I think you have good enough grasp of "passing the ball" orchestration wise between instruments, and a genuine knack for melodic figures. What I'd really love to hear in your music, would be a greater variety in tempo, and rhythm, and some more "composite sounds" and texture in your orchestration. By no means am I trying to say "change everything," I hear great natural potential in your music. But experiment with odd meters... 5/4 and such. Perhaps that seems arbitrary to you but what is really exciting about composing I'm finding out is experimenting and discovery. I'd really like to see what you could do if you attempted something you weren't comfortable with...some project to get your head completely out of the box. John Cage and other composers of the 20th century like Arnold Schoenberg (for the love of God, please examine him carefully) are some more extreme examples. You and I should go in on an project together, with some unusual format and both try and produce something foreign to our usual palettes. That actually sounds exciting to me. I'll zap you a PM about it.
You're quite right Neal. I did this piece BECAUSE I needed to experiment. I havn't tried doing anything with an odd meter, though I suppose it's high time I gave it a shot yes?
If you suggest I look at Arnold Schoenberg and John Cage, then that is exactly what I will do. I have a great respect for your ability Neal, I look forward to a collab with you sometime.
Thank you for the review, i'm glad you liked it!
I believe this would have been a formidable entry for castle crashers man, this blend of techno and your orchestral muscle is pretty successful. This is pretty much perfect for that last contest, too bad.
It might have been my good sir Neal, however this is a remix, and I highly doubt they would want a remix thrown into the bustle of entries. Though I do wish I had taken up the the electronic field sooner, as to provide the game with some submissions of that element! But oh well right, this makes for a good practice piece, the next competition has more to worry about ;)
thank you for your review, i'm glad you liked it!
I suspect this may win.
I would hope so :D. There are many many top notch songs, I have already cut my losses main theme wise. I believe WinterWind, or Musical Rocky will take that trophy, as for me. I'm out for everything else >:D!
Thank you for the review Shadow, i'm glad you liked it!
This is a significant improvement orchestrationally and idea-wise over anything I've previously heard from you man, scares me into working harder on this competition actually. My only criticism would be based on personal taste, that buzz-saw sound you hear in movie trailers alot just doesn't agree with me. I think this piece overall is quite impressive and would be great for a demo reel if you're putting together one. Have a good one, sorry for your recent loss.
wow, i'm SO late at responding to this! Sorry Shadow! Keeping track of things are just not happening lately.
In any case, I hope you do try harder, and go all out! I've LOVED being scared by the other composers! It's driven me long into the night, often all nighters, of practicing, and experimenting! Thanks to this contest i've takens leaps which might have taken months more to get to... if ever.
That buzz saw sound is actually a cymbols effect, and I know what you mean. It's not my favorite sound, but it seemed to suit the movie, so I threw it in there!
Thank you for the review, i'm glad you liked it.
Sounds titanic man, I'm very impressed by your brass writing and virtual instruments my god I'd kill for that kind of brass sample. I think most people will be blown away by the sheer gravity of when those brass and strings come in. I do have a little to say since you were kind enough to talk to me. I'm fairly certain you know what's already working so I won't focus on that, and what I'll say is based on my taste really, but sharing critical thinking is really the only useful thing for composers such as ourselves to exchange.
All things considered, your music is head and shoulders above anything I've heard here at Newgrounds. This particular piece though becomes less convincing for me when the solo female vocal joins the melody. Part of it is, the oh/ah sound is distinctly inhuman and unnatural (not your fault,) the other reason is its just sort of a tired thing to do from my point of view. It turns me off as a critical listener anyway. I really could've used more counterpoint/unexpected harmonic syntax, and not another sound front and center doubling the melody, to build and build and build without giving something unexpected (a new orchestral color, melodic counterpoint, dissonant tension)becomes somewhat tiring. That's not always the case, for instance if the producers see fit to loop this cue many times throughout the game without changing the music relative to the action. You and I both have to use our movie and VG orchestral "bag of tricks", and understand what the non-musical people identify with I know. But I think that for us to stick out as desirable from the next guy you and and I need to find ways to write with subtle depth even when we're churning out that in-your-face cue bluntly telling an audience how to feel, the kind of cue everyone recognizes immediately. But my god, you're only 19 (looking at your profile),in that case there's still so much for you to learn about composition and orchestration, I hope you love doing this, cause we'll never have to stop learning about the possibilities of new sounds. I can't believe where you are right now at 19, you should be quite proud. Not really knowing much about you, I'm quite certain if you love this, you're going to make one hell of a composer.
When you know a melody belongs in one family of instruments, find a special way to augment that sound to make it have that "something else". And I know what dissonance and dissonant tension sounded like to my ears at 19, but my god, the emotional possibilities that are available when you embrace and understand it, turn to the late romantic composers and 19th and 20th century greats to see what I mean. And that's what I'm missing most in your music really, I've listened down to about number 8 on your page here. Your melodies are convincing, and your orchestrations though possessing great instrumental variety, (personally) don't give me surprising chord progressions, nor very many unexpected colors. Now I don't mean to say that you should arbitrarily over-complicate every simple cue under the sun, but in general this approach is going to make you stick out and give those simple cues that much more depth. I doubt I'll write any more reviews at this site, but your enthusiasm for music excited me, I know you'll go far man.
Thank you for the incredible review Shadow16nh! You have brought up some incredible points which will very likely keep me pondering for days, maybe weeks at a time!
There were a few reasons why there was a fair deal of repetition in this piece, you were quick to identify that the melody repeats when the vocalists come in *and that first solo part DOES sound fake, there are ways to fix that, I am simply not that well versed with the software and vocal manipulation to grasp that properly yet without applying mad reverb left and right*
Tom had requested that the song be catchy. Something a person would find themselves humming.
Catchy entails that the songs melody must be memorizable quickly. Orchestral pieces as you are probably aware do not click quickly in their listeners mind. Due to such complex segments being available to us as composers, we often forget that it catchy is simplicity.
However I did not want to make simplicity mean void of flavor or energy. For this reason the epic parts repeats the 2 core melodies again, emphasized with the vocalists second time around for emphasis.
I would like to ask you for some reference material for these late romantic composers you have mentioned if possible. I am a little ashamed to say I do not know the era well, and though I have created a few romantic pieces, and the odd waltz here and there, by no means did I fully understand the mechanics behind them as I have not studied enough pieces of them.
All in all, thank you for the brilliant review! I'm glad you liked the piece, I hope to talk with you again soon!
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