After a long background in writing classic chiptuney video game music, I decided to take the leap, upgrade my software, and head into the new world of orchestral composing. Logical transition, right? >_>
I'm very much still learning how to fully utilize my new software and even had to upgrade my DAW two versions ahead to compensate for it, which left me relearning things that I had been comfortable doing for a decade. That said, I've been writing and writing and feel I'm ready to share my first pieces with people and get some feedback. Just take these as my beginning leap into the mix, rather than defining works of art. My first little splash, let's say. x_x
A note, however: While I feel I'm fairly decent at writing music, my abilities in the technical side of mixing/mastering are a little lacking. I do my best to make my tracks sound decent, but I honestly have a ton of learning to do in this area and don't have much of an idea of what I'm doing.
So, let's get to the music:
Luna - This one was just a self-experiment, I guess. I wanted to see what I was capable of and how far I could push myself, so I tried to make a decently elaborate piece. It incorporates some minor electronic elements, some choir, piano, and the standard orchestral ensemble. I'm pretty happy with how it turned out and how it all fits together. I kind of surprised myself with this one.
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Eurydice - This one is inspired by one of my favourite stories of all time, the myth of Orpheus and Eurydice. I wanted to write a piece that was fitting of the tragedy - something equally as haunting and desperate. I feel like I pulled off exactly what I wanted to accomplish with the piece, giving it a semi-minimalistic feel to create a feeling of emptiness, and huge dramatic choir sections to emphasize the pain.
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Rebirth - The goal of this piece was to create an energetic, dramatic/epic orchestral piece along the lines of what you might hear in a cinematic trailer. It was one of the first pieces I wrote with my new software, so it might sound a little more off than the previous two pieces, but I'm still very happy with what it is musically. I think it's a pretty cool piece. Also, it was inspired by the concept of "Batman Beyond," so I tried to incorporate some electronic/futuristic elements at the beginning and keep a little bit of a gritty tone.
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Misery Signal - And, finally, Misery Signal - completely unlike the others in that it isn't an orchestral piece and is instead an acoustic guitar piece. I really, really like this one. I originally wrote it all out as piano, but fiddled around to see how it would sound on guitar and, after liking what I heard, decided to take the entire piece in that direction. I find it to be a nice mixture of relaxing and melancholy and find myself listening to it whenever I need to relax. ^^;
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And that's it for now. I'd appreciate any feedback, whether it be constructive suggestions, opinions, reactions to listening, etc. and, if you're at all into what I'm putting out, I will be regularly uploading all of my new musical endeavours, so feel free to subscribe/follow me for more.
Lately i' m loving more and more epic music. Its just like classical but it has this e[picness... i listened to luna and rebirth and misery signal I wrote a piece called Rebirth too, quite different from your idea. Its a piano with some pads and birds in the backround (it lasts like one minute into that album)
I really like Luna and rebirth epic ones; The last one i don' t like the pads you used. The guitar is nice. The second one breaks are too short but i guess youi just got the software so. Happened to me to something like that. I' m using Reason Propellorhead but thinking of getting Logic and finale too Do you have any tips on writing epic music? i was just looking a few days ago on google but didn' t find anything useful, i wrote 1 minute of epic music trailer and thats it but defo wanna do something more. And what do you think of my piece, rebirth?
On March 15 2014 03:39 pebble444 wrote: Lately i' m loving more and more epic music. Its just like classical but it has this e[picness... i listened to luna and rebirth and misery signal I wrote a piece called Rebirth too, quite different from your idea. Its a piano with some pads and birds in the backround (it lasts like one minute into that album) http://youtu.be/2jU8p8wo2Fg?t=8m48s
I really like Luna and rebirth epic ones; The last one i don' t like the pads you used. The guitar is nice. The second one breaks are too short but i guess youi just got the software so. Happened to me to something like that. I' m using Reason Propellorhead but thinking of getting Logic and finale too Do you have any tips on writing epic music? i was just looking a few days ago on google but didn' t find anything useful, i wrote 1 minute of epic music trailer and thats it but defo wanna do something more. And what do you think of my piece, rebirth?
