Music Composers Unite!
Although most of the comments were recently deleted and I couldn't read them, some constructive criticism would be nice instead of simply saying that my song sucks
What Oliver said. Lots of unrelated ideas. I listened to it and thought "Ok, this sounds interesting. But what happens now? How is this related to what I just heard? Will this lead onto something... um... nope. It ended again and now there's something new again, although in the same key all the time." It's actually a nice repository of stuff that you could use in a composition. Take something out of it and start developing, putting it against something else you take out of it.
Thanks for the responses Oliver and Johan. I actually wanted to put many instruments and layers into the song, but I won a contest letting me record it at a studio. I was not allowed to bring any other musicians (according to the contest rules) and I didn't have the time to create new layered parts on my keyboard. Eventually I will rerecord it with lots of layers and make the piece more full and ... together. I do not notate my pieces, it just takes so much time... but I really should - you're right
I agree with Oliver and Johan on the points they raised.
The "problem" with instrumental music is, how to you say what you want when there are no words, and how do you keep interest for 3 or 4 minutes, or even more. Classical music's answer to that was development, in various ways, tonal, harmonic, rythmic, contrapuntal. Essentially taking a theme (and sometimes something even less than a theme, like 4 16ths and a quaver lol) and elaborating on it, musically. Other music genres chose to use sound design and instruments to do this (electronic music being a prime example), others used various semi-impromptu beautyfications on a single melody, in the same key, in the same rythm (folk music says hi, lol).
So, you need to make your choices about this one. You play the piano theme once in it's key. Then what? Do you move to a different key? Do you introduce rythm variation? do you play the melody again with a different harmony to support it? You need to make such choices, and carefully, and not be afraid to leave your usual, comfort zone. I am assuming you're coming from a rock/metal/somethingalongthoselines background, so you are used to a different way of thinking when it comes to writting music.
Because we are not using words, we need musical material to make our (musical) points, so themes, melodies, patterns are introduced. And there the trouble begins, because if you mindlessly start stacking material, you end up with a big pile of ideas that sound cool on their own, and a piece that makes no sense to anyone but you (and sometimes, not even you). Trust me, I get in that position very often myself. The answer to all that is structure. Or, if you don't like that word (and many don't), a plan.
At every point in your piece think, "where am I", "where do i want to go", "how will i go there". Then take a step back, see what you have written. Does your chosen route make sense? Is there a musical reason for you to go from theme A to theme B? And how will you do that? And should you change keys or not? and where should you go?
As you keep working on it, things start to get bigger, and you start to forget things, or lose control, which is why we use notation (of any kind). Plus it makes seeing everything much easier and intuitive after you get used to it. To be honest here, if notating a piece takes so much more time than composing it and practicing it, you might have to reconsider how much time you put into composing.