Well I have gotten a bit farther and was hoping this wasnt posted premature since Garry asked to use on the web page(I wanted a bit more then just an intro. I still have not finished it but have come along way, but yet to re introduce the main statement. Still really no mixing and just letting the GPO do all the work. I know nothing of EQing with Sonar and just rendered all the instances to one wav and made an mp3. The reverb is just one of the standard sonar reverbs. I have no clue how to use SIR yet When I try it sounds funny. Anyway here is the excerpt of the longer piece. Still needs alot of work imo.
The first section wasn\'t just luck then! Call me old fashioned but I think it needs greater talent and/or work to produce a themed piece like this than to produce bitty film music. By that, I mean that film music is, crudely, bits and pieces written to suit the scenes.
This is classic. It\'s as if it was a classic piece by one of the old masters which I have just come across.....This is great fun for me....almost as much as doing it oneself to hear it develop and to see it grow and \'prosper\'. I don\'t think, on your own admission, that it\'s as polished as the first part but you have said that.
I said before that I thought this piece could have been by Sibelius but now I\'m thinking that Britain’s greatest composer (Elgar) would have been pleased with this.....or is this indeed by a new talent; Nicole XXXXX......! Nicole, I, for one, am pleased you moved on from your piano, basically this is just bloody good to listen to AND I haven\'t heard it before. GPO is such a release for a lot of folk, how else would YOUR talent, for example, ever have been heard??
I\'d like to hear how it would sound if at 02:38 the orchestra ramped in rather that come in quite so loud!..….I\'d have hear it both ways before I would know which would be best.......and, of course, everyone would have a different opinion anyway.
I don\'t want to get carried away by my own enthusiasm but I think, (I\'ll have to have ANOTHER think in the cold light of morning) that this is of great quality.....I have heard a lot of inferior stuff by the greats. By that I mean that their best may be better; but their worst isn\'t.
I look forward to the next episode......remember, even hundreds of years ago the great pieces weren\'t written overnight......take your time.
I wonder if it would be a good, and interesting idea to have a link to each of your sections as you develop it....it\'s certainly interesting for me, as I have said.....
I really wish you could post the score for this -- I know of many, many folks who could learn a lot if you could show how this was constructed (if you don\'t want to share the whole thing, any little piece would be appreciated).
Be still my heart~ Wow! This is truly incredible! Beautiful! Grandiose!
Where do you people come from!
Nicole, this drove the very essence of GPO into a new dimension. I waited for 5 minutes or more for this piece to download and it was worth every minute. My god...MORE MORE MORE!
Hoo-boy, that\'s sweet! Now the extension reminds me of the slow movement of a Brahm\'s symphony (which is high praise indeed). I think you mentioned that you work this out on piano first. If so, the logic and melodic/harmonic clarity of the end result is well worth the effort. And the orchestration is first rate. Very, very inspiring!
Good grief I didnt know this kind of response was forthcoming. I will try to answer questions as best I can being that GPO is my first program that emulates orchestra. Before this I was just aware of regular old midi in sound cards and not very interested in computer recording.
To be honest, I sat down for hours after finally getting the stuff I needed and just spent time with playing the sounds(usually at night when all are asleep). I did alot of reading and to be honest again my main three tools are simply(inside sonar anyway I dont know anything about other sequencers) the modulation wheel(im using the draw tool more and more as opposed to the wheel), detune, and the velocity when I need that extra attack. As far as orchestration goes, it probably stems from my inherent love for older material and styles(classical, romantic, and to mid 20th century). I never really listened much to music from movies or studied it so I am not in the position to tell how to achieve that sound. But I would stress listening to the real thing(I suggest live recordings and not the cut and splice processed stuff, even if its an older recording. Even better is to go as often as you can, it simply does not sound the same as a processed recording). And to be honest yet again, I dont want my midi to sound to clean! There are mistakes I left in there on purpose.
When I started trying the orchestral part of the program I first did an entire mozart piece and it really sounded like garbage. So I sat down and took out what scores I have and chose only 8 or so bars and a live recording each having a different feel/technique and listened to every little detail and tried to emulate that as best I could with what I had. This went on over and over and still does plus the constant reading of any article I or subject I can find on this.(well when time allows)
I have the original on paper, it was originally a piano score being that I wrote exclusively for that instrument and simply for personal enjoyment. If it helps I can make a midi file from sonar or put up the sonar file itself if it is helpful to people. I dont know if I have said anything new or not. All the tips I got were online, but I will say that sometimes less is more. You dont need all instruments going full tilt all the time.
If I wrote a piano piece and used as big of block chords as my hands could allow throughout the whole thing and stayed at an even dynamic level it would become muddy and boring rather fast. I think the same applies to the orchestra. You can use the same thematic material over and over but the choice of colors/dynamics/ranges/ect I think often determines the \"like\" or \"dislike\". Take Bolero from Ravel, 15 some minutes(if I remember correctly) of repetition, but it holds you enthrall. Sometimes only a few instruments is enough, sometimes one or two, and sometimes the whole. Im writing a book on something I know very little about lol, I have no clue what the other 60+ midi controlers do without having to look it up.
Anyway I hope this helps and I thank you all for the positive responses. I had no clue it would turn out this way. Since my weekend trip got cut short I took hours upon hours just concentrating on segments, then starting it and listening to it as a whole then repeat. If something ended or started exactly at the same time(same note value if I inputed that note in the staff in sonar which I do now) it would get changed, the modulation function seems to take care of this by simply fading in with the draw tool or fading out slightly different.
Thanks again for the comments. I hope to finish this piece eventually.