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Everything posted by Bowlerhat

  1. 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.
  2. 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: 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
  3. Hiii, I wrote a short piano piece called "A Song About A Feather". What do you guys think?
  4. Bowlerhat

    A Song About A Feather

    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.
  5. 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.
  6. 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:
  7. 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.
  8. Thank you so much! I indeed wrote the lyrics myself.
  9. 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.
  10. 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.
  11. 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: Thank yooouuuu!
  12. 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. :)
  13. 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.
  14. Bowlerhat

    OCR03704 - Lunar Pool "Looser Tool"

    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.
  15. Bowlerhat

    Too many projects in general

    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.
  16. Heeey, I wrote a song for nonet taking a large influence from video game music. Hope y'all liiiiiiiiiike it.
  17. 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!!
  18. 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.
  19. 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?
  20. Bowlerhat

    Keys to Improving Composition?

    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.
  21. Bowlerhat

    Is a Good Sonic Musical Possible?

    I'd say that a proper sonic musical would require a proper funding, which would require a proper audience. There are quite some sonic fans out there, but I don't know if there's enough sonic fans in a specific area that would pay money to attend a musical. I think that the closest you'd get is to make some kind of musicalesque audio thingy over the internet with lots of likeminded musicians. That'd even sound like a pretty nice idea. But to have an actual musical with actors and props and the whole gazwishmosh is probably not lucrative.
  22. Darn, this is slick. Very impressive work!!
  23. Bowlerhat

    VGM "Standards" List

    I've got a few lead sheets lying around of video game tunes which could easily be included. They're often reharmonized, though. To make it a bit jazzier and also to suit the melodic material better. But nevertheless great to play.
  24. Heeey, Right now I'm studying composing and arranging at a conservatory, and in my free time I'm trying to learn how to play a few instruments. It's mostly just to know how to properly write for them, and I don't have to be super virtuosic in everything. But the problem is that I can't seem to work it out timewise. I've been playing the flute ever since I was little, then in my high school years I also picked up piano, and since a year ago I've also been taking trumpet lessons. In my spare time I'm teaching myself a little bit of bass playing and drumming, and it just seems to be getting a bit too much. I think diligence is very important as a mucisian, and I know the importance of having a steady practise rhythm. But in the past few weeks it has just become impossible to everyday practise trumpet, flute, piano, drums and bass while having normal classes 5 days a week plus homework and my composing and arranging main subject. Am I just trying to do too much at the same time? Am I not determined enough? Has it to do with efficient practising? Is there anyone here who has experience trying to learn multiple instruments at the same time? Any tips on combining it with normal life? There seem to be a lot of young multi instruments out there in the world, and while it obviously has to with talent and all that zwish zwash, I just can't believe that you can get good on any instrument without spending a lot of time and practise on it. I'm still relatively young and as a student I borrow money from the government to fully focus on my study. This means that right now I don't have any pressing money issues. I also don't have kids, or a family to take care of and all the stuff that comes after I'm done with my studies. So, if there's any time to try new things and practise a lot, then it's now. But I also don't want to overwork myself and end up with nothing. So, if there's anyone with the same (or a similar) problem, or who had the same (or a similar) problem, any advice on the topic is very much appreciated.