Spoiler
Piano Concerto No. 1 in D Minor, Op. 13
I figured I'd just give it a shot, This is my most popular orchestral composition at the moment, but is easily not my best when compared to my other music I'm currently working on.
Mov. I - http://www.mediafire.com/file/mmtzhdmmlwm/1. Allegro.MUS (http://www.mediafire.com/file/mmtzhdmmlwm/1.%20Allegro.MUS)
Mov. II - http://www.mediafire.com/file/dwkm0mztjni/2. Adagio.MUS (http://www.mediafire.com/file/dwkm0mztjni/2.%20Adagio.MUS)
Mov. III - http://www.mediafire.com/file/5igumk4d3oz/3. Allegro-Presto.MUS (http://www.mediafire.com/file/5igumk4d3oz/3.%20Allegro-Presto.MUS)
String Quartet in D, Op. 10 (http://www.youtube.com/watch?v=CcnpiP4gdaM&feature=PlayList&p=81133C11E8C8B0FA&index=0&playnext=1)
Symphony No. 4 "Civility" in C Minor, Op. 22
This is my greatest work to date.
YouTube (http://www.youtube.com/watch?v=K1_tLAxNpsE&feature=PlayList&p=2F105E01B59C6576&index=0&playnext=1)
MUS Files (http://www.mediafire.com/file/4y0njqk21yo/Symphony%20No.%204%20in%20C%20Minor,%20Civility,%20Op.%2022.zip)
Grand Galop Chromatique (http://www.youtube.com/watch?v=AfHOfaUyJ6k)
Cello Concerto
I. Allegro non tanto (http://www.youtube.com/watch?v=fyYT3BkHdL0)
II. Adagio semplice (http://www.youtube.com/watch?v=a1PbPRamFZE&feature=related)
III. Allegro con brio (http://www.youtube.com/watch?v=dcRYfGFR0kk&feature=related)
Barbaric Dance No. 1, "Dance of the New Age" (http://www.youtube.com/watch?v=rEbVcTSebBo)
Ragtime
Summer (http://www.mediafire.com/?d5bb9ndhni1rlrl)
Autumn (http://www.mediafire.com/?c3ii29mlw7cs8em)
Winter (http://www.mediafire.com/?bsuoumx5atbmza2)
Spring (http://www.mediafire.com/?qd9t8p27dy89t12)
Apollo, Bringer of the Sun
YouTube (http://youtu.be/hDphydCulHo)
MUS (http://www.mediafire.com/?uay2megl32sk5rz)
This is a symphonic poem that chronicles the journey Apollo takes as he carries the Sun across the sky, and its effects on the Earth below. Each phase is signaled by the chiming bells, marking the time.
I. Dawn - It opens with the break of twilight, the light flickering across the sky. Apollo's arrival is signaled and the sun begins to rise with an exclamation as the world begins to stir.
II. Morning - The world is alive and moving, the orchestra plays a pastoral theme, with the horns singing out in praise of Apollo.
III. Noon - The Sun takes its place at the top of the sky, and the Earth below feels its brutal heat.
IV. Afternoon - The Sun makes its down from its peak, and the children are outside at play. Marked by the winds and a light nature, the orchestra relates this brief scherzando with a climax as the Apollo begins to make his leave.
V. Sunset - The Sun begins to set, with a reprise of the sunrise, the orchestra majestically bids Apollo a farewell as the light begins to leave the sky.
VI. Night - The Earth lies calm as the people settle in their home for the night. A simple motif acts as a psuedo-lullaby that lulls the Earth into its slumber.
VII. Dusk - The Earth is cast in its darkness, the Night is full, and a final tension is released with the Moon taking its peak.
Fantasy for Organ
MUS (http://www.mediafire.com/file/e32xjqhvql0k1le/Fantasy%20for%20Organ(softsynth).mus)
YouTube (http://www.youtube.com/watch?v=75pAqL9nzOk) Be sure to listen to this, it sounds much better than Finale's stock organ sound.
New Year's Festival Oveture
MUS (http://www.mediafire.com/?a2x53pqn25usg31)
YouTube (http://www.youtube.com/watch?v=j0fnG1e-hQ4&feature=youtu.be)
Playlist (http://www.youtube.com/watch?v=5mb7guzc9WQ&list=PL81398C6A59B2D194&feature=plpp_play_all)
Six Waltzes
No. 1 in C (https://www.dropbox.com/s/qekhxbjgyznosig/No.%201.mus)
MUS (https://www.dropbox.com/s/me1y38buab7hald/Polonaise%20in%20D%28s%29.mus)
The Legend of Atlantis
Score (https://www.dropbox.com/s/zvjref6gyy3b3l2/Atlantis.pdf) ZIP (https://www.dropbox.com/s/tpgx9kqy1pm57ju/12%20Short%20Pieces%20for%20Piano.zip?dl=0)
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I'm trying my hand a scoring for a video game, check out some of my drafts:
VG Draft Playlist (https://soundcloud.com/maestroz-1/sets)
I would just like some feedback, whether it be good or bad, as it would greatly help my writing, or at least fix some problems.
So, I've written a string quartet, anyone interested?
String Quartet in D, Op. 10 (http://www.youtube.com/watch?v=CcnpiP4gdaM&feature=PlayList&p=81133C11E8C8B0FA&index=0&playnext=1)
As you've heard before, it all sounds awesome!
You could improve your piano skills. Since it's a piano concerto, it would be much more impressive if you include some 16th notes. The string quartet is great.
IT IS DONE!
Symphony No. 4 "Civility" in C Minor, Op. 22
This is my greatest work to date.
YouTube (http://www.youtube.com/watch?v=K1_tLAxNpsE&feature=PlayList&p=2F105E01B59C6576&index=0&playnext=1)
MUS Files (http://www.mediafire.com/file/4y0njqk21yo/Symphony%20No.%204%20in%20C%20Minor,%20Civility,%20Op.%2022.zip)
Commentary is desired, be it good or bad.
I'm gonna have to look at this tomorrow :P I'll leave my comments then.
Really...no commentary?
Sorry, I'll have to look at it when I get time. I've been busy :P
Honestly? I had to will myself to listen to it. There are obviously some good elements that you are building and working on, but overall it just sounds too much like borrowed phrases and a bit immature for being so long.
Okay then, I thank you for your criticism. I'm curious as to what you mean by "borrowed phrases."
YouTube's being extremely retarded today and I'm not able to access the MUS atm, :P add another day for me
I actually thought that it sounded really good, to be honest. My main problems were that some phrases were just a bit too repetitive. It almost seemed like they were repeated for the sake of lenght of the piece. If you were to chop out a bunch of those situations where its the same thing over and over for 10 measures, or perhaps find a better means of linking the different phrases together in a manner that actually uses that time span efficiently, this will be an absolutely beautiful piece. The criticizing part of this is mainly directed toward the first movement, but it holds true in the other pieces. I think the second movement had the same issue. I though the fourth movement was very well paced, everything linked perfectly (not as repetitious, but still a factor in this one too) and I really thought the end was beautiful. The third piece was magnificient. I liked the fast elements, and thought the repetition in it was either non-existant or worked well with the piece. This is just a word of what I have noticed in difficult music (grade 5-6). That it holds the same theme throughout; doesn't really deviate from the 2 or three themes contained within. This makes it easier to play for actual musicians while still maintaining difficulty. So, if you feel its absolutely necessary to make multiple repeated phrases, stick 'em in faster pieces. That is my ameteur perspective on it. Overall, I give this good marks. I definately enjoyed listening.
...what he said...
Just realized a little motif you could use though... like what Nintendo does...
If repeating becomes a problem, spread it across the other songs, and change the key. It then shows originality in different languages.
Nintendo's done this in many games: Super Mario World, Super Mario 64, Super Mario Galaxy, Super Smash Bros Brawl, and they even deviated the SMB theme.
But, if you wanna keep the repetition, go ahead! If it's your style, keep it.
Quote from: MaestroUGC on March 17, 2010, 09:00:14 PMReally...no commentary?
I have already commented on youtube, but of course I must comment on NSM too.
I really feel honored that this symphony is dedicated to me. :D
Hence I am not allowed to critisise it. I do not really think it's too repetitive, but on the whole it seems a tiny littly bit too long.
I don't advise you to change it, keep it that way.
Quote from: dahans on March 31, 2010, 01:56:38 AMHence I am not allowed to critisise it. I do not really think it's too repetitive, but on the whole it seems a tiny littly [little :P] bit too long.
xD thanks but that was just a typo. I know the word little^^. xD
however, well done Maestro!^^
While I can't play like Cziffra (http://www.youtube.com/watch?v=tmq5JBpFf9w); I can give my own interpretation of this incredible piece.
Grand Galop Chromatique (http://www.youtube.com/watch?v=AfHOfaUyJ6k)
Orchestrated by yours truly.
I have already told you on MSN, sounds great!
You release these a little late after you show us :P Is there any reason why?
Once again, it brings back memories.
Eh...I had to tweak a few things.
Ah.
Hmm, well I've written quite a bit, and arranged as well, and I'd like to think I've imporved, but I'll let the public decide.
Here is a Cello Concerto I finished back in December. Written for, and dedicated to a good friend of mine.
I. Allegro non tanto (http://www.youtube.com/watch?v=fyYT3BkHdL0)
II. Adagio semplice (http://www.youtube.com/watch?v=a1PbPRamFZE&feature=related)
III. Allegro con brio (http://www.youtube.com/watch?v=dcRYfGFR0kk&feature=related)
More to come later, including:
The first part of a trilogy of symphonic dances
Some Nintendo orchestrations
An orchestration of a nearly impossible piano piece
A little ragtime
A batch of nocturnes
and an Arrangement of a popular piece by Bach.
Hmm, let's try something new.
Barbaric Dance No. 1, "Dance of the New Age" (http://www.youtube.com/watch?v=rEbVcTSebBo)
This is the first of the symphonic dances, the other two being "Dance of Life" and "Dance of Death".
Enjoy.
About a year ago I found myself listening to a great amount of Scott Joplin. One day I said to myself, "That sounds like fun, I think I'll have a go at this ragtime music." And so I did. Here a four pieces in the ragtime, after the style pioneered by Joplin, one for each season:
Summer (http://www.mediafire.com/?d5bb9ndhni1rlrl)
Autumn (http://www.mediafire.com/?c3ii29mlw7cs8em)
Winter (http://www.mediafire.com/?bsuoumx5atbmza2)
Spring (http://www.mediafire.com/?qd9t8p27dy89t12)
Enjoy.
I too have been listening to alot of Joplin lately! Here's what I think, being completely honest: VERY BORING. All of your pieces had no key change at the trio, contributing to the problem of making them sound too long. At times there is more repetition of previous things than new ideas, which also makes things feel static. There aren't any really strong resolutions or nice cadences that separate section from section. A solution to these things would be to rework some of your voice leading. Also, I think you tend to over complicate things at times, when really ragtime pieces are rather simple.(less is more!)
As for tempo, Joplin would often write on his pieces "It is never right to play 'ragtime' fast." . I think that your Spring rag would be much better at a slightly slower tempo. On the other hand, I think your winter rag is too slow to be that long. Personaly, I like the tempo, so I would consider just cutting the piece in half.
Your left hand parts are pretty good as they are, but you can add more if you want. You can do more than just "root-chord-5th-chord" and "root-chord-chord-5th". Who's to say that the bass won't get the melody for a bar or two? Just sayin'. Oh, and before I forget, that last chord in the left hand of the autumn piece(which's title is easilly confused for a jazz standard)sounds really muddy down there-Chords below F2 don't sound that good on the piano, imo.
hope this helps!
