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AngelCityOutlaw

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AngelCityOutlaw last won the day on October 12 2018

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  1. ...or something like that. Fantasy game music I wrote, anyway. Let me know what you think.
  2. I would say that the ostinato on the piano isn't very compelling. It feels kinda random and I'd change the pedal tone to suit the chords better. The drums also feel out of place; I'd expect more toms, taikos, etc. than a drum kit, which is especially jarring because there is no bassline. Another big problem is that the piece does not have a consistent build like most "Epic" pieces. If it's an epic piece that doesn't have that trailer-style build, then it needs to be much clearer in song-structure and the chorus needs to be significantly bigger than everything else. I'd say this piece is a great example of that. Your piece however, doesn't really have this big theme to build up to. In fact, the piece doesn't really have much melody at all. The biggest issue, production-wise, is that the sequencing of the instruments is noticeably fake. The guitar and strings, specifically; the former is especially egregious because electric guitars are extremely-tough to sequence, it isn't double tracked like metal guitars almost always are (thus lacking that wide, stereo sound), and it has way too much gain and mid-scoop and therefore sounds like a swarm of angry bees. I hope some of this helps
  3. I gotta be honest man, it seems like from your topics that you're putting the cart before the horse. Baby steps
  4. Kind of a weird request. Given that slavs are the largest European ethnic group, and therefore many, perhaps even most white people into central and west Europe will also have at least some slavic blood, you pretty much can't throw a rock without hitting one. Many of the famous composers were slavs. All the way to modern ones
  5. That also summarizes how I feel. Something I'm constantly advocating for in music communities is upholding the high aesthetic standards that were set in the past. By that, I mean having a healthy respect for the craft, trying to learn and master as much as we can. Whether that takes the form of pop tunes, heavy metal, 2 Steps From Hell "epic" stuff, or whatever — doesn't really matter; a great tune is a great tune. I find that, at once, there is this obsessive desire to be both original and also to sound trendy. It's really weird. On one hand, you have people who are so obsessed with being "unique" that they over compensate and fall into "It's different, but it sucks" territory and in the other camp, you have people (mostly aspiring film composers) who are all making basically the exact-same music and can't understand why people hire whichever composer offers the lowest price. It's because that's all they can offer. When they go to John Williams and ask him to score a film, he can basically charge whatever he wants and they'll pay it because they want the style that only John Williams can truly deliver. I find if we just concern ourselves with writing good music, instead of "like X", individuality tends to manifest on its own.
  6. I agree with Gustav. I'm also not sure about the hats or shakers. More sticks would seem appropriate.
  7. Yes, but you said that why would you write in his style if you can't (highly-arguable claim) ever do as well as Bach did? If that's the case, why write music at all? No matter what style, there'll always be shining examples of the best that we may never live up to. The struggle to achieve mastery over the craft should be something that inspires us; not deter us. More specifically, and tying into my forthcoming advice for the OP — "Style" is only relevant when it's actually needed. If you want to compose a flamenco tune specifically, then — and only then — do the considerations of "What's makes flamenco distinct?" matter at all. There are only two real "styles" of music. "Good" and "Not Good". Shamir mentions Mozart, Tchaikovsky and Beethoven. This is interesting because all of the most-acclaimed works from these composers, are also usually their simplest ones; just chords and melody. Because that's what people like: A great tune. A mentor of mine taught me that good art "requires no translator". You just instantly get it. Fur Elise, Rondo Alla Turca, Tchaikovsky's ballets...everyone the world over instantly gets these pieces and has them etched into their memory forever. The same is also true of "Enter Sandman", "Billie Jean", or "He's A Pirate", and for the same reasons. You can, and God knows people have, adapt these into any "style" you want and — provided the arranger is competent — have the same great piece of music in each incarnation. So my advice to Shamir is this: Don't concern yourself with "style" just yet. Concern yourself with being able to write really strong melodies and supporting them with the appropriate accompaniment. As you learn more and more about theory, counterpoint, orchestration, etc. you will be able to instantly recognize the scales and modes, chords, melodic structures, and everything else in pieces that you listen to. Once you can recognize what's going on in the pieces you want to sound like, it will be effortless for you to imitate that style because you're already familiar with all of the musical devices and concepts that were involved in composing it. If we were to sit here and identify all of these things in those composers' works — we'd be here for a long time.
  8. If that's the case, then why write music at all?
  9. Greetings! I recently composed a piece inspired by romantic guitar music, and other Mediterranean folk styles. Let me know what you think!
  10. My arrangement of the traditional Irish tune. Hope you like it!
  11. Most full orchestra pieces, especially in film music like Williams and stuff, are not polyphonic textures, at least not throughout. The ear quickly tires of that, and unlike a string quartet or piano where the ensemble is largely of equal timbre instruments, maintaining balance with a full orchestra is difficult. For example, balanced counterpoint between a trombone and flute, is so tough to sustain that you may as well avoid it. Because you'll be forced to either put one instrument in a weaker register and thus weight the counterpoint in favor of the stronger-register instrument, defeating the purpose, or put both in dull or strong registers and have too much spacing between them. Instead, you'd be best off treating one as the main line, the other as a secondary line, and putting background resonance (like a sustained harmony in the strings) behind it. So the answer is "not much beyond the basics". You should know how to employ good voice leading in chords, basslines, and melodies, etc. but that's all that is truly necessary. Here are some good orchestral pieces that I think demonstrate this well.
  12. I would not. You basically already have all the building blocks to compose ready. The best way to get started is to just pick a scale and write a melody, then put chords to it. On the most basic level it's as simple as matching a triad from the scale that contains many of the given notes in the phrase/bar/beat. Put a bassline underneath on the root notes with some passing tones in between to smooth it out, and there you go. Try to make each note in a chord move to the nearest chord tone in the next chord. Studying existing music and just mimicking stuff you like is easily more valuable than most books when it comes to learning.
  13. Inspired by the opening titles to the new-old Resident Evil 2 I wanted to make my own "zombie apocalypse" title sequence music. Not really a fan of the whole "ambient" and sound designy music, but it's what works here.
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