Here's some new original music in a lyrical style. I'd welcome feedback. It's produced in Logic 7 with GOS Lite, QLSO Gold (violas, cellos, 3 flutes, section brass), SISS Mini, Westgate woodwinds, SAM free trumpets, and PMI Bosendorfer 290.
This is not my profession, so it's taken several months, in my free time. Lots of tweaking. But, to be fair, I was also doing a lot of experimentation, learning what the libraries could do and how best to automate in Logic.
Sounds very good. Very sensitive use of the orchestral sounds. Took a long time to get past the middle register of the piano -- maybe marking it as 'amateur' in a way. The doubling at around 2:40 (approximately) was the weakest part for me.
Lovely work, there are some beautiful things happening in it. I like hearing what other musicians are up to, and imo that is the best part of this forum, something that makes it unique.
An idea for your consideration - I would look for ways to strengthen the presence of the melody. While it is clearly perceivable now, it remains soley in the piano, with all the other instruments in the ensemble supporting it. Imagine the D E F# F# etc line sung by the vlns/vlas strongly, or a solo flute picking up the line quietly. Or reverse both those ideas, whatever you think. Point is, each instrument has different strengths, and a wind or string player would both play the line much differently than the percussive approach that is the piano.
This experimentation (both in "what-if" thought, and with the samples) would be cool for tons of different reasons. It would certainly establish the melody strongly (which is what most of us tend to remember anyway) by showing the listener the melodic pattern in different contexts, so that through all the changes taking place around it, the melody becomes the grounding anchor of the music, the recognizeable element that draws a listener's ear. Also, as each instrument would interpret the melody differently, you would find yourself re-developing the melody for each section or soloist you hand it to, giving you many variations both subtle and dramatic.
You've got a solid form going on, so you already know which way you're heading with the music. That'll be great for helping to decide which sections will get the melody and more importantly when.
Anyway, just a suggestion, you've done beautifully already, thanks for posting it!
Thanks for the kind words and suggestions. I like the idea of picking up the melody in the piano in other instruments. I'll probably do that in the repeat of the opening theme to add some variation (which would also help address what Guglielmo pointed out.)
One thing I'm thinking about is to record my own cello playing to double the solo piano, on just the repeat and then to sweeten some of the lines later on.
Something I often struggle with