Failure of a film music

Ahem, ok... I feel a bit bad for posting that here cause I know it just sounds bad. It is actually the very first thing I wrote on my own that is not a textbook exercise (apart from a clumsy re-harm of happy birthday that only a mother could love, which my mom did so it's fine).

It was meant to sound loosely like a movie soundtrack for a thriller. Well, the aim was just to have something moody and menacing. It was probably a bad idea knowing that I never learned anything on how to compose film music 😅 It is also using way too many instruments, which got me overwhelmed pretty fast. Well, it's quite bad. But I think it's interesting to discuss why a little bit. I know the real reason is simple: I should start less ambitious. I agree 100%. But if you guys can give me some technical opinions on why this all sounds so clumsy, and pointing some of the particular weaknesses of that thing, that would be super helpful. I guess I can learn a lot from my fail 😛

version variee.mp3

I think you try to go too fast...

Usually, one begins to compose for piano or two instruments, very short ensambles. Orchestration is another level

2 hours ago, Luis Hernández said:

I think you try to go too fast...

Usually, one begins to compose for piano or two instruments, very short ensambles. Orchestration is another level

 

Yes, I totally agree with that, as I mentionned! I understand it was a mistake to try that right away, and I am not going to attempt such complex endeavours again until I get more experience. As I stated, I am simply curious to know if people can point out some technical reasons on why this beginner piece sound bad and why the whole thing doesn't come together 🙂

Me again.

I agree with Luis. You've come up with a meritable effort. Not a failure because it's a launch pad, a start and, thanks to us having sound libraries and things these days you don't have to submit it to an orchestra to hear it.

A big part of orchestration is about balance. There seems to be 2 types of orchestration these days. The real stuff that would or could be played by an orchestra. And the sampled stuff that vaguely sounds like an orchestra but you can cheat to get it in balance - the composer is just using sampled orchestral instruments as sound sources. Carried to extremes you get "instant orchestras" these days - more like lego, you plug a few chunks together, press a button and hey presto! You have an instant film score.... You can make some fabulous sounds with these packages - but I wouldn't call it orchestral composition.

Writing real orchestral music takes study (of scores) to learn how to get the effects you want; how you lay out chords (which you seem good at from your quartet) and how to achieve balance so the sound IS what you want. As you can appreciate, you can't adjust a fader on an orchestra to get the dynamics right (the recording engineer can but let's assume a live concert performance). It also ideally needs access to an orchestra with the instruments you're writing for - not such a big ask if you have a local town orchestra and can play in it. (We have a town orchestra that's played a few of my things. It has good and less skilled players and far from all the instruments you'd like: just one horn, one bassoon, about 4 clarinets and flutes! and just 3 of us violists (of which I'm the worst)). So, if you have one, find some way to join it and write something fairly simple within its reach.

Otherwise you can do a lot with sampled sounds and notation software. The renderings rarely sound wonderful but they're a start (as long as you don't rely too much on cheating! I mean, a flute cannot play ff in its lowest register so don't be temped to slide the fader up to full volume.

But like I say, I agree with Luis and it would be useful to write something for a string orchestra or chamber orchestra (strings + double woodwinds including 2 horns) as there's less to worry about controlling.

Meanwhile, also give those big cinematic sounds a bash if you want. It's still composing and probably a lot of fun. Self-criticism is important but if you end up with something you like you're part of the way there.

.

Tbh it's already a good start and has great potential, with the great harmonies and all that. I will really suggest starting small, and probably work on this at a later date once you are already more well versed in composition.

On 8/30/2020 at 8:24 PM, Quinn said:

Me again.

I agree with Luis. You've come up with a meritable effort. Not a failure because it's a launch pad, a start and, thanks to us having sound libraries and things these days you don't have to submit it to an orchestra to hear it.

A big part of orchestration is about balance. There seems to be 2 types of orchestration these days. The real stuff that would or could be played by an orchestra. And the sampled stuff that vaguely sounds like an orchestra but you can cheat to get it in balance - the composer is just using sampled orchestral instruments as sound sources. Carried to extremes you get "instant orchestras" these days - more like lego, you plug a few chunks together, press a button and hey presto! You have an instant film score.... You can make some fabulous sounds with these packages - but I wouldn't call it orchestral composition.

Writing real orchestral music takes study (of scores) to learn how to get the effects you want; how you lay out chords (which you seem good at from your quartet) and how to achieve balance so the sound IS what you want. As you can appreciate, you can't adjust a fader on an orchestra to get the dynamics right (the recording engineer can but let's assume a live concert performance). It also ideally needs access to an orchestra with the instruments you're writing for - not such a big ask if you have a local town orchestra and can play in it. (We have a town orchestra that's played a few of my things. It has good and less skilled players and far from all the instruments you'd like: just one horn, one bassoon, about 4 clarinets and flutes! and just 3 of us violists (of which I'm the worst)). So, if you have one, find some way to join it and write something fairly simple within its reach.

Otherwise you can do a lot with sampled sounds and notation software. The renderings rarely sound wonderful but they're a start (as long as you don't rely too much on cheating! I mean, a flute cannot play ff in its lowest register so don't be temped to slide the fader up to full volume.

But like I say, I agree with Luis and it would be useful to write something for a string orchestra or chamber orchestra (strings + double woodwinds including 2 horns) as there's less to worry about controlling.

Meanwhile, also give those big cinematic sounds a bash if you want. It's still composing and probably a lot of fun. Self-criticism is important but if you end up with something you like you're part of the way there.

.

 

 

Thanks for commenting again 🙂

Yes, I will definitely need to study in depth a lot of orchestral music before I can hope to come up with something coherent. I will leave it aside for now and focus on simpler stuff, but that seems like a good challenging goal 🙂 I had fun while trying this indeed anyway! 

On 8/30/2020 at 9:57 PM, zhenkang said:

Tbh it's already a good start and has great potential, with the great harmonies and all that. I will really suggest starting small, and probably work on this at a later date once you are already more well versed in composition.

 

Oh thank you, very encouraging. I think it'd be great if I could acquire enough experience that I can come back to that and make it sound better!