I really like your Rebirth piece. It's very nice and peaceful. I also really like Premature. You write pretty interesting music with some neat sounds.
As for "tips," I'm pretty new to it myself, so I don't really have that much to say. Just listen to a lot of it and focus on strong chord progressions. It's very chord-based and works around heavy layering. You can take a 4 chord progression and make it sound differently for a minute straight if you know how to play with it, incorporating higher octaves, switching notes from the middle of the chord up an octave to "open" space, etc. I used to be really into hardstyle music, which is all about build-ups and climaxes, so I have that background that helps me a lot in that aspect.
But, yeah. Just keep listening to it. I listen to it all the time and get all kinds of ideas and inspirations from what I hear. "Oh, I want to try that!" Happens all the time.
Thanks for the comments and also sharing your own work. I really appreciate it.
What software did you use before and what do you use now, DAW? Nice blog. I listened to all, seems it would fit well in quite some animes. It's not music I'd just listen to though.
Just gotta keep working on it, been composing for ~8 years and have a degree in it from a conservatory in the States, it just takes time and you gotta keep experimenting!
On March 15 2014 05:22 Peeano wrote: What software did you use before and what do you use now, DAW? Nice blog. I listened to all, seems it would fit well in quite some animes. It's not music I'd just listen to though.
DAW stands for digital audio workstation. It's just the overarching term for the program you use to write music, like Cubase, Reaper, Logic, FL Studio, etc.
I was using FL Studio 9 and soundfonts, but I upgraded to Komplete 9 Ultimate + Voxos/Cinebrass Pro/LA Scoring Strings/etc. and FL Studio 11. I had to upgrade to 11 because FL Studio 9 only allows up to 4 GB memory usage and it wasn't enough for what I'm doing now. FL Studio 11 allows for bridging and more utilization of your computer's RAM.
Of the first three, I like Luna the most. The synthy combination with the choir bit, e.g. at 1:51, works suprisingly well. Eurydice gave me some chills, but didn't go all the way. Rebirth was fine too.
I like the acoustic guitar piece. Did you play that live or is it a synth/sample from notes?
I had the opportunity to study under an Emmy-winning composer a few years ago. Unfortunately, that opportunity was at least 2 years into a degree program which required a lot of hoop-jumping and integration into the art college from the engineering college. At the time, I was having some personal issues with redefining friendship and trust, and I was super closed off from everybody and depressed. When my dedicated instructor got angry at me for coming to class 5 minutes into the small group rehearsal, it was one of the two things that ended up breaking my back. I had no friends really, people were trying to be nice to me but I was closed, and on top of that my instructors did not understand a struggling artist's potential mental status. If they did understand the potential for mental health issues, they showed no remorse and seemed to be trying to cull the people who were not in it for the long haul, with no regard for potentially affecting unstable people. Because of this, I decided to leave the program, and while I feel I would have gotten along very well with that Emmy-winning professor, I was never able to spend time learning under him. I was overwhelmed with painful emotions, and after 2-3 months of trying I just couldn't do it anymore, even though I wanted to fit in and be a part of the group.
I'm not really qualified to criticize because I haven't produced much that others can actually listen to. However I will offer some advice I vaguely gleaned from my more active years among formal instruction and my own musical epiphanies. 1. Music tells a story. Does your song tell a story? If not, make it tell one. 2. Some of your note orders are weird and distressing. E.g., the very beginning of Luna to about 0:10. I'm not trying to make you fit into a box, but maybe you could try variations on a main theme, rather than what sounds to me like jamming. 3. One-part sonatas are hard. However they tend to be one of the first compositions required for homework. 4. You could try listening to other songs in a similar genre-feel to what you want to write. Write down every note in the piece, or find sheet music for it. How do the notes go together? Are there any chords? This type of analysis can be extremely valuable in your growth as a composer.
That said, it's humbling for me to see any finished work whatsoever. You may already be doing all of my advice and then some. If so, I'm sorry for my insolence.