Thank you. This was my first atttempt at writing ragtime, so I know there are a couple of things wrong with them. Yes, the trios lack a key change, this was due to my own oversight of an obvious trait. The complication thing, well that's just how I work. I typically write orchestral music, so working for smaller forces tends to result in moments like these.
I picked those tempos because they fit the pieces in question. Yes, Joplin said never play ragtime fast, but I'm not looking to totally cop his style. The Spring Rag I treated with a more Stride piano feel, since Stride evolved from ragtime, I thouigh it would be fitting that the last in the set reflect the transformation of the style. Winter was my nod to Joplin's "Bethena Waltz", a slow ballad that I think is his best piece. If it drags on, you can cut the repeats and it'll still work fine, as with all of the others.
The left hand chord thing, eh. That last chord of autumn I think is fine, I like it with those low resonating chords on the piano, always have. Just my personal style. Thanks again.
Hot of the press (by press I means I just put it on YouTube), I give you:
Apollo
"Bringer of the Sun"
YouTube (http://youtu.be/hDphydCulHo)
MUS (http://www.mediafire.com/?uay2megl32sk5rz)
This is a symphonic poem that chronicles the journey Apollo takes as he carries the Sun across the sky, and its effects on the Earth below. Each phase is signaled by the chiming bells, marking the time.
I. Dawn - It opens with the break of twilight, the light flickering across the sky. Apollo's arrival is signaled and the sun begins to rise with an exclamation as the world begins to stir.
II. Morning - The world is alive and moving, the orchestra plays a pastoral theme, with the horns singing out in praise of Apollo.
III. Noon - The Sun takes its place at the top of the sky, and the Earth below feels its brutal heat.
IV. Afternoon - The Sun makes its down from its peak, and the children are outside at play. Marked by the winds and a light nature, the orchestra relates this brief scherzando with a climax as the Apollo begins to make his leave.
V. Sunset - The Sun begins to set, with a reprise of the sunrise, the orchestra majestically bids Apollo a farewell as the light begins to leave the sky.
VI. Night - The Earth lies calm as the people settle in their home for the night. A simple motif acts as a psuedo-lullaby that lulls the Earth into its slumber.
VII. Dusk - The Earth is cast in its darkness, the Night is full, and a final tension is released with the Moon taking its peak.
Criticism is welcomed, this was written over the course of four nights, not consecutively.
Yes, the title is a nod to Holst.
Nice piece. This piece seems to be very melodic driven. Most of the other parts sound like accompaniment. Did you mean for this to be the design? The few contrapuntal moments do draw ones ear because of their scarcity, which has a nice effect in itself.
For the most part this was written as if it was background music, incidental music. I approached this in the same manner I appraoched another symphonic poem of mine (which will not be seen for some time, if ever, here) which was story based. I've gotten to the point in which I will only employ whatever I need to make the music work, which only took about four years to realize. Better late than never.
These are epic, let me say. But they don't sound... Midi-ish. They are live recordings aren't they? If they are, how did you do it? That's pretty sweet.
Haha, thanks, but no these aren't recordings. I used Garritan Personal Orchestra to simulate the sounds you heard. It's the closest thing I found to a real orchestra, and since I don't have the luxory of a real orchestra to perform/record my music, this is the best I can do. I used this program for two years now, so I've figured out the right levels for everything involved, or nearly enough, to make sound as close to a real orchestra as possible. The only thing I can't duplicate is the voice, but it is much easier to find a couple of vocalists that it is to gather an orchestra.
Wow. That is AWESOME!! I can't believe I've been around and haven't even heard about something like that! Thank you! Thank you! Thank you! Thank you!
Sure thing, I should let you know that the program costs around $150 or so for the current package. I bought it mainly for the soundfonts and you can use the with Finale and such. I'm not quite sure how to connect them, but when I installed Finale on my laptop, Garritan was already installed and the soundfonts were ready to go. I know that the full Finale products have some of these instruments, but it is really watered down.
Thanks for the info. I can't afford anything like that now, but it's helpful to know details. Because I have a feeling that I'm going to get it in the future. Again, thanks. ;)
So here is a piece I wrote last summer, I had been meaning to get it out there, but it got buried under my larger projects/arrangements. The Fantasy
MUS (http://www.mediafire.com/file/e32xjqhvql0k1le/Fantasy%20for%20Organ(softsynth).mus)
YouTube (http://www.youtube.com/watch?v=75pAqL9nzOk) Be sure to listen to this, it sounds much better than Finale's stock organ sound.
Also, does anyone here speak Russian?
Happy New Year everyone! Here is a piece I wrote to celebrate New Year's Eve tomorrow. I would've waited until tomorro to release this, but I doubt I'll be even near a computer tomorrow. This piece has influences from a few Russian Composers, bonus points if you can name them. I suggest you give the YouTube video a listen for a higher quality audio. Enjoy!
New Year's Festival Overture
MUS (http://www.mediafire.com/?a2x53pqn25usg31)
YouTube (http://www.youtube.com/watch?v=j0fnG1e-hQ4&feature=youtu.be)
Oh hey, I have something new...ish. You might've seen this in my Arrangements thread, but I'll post it here for consistency's sake.
Symphony No. 1 in F minor
Playlist (http://www.youtube.com/watch?v=5mb7guzc9WQ&list=PL81398C6A59B2D194&feature=plpp_play_all)
Comments would be much appreciated.
If I may ask, how long have you been composing and how did you get into it?
I've been writing since...freshman year of high school, so about 6 years now. I mainly got into it because I thought it was something I could do; a "why not?" kind of thing.
I see. Do you study music now?
Yes I do.
How do you normally do when composing? Do you work with ideas in your head and write them down? Do you improvise at the piano or another instrument?
A mix of both, sometimes I will improvise on the piano, or I'd just have something come to me. But I usually do most of the refinement on paper.
Same for me, I sometimes get lots of ideas out of nowhere (especially when trying to fall asleep which makes lots of sense as there aren't many distractions plus you are more creative when lying down (the amount of nonadrenaline produced is lower compared to when standing up which seems to be the scientific reason)). I also improvise at the piano when I feel for the need. Most often I play around with different modes (dorian, phrygian, lydian, mixolydian and aeolian mainly) and different chord progressions (often based on the mode). Sometimes I find musical ideas that sound good or even really good. It seems like the better I play piano and the more I practice improvising the better the ideas get.
The thing is that I need a better ear to really be able to keep the ideas and work with them. In the case of improvised ideas on piano it's possible for me to record them as I've got a digital piano and I can record midis which I can work with. I should try that out as the ideas can be easily be forgotten and I also have difficulties finding the correct rhythm to notate. In the case of ideas from the head it's more difficult as they come quickly and disappear quickly so a good ear is a must (especially as these ideas are more complex and varied). Anyways, time for some ear training.
I wrote a waltz a few weeks ago.
First of six.
No. 1 in C (https://www.dropbox.com/s/qekhxbjgyznosig/No.%201.mus)
I'm thinking of calling it "The Gala at Sea", I don't know, I'm not good with names.
Holy crap I love it!
The Gala at Sea was a pretty good name too :P
Oh this was excellent! It made me want to go on a cruise and watch the waves roll by and smell the ocean as a nice breeze passes through... makes me feel of summer.
I really loved this. An elegant, bouncy waltz. Two thumbs up.
Thank you and thank you.
See, I can write normal piano music.
And I think A Gala at Sea is a perfect name, hence the whole "oh a summer cruise" vibe I got from it.
Dang, I miss warm weather.
I don't. I live in Texas, warm is all we got.
NJ is slapping us all in the face with cold at the moment, and it's not helping my sickness. I'll take that warmth.
This song made me really want to write a visual novel with this music playing in the background when you meet/talk to a specific character.
Too bad all of my story ideas are lame and I can't actually make any appealing visual art!!!!
Quote from: Jub3r7 on February 05, 2013, 06:21:23 PMThis song made me really want to write a visual novel with this music playing in the background when you meet/talk to a specific character.
HOLY MOTHERF**CKER YEEES!!!! :D :D
GET TO IT!!!!!Quote from: Jub3r7 on February 05, 2013, 06:21:23 PMToo bad all of my story ideas are lame and I can't actually make any appealing visual art!!!!
Have you ever watched Welcome to the NHK? You see, there's a solution to that problem in there.
Trying not to sound like a dick:
Those repeated 8th notes at that speed aren't very pianistic. Also you are hitler for those middle/pinky trills.
Fair enough.
But dont call me Hitler.
:J
I finished this little Polonaise I've been working on for a week and a half now.
Polonaise in D
MUS (https://www.dropbox.com/s/me1y38buab7hald/Polonaise%20in%20D%28s%29.mus)
I see good ideas, but not very good execution of those ideas...I have a couple questions:
-Where is the climax of the piece?
-There is a big cadence at 130, but it is very weak, I think due to the chord choice. Is that a ii7 (add 11)? and if so, why cadence on such a weak chord? To me that F is just a horrendous note to end that on.
And several comments:
-It sounds and looks more like a piece for a large ensemble.. It doesn't sound very pianistic.
-There are lots of octaves that aren't necessary. It seems as if it was written for a comuter rather than a person, and if it was, thats cool I guess. (I'm just not into that kind of thing.)
-There seems to be a lot of copy and pasting at times. Your audience will lose interest.
-I like the idea at 75. Though it would make more sense to start soft and build it up with each repeat of that idea.
-At the andante, it seems to get boring. You repeat the same rhythm on top of the same harmony over and over, it gets tiring. another instance of this issue arises from 139-146.
I'm going to listen to the entire thing... but for some reason, Measure 8 reminds me of the Champion Battle from Pokemon Diamond/Pearl/Platinum (is that the right song?). :P
EDIT: I like the blend of styles, yet a bit of "uniformity," so to say: you keep the same general sound going on throughout various parts of the composition. I think that the "copy and pasting" keeps the "spirit" of the song thriving.
That part at the end, from measures 228 to 243 (the last measure), was a great way to finish it.
I do agree with Olimar, though, that it seems built more "for a computer"... :P
-There's no real dynamic climax, I went for climactic ideas.
-Sure, that cadence is weak, but that's what I went for. It's not supposed to sit very well.
-Maybe, since I very rarely write music for the piano, it's usually just a vessel for orchestration later. This is one of the few pieces were I never imagined an orchestration outside of a snare drum keeping the polonaise rhythm.
-Yeah, there are alot of octaves, I play and write in octaves. I love octaves, it's one of my favorite techniques.
-Fair enough, but I opted for more subtle changes with each repeat, outside of the main idea.
-Artistic preference
-Looking at it again, I might go back and re-work the middle section later.
The polonaise is a very strict and stately dance. It's definitely an idea I'm going to revisit again. This was my attempt at understanding the style. Actually, orchestrating it might not be a bad idea. It would be an interesting approach to orchestrate one of my own works, based off of a piano score.
Fun, relaxing listen. I searched this thread out to see what you've been up to. Is this for a style writing course? If so, you might can disregard most of what I'm about to say.
I would suggest reworking the theme. There's too much measure-to-measure melodic repetition, throughout. While this is typical of the 19th century dance, you can certainly write longer melodic lines to the same dance forms. Take Brahms for example. Same melodic material manipulated through time in most of his waltzes and dances. I particularly love his set of waltzes (http://imslp.org/wiki/16_Waltzes,_Op.39_(Brahms,_Johannes)).
As my teacher told me, the music must always stay interesting or the audience begins wondering "What's for dinner... How about some chicken?" And he also said don't write a note unless the purpose it fulfills is necessary to enhance the piece in structure, aesthetically, and motivically. Repetition does away with the aesthetic part almost instantaneously. Only Haydn can get away with it (and only sometimes).
