Chagzuki - New piece, first in a long, long time

[chagzuki]

Regulars might have noticed that I'm not in the habit of posting tracks. Well, it's actually been about a year since I've made any music, but finally I got round to doing something new. It's an orchestral piece and it's got to that stage where I'm fiddling and not really progressing, so for the time being it's done with, and I'll start doodling on something new.
And here is the link.

[chagzuki]

Wow. So good it left you all speechless.

[herodotus]

I like it.

I also like the fact that it is so different from the other stuff of yours that I have heard.

[mckenic]

Very enjoyable!!!

A soundtrack waiting for a movie - and I maen that in the best way!!!

VERY different from what I expected being used to the CD

More please!!!

Dave

[chagzuki]

I think there will be more. It's nice to just write and not think about mixing or production.

[DevonB]

Listened through a few times now -

Wish most of the piece had more of a central 'theme' to carry it through. When you stop at 6:12 and start again, the theme catches my ear more. Most of the song feels very non-descript, like an underlying bed to a movie that would have dialog over the top and trying not to compete with the actors. If that was your aim, you got it down pretty good.

Some of the phrasing of the individual pieces and sections feel a bit rough and awkward. They don't feel like they breathe and transition gracefully in certain parts. Are you trying to consciously pause between phrases, or leaving it each component as one long legato passage? Like your build up around 1:00 then the noodle around 1:20, your woodwind players have VERY good lungs. Or the build up at 1:55 to 2:05. I'd use minute pauses to accentuate each measure to bring the forcefulness of the piece forward.

Generally, after 4 to no more than 8 measures, you'd have a slight pause for each performer, and I'm not hearing that. That's just programming, not a knock against the work, mind you.

Devon

[griels]

Impressive work... Obviously the articulations etc need a bit of fleshing out as it sounds very sampled at the moment but an impressive development of a theme. Some of the phrases don't seem to flow and it feels like the piece loses its way in places but generally very enjoyable use of tension and variation of a recurring theme

[chagzuki]

They have got good lungs. The best in the business.

That's all stuff I'll mess with at a later date, though you're right: I ought to respect real life performance conditions more. And indeed, the phrasing isn't convincing, but I've f**ked around with EWQLSO to the point where I've realised I'm simply not going to get a 100% authentic recreation, and to try to do so is at odds with the purpose of the software. Probably the best bet at the moment would be to get the VSL woodwinds, as it's in the solo woodwind department that EWQLSO gold is least convincing. Actually, the more you get into it, the more you notice about it that isn't quite right.

[kevvvvv]

Wonderful tones - very fine.

Some great contrasts.

Love the passion.

Adore the scale and ambition behind this.

It seems to travel from 1620 to 1790 all in one tune. But this isn't a complaint, more an observation.

As thematic development goes I think it's flawed - but again this isn't a complaint, only an observation. A rondo-like recurring theme would make it more accessible to more people.

Fine work. Interesting throughout with some truly excellent bits. You must be proud.

[DevonB]

They have got good lungs. The best in the business.

That's all stuff I'll mess with at a later date, though you're right: I ought to respect real life performance conditions more. And indeed, the phrasing isn't convincing, but I've f**ked around with EWQLSO to the point where I've realised I'm simply not going to get a 100% authentic recreation, and to try to do so is at odds with the purpose of the software. Probably the best bet at the moment would be to get the VSL woodwinds, as it's in the solo woodwind department that EWQLSO gold is least convincing. Actually, the more you get into it, the more you notice about it that isn't quite right.

It's not that difficult to respect the wind players lung capacity. It starts to become second nature once you consentrate on it, or at least it did for me.

As for woodwinds, I'd highly recommend the Dan Dean Solo Woodwinds collection. Great sound, good amount of articulations. Have a listen from an older tune that even I was guilty of 'good lungs'.

Devon

[chagzuki]

Cheers Kev .
I am indeed proud. I've finally reached a point in terms of writing that I wanted to be at years ago, and it can only get better. It's also nice to find that a lot of stuff consolidated whilst I was away from making music. Well, it's a relief, as I wondered if I'd ever get back to it.

As for more considered thematic structures, that's not going to happen for a while. Or rather, it'll fall into place with more experience. For now I'm just playing around and letting things form in as organic a way as possible. I certainly won't try to impose things that are beyond my ability. Though even my favourite classical pieces have structural weaknesses, it's just part of the game.

[kevvvvv]

chagzuki

For now I'm just playing around and letting things form in as organic a way as possible. I certainly won't try to impose things that are beyond my ability.

I understand this as I find meself doing the same.

But in my case, I know creativity isn't the issue (bags of ideas) - it's making a sensible structure - an overall relevance - that's the hard part. Damn hard sometimes.

Wishing you luck

[chagzuki]

Devon, I was thinking about this whilst working on the piece, and looking at Brahms midi files I noticed that some sections involved very sustained woodwind notes. So I didn't really know what rule to follow. Obviously it depends on the force of the playing too.

[DevonB]

Devon, I was thinking about this whilst working on the piece, and looking at Brahms midi files I noticed that some sections involved very sustained woodwind notes. So I didn't really know what rule to follow. Obviously it depends on the force of the playing too.

I find sometimes it helps to control-breathe along with playing to give me an idea of what's realistic. Every time you need to draw a breath, lift up your finger. And are you quantizing? I usually PREFER to have errors in my playing with orchestral pieces to feel more realistic.

Devon

[chagzuki]

I don't play anything (anymore). I just draw it all on the piano roll, so it starts off quantised and then I shuffle stuff a bit. But there's a limit to how convincing that is when you're using samples of instrument sections. It often sounds as it is: a whole section playing in the same bad timing. I just saw that Synful orchestra is supposed to receive an update soon where sections will be created from layers of differing individual instruments. Could be interesting, though it'll still sound wrong in many respects.