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Rabbival507

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    452
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  • Last visited

  • Days Won

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Rabbival507 last won the day on December 16 2018

Rabbival507 had the most liked content!

Community Reputation

74 Excellent

4 Followers

About Rabbival507

  • Rank
    Seasoned Composer
  • Birthday 02/11/2000

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
    Male
  • Location
    Israel
  • 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
    Piano

Recent Profile Visitors

2,684 profile views
  1. Rabbival507

    Main Theme Opening

    @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.
  2. Rabbival507

    Fantasy in C# Minor (Part 2?)

    @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.
  3. Rabbival507

    Final Result

    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:
  4. Rabbival507

    A Letter - Four Hands

    Thank you so much for giving it a listen! Now that my work got way more demanding I visit the forum less often, it's really nice to come back home to see that someone actually gave a thoughtful listen to my piece and liked it. Yes, I guess the story is something like that. Thanks for giving it some thought :)
  5. Rabbival507

    Two short songs for piano

    1 I know that there's some spicier harmony here and there, but it felt too static for me. Dynamics stays exactly the same, the range doesn't move much, you repeat the exact same passage three times(???) You could keep it that way, that's just my pure opinion. Also you should write it this way: Also, judging by the names, you either don't have a clear picture of what you want exactly in your head or you're trying to make progress by writing many pieces (which is why you count them). That's how it seems to me anyway. In both cases- give some more thought to each of your pieces. At the beginning I thought that making many pieces would help, but I actually achieve my progress by looking at things I've already written in a deeper way trying to understand what I can do better. (Of course not just by that, but it's more helpful to give a deeper thought to your pieces, I believe that big thought can reveal the answer to the biggest question of all. If you got the reference I'm proud of you.) 2 Please stop repeating yourself so many times. I mean, I guess it's fine depends on your musical background, it's just my personal opinion. I think that you need to learn how to connect to things together. Like Christophe Beck told me a few years ago: "Your pieces sound like many ideas hastily mixed together". Therefore, you should try and learn two very important musical subjects: Transition and Development. I can't even begin to cover any of them but I can recommend you to try and... Take the main idea of the first and the main idea of the second. Now put them 20 bars away from each other and fill the empty bars only using the two materials you already have without repeating any of them in the exact same way. You could do that by taking the rhythmic ideas and mixing them, trying to do some modulations (scale transitions), adding new voices, changing basses, doing whatever you want really... as long as it has a root in your original materials. I hope this was helpful. Have fun reading about these two things online and practicing them.
  6. Rabbival507

    Ruth

    I did take the time to listen to it, actually did so twice because I listened once again while writing my review. And look, I still asked him to take hours to recompose his piece- because I believe that he should take some time to make it better. Pieces have to be deconstructed in order to be reconstructed in a better way. I hope you'd understand. Also I don't believe in that: I won't have much time to review pieces in the next... I don't know, a few years. I believe that one could ask me to focus on a few places in his piece. It's a matter of the quality of the review, I could listen to a piece once but I won't understand it as well as if I had listened to it five times or more. I asked him nicely and look what happened at the end- I decided to give him from my time instead of working on my own works although I don't have much time for any of these things.
  7. Rabbival507

    Ruth

    @celloman99 Ok, I just set down and listened to the whole thing. Once. There were some beautiful parts in there, but, try to act surprised- I still think that it needs to get much shorter. Yes, I saw the Pateceramics was mad at me for asking that. But I'm being truly honest with you- it's really important, especially if you're going to present it to a live audience. Yes, I write long pieces too. It's not a bad thing. But if you want people to be able to follow your piece- you need to build it differently. If someone reads the scroll and the music plays in the background- why not. But for a standalone- it sounds like lots of ideas with nothing that ties them together. Choose a few good ones and build it with them, then it would be easier to follow and you'd be able to play with the audience's expectations. It would also help you to achieve climaxes. I mean, just listen to this: https://youtu.be/XN8gPvX48p4?t=222 at that point the audience are so familiar with what's about to come that a climax can be achieved, simply with that anticipation. (Miyazaki uses the same theme lots of times, but that's a sort of extreme example, I don't mean that you should do that too). Ok I already built a whole conversation in my head so I'll simply write it down. You:"Well look at what Stravinsky did in The Rite of Spring! that's a bunch of ideas thrown together and TWICE the length of my piece!" Me:"But Stravinsky made such drastic changes in rhythms, dynamics and harmonies for his time that he was able to keep the piece... more than interesting. Also the first reaction of the audience for his piece wasn't very charming to say the least." You:"Stravinsky came to mimic ancient Russian music in a story that's set in ancient Russia. My story is set in ancient Israel! If anything, it should be inspired by Jewish music, that's less ritual and wild." Me:"I've been listening to Jewish folk since I was born to due to the society I live in, and you're right, it isn't close to being as wild as Stravinsky's famous work. And yet, the songs are mostly short and keep the audience's attention using their words, not their repetitive melody." (Btw I have an idea to develop a Jewish folk, if you want we'll talk about it privately later) You:"But I didn't come to mimic the Jewish folk at all! I just wanted to musically tell the story as I know it from my town and my church." Me:"Well reading a bit about Jewish folk might help you make it more authentic but nevermind that. I personally don't remember this story exactly because I'm not a religious man. You shouldn't try and do what Stravinsky did. It's not a story of that kind. You shouldn't make it sound more like Jewish folk if that's not what you wish. Also I was about to suggest that you make it sound more like christian songs from the middle ages, parallel perfect fifths, three or four counterpoint voices like in Bach's works, etc. But You shouldn't force yourself to do any of these if that's not what you wish." You:"That's a lot of words for saying... not much. What do you suggest I so if I don't want to consider any of these?" Me:"I think that you should analyze the story in your own way, finding common themes. Then choose a musical idea that would represent each theme. That way, you'll have music that would be easier to follow, and would still tell the story, just in a different way. Also if you don't like one way it comes out, you can try and analyze it differently. That's the beauty of literature analysis- you can look at one piece of literature with a few different 'glasses'." So sit with your priest and analyze it together. Maybe, with the players too if they're religious people. (Also sit for a few hours with the piano player and look over piano pieces so you learn how to better write for piano) After that, choose your most favorite themes from your existing piece, or make entirely new ones if you wish. Choose what each musical idea represents in the story, and there you go- you'll have a piece that makes sense storytelling-wise (even in a more sophisticated way) and also is easier to follow for the audience. I hope you'll find my review helpful :)
  8. Rabbival507

