RonaldPoe

Thanks again. I've got an idea of what they're doing. The brass part is really subtle but works. Got any more good examples of subtle brass background work that I can study? I've realized the best way to become a good composer is to learn from the Greats. From textbook examples like Beethoven, Mozart, Brahms, and Bach to Russian greats like Tchaikovsky and Shostakovitch to modern examples like Yoko Shimomura (Composer for Kingdom Hearts and the Mario RPG's among many other games) and John Williams, we're in a good time to learn.

How do you go about writing basslines for an orchestra? I know in most music you follow chord tones with occasional embellishments. However in symphonic and/or Orchestral music, there's multiple instruments supporting the low end and they're often playing different parts. By basslines, I mean parts for Cellos, bassoons, tubas, double basses, and the occasional trombone. I'm an amateur at orchestral music but want to write an overture to a big battle.

Thanks Luis. Now I'm wondering how to write horn parts that don't overpower the violin or oboe. I guess I could write countermelodies on them ...

Hi I'm new to composing orchestral music. I don't have any good samples and would like to practice the writing aspect first. I'm also quite eccentric and love Kingdom Hearts. I generally write in Musescore. That being said, I have a question about brass. How does one write brass without it overpowering the rest of the piece. I'm trying to one day write a symphony and like putting melodies on oboe (I like the sound of it playing melodies, okay) and Violin. I don't want them drowned out but want them to be incorporated organically. Got any pointers? All the good composers of the past and present know how to write brass and make it work ...