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I am glad to publish my new short piece for orchestra.

I used some ideas of Richard Strauss in the first minute of the piece. Piece has generally homophonic texture with diatonic melodies, which rarely change to atonal polyphonic texture. Most of phrases are short. Instruments use is sparce and free, leading to situation when some instruments play only in 2-3 places of the piece (this is the first time I do not try to balance instruments use).

The first part is evocative, has high dynamics, syncopations, homophonic texture. The second part is hazy, thoughtful. The last part sounds more chamber and introduces atonality and polyrhythm.

Most of the libraries used in this track were created by Cinesamples. I was glad to use these easy to use libraries, which blend good with each other, being recorded in the same space. They do not always sound good with fast melodies, but it is a problem of most orchestral libraries today.

I will be very glad to hear your opinions and criticism.

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I enjoyed your music!

I find it rich in ideas that in my opinion recall many different styles (from tango to Debussy, for example) and they are well connected. I would work the melodic texture, the voices, as to be a guiding line that unifies the rest through the whole piece. 

I find the melodies of the voices really nice. I think the begining should have a little more to do with that, beacuse i feel the aesthetic of the piece changes too abruptly when you arrive to the Debussy-ish chord and harp in the 35th second.

I like the piece more from the 35 second. Maybe changing the intro to a less funtional harmony and having more floating colors going in there would help. 

However, there are some really nice ideas in the piece.

Thanks a lot for your comments. I feel the transitions between the parts of the piece sound too fast, but this adds some sharpness at the same time.

Just wondering since I use Cinesamples also, is this CineSymphony Lite or the regular samples like CineBrass, CineWinds, etc.?

~Rod

This is not lite, you can hear this by legato transitions and string tremolos. Other differences of editions are not that prominent in the final mix.

This does not sound like a finished piece, but a start of a piece that could be really nice. You got some great ideas. Just expand on them and complete this thing. Don't fall into the "short track" idea that epic music has plague us with. Write a full piece, and just as a side note, the sound to me sounds kind of bright and thin for cinesamples and not the richness and fullness I know it can produce. The trombones can sound thin, but the tuba solo and low woodwinds can produce very warm tones. The trumpets in core tend to be darker also compared to pro.
Rod

Rodney, thanks for your comment. Do you mean that CineBrass sounds thin or do you mean that in this track CineBrass does not sound as rich as CineBrass usually sounds?

As for a long piece - this piece took several months to finish, because this style is still difficult for me. Frankly speaking, I am not ready for a year of work on a single piece yet. Anyway, this track sounds like a sketch. I think, I will create longer post-romantic orchestral works, but it does not seem to happen during the next few years.

In this track Cinesamples does not sound as rich as Cinesamples normally sounds. Which samples did you use? The brass especially sounded thin.

Rodney, this is interesting! I am using these patches:

20 Tuba Solo True Legato PRO

19 Tuba Solo Articulations

Bassoon Contra  True Legato

Bassoon Contra Articulations

Bassoon True Legato

Bassoon Articulations

By the way, I found out that cinebrass, cinewinds and cinestrings are not dynamically balanced with each other, this is why I had to set these track output volumes in db (you can also see them in the second video, where tracks are visible):

Cinewinds -10.5

Cinebrass -2.4

Cinestrings -5

Cinewinds were very loud and Cinebrass was too quiet, so I had to correct it like that. Volumes at kontakt master and at kontakt instrument master are set to default (0 db). As for the modwheel dynamics level (CC1), most instruments play in f-ff range the first minute (100-127 CC1).

Do you have to do such corrections of output volume?

Does the "thin" problem you are talking about seem to be related to volume?

This disbalance can be the source of the problem, if I did not increase Cinebrass volume enough. On the other hand, you are also talking about lower Cinwinds patches, which I had to lower with all Cinewinds instruments.

I will do a full check of balance by bouncing a single note for each patch with CC1 in the middle of the playing range and compare to real world loudness of the instruments.

This is an interesting piece.  I like the opening and can hear some echoes of R Strauss in this.  I also like how you have used the strings in various places.

Loved this piece very much. Very dramatic. May I ask which DAW you used to compose the piece ?

Great work!

In the real world, brass and percussion cut through, strings add shimmer, and woodwinds blend in loud, tutti sections. I am new to the world of DAWS and samples but I do have a great concept on what real sounds like from performing and conducting in ensembles. Anywho, like I said I also use Cinesamples also and found that I needed to lower the woodwinds also. In Kontact, I lowered each instrument to -15 Db then go from there in Cubase. I have noticed that the louder dynamics can sound thin so sometimes I just simply add a layer of soft cc1 but raise the volume retaining the dark, round quality. I used a similar instrumentation as you in my band piece without the strings. Please take a look at it also and see if you hear anything. http://composersforum.ning.com/forum/topics/resurrection-for-marchi...

Alexey Arkhipenko said:

Rodney, this is interesting! I am using these patches:

20 Tuba Solo True Legato PRO

19 Tuba Solo Articulations

Bassoon Contra  True Legato

Bassoon Contra Articulations

Bassoon True Legato

Bassoon Articulations

By the way, I found out that cinebrass, cinewinds and cinestrings are not dynamically balanced with each other, this is why I had to set these track output volumes in db (you can also see them in the second video, where tracks are visible):

Cinewinds -10.5

Cinebrass -2.4

Cinestrings -5

Cinewinds were very loud and Cinebrass was too quiet, so I had to correct it like that. Volumes at kontakt master and at kontakt instrument master are set to default (0 db). As for the modwheel dynamics level (CC1), most instruments play in f-ff range the first minute (100-127 CC1).

Do you have to do such corrections of output volume?

Does the "thin" problem you are talking about seem to be related to volume?

This disbalance can be the source of the problem, if I did not increase Cinebrass volume enough. On the other hand, you are also talking about lower Cinwinds patches, which I had to lower with all Cinewinds instruments.

I will do a full check of balance by bouncing a single note for each patch with CC1 in the middle of the playing range and compare to real world loudness of the instruments.

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