The reasons the octaves stand out are they sound so empty and bare. Russian. Ravel began the first real orchestration through the overtone series. It's incredible how well all of his pieces sound based on simply reinforcing the partials at certain points. But if you want to write in that style, feel free too. I don't think you're being true to who you are by imitating that style. Be yourself. Don't fit the mold. Make the mold fit you.
Hey! So I haven't been doing much music, right?
Haha.
WRONG
I've actually been working on an original score for a game my friend of mine has been working on. No, I can't disclose any details, but I wanted to show some of the stuff I've written. This is all draft work, most of the below tracks will not be like this when finalized in the game.
Since we don't have any sort of concrete direction bright now (we're just fiddling with some programs and getting the story down), all of the titles are generic, but I will give a short description of what they're supposed to be for.
Atlantis - Draft 2 (https://www.dropbox.com/s/9l0lqj7xqm0ja8i/Atlantis%20Theme%20-%20Draft%201.wav) - This started as the theme for a "Lost World" of sorts, however...
Atlantis - Draft 2 (https://www.dropbox.com/s/5uei3ypx48m4jyr/Atlantis%20Theme%20-%20Draft%202.wav) - I found it worked much better as a cinematic spot used to unveil this "Lost World"
Level Theme A - Draft 2 (https://www.dropbox.com/s/zh5zl729xve7ij4/Level%20Theme%20A%20-%20Draft%202.wav) - Instead this has become to working theme for our "Lost World"
Forest Theme - Draft 1 (https://www.dropbox.com/s/f0dkrod6uwda7xw/Forest%20Theme%20-%20Draft%201.wav) - One of the earliest things we figured we'd have is a forest of some kind, but not something like the Lost Woods or Forest Maze. Just a general forest area.
Forest Theme - Draft 2 (https://www.dropbox.com/s/9xpj2ppinxvavun/Forest%20Theme%20-%20Draft%202.wav) - Here I elaborate on the original draft and write some additional material for use in some variable mixing for the area.
Fanfare 2 - Draft 2 (https://www.dropbox.com/s/ddmxutof3sy4qka/Fanfare%202%20-%20Draft%202.wav) - Just a fanfare I whipped up for potential use in the game. Nothing too complex, but loopable nonetheless.
March 1 - Draft 1 (https://www.dropbox.com/s/i22mxlluh5ax9ui/March%201%20-%20Draft%201.wav) - While not technically a march, it was written with a very militial feel originally intended for an important scene in the story.
March 1 - Draft 2 (https://www.dropbox.com/s/1pfkb1w1xtabd3j/March%201%20-%20Draft%202.wav) - However, after I wrote this initial orchestration we felt it would work better as a theme for our antagonist. It's up in the air at this point.
Level Theme B (https://www.dropbox.com/s/lmxr21zuezafjpy/Level%20Theme%20B%20-%20Draft%201.wav) - Another level theme proposed for the game. It sounds a bit like a Shimomura piece, though, so I may need to trash it.
Oh wow, that's so cool Maestro! Am I allowed to offer criticism?
By all means.
Well, one thing I noticed is that your melodies are weak, which is perfectly fine in some scenarios as all video game music is is background music to set the mood. However, in some cases, like an antagonist's theme, you really want a melody with a strong personality. Plus, it sets you up with a song that's easy to remix into battle theme's and such. Just search any antagonist's theme in SPM for an example.
I guess it's really a taste in style, as there are games out there that just soley use background musc, but I urge you to try and make your music for this game more than that, because that's what makes people go "This game has such a great soundtrack."
(sorry, this came out pretty corny) :P
Noted, but I'm still working without much clear direction, so these are all just place holders for something better/more proper.
That said, there's a strong chance none of this might end up in the final product, that's at least a year or so away.
I see. If your planning on selling it, you've already got one copy sold. :)
I've compiled the above works into a new folder:
https://www.dropbox.com/sh/k7bdp63g0ser5vi/cQLHEzKOJG
Any time I add something to it I'll update accordingly, like right now!
One of the things we knew early on was that at some point we'd have an underground/cave type level. We're making an RPG so I had to write something that felt like you were underground, and when you're deep below the surface of the Earth, far removed from any life (or familiar life, anyway) you can sometimes hear the darkness calling in the distance. Or something like that, I don't know.
Underground Theme - Draft 1 (https://www.dropbox.com/s/2n1w2a19dr7s4b8/Underground%20Theme%20-%20D1.wav) - I came up with this a few nights ago. I really wanted something hollow and scarce, and something that doesn't really leave you.
Undergorund Theme - Draft 2 (https://www.dropbox.com/s/c9c6hi7ewxvuy18/Underground%20Theme%20-%20D2.wav) - Crystalline, hollow, deep, and down right cold. Those were words I wanted the orchestration to fill. Hopefully it did..
Aw, c'mon, I'm really proud of this one!
but it takes ages to download D:
Yeah, well.
I can't exactly give you the mus files.
Maybe I'll get a sound cloud.
Can you put it in a zip file?
Also, out of curiosity, do you use finale to compose these?
I can, give me a second.
Yes, I use Finale for everything. I even use Finale to wash my dog that I don't have.
Quote from: MaestroUGC on August 13, 2013, 06:02:46 PMI can, give me a second.
Yes, I use Finale for everything. I even use Finale to wash my dog that I don't have.
Ah ok, I was wondering because I don't know how to get a violin that actually sounds good...
and an easy way to wash my dog
Quote from: FireArrow on August 13, 2013, 06:04:24 PMAh ok, I was wondering because I don't know how to get a violin that actually sounds good... and an easy way to wash my dog
If you change playback into Audio Units up at "MIDI", you get a new set of sound fonts playing in your playback. The violin font you then get sounds way better, however there are som problems with it - it sucks at playing short notes..
Those fonts you get are basically just the fonts that plays when you save something as a midi and play it instead of opening it in Finale.
Some of the fonts are good, but in my opinion most of them are bad :/ but it is possible to only assign this font change to specific staves!
https://www.dropbox.com/s/zra78g7tjmdhco6/VG%20Compositions.zip
There you go, it has most of the tracks.
Wrote another one, this time it's another Level theme.
Level Theme C - Draft 1 (https://www.dropbox.com/s/j3tqd5xp3c8c02x/Level%20Theme%20C%20-%20D1.wav) - I went for a more industrious, folk-sy style with this one, so it'll probably end up as a theme for a mining/mountain town.
Level Theme C - Draft 2 (https://www.dropbox.com/s/n66wip6cfl284iz/Level%20Theme%20C%20-D2.wav) - I played up the folk elements by giving the melody to a solo violin and solo flute, with counterpoint by a trumpet.
I've got another two themes I'm working on right now, so look foward to those in a few days or so.
They sometimes say music is like fine wine, you have to let it age before people can begin to appreciate it. Well I don't know if that's true, but I've been sitting on a composition of mine for about 2 and a half years now, and I think it's a good time to let it air out a bit.
When I first wrote this, I only showed it to people whom I thought would be able to uderstand what I was doing. Before this, all of my music was rather simple and bland, but there were those who had been following my work since I started writing music. This was mainly just my close circle of friends, but they were at least enthusiastic about my work, even if they didn't typically listen to the genre "classical". Before this, my best music comprised my Symphony in C Minor, and my Cello Concerto. Both works were far better than my earlier efforts, as I began to learn how to write music, instead of putting notes on a page.
Here I wanted to write music and a massive scale. I'm not really sure why, but I did (somethign to become a theme with almost everything I write; "why not?"). Before this, my largest works were designed for a traditional Romantic orchestra, no unusual instrumentation or exaggerated numbers of players.
But first I needed to know what I wanted to write
about. All my life I've had a fascination with mass destruction; natural distasters and cataclysmic accidents and other things of the sort. One of my favorite legends was the destruction of Atlantis. It always amazed me that and entire civilization, not to mention an entire
continent, could just disappear in an instant. I was aware that it was just a myth, but the
idea of it always fascinated me. The story behind it, as told by Plato, made for the basis of a great narrative and so I chose my setting.
Going back to the scale, one of the things I wanted to do was just make it as big and as unstageable as possible. (Ok, I didn't, but clearly that's what I was going for.) The instrumentation is as follows:
Piccolo, 2 flutes, bass flute, 2 oboes, english horn, 2 b-flat clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 trombones, 2 bass trombones, tuba, contratuba, two sets of timpani, triangle, cymbals, gong, snare drum, bass drum, glockenspiel, tubular bells, harp, piano, celeste, organ, SATB chorus, and strings. That's at least 37 players plus a full chorus and string section.
This is, by far, the largest piece I have ever written, and clocks in at around 22 minutes.
But why did I hide it for so long? When it was finished all those years ago, I thought it was the most impressive thing I've ever done. So I began to show it to my usual circle, and they liked it. They didn't exactly love it, but they could at least see it was something great (for me, anyway) even if they didn't understand it. Hell, I'm not even sure I understood it. This was the result of months of endless work, and when it was done I couldn't show it. Before this my music was fairly conventional, and it still is for the most part. But this was a beast of another name. So I hid it away, waiting for the day when I felt would come in which I would know what this was.
I'm not sure that day is today, but as I look back on it I think I know what I had done. I will also be sharing the score. This is something I've never done before, but I feel a work of this scale merits a read along. It also helps that the audio is absolutely overwhelming.
Score (https://www.dropbox.com/s/zvjref6gyy3b3l2/Atlantis.pdf)The video included instructions I had for my initial audience. I was aiming for a Total Sonorous Experience. Essentially I want to drown people with sound.
^Well that went over well.
How about a children's song? Everybody knows the song Frère Jacques, right? I mean who doesn't? Who? John doesn't count. He barely leaves his room, and he never shuts off his alarm. The man can sleep while being under the bells of Notre Dame; ding, dang, dong indeed.
Anyway, I wrote a set of variations for Frère Jacques over Thanksgiving break for string quartet. There are 36 variations in all, and the work stand at 22 minutes long.
Variations on "Frère Jacques" (https://www.dropbox.com/s/d53i0rvvw5kmg9c/Frere%20Jacques%28s%29.mus)
Broken down into six groups of variations, each group varies the theme in similar ways, but all unique to themselves.
Intro and Theme: I begin by giving a quick summary of the orignal theme, but what a slightly altered chord progression. I follow this by stating the original canon true to form.
Set 1: Lead by the first violin. These variations preserve the actual structure of the canon while varying the melody itself.
1: Alteration of the rhythm, something a bit more vibrant than the original.
2: Leaps abound, going for a more march like feel.
3: Constaantly moving line, now featuring haevy use of chromatics.
4: A shift into minor, but relying on chromatics to drive the progression.
5: The melody is now in the dominant, while the cello fights it in the tonic before giving in to the new mode.
6: The first set climaxes with leaps again, but subverts the ending with the altered progression. A brief transition passage follows.
Set 2: Lead by the second violin. The second set, while still altering the melody, now focuses on varying the actual structure and pacing of the canon.
7: The original melody is preserved, but the timing of the canon is reduced to one measure, rather than the normal two measure entrances. The melody istelf is halved when it repeats and further reduces the entrances.
8: The entrances are still scarttered, but each instrument is playing their own part rather than the true melody.
9:The melody returns, but the rhythm is altered in each part. The repeat has them entering in unison, but each part is playing different rhythms.
10: Rapid leaps mixed with scattered and ill-timed entrances.
11: The proper timing is restored, but the melody is altered to suit the alternate progression.
12: Each part is playing the true melody, but at different tempi. 2nd violin playing at speed, 1st playing at half, viola at quarter, and the cello at an eighth.
Set 3: Lead by the viola. This set alters the actual tone of the melody to a more melancholic mood.
13: The viola plays the melody while the other strings float around it in suspended notes.
14: The melody is changed while the other voices play the altered progression repeatedly.
15: The viola plays the melody in a constantly rising fashion, while the cellos builds up to its range. The other strings then mimic the viola.
