Bowlerhat

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Everything posted by Bowlerhat

  1. oooh, so nice! There's a lot of great ideas in here, I liked it a lot
  2. I loved the singing. It really cracked me up and fitted the source and remix really well!
  3. As another Dutch person i thought it would be interesting to shed my light on the scene as well. Not particularly because I'm Dutch, but I find the subject to be engaging and worth talking about and also found it a nice coincidence. Like you said, there's an abundance of music at the moment and sticking out among the crowd is difficult. I agree with this. However, what I find interesting about your post are your reasons to make music. You name "the desire to express yourself" and looking for a "connection" with people. Personally, I'm a jazz artist. I used to study music composition in the Netherlands but I'm currently located in Germany. Of course, "expressing myself" and connecting with people has been a big reason to continue making music but I wouldn't call it the driving force. At all. This is naturally a subjective thing, but I do want to share my personal thoughts on this since I feel like it might open up some possibilities for other people as well. I make music to create music. For me the reason is very intrinsic. I love music, and I love writing music even more than that. For me the art of discovery and the excitement of finishing pieces, playing in ensembles, organizing concerts, making promo photos, the whole gizmo, it's amazing. Of course, when I make music I express myself, I also connect with other people, but I think that to realize that the fact that you're making music is fun and thrilling and emotional and generally just very wholesome is vital to keep doing this thing. Generally, want I want to say is that I'm simply not dealing at all with the things you're stating above. I'm getting a lot of satisfaction from making music. With that in mind I want to immediately stress that there's different ways of producing music. Personally, I write music in Sibelius and then I get the musicians together and we rehearse. Then, there's a concert and people pay to see that concert and I use that money to pay the musicians. That's like, the basic version haha. With this method I personally have a great way of "expressing myself', connecting with people (both the musicians I work with and the people who consume my music) and I'm also just having an awesome time with the whole thing of writing the music and organizing everything. Besides that, as an arranger I also make arrangements for big bands and such and sell those, and I also play gigs as a flute player in orchestra's, jazz ensembles or just random other gigs. Now, I'm going to quote something I found kind of funny about your post: The thing is that "the latest dance track" isn't so different from Mozart, or Bach or whomever else at all. That is, in principal. These people, especially Mozart were pouring out arrangements by the hour as well. The difference is that you cherry picked some of the finest musicians of their century against "a random guy on the internet". But honestly, they didn't spend that much more time on their music at all. In the end it all comes down to talent and creativity. And this thoughtlessly producing music is something I personally do as well. For example when I have to arrange something I don't really like for some kind of ensemble but I also do have to pay my rent so i do it anyway. It's like how Mozart did it, how Bach did it, how Thad Jones did it and how most arrangers and composers did it and still do it today. As you mentioned in your post, time filters things. But not just obscure artists, but also obscure pieces from famous artists. Mozart wrote a lot of music. Like a lot lot. And some of it is brilliant, and honestly some of it is sh*t. The point I'm trying to make here is that quantity isn't just a necessary thing for being a serious musician, it's even a good thing. Doing things more gives you experience and makes you better at it, it's as simple as that. Then, going back to my first point about producing music. I don't know what kind of art or music you make but assuming from your post I assume that it's something that you create by yourself and then release upon the internet. This is an entirely different approach than mine, and it isn't any better or worse, just different. And this is important to keep in mind. Because, what you're basically doing is that you're using this media, the internet, which you have many opinions about that directly contrast the way you want your way of making music to be, as your only way of releasing your music. It's counterproductive. I personally would never want to make a living from just uploading songs to the internet and having them be consumed by people I don't know. For the exact same reasons as you. But, I personally chose to just not do that. Of course, I still have to maintain a social media account for my band, book gigs, schedule rehearsals, write music for annoying people that you really don't want to work with but have to because they're paying you for making that arrangement, and other such things that proper adults do. But that's life, it's the way professional musicians in my field deal with things. And that's a completely different way other professional musicians in their respective field deal with things. My way might not be your way. But if the way that you're doing music currently isn't satisfying for you, then realize that there's other ways to do it as well. And here's why it's funny again that we're all Dutch here, because we're basically all growing up in the same environment. And yet we can all have different experiences, different perspectives and different working tools even though we're all just trying to make music. Which I think is also a nice proof that it isn't too late to change your way of looking at music, and the way you make music and produce music and find something that suits you and gives you the satisfaction that you want to get out of music. Because it's all possible, and in the end it's also the most important thing. To somehow have making music be intrinsically satisfying for you.
