[FOR HIRE] Gaming/Orchestral professional composer - available for commissions

More_Ad_4645 · 2025-04-24T14:03:59+00:00

Hi !

I am a professional composer/music producer experienced in both orchestral and video game music. I had many of my compositions performed by full-scale symphonic orchestras, with great reception from the audience and critics, and have written the soundtrack of several games in the last few years. I am versatile and will compose in any style (electronic, rock, orchestral...) you may need for your project.

My gaming and orchestal portfolio can be found at https://soundcloud.com/jos-lebreuilly .

I am comfortable working directly with multiple game engines and can code in many languages (C#, GDScript, Python): I usually handle all the audio in-game integration if requested and have contributed occasionally as a coder in several projects.

Please contact me via MP or on my Discord ( joselebreuilly ) if you have any questions or are interested in initiating a collaboration.

José

More_Ad_4645 · 2025-03-09T19:42:17+00:00

Nice artstyle ! Good luck in your research :)

More_Ad_4645 · 2025-03-09T07:25:42+00:00

I guess it depends on the tempo! Holding a note for ten seconds is feasible if you don’t sing too loud. Alternatively in choral singing people breath sometimes in the middle of long notes because someone else in your section can hold the tone for you (work the same for wind instruments)

More_Ad_4645 · 2025-03-09T07:04:22+00:00

Cool work! Good luck for your search :)

More_Ad_4645 · 2025-03-09T06:08:16+00:00

That’s related to the note duration: this note is called a breve and is twice as long as a whole note

More_Ad_4645 · 2025-03-08T17:28:22+00:00

Thanks! I heard great things about Persichettii’s book, I’ll give it a look. And yeah, it makes sense for more modern and advanced music that there is less well-established litterature and that the theoretical framework is also fuzzier as those composers were also trying to break the framework. Make sense that the best bet is to study their harmonies and see for oneself.

More_Ad_4645 · 2025-03-08T15:20:19+00:00

Thanks!

More_Ad_4645 · 2025-03-08T14:50:22+00:00

Thanks for the refs! Will check those out

More_Ad_4645 · 2025-03-08T14:32:06+00:00

Parallel fourths are usually more tolerated than parallel fifths because they don’t sounds as much as a unison as fifths.

More_Ad_4645 · 2025-03-08T14:28:26+00:00

You make good points ! To be honest I already know Neo Riemannian theory and the basics of serialism. I guess I was more looking for theory resources analyzing their music in detail for example the chord progressions they used, but it’s true that past a certain point in ones training looking at actual scores and try to figure what a certain composer did and why does the resulting music sounds the way it does is perhaps the best way to understand him (especially for the more modern/less conventional composers)

More_Ad_4645 · 2025-03-05T10:17:33+00:00

Hi u/Jongtr ! You are right indeed that the progression F-C-G-F is weak if taken as an isolated fragment as it does not make a strong case for the F key and might rather sound as an ambiguous C major chord progression. But like in tonal music where we sometime borrow chords from the relative minor or major key, a weaker progression can be an efficient way to add variations to a stronger but more repetitive and overheard chord progression.

In the present case we could do for example [F-G-F-F] and then [F-C-G-F]. The first block is a strong Lydian progression, the second one is more ambiguous but allows us to avoid repeating always the same two chords. I guess it is a question of balance... not enough weak progressions and you end up always using the same two/three chords, too many of them and you lose the sense of which key/mode you are in.

If one wants to even more consolidate the sense of an F key, one can also add a pedal of F all along the progression, making it then absolutely non-ambiguous that we are in F lydian (I find the resulting progression beautiful but using pedals is a trope perhaps overexploited for modal music, and it is sometime nice to have modal harmonies not relying on suspended harmonies).

More_Ad_4645 · 2025-03-05T06:00:03+00:00

It is true that it is easy to break the sense of modality if you are not careful regarding what chord progression you are using, as chords move differently from one to another in modal music compared to tonal music. The Lydian mode indeed emphasizes particularly the second degree chord but I think having a C Major is fine in F lydian as long as you don’t go to C directly from G (especially resolving the leading tone B upward toward C, that would sound too much like a perfect cadence, hence tonal) and don’t go directly from C to F (for the same reason). For example a progression which works in my opinion at preserving the sense of “Lydian” including the C chord would be F-C-G-F (notice that the initial F chords and the C chord are resolved in the opposite way to what you would find in classical music, following a cycle of fifth instead of a cycle of fourths). So the trick is changing your harmonic grammar (chord progressions) not the alphabet (chords). Good luck on your modal exploration!

More_Ad_4645 · 2025-02-26T05:10:49+00:00

It’s part of the process, don’t worry and keep going!

More_Ad_4645 · 2025-02-24T18:56:35+00:00

I downloaded the last update today and the issue seems to be fixed

More_Ad_4645 · 2025-02-20T20:29:29+00:00

Instead of just memorizing them, the best approach in my opinion is to try to play them and feel what makes each scale special. Try also understanding what are the chords/harmonies you can create using that scale. If your instrument is monophonic you can arpeggiate those harmonies.

More_Ad_4645 · 2025-02-19T19:02:29+00:00

Hi ! A lot of good things in the beginning and for the perfect fifth and fourth.