Good luck and spend more time every day doing what you love.
I'll offer some comments that might/might not be helpful, since it's pretty subjective and you might really like that and I might not, etc.
I listened to Luna, and while it was good, some of the really sharp dissonances in the beginning made it really hard to listen to. If you wat to keep those, I wouldn't put it on such a pronounced instrument - maybe something softer, or just anything that doesn't have a really defined attack so we still get the weird feel without the piercing 'naw mean?
Have you studied counterpoint/harmony? It seems like you're using a lot of parallel motion, which is fine if you really like it; some like that primitive pedestrian effect, and while it doesn't sound bad, if you don't want that sound that's something I want to bring to your attention. Everything's sort of moving upward at the same time which can sound very primitive. [Which, if you want that, then great!] I'd suggest looking at Bach 4 part chorales or anything Rachmaninoff [especially his piano concertos] and listen to them. The bit just before the first cadenza in Rach 3 has a double handed run that lets you hear the stark difference beteeen parallel and contrary motion, and Rach 2 shows you how powerful oblique motion can be.
In terms of Harmony, I like what you're trying to do, but, in my opinion, the dramatic moments weren't quite dramatic enough. I mean yes circle progressions and constant V-I's can get really boring, but you could avoid all of them until the dramatic moment or something. What order did you compose this in? Did you start at the climax and go forward/backward? Or from beginning to end? Find what works for you; learn how to wrench people's heart's. Unless, of course, that's not what you're going for. It also seems like you're a bit limited in your choice of voicings and chords. Explore! Listen to everything, find what you like, write it down. For example, I discovered the III7-VI7 while listening to korean ballads and I use it extensively.
I absolutely LOVE LOVE LOVE the instrumentation and the part writing. That was really well done. The only thing I'd say is to not be afraid to vary the parts up a little bit; it seems like every voice is just doing one thing but it's fine to either have them do different things or mix it up; it makes it more interesting. Also it seems like everyone's kind of doing their own thing; it's ridiculously hard, but the voices need to speak to each other. I'd listen to more Bach who was pro at this. Or Tchaikovsky or Ravel.
Finally, what are you trying to tell me with this piece? I got some feels and a slight sense of direction, but it wasn't as defined as I'd like, and it didn't really take me anywhere. What do you want me to see? Hear? Taste? Touch? FEEL?
All in all though, good job, I'm impressed with the quality of work Teamliquid people put out :D
I really liked the first half of Eurydice. I have to say that i dislike the front choir in the second half though. Not the idea itself and the tunes, but the way it abruptly stops, as well as the way it sounds artificial (a bit like a keyboard). I also think it is a tad to loud and stops the background from being heard.
Rebirth was pretty cool. Luna is imo the best of the four though.
Still amazing work and i wished i had half of the knowledge and skill you seem to have in that area. What you compose and talk about sounds really interesting. How did you get into making music?
On March 16 2014 00:53 XDJuicebox wrote: I'll offer some comments that might/might not be helpful, since it's pretty subjective and you might really like that and I might not, etc.
I listened to Luna, and while it was good, some of the really sharp dissonances in the beginning made it really hard to listen to. If you wat to keep those, I wouldn't put it on such a pronounced instrument - maybe something softer, or just anything that doesn't have a really defined attack so we still get the weird feel without the piercing 'naw mean?
Have you studied counterpoint/harmony? It seems like you're using a lot of parallel motion, which is fine if you really like it; some like that primitive pedestrian effect, and while it doesn't sound bad, if you don't want that sound that's something I want to bring to your attention. Everything's sort of moving upward at the same time which can sound very primitive. [Which, if you want that, then great!] I'd suggest looking at Bach 4 part chorales or anything Rachmaninoff [especially his piano concertos] and listen to them. The bit just before the first cadenza in Rach 3 has a double handed run that lets you hear the stark difference beteeen parallel and contrary motion, and Rach 2 shows you how powerful oblique motion can be.
