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Rabbival507 last won the day on December 16 2018

Rabbival507 had the most liked content!

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77 Excellent


About Rabbival507

Contact Methods

  • Website URL
    https://eitanmedina.wixsite.com/eitanmedina also https://www.youtube.com/channel/UCj_Y7tPS8y5QbMOvegVe__A?view_as=subscriber

Profile Information

  • Biography
    I know how to play piano but don't really consider myself a piano player. I'm 18 and have been composing music for over three years. I'm not an english speaker so please don't expect the best english skills. Hm... I'd like to contact with any other young composer around here, see if we can work together. Also, I have a great lack of feedback since I'm not in a composition class and has no composition teacher. Would like to get every feedback you have, even if it's bad (as long as I can learn something from it).
  • Gender
  • Location
  • Occupation
    School? that's alot of work and zero money XD
  • Interests
    Drawing, Writing and... you'll never guess... music
  • Favorite Composers
    John Powell (mostly HTTYD, that made me start composing music), Howard Shore (LOTR), Austin Wintory (mostly Journey), Gustav Holst (mostly Planets), Igor Stravinsky (mostly Rite and Firebird), Gustav Mahler (his symphonys), most of FF composers. Also, I like most of the Celtic folk music. There are many other things I'm listening to, these are just the first composers that popped in my mind.
  • My Compositional Styles
    I'm... not sure
  • Notation Software/Sequencers
    I use Cubase 9 and Sibelius 7.5
  • Instruments Played

