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I believe this is one of my most emotional composition,聽 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 馃檪

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Posted (edited)

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?聽lol just curious聽馃槃

Edited by CalibriStandard
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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聽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聽with the various timbres of the orchestra. Through the crashing waves and pulsing currents, I caught some echoes聽of Mendelssohn鈥攑erhaps an influence of yours?

If you're up聽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聽better聽what to do with the string聽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.聽

So how聽do聽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鈥攁nd sending chills down your listeners' spines. During聽tutti聽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聽do聽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聽like聽to have see more viola-driven melodies鈥攂ut, hey, we're used to being overlooked.聽馃槀)

Sorry for all the wordiness in my criticisms鈥攎akes it seem like I hated the piece. I actually really,聽really聽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!

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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 馃檪

Best wishes,

Sam

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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!

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