nanotyrano
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This sounds very exciting! I look forward to seeing more of this.
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Typically, in a modern orchestra there are four Timpanis. From what I can see, rhythm won't be a problem however the notes being played might be. From the Young Composers Wiki: If given enough time, a Timpani player can however re-tune the instrument for a new key.
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In my opinion, one of the most important parts of composition is being able to convert the music you hear in your head to the piano. It's a very helpful skill, but doesn't come immediately (rather difficult once melodies become advanced.^^) What I usually like to do however when writing melodies is to look at a piano from a top-down perspective. From here, it's sort of like making lines between each notes and forming patterns. I use this most prominently when doing notation. Out of these two techniques I use, I'd recommend getting better at the first one. If all else fails, go for a walk at someplace nice. :D
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Much like everyone else, I leave my old unfinished work as it is. Every so often I'll take a look at it to see what I wrote like, but I think it's best to keep it as a learning/progress document. Some things let me think, "Huh, why on Earth would I do that?". Overall it's interesting to see how much I've grown as a composer. Especially looking at old tracks that don't have mastering, mixing, or anything on them. :musicwhistle:
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First time I tried to download this (two or so months ago) I got a warning from my antivirus, so I think I'm just going to stay with Notion.
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Whenever I get stuck on a piece, I leave it for a while. As I like to call it, I've run out of 'creative fuel'. I might leave it for twenty minutes, maybe a day, but once the 'creative fuel' is filled up again it hits me unexpectedly. A lot of the time I'll be browsing the Internet and be playing random stuff, and that's when I'll get the, "Oh, that sounded pretty cool!". It's a matter of time and a clear, relaxed mind. But much like what others said: look at what you have so far, pick out the best parts and base go from there.
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Huh, this is quite bizarre. Is there anyway you could document this? I'm just trying to visualize what could be causing the error. Note that I don't have Logic however.
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Sorry, I should have been more specific when I said gliding. I understand glissando (and portamento for strings), but meant gliding in that of the movement, not in the form of theory/articulation. Thank you for your input, just what I needed to confirm my assumptions! :)
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I love Howard Shore for his orchestration (grand stuff!), he really knows how to use an orchestra. I've yet to actually write something that's specifically going to be played, but looking at all the staves for an orchestra can be quite daunting. However, that's where the fun happens! What goes there, what can happen here, oh maybe I'll add this in...
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This is something that I have never been sure about, but thought I should ask here. In film scores, many composers use flutes and piccolos to create a glide effect using scales. I have always thought that it's written as a scale, but I am not sure of what it is exactly. You can hear what I'm talking about at 1:18-1:42. Another example can be heard at 2:13. Any clues on what this technique is exactly, and how to notate it?
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Things I have improved upon: - Understanding how to work within a DAW. - Pin pointing areas in my tracks that need more/less. - Patience. Things I need to improve: - Stick to what story/picture I have in my head and try to stay with that setting (as pointed out to me on this forum, thanks!). - Getting themes in my head out into notes. - Finding more effective thematic material. - Chamber/Baroque pieces (not sure how to go about writing them). - What chords can be written to make a more effective movement. - Mastering and Mixing.
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Only training in piano here. I've gotten all my composing techniques from listening to scores and compiling tips I've read on the Internet, but I may begin to read some orchestration books.
