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Thank you. I wanted all of those instruments to work together, but it did turn chaotic. I need more practice.

I'm glad you can also see this as an accompaniment for a game. I have considered varying the accompaniment many times but had some trouble doing so when I was writing the piece. I have no knowledge of musical form; I just let my ear guide me through this whole composition, so it was really challenging to find a moment where I could introduce these new instruments or accompaniment without it sounding jarring. The only time I seemed to be able to do so was at m.129 when the xylophone and vibraphone were first introduced, as well as the horns and trumpets which introduce gradually in that section. Sorry if I'm asking too much, but do you have any tips on areas or ways I could try to implement more instruments or textures while still sounding natural (i.e. like they didn't just come out of nowhere)? I really like this idea, because I think it could breakup some of the perceived monotony that some people have told me they felt while listening to the piece. Thanks for your comment!

I can envision this as a music score for game. Have you thought about varying the base accompaniment to provide more color and texture. I also think you could make use of the orchestra palette and vary the instrument groupings.

Thanks for your response! I'll try to implement more variety and interest within the ostinato, especially at certain transition points. To respond to some other things, it is absolutely true that my instruments are probably not ordered correctly, so I will take a look at that. However, the reason there are duplicated staves for certain instruments are usually for panning purposes, so that the Musescore playback engine can interpret it correctly. Also, you brought to my attention something that I forgot to do, which was to rename one of the timpani's to Taiko Drums. In reality the middle timpani is actually a traditional Japanese percussion instruments, which I have simply forgot to label correctly, and the bottom-most must have been incorrectly duplicated, sorry for that. I was also a bit aware of the issue with the Timpani range. I believe that a 32" timpani could produce all these tones, but, as you pointed out, the results might not be as expected. Thanks again!

Nice piece. Although it takes so long dealing with almost the same ostinato, it is not boring. But some articulations / dynamics and/or transitions would make it different. The instruments are not ordered in the classy way. You don't need many instruments, so I would delete those staves. I think you must be careful with timpani, some pitches are in the very low end, which sounds muddy, and you have to thing about what a timpanist can do. Perhaps you don't need two timpanist.

Hi. I've been here a while, been actively posting since 2018.

Thanks for the response! Thats an interesting insight I never really thought about, articulations. I will have to study that more, im sure it would give my music more character like you said!

I like the "WIP" track - it is quite chaotic and cacophonous! Seems like it could end at any moment you choose to bring everything suddenly together if you know what I mean.

I don't think you ever will, your instincts and tastes never go away. If you're afraid that learning the more technical aspects of music and composition will hinder your creativity I'll challenge you to do this: Find one person who learned music theory or harmony or counterpoint or anything like that who truly believes it set them backwards in their creativity. I've never met anyone who said learning music theory made them a worse composer, but I've met plenty who said they resisted for the longest time and when they finally did, they wished they'd learned it sooner. Anyone who says otherwise is either lying or doesn't know what they're talking about. Since when has anyone ever hurt themselves by learning something?