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-   -   VGM, villain theme (GP5) [C4C] (http://www.ultimate-guitar.com/forum/showthread.php?t=1419045)

Tarbosh 03-06-2011 05:07 PM

VGM, villain theme (GP5) [C4C]
 
1 Attachment(s)
Well this is a little orchestral thing I did that would fit well in something like a light-hearted RPG, but for an evil character...iunno. It's nothing much, really, but I decided to post it on here to see if I could get some opinions. Comments appreciated, and, of course, C4C.

Gyoung1991 03-06-2011 05:12 PM

This is very good

metal_cobs 03-06-2011 05:24 PM

I've got a few opinions on it for ya...
Love the name Trollface, don't lose that :p:
In bar 33 it seems that's the restart point so you could add a little something there to make it more unique.
On the percussion track you could add more drumming...it seems like some more metal drums, like in a Symphony X intro, should come in.
But all in all this is a very good song man. :)

Tarbosh 03-06-2011 06:08 PM

Quote:
Originally Posted by metal_cobs
I've got a few opinions on it for ya...
Love the name Trollface, don't lose that :p:
In bar 33 it seems that's the restart point so you could add a little something there to make it more unique.
On the percussion track you could add more drumming...it seems like some more metal drums, like in a Symphony X intro, should come in.
But all in all this is a very good song man. :)



Thanks a lot for the crit. Well, I mean, I don't really intend for this to metal, it's supposed to be orchestral, I guess...I don't think metal drums would quite fit here. Guitar pro's lack of symphonic percussion sounds kind of limits my options, so I had to just use the standard MIDI kit. Glad you liked it though :)

uprawrock 03-06-2011 08:40 PM

This is what i logged on hoping to hear. Well done sir.

juckfush 03-06-2011 09:07 PM

I'm fairly sure my only ''complaint'' is that this should be written in 6/8, rather then 3/4 :haha:

I'm not sure what exactly I can critique or give advice on - the dynamic spectrum was well utilized and executed at appropriate intervals, the melodic interplay and overall polyphony presented a very characteristic and interesting soundscape, and the use of many other musical concepts - tension and release, interchange of roles and the like - maintained the right level of contrast.
A little ashamed to say, but I didn't even spot the sub-modulations and shifts in tonal center - fantastic execution the whole way. The individual themes have a great personal quality about them, too, and are very well composed. The piece makes me think of what a Donkey Kong RPG may be like, sort of like if Diddy and Dixie - and really, the entire crew - was featured in Tales of Symphonia or the like. Light-hearted but still diabolical. ;)

Sorry that I couldn't give any suggestions, but I really can't think of anything that would benefit the composition, bar deciding where the obligatory loop would take place. The only thing I can suggest is to practice writing this score out with correct musical conventions, such as dynamic markings, performance notes, arranging for the registers of each individual instrument, and so on; if you're interested in doing this for a career or some sort of employment, you absolutely could with the experience you have now, I think.
What was the method for writing this like? How long did it take? I'd be really interested to know how this came about :)

And if you wouldn't mind, could you pass a quick word on in the thread for Two Scoops With a Sun-Dance in my sig, or drop a comment on the video for ''Oh, The Nerve of it All...''? I'm not expecting a detailed critique, since all I've really done is toss about positive adjectives, haha. Cheers, and keep up the fantastic work!

:cheers:

Tarbosh 03-06-2011 09:39 PM

Quote:
Originally Posted by juckfush
I'm fairly sure my only ''complaint'' is that this should be written in 6/8, rather then 3/4 :haha:

I'm not sure what exactly I can critique or give advice on - the dynamic spectrum was well utilized and executed at appropriate intervals, the melodic interplay and overall polyphony presented a very characteristic and interesting soundscape, and the use of many other musical concepts - tension and release, interchange of roles and the like - maintained the right level of contrast.
A little ashamed to say, but I didn't even spot the sub-modulations and shifts in tonal center - fantastic execution the whole way. The individual themes have a great personal quality about them, too, and are very well composed. The piece makes me think of what a Donkey Kong RPG may be like, sort of like if Diddy and Dixie - and really, the entire crew - was featured in Tales of Symphonia or the like. Light-hearted but still diabolical. ;)