16: Duets as the top voice plays "Three Blind Mice" over the melody.
17: The viola is given a purely chromatic line while the other parts adopt unique rhythmic patterns; the first violin takes the melody on the repeat.
18: The melody played in unison with the previous rhythms. The repeat has those rhythms jumping from instrument to instrument.
Set 4: Lead by the cello. These focuse on reworking the melody into more rhythmical diverse forms.
19: In 3/4, the melody is played while the rest of the string accompany it on open dstrings.
20: In 6/8, the melody adopts a more dance-folk style.
21: Duets in 2/4 over open strings.
22: Duets in two again, both with a different variation.
23: The true melody is played while ostinato eighths keep the pulse.
24: Each instrument takes a prior variation in the set and plays them at the same time to the same pulse
Set 5: A series of variations with no true central link.
25: Each instrument plays one note of the melody at a time; first sustaining the notes until they need to play a new one, then in single beats.
26: Pizzacato
27: A shift into D minor, with the repeat beginning in D-flat and working its way back to D.
28: A pastiche of Shostakovich's 5th Symphony.
29: A more heroic sound over a bouncy figure in 12/8.
30: The fist ans second violins play the melody in a canon-like manner, while the viola and cello chide and taunt them.
Set 6: Needless difficulty.
31: Each instrument is playing the melody at an improper rhythm, except for the second violin. Poor thing.
32: The violin works its way to a staggering high A7. Why? Because.
33: Parallel keys; first in D, second in B-flat, viola in F-sharp, and the cello is playing a D-C# ostinato.
34: Rapid leaps into high ranges in triplet figures in 9/8.
35: The "Paganini" Variation at a faster tempo.
36: The melody finally returns, but with each instrument doing whatever they wish.
The final transition begins with a variation of the first transition before sending the instruments to the stratosphere. The Coda returns us the the true melody as it's subverted one last time before concluded.
Yeah, I don't know why I did this either.
Up next, Mary had a Little Lamb, an Opera in one act.
Very cool
Dear Maestro,
You are seriously one of the greatest composers of our generation. I am completely mesmerized by all of your works. Never give this up!
Oh shucks, that's very kind of you to say.
This was just a fun little idea I had and thought I'd give it a go. This almost began life as a piano solo, but I think the quartet gave me more room to play with the song.
I was going through some of my compositions, as I tend to do to weed out abandoned/altered/un-started works to clean things up, and I found some pieces I wrote a few years ago that I had been meaning to put out there but never did for one reason or another.
Six Nocturnes for String Quartet
The first one is a set of Nocturnes for String Quartet. For about two years I had tried to get an ensemble together to get these recorded but it just never came to fruition for one reason or another.
MUS (https://www.dropbox.com/s/27hhnhtb5j1ygqm/Nocturnes%20No.%201-6%28softsynth%29.mus)
.wavs and PDF of all 6 (https://www.dropbox.com/s/9pst0jskbvhkpxs/Nocturnes%20wav%20and%20PDF.zip)
No. 1 in F was written as a sort of lullaby-esque piece, with an ostinato cello rhythm underneath lilting and flowing triplet figures in the top strings.
No. 2 in C is a calmer piece, with far less contrast of dynamics as the first. Meant for more subtle movement, it's built around opposite movement of voices.
No. 3 in C minor is a funeral march, driven by a droning cello line on open strings. The main theme is built on moving between c minor and C major.
No. 4 in E-flat is the liveliest of the bunch and prominently features the cello carrying the melody. The middle section modulates to D, modulating between D and G minor until it resolves back to E-flat.
No. 5 in G minor is a cold piece with a dark melody over crisp chords. The pieces begins to modulate halfway through until it resolves in D Major.
No. 6 is a very hollow piece filled with dissonances and a constantly modulates around pedal points of C, E, and A-flat before ultimately concluding on a very full C major chord with double and triple stops.
Adagio for Piano Quintet
This next one was originally intended as the second movement of a Piano Quintet. I never got around to writing the full work, but I felt this movement had enough weight to stand on its own so I rebranded it as an Adagio for Piano Quintet. There's no real melody per-say, just the idea of a motif of a melody that is constantly developing through the work and it moves between various moods and modes; all while being supported by a constant piano ostinato that's meant to feel like a spinning wheel, constantly turning and propelling the pieces forward. If I could describe this piece in one work it would probably be "longing". This is another one I had intended to record alongside the Nocturnes, but just like the Nocturnes it just never panned out.
I'm really proud of the coda that follows the big climax. It's like you've been stuck in a single moment for what seems like forever and then suddenly you find that the moment is leaving you while time ebbs on.
MUS (https://www.dropbox.com/s/gw9h8pn1tyco284/II%20-%20Adagio%28softsynth%29.mus)
YouTube (Audio only) (https://www.youtube.com/watch?v=qT2H7RlZciQ)
Violin Concerto in A minor - II. Adagio cantabile
Another near start that I never followed through on. This was actually written for a violinist I was courting at the time; my attempt at a romantic gesture, you could say. I had intended on writing a full concerto, but aside from getting about a quarter through with the first movement, I never saw it through. I may go back and polish this up and rebrand it as a standalone "Romance".
YouTube (Audio only) (https://www.youtube.com/watch?v=XdfwUdlNq_s)
Fantasy "Farewell Home"
This was a piece I had written as a send-off piece for a recital I gave senior year of High School. This is probably the most sincere thing I've written for the piano, possibly ever. It's also the most gentle since I tend to favor big bold statements to small personal ones.
MUS (https://www.dropbox.com/s/i7eot9rnpv2rfs3/Farewell%20from%20Home%28softsynth%29.mus)
Prelude to Dante's Inferno
I really only want to write one piece in my entire life. I wanted to do something big and bold, something that I felt would leave a mark on this world and when I first started writing music and started to seriously pursue it as a career I had in mind what I wanted to be my great opus. One of my most favorite pieces of literature has always been the Divine Comedy, and as such I have a long standing desire to set the work to music in a series of Grand Operas. While I know I'm not nearly skilled enough nor mentally or emotionally ready for such a monumental undertaking, I have spent the past few years tinkering away at the idea and in my senior year of High School I actually set out to formalize this rough idea I had in mind; mainly to give myself a "proof of concept" that I knew what I was aiming for and what it would take.
This monstrous piece has a few elements working within it. It was designed to be a prelude to the opera so it is meant to set the stage and atmosphere. The orchestration alone is a massive affair as it basically amounts to a double sized orchestra with an organ and all sorts of other bells and whistles. That's not even getting into what I intended for vocal power for all of the people Dante meets along his journey.
It begins with the organ playing simple F octaves with the cellos and basses giving a chromatic descent and resolving an a d-natural and b-natural, resulting in an fdim chord. The full orchestra then just explodes into the "descent theme" which is just a simple chromatic descending line that bends back upwards towards the end (foreshadowing). The strings then just go full tilt in a constant flurry of motion underneath a dark melody that has a twisted harmony the second time around. This whirlwind is very much what I had intended the Circle of Lust to sound like. Halfway through there's a chromatic rise to B minor before the key is beat back down to F minor.
It closes out with the organ playing a more stylized version of the "descent theme" and solitary F's are hammered on like nails on a coffin. This Prelude concludes with the Oboes, English Horns and F Horns establishing what would have been the atmosphere for Dante awakening in the Dark Wood.
MUS (https://www.dropbox.com/s/g86ks5r7fvp2r7y/Prelude%28Softsynth%29.mus)
Audio (https://www.dropbox.com/s/2zt7mfexme91qxj/Prelude.wav)
Hey hey, Nocturnes! ^_^
I was wondering; have you published music at all?
Not yet.
So lately I found myself in a rut, not having written anything for a few months.
So few nights ago I resolved to start writing a Requiem. This is something I've been wanting to do for years now, but every time I start I end up either getting distracted by another work of mine, or what I create ends up turning into another work altogether.
Well it happened again, as while I was working on the Introit, I stumbled upon a theme that I thought would be well suited for dungeon music in my VG project.
Dungeon Theme B - Draft 1 (https://www.dropbox.com/s/v8bbywago0i40v2/Dungeon%20Theme%20B%20-%20D1.wav) - The direction I think I'm going to go with the dungeon music is that of minimalism and hollow feeling. This one is very inspired by the impressionism of Debussy and Ravel; there are two main melodic fragments that comprise the piece: The long melody of sustained notes and quick, subtle motion, and the syncopated rising figure.
Dungeon Theme B - Draft 2 (https://www.dropbox.com/s/edzlk7educvdwah/Dungeon%20Theme%20B%20-%20D2.wav) - Keeping in line with the minimal orchestration, the strings are split into two parts each for most of the work, with some added color by a solo piccolo and English horn and two F horns in counterpoint. The coloring is very subtle, and adds to the dark and gloomy atmosphere that most dungeon levels try to inspire; this one is very much going for some forgotten palace hidden away on top of a mountain. The primary melody seems to want to recall some regal moments, while the bass line is very much a funeral march for this forgotten kingdom.
Draft 2 PDF (https://www.dropbox.com/s/zzsjk4vzegbqs9k/Dungeon%20Theme%20B%20-%20D2.pdf)
That game your composing is gonna be known for having a 2 day long OST. .—。 Still waiting on the freaking 20 minute download.
I'm not worried about compressing draft music for an album release.
In fact I'm more interested in documenting my process and progress on this project at this point.
I really like the classical feel your music has, my advice would me to make your melodies catchier and work on thematic development. TBH your songs start to drone after about 20-30 seconds. Another neat idea would be to make the melody livelier, not for this song,but in general, pick something like a flute and just let it shine through rather than sink into the harmony. Oh, and don't forget to add those orgasmic melody peaks.
My previous comment was semi-serious. It's extremely rare for a video game song to go past 2 or 3 minutes because they're meant to be precise and to the point. Then again, you like to break rules and carve your own path, so... who cares if they finish the level before the songs over. :3
I'm not a melodist in the slightest, but having a melody does not necessarily make piece better or worse. If you look at my music, most of the lack any real lyrical melody, most of them are mostly motivic-ly driven.
There's a good and bad way to write music for a video game, but it all depends on the game of game you are scoring. If your game is puzzle based, with players to expected to be spending a lot of time in a single room or area, you naturally want something that's not going to grate on your ears. However, in a RPG setting where interruptions will be frequent/expected, you really don't want to spend too much time building a melody where nobody will hear it. That's just a waste of time both in a production and artistic sense.
And yes, you generally want to avoid having music longer than 2-3 minutes before a repeat, outside of cinematic events or boss themes where you can expect the player to be there for longer.
If I had the amount of in-game time to properly develop a piece the way I want to, then I'd do it.
You also mentioned something about highlighting instrumentation and letting particular instruments carry the melody throughout. I would actually love to have a professionally recorded score, but that is very expensive. If that is to be my ultimate goal then I need to keep my orchestrations tight and controlled and save the big stuff for the big moments. That's why all of the music I've crafted thus far primarily feature strings with sparse additional instrumentation. This would keep the cost down in the long run, plus it actually lets me write music much faster. It's a lot easier to write for only 5-10 instruments of about 25 players than a full orchestra of almost 60.
There's also a reason why I have some of these themes droning like they do, especially the dungeon themes. It allows me to vary and develop them later in the game, like in a boss fight. I try to save my melodies for the town themes where the player won't be interrupted as much as in the open world or dungeons, places where the music can breathe a bit more.
But you do have some fair points about trying not to have the listener grow tired of the music after too long. Which is why I've provided samples with the music looping at least 4 times over. It gives me a fair gauge of what the listener is hearing and feeling.