  4. While all the other points are really good, in my opinion this is the most important thing to consider when making transitions. I would personally stretch the point even further and say: "Why transition at all?" I think that there's a merit to having a transition between two (or more) songs if there's a justifiable reason to have multiple source material in the first place. And I'd assume that if there is a good reason to have multiple source materials, then it'll probably be because of a good link between the songs which makes the question kind of obsolete. I think that rather than searching for a "transition" it makes more sense to look for a "cohesion". Of course there are some scenarios where you might be assigned to, or could even get paid to combine "contextually preferably uncombinable" things, and in that case I would definitely read the points made above a few times and really think about them because they're all very expertly made and elaborated on. This summer I got a job to write a big band arrangement for someone and she had some very specific form structure in mind that I personally would never use. But since I got paid to do the job, and she didn't really listen to my suggestions to change it to something more effective I just had to roll with it. It happens, and in such cases it's good to be able to do it. But these situations are outside of the point that I'm trying to make at the moment. To be honest, when remixing I think it's better to ask yourself: "How do I get more out of my source material so that I don't need to transition to a different song halfway". And when you really want to add another source tune, think to yourself: "What does this add to the music?: "How is this related to the rest?" "Where do I want to go?" "What do I want to say?" And when you're able to answer those questions with justifiable reasons, then the proper way to transition between songs will naturally come out of that. It's a very context specific thing, and the answer can be many things. In my experience, shifting too many times in one song between different genre's, source material, writing styles and all that good stuff takes away more than that it adds, and it's often a better idea to just write multiple tunes. It might not be the answer you're looking for, but i did want to add my two cents, since I feel that many remixers and writers often overlook these kind of things and tend to jump into quantity rather than quality. Not saying that that's necessarily what you're doing since, as many have already pointed out, you didn't give any examples of your music, but it's something to always keep in mind when writing. And asking some of the questions in the previous alinea might also solve other problems you could be dealing with, such as problems with flow, dynamics, instrumentation, motivic development, style, diversity and musical coherence among many things.
  5. Hi, I play flute! The link you posted isn't working however Could you maybe hit me up with a pm with some more specifics and details about what it is you're looking for exactly? You can find a mix I submitted to OCR here: https://ocremix.org/remix/OCR03675 I'm not playing flute on that mix though, so it might not be very helpful haha. But I can send you some flute mixes of mine as well of course
  6. Thanks! I was thinking a lot about breathing and pulse and I guess indeed also the meandering of a feather as it falls down. Which sounds kinda vague and artsy now that I think about it but it was mostly meant to be relaxing and light as you said haha.
  7. Hiii, I wrote a short piano piece called "A Song About A Feather". What do you guys think?
  8. This is really beautiful, I love it! I especially appreciate the small effects such as what I assume is some kind of rolling ball effect applied in the beginning and the ending. And the seamless mix of several electronic genres, and the intricate sounddesign and the overall atmosphere and the harmonic progressions and instrumentation and everything is basically just great.
  9. Great! Then I will do that without any further ado. I would be interested in hearing those minor mastering tweaks/permutations, but I guess that I can read them in the evaluation after it goes through the jury's Thank you all for the kind words! I'll pass it all on to the musicians as well since they deserve most of the praise.
  10. Thank you! I didn't play anything, it'd be impossible to play this many instruments this well haha.. I arranged everything and I organized and conducted the ensemble.