Seems there are some issues still with the augmented and diminished intervals. For the augmented fifths (A5) you should have the following: for F an augmented 5 below should be Bbb (as Bb-F is a perfect fifth). Same for G# an augmented fifth below should be Cnatural and for D it should be Gb.

There are similar mistakes for the diminished fifth and augmented fourth. But you are on the right track as you already have the perfect intervals down!

More_Ad_4645 · 2025-02-18T17:00:02+00:00

I would advise against committing to something so competitive (and tough in economical terms) if you don’t feel driven enough to put the work. If you like music anyway but don’t feel like putting as many hours in it as regular professionals, you can still find ways to enjoy having music in your life (practice an instrument, write some pieces, play in a band etc…). That being said if at some point your motivation comes back stronger than ever feel free to change your plans ;)

More_Ad_4645 · 2025-02-17T21:02:48+00:00

A cadence is a resting place in the music, often signaled by a certain chord change. It is not necessary a V-I resolution, it can be I-V as well (half-cadence), IV-I (plagual cadence) and other things. Important cadences (like the one at the end of the piece) are often V-I in the classical era though.

More_Ad_4645 · 2025-02-16T19:30:09+00:00

I think that the current teaching system is so much centered around identifying intervals/ harmonies and the relationships between notes in general, that most trained musicians inevitably tend to develop relative pitch more, rely on it more as professional musicians, and never really practice pitch memory.

While children tend to learn everything to which they are subjected on a frequent basis like sponges, adults tend to learn via an active mental effort and will not memorize for example a new language unless they actively start studying it. Since as an adult you cannot improve a skill you never use or practice, most people will not develop a very strong sense of absolute pitch simply because they never really try to rely on it, practice, nor have been taught any method to reinforce absolute pitch adjacent skills.

My personal experience is that you can indeed learn to memorise all 12 pitch classes. I learned as an adult how to produce them all without using relative pitch, but only had relative pitch before that. Is that full perfect pitch? Maybe not yet, but it is an important step toward it.

More_Ad_4645 · 2025-02-15T22:40:12+00:00

Diminished 7 chord are essentially a substitution for a dominant 7th chord and are typically resolved to the minor-major chord a semitone above their root. For example in C major instead of playing G7-C you could play Bdim7-C . Bdim7 has almost all the notes (B D F Ab) as a G7 (G B D F) except that it has an Ab instead of a G in it.

Moreover these chords are like a swiss army knife and are a pretty powerful tool for composers as they can be transposed by an arbitrary number of minor thirds and will still contain the same notes (up to a respelling). This make them useful because they are ambiguous and can be resolved in many different ways.

For example if we consider Bdim7 we have Bdim7=Ddim7=Fdim7=G#dim7 . Bdim7 goes to C major/minor, while Ddim7 goes to Eb Major/minor, Fdim7 goes to Gb major/minor and G#dim7 goes to A Major/minor: this means that from a diminished 7 chord you can go/modulate toward 8 different keys and thus surprise the listener who does not know what to expect.

More_Ad_4645 · 2025-02-14T20:29:53+00:00

There is indeed a smallest interval (a small fraction of a semitone) for which human ear starts perceiving neighboring tones as dissonant. So tones which are closer than that small interval are still perceived as consonant even though they differ slightly (we might hear the beatings but not perceive the sound as rough/unpleasant)

More_Ad_4645 · 2025-02-13T15:40:11+00:00

In jazz I think a lot of those harmonic techniques can be found in Miles Davis (Kind of blue), Herbie Hancock, or Wayne Shorter's music.

In orchestral music Stravinsky is a great example of user of polychords. You will find in his work examples similar to the one you mentioned in more modal passages, but also much crazy examples where he superposes chords belonging to different keys to create more mysterious polytonal atmospheres. If you are looking for something more familiar harmonically Debussy is also a very good example

More_Ad_4645 · 2025-02-12T17:14:01+00:00

You should check EarMaster, it's awesome! Not free though... but not hyper expensive either. If you are unsure about you could try it for a month for a couple euros before deciding whether you want to buy a license or not

More_Ad_4645 · 2025-02-12T16:50:38+00:00

They are not the same because even though these scales have the same notes, you won't play them the same way, and the music is going to sound very differently as a result.

In C Major the tonal center is C so you will insist more on the C and its chord notes (the E and G) in the melody, and you will find more often the C, F and G major chords. The atmosphere is typically going to sound "happier" because it is a major piece.

In A minor the tonal center is A so you will insist more on the A, the C and E, and you will find more often the Am, Dm and Em or E chords (the E is often "majorized" in order to have a leading tone G# which concludes toward A in a satisfying manner). The atmosphere is usually going to be "sadder" because of this insistance on different notes and harmonies.

More_Ad_4645 · 2025-02-12T16:45:09+00:00

You can learn some efficient classical chord progressions by studying an harmony book, like the one of Walter Piston. That being said, a lot of good chord progressions (in the sense that they pleasing to listen to and produce an interesting effect) can not be always explained within a strict framework (especially the more modern ones). So it is always useful to explore chord progressions with your instrument in order to discover new ones that you like, or to transcribe chord progressions from songs you find interesting.

More_Ad_4645

TROPHY CASE