Recent Profile Visitors

3,691 profile views
  1. You have some great sounds, great runs that amplify the epic feeling. Please excuse me, I'm tired and kind of thought "well I have some time to review another piece before I go to sleep", so I'm simply going to lay out the points that are problematic from my point of view, things that you might want to take another gaze at: 1. You might want to avoid the repetitive bass drum at the beginning. I don't remember where, but I read somewhere that epic pieces should use big booms once in a while. 2. the part where the guitar gets in feels suddenly unconnected. The easiest way, welcome in this genre, is to use a reversed splash cymbal or a "woosh to hit" to ease the transformation. 3. I believe that you use a little too many instruments for a 3 minute piece. I tended to do it as well at my first two years when I "just wanted to make the piece go forward by adding a new color, therefore adding a new instrument". This one leads us to point four. 4. Use dynamics more. Remember- you have to start small, or at least have some softer parts in the middle. You can grow back from there, it's important that you let the listener's ears rest a little, and then give them something much greater in comparison. I hears that around 2:10 you took out everything but the guitar but... I don't know, it kind of felt like you decided to leave one color in your painting rather than painting in some warmer/softer colors here and there. 5. Some parts lack bass. Do you know the Inception brass? This "BRaaaah"? They tend to put these in epic music. (https://youtu.be/830I9w7I7wM) I heard that you used piano bass notes, which is a sound that I personally really like, but at some parts it lost some of it's power because there just wasn't enough bass. At least it felt that way for me. Here's an epic piece I enjoy listening to: https://youtu.be/J-0TcwJT4go Here she uses a group of small percussion instruments to "keep it moving" and makes good transition and scale changes using dynamics and harmonic changes. Yes, she uses a lot of instruments, but the progress doesn't come from there. I encourage you to take a listen to this, maybe to other boss fights to computer games? Try to learn from there. It's not that you piece isn't good, but you can always try and make it better, or make the next one better. Hope you have fun and that I wasn't too harsh on you. I'm going to sleep now, hope that was helpful.
  2. You managed to do two things that I've been trying to do well for a long LONG while and still don't manage to do so! (these are: writing a complete piece in a major scale &&(and) adding chords that don't belong to the scale in a way that doesn't sound out of place) However, some points that require your thought: 1. These would sound muddy. Remember- the smaller the interval the more muddy it sounds on a lower register. I'd advise you not to play a third below bass clef's middle C. I mean, these could be used to achieve a specific sound, I just don't think that they fit well in this piece. 1.5 The way you spread the voices is... unusual. Normally there are fewer notes (in bigger intervals, look at 1) on the bass clef and a chord (or a more voices with a possibility for closer intervals) on the treble clef. 2. These might be hard to perform together. I'd make the lower one two triplet-eights then one. That's an important point because it recourse all over the piece. In general- I think that these two (and a half?) point could be fixed if you'll simply try to play the piece (unless you don't want it to be performed). I admit that I don't try to play most of my piano pieces, but when I do I find out many "bugs" that would take a much longer time to find without a performance. I hope this was helpful, and that you have fun performing your piece if you try to do so.
  3. The Clarinet here and the bassoon a few bars afterwards might find it difficult to catch their breath: You might want to make them take turns at playing this line. Although, maybe the tempo is fast enough thus giving them enough time to breath. So far- very good motivic development. You might want to change the left hand to treble here: I highly enjoyed the ending of the first movement. The second movement is beautiful, the colors and harmonies are just great. It's clear that you've been composing for a long time. Currently listening to the third movement, I'm starting to be a little tired of all these triplets. I mean, you were already doing "triplet runs" all over the first movement. It's still a powerful movement though, and you gave the orchestra lots of time to express themselves. This, too, isn't very new. The third movement feels more like a continuation of the first one. But maybe that's what you meant there to be? Sweet ending. You surely know how to write advanced well built piano sections. I never succeeded much in making such complex ones. Well done, other than some little notes and a few unnecessary repetitions- you've composed a brilliant piece.
  4. @PeteHarrison Look at this sorry monkey Let us know when you put it back online.
  5. I like the use of quote, feels appropriate to the situation. Yes, it gets atonal at some places. And yet- 1. Waltz is a pretty absurd way to describe riots. You might have meant it and yet I believe one would expect a more "broken" waltz. Miss some beats, make syncopations, insert a bar of 7 or 5 eights at random places. 2. It seems to... resolve. At many places. I don't think that it stands up to your idea. Yes, I saw that you suspended resolution at some places. and yet... it has lots of little cadences and one big finale like a classical piece. One way to avoid resolution would be using a whole tone scale (https://www.youtube.com/watch?v=FVV0jkZC4jI&feature=youtu.be), maybe you should try that out. 3. The sudden fermatas and complete breaks kind of loosen the effect. I understand that it comes from a place of "let's surprise the listener with a sudden stop", but to me it feels more like you blow the wind out of the sails. Insert a different surprise there instead. Maybe a sudden pitch shift, maybe sudden chromatic slide. About the protest... all I can do is do what the world usually does- look from the side, give a note or two, then go back to my own problems. My state is going to monarchy as well. Hope that we won't have to get to this situation. Hope all is well for you and your family.
  6. Could be a pop song of some sort. Try and define what exactly you were trying to do, then ask yourself- should it really be as repetitive? Can I change something? The harmony? Maybe the rhythm? Should I develop my motive further? Should I add a counter motive? Maybe I should simply try and compose something new just to keep composing? My first piece was... awkwardly repetitive ... looked something like that: because I just thought like "isn't this rhythmic idea cool" and basically kept it exactly the same during the entire piece (I think it's about 3 minutes long). Of course, it could be used for something. a repetitive pattern can contribute a lot to a piece's texture (https://youtu.be/APIKVLw1tT0). Yet, you might want to give a further thought to your piece, try some new grounds. The worst thing that could happen really is that you'll hear how it sounds, would not think it's as good, and then try something else or go back to your familiar ground.
  7. Thanks @Madeline Newson, Do you, by any chance, happen to be a mountain climber?