In terms of Harmony, I like what you're trying to do, but, in my opinion, the dramatic moments weren't quite dramatic enough. I mean yes circle progressions and constant V-I's can get really boring, but you could avoid all of them until the dramatic moment or something. What order did you compose this in? Did you start at the climax and go forward/backward? Or from beginning to end? Find what works for you; learn how to wrench people's heart's. Unless, of course, that's not what you're going for. It also seems like you're a bit limited in your choice of voicings and chords. Explore! Listen to everything, find what you like, write it down. For example, I discovered the III7-VI7 while listening to korean ballads and I use it extensively.
I absolutely LOVE LOVE LOVE the instrumentation and the part writing. That was really well done. The only thing I'd say is to not be afraid to vary the parts up a little bit; it seems like every voice is just doing one thing but it's fine to either have them do different things or mix it up; it makes it more interesting. Also it seems like everyone's kind of doing their own thing; it's ridiculously hard, but the voices need to speak to each other. I'd listen to more Bach who was pro at this. Or Tchaikovsky or Ravel.
Finally, what are you trying to tell me with this piece? I got some feels and a slight sense of direction, but it wasn't as defined as I'd like, and it didn't really take me anywhere. What do you want me to see? Hear? Taste? Touch? FEEL?
All in all though, good job, I'm impressed with the quality of work Teamliquid people put out :D
Thank you for all the thoughts and lengthy comments. To be honest, a lot of what you said was way over my head, although I definitely realize that I have a lot of learning to do.
Something surprising to mention is that I actually do not know a single note by name, a chord by name, anything about music theory, and I don't know how to read or write sheet music/musical notations. All of what I write and have to work with at the moment is by ear and what naturally comes to me. I have no formal training and have never taken any type of music lesson or class whatsoever.
I'm going to try to invest more time learning important things like you talk about, rather than just straight-up writing music all the time. I think it's important to have a solid foundation of knowledge behind the writing and definitely agree with you. I feel like I have a lot of "natural talent," but a very distorted and misguided outlet for it at the moment. I'm trying, though. ^^;
On March 16 2014 07:18 Blackfeather wrote: I really liked the first half of Eurydice. I have to say that i dislike the front choir in the second half though. Not the idea itself and the tunes, but the way it abruptly stops, as well as the way it sounds artificial (a bit like a keyboard). I also think it is a tad to loud and stops the background from being heard.
Rebirth was pretty cool. Luna is imo the best of the four though.
Still amazing work and i wished i had half of the knowledge and skill you seem to have in that area. What you compose and talk about sounds really interesting. How did you get into making music?
Thank you for your comments and time in listening to my music. It's not too surprising to me that some of my executions sound off. I'm still trying to get it all down and increase my skill every day.
I'm not really sure how I got into making music, to be honest. Sometimes it feels more like music chose me than I chose music, if that makes any bit of sense. It's just something natural, some large part of me that needs to speak out.
I started with playing guitar in middle school, then making silly songs with my friends. From there, I got into writing electronic dance music, then chiptune video game music. Now, I'm moving into more "serious" orchestral works and trying to establish myself as something solid and professional. I have a very long way to go, but yeah. I'm trying.
On March 16 2014 07:18 Blackfeather wrote: I really liked the first half of Eurydice. I have to say that i dislike the front choir in the second half though. Not the idea itself and the tunes, but the way it abruptly stops, as well as the way it sounds artificial (a bit like a keyboard). I also think it is a tad to loud and stops the background from being heard.
Rebirth was pretty cool. Luna is imo the best of the four though.
Still amazing work and i wished i had half of the knowledge and skill you seem to have in that area. What you compose and talk about sounds really interesting. How did you get into making music?
Thank you for your comments and time in listening to my music. It's not too surprising to me that some of my executions sound off. I'm still trying to get it all down and increase my skill every day.
I'm not really sure how I got into making music, to be honest. Sometimes it feels more like music chose me than I chose music, if that makes any bit of sense. It's just something natural, some large part of me that needs to speak out.
