Heart of Darkness (with performance)

Hi!

So this is my second work posted here on the forum.

This past year we read the book Heart of Darkness for English class, and I made a little "soundtrack" for various parts of the novel.

I used my dad's recording equipment, and every instrument performed is actually me. So naturally, there are a few balancing and tuning issues because I had to record each track individually, but nothing too bad.

The main character in this book travels from England to Central Africa in search of adventure, treasure, and meaning. Movement one describes him sailing away from England. Movement two describes a painting he finds at a camp when he arrives in Africa: a painting of an African woman carrying a huge satchel on her shoulders in pain. Movement three describes him sailing the Congo river and exploring the savage landscapes and getting in touch with his savage side.

Enjoy!

Mvmt 1

score: Heart of Darkness I.pdf - File Shared from Box.net - Free Online File Storage

recording: 01 Heart of Darkness I. The Nellie.m4a - File Shared from Box.net - Free Online File Storage

Mvmt 2

score: Heart of Darkness II.pdf - File Shared from Box.net - Free Online File Storage

recording: 02 Heart of Darkness II. The Painting.m4a - File Shared from Box.net - Free Online File Storage

Mvmt 3

score: Heart of Darkness III.pdf - File Shared from Box.net - Free Online File Storage

recording: 03 Heart of Darkness III. The Congo.m4a - File Shared from Box.net - Free Online File Storage

I made a 105 on the project, so my work paid off. :D

Welcome to YC.

I assume the 105 was out of 100, so congrats on that.

The first movement is just screaming to me that it wants a timpani with it. You could always add sampled instruments to your tracks.

Since these pieces depict Africa, it might be nice to hear some sticks banging on wood. The congos fit ok in some places but feel a little forced in others whereas banging on a big dead hunk of wood might have fit better.

The recordings themselves don't sound too bad. That first horn in the first track sounds great.

Well done

Ron

As you'll notice I comment less on the music and am more of a second rate score Nazi. I'm just nitpicking. It needs to be done. However, I have utmost respect for you - this is absolutely amazing quality work, in my opinion. Not many people can

A) Write music.

B) Play more than one instrument.

C) Write good, effective music.

D) Play more than one instrument exceptionally well.

E) Play their own non-rock/pop music.

F) Record their own playing.

G) Bring it all together in a nearly professional presentation.

Your score needs some more cleaning then I nitpick below, but I think that's just because you're still familiarizing yourself with the new Finale.

1st movement.

* Reminds me of thermospas.

* Yeah, you probably expected a serious comment here.

2nd movement.

* Put the conga in the score. Just on the first line of music, have it there. Maybe write on it "Sparse improvisation throughout movement". But make some indication that's it's actually supposed to be there. Maybe even notate on it the big hits that occur together with the other instruments.

* Indicate on the flute part that you want it ornamented. The written part is very plain and you recorded such a beautifully ornamented rendition. Just write something like "Ornament freely throughout" or something of that nature to indicate that you want more to happen than you put on the score/part.

* I think my ear just popped.

* Measure 40 - put a breath mark. You played it, you just didn't notate it. Also in this measure notice that horn 2 has a fortissimo and flute has a mezzo-piano. Horns 1, 3, and 4 are forte. I don't see the need for that, simplify the dynamics. Plus, flute has to know that they are competing with the horns on that beat. Similar deal at measure 15, I don't understand why you marked horn 2 louder than horn 1 in the harmony, it's not clearly evident. Marking flute louder than the horns however I can understand, as it needs to be aware of the sonic competition. Also, look how the dynamics for horn 3 and 4 are too far below the staff. Right click, options, Individual spacing... or something like that. Now you can align each one perfectly.

* There are plenty of other minor notation errors throughout, go through and fish for them. If you want to be professional you have to have a perfect score. With music like yours, the whole being professional thing shouldn't be too difficult, you've already got the hard part of writing good effective music accomplished. And you have playing to match. Amazing.

Movement III

* Needs tuba. Badly. Also needs some driving percussion. Just the conga isn't enough. The epicness of the flute and horn parts collective requirement a lot more than you've put into this. Tuba and like Ron said, log percussion would really put the strawberry on top (I don't like cherries.)

* Why at page 8 does the music suddenly get much bigger? :blink:

* Yes, that WAS a serious comment about the first movement up there. Get over it.

* Measure 9: THAT WAS NOT A FRIGGIN FORTISSIMO IN HORN ONE..., that was like... mezzo. haaah

* Last notes of the piece: put those accents under the slurs. They're colliding. Also... random note below the staff on the conga part. Might wanna take care of that, I think it got loose. Maybe you should get one of those invisible fences to protect against stray notes like people get for their dogs. I'd be wary if I were you, before you lose too many more notes.

As a whole:

Maybe a little on the short side - could have been a tad bit longer. Very effective material that showed off your playing as well, but you didn't do much with it beyond the basic plug and chug. If this wasn't for incidental music purposes I say it is imperative you develop your ideas more. You show a lot of promise as an incidental film/game music composer, do you play around in that genre a lot? I LOVE the suspended chords you use, and your general progressions, they're very what-I-would-do-but-haven't-quite-figured-out-yet. You almost make the horn sound higher than it is actually playing through the effective use of epic climaxation. Yes, I just said that. AND, I loved how you mixed the harmonies up between the horns. Sometimes horn 2 had the highest part and horn 1 went into 2nd or 3rd horn territory. A nice switch up from the common practice horn 1 & 3 must be the high and 2/4 the low - and you pulled it off quite nicely I think, the horizontal/linear aspect of the voicing looked very sound to me, though I admit I didn't really examine closely.

Also: Marius REALLY needs to check this out.

The recording:

Too much gain. It's needs a little more compression. You know what I mean when you listen near the end of the first movement. *BUZZZZZZZ*** Flute was the big offender in the 3rd movement.

I am in love with your sound. I want it. Do you do trade-ins? Nice cheat breath in 4th horn at the beginning of Nellie. I noticed a half-flubbed note and only two or three noticeably out of tune notes. Phenomenal. How many takes did you do? Just one each, or more?

The quality of the horns' sound was amazing, what exactly was the mic placement when you did this? I can't figure it out for the life of me. Also, I noticed you didn't observe the fermatas. Neu

Well... James said about 4 times more of what I could have thought of...

So I'll just add that at 1st I didn't read the whole post, I just began hearing the music.

I said to my self... the preformance is not that good... but then I read that you did it all...... ALONE! :)

That's something to look upto my friend.