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Regards ...
My name is Anđelko and I come from the Croatian ... I'm involved in the production and composition of fun now and orchestral music what I was going to deal with in the future .. so here I decided to share my first orchestral trailer, music that can be found in the movies ...
For information on all brands of sounds that I used to talk to pm
Sorry for the spelling errors because I use google translator ...

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how do you mean that I took someone's music .... this is my original track, all you hear is my work, mercato vocals are also played ... however I've heard a lot of similar works, so you also should do some work similar to mine ....

Bob Porter said:

As an exorcise in composition, this is fun to listen too. However, you can not take someone else's theme and use it to make your own work. I like film music, but it is very limited in musical scope. Most film music is not meant to be listened to by itself. Do you want to write music for the movies or more involved pieces that have a film flavor? I would like to hear more from you that is more developed, as you have some skill. I hope this translates  OK for you. Google Translate does some odd things.

This is an excellent work. I enjoyed it very well! I believe this suits for action movies with scenes of wars or some sort. Nice share!

Narnia movie theme, at 00:37. You're using exactly the same melody with a very slight modification. Maybe it was subconscious, but you took Harry Gregson-Williams theme...

if there are similarities with Narnia It was an accident because I've never heard a song from Narnia

Bernard Duc said:

Narnia movie theme, at 00:37. You're using exactly the same melody with a very slight modification. Maybe it was subconscious, but you took Harry Gregson-Williams theme...

I know that these epic themes are often very similar. But the lawyers won't listen to you if you say that you never heard this melody... Copyright trials are really a nightmare for the composer.

Apart from that I agree with you Raymond: the song is too compressed. If you look at the waveform on soundcloud you see immediately that there is no dynamic. It seems to me that you approach this kind of music as a DJ, using loops and over-compressing all, but orchestral music is all about slight modifications and contrast...

Raymond Kemp said:

Bernard's comment was pretty pointless as there is nothing more generic than these epic themes.

There are probably thousands of versions created by would be score writers for each job available.

This cue is too compressed. There is no space between instruments and section to breathe.

No feeling of depth in the sound field. The solo singer has a slow attack and needs to come in ahead of the beat to compensate. The adjustments real players make in timing has to be transfered to virtual instruments.

Apart from that and getting back to the genre. Do you know how many fishes are already in the pond?

I think in order to write interesting and different film music it is important to listen to a lot of different music from all genres.

There is a danger when one moves from pop music into orchestral that one takes with them the much more limited range of harmonic motion we find in pop and just 'orchestrates' it. 

My criticism of your piece Andelko would be that you have taken a very common ( too common these days) chord progression, (VI-IV-I-V or in C it would be Am-F-C-G) and just repeated it over and over. This sort of approach would only be sustainable for a very short cue before it became boring.

There's one main idea here, which is nice, but needs development to motivate someone to listen to the end. Just a personal opinion, but I really dislike the 'soprano' - really sounds naaaasty. Also, you could probably improve the sense of progression and overall tonality with a bit more of a sensitive approach to dynamics. I think another poster mentioned overuse of compression. I listened to your other stuff, which is more pop/dance and hard compression works well there, but not with orchestral music. You shouldn't really use much at all except to keep some of the transients under check. 

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