I started with playing guitar in middle school, then making silly songs with my friends. From there, I got into writing electronic dance music, then chiptune video game music. Now, I'm moving into more "serious" orchestral works and trying to establish myself as something solid and professional. I have a very long way to go, but yeah. I'm trying.
Thank you for your comments.
Thanks for your reply. I hope i didnt sound overly negative, i was trying to point out what I think could be improved. I think you did an awesome job.
I really like hearing complex compositions and elements that are non-standard and thought about composing a bit as well. But i lack a lot of the theory and have the feeling that my guitar teacher cant teach me in that area (he is more or less an autodidact). Is there a website or book you would recommend on composing music? I know some basics like scales and tacts but I dont know how to form songs with this knowledge.
On March 16 2014 00:53 XDJuicebox wrote: I'll offer some comments that might/might not be helpful, since it's pretty subjective and you might really like that and I might not, etc.
I listened to Luna, and while it was good, some of the really sharp dissonances in the beginning made it really hard to listen to. If you wat to keep those, I wouldn't put it on such a pronounced instrument - maybe something softer, or just anything that doesn't have a really defined attack so we still get the weird feel without the piercing 'naw mean?
Have you studied counterpoint/harmony? It seems like you're using a lot of parallel motion, which is fine if you really like it; some like that primitive pedestrian effect, and while it doesn't sound bad, if you don't want that sound that's something I want to bring to your attention. Everything's sort of moving upward at the same time which can sound very primitive. [Which, if you want that, then great!] I'd suggest looking at Bach 4 part chorales or anything Rachmaninoff [especially his piano concertos] and listen to them. The bit just before the first cadenza in Rach 3 has a double handed run that lets you hear the stark difference beteeen parallel and contrary motion, and Rach 2 shows you how powerful oblique motion can be.
In terms of Harmony, I like what you're trying to do, but, in my opinion, the dramatic moments weren't quite dramatic enough. I mean yes circle progressions and constant V-I's can get really boring, but you could avoid all of them until the dramatic moment or something. What order did you compose this in? Did you start at the climax and go forward/backward? Or from beginning to end? Find what works for you; learn how to wrench people's heart's. Unless, of course, that's not what you're going for. It also seems like you're a bit limited in your choice of voicings and chords. Explore! Listen to everything, find what you like, write it down. For example, I discovered the III7-VI7 while listening to korean ballads and I use it extensively.
I absolutely LOVE LOVE LOVE the instrumentation and the part writing. That was really well done. The only thing I'd say is to not be afraid to vary the parts up a little bit; it seems like every voice is just doing one thing but it's fine to either have them do different things or mix it up; it makes it more interesting. Also it seems like everyone's kind of doing their own thing; it's ridiculously hard, but the voices need to speak to each other. I'd listen to more Bach who was pro at this. Or Tchaikovsky or Ravel.
Finally, what are you trying to tell me with this piece? I got some feels and a slight sense of direction, but it wasn't as defined as I'd like, and it didn't really take me anywhere. What do you want me to see? Hear? Taste? Touch? FEEL?
All in all though, good job, I'm impressed with the quality of work Teamliquid people put out :D
Thank you for all the thoughts and lengthy comments. To be honest, a lot of what you said was way over my head, although I definitely realize that I have a lot of learning to do.
Something surprising to mention is that I actually do not know a single note by name, a chord by name, anything about music theory, and I don't know how to read or write sheet music/musical notations. All of what I write and have to work with at the moment is by ear and what naturally comes to me. I have no formal training and have never taken any type of music lesson or class whatsoever.
I'm going to try to invest more time learning important things like you talk about, rather than just straight-up writing music all the time. I think it's important to have a solid foundation of knowledge behind the writing and definitely agree with you. I feel like I have a lot of "natural talent," but a very distorted and misguided outlet for it at the moment. I'm trying, though. ^^;
Thank you for all your words, again.
