At the last minute - A peace I composed in en epic movie blockbuster style, how could I improve it?

Hi @uri_lipp, welcome to the forums!

I would ask you for more information. What software have you used to create this? Perhaps some guys here know about more specific tips regarding the "production value", which seems to me that could be one the main concerns of this theme. The sound is a bit blurred in my end at least. @AngelCityOutlaw and @chopin sorry for the ping but in case you see this and feel eager to, would you mind giving it a listen? I think you both are way more knowledgeable than me in terms of everything that happens out of the score.

Regarding other aspects, in which way do you want to improve it? Do you want to extend it in length and/or volume (number of instruments)? Is the sound your only concern? Do you consider it finished? Right now as you presented it, it is a nice, simple and brief theme that most likely complies with the "epic movie blockbuster style"  title. It might be a bit generic, though, but this is not necessarily bad, specially if you aim to use it for specific stuff related to the style of composition.

Kind regards,
Daniel–Ømicrón.

38 minutes ago, Omicronrg9 said:

Hi @uri_lipp, welcome to the forums!

I would ask you for more information. What software have you used to create this? Perhaps some guys here know about more specific tips regarding the "production value", which seems to me that could be one the main concerns of this theme. The sound is a bit blurred in my end at least. @AngelCityOutlaw and @chopin sorry for the ping but in case you see this and feel eager to, would you mind giving it a listen? I think you both are way more knowledgeable than me in terms of everything that happens out of the score.

Regarding other aspects, in which way do you want to improve it? Do you want to extend it in length and/or volume (number of instruments)? Is the sound your only concern? Do you consider it finished? Right now as you presented it, it is a nice, simple and brief theme that most likely complies with the "epic movie blockbuster style"  title. It might be a bit generic, though, but this is not necessarily bad, specially if you aim to use it for specific stuff related to the style of composition.

Kind regards,

Daniel–Ømicrón.

Thank you Daniel–Ømicrón. 

I used fl studio and the opus plug in for all the instruments.

My problem is that I have this them, but I don't know how I could develop it into something that is more interesting and less generic. Whether it is different orchestration or variations on the theme. I would like to have more ideas in it and not stretch this idea out too much. But I do not know where to take it.

My main problem is the orchestration, I feel stuck in my orchestration and it results in that generics.

Thanks in advance 

Uri Lipp

Some suggestions then:
• Your theme, in terms of strength, begins at 70% and goes all the way to 100%. What about adding some calmer sections with less instruments? Not everything has to be tutti.
• The problem of DAWs and getting used to piano roll only is that it might be a less convenient way to understand how orchestration actually works. Try to get a better grasp on how and where are the various instruments that are part of the orchestra used. Books like Adler's "The Study of Orchestration" are definitely helpful in that regard. 
• You don't know where to take it? Ask yourself these questions: how many climaxes you want? How many sections? How many transitions? Decide this first before starting to compose if you find that you get lost too much. 
• Too many ideas in a short span of time may be tiring, too few in a long span may be too boring. It all depends on you and how you handle those ideas. Learning to walk and then moving comfortably into the thin equilibrium line, and then bend it to your will is a major part of the composing skill, so keep composing, never in "automatic mode", and you will eventally get these ideas.
• If you have a certain melodic idea, you can develop it by using simple techniques like:

• Performing an elongation of the material/shorten the melodic idea.
• Cutting part of said material/repeat a chunk of it.
• Reverse the order in which the melodic motive is played.
• Exchange the positions and lengths of notes or smaller motives that conform the idea.
• Transpose the material, modulate.
• A linear combination of any of this.

I know this is all too general, but the path you may follow is only yours to walk. Everything I have said is better visualized in a score than in the piano roll, though. Hope any of these quick "tips" serves you of anything.

Kind regards!! 

3 hours ago, uri_lipp said:

My problem is that I have this them, but I don't know how I could develop it into something that is more interesting and less generic.

This is a topic too big to explore with forum posts, but it is primarily a matter of composition, and secondly a matter of sample usage.

The "epic" trailer style is derided by more traditionalist orchestrators and composers precisely because originality within it is very difficult given the defining characteristics of the genre are quite rigid, and secondly: It takes the "pop song for orchestra" approach, which is not idiomatic to the ensemble and therefore winds up not sounding very orchestral at all.

This manifests here (and in other tracks in the style) in the string ostinato, which is an attempt to apply the "chord progression" pop song, piano broken-chords style writing to the accompaniment/harmony in a way that dodges sample limitations.

What's happening is that your accompaniment is constantly moving; jumping around in pitch against the brass line, but it is not moving homorhythmically, nor is it moving parallel, oblique or contrary to the main line. It also sounds like it is in much the same range as the brass, and thus: The brass line is muddied.

The other thing is that it sounds like you have everything going full blast at all times. If everything is loud, then nothing is loud. So the dynamics need to be tweaked overall, but the melodic lines need more crescendo and decrescendo; with a sustain line, you want to ride the modwheel a fair bit.

The next problem is that the theme is totally forgettable because it is exclusively legato/sustain, so it lacks a sense of pulse and the rhythmic structure of a melody is one of the most vital aspects, especially for anything jaunty or what I would call "epic". For example, if you take your keyboard and you play the C major scale descending, one note at a time, it just sounds like a boring scale. Do the same, but add the right rhythm to it and you get "Joy To The World", one of the most famous melodies out there.

In short: You need to use a combination of short and long articulations, and certain notes need a clear emphasis in attack to determine the pulse and pattern clearly; something that just can't be done with exclusively-long notes.

But this is an extremely common problem with modern virtual orchestration: Using different articulations to create something that sounds musical since most libraries are recorded in a very dumb manner that doesn't create much homogeneity between samples. What you will be forced to do is layer articulations like a staccato over the legato patch, but the success of this varies greatly from library to library. 

It took me almost 15 years to find a combination of libraries that really work well together for writing the 20th Century Styles I specialize in.

3 hours ago, uri_lipp said:

I feel stuck in my orchestration  

If it were my piece, I'd probably do the following:

• Remove the string ostinato as accompaniment and instead choose harmony according to each individual note of the theme and give this a separate rhythm that contrasts but supports the main theme and plays at a softer dynamic

• Make the bassline work contrapuntally to the theme, utilizing a lot of contrary motion. A pedal tone could be tasteful in spots.

• On first introduction of the theme, have the entire ensemble quieter and double the brass, either in the same section or different, but I'd utilize sixths, thirds or octaves. If it were solely brass, parallel fifths in spots could be good too.

• Add more attack to the melody by layering in some short notes, maybe even doubling with pitched percussion.

• Add call and response and other flourishes and orchestral flair during the last couple beats of the sustained notes in the theme to create more motion and interest

• Have different parts of the theme stated by different sections and doublings, within the same phrase.

I hope some of these ideas help.

I was gonna say some things, but then noticed AngelCityOutlaw gave you a treasure trove of helpful information. I can't compete with that.

I second his well thought out advice. Listen to him.