, the problem isn't that you've dedicated one staff to cymbals - percussion writing is almost totally nonstandard anyway, beyond having "timpani" on its own part, and even then there's some wiggle room. You can feel free to give cymbals their own staff especially if the other staves are very involved and wouldn't have time to play the cymbal part anyway. No, the PROBLEM with your part is that it is called "cymbals" and then the player is simply given a notehead...WHAT cymbal? DO WHAT to it? WITH WHAT beater/stick/etc? You MUST specify things that are not obvious (and as a percussionist shame shame shame). While I admit the fact that the note is rolled suggests suspended, PLEASE be very specific in future pieces - a bass drum is hit with a bass beater, that does not need to be specified, same with snare drum being hit with sticks, etc. But anytime you write percussion be sure to label: DO WHAT -- TO WHAT INSTRUMENT -- WITH WHAT