Robin

Thanks guys! Really appreciated!

Wow, thanks alot for all the kind comments! I'm really flattered! @composerorganist: Thanks for the detailed comments! That 1/2 means I wanted them to do a half step trill all the way through the gliss. I couldn't come up with anything clearer. 1 and 4 timpani before the coda? You mean the 1&3 accents when the "main theme" comes in? I found this neccessary to give the whole thing a bit of rhythmic "steadiness" over a few seconds and also felt like the sweeping theme needed to "flow" through for a bit without rhythmic "hiccups" all the time! :) I have been asked for quite a few times whether it was ok to perform this piece in concert but I don't really feel this particular piece is something that belongs on a concert stage, I would need time to write something more cohesive but recently I have been busy with a ton of other projects and apart from my violin concerto I didn't write anything particularly for concert stage recently. All the best Robin

It takes a bit but not much longer as these pedals can be fixed in 2 positions, also, if the player has to do it fast it will be quite noisy so you might want to plan in extra time in soft compositions.

Quarter tones are not playable on a harp unless it gets specifically tuned which is very rare. Basically, the "neutral" position is Cb-major. The pedals control every pedal group: e.g. put the Cb-pedal down one position makes all Cb strings to C strings, put it down to the second position makes all of these strings C# strings. Same goes for any other string. So by enharmonics etc. you can create quite a few scales. On a glissando, even repeating notes (eg E natural followed by Fb) is no problem and doesn't alter the impression of the glisses. However, you need to be aware, that chromatic passages are very tricky and mostly unplayable. Robin

Hey everybody! Thank you all very much for all the kind comments! I really appreciate that! @royreintjes: I can't really recall how long this piece took me. I've written the whole score in a very tight time frame, I think I spent about 2 days on that track. @jhardindrums: Thanks! Yeah, the CPPO is a marvellous orchestra and I really love coming back there every time. It's a wonderful feeling when you suddenly hear your music come alive after you spent weeks or sometimes months on it. And the CPPO is such a fine orchestra with so many great players. It's a real joy! Thanks again everybody. All the best Robin http://www.robin-hoffmann.com/

Hey everybody,this track is part of a film score that I've written recently. It's from a movie called "Liebling, lass uns scheiden", which is a romantic comedy, out in (German speaking) cinemas in fall.This sequence is the score for a quite busy 4:30min final sequence of the movie with lots of action moments, which are often interrupted by little other scenes and finishes in a romantic finale set on christmas.The concept of the whole score was to have a lush orchestral score with strong jazz influences which was lots of fun to do, especially on the recording. The whole track was recorded in one go, having the orchestra + piano + sax + double bass in one room and the drums seperated in another room to give us some chance to not have the drums spill on all mics in the mixing. It was great fun writing this music and great fun recording it and I hope you enjoy this track as much as I did when writing it.The score sheet differs slightly from the audio files as I made some changes on the stage and put in some "cut together in the mix"-breaks in the score sheet (especially on unprepared tempo changes).Credits for the marvellous playing go to the City of Prague Philharmonic Orchestra and the Robert Balzar Trio.Thanks for listening!Robinhttp://www.robin-hoffmann.com/ Airport Sequence

Wow, haven't had a look at this thread for a while! Thanks alot for these encouraging words! I really appreciate all your kind words! RCampomas - yeah actually I really appreciate Danny Elfman, he's a great composer and I love his quirky ideas! Of course, Williams always is a big inspiration and he settled so much of these things that shape filmmusic nowadays so of course, these guys inspired me alot. Thanks again for all your kind words! Robin

Thanks alot guys!

Uh, I didn't know that uploading a track here automatically creates a new thread in the forum. I actually just wanted to try out this function Thanks guys! Antiatonality, I think most of your questions are answered in the tutorials.

A small orchestral action piece that I've written only for demo purposes. The Last Survivor

Thanks alot guys! Glad you like the tutorials and the piece! Internal Methods: I started writing music when I was about 10 and moved on to orchestral at the age of 14/15 so it's been 10/11 years now. All the best Robin

Hey everybody. For everybody interested, I finally got the time to put up the second part of the tutorial online, which explains composition and orchestration principles of this track. If you want to read it, head over to: Making of "The Last Survivor" - Part II

Thanks alot guys! Glad you like it!

For everybody interested, I wrote a small tutorial on this track describing the compositional and orchestration techniques I used in this track on my page at: Making of “The Last Survivor” – Part I | Robin Hoffmann All the best Robin

Well, the huge blockbusters do sometimes have such numbers, but you don't need such a big orchestra to get it sounding big :) Good orchestration will make even a small ensemble sound "big", just as Andy1044 says.