Fantasia in D Major

Hello all, I am new to this forum. I listened to a few pieces posted here and enjoyed it very much! There are some very creative and talented people here for sure.

I will surely give some thoughts on one or the other piece posted. But firstly let me introduce and share a piece of myself with you. 

I am an amateur and self taught musician since teenage age (I play guitar & piano) and constantly grew a desire to delve deeper into orchestral music & composition over the years. I am not good with classic music notation but I surely know a bit of theory and music concepts. 

Lately I have been obsessed with Wagner’s Rheingold Prelude. These fast, calm, layered, oscillating arpeggios played by strings and winds over the base chord played by Contrabass and Horn layers... so easy yet so beautiful, refreshing. Like a rush of happinesses hormones.

 I have been searching for similar pieces but rather unsuccessful. I looked up Phillip Glass for layered arpeggio work and found some nice music but it is not exactly what I am looking for. Maybe someone here knows some similar pieces or style? 

However, I tried to compose in similar fashion, quoting the prelude but also add enough own ideas and variations into it plus some harmonic changes to avoid a complete drone character. 

I hope you enjoy it, here is the link:


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  • Hi Timo, some nice touches in here.  Thank you.

    What are you using to produce your orchestral sound?

    Perhaps not arpeggio layering but layering none the less, try.

  • Hi Jim!

    Thanks for taking time to listen and comment. 

    The piece by Arvo Pärt is outstanding, what a sad and profound beauty. He wasn’t on my radar, thx for the hint. He developed an interesting concept, Tintinnabuli, and I am keen on exploring that. I already listened to Gorecki (3rd Symphony) and really liked it, although I found it a bit too slow, too repetitive. Nevertheless I believe I can find some inspiration in this Tintinnabuli style.

    I use EWQL Hollywood Orchestra as my main orchestral library. I edit and program the articulations and velocity of the instruments in FL Studio (it takes the same amount of time than the actual composing). Since I have been producing modern music with electronic manipulations and effects for some time, I know quite well how to use the DAW.

    There was an argument on another disussion here, on the necessity of a decent interpretation of the music. Personally I think interpretation is literally one side of the coin, complementing the composing side. I would be very dissatisfied if I could only represent my music in midi quality sounds - I would probably losing interest in composing like this and get back to other audio experiments. I’m glad what modern technology enables. 

  • Thanks for the information I will check out EWQL Hollywood Orch.  Sounds great.  At the moment I use the new Dorico programme plus their in house midi.  My poor computer is sadly not up to the job of running full orchestra and stops and starts.  It used to run the Sibelius 6 ok but the sounds were pretty awful as can be heard on my website.

    Tintinnabuli is interesting as is the thought of the harmonics of bells.  I used to ring in bell towers when I was growing up and enjoy the odd bell harmonies and the skill that bell tuners have in making a number of bells sound right together.  

    I do not enjoy any kind of extra work to a composition that is not part of the writing process and find sound editing a step too far.  In the past I would resent time spent adding dynamics, tempo and playing marks onto the pieces.  I like to think in terms of pure music that the arrangement of the notes themselves in the hands of musicians is enough.  As in Baroque music where the composer rarely gives any musicality hints.  And expects the skilled musicians to make the right choices.

    I have come to see a little of the error of my ways but still find it the least enjoyable part of writing.

    Good to talk to you.  Cheers

  • Nice.  I listened to it several times.  I'm intrigued by the way it weaves in and out of Harmonic and Melodic minor and Sometimes suggests D Major.  ( At least that what I think it's doing but correct me if I am wrong).  Sweet build near the end.  I would like to hear more like this.

  • Very interesting and special piece!  Held my interest very much and I liked that portion right at 1:54 very much, very cinematic in feel.  It quiets down quite a bit after that point, but is still quite nice.  I have to say, up to the point of 1:54, I was hoping it would not be so mono-melodic... and it was not, so a nice surprise.

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