  8. @Dark Energy "Expanding the universe... of music!"😃 Ok so. I'll do what I usually do and write notes while listening, so I won't forget anything, and you'll get a picture of my immediate reaction. The tiny bells (forgot their name) right at the beginning are, for me a little to sharp. At least for the beginning. If you want a nice effect to start with... Idk, Siren's voice is known to be gentle and soothing. Maybe a pp with soft stick on a gong? or a bell? Something lower and not as sharp? Also the horns are a little too... adventurous? epic? (That's just my opinion) to begin a song about sirens with. I think that you should have added them later for a greater dramatic effect. The texture that starts around 0:12 is great. Interesting. What voice vst did you use for this one? The cut at 1:24 was a little too sharp for me. But maybe I get your concept of Siren's wrong? Also the addition of electronic sound is good, gives it a somewhat unnatural feeling. Around 2:00 it already sounds like... well like an epic adventure song. Many musical cliche's (the use of horns, strings, drums, the overall rhythm, sudden major chords). 3:10 there she is again. So the whole epic section was a transition? What story did you have in mind? The harp adds a lot. I like the dark texture from 3:55 on. I'll give it another listen now, maybe I missed something. Ok, I think I get it now. It's like- *Part I: "These are Sirens" *Part II: "These are sailors" *Part III: "Hey, what is this beautiful voice I hear? I haven't heard a woman in months, let's go say hello!" *Part IV: "Hello there! Oh no! What the...?! (Death Screams)"
  9. @AdamKulju I'll write while listening. Notation-wise, I think that Pno's left hand should open in bass clef. I expected some richer chords over there (so far you're doing a great job both harmonically and rhythmically). Okay so it was a fun piece to listen to, no further notes.
  10. @celloman99 I saw that you were looking for a review exchange. None of my pieces is looking for a review now, but I thought I should give one of yours a listen. I can't promise a good review because I don't have much time. Let me give it a listen. Ok, so... It might actually sound like that when being performed. I don't think I ever heard a non chaotic performance of "In C", but that's, I think, simply because when you deal with aleatoric music you take the risk it won't be as well organized as a piece that was written to be performed in one specific way. Not to say that you shouldn't write aleatoric music, I actually wrote my first partly-aleatoric piece about two months ago. But you do should have in mind that... well that it probably won't be exactly what you had in mind. So that was my opinion about aleatoric music in your piece and the way it sounds. In general... The piece felt a little unorganized. Again, that might be the effect you wanted to create. And yet, for me, having a more than five minutes piece with no theme or repetitions... I don't know, for me it was hard to follow. What I think you should do, regarding that case, if you want flutes to carry the main melody, is ask them to repeat and variate certain sentences. Say this one: It's beautiful. Now ask them to play it in 3/4 or 6/8 or one octave lower etc. I hope this helps. You know what, I actually do want you to review a piece of mine. Just give it a listen and tell me your general opinion, of course I'd appreciate some helpful criticism but it's not done yet. I'll send it to you privately in a moment.
  11. Could be a good atmospheric mood. The scale looks like some sort of A Jazz (minor) pentatonic with added 2b? I guess? About ways to develop it... it depends on what you'd like it to become. It could basically stay on the same feeling, maybe with added light wind instrument (say Sax or Clt). You could simply use it once in a while, as a second voice or as a background sound. Generally static music such as this could be well used for a computer game. You could or maybe should replace the harp with a guitar, unless you like the harpy sound. I personally think that you should variate the basic rhythm once in a while or at least add another background sound, at some places it sounds a little boring, just this simple four quarters pattern. Also I think you might want to change the bass pattern once in a while.
  12. Well it keeps moving but it's not to high so it's not a bird to small. It's not any kind of duck because it feels stable, neither a peacock because there's no flesh of color. It's something stable and with beauty of some sort (not a crow then). Oh I know! This movement between two close notes... What do you think about flamingos?
  13. @sswave I don't think that the soundeffects should be a part of the music track. Separation would lead to a better feel of the scene, the white noise track should be controlled according to the player's situation. Other than that it sounds pretty fit to the story you told. You might want to bring the plucked strings (idk if that's a harp, a guitar or something else) an octave lower, to me it sounds too sharp. Also, if you already have the honor to compose for an actual game- look at Austin Wintory first works (I'm talking about aleatoric soundtracks that change according to the game's parameters), I think that's the best kind of soundtrack a game can have, you might want to consider doing that. Maybe do what Lena Raine did in Celeste and simply have a few tracks running at the same time with some of them faded out or cancelled when necessary.
  14. @edfgi234 You have many good ideas of rhythms and your harmony is interesting. However, piece is a bit too long for my opinion and there were some parts where it felt quite empty: It's a bit of a dramatic fall after our ear got used to more rhythmic patterns, more complex harmony and more voices. It feels to empty, at least for me. If you want this nothingness I guess it's fine but I think you should drop these elements one by one. I'd simply give the right hand chords too, so it sounds... fuller in a way. Also I like the way it ends.
  15. I'm not here much lately simply because I don't compose much and don't find much to say about other people's compositions. I think that since music isn't a part of my daily routine for... over half a year now my brain kind of put it aside. Currently it's good because I'm still on a massive learning program, where I can't even listen to complicated music (the radio is always on a pop channel since that's what the other people like...) I surely hope to get some more time to listen to music I like, make and review some more pieces but... sadly that's probably a false hope.... Anyway! So here's my last performance. The piano missed a quarter near the end but other than that I'm thankful for this brilliant performance. Some of you saw some this piece in some levels during it's development, like when I chose to use the In-Scale. I don't ask for any review really. I just have a need to upload it, so that people who saw me mentioning it in the past would be able to see the final result. Maybe I even already uploaded it and I don't remember though I doubt it XD I will come and check out on it (I'm not sure how often though), so I will eventually read your opinions. Thanks in advance for the listeners and reviewers :) Also here's the Jami Sieber's approval:
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