The Sea Symphony

I believe this is one of my most emotional composition,  with a bit of asian taste in it. I was inspired by a few sea paintings I saw in the net. Hope you guys enjoy it ! (and suggestions as usual plss 🙂

Very soothing melody. I might suggest you add some chords or accompaniment in the woodwinds at measure 18 with the cello melody to give it a more "full" sound. Also, what are your thoughts on the Sibelius program? lol just curious 😄

Edited July 16, 20196 yr by CalibriStandard

I think Sibelius is quite good tbh, at least for me

Thanks! 

To be honest, I don't normally listen to pieces longer than 2 or 3 minutes posted on here, but I had to listen to yours the entire way through! You didn't rely heavily on key and time signature changes to drive your piece (a common practice among modern composers, it seems), and for that I congratulate you heartily! The thematic development was handled expertly, and I loved the way you repeated the motifs with the various timbres of the orchestra. Through the crashing waves and pulsing currents, I caught some echoes of Mendelssohn—perhaps an influence of yours?

If you're up for some advice... please read on.

The woodwinds. For whatever reason, new-to-the-scene orchestral composers don't seem to know what to do with them. (Trust me, I'm right there with you.) Or it's probably more accurate to say that we know better what to do with the string and brass sections, which largely carried the melodies/harmonies in your piece. I noticed that when you did use winds, they almost always doubled what was happening in the string/brass section. Forgive the pun, but that will drown them out. While I'm composing, I have to stop after each phrase to see if I've "left out the woodwinds again." You might find that practice useful, as well. 

So how do you use woodwinds? Remember that they're very versatile and they have a wide range of beautiful timbres the other sections can only dream of having. A solo passage with any of the main winds (flute, oboe, clarinet, bassoon) can be a very effective way of developing your themes—and sending chills down your listeners' spines. During tutti passages (where leaving the woodwinds out just seems inconsiderate) you might think about having the woodwind section play alternate rhythms from the rest of the orchestra. For example, if the tutti passage is mostly half or quarter notes, have the woodwinds play some counterpoint in eight or sixteenth notes. Nothing too "out there," or you'll ruin the effect, but I think you'll find it really thickens the passage. If you do choose to keep the woodwinds in the same rhythm structure, at least minimize how much doubling they'll be doing. Give them cool harmonies of their own!

Don't forget to post a transposed score on here. It's a simple button click with Sibelius, and I'm sure was just an oversight on your part. The horn and trumpet parts were pushing the limits of their upper registers, but still seemed very playable. (I must say, as a violist, I would like to have see more viola-driven melodies—but, hey, we're used to being overlooked. 😂)

Sorry for all the wordiness in my criticisms—makes it seem like I hated the piece. I actually really, really enjoyed it, and I think you show tons of promise as an orchestral writer. You're obviously very gifted at writing music that connects with the human soul (mine, at least). I look forward to watching your distinct musical voice develop and hearing more of what you've written!

Dear Tonskald,

Thank you so much for you great great great advice !!! And your kind words really motivated me to compose more music ! I must confess I'm not a professional composer myself so I might be lacking a bit of composition techniques. However, it is a hobby and I won't let anyone stopping me compose more and more music ! Thanks for you advice again 🙂

Best wishes,

Sam

Well, I love your attitude and wish you the best of luck! 

You too 🙂

I reminds me the soundtrack of an epic movie. I love the main theme played by Frensh horn at the begining and then by the cello, which actually are my two favourite instruments.

Well done Samuel!

thank you 🙂

Absolutely love this! Very clear melodies and some beautiful harmonic work. 5 stars!

I thought it was very nice. I think you need to venture out a little in your orchestration. Reading through some Tchaikovsky and Rimsky-Korsakoff scores would give you an idea of what the orchestra is capable doing. Be bold.

It is nice to listen to, but I would expect some more polyphony and creativity in orchestration, just as John Joe Townley pointed out.

It's a really nice style. Overall I like it. I think the orchestration could do with a bit of work. As I wind player, I enjoy writing for the section. Would YC benefit from a thread about wind writing?