Rabbival507

@JSTM I think that it could work if: 1. you made it longer: look up other boss fight ost-s, a boss fight is usually long and you should keep the player's interest, which brings me to my second point. 2. add variety: if you'd want to use it one day for an actual game, people would have to listen to it looping for a long time. How long are you able to listen to it on loop? How would you feel fighting a boss listening to this loop? 3. I personally feel that it could benefit from a louder, stronger, bass line.

I like it. got a nice cheerful feeling to it. At times it feels a little unbalanced (the lead around 2 mins in sounds a little too loud, for me) other than that- perfect. It's a good work, seems to fit well in this category. @VovaTrykoz

@Aardvark I think that you should pay more attention to your dynamics. I get the impression from the piece that it should be a pretty static scene. But remember- the fact it is calm/non-changing scene doesn't force you to make every aspect of the music so. If you choose to use static harmony, or a repetitive melody- consider changing the dynamics. I think that you have in mind the idea that the player is going to stay in this scene for quite a while, which is why you added the intro and outro different parts. Consider making those longer, more developed and yet more lively within themselves. Take this track for example: It's long so that each part can be played for long enough. It's a folk tune so the harmony is simple, but listen to the melodies, or the dynamics, they do change throughout each part. Also I'd love to score a video game, so if you want to only partially score it yourself or know other game developers that are looking for composers- please let me know (by writing @Rabbival507 to make sure I'll know about that.

@Quinn thanks

"So, what's your piece about?" "Oh it's a beautiful story about an Absus4 chord." "Sounds fair to me." Well I think that it's good as a minimalistic piece, or if you try to convey one state for a very long time. On the other hand, there are ways to "go nowhere" and still keep on moving, taking braver steps but not in the usual method of tension and relief. I'd recommend listening to Debussy's preludes as well as other piano pieces from the era. I think I even listened to a talk about this very topic lately. If I remember correctly, it's that one:

It sounds good but the notes look so damn messy. I mean, it seems as if you just exported a music sheet from a midi file without looking at it first. Could you please upload the midi file itself instead?

I don't think that one should copy his music just to be remembered. In fact, I don't think that one's music should be kept after his death at all. I know that right now the copyrights last for about 70 years, but think about it- the amount of actually different combinations of scale degrees and rhythms is VERY limited. Chords are not copyrighted, neither is rhythm. What you can call "yours" is the melody. But the amount of people on earth increases, and so does the accessibility of music making software. Soon enough making actually fresh melodies would be nearly impossible- and that's where context comes in. In post-modern days, I think, what should be thought of is the reference: John Williams makes "sound-a-likes", Quentin Tarantino makes "homages", the entirety of meme culture... It's not the original idea really, it's the reference you call and the tools you choose to use. Thus, I think, keeping one's music on a paper will not be of much importance soon enough. Yes, of course, I wouldn't like it if someone used my melody in a piece of his without mentioning the origin. But is it really mine though or did my brain just combine lots of things it heard? Is music, or should I say, the art of muse, really about originality?

@Luis Hernández Interesting. I like how the last one sounds like something you'd hear in folk music around my area, it's kind of like a softer version of double harmonic, gives you that slight flavor of arabic-jewish music (mainly due to the F and the G#), with the softer b7

nvm

Could be funny if you wrote there "porco rit..." My only constructive criticism is that it feels emptier than it should be at places. Even when Hisaishi is empty, he never really is. Something would make up for it, usually harmonic complexity.

I went for the comment one. Thoughtful criticism etc.

It is a reconstruction of an older material as a second movement to a Call for Adventure: https://www.youngcomposers.com/t38585/my-first-work-for-a-full-orchestra/?tab=comments#comment-1186686387

If not... how would you write it differently? (keep in mind- that's the most in-three part in the whole section)

Lol I was like "hey wtf thats MINE" I'll give this one a listen as well. (sighs in relief and smiles) thank you. Love that snare o' yours 😉

@Esper Thanks, I'm glad you like it. The compliment means a lot for, all of the listed above are from my favorite scores :)