Wikipedia is super helpful, and any basic book on music theory is enough to get you started. Remember, theory helps, but at the end of the day, the ear is master
On March 16 2014 00:53 XDJuicebox wrote: I'll offer some comments that might/might not be helpful, since it's pretty subjective and you might really like that and I might not, etc.
I listened to Luna, and while it was good, some of the really sharp dissonances in the beginning made it really hard to listen to. If you wat to keep those, I wouldn't put it on such a pronounced instrument - maybe something softer, or just anything that doesn't have a really defined attack so we still get the weird feel without the piercing 'naw mean?
Have you studied counterpoint/harmony? It seems like you're using a lot of parallel motion, which is fine if you really like it; some like that primitive pedestrian effect, and while it doesn't sound bad, if you don't want that sound that's something I want to bring to your attention. Everything's sort of moving upward at the same time which can sound very primitive. [Which, if you want that, then great!] I'd suggest looking at Bach 4 part chorales or anything Rachmaninoff [especially his piano concertos] and listen to them. The bit just before the first cadenza in Rach 3 has a double handed run that lets you hear the stark difference beteeen parallel and contrary motion, and Rach 2 shows you how powerful oblique motion can be.
In terms of Harmony, I like what you're trying to do, but, in my opinion, the dramatic moments weren't quite dramatic enough. I mean yes circle progressions and constant V-I's can get really boring, but you could avoid all of them until the dramatic moment or something. What order did you compose this in? Did you start at the climax and go forward/backward? Or from beginning to end? Find what works for you; learn how to wrench people's heart's. Unless, of course, that's not what you're going for. It also seems like you're a bit limited in your choice of voicings and chords. Explore! Listen to everything, find what you like, write it down. For example, I discovered the III7-VI7 while listening to korean ballads and I use it extensively.
I absolutely LOVE LOVE LOVE the instrumentation and the part writing. That was really well done. The only thing I'd say is to not be afraid to vary the parts up a little bit; it seems like every voice is just doing one thing but it's fine to either have them do different things or mix it up; it makes it more interesting. Also it seems like everyone's kind of doing their own thing; it's ridiculously hard, but the voices need to speak to each other. I'd listen to more Bach who was pro at this. Or Tchaikovsky or Ravel.
Finally, what are you trying to tell me with this piece? I got some feels and a slight sense of direction, but it wasn't as defined as I'd like, and it didn't really take me anywhere. What do you want me to see? Hear? Taste? Touch? FEEL?
All in all though, good job, I'm impressed with the quality of work Teamliquid people put out :D
Thank you for all the thoughts and lengthy comments. To be honest, a lot of what you said was way over my head, although I definitely realize that I have a lot of learning to do.
Something surprising to mention is that I actually do not know a single note by name, a chord by name, anything about music theory, and I don't know how to read or write sheet music/musical notations. All of what I write and have to work with at the moment is by ear and what naturally comes to me. I have no formal training and have never taken any type of music lesson or class whatsoever.
I'm going to try to invest more time learning important things like you talk about, rather than just straight-up writing music all the time. I think it's important to have a solid foundation of knowledge behind the writing and definitely agree with you. I feel like I have a lot of "natural talent," but a very distorted and misguided outlet for it at the moment. I'm trying, though. ^^;
Thank you for all your words, again.
Wikipedia is super helpful, and any basic book on music theory is enough to get you started. Remember, theory helps, but at the end of the day, the ear is master
I actually like the fact that he is 'pure' or 'noob' when it comes to music theory. I feel like this way his creativity knows no boundaries. Like how children - unlike most adults - can fantasize a whole world around their toy/doll.
Frankly I can't find the right words to express myself, so I hope it makes sense what I'm trying say... I don't mean to discourage OP picking up on music theory, it's simply just a thought.
Paul Anthony Romero is my idol and I really like love blogs such as this one. I'm currently, with very little music theory knowledge, trying to compose my first piano piece for a concert I'm giving in 3 months. If I finish my composition in time I'll make sure to write a blog to see about your opinions.
