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A lot of people out there seem to put film and game music on this pedestal; they seem to see it as like, the highest of musical honor. Everyone down to Axl Rose has gone on record saying about how much he respects film composers and wants to be one himself someday. https://tonedeaf.thebrag.com/axl-rose-film-soundtracks/ As someone who has actually composed for some video games, has worked and studied with some successful film composers, etc. I don't really understand it — at the end of the day, you are just writing music for consumer products. You really are just another person in the chain, and actually pretty far down the list of production priorities. It's not like sitting in front of a screen, slaving away for 10+ hours a day and not seeing your family, or whatever else you're sacrificing on the altar of success to meet the insane deadlines is somehow "virtuous" or that your music is somehow of greater worth and "validated" because it is written for or featured in said consumer product. Even John Williams has said that he doesn't see what he does as "all that important" and says that it shouldn't consume your life. Obviously, there is plenty of great music written for films, video games, and such, but the older I get, the more confounded I become by people's deification of this music. Not from some classical elitism or anything like that (I'd much prefer most golden-age Hollywood music to most classical), but just because it doesn't really make sense. I can only assume it has to do with the out-of-control consumerism that permeates all of society; the rise of "fandom" and that pop-culture has taken the place of most authentic culture. Let me know your thoughts on this subject.

Thank you very much for your feedback! You are correct about Schubert´s style, he is in fact one of my favourite composers, and obviously, it seems that I cannot avoid to be influenced by him. I found your remark about simple motifs interesting. I try to keep my motifs/melodies simple ( but I do not always succeed so well). It can be dangerous to load a piece of music with a lot of different melodies. There is a risk that it becomes both confusing and boring. And when you think of it: Some of the most beautiful music, created by the best composers was based on only one, extremely simple motif.

@Left Unexplained Obviously, this is a genre you know very well. There is a definite cinematic style too this, but oddly reminiscent of the impressionistic styles, especially the first 1 minute of the piece. Another clear influence, at least I seem to hear, is Holst's The Planets scores. Specifically at 1:00 minute really reminds me Venus or Neptune followed by a passage that calls out Mars and even a little playful interlude like that on Venus and even Mercury. The passage at 2:30 reminds me of some of my own use of parallel harmony, which I tend to love. My one area, I think you can look at is the length. You have a lot of ideas happening here, and having a lot of ideas in a little space can often overwhelm the listener and make the piece as a whole feel disjointed or, in some cases, unfulfilling. I'm not saying that's the case in this piece, but personally, I wish some of the sections went on longer. You have a 10 - 12 minute piece squeezed into 4 minutes. Don't get me wrong, short pieces aren't bad, but if you are going to do them you need to limit the material you work with. In this case, I'm hearing almost a demo for a larger orchestral work, and the title seems to agree with me. It seems to me "adventures" would tend to be something grand and long, something that causes the misfit to grow, overcome trial, or at the very least experience a lot of... well anything. Maybe "Adventure for a Misfit" is more fitting giving the length. This is less of a criticism and more of an observation. That being said, I love the harmonies, the ideas, the melodies, and craftsmanship of this piece. Well done.

@Noah Brode It's funny that I find this piece based on tarot cards seeing as i'm playing Persona 5 and a lot of the characters are based of these same tarot cards. Nice piece, here are a few things to think about! 1. That ostinato in 7/4 should be notated differently. The 14 eighth notes all barred together just look weird and difficult to keep up with? Why not separate that by the beat you want, like 3, 3, 3, 3, 2., or maybe even better a 9/8 and and 5/8. I'm just not sure 7/4 makes sense. 2. Perfect fifths on string instruments like at measure 38 are often hard to play because the fingering is weird, so you may have some real issues trying to stay in tune in that passage. If you absolutely want to have it like that, the ensemble will try to make it work, but there might be some sloppiness there. Some glissandos in that section might sound a bit broken because they will have to cross over the strings to get them. 3. At mm 157, do you want the trill to just be on the down beat or continue through out the two measures? I would extend a line through both measures if the later is the case. 4. At 161 the double flats are just unnecessary. I understand it's important for the sake of harmony, but I would rather just see notes rather than waste time trying to translate all of that, moreover, perhaps you can just avoid changing the key signature so suddenly. Just change the signature at 167 rather than have so many, I'm not sure it necessary between such as small space, even if you are really modulating. Nice piece! would love to hear it with real instruments!

Very lyrical. You never allow the energy you build go to waste, it's always dissipated the optimum moment, in the best way possible.The climax seems to go on and on, and it doesn't leave any room for boredom. Everything flows, there is no element that has to be added, nor taken away. Great job.

love it.... I think even in its song state, you can have more counterpoint to tie it together even more!

@Kudo Anastasia Thanks for your comment. I like the flute in the lower register, it is easier on the ears for me. It is being played as a solo with only the continuo. @Guillem82 Your right, a piccolo trumpet is more appropriate, but I don't know if it is a listed instrument in Sibelius, I'll take a look. Yes, I was going for a continuo, I'm just lazy and didn't put the figured bass. Thanks

The counterpoint phrase sounds good.

There is no ''wikihow'' answer to this question... It is a quest that composers are following their whole life. For structure, there are so many parameters that it could help you to organise/list them and analyse pieces that you like for their form. Perhaps the most difficult issue about form is that it can be perceived differently according to the person listening.