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I like it overall. It's a tiny bit monotone even though the synths add a lot of movement. Some arps made me think of the portal 2 soundtrack. It isn't really close to the original but I saw that it wasn't necessary. I could picture it as a series intro for sure.

What you describe is "programatic music". It'a a way to give Form to a composition. What the music "tells" is very subjective. So, the music itself sounds great and with beautiful transitions between strong and soft parts.

Write interesting parts for ALL instruments, so not only the flute has the melody, but also other instruments and that the bassoon does not have only low chord notes.

Hi everyone. I just thought I'd share a piece that I was working on this summer. (In case you're wondering, the piece doesn't have anything to do with the film The Omen) https://www.youtube.com/watch?v=Bapp6RO9eiU

Thanks for listening, really appreciate it! To be honest, I almost feel the same way as you. The main reason I think it's acceptable (and why it got the OK from the director) is because it "sounds nice". That's not much good for me personally, however, because this could easily just be stock music. Maybe that's too harsh. I dunno. As for using i and VI, I initially did that just to sketch out the cue. Then, when listening with the dialogue, I couldn't find anywhere it could change. Like you said, "it's hard to get a sense that something is growing." I think that's the problem I found with the dialogue. It started with a certain sadness, then moved to the older woman snapping, then coming back to apologise over and over again, before a final "I'm sorry, let's go back"-kind of line. Maybe I'm making excuses here, though. Surely I can do something better than this. I'm glad you've made me think about it further. The Picardy cadence — the only real "interesting" part of this. I used this on an earlier scene as well (attached that)... Listening back it felt like it worked better in that cue, maybe because it just went from i to I, rather than VI to I. It definitely sounds a lot more awkward in this piece. However, if I go VI > bVII > I it sounds so predictable. Also the other cue did a loop of IV > i, making it easier to resolve to the E major (maybe?). Anyway I'm just thinking out loud... Again, really appreciate the feedback. Love hearing stuff like this, it makes me think about what I'm doing a lot more deeply.

Generally okay. Sticking to a iv - i chord progression was kind of boring after a while, so I'm you changed it up in the end just a little bit. The other thing about that is having a piece entirely consisting of chords got kind of heavy handed too. The clave rhythm was a little clichéd as well. In the part with the midline guitar riff, using the leading tone kind of threw me off, especially in your iv chord because it doesn't actually leading to any common tone in your i chord. Since G# minor is such a black key heavy key, it's good to know where those are. Dark Matter is definitely not something I got out of this, even in the end with the sound effects. I always think of it as the absence of something, so this was definitely not that. It's a cool little piece with some nice changes, overall.

Most time, this kind of music "needs" some visual action (movie). In this case I think it works well alone. All the sounds seem very natural.