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I'm working on a new piece and trying to go a bit further in scale more than what was heard in "The Return of Gaia" First here are the chords I'm working with:

Cm, Am, Ebm, F#m, D, Ab, B, D, Dm, D#

Now here here are the chords I've created in progression thus far (Picture below if you can see it.)

Questions:

1.) Would it be wise to repeat the entire progression from the beginning after the last chord? 

2.) The chords in the picture are all Legato Strings, now immediately after the last chord, would it be a good idea to repeat that same progression on a different instrument? Or keep the strings going?

3.) If I were to keep the strings going would it be wise to go back to an ascending or descending progression? Or kinda keep it balanced and introduced new instruments?

 

20160916_152340.jpg

Edited by LostSamurai
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Kickstarter Project for Music Jotter begins May 10th. Write music on the web or desktop computer.
Has Midi Scrubbing & Easy Tuplet Entry.
Get BIG discount as a Kickstarter supporter. No monthly subscription fees. Follow the campaign today!

The playback option is glitching out; I can't play it. Is there any way to edit it to work? I'll try to answer your questions.

1) You could, if you have a melody or countermelody you want to add on top of that, as a development.

2) Keeping the strings doing the same thing again will make them bored and can sound boring as well. You're going to want to change their articulation or arpeggiate them or something.

3) I'm not sure if you actually mean an "ascending chord progression" as you call it; you probably mean something more like the orchestration rising as you go. If that's the case, I don't know why you couldn't do both. The end of the second movement of Scheherazade is a good example of this. 

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I could liste to it clicking "chords preview".

The chord progression is interesting, in fact it doesn't attach to a particular tonality. I'm not accostumed to see the scores this way but, if I didn't read anything wrongly, the progression is (reinterpreting lots of enharmonies):

Cm - Am - Ebm/Bb - F#m/C#

Cm - Am - Ebm - F#m

D - Ab/C - B/D# - D

Dmaj7 - Dbm - Ab/C - F#m - Am

 

The question is going over to wha your idea is. If this is something that wals with some sort of images (video, game....), then it might be OK repeating the whole sequence exactly. But if you want this to be a piece by itself (music only) then I wouldn´t repeat it exactly. You would have two choices:

1. Consider this as the INTRO of something, just to establish your harmonic background, and then start with something different, according to the style you've shown. Different in chords, melody, orchestration, whatever.

2.Consider this as the A part of something, and write the part B, also different. Probably, after that, I would write a reexposition of the A part with a melody added, or with some more changes.

 

Well, the possibilities are endless, and the key, I think (well, the experts say): repetition and variation.

 

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Don't worry so much about this stuff for the time being. The questions you ask are basically meaningless because they are based on a lack of knowledge - in the same way the answers you get will be mostly meaningless to you because you have neither a map nor a compass. If you don't know where you are or where you're going, not even precise coordinates will do you any good.

To put it another way, you have just fallen headfirst into the ocean, the first time you have ever become immersed in any kind of liquid. Surprised at this upsetting and awesome sensation, your first thoughts should not be: what is the liquid's viscosity, what is its buoyancy, what is its chemical makeup, should I swim using a backstroke or a breaststroke? Relax… try moving your muscles a bit, observe the liquid's texture and taste, allow yourself to be intoxicated by the weightlessness. After that, go to a local swimming pool and try swimming in chlorine water. After that go swim in a freshwater lake. If you're adventurous, swim in quicksand. Make a pilgrimage to the Dead Sea. Only after you realize what water is at its core, by progressively comparing the different manifestations of it until you arrive at a reasonable lowest common denominator, can you even begin to understand questions about the nature of liquids. Read as much as you can, talk to as many musicians as you can, don't be afraid to make a fool of yourself, most importantly: listen, listen, listen.

I hope my meaning wasn't confounded. I have a sickness. 

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While it is mainly true and is most noticeable is that I am an illiterate composer (which is fine as several multi-million world wide known composers are)

My style is very unique and strangely abnormal to most which is fine but I'm happy to be among those who can help guide me along the lines. I thank you all for offering advice and answers but rest assured I am not a quitter and orchestration, although I'm not entirely what most would expect, is very dear to me. 

@Gylfi

Hahaha I really appreciate your advice as I can see where you are coming from. I've listened to a lot of you guys stuff among others on here and I'm in awe at the different styles you guys have and it's all very inspiring. 

You guys will definitely see some improvements from me and with an accompanying abnormal style I use there will be grand displays of my music I hope you guys will have the pleasure of enjoying.

Edited by LostSamurai
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