I never thought about prices and instrument restrictions, and I definitely agree with you on your points on keeping music easily interrupt-able. I'm assuming, you not being a melodist, are going for more of a SMB3 Air Ship (http://www.youtube.com/watch?v=Uh0OKW5cwVo) kinda of feel, which you did a really good job of. So, yeah, thanks for explaining that, because it makes a lot more sense to me now. That being said, I still feel you could do more to make the dungeon music stand out a bit more. Even if you are going for a more droning piece, make it pleasurably droning (http://www.youtube.com/watch?v=0KQW2YnCUrE) rather than monotonous (obviously my example wouldn't fit a dungeon, but I think it's a good representation of what I'm saying)(no sex jokes either.)
I'm excited to see some of your more melodic work, because, like, holy crap dude, your knowledge of composition really astounding.
Yes, I will work on the making more enjoyable droning music. But I do have some things I still working on like a sort of fire-type area with a vague Middle-European feel to it.
Also, don't hold you breath for any lyrical melodies from me. I crafted an hour long symphony based on a single four note motif. I've always felt that melodies are more proper for songs and such, whereas motifs are far more flexible in dramatic and extended works.
Keep in mind I'm still trying to figure out the best way to score a video game. All that I know of the subject so far is from studying the great masters of the field and applying what I've learned from the greatest masters of music.
Sometimes I wish to earn a doctorate, if only to teach would be composers the art of video game scoring.
I've got yet another theme I've been working on. I was sitting on the original piano draft for a while and finally gave it an orchestration today. This was designed to be a town theme, with a kind of sea-side feel to it.
Town Theme A - Draft 1 (https://www.dropbox.com/s/41een6k6j1sgoy2/Town%20Theme%20A%20-%20D1.wav) - I did something a bit different with the harmonic progression this time, to more distinguish from the open world music. The piece is driven by an undercurrent of triplets in the bass line. The melody takes its time comparatively in the A section. The B section moves from A major to F Major and the melody changes from a light and open sound to a more urgent one. As if not everything is quite right in this seaside paradise...
Town Theme A - Draft 2 (https://www.dropbox.com/s/vr2xf57fgdmcrdb/Town%20Theme%20A%20-%20D2.wav) - Again featuring minimal orchestration; the harp is given the triplet figure throughout the work with harmonic support from the cellos and basses. The Melody is given entirely to a lone flute with the upper stigns filling in the middle voices with stagnant chords; all punctuated by a set of tubular bells.
PDF (https://www.dropbox.com/s/7t7twuoboom74a5/Town%20Theme%20-%20D2.pdf)
Ooh i wish i would've seen that string quartet nocturne that you posted! I could've gotten people together and done it for Solo/Ensemble contest at school and recorded it for you :P
Yeah, I'll probably just pay some people to record this summer.
Money will make all of my dreams come true.
So I dumped everything all my VG stuff into a SoundCloud, so hopefully you guys'll take a listen now that you don't have to wait a year for them to download.
https://soundcloud.com/maestroz-1/sets/draft-music-for-video-game
So I've been toying around with the idea of swing music lately. Big band stuff, you know? I've had a couple of tunes rattling around in my head, so I figure I'd jot one of them down into a rough piano version. There's supposed to be a fair amount of improvisation and variation for this, but for now this is more of a thematic template that I'll orchestrate later.
I call it Swing - 200 (https://www.dropbox.com/s/c44hg8jmbwhupg1/Swing%20-%20200%28s%29.mus)
No, I've never been good at names. I shouldn't have to be when all of my works are titled Form of Piece No. X
Try adjusting the tempo to 220, it adds a bit more zest, I feel.
Oooh, nice! I love swing music.
Yes, but does it still mean a thing?
not unless it's got that swing
I don't understand what you are trying to tell me.
Catchay. I might wanna try this out on a piano, though from measure 69 I don't think I can really play that quietly. //shot
Lol I like it.
It's rather fun to let loose with. This is more of a showcase piece rather than something that's a standard written song. Really, as long as you get the main gist of the main section, have at it.
Quote from: MaestroUGC on April 07, 2014, 05:23:09 PMbut for now this is more of a thematic template that I'll orchestrate later.
Well if you're doing that then I should tell you that when doing block voices in big band you have all voices in the block always moving (emphasize on moving) in the same direction. That's how you achieve the big band sound. So you'll pretty much have to do that. If you were to do what you do now in a big band arrangement it would just sound weird.
This would be a very cool big band swing piece! It would be cooler if it had more variation (that's often a big part of big band music (at least the more modern kind)), but I guess that should come when working on the big band sheet.
And improv solos!
Yeah, I'm aware of the basic rules of the style, but I've never much worked with this or jazz in a great capacity. Most of what I have worked with has been in an academic capacity. This was a method for getting the overall structure and basic idea of the piece down in a written form. I plan on doing more soloistic things in the repeated areas. I'm thinking of giving a lot of love to the rhythm section.
Will you post it here when you decide to make it?
Sure, it could probably use a bit of spot checking anyway.
I feel like spending more coins in the game corner d:
I feel like that's a reference to something I'm not familiar with.
Pokemon?
Yeah, see, I don't play Pokémon, so...
Quote from: MaestroUGC on April 08, 2014, 08:37:20 PMYeah, see, I don't play Pokémon, so...
Didn't you just write up a long pokemon medley? That led me to believe that you had... Oh well d:
Yeah, I did that after researching and studying the music from the original games. That was all pieced together after about a month's worth of playing around with the different themes. The only thing I really knew well from those games was the title theme from exposure from other sources.
While most of my arrangements are done from experiencing the music from the games first hand, and thusly knowing them really well from mass exposure, I wanted to try a more rhapsodic and discovered theme with it; and I'm still working on two more.
Some more VG music. I wanted to write something with a more flowing melody, but with it tripling of steady 8ths.
Town Theme B - D1 - SoundCloud (https://soundcloud.com/maestroz-1/town-theme-b-d1) - I was really playing around with the harmonies and progressions with this one. The melody itself is in constant triplets, I wanted to evoke a pseudo-jazz feeling with a steady accompaniment underneath.
Town Theme B - D2 - SoundCloud (https://soundcloud.com/maestroz-1/town-theme-b-d2) - The Melody is given to the First Violins and Horns; with the accompaniment in the bottom strings and trombones at the end. I also altered the end before the repeat to give it more of a clear ending and beginning, instead of it just constantly going.
So I've been wanting to write a Requiem for about 5 years, I mean all the best composers have one, and I've been hanging on to a theme that was originally intended for a new symphony; but after trying to work with it I felt it was much stronger as a funeral march. A little bit of reworking to fit the text in there and I've got the opening Introit.
MUS (https://www.dropbox.com/s/q64v3gxv69znue7/I.%20Introit%28s%29.mus)
I plan on making this a more theatrical work than one fit for an actual Requiem Mass, but I wouldn't be the first to do so. (See: Verdi) In fact the opening and closing of the work (Libera Me) will probably feature the softest and sparsest orchestration. The Introit never features all the instruments playing at once, in fact the brass only play for 12 measures.
So here's hoping I can give the almost-dead something to look forward to.
I consider this piece a glance into my mind. I often find myself up late into the night working on music. Usually nothing in particular, but I find myself sitting at the piano and these little fragments will stand out at me, but they aren't full or complete thoughts so they often end up disappearing all the same. However, every once in a while these fragments will unite in a way that really makes the whole greater than the sum of their parts.
"Still" is a piece that exemplifies that late night elusive state of creativity and stagnation for me. Written for a string orchestra, each section is split in half, with each group playing totally unique parts until the grow together and form bright moments of unity and clarity. A simple work that was born in that state of haze and silence.
Still
for Strings
MUS (https://www.dropbox.com/s/i7ie73skgch6kny/Still%28ss%29.mus)
PDF (https://www.dropbox.com/s/nx1jq2cnv08i4tx/Still.pdf)
SoundCloud (https://soundcloud.com/maestroz-1/still-for-strings)
Nice! That was great.
Writing a string quartet about Robin Hood. This is the first movement.
I. Prince of Thieves (https://www.dropbox.com/s/0s5mdfrd04b0muy/I.%20Prince%20of%20Thieves%28s%29.mus)
Amazing!
Someone once pointed out to me how little music I write for the piano, with most of my output in the area being my arrangements (which hardly count as original compositions). So in an endeavor to write more music suitable for private, singular performances and performers, I set out to write some pieces for the piano. One of my first ideas was to write a collection of short pieces in all 24 major and minor keys, because every good composer needs to have a set of music like that (I'm looking at you Bach and Chopin).
This was about three years ago. I write the first 4 (Nos. 1, 2, 3, and 11 in this set) within a few weeks of each other, but then just forgot about the project altogether shortly thereafter. As time went by I'd remember this little project and try to work on it, but it would just end up being a review of what I had already written. It wasn't until a few weeks ago that I stumbled upon a theme that worked well for this project and now I've finished the first set of 12.
This first set of 12 pieces is in all of the Major Keys, following the circle of fifths. I plan to return to this and write the other 12 minor keys, but going in the opposite direction, and combine the two into a single collection. This first set is around 31 minutes in length.
From the start I wanted these to be character pieces with the idea of a traveler wandering around, experiencing and meeting all kinds of people, seeing all kinds of places and events. So naturally it begins with our traveler setting out on his adventure, ready to see the world.
12 Short Pieces for Piano - "The Traveler Suite"ZIP (https://www.dropbox.com/s/tpgx9kqy1pm57ju/12%20Short%20Pieces%20for%20Piano.zip?dl=0)
Program of the pieces
No. 1 in D - "The Traveler"
It starts with our Traveler, a young man, setting out into the vast world eager to see all it has to offer.
No. 2 in A - "The Gypsy"
One of the first persons he encounters is a wandering Gypsy, who stops him suddenly along his path. Warned of the Gypsy people he is cautious but soon joins her and her clan in a dance. As the night wears on, he grows intoxicated by her presence and without warning they all vanish without a trace.
No. 3 in E - "The Soldier"
Nearing a city he happens upon a Soldier on Patrol, who regales him of some of his adventures while in the line of duty.
No. 4 in B - "The Widow's Dance"
Wandering around, he sees and old woman in the middle of a plaza who's watching a young couple dance to the band that's playing. He doesn't speak to her, but her eyes tell him of the love she once knew, the man she once held in her arms, and the nights they danced long ago.
No. 5 in G-flat - "The Worker's Song"
On the outskirts of the city the Traveler comes across some men cutting trees in the forest. All the while they're singing a song, keeping time with the pulse of their axes and saws. Night draws near and the men end their work day and head for home.
No. 6 in D-flat - "Festival of the Forest Spirits"
Further along his journey, the Traveler comes across a small folk festival celebrating the Forest Spirits. He joins the fun and learns about the annual forest lights, once attributed to benign Wood Faeries, and witnesses the spectacular light show in the distance.
No. 7 in A-flat - "The Rebel"
In another village, the Travel sees a young boy running through the streets, apparently care-free and having harmless fun. The boy is a bit of a prankster and causes some mischief for the townsfolk who are none the wiser to his antics.
No. 8 in E-flat - "Night in the Forest"
Lost in a dense forest, the Traveler settles down for the night. He hears all sorts of creatures and noises, and the song of a woman far in the distant. Trying to find it, he wanders in the dark, but it only seems to get further away until he stops at the edge of the woods, in total silence.
No. 9 in B-flat - "The Monastery Bells"
Off in the distant mountains, the Traveler can hear the bells of a great Monastery ringing. He pauses, listening closely, and can faintly hear to chants of the monks through the mist.
No. 10 in F - "The Children's Game"
One day the Traveler comes across a stream and decides to rest a bit. Some children run past him, playing a game, and they ask him to join them. He jumps in and spends the day laughing and playing their games.
