Leaderboard

@Tónskáld @Thatguy v2.0 @Jean Szulc Last year there was a live performance (also livestreamed) in Muziekgebouw aan 't IJ. I hope you still like the music 🙂

I get it, I think it worked but I always think of playability. However, the bass did remind me of this banger

Definitely I'd put the bass in the middle. The orchestra often has basses off-center, but for anything "pop" it really throws it off. A lot of orchestral recordings monosum the lowest frequencies of the bass so they're center and the higher-end of the bass is off center. That one, then. Overdrive vs Distortion in the terms that notation software use them is just one is meant to simulate amp breakup from volume and the other is meant to simulate a guitar distorted via pre-amp high-gain. But like I said, if you sent one rhythm track to the distortion guitar and the other to overdrive and pan them, it will give you that double-tracked feel. Acoustic and electric are really quite different animals. Acoustics, in terms of melodic playing, are a lot less demanding technique-wise in order to have a good timbre. No worries If I could find it on one of my old hard drives somewhere, back around 2013 I had the guy who voices Star Fox on some of Nintendo's projects play the saxophone parts in a prog-rock version of some Final Fantasy music I did. You might have thought it was interesting and I got to say that Star Fox played Sax on my track lol

Oh, you're very welcome! Good observation! As a general rule, the answer is "yes." It takes a few seconds for a string player to adjust between the techniques, so a rest or two is usually needed. There is a technique, however, called left-hand pizzicato, in which the same hand that provides the fingering for the notes (the, uh, left hand obviously) also plucks the string very near or on the neck. This leaves the right hand free for bowing. Works best for open string notes. If you're just starting out writing for strings, though, my advice is to avoid this technique. Yes, that's typically the case these days. Good software is so useful! Correct, although it's not as "bad" since the clef is still a familiar one. I mean, if you compose by playing into the piano roll, you won't have to worry about these pesky transpositions at all, ever. Unless... Unless you choose to torture yourself and pursue a music degree. Or compose in your head / directly into the notation software.

I love the beginning. You really achieved the effect of a sun-dappled forest. I also really like the Baroque section which reminds me of a Bach fugue in places and I wish you'd taken it further. But I'm not sure the 2 fit well together and I thought the ending was too weak.

Very relaxing A section. The chorus is cool, and the transition to the B isn't awkward to my ears, not sure if I'd call it Baroque but I like it. The end doesn't reeeeally convince me but I suppose you were aiming for the kind of fading out effect in which a small passage is repeated with less and less intensity. In summary, nice, calming piece. Thank you again for sharing it! Kind regards ^^!

It's kind of psychedelic I guess. But up to 1:55 more or less I think it's "too much filled" for me to feel like I'm in a haunted house. The piece may sound disjointed at those transitions. Perhaps a fix for that is making the timpani be part of the piece too when the organ and pads are playing. I like the transition you do from the artificial bending of the instruments to the organ again, I think that does give the "haunted house" feeling (to me at least), but I'm not convinced with the timpani part at all (specially the second one). From 2:50 to almost the end: if that's supposed to be the glissando section, well it feels strange to me but it's fine you like it as-is. Thank you for sharing, keep composing! Kind regards, Daniel–Ømicrón.