this genuinely sounds like it could be the soundtrack of movie it's insanely good, also 4:54 onwards sounds like it could be in star wars lol love the work!!
Sympa ! Ça fait plaisir d'entendre des pièces plus longues. Comme d'habitude de très bonnes idées, une musicalité qu'on ressent. Pense à écouter des pièces orchestrales avec les partitions pour comparer ton écriture et celle d'autres compositeurs, notamment sur la distribution et les façons d'écrire pour chaque instrument pour t'améliorer sur la jouabilité :)
Merci beaucoup !! J'avais déjà écrit à 1:10 le cor bouché avant que tu me dises que c'était pas très réaliste😅 (mais c'est le cuivre qui sonne le mieux sur musescore)
Very effective writing from a harmonic and melodic standpoint. You're managing the theatrical landscape very well. Your orchestration, though, presents some impractical challenges. Assuming you want feedback: Your timpani part, at first glance, seems unplayable with even five drums. Timpani are not chromatic instruments in common practice. I'm assuming the "+" in trombones indicates muted, though the same notation for horns is for a stopped effect. Better to indicate "mute" than use a "+". You notate "legato" over notation that has staccato marks. You have fermati in some parts and not others. Glissandi in horns versus trombones and strings are very different sounding in reality. Additionally, your trombone glissandi are impossible. The flute and alto flute tessitura are so low at times that in a live performance, without mics, they will have difficulty being heard. Speaking of those instruments, what do you want for the slash notation in the beginning? A flutter tongue? That needs to be explained in the score as it isn't common notation. Low piccolo is also not a strong enough voice to compete with the string section, especially against an active texture. Bass flute is never a strong voice. Scoring around it takes great delicacy and transparency. You take the trombones and horns into three-part harmony after spending much of the work in unison (some horn divisi) lines. That distribution of resources is something you could/should have managed in the first 2/3rds of the work. Orchestration is challenging, especially when the software will overcome impractical composition for a live ensemble. Get to know the instruments' unique qualities and limitation to avoid writing impractical parts. And don't feel bad - there are a number of great motion picture composers whose parts had to be rewritten by the musicians at the recording sessions because they were impractical.
this genuinely sounds like it could be the soundtrack of movie it's insanely good, also 4:54 onwards sounds like it could be in star wars lol
love the work!!
Thanks ! I think it's because it's similar to the chord progressions of Darth Vader theme.
Your use of time signature really helps bring out the emotion in this piece. Bravo!
Thank you! It sure was a mess to compose in 5/4.
I like the journey that you made in this music! keep up the good work!!
Magnificent
Sympa ! Ça fait plaisir d'entendre des pièces plus longues. Comme d'habitude de très bonnes idées, une musicalité qu'on ressent. Pense à écouter des pièces orchestrales avec les partitions pour comparer ton écriture et celle d'autres compositeurs, notamment sur la distribution et les façons d'écrire pour chaque instrument pour t'améliorer sur la jouabilité :)
Merci beaucoup !! J'avais déjà écrit à 1:10 le cor bouché avant que tu me dises que c'était pas très réaliste😅 (mais c'est le cuivre qui sonne le mieux sur musescore)
@@Marshoyen Oui le cor bouché et forté dans ces tessitures c'est assez irréaliste. Sur Musescore le cor est vraiment très propre niveau sonorité oui !
@@philhaemusic La logique voudrait que ce soit des trompettes à la place j'imagine
@@Marshoyen Pas nécessairement, ça dépend du timbre voulu. Il n'y a pas de "logique" absolue :)
Love the longer composition. Thank you for this lovely music!
Very effective writing from a harmonic and melodic standpoint. You're managing the theatrical landscape very well. Your orchestration, though, presents some impractical challenges. Assuming you want feedback:
Your timpani part, at first glance, seems unplayable with even five drums. Timpani are not chromatic instruments in common practice.
I'm assuming the "+" in trombones indicates muted, though the same notation for horns is for a stopped effect. Better to indicate "mute" than use a "+".
You notate "legato" over notation that has staccato marks.
You have fermati in some parts and not others.
Glissandi in horns versus trombones and strings are very different sounding in reality. Additionally, your trombone glissandi are impossible.
The flute and alto flute tessitura are so low at times that in a live performance, without mics, they will have difficulty being heard.
Speaking of those instruments, what do you want for the slash notation in the beginning? A flutter tongue? That needs to be explained in the score as it isn't common notation.
Low piccolo is also not a strong enough voice to compete with the string section, especially against an active texture.
Bass flute is never a strong voice. Scoring around it takes great delicacy and transparency.
You take the trombones and horns into three-part harmony after spending much of the work in unison (some horn divisi) lines. That distribution of resources is something you could/should have managed in the first 2/3rds of the work.
Orchestration is challenging, especially when the software will overcome impractical composition for a live ensemble. Get to know the instruments' unique qualities and limitation to avoid writing impractical parts. And don't feel bad - there are a number of great motion picture composers whose parts had to be rewritten by the musicians at the recording sessions because they were impractical.
Very delicious