• Hi Timo, nice piece!  I like the open quality to it, and the opening is nice.  I like how you bring the upper strings in at 30s– up to there, the cello line is nice too.  Perhaps you could try doing something more with the cello though, making it into a scalar line or melodic line of some sort just to draw the listener in even more?  Just a thought.  

    At 35 seconds the chord change to G major is nicely executed over all, but I do wish there was something more in the bass, even just a held note to give it some grounding.  If you kept something going (not overly busy though!) that would be good up until 45 seconds or so, I think.  

    The instrumentation overall seems to mostly consist of strings and a few wind and brass instruments.  Horn is particularly noticeable to me.  There's nothing wrong with this, and the textures you've used are idiomatic to strings and appear in various peoples' symphonic scoring.  However, there might be some way for you to play around with some more variety in your textures while staying true to the initial idea you have for this piece.  This could be as simple as adding a few wind doublings here and there, and creating some gestures moving at a different speed as the strings at some points.  You could also change the rate of some of the string arpeggiations or play around with different string textures.  It just seemed that you were relying on similar string ideas that revolved around either arpeggiated textures or held notes for much of this, and I was just wondering if you could do something more with it at times.  

    Anyway, these were just some thoughts I had while listening and I hope you find this helpful!  There's a lot of nice material here.

  • Hello Lara, thank you for listening and sharing your thoughts, much appreciated! I completely agree with you that the first chord change is missing something.
    There is not enough bass and the strings are overpowered. So the chord sounds a bit hollow. I will definitely thin out the string articulation in that part and try to add some lower voice, I’m thinking about some kind of subtle brass ostinato, maybe?

    You noticed very correctly that I’m exercising on getting straight idiomatic orchestration and textures, as I pretty much overlooked this parts in the past and was more concentrated on harmony, voice leading and chord progressions. Maybe it is a bit generic but that is more or less intentional as I want to understand and recreate what are, at least to my ears, „typical“, or maybe „archetypal“ is the better word, colors and textural murmurs and understand how they can be achieved.

    I will take your suggestions and try out a little bit more textural color, rhythm and variety, although subtle, as I want the piece to have some kind of elemental an straightforward punch without too much ornamentation.
  • Amazing piece nicely depicted, well instrumented forming an epic story.

    Well done.



  • Hello and thanks for listening and sharing your impressions!

    @MM Coston: Haha, sorry it was not my intention to make someone desire some kind of high end audio system! I take it as a compliment:) I guess you mean this demo sound:

    I can see (or hear) where you coming from, although I didn’t have this THX sound in mind at all when composing and orchestrating it.

    @Kjell: Thanks for your kind words, I am glad you like it!

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