Looking for that something by SoundCinesque
While randomly improvising I came up with this nice sounding inversion of C major 7th. It had a curious tendency to move chromatically around.. So I decided to make this into a little song.
What do you think? Tell all your thoughts and opinions.
- Henri
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The length, the delicateness of it can fit most movies today. I can almost see it in a mystery film, suspense and even drama. This is music that can fit more films because of its orchestration and length.
Very good job
Relying on my ear, such as it is and all... it SOUNDS like you are going thru chord changes/harmonic rgression... but you are tellign me this is all just the same chord, Cmaj 7th ??
Hm... I learn something on here every day. Here, you stay solidly in Cmaj, (Cmaj7th...) and bver leave it, but it sounds like you went thru complicated chord changes? I guess its like "slash chords" where you move the notes around octaves, but its all the same chord? (If I have that wrong, correct me, please, I'm self taught...)
THAT out of the way... by ear again? yes, it has a certain mystery/suspense sound... weird, but, I like it.
Now that you got me thinking about it... just a regular 3-note chord has several positions once you go the slash-chord route... now that you mention it wth the 7th thrown in the mix, you would get more options...
Of course you can her that i move the viola few times in a way which might be interpreted as a chord change (The waving pattern after the flute stops doing through the 3 note motif. I'd consider this more as a passing note than a complete chord change, although it alters the tension pretty dramatically) , but the tonic is still moving chromatically up or down, which was the "main idea" behind this
SEDstar said:
Bob Morabito
If somebody has some ''overly critical'' sort of criticism or something about this piece... It would be greatly appreciated... It will help me improve my possible weak areas.
I try to produce a PDF score of this at some point.
Bob Morabito said:
It sounds great. Reminds me of something by Toru Takemitsu.
It would sound more complex if you moved to a section with overlapping lines.
Honestly though, it's a hard task to find any glitches here... well, the moment you give up on repeating that simple motive (B A E, Bb Ab Eb etc.), it's like "okay I got bored too, let's move on to something else". Were I you, I'd instead alter it a little toward the end (roughly 0:58) to give a feeling that I'm summarising what has already been said. I hear the last repetition of the motive as Ab Gb Db with the Db transposed up octave, and that's it.
The mix sounds very neat, by the way. What samples did you use if I may ask?
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