No. 11 in C - "The Farmers at Their Fields"
Wandering through the country side, the Traveler comes across a small group of farms. Hungry from his journeys, he offers to help in exchange for some food for his travels. He spends the day working the fields, listening to their stories and songs, and leaves the farm lands humming their little tune.
No. 12 in G - "The Voyage Home"
Having travelled far, our Travel begins his voyage home. Has he rides back his mind reminisces on the people he met, the things he'd seen, and stories he heard. As he nears home, he glances back on the road he just travelled, and thinks of the next time he'll journey again.
Nice! These were great! My favorites were E, Gb, Db, Bb and F.
I had originally also wanted to make these easily accessible for younger students, but I hadn't strictly kept to it while writing this work. This isn't a particularly demanding piece, with Nos. 2 and 10 being the hardest due to their suggested speeds, so maybe I actually succeeded with that after all in the long run.
Incidentally, Nos. 1, 3, 6, and 12 are my favorites.
A few weeks ago I toddled around on my sister's guitar and wrote a thing for this alleged game I'm working on. No idea where it would end up, but possibly something to do with water.
Level Theme J - Draft 1 (SoundCloud) (https://soundcloud.com/maestroz-1/level-theme-j-d1)
For this piece I wanted to use an uncommon meter, 5/4. The piece itself isn't harmonically complex, built off the open strings of a guitar. It's a very gentle theme with an upward wave feel characterized by the ascending arpeggio used throughout. In two distinct sections, the first is the simpler of the two rocking back and forth between three chords with and emphasis on the climactic Gm9 in 6/4. The second section shifts to 3/4 and features an more exploratory melody and harmony, eventually settling back on the opening motif.
Level Theme J - Draft 2 (https://soundcloud.com/maestroz-1/level-theme-j-d2)
The arpeggio is naturally given the the harp and two pianos, with the pianos acting as a sort of fading system, moving from left to right throughout the piece. The Melody is assigned to the flute, harmony to the first violins, and accompanied by soft strings. The piece is further textured by a Vibraphone accenting the chord changes mid way through.
Oh sure, you all can comment on Slow's compositions which are silly and baby-like, but completely ignore that masterpieces that I craft with the greatest ease.
I see how it is.
I've written more things:
Level Theme 11 (I need to create a better to categorize these things until proper names are made) - D1 SoundCloud (https://soundcloud.com/maestroz-1/level-theme-11-d1?in=maestroz-1/sets/draft-music-for-video-game)
Design to be a more open "Adventure Theme", it has no real melody per se, but it's got a bit of forward motion to the progression. The piano original here was largely just improvisation, a simple bass line under a steadily moving chord progression punctuated by an Eb9 chord. The B section features a climbing figure in the melody and harmony that builds to an Eb progression in the C section that slowly works its way down back to the home key.
Level Theme 11 - D2 (https://soundcloud.com/maestroz-1/level-theme-11-d2?in=maestroz-1/sets/draft-music-for-video-game)
The orchestration here features the normal compliment of strings with a Bassoon playing the assumed melody, with those Eb9s represented by Horns and a Celesta, combined in a way that gives it a wintery feel. The rising figure of the B section has a sparse orchestration the first time, building towards a tutti repeat the second time. The C section features the Celesta reinforcing the strings while proving a new countermelody reminiscent of the B section.
Level Theme 12 - D1 (https://soundcloud.com/maestroz-1/level-theme-12-d1?in=maestroz-1/sets/draft-music-for-video-game)
This one's a bit more up tempo, with a consistent oom-pah bass-chord figure that dominates the piece. The melody is syncopated to flow with the chords and is a bit "slidey". It's rather hard for the intended effect to come across on a percussive instrument like the piano. Naturally in Mixolydian, midway through the A section with dip into a Dorian mode and some dense tone clusters before resolving back into the home mode. The B section stops the oom-pah infavor of more resonant and open clusters; the pieces slowly works its way down, loses steam and then stops before harshly resuming and returning to the A section.
Level Theme 12 - D2 (https://soundcloud.com/maestroz-1/level-theme-12-d2?in=maestroz-1/sets/draft-music-for-video-game)
This initial orchestration has a slightly bigger scope than the previous entry, Strings, Low Brass, Tubular Bells, and an English Horn. The English Horn has the melody throughout the piece and in a high register to really punctuate those slides, often supported by the cellos in full an octave below in a slurred manner. A violin solo occasionally comes in with the melody as well, with the Bells punctuating the work. The Low Brass (3 Trombones, Bass Trombone, and Tuba) act as a drone in the A section and are silent in the B. The B section also scales back everything to just the melody players and basses, until the big return to the A section.
I've also updated the full playlist (https://soundcloud.com/maestroz-1/sets/draft-music-for-video-game) with everything written up to this point.
Quote from: MaestroUGC on November 06, 2014, 02:30:48 PMOh sure, you all can comment on Slow's compositions which are silly and baby-like, but completely ignore that masterpieces that I craft with the greatest ease.
I see how it is.
I think it's got something to do with the fact that your links don't lead anywhere.
Like I would just give you direct links to my music? You've got to work for it, earn it.
Fine, I'll make it easy for you guys, links are fixed.
So level themes are nice and all, but VG music is more than just pretty background music. Sometimes you need a boss theme or some suitable fast paced music for a mini game. So I set out to write some sort of "action music" that can be used to accompany a side mission of sorts. Given the nature of this project, it may not work for this game, but I can always tweak and adapt it to be used elsewhere.
Action Theme 1 - D1 (https://soundcloud.com/maestroz-1/action-theme-1-d1)
So right off the bat this is faster than anything else I've written thus far. In G, it starts jauntily enough in the A section, with a nice jumping bass ostinato and a fleeting melody; but it quickly gives way to a darker motif that changes to tone to one of rushed concern. The transition to the B section introduces a new motif while working its way down to E. The B section works with the secondary melody a bit more while the chord changes slowly up the ante. It concludes will another restatement of the mordent motif which resolves by harmonizing back to the home key for the repeat all the while the accompaniment rises in support. Overall it's design to be a quick, concise piece, but open to repeats should the situation call for it.
Action Theme 1 - D2 (https://soundcloud.com/maestroz-1/action-theme-1-d2)
A fairly standard orchestration here, the usual compliment of strings, Horns and trumpets (first solo then duet), Flute and Clarinet, Timpani and a Japanese Koto. The Basses take the ostinato while the violins and winds take the melody over the strings, horns and timpani in support. The trumpet comes in for the second melody. The repeat of the A section introduces the horns to the texture of the second melody with the Koto playing a galloping figure underneath the action. The B section has the Violins and Flute playing the melody while the rest of the orchestra continues their earlier patterns, with the trumpets eventually rising to a triumphant repeat.
Level Theme 14 - D1 (https://soundcloud.com/maestroz-1/level-theme-14-d1)
I keep going to back to wanting to do stuff that's just slightly off kilter, which brings us to this one I wrote a few weeks ago. In C, the A section has a fairly standard oom-pah rhythm underneath a rather plaintive melody. The harmonic structure slowly wanders between C and B, leading to the B section in A. The B section again features a similar harmonic pattern, this time between A and G, with the melody now taking on a triplet rhythm with a new counter melody in the middle voice. The return to the A section is now in D and has the harmonies move a bit as we work our way to the C section. The C section itself is a recall of the B section, this time it's prolonged and now introduces a very Sibelius-like bass line, just kind of hovering underneath everything.
Level Theme 14 - D2 (https://soundcloud.com/maestroz-1/level-theme-14-d2)
A standard orchestration, but transposed up a major second into D; Flute, Clarinet, Tuba and Strings. The flute takes the entirety of the melody, with the clarinet acting as the counter melody. The bass only presents itself in the B and C sections, tuba only in the C section; this creates an almost bottomless feel when those wandering triplets come in. The strings themselves keep to the rhythmic constant throughout, save for the first violins during the B section.
Boss Theme 1 - D1 (https://soundcloud.com/maestroz-1/boss-music-1-d1)
What's an RPG without some good fight music? This is actually a take on this earlier proposed villain theme (https://soundcloud.com/maestroz-1/draft-2-4) so I figured I relink it for context. It starts with a harsh sting before establishing the syncopated ostinato that will drive the work forward; the ostinato itself is a 4 bar phrase in 3/4 for three and 4/4 for one. The piece is mostly in 3/4 and centers heavily around a gmMaj7. Since it's a reworking of the earlier theme, most of the thematic material is largely unchanged; its the harmonic context that's largely effected, with new layers being added with each iteration of familiar material.
Boss Theme 1 - D2 (https://soundcloud.com/maestroz-1/boss-music-1-d2)
Like any good boss theme (in my opinion), this one is approached in 3 phases. The orchestration is for a full symphonic orchestra, with each element being added in each successive phase. This was largely designed to grow as the fight would progress, therefore utilizing a variable mix that can adapt to the situation. The balance isn't where'd I'd like it to be in this particular mix, but all the major elements are there so it's just a matter of refinement.
Phase 1 - Strings and percussion. The opening sting is done on full strings with timpani. The ostinato build up is done by the bottom four strings, with the primary melodic content coming from the first violins. The timpani and bass drum act as a sort of accent to the action. A couple new things were added (most notably the descending chromatic pattern between the two statements of the A section) but this component is the core of the piece and the bedrock for the next two phases.
Phase 2 - Winds. Mainly implemented to add additional color and depth to the work. The first come in counter to the strings before joining them properly. The Winds would also mirror (and anticipate) the strings chromatic descent, though diminishing as opposed to the strings crescendo. The final B section and C section sees the piccolo in rapid arpeggios above the rest of the orchestra, in probably to most distinct moment in this phases.
Phase 3 - Brass. The low brass largely richens the bass ostinato by playing a steady drone, with the horns supporting the strings. The trumpets (2 players in octaves) largely act as a counterpoint to the entire affair, going against the rest of the orchestra for most of the climax.
Level Theme 15 - D1 (https://soundcloud.com/maestroz-1/level-theme-15-d1)
Strings only, divisi a 3 with a prominent Bass solo. I was in a very meditative mood for this one, and as such it works better for situations where you can just sit still for a bit, away from the action. I have a pretty good idea where this would fit, but we'll see in the long run. You may notice something distinctive about this work, for those of you who will actually hear it.
I promise you I will listen to all of these and post my thoughts at some point; hang in there. I'm going to be in Michigan with no computer for a week starting today though so it might be a while. .-.
I wouldn't worry about it too much, I'm mainly just trying to get an idea of how listenable they are in the context of a video game. Specifically if they are tolerable on indefinite repeats.
Video games need music sometimes that isn't so dynamic and more of a space filler. Like Pause music, or Battle Results, or something.
Calm Music 1 - D2 (https://soundcloud.com/maestroz-1/calm-music-1-d2)
The original draft was literally just the piano part solo, I added a solo flute and strings to give it some harmonic support. The piece just moves between C and D7, with the strings and flute acting as a stripped away rhythm section. The piano is the star here, which is a shame because it's only like 40 seconds long.
Quote from: MaestroUGC on September 09, 2014, 03:08:23 PMSomeone once pointed out to me how little music I write for the piano, with most of my output in the area being my arrangements (which hardly count as original compositions). So in an endeavor to write more music suitable for private, singular performances and performers, I set out to write some pieces for the piano. One of my first ideas was to write a collection of short pieces in all 24 major and minor keys, because every good composer needs to have a set of music like that (I'm looking at you Bach and Chopin).
This was about three years ago. I write the first 4 (Nos. 1, 2, 3, and 11 in this set) within a few weeks of each other, but then just forgot about the project altogether shortly thereafter. As time went by I'd remember this little project and try to work on it, but it would just end up being a review of what I had already written. It wasn't until a few weeks ago that I stumbled upon a theme that worked well for this project and now I've finished the first set of 12.