Sorry that I couldn't give any suggestions, but I really can't think of anything that would benefit the composition, bar deciding where the obligatory loop would take place. The only thing I can suggest is to practice writing this score out with correct musical conventions, such as dynamic markings, performance notes, arranging for the registers of each individual instrument, and so on; if you're interested in doing this for a career or some sort of employment, you absolutely could with the experience you have now, I think.
What was the method for writing this like? How long did it take? I'd be really interested to know how this came about :)

And if you wouldn't mind, could you pass a quick word on in the thread for Two Scoops With a Sun-Dance in my sig, or drop a comment on the video for ''Oh, The Nerve of it All...''? I'm not expecting a detailed critique, since all I've really done is toss about positive adjectives, haha. Cheers, and keep up the fantastic work!

:cheers:



Thanks so much, I really appreciate such high praise coming from you, I've always admired your compositions. I saw you were in music school, and I actually happen to be as well, not for composition as of yet, but just for guitar studies. Next year upon my return home I may continue pursuing music once I enroll in an actual college, but I really haven't decided yet. My dream is definitely to be a composer for video games, but to be honest, the demand for this kind of music isn't so high.
You know, when I was writing this I was just doing exactly what the title says: Writing a theme for trollface. Just to see if I could, really, haha. I knew I wanted a kind of playfully diabolical sound to it and that's why I settled on the oom-pah rhythm, but with that orchestral setting. I'd say a lot of influence came from Grant Kirkhope and the composer from the Paper Mario series, forgive me, I forget his name. As for the melody, I just kind of...came up with it. That was the first thing I did. I just started with one string voice on the first track and wrote what I was hearing in my head. I usually can tell what changes I want to go to for each measure pretty easily. I chose the almost cheesy diminished pattern to exemplify the...diabolicalness? Haha, I don't know.
As for the orchestration, when you're dealing with oom-pah, as I'm sure you know, it's pretty easy. I just make sure I have fitting intervals for each part, and not too much of an unbalance toward any one chord tone. If I hear too much unison, I put in more fifth. Or more third. Or whatever I feel I should put in. Most of it is kind of unconscious, to be honest. For the middle section I heard a kind of more sinister thing in my head, and to be honest I didn't really get it down exactly as I had intended it, and I kind of just ad libbed it as I was notating it, the part starting at 22, I mean.
The parts after it just followed suit naturally, I guess. I thought a driving piano rhythm restating the simple 6/8 motif from earlier would help drive my point home, so to speak, so I put that in there. Harp and other random shit just to round it all out. Then for the end I got lazy and just put in ascending scale degrees for the chords. I feel like I could have done something better with it, but whatever.

The whole thing was done in 2-3 days, but in all it was like an hour and a half of work. I work pretty sparsely and lazily. I apologize for my ramblings, haha, you probably won't want to read all of that. I'll take a look at your piece tomorrow, I actually should be going to bed now, since it's 3:38 AM and I have class at 12 PM. Again, thanks for the kind words! :cheers:

valdean 03-08-2011 01:06 PM

I can totally see this in a video game.
The oom-pah works well, and all the instruments go well together without making it messy. Sounds like an evil characters' evil castle on a dark and windy night.
Got a Banjo Kazooie feel from it as well, especially with the marimba.

Not much to say when it's nothing bad with this, but If I were to nitpick, it sounds a bit strange with the cymbals in the intro and otherwise throughout the song. I think just a reverse cymbal would work better. But this is a minor issue, and it might just be Guitar Pro's fault for being a bit hard to work with when it comes to this sort of music.

I also feel that the transition from 32 to 33 is a bit abrupt. I would suggest leaving some high notes from some instruments dragging into the oom-pah.

Also it stops suddenly, but I'm sure you know where to start looping it since it's a video game track.

Great work man.


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