  11. Hiiii, I did an arrangement of Zelda's Lullaby from the legend of Zelda. I'm thinking of submitting it. Any thoughts on this before I send it in? I'm not so sure about all the mixing, and there's also some minor timing issues that were difficult to solve. But generally I think it sounds cool. Source: https://www.youtube.com/watch?v=UpfYSyiyf2U&t=62s&frags=pl%2Cwn
  12. This. Even when I'm arranging a video game tune or a jazz standard or a whatever and the melody is already given from outside, I always first play the bass and the melody together to make sure they work. When I have two outer voices that convey the things that I want to say at that moment, it can be anything from atmospheric desert to adventurous battle theme, the inner voices fill in themselves. It can be done in many different ways, but when the outer voices run I know that I'll have a nice progression. That's the reason why things like counter motion works so well, and paralel fifths and octaves don't. This is of course also a stylistic thing, but in every genre of music you can have good and bad relations between the outer voices, it's just that the criteria is different. I think that when you're just thinking of chords, rhythm and melody as something separated by semantics, you'll never be able to write coherent music. It's all about the relationship to each-other and how it mixes and ends up as an organic whole that makes the music.
  13. Here's a little duet I did with myself. Most of it is improvised on the spot, everything besides the harmony and theme of course. I'm not so sure about the audio quality. It sounds decent, but also not spectacular. Same with the mixing. Any opinions on this? Original tune: https://www.youtube.com/watch?v=8dhzm7HJiMA&t=92s Thank yooouuuu!
  14. Cool stuff, it reminds me of something in Super Mario Galaxy, don't know what track specifically. If you want I could record some actual flute for this, maybe add a little solo if desired. :)
  15. To move on, something else I found interesting was point 7. Because, as a composer I've found myself to be very dependent on other people since I'm mostly unable to perform and play my music myself. Not just because I don't know how to play the trombone and the violin and the vibraphone and the clarinet and the contra-bassbasoon and the whatever but also because I'm literally physically unable to play all those instruments at the same time. I know how they work, and I do play quite some instruments, but some music is just written to be played life. I mean, I'm a jazz composer, which means that I always deal with living, breathing people, and I can imagine that being a completely different thing from writing music completely on a laptop. I definitely know the mess of having to organize rehearsals for 10+ people with completely different schedules, and I wish I would be able to do it all by myself, but would that imply that writing music that is to be performed live and that also includes more then 2 or 3 musicians is an invalid business tactic? That would contradict about 300 years of music composition, including the crazy late romantic era where composers would write for giant 200+ musician seated symphony orchestras with two choirs and their neighbors. So while I understand your notion of advising composers to stay as self-sufficient as possible, I also think that it's very much centered around a way of making music that is designed for self-sufficient composers that are able to do everything by themselves, and that it doesn't mean that all ways of composing are like that. That's kind of an awkward sentence, but I hope my point is clear haha. Of course I'm not saying that you don't have a point. I usually write my music for ensembles that I know I can make myself and I'm always connecting and making friends in order to make my netwerk as big as possible. And, more importantly, I write simple and effective and I prepare everything as perfect as I can. So rather than saying that you should rely on as few people as possible, I would say that you should be smart with the people you work with, that you should always have 3 back up plans and that you have to be very very realistic in the way you write. Which nicely connects to point 12, because that statement is just soooo true. Being a decent human being should be everyone's priority because no one likes people that aren't likable.
  16. Oh man, this is fantastic! I love it so much. Great bass and drum writing, and there's some cool harmony going on. I don't know the source, but I definitely love the remix.
  17. Another important thing to realize is that it's impossible to actually 'finish' a track. Music is a never-ending process, and as you progress in it your standards keep rising along with your art. Once you accept the fact that the things that you're going to make are not going to be perfect it immediately becomes easier to follow Meteo Xaviers advice to just finish your damn track because the hurdle isn't as high and the expectations for yourself are more realistic.