This first set of 12 pieces is in all of the Major Keys, following the circle of fifths. I plan to return to this and write the other 12 minor keys, but going in the opposite direction, and combine the two into a single collection. This first set is around 31 minutes in length.
From the start I wanted these to be character pieces with the idea of a traveler wandering around, experiencing and meeting all kinds of people, seeing all kinds of places and events. So naturally it begins with our traveler setting out on his adventure, ready to see the world.
12 Short Pieces for Piano - "The Traveler Suite"
ZIP (https://www.dropbox.com/s/tpgx9kqy1pm57ju/12%20Short%20Pieces%20for%20Piano.zip?dl=0)
Program of the pieces
No. 1 in D - "The Traveler"
It starts with our Traveler, a young man, setting out into the vast world eager to see all it has to offer.
No. 2 in A - "The Gypsy"
One of the first persons he encounters is a wandering Gypsy, who stops him suddenly along his path. Warned of the Gypsy people he is cautious but soon joins her and her clan in a dance. As the night wears on, he grows intoxicated by her presence and without warning they all vanish without a trace.
No. 3 in E - "The Soldier"
Nearing a city he happens upon a Soldier on Patrol, who regales him of some of his adventures while in the line of duty.
No. 4 in B - "The Widow's Dance"
Wandering around, he sees and old woman in the middle of a plaza who's watching a young couple dance to the band that's playing. He doesn't speak to her, but her eyes tell him of the love she once knew, the man she once held in her arms, and the nights they danced long ago.
No. 5 in G-flat - "The Worker's Song"
On the outskirts of the city the Traveler comes across some men cutting trees in the forest. All the while they're singing a song, keeping time with the pulse of their axes and saws. Night draws near and the men end their work day and head for home.
No. 6 in D-flat - "Festival of the Forest Spirits"
Further along his journey, the Traveler comes across a small folk festival celebrating the Forest Spirits. He joins the fun and learns about the annual forest lights, once attributed to benign Wood Faeries, and witnesses the spectacular light show in the distance.
No. 7 in A-flat - "The Rebel"
In another village, the Travel sees a young boy running through the streets, apparently care-free and having harmless fun. The boy is a bit of a prankster and causes some mischief for the townsfolk who are none the wiser to his antics.
No. 8 in E-flat - "Night in the Forest"
Lost in a dense forest, the Traveler settles down for the night. He hears all sorts of creatures and noises, and the song of a woman far in the distant. Trying to find it, he wanders in the dark, but it only seems to get further away until he stops at the edge of the woods, in total silence.
No. 9 in B-flat - "The Monastery Bells"
Off in the distant mountains, the Traveler can hear the bells of a great Monastery ringing. He pauses, listening closely, and can faintly hear to chants of the monks through the mist.
No. 10 in F - "The Children's Game"
One day the Traveler comes across a stream and decides to rest a bit. Some children run past him, playing a game, and they ask him to join them. He jumps in and spends the day laughing and playing their games.
No. 11 in C - "The Farmers at Their Fields"
Wandering through the country side, the Traveler comes across a small group of farms. Hungry from his journeys, he offers to help in exchange for some food for his travels. He spends the day working the fields, listening to their stories and songs, and leaves the farm lands humming their little tune.
No. 12 in G - "The Voyage Home"
Having travelled far, our Travel begins his voyage home. Has he rides back his mind reminisces on the people he met, the things he'd seen, and stories he heard. As he nears home, he glances back on the road he just travelled, and thinks of the next time he'll journey again.
I finally got through these, I really enjoyed them. Thanks for investing your effort into all of your compositions!
Great job with that song, Maestro!
So...where is my cello solo?
What cello solo? I don't work unless I'm paid.
how much do you charge for a 1 page of whatever instruments you feel like with a given theme
It's all relative. It depends what I'm writing for, the context. What kind of forces are needed, live instruments or will digital do? Depending on the medium, I can charge either for length vs. size of the ensemble, I could ask for a percentage of the budget/proceeds from a larger production, I could charge based on hours spent writing (this only works best for smaller things), or I could just pull a number out of my head.
Generally I would prefer either to charge for the length of music I need to write, and/or a percentage of the budget/proceeds. The latter if I happen to be involved with a huge project (film, video game, etc.) Overall it's an art of negotiation; how much I think I'm worth vs. how much others think I'm worth.
Today turned out to be surprisingly productive in that I hammered out some more VG music for that great unmade game.
Death Theme 1 - Draft 1
[soundcloud]https://soundcloud.com/maestroz-1/death-theme-1-d1[/soundcloud]
Every good game needs a track that signifies death of some sort, either the death of a character in-game or game over of the player.
Death Theme 1 - D2
[soundcloud]https://soundcloud.com/maestroz-1/death-theme-1-d2[/soundcloud]
As such this is a pretty morose piece for strings alone, no real flair to it except that the melody is with the basses.
Level Theme 16 - Draft 1
[soundcloud]https://soundcloud.com/maestroz-1/level-theme-16-d1[/soundcloud]
This is written for a sort of cave-style area. Very low and hollow, the entire piece is built on open 6ths in the melody and harmony with the bass chugging along on single pitch in an octave drone. Written as kind of a companion piece to my earlier Level Theme 15. (https://soundcloud.com/maestroz-1/level-theme-15-d1)
Level Theme 16 - D2
[soundcloud]https://soundcloud.com/maestroz-1/level-theme-16-d2[/soundcloud]
The orchestration is much like the earlier piece, strings alone with only a tambourine to add some texture. The strings come into their own as the melody /harmony is on the violas and cellos, with both violin sections sustaining a drone above them for half the piece.
Like what you hear? Check out the other pieces I wrote, in what is steadily expanding into a make shift portfolio. (https://soundcloud.com/maestroz-1/sets/draft-music-for-video-game)
I just listened to some of your drafts. Although I did not make it through all of them, I will tell you my thoughts until now:
Spoiler
Good job.
You could use some better soundfonts and programs and such. Don't get me wrong, it's great. It could just be that much better.
Sure, but this is all very academic at this point. First is the writing, then I can worry about how it sounds. And even then it's all irrelevant if/when I can muster the finances for proper recording.
^Point taken. I always forget how much work and money it takes.
I've debated about posting this at all; I'm not a fan of posting concert works in incomplete states unless the work has basically been abandoned/forgotten for a few years. However this one means so much more to me and it might actually the first truly emotional piece of music I've ever produced. As such I can't simply sit on this for likely a year while I continue writing the rest of the work; I think it has enough weight and depth to stand on its own merits outside of the fuller Symphony.
I started this new Symphony back in November, 2014; though I came up with the principal idea behind it a few years earlier, just after completing my F minor Symphony. As it is planned, it's scored for a large romantic orchestra, though the first movement is the most reserved in terms of orchestration and grandeur. Overall it has a standard orchestral compliment:
Spoiler
3 Flutes (3rd doubling Piccolo)
3 Oboes (3rd doubling English Horn, 2nd tacet in first movement)
3 Clarinets (3rd Doubling Bass Clarinet, 2nd tacet in first movement)
2 Bassoons
Contrabassoon
6 Horns (5th and 6th tacet in fourth movement)
5 Trumpets (5th doubling Flugelhorn, 5th tacet in first, second, and fourth movements)
2 Tenor Trombones
Bass Trombone
Tuba (doubles as Bass Trombone in first movement)
Timpani
Bass Drum (2nd and 5th movements only)
Snare Drum (tacet 1st and 4th movements)
Cymbals (tacet 1st movement)
Gongs (Various sizes) (4th and 5th movements only)
Triangle and assorted toys
Glockenspiel (3rd and 5th Movements only)
Harp (1st and 5th Movements)
Piano (4th movement only, doubles on Celeste)
Celeste (4th movement only)
Chorus (5th movement only)
Strings
The content of this simple is actually very simple. It's modeled after the Five Stages of Grief: Denial, Anger, Bargaining, Depression, and Acceptance. I had the idea for such a work and had planned it to be my
third symphony with the idea that this would be written as a pair of symphonies, with the one proceeding basically presenting a subject who would live and then die in the second symphony. (Akin to Mahler's 1st and 2nd Symphonies.) However after some time had passed, and after of a period of dealing with my own grief, I felt I had to begin working on this in earnest and let it stand less as a programmatic duo, and instead live as a single emotional work.
[soundcloud]https://soundcloud.com/maestroz-1/i-denial-funeral-march-adagio[/soundcloud]
This first movement is centered on Denial, and fittingly it is a funeral march. The central plot of the work is that the unnamed subject of this symphony has learned of his impending death, and follows is own grief as he comes to terms. The orchestrations is handled largely in sections, with each significant part of the movement bearing different instrumentation. It opens with a soft timpani roll and a pair of trumpets heralds in the news.
The strings then present the first theme, a dual-natured theme of grief and regret:
the wake of grief.
The second section prominently features the harp as it navigates a new dream-like phase:
blissful denial.
This is rather harshly interrupted by a brash anthem featuring the trumpets, trombones and timpani; crashing our subject back to reality:
the anthem of realityThe movement develops cyclically, with each iteration of the three sections growing more elaborate and contrary to each other. Above all is the single unifying motif, in which our subject denies his present fate: "I am not dy-ing." over pulsing, cadencing chords. In the end, our subject's reality wins out, and he is forced to cope with his fate...
Overall I feel that this is the first thing I've written that is bigger than me, and could mean something more to others who have known loss. It feels more like a painting of vague feelings and notions rather than a carefully crafted work. This is certainly to be the most restrained movement of the work, with the following four movements each exploring the remaining stages of grief.
Was messing around and accidentally made this:
[soundcloud]https://soundcloud.com/maestroz-1/night-in-the-arcade[/soundcloud]
Some bits don't quite work, but I felt it was worth the upload. Makes it feel more...authentic? I almost want to try and make a true chip tune/orchestral hybrid take in this.
Maybe later.
This is just too much fun:
[soundcloud]https://soundcloud.com/maestroz-1/swing-200-chiptune[/soundcloud]
If that had been an old-school video game's ending theme it would be one of the greatest video game ending themes ever.
That's amazing and it's going in the portfolio now.
[soundcloud]https://soundcloud.com/maestroz-1/happy-together-chiptune[/soundcloud]
Too much time on my hands.
I sang that song about her all the time, and after we broke up all those years ago, I tried to erase all of it from my head.
I succeeded. There wasn't much left.
So I'm back at it, this time with a clear idea for an area in mind. A Ruined City that may or may not be haunted. This one actually has some story elements in it that I could play with, I'll sum up the gist of it here:
Long before the events of the game there was once a thriving city, a center point for knowledge and culture, ruled by an enlightened republic that sought only to understand our natural world. That was until some loony came along and decided he wanted to be the only ruling power in this modest kingdom. One night, during the Festival of the Founders, he made his move; commanding an army of hundreds of men he sought to conquer the city by force. But in doing so he set it ablaze, and in the midst of the chaos all he could do was watch his home burn. In the aftermath only he and a few of his soldiers remained, and without a home or an empire, they set off across the land, never to be seen again. Our heroes find themselves wandering through these ruins, and the locals of a nearby village say that you can still faintly hear the ghosts of this ancient civilization at their festival, dancing all the while an evil army marches over them.
Town Theme 4 - Draft 1
[soundcloud]https://soundcloud.com/maestroz-1/town-theme-4-d1[/soundcloud]
That said, I wanted to try and capture that feeling by giving the music a sort of square-dance-ish feel. There's a constant bass drone throughout the whole piece and the counterpoint is building harmonic support between that and the melody. The melody itself is a rather modest affair, and reminiscent of my earlier Forest Theme (https://soundcloud.com/maestroz-1/draft-2-3). That constant bass pulse is also meant to be evocative of a military march, but markedly slower, as if it is merely a musical shadow of a proper march. Another interesting thing is that at the end of the main theme are these sections of shifting tonalities which bring us to new tonic centers.