    Ruth

    @celloman99 I'm sorry but it's way too long for me to review it well. Please make a shorter few minutes version that I'd be able to listen to a few times without loosing lots of time.
  9. Rabbival507

    Waltz no. 1

    @LoganScheffler Well... But no, I'm afraid that you can't upload a video not through a Youtube link.
  10. I can't imagine this as a part of a Ghibli movie. Also Howl's Moving Castle isn't really that old. My main problem is that it sounds too similar to your other works. Ok my tips can go in two ways, depends on what's more important for you- Wacky Wizard- How about a percussion ensemble? Xylophone, Glockenspiel, Vibrophone, Chimes... You could also try moving around in different scales, maybe put two "unrelated" chords one after the other (I mean chords from different scales), You could try adding more runs, trills, special rhythm changes and sudden jumps in the intensity. Old Movie Soundtrack- Well you should simply listen to old movie soundtracks. If your piece was a part of a soundtrack... then it would be one that was made in the last ten years probably. Repeating the same staccato strings pattern with these epic choirs and brass... what is this? A superhero movie? A few bassoon parts and some glockenspiel at the end didn't change the full picture much. About Gihbli in particular... there's a wonderful Sideways talk about it I already linked on this site several times. The whole way Hisaishi shapes his music is inspired by his culture. Go learn a bit about Japanese music.
  11. Rabbival507

    Distance Makes the Heart Grow Fonder

    @HowieFletcher Ok I'll give it another listen now. Yes, Luis is right. You repeat yourself way too much. Changing the background won't answer the need for the change in the melody. Even a little change, not too much. He thinks about the same woman, but remember her in different memories. So Keep the general idea and play around with it, but do NOT repeat the (or almost the) exact same sentence over and over again. I mean, in certain kinds of music that's exactly what you have to do, but "emotional" music requires some development. I don't say that you have to get to an emotional climax, not at all. Think about it though, he remembers the same woman from different times (I think?)
  12. Rabbival507

    A Letter - Four Hands

    A short four hands piano piece, nothing new or better really. Just thought you might want to give it a listen and criticize it. Maybe I'll develop it further next time I come back home. Reasons as to why I composed this: 1. I was at a festival two days ago, where one of my best pieces was performed (I'll upload the performance as soon as I get a high quality version of it). In this festival I heard a beautiful piano piece made by another young composer and remembered that I haven't composed a solo piano piece in a long time. 1.5 At the same festival I met a four year academy music student who recommended composing something for one instrument. 2. I have a very small collection of four hands pieces (around five or six I think), and they're all at least year and a half old. 3. Someone told me that since I'm not home much I should write something short and simple. 4. I wanted to write a piece about a letter received from someone the character haven't spoken to in a long time.
  13. Rabbival507

    Distance Makes the Heart Grow Fonder

    @HowieFletcher Can you please upload the score? You might consider that a musical disability for a composer, but I can't deeply review someone's piece just by listening to it. Reading the notes would help me understand what you did there. I believe that most of the reviewers here could say the same thing.
  14. Rabbival507

    My Composition Feedback

    There's the forum's wiki. Yes, I believe that one can learn and succeed in music school without a theoretical background. Or any background actually. I mean, it depends on your ability to use a newly gained knowledge, and your will to sit down and compose. I can tell you that I am not going to go to music school because that's my free field, where I like to do whatever I want whenever I want. Going to music school also means doing music tasks and homeworks. Of course, one could force himself to compose. It's mostly math after all. But then it's not that fun to do, and then what do you do when you want to create and express yourself on your free time. Composing becomes just another school subject. You need to force it on yourself. Now I'll listen to your piece. No wait before I do that- you should always upload a score if possible. You posted it under "Orchestral Pieces" so I assume it has a score. Reading a score while listening makes it much easier to understand the piece, Especially for people like me who don't have absolute hearing. Or whatever you call it in English. I mean, I could just say "wow that sounds nice" but that won't be very helpful. Cool opening. (Won't use it as an Overworld Theme though because then the player will have half a heart attack every time they go into the main land) It's good that you have this quiet part, that fits better in an overworld theme. But maybe you had a different type of game in mind than what I have in mind? 1:48 is wonderful to give the player's ears some rest. Overall it sounds great, but I think that in some parts it's too exciting for an overworld theme. You could use it for the opening screen though. Any thoughts?
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