  18. Heeey, I wrote a song for nonet taking a large influence from video game music. Hope y'all liiiiiiiiiike it.
  19. Okay, so. First of all. I really like what you did this thing. It's al very breathy. I've heard breathy things are good for zelda. A few things that I noticed: I'd say the drums are really really busy. Which isn't necessarily a bad thing at times, but I think it's a bit much here. I think that it fits at the beginning, and is also nice for a climax kinda thingy at the solos. But, since it's busy at all times, the whole thing stays static and it kinda distracts from the rest of the song. Since you have a classic bossa bass rhythm going on, I'd recommend using a 3-2 son clave as your foundation during the theme and then build up from that. This will calm the whole thing down, give it a more dynamic range and will make the nicely implemented busy drum parts stand out more. I also think the solo's are a tad too long. Or rather, that there's too little happening in the solo section besides the solo's. Like Timaeus also mentioned, it gets static after a while. I think calming the drums down at the beginning will already help a great deal, but you can also differentiate at other sections. What I personally always do during solo sections is repeat parts from the original theme and put them as backings for the solo to solo over. I mostly do this with horns, but it would also work with the piano during the vibraphone solo for example. Try putting the original cello D-A-D-E-D theme in the low register of the piano and put it softly underneath the vibraphone solo. I'm not sure whether it will work, but you just have to experiment with things and see how it works. But giving cameos of the theme and/or backing in general in the solo section will make the listener remember what it actually is that they're listening to besides a bunch of solos, and will also give the section an intensifying effect. During the first theme, you could space the harmony in a better way. What I mean with that is this: The theme in itself is very focused on the one. The melody really works towards it, and then stays quiet for a while before beginning another pick up line to the one. That's basically what it does the whole time. It's what makes the melody so breathy and spacious. So, if I were to play piano for this piece, the one place I definitely would not play is the one. Since it's already so full. There's so much space after it, which would be a great place to dump some nice voicings without actually distracting from the melody. So, try giving the piano more diversity in a the horizontal sense of the word. See where in the track there's space, and use that space to fill in the harmony. I'm assuming that this is not the actual end of the track? Because it'd make a lot of sense to first go back to the original theme before ending this. And not ending in a fade out is also always a pro. But I assume that that's what you're planning to do. That's all I think. Overall I really like it. It's pretty close to the source, but the instrumentation and laid back feeling make it different enough for me to stand out. In a good way that is. Nice work!!
  20. I love the reharmonization of the title theme at the beginning. It was done in a very subtle yet tasteful manner and totally set the scene for the rest of the track.
  21. This sounds like a really great project!! French horn is such a beautiful instrument, and I love how you're trying to expand it's current limited fieldwork. I'd definitely be interested in helping out with arrangement stuff. What's the time schedule you have in mind?
  22. I think that, besides the great things mentioned above it's also very important to have certain arranging techniques which are difficult to acquire by yourself. This of course depends on the genre of music you're writing, but a good knowledge of things like voice leading, instrumentation, reharmonization and similar things are generally very useful and help a lot with composing. Luckily, there are a lot of books about this. I'm personally not a big fan of books, but there are a few classics out there which in my opinion are a must have for every composer. Of course, it's a totally different thing whether you're writing for a string orchestra or for a rock band, so I can't really recommend anything as I don't know what your type of music and line up is. But, what I'm trying to say is that you don't have to do anything by yourself. There's a lot of people in the world that know a lot about composition and are sharing their knowledge in great detail for a small price. Just blindly listening to other people and constantly staying in a safe zone is of course also not the way. Absorbing information about things that interest you, and meanwhile experimenting with the things you're learning is in my opinion one of the richest and most fulfilling aspects of writing music. It's about the joy of discovering. Just playing around with chords on a piano for a few hours can be a very valuable and educational experience. This, in my experience, also brings the best results. Someone can tell you that the first inversion of a major chord sounds amazing, but hearing it yourself, and most importantly, stumbling on it by yourself when you're just messing around a bit, maybe accidentally adding a 9, has a lot more impact. First of all because it highly depends on the context, but also because that way it comes from yourself. This makes your music more you, and this authenticity and personality is what makes music so beautiful.