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The Triumph of the Bookworm


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Wrote this last night, I'm kind of excited about it. Anxious to hear what you guys think.

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Your writing reminds me of Danny Elfman a lot, which is a big compliment in my opinion.

Your instumentation feels precise, as if it creating a very particular soundscape. This might be very useful if you ever decide to composer for movies, as you can relate settings and situations from the plot to the soundtrack's elements.

I just find the harp part a bit repetitive. Also, it would possibly be drowned if the piece was being played by an actual orchestra.

Just out of curiosity: how do you write? Straight into a DAW?

Congratulations on your work, this was a very good job.

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I'm a sucker for chromatic stepwise chord progressions... this piece warmed my heart. The middle section (with the staccato woodwinds) emerged beautifully and naturally from the first section. I also liked how you gradually introduced the "dramatic" instruments—brass and snare. The crescendo to the end was well done, and I especially enjoyed the horn fanfare at the end (which will be much louder if performed by a live orchestra).

I would have liked to have seen a reprise of the harp part at the beginning, perhaps re-orchestrated for a louder, more complete development of that theme. But overall, I really liked how it spoke to the triumph of the "weak" over the "strong." 😊

Nice writing! Very emotional and driving, but still interesting enough to keep my interest. Keep it up!

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On 11/3/2019 at 6:45 PM, Gregory Carnage said:

Great writing, very interested to see how it is scored. It sounds like it would fit a soundtrack for a film. Kind of reminds me of a "at the library" type of scene. I think the ending could use a little bit more instrumentation if you are trying to go for a full finale. 
 

 

I'm going to research how to get one out of my DAW, you guys deserve that.

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On 11/3/2019 at 8:51 PM, Jean Szulc said:

Your writing reminds me of Danny Elfman a lot, which is a big compliment in my opinion.

Your instumentation feels precise, as if it creating a very particular soundscape. This might be very useful if you ever decide to composer for movies, as you can relate settings and situations from the plot to the soundtrack's elements.

I just find the harp part a bit repetitive. Also, it would possibly be drowned if the piece was being played by an actual orchestra.

Just out of curiosity: how do you write? Straight into a DAW?

Congratulations on your work, this was a very good job.

 

Thank you, I love Danny Elfman.

Thanks, I am researching instrumentation right now along with some other things.

That's true, I didn't really think about how it would be played by an actual orchestra. As for the harp I see what you're saying. I started composing the song with just that framework to cling to at the beginning and I knew I didn't want it for the whole piece, maybe I kind of lost track of it.

 

Yes just straight into a DAW.

thank you jean. You are awesome!

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23 hours ago, Tónskáld said:

I'm a sucker for chromatic stepwise chord progressions... this piece warmed my heart. The middle section (with the staccato woodwinds) emerged beautifully and naturally from the first section. I also liked how you gradually introduced the "dramatic" instruments—brass and snare. The crescendo to the end was well done, and I especially enjoyed the horn fanfare at the end (which will be much louder if performed by a live orchestra).

I would have liked to have seen a reprise of the harp part at the beginning, perhaps re-orchestrated for a louder, more complete development of that theme. But overall, I really liked how it spoke to the triumph of the "weak" over the "strong." 😊

Nice writing! Very emotional and driving, but still interesting enough to keep my interest. Keep it up!

 

Thank you. I think what I am struggling with right now is the ability to complete my musical thoughts. Music theory should help.

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It's a nice piece, easy to see why people have commented on its cinematic potential. In real life the opening harp would be a lot quieter but that doesn't matter here. The harmonic flow is interesting, engaging, and I love the strings during the woodwind figuration - sounds as if the violins are doubling the cellos at 2 octaves and briefly 3 at some point (unless my ears are deceiving me). That gives it an ethereal quality but perhaps should be a little louder. Also to mention the way you gradually bring in the instruments toward the end to build up the density.

Well, if you're working without too much theory, you're a natural for orchestration. Your intuition has served you well. The spacing between the lines is very well worked out - a large space between the bass and the next line up and so on. Your piece has a clarity about its mood.

Very well done. 

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5 hours ago, Quinn said:

It's a nice piece, easy to see why people have commented on its cinematic potential. In real life the opening harp would be a lot quieter but that doesn't matter here. The harmonic flow is interesting, engaging, and I love the strings during the woodwind figuration - sounds as if the violins are doubling the cellos at 2 octaves and briefly 3 at some point (unless my ears are deceiving me). That gives it an ethereal quality but perhaps should be a little louder. Also to mention the way you gradually bring in the instruments toward the end to build up the density.

Well, if you're working without too much theory, you're a natural for orchestration. Your intuition has served you well. The spacing between the lines is very well worked out - a large space between the bass and the next line up and so on. Your piece has a clarity about its mood.

Very well done. 

 

Thanks Quinn. Yes, it starts at 2 octaves and as it builds up intensity I add a third.

Thanks for all your kind words. The cliche of the tortured asshole composer is totally not true, all of you guys are super cool.

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