I love the harmonic progression from 4:52 to 5:04. Generally, my favourite excerpt was the one starting at 4:37. However, the last one does a particularly great job adding depth with only a string ensemble.
This is exactly the kind of thing that I'm hoping to learn to write for my own music :) I hope I can learn how to put together this many lines at once without it just being repetitive - the main thing I struggle with at the moment is extending a theme idea into a whole song. This sounds amazing :)
You'll definitely get there! It took me some time to take themes and make a whole piece around it. Just experiment a lot and have fun! Eventually, you'll have the skill familiarized or even mastered.
Ich will kein Angeber, oder Besserwisser sein, aber das am Anfang ist kein Largo, sondern das ist mehr Adagio mit Schwung, oder Andante. Und das Moderato, am Ende, ist eher ein Allegro. Ich wollte das nur klarstellen, mit nämlich keine Verwirrung entsteht. Dennoch ist das trotzdem ein sehr schönes Werk. :-) Ich wünsche dir einen schönen Abend. :-)
Beautiful composition! But I have to point out that the writing can be improved in many ways. There isn’t any slur in all the piece, so all notes should be played on diferent bowings, quite strange to not use legato at any point. Also you should notate “div.” when a section is divided, if not it indicates that the passage should be played using double stops. When the section is unified again so every one in the section plays the same, you should write “unis.”.Also, I think it’s better to change the time signature to 6/8 if you are going to use triplets for a lot of measures (I reffer to the measures 26-37), it suits better the feeling of the music and it’s easier to read for the performer. When changing time signature, you can write quarter note = dotted quarter note. Tremolo is notated adding 3 diagonal lines to the stem of every note, so you don’t need to write arco afterwards, as tremolo is executed with the bow. I recommend Samuel Adler’s Study of Orchestration, it’s a great manual, perfect for begginers at orchestral writting. I also encourage you to experiment and investigate about other techniques for strings, such as harmonics, sul ponticello-sul tasto, col legno, multiple stops etc… This instruments are fantastic and have such a variety of sounds that can be used for many purposes!
Filemon996. Where are your examples to show Sachpazidis how you would write a piece of music like this? He/she/they (using "he" in place) did a beautiful job aurally to present his idea to us, his listener. If he brings this to an orchestra to play, it is then that he should do a final edit if he so chooses. Heck, maybe he wants it this way for the orchestra to have full control of their own interpretation. I have no idea, but I like the way the music sounds. The problem we have with writing for sampled orchestra is that we can't write it exactly how an orchestra would play it. Essentially we are writing to the limitations of the sample library and not the limitations of a live orchestra. Those of us in the know have seen (Sample Library) composers go great lengths to write it out, in real world style only to have the sample library butcher their idea and to have their listeners poo-poo how it sounds. This is a new era, we can write impossible orchestral arrangements, that our computers can handle, our listeners marvel at, and arm chair music critics to scoff at, saying, "A real orchestra can't play that". At times I enjoy pushing the envelope in sound, only to have a person that has zero examples of their own abilities, try to tell me a harp is a non chromatic instrument. Well no S#!t, I do play the harp, write for the harp and intended to do something totally different with sound that a real harpist can't do. It comes down to the fact that the critic just wants their voice to be heard, that they know something about what the artist is doing, and by doing so distracts from the artists work to make it about themselves. So yes, this sounds like me beating my chest saying I am qualified to "criticize" and for "everyone to look at what I know", but I am not. I am sticking up for our composer here and criticizing the critic. I truly believe a master at their craft never criticizes another person that is trying their hand at the same thing. The master will only encourage, as they know what it is like to start the journey and the long road it took to get there. Sachpazidis, do not let anyone detract you away from your artistic journey or vision. You are doing things in your music with voice leading and harmony that most people can't do. Your overall piece has me listening and not critiquing. Job well done. I look forward to hearing more of you works. You have a natural gift for sure. Ignore the opinion clutter. Not worth your time, but I had just enough time today to "Give Em' the guns". Ok, now everyone get back to making RU-vid videos. Even you Filemon996. I like the videos that you have posted thus far. Let's keep creating!
I really enjoyed listening to this. It was not repetitive at all, I hope this gets played by a real string orchestra. How long have you been composing?
dude, that's not the first i'm listening to and...... OMG I'm from Brazil starting an Orchestra development here, so here's the question, can we play it? 'cause man, it sounds awesome. let know plsssss