Ghosts of the Ruined City - Draft 2
[soundcloud]https://soundcloud.com/maestroz-1/ghosts-of-the-ruined-city-d2[/soundcloud]
The orchestration has an uneven spread; apart from the standard compliment of strings, the brass and winds seem to exists on opposite sides of the orchestral range. A solo oboe has the melody throughout and is supported by a solo horn, piccolo, or first violins in different iterations. The bass trombone and tuba pick up on the drone idea and run with it, with the basses giving it an actual pulse alongside their held pitches. The percussion features a triangle, tambourine and bass drum; the bass drum representing the steady march of the military and the triangle and tambourine on the up-beats, emphasizing the folk dance.
Wow. These are awesome! I can really see you being a video game composer one day!
So I was tasked for a more uplifting sort of death theme for plot reasons. There's not much to say for this one, though it has a similar approach to my earlier composition "Still" (https://www.youtube.com/watch?v=yNOJOF4nkI0).
Ascension - Draft 1
[soundcloud]https://soundcloud.com/maestroz-1/ascension-d1[/soundcloud]
The piano draft is a pretty straightforward piece. It's really just a blueprint for the orchestration. You'll note the unfinished ending, I'll get to that in a bit. The second draft was just an early notation of the later orchestration.
Ascension - Draft 3
[soundcloud]https://soundcloud.com/maestroz-1/ascension-d3[/soundcloud]
The orchestration is adapted for double strings, with the part writing designed to flower out from the center, as it were. It's almost an exact adaptation of the piano version, but with some doubling in various octaves for the melody along the way. The real magic comes at the end of the piece; in the center of it all is the violas and cellos playing two chords while the violins start a shepard scale moving upward and the basses (now div a 3) start one going down. This effectively results in the piece constantly moving forward ad infinitum with no real resolution. A large reason why I wanted it to (un)resolve like this is largely due to the fact that tis would likely be a point in which the player proceeds the plot/dialogue at his own pace. I needed something the would indicate an ending without really ending; and also that didn't just fall on playing the same melody over and over.
Haha! Chiptunes are fun.
[soundcloud]https://soundcloud.com/maestroz-1/sunnyside-countryside[/soundcloud]
This is likely going to be the opening track of a fake OST I'll write for a non-existent platformer game; with the earlier Swing-200 being the closer.
Hey! That's awesome!
Are you planning on being a VG composer?
Nah, I've only dedicated significant amounts of time writing music for a game a friend of mine is developing with the intention of pursuing it further in the future merely as a hobby.
I don't want to be a composer at all.
Quote from: MaestroUGC on August 15, 2015, 04:05:54 PMI don't want to be a composer at all.
Oh.....too bad
Quote from: MaestroUGC on August 15, 2015, 04:05:54 PMNah, I've only dedicated significant amounts of time writing music for a game a friend of mine is developing with the intention of pursuing it further in the future merely as a hobby.
So is your friend working on an official game or...?
You still haven't figured out my speaking and sarcasm style, have you?
Nope XD
It's a nice feeling to trust people.
You should trust people to be sarcastic. XD
This is a fun piece, I enjoyed it! The name "Sunnyside Countryside" is especially fitting.
I'm a big fan of chip-tune music, not to mention that's how I like my eggs. When do we get to hear more of this OST?
Whenever I write the rest of it.
Hey, remember this? (http://forum.ninsheetmusic.org/index.php?topic=1685.msg251974#msg251974)
Well I finally got around to writing the second movement. This one as more of an abstract program than the first movement, which was mostly summed up as "Robin Hood and Co. do their thing" with some additional framing narrative stuff from the perspective of Alan-a-Dale, the narrator of the Robin Hood story. I'll write a more proper program when the whole thing is finished, but the second movement flows like this:
Opening with the earlier "lovelorn" theme, Maid Marian sits in her garden wondering about her lover, Robin. She recalls a time when their love was in full bloom, before he became a bandit and beacon for the downtrodden. The last time she saw her Robin was just before he went of on his noble mission, they spent one last night together before he went off to right the wrongs of Prince John. Each time she hears of his adventures, she dreams of when they can be reunited, but alas their love cannot be and they continue to pine for one another. But all is not lost has Robin surprises her in the garden; but their time is short as he soon has to flee from the guards. But just before he leaps over the castle walls he vows that he will love only her and awaits the day they can be reunited. He disappears into the forest, and Marian returns to the castle, waiting for her Robin Hood.
Or something like that.
Mvt. I - Prince of Thieves (https://www.dropbox.com/s/0s5mdfrd04b0muy/I.%20Prince%20of%20Thieves%28s%29.mus?dl=0)
Mvt. II - Maid Marian (https://www.dropbox.com/s/uoh74mchpw5dasu/II.%20Maid%20Marian.mus?dl=0)
Track 3 of my fake OST. At some point I'll need to give this non-existent game a title and gather up some fake screenshots.
[soundcloud]https://soundcloud.com/maestroz-1/kitchen-door-blues[/soundcloud]
I call this one Kitchen Door Blues, kind of a world 2-2 vibe as it's more mellow than "Swing-200" and "Sunnyside Countryside", and variety is the spice of life. The next one I make will likely be of a similar tone, but a bit brighter in mood.
I'm getting a sarcastic vibe from the excessive use of fake and nonexistent. Like maybe the sense that this fake OST for a nonexistent game is not what it seems...but that's just speculation. ;) To actually comment on the song itself, I like it! I think it definitely fits the title and gives a "2-2 vibe" as you call it. Nice work yet again!
Oh no, this is basically a collection of pieces intended to be part of a game that doesn't exists.
Music for the Unmade Game, as I like to call it. Of course in my head I'm drafting what this supposed game would be like, but I'm not skilled enough to actually make said game outside of a design standpoint.
he's hoping some game company will feel sorry enough for him that they'll pick up his music
Quote from: NocturneOfShadow on September 12, 2015, 10:52:46 AMhe's hoping some game company will feel sorry enough for him that they'll pick up his music
Oh please, game companies would be
begging to have Maestro as a composer.
Maestro I think you would benefit greatly from restricting the number of voices you write for. Imo, experimenting with fewer voices would challenge you to give more consideration to each individual voice, at least for an exercise. (not swinging at your current quality or anything.) That's what I'd have someone in your shoes do.
I finished the Robin Hood Quartet.
Remember to brush your hair.
Love,
Saucy Kitchen Spoon
Oh, it appears I never actually posted the Robin Hood Quartet.
Oh well. (https://www.dropbox.com/s/oxfi2bor9hamzlb/Full%20Quartet%20%28Score%20complete%29.mus?dl=0)
That song is so cool!
Only if I had 2 violins and a viola to play with :P
Mr. Fjord's Train of Overly Reasonable Accommodations (https://soundcloud.com/maestroz-1/mr-fjords-trainwav)
"The elusive Mr. Fjord is a travel tycoon, and his luxury train 'The Galloping Wombat' is just one of his many enterprises. One of his enterprises of evil! Jump and bound as you attempt to bring this monstrously overly accommodating and reasonably affordable transportation to a stop before it reaches... The Next Town!"
"Mr. Fjord is a bad guy, trust me."
Who doesn't love a good train level, and an auto-scroller at that?
A nice little train tune. Very nice. It's simple, and it benefits from that.
This would fit a train level more than most songs that are actually in train levels. If I heard the song alone without any context, I'd definitely picture something moving. Really catchy tune, great job. A+ description as well, Mr. Fjord sounds like quite the contemptible curmudgeon.
I had to stop after about 3 minutes because of my raging headache.
When does the music actually start? Or the thing that's supposed to capture my attention, whatever that may be.
This is probably my favorite thing you've done so far. I love the implementation of simultaneous pieces working against each other to create a sort of musical-collage. I think what might help though (and what PDS was getting at) would be the implementation of a form. Right now it sounds like it just swells up and down several times in an unplanned manner.
If this is a dungeon in a game, it will definitely drive people insane. I like the creepiness and the insanity of it, but I do agree that it needs some kind of main melody that doesn't drive you insane and kinda calms you down, I guess, to break the insanity at points. Otherwise, this is pretty cool!
In all complete honesty and candor, it feels like someone's messing with radio knobs the whole time.
That was the aim. It was largely inspired by Revolution #9, and it probably won't be last last time I make a sound collage. This was mostly an effort of thinking less horizontally about music.
A sound collage still should serve a purpose. Unless your purpose was to give me a migraine, I'm sorry to say that it didn't happen.
Well if it's just going to be background noise while something else is happening, something like this could work. On its own though, I 100% agree.
Oh, wow! I think it's incredible. I'm caught between leaning in and searching for stability and sitting back and letting the overlapping sounds flood my ears.
I'd definitely enjoy it if you shared more. I don't get to hear enough new music during the summer.
https://soundcloud.com/maestroz-1/the-factory-final-mix
WARNING - OPEN AT YOUR OWN RISK
It is recommended that you save and close any open files in Finale before attempting to open this, in fact it would be prudent to also restart Finale as well.
Act I - MUS (https://www.dropbox.com/s/xc79zrt85vqcunu/Unto%20Heaven%20Master%20File.mus?dl=0)
Act I - MUSX (https://www.dropbox.com/s/m77vsclshrqdguo/Unto%20Heaven%20Master%20File.musx?dl=0)
https://soundcloud.com/maestroz-1/act-i
Originally conceived for the Arrangement Contest No. 8. Vocal parts to be added later. Acts II and III to be completed later.
Listening to factory all I can hear is:
Wor-KING-Wor-KING-Wor-KING-Wor-KING XD
You've created a brilliant factory atmosphere. Are the snare rolls supposed to represent drills? If not, it works anyway ;)
My question, as it's rather long: does the music restart from the beginning every time you die in the game? If you suck at the game might you not hear the rest of the track?
It is on the long side, but since this doesn't have a proper home I went for mood over practicality. If I had my way, this would be a level of timing and patience rather than one of speed and dexterity.
https://soundcloud.com/maestroz-1/ii-draft
So it's been a while since I posted here, but that's mostly because I try to avoid posting incomplete works. I have a few projects I'm working on that'll need more time still to complete them properly, but here they are for you to listen to.
Symphony No. 2 in D minor, "Grief"
https://soundcloud.com/maestroz-1/sets/symphony-no-2-in-d-minor-grief
This symphony is a monster but the first four movements are essentially complete, pending any additional revisions following the completion of the finale.
Mega Man 1 "Ending" for String Quartet
https://soundcloud.com/maestroz-1/mm1-ending-quartet
This is an arrangement of the Mega Man 1 "Ending" I made for string quartet. Nothing particularly extraordinary about it, but something I wrote to complete a set for an ensemble I'm working with.
Solstice, A Symphonic Poem
https://soundcloud.com/maestroz-1/solstice
"Solstice" is a revision of an earlier work of mine called "Apollo". I reduced the orchestration and otherwise slimmed up the work, but no major changes were made to the core music. Each section is meant to evoke a different mood for each part of the day that passes.
The Midnight Suite for Strings, Mvts 1,2 and 4
https://soundcloud.com/maestroz-1/sets/the-midnight-suite
The general idea behind this suite is that each movement was written very late at night, in that haze of exhaustion and creativity. It's scored for a double string ensemble, though it could be played by a typical symphonic string section, divided evenly. I intend to have 6-7 total movements in the work.
I - Dawn, A bit odd to start a work called the "Midnight Suite" with something called "Dawn", but the music isn't intended to represent late night happenings so here you go.
II - Still, Actually the first of the set to be written, this one is more meditative and tries to reach into the aether.
IV - Cascade, Very lively, I tried to evoke birds in flight and the patterns they make as they soar across the sky.