On March 16 2014 00:53 XDJuicebox wrote: I'll offer some comments that might/might not be helpful, since it's pretty subjective and you might really like that and I might not, etc.
I listened to Luna, and while it was good, some of the really sharp dissonances in the beginning made it really hard to listen to. If you wat to keep those, I wouldn't put it on such a pronounced instrument - maybe something softer, or just anything that doesn't have a really defined attack so we still get the weird feel without the piercing 'naw mean?
Have you studied counterpoint/harmony? It seems like you're using a lot of parallel motion, which is fine if you really like it; some like that primitive pedestrian effect, and while it doesn't sound bad, if you don't want that sound that's something I want to bring to your attention. Everything's sort of moving upward at the same time which can sound very primitive. [Which, if you want that, then great!] I'd suggest looking at Bach 4 part chorales or anything Rachmaninoff [especially his piano concertos] and listen to them. The bit just before the first cadenza in Rach 3 has a double handed run that lets you hear the stark difference beteeen parallel and contrary motion, and Rach 2 shows you how powerful oblique motion can be.
In terms of Harmony, I like what you're trying to do, but, in my opinion, the dramatic moments weren't quite dramatic enough. I mean yes circle progressions and constant V-I's can get really boring, but you could avoid all of them until the dramatic moment or something. What order did you compose this in? Did you start at the climax and go forward/backward? Or from beginning to end? Find what works for you; learn how to wrench people's heart's. Unless, of course, that's not what you're going for. It also seems like you're a bit limited in your choice of voicings and chords. Explore! Listen to everything, find what you like, write it down. For example, I discovered the III7-VI7 while listening to korean ballads and I use it extensively.
I absolutely LOVE LOVE LOVE the instrumentation and the part writing. That was really well done. The only thing I'd say is to not be afraid to vary the parts up a little bit; it seems like every voice is just doing one thing but it's fine to either have them do different things or mix it up; it makes it more interesting. Also it seems like everyone's kind of doing their own thing; it's ridiculously hard, but the voices need to speak to each other. I'd listen to more Bach who was pro at this. Or Tchaikovsky or Ravel.
Finally, what are you trying to tell me with this piece? I got some feels and a slight sense of direction, but it wasn't as defined as I'd like, and it didn't really take me anywhere. What do you want me to see? Hear? Taste? Touch? FEEL?
All in all though, good job, I'm impressed with the quality of work Teamliquid people put out :D
Thank you for all the thoughts and lengthy comments. To be honest, a lot of what you said was way over my head, although I definitely realize that I have a lot of learning to do.
Something surprising to mention is that I actually do not know a single note by name, a chord by name, anything about music theory, and I don't know how to read or write sheet music/musical notations. All of what I write and have to work with at the moment is by ear and what naturally comes to me. I have no formal training and have never taken any type of music lesson or class whatsoever.
I'm going to try to invest more time learning important things like you talk about, rather than just straight-up writing music all the time. I think it's important to have a solid foundation of knowledge behind the writing and definitely agree with you. I feel like I have a lot of "natural talent," but a very distorted and misguided outlet for it at the moment. I'm trying, though. ^^;
Thank you for all your words, again.
Wikipedia is super helpful, and any basic book on music theory is enough to get you started. Remember, theory helps, but at the end of the day, the ear is master
I actually like the fact that he is 'pure' or 'noob' when it comes to music theory. I feel like this way his creativity knows no boundaries. Like how children - unlike most adults - can fantasize a whole world around their toy/doll.
Frankly I can't find the right words to express myself, so I hope it makes sense what I'm trying say... I don't mean to discourage OP picking up on music theory, it's simply just a thought.
Paul Anthony Romero is my idol and I really like love blogs such as this one. I'm currently, with very little music theory knowledge, trying to compose my first piano piece for a concert I'm giving in 3 months. If I finish my composition in time I'll make sure to write a blog to see about your opinions.
A good understanding of theory can certainly help though. It's like having a bigger vocabulary to write stories with; certain harmonies we really want, but we don't know what they sound like if that makes any sense
EPT
