BiTronic

I definitely hear the NieR influence

Thanks! Yeah, I'm not sure yet if I'll continue it some other time cause it does feel incomplete. I cut it off at 3:00 with the brass synth post-production (it used to go directly to the B at 3:11), though in hindsight , I think resolving it, letting it taper over the synth blares, then repeating the note would have roughly the same effect without being awkward. Thanks for helping me catch that.

First time posting in the incomplete section. I had the thought of making a hip hop-type piece with two pianos and two violins for a possible future comic idea (doubling as a character theme). It's about half or a third of the final length of the music, so there are a few concerns before I add new material. - This is the first time I've tried theme and variation as a form, though I treated the first few instances of the theme as accompaniment/bass; any advice or pitfalls to avoid? - Any points where the dissonance and chromaticism is either awkward or too much? - Are there instances of voice crossing that sound muddy? - This is more audio mixing than composition, but are certain instruments (especially the bass) unbalanced? The speakers I have aren't the best quality, and my room is too small and untreated for accurate self-judgement of audio playback. Also, I want to know what others would describe the mood of the track as, and maybe suggestions for possible ways to continue it.

Nice, I especially liked that tritone @ 3:55

I like the lull mood of the track, like its almost hypnotic

Remastered an old track that's just collecting dust in the folders, it was inspired by a character writing prompt for a seemingly unassuming person with a dark/sinister ennui-born secret, so I threw up something that felt chill until it gets a bit more hard sounding, then creepy-ish. It was a mood piece so it was a bit more unfinished then. I'm not sure what genre I can classify it under. There's only smidges of jazz and film music, and "intense Muzak/elevator music" doesn't seem right either. I guess art rock is the closest but that's too vague too.

Thanks, that was the hardest part so I didn't know if I nailed it haha!

I made this a year ago as a theme for a native american-italian inspired fantasy mafioso. Tried to imagine how swing rhythm would sound like in 7/4. He had the letter "B" motif in his visual design so the chord progression was kinda made with that in mind. | BMaj7 | BDimMaj 7/A# | BMaj7/F# | Bmaj9b5/D# | BMaj7 | BMinMaj7/A# | B7/F# | BMaj6/D# | C#Min7/D# | F#Min 6/D# | EMin 7/B | BMaj7 | For solos since I'm sequencing rather than live playing (i have no instrument performance talent lol), I gave myself a time limit of 10 mins to place notes for each part with few or no takebacks and no quantization to simulate on-spot improv. and comping as much as possible.

No I mean like, composing a piece with lines at different keys playing at the same time. (ie. like Rite of Spring). Are there methods to make it something like that sound (generally speaking) conventionally good or should I just stick to one key with a few modulations in future work?

Thanks for the feedback! So, it could be a bit too dissonant? There are some parts of the piece where I used different keys for each different instruments, but it was my first time doing something like that so I'm not confident with how to go about doing that without sounding too off-putting, or is it just bad practice and dump the idea? I couldn't find anything comprehensive to help me with that online either.

Hello, I sequence music as a hobby and made this as a short leitmotif for a historic character of a comic I'm writing. I'm kinda nervous posting this since I've only written music for a few years and it doesn't sound that great, I want to get feedback despite crippling anxiety since even as a hobby, I feel I need proper guidance from someone but most of the time I'm too scared to do so.