I'm new here, made a boss fight-esque music.

Hello, I sequence music as a hobby and made this as a short leitmotif for a historic character of a comic I'm writing. I'm kinda nervous posting this since I've only written music for a few years and it doesn't sound that great, I want to get feedback despite crippling anxiety since even as a hobby, I feel I need proper guidance from someone but most of the time I'm too scared to do so.

First off, I can relate to the nerve's and anxiety for a long time I kept the music I wrote to myself but when I did make that leap and start posting to forums/Youtube etc. I learnt what my strengths and weaknesses were, tried my best to address them and went on to surprise myself with what I was capable of. 

I really like what you're going for in this piece a lot, it really has the potential to be something great! What I would suggest working on is researching keys/scales to help limit that dissonance that persists through the track. This was a problem I had for a while too when I was a couple years into writing, but finding out what notes should and shouldn't be in the track and what chords/scales were there helped massively in avoiding it. 

It's obvious you have the heart of a talented composer though listening to this, keep at it and don't hesitate to post for advice and feedback!

17 hours ago, Slazeus said:

First off, I can relate to the nerve's and anxiety for a long time I kept the music I wrote to myself but when I did make that leap and start posting to forums/Youtube etc. I learnt what my strengths and weaknesses were, tried my best to address them and went on to surprise myself with what I was capable of. 

I really like what you're going for in this piece a lot, it really has the potential to be something great! What I would suggest working on is researching keys/scales to help limit that dissonance that persists through the track. This was a problem I had for a while too when I was a couple years into writing, but finding out what notes should and shouldn't be in the track and what chords/scales were there helped massively in avoiding it. 

It's obvious you have the heart of a talented composer though listening to this, keep at it and don't hesitate to post for advice and feedback!

 

Thanks for the feedback!
So, it could be a bit too dissonant? There are some parts of the piece where I used different keys for each different instruments, but it was my first time doing something like that so I'm not confident with how to go about doing that without sounding too off-putting, or is it just bad practice and dump the idea? I couldn't find anything comprehensive to help me with that online either.

Yeah I think generally speaking a piece should have one core Key that applies to all instruments. You can have instruments that are in different keys (like some concert instruments) but these are usually transposed to match and isn't something you have to watch for if you're working from a DAW. I think in place of multiple keys you could try utilising harmonies, counter-melodies and modulation to negate any dissonance and provide depth to a piece.

On 2/3/2018 at 10:48 PM, Slazeus said:

Yeah I think generally speaking a piece should have one core Key that applies to all instruments. You can have instruments that are in different keys (like some concert instruments) but these are usually transposed to match and isn't something you have to watch for if you're working from a DAW. I think in place of multiple keys you could try utilising harmonies, counter-melodies and modulation to negate any dissonance and provide depth to a piece.

 

No I mean like, composing a piece with lines at different keys playing at the same time. (ie. like Rite of Spring). Are there methods to make it something like that sound (generally speaking) conventionally good or should I just stick to one key with a few modulations in future work?

The Rite of Spring is a very unique piece of music and it's an area I'm not too well versed in honestly. Many analysts still can't quite make heads or tails of it to this day it seems so as to any methods, there's none I've encountered for this sort of thing. It seems like an experimental area of music in my eyes. I'll post an interesting excerpt I found on the topic at the end of this post. I think it could be an interesting concept to pursue (music is all about experimentation in my eyes) but beyond suggesting conventional methods as in my previous post I'm unaware of any established techniques or methods for achieving multi-key composition of this sort.

An interesting post I found on The Rite of Spring:

"There were more extreme harmonic experiments in the air - Schoenberg's first atonal works were five years old, and there are chords in Debussy and Richard Strauss as extreme as anything in the Rite. The Rite is clearly not atonal - there are passages in B flat minor, though it is often impossible to say what key the music is in. Careful analysis seems to show that it relies on combinations of evolved modes, like Debussy's whole-tone scale. Prominent, too, is the octatonic, or eight-toned scale, regularly alternating semitones and whole tones that many of Rimsky-Korsakov's pupils so loved, and which gives Firebird such a sumptuous, static, somewhat orientalising flavour. Whatever the technical means, the score has evolved a language which makes perfect, coherent sense on its own terms and defies easy analysis through recurrent themes, chords or even instrumental sounds."