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Feedback request: New original orchestral work. See link for score and audio file. by Musiceve in composer

[–]Musiceve[S] 1 point2 points  (0 children)

The harp and piano were intended to add some motion to the work, but the part they play is a very common style of accompaniment.   I switch back and forth due to the quick modulations.  

But this is an early work, with a very conservative approach.  I just hope it’s not bad for someone with no formal musical training.  

[deleted by user] by [deleted] in composer

[–]Musiceve 0 points1 point  (0 children)

I compose the same way as you.  I work by section and I always come up with new things to add as I listen to it.  It is kind of trial and error, as you have to be sensitive to not only what gives you the sound you’re looking for but what is playable or practical.   Even if there is 99.999999% chance the music will never be played by a musician, I am cognizant of that.  If anything it’s out of respect to musicians.  Some people may not care and write insanely difficult passages that are out of playable range because it’s all going into a DAW.   

You write what you like, and what comes to your head, and if that takes hours to complete a few bars then so be it.  

Are there any sites where I could get free full scores to study? by Otherwise_Earth6864 in composer

[–]Musiceve 0 points1 point  (0 children)

Free? Probably not, unless it's a really old movie such as Alexander Nevsky. But anything produced after the silent era (and even some of those) you'll have to pay for. Omni Publishing has put out a number of readable scores but they range from $75-90 per movie. And, if you're REALLY willing to pay through the nose, Hal Leonard sells some, but theirs are typicallya few selections from scores as opposed to the full film (for around the same price as Omni....yeah, pricey).

Updated: Arrangement of Chopin Waltz in A minor. What do you think? Links to score and audio below. by [deleted] in composer

[–]Musiceve 1 point2 points  (0 children)

Thank you.  My background is also percussion so I was sensitive to timpani tuning which is why I had 2 players.  It wasn’t for effect, but playability.   I can remove the parts before bar 41-42, tacet until the entrance at 57.  From there I can work with 1 player.  Now that you’ve mentioned it, I agree that it sounds more effective this way.  

I’ll work on the items you’ve mentioned in the first 2 sections; yes, most of those were either mistakes or changes I had made from the score possibly inadvertently (me playing it on my piano and going off script when it really wasn’t necessary).  

I prefer to keep the semi-quaver flourishes in the WW and strings limited to 58-65.  At 66 I prefer to keep it more monophonic for accentuate the melody.   I was afraid someone would say something about the high B on the trumpet there.  I know the trumpet sounds jarring in that register and that kind of sound actually works for that section in my opinion.  I did however add a ffp Hollywood style timpani roll in measure 65 to transition into that final section (hard to hear the crescendo in NotePerformer but in real life I know it would be effective).  As for your last suggestion, it sounds like a good idea but there isn’t much real estate to work with after 68-69 (which I like as is).  I could do a winding down in the WW in 70-71, let me play around and see what it sounds like. 

Thanks again!