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#161
^Just want to say, the Chrono Trigger soundtrack could not be better fit for the game. Video game music can be pretty good.
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#162
For me the best video game soundtracks were Tomb Raider 1 and Resident Evil 2. The main Tomb Raider melody brings back so many memories.
#163
I bring you the... Nintendo Orchestral Suite's! Listen! It's fantastic.

EDIT: If nothing, at least listen to all 5 parts + encore of Legend of Zelda. It's the best one and sounds like it was made for a Symphony and not a game.
Last edited by DiminishedFifth at Sep 24, 2010,
#164
I didn't get into classical music until a couple years ago - mainly because as a guitarist I kind of developed a "guitar-tunnel-vision" and since most symphonies don't have guitar (aside from Stockhausen's Gruppen and the Malmsteen one) they kind of lose my attention after a very short time. I did however get heavy into film music and I have to agree that film music for the most part is very derivative of late Romantic - early 20th century classical. Except Bernard Herrmann - he's a genius. He has some links with Copland and Debussy but largely he's totally unique.

Vertigo

Anyways I'm a huge Beethoven fan and I kind of put away my guitar for awhile because I was just listening to Beethoven's music which has no guitar. Then I got the idea to transcribe B's music for guitar, kind of like Liszt did the Symphonies for piano. It was impossible to do justice to his music with one guitar so I just started using synthfonts to create a virtual guitar ensemble to play some of my arrangements. My previous thread about all this was closed (flagged as an "ad") so I hope this post is a bit more palatable....

Beethoven - Rage over a Lost Penny

I also did a few string quartets for rock ensemble which need just a little work...
Last edited by Ed C at Sep 25, 2010,
#165
one of my favorite cues ever. Just so sweeping and beautiful. lonesome dove theme
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#166
Sorry for the double post but since the posts are so far apart I don't think it really matters. Anyways I have a question on writing a piece for you guys. In the piece I am writing some of the harmonies and counter melodies that the viola and cello play don't really stand out that well. While I don't want them to prominent like the main melody I at least want them to audible. Anyone have any advice orchestration wise that I could use to get those voices to stand out a tad bit more. The piece is for two violins, a viola, two cellos and a bass. Thanks for any help. I look forward to hearing your suggestions.
frog_friend and WGP: UG's Kramer brotherhood

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Randy Rhoads is god
founder of the "ENGL amps" fanclub. PM me to join
#167
Quote by frog_friend
Sorry for the double post but since the posts are so far apart I don't think it really matters. Anyways I have a question on writing a piece for you guys. In the piece I am writing some of the harmonies and counter melodies that the viola and cello play don't really stand out that well. While I don't want them to prominent like the main melody I at least want them to audible. Anyone have any advice orchestration wise that I could use to get those voices to stand out a tad bit more. The piece is for two violins, a viola, two cellos and a bass. Thanks for any help. I look forward to hearing your suggestions.

Look at your dynamics: f, ff, p, de/crescendos, accents, etc. and make sure they balance the way you want them to. When I want a viola/cello countermelody/melody I usually put the Violin I and II either on mp or mf, and then my viola/cello at f or, if other things are loud, ff.
#168
Yeah that didn't really work. I went inside cubase and upped the attack and even played around with the expression but nothing. It isn't like the other instruments are digging in while the cello and viola are playing soft. Everyone is level in cubase.
frog_friend and WGP: UG's Kramer brotherhood

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Randy Rhoads is god
founder of the "ENGL amps" fanclub. PM me to join
#169
Quote by frog_friend
Yeah that didn't really work. I went inside cubase and upped the attack and even played around with the expression but nothing. It isn't like the other instruments are digging in while the cello and viola are playing soft. Everyone is level in cubase.

Well, then that's your problem. Find a way to "unlevel" them, and change the dynamics.

That's all it is: dynamics.
#170
thank you for your help. I think I figured it out though. I shuffled the 1st violins around and put them in a weaker register and then doubled the other part.
frog_friend and WGP: UG's Kramer brotherhood

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Randy Rhoads is god
founder of the "ENGL amps" fanclub. PM me to join
#174
Quote by frog_friend
Sorry for the double post but since the posts are so far apart I don't think it really matters. Anyways I have a question on writing a piece for you guys. In the piece I am writing some of the harmonies and counter melodies that the viola and cello play don't really stand out that well. While I don't want them to prominent like the main melody I at least want them to audible. Anyone have any advice orchestration wise that I could use to get those voices to stand out a tad bit more. The piece is for two violins, a viola, two cellos and a bass. Thanks for any help. I look forward to hearing your suggestions.


Get better musicians. Seriously. If the counter melody is inaudible, you have some very poor musicians reading your piece. If youve just written it in sibelius or something and no one has actually played it yet, then dont worry. It will probably fix itself when it gets read
#175
inspired by some fantastic orchestral black metal i've found (Carach Angren), i've decided to try incorporating much more orchestral sounds into my own music. i've done a tiny bit before, so i have experience with some orchestra VSTs and my weapon of choice right now is Philharmonik.

all of the musical ideas i've ever come up with has been on guitar, so i take a very hands-on, trial-and-error approach to songwriting. this results in any strings i add to my songs to take a backseat to what i compose on the guitar, but i'd like orchestral sounds to be a bigger driving force in my music. however, i find it hard to just sit down and start composing stuff in the sequencer because i'm used to the immediacy and ease of experimentation that comes with composing riffs on guitar. any tips from other composers? how does your writing process usually go?
Quote by archerygenious
Jesus Christ since when is the Pit a ****ing courtroom...

Like melodic, black, death, symphonic, and/or avant-garde metal? Want to collaborate? Message me!
#176
Quote by vIsIbleNoIsE
so i take a very hands-on, trial-and-error approach to songwriting

If you plan on composing classical sort of music (as I'd assume you are by posting in this thread), trial and error will take a very long time to write something.

Quote by frog friend
In the piece I am writing some of the harmonies and counter melodies that the viola and cello play don't really stand out that well.
Check for parallel fifths, check for beaten (hidden) fifths and check for how much contrary movement you have including how much contrary motion you have in the overall piece. You should have no parallel fifths, very few hidden fifths (and even then, never between the outer voices) and almost all of it should be contrary motion.

And then, make sure that the ends of each phrase amongst each voice happens at different times. Also, make sure two voices do not peak (come to a climax) at the same time.

Individuality amongst the voices is one of the most important things in composing countermelodies. You should know counterpoint.
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        L.
Last edited by demonofthenight at Oct 14, 2010,
#177
Quote by demonofthenight
If you plan on composing classical sort of music (as I'd assume you are by posting in this thread), trial and error will take a very long time to write something.


i'm not interested in writing in a strictly classical sort of style, because my main objective will still be to make metal music. but instead of just using orchestral touches as accents (like a lot of metal bands do), i'd like to write songs with arrangements that can stand alone as well. i suppose more like a so-called "avante-garde" sound, in which the distorted guitar is not necessarily always the dominant element.

care to discuss whether you have a rough process of writing? do you come up with a main theme or something, and thereafter incorporate more music theory when you write the accompaniments?
Quote by archerygenious
Jesus Christ since when is the Pit a ****ing courtroom...

Like melodic, black, death, symphonic, and/or avant-garde metal? Want to collaborate? Message me!
#178
Quote by vIsIbleNoIsE
i'm not interested in writing in a strictly classical sort of style, because my main objective will still be to make metal music. but instead of just using orchestral touches as accents (like a lot of metal bands do), i'd like to write songs with arrangements that can stand alone as well. i suppose more like a so-called "avante-garde" sound, in which the distorted guitar is not necessarily always the dominant element.

care to discuss whether you have a rough process of writing? do you come up with a main theme or something, and thereafter incorporate more music theory when you write the accompaniments?

If THIS is my goal, I write two sections: one for orchestra and one for metal band. Each of them can survive on their own, but they're best together. I've only done this once, really, cause it's an EXTREMELY long process and it's very hard to make everything mesh, but it's worth it if done right.

I will literally write the metal band section first. Figure out my chord prog, and then write a complimentary orchestra behind it using the chord prog from the MB section. I listen to both individually, and then add single instruments slowly, tweaking them until they're perfect.

The song I did this to took 3 months to get down the way I liked it.
Last edited by DiminishedFifth at Oct 17, 2010,
#179
Question for composers: Notation by hand or Sibelius? I'm thinking of switching to hand notation. Then write up in sibelius and export the MIDI into cubase.
#180
By HAND PLEASE!

It's like one million times faster and builds your inner ear. I only move to those programs if I need to give out clean looking copies to others. The computer tools to me are not meant for composing, just finalizing.
Don't tell me what can not be done

Don't tell me what can be done, either.



I love you all no matter what.
#181
By hand, preferably. But I write more in Sibelius than I do by hand just because I ACTUALLY know what it sounds like. Once I get a great ear and I'm moderately useful on piano I'll probably move straight to by hand more than anything else, using only Sibelius for copies and hearing my arrangements.
#183
hey you guys, i come seeking some advice. i'm working on a little symphonic black metal ditty. i don't have much experience with orchestration/using orchestral VSTs, but i've been casually reading up on it.

i've uploaded a short clip of the orchestral section to my profile - i'd like to get some feedback from you guys. does it sound like something is missing from the orchestration? if so, what instruments can i add to make it sound fuller? maybe it's too busy at parts?

it's supposed to be an extended intro for a somewhat narrative song about forlorn love and insanity. it is to be a metal song, and i'm actually farther along with the guitar sections, but i want to see what you guy think of this.
Quote by archerygenious
Jesus Christ since when is the Pit a ****ing courtroom...

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#184
It sounds pretty okay actually. In terms of orchestration seems fine, although it's less scored for orchestra than it is for strings and piano, but if that's what you're going for it's fine. However, there's some weird stuff with phrasing in that a lot of the phrases sound somewhat incomplete/unresolved at times. Resolution is key when you're writing tonally, and good phrasing and form is one of the toughest parts of "classical" composition, tonal or not. So, if there's anything to revise it would be to better finish phrases, I think.
#185
Quote by jazz_rock_feel
It sounds pretty okay actually. In terms of orchestration seems fine, although it's less scored for orchestra than it is for strings and piano, but if that's what you're going for it's fine. However, there's some weird stuff with phrasing in that a lot of the phrases sound somewhat incomplete/unresolved at times. Resolution is key when you're writing tonally, and good phrasing and form is one of the toughest parts of "classical" composition, tonal or not. So, if there's anything to revise it would be to better finish phrases, I think.


yea, i had some education in music theory back when i played piano, but i never studied composition techniques or anything terribly useful (so i suppose i should get on it!). is the lack of resolution mainly in the middle strings? i think i like how the higher staccato strings sound, and the lower registers follow what i had planned for guitar pretty closely.
Quote by archerygenious
Jesus Christ since when is the Pit a ****ing courtroom...

Like melodic, black, death, symphonic, and/or avant-garde metal? Want to collaborate? Message me!
#187
I was playing this game earlier today, and these two songs in particular stuck out to me... ever single time I heard them. If I wasn't playing with my girlfriend, I would have just stopped and listened.

Starship Mario
World Map 3
#188
The music in both Mario Galaxies is absolutely amazing. When I played the first one I couldn't even believe it, I had to stop playing in a couple levels and just listen. I was completely dumbfounded that serious music in a video game didn't have to be so trite.
#189
I love this comment on the vid of the first link:

Space... the final frontier. These are the voyages of the starship Mario. Its six-world mission: to explore strange new galaxies, to seek out new stars and new powerups. To boldly go where no plumber has gone before.

The first one is perfect. Light, bouncy, fun. The second one slightly reminds me of Debussy at certain points. And for some reason, I think of Mr. Rodgers when listening to the second one.

Concerning video game music, I love Medal of Honor: Underground.

Main Theme Sounds a bit Star Wars-y at points.

Darker music. Really helps scare you during that one creepy level. (Especially when you're 12).

EDIT: Changed the second link. Found the actual music.
^^The above is a Cryptic Metaphor^^


"To know the truth of history is to realize its ultimate myth and its inevitable ambiguity." Everything is made up and the facts don't matter.


MUSIC THEORY LINK
Last edited by rockingamer2 at Dec 16, 2010,
#190
I'm glad I wasn't the only one thinking the piano one sounded very Romantic and Debussy-like. What amazes me is the budget they had allowed them to get an actual symphony to play the songs rather than being done by computers. Here's hoping that the next Zelda can do the same!

EDIT: both of those songs are very nice. The second one reminds me a lot of the "softer" section in "Mars" by Holst.
Last edited by DiminishedFifth at Dec 16, 2010,
#191
FINALLY some more posts in this thread, i thought it had well and truly died.

b5, the piano one was nice but I couldn't stand the first one, too cheesey for my liking

Anyhoo I'm into Elgar And John Williams (as usual) at the moment.

http://www.youtube.com/watch?v=OoQAiO4xFoU The Accidental Tourist theme

Coronation March op 65 - Elgar - It's not on youtube but you can find it on spotify.

http://www.youtube.com/watch?v=OUUFPNCv7Pw Serenade for strings - elgar
#196
Quote by griffRG7321

I really liked the Elgar violin concerto, I'd only heard the cello previously, added to my spotify playlist


They're a completely different calibre of piece. I almost classify the cello concerto as pop music </classical elitism>
You should check out the first symphony , as well.

Schumann Piano Quintet
#197
i've been asked for this project where i will be playing classical pieces on guitar, together with an 20 piece accordion orchestra. we'll be playing paganini's caprice 24th. does anyone have good tips on how to learn to play the piece properly? i will be playing the main melody.
Last edited by Ih5g at Dec 28, 2010,
#198
Do you play classical guitar or electric? If electric don't play with distortion, it will sound like ass.

On another note, I just downloaded the entire Jurassic Park and ET soundtracks from itunes
#199
Quote by griffRG7321
Do you play classical guitar or electric? If electric don't play with distortion, it will sound like ass.

On another note, I just downloaded the entire Jurassic Park and ET soundtracks from itunes


YA!! Jurassic Park and ET!! Awesome movies.

My orchestra is playin Beethoven's 3rd Symphony Eroica. Awesome piece. Kinda hard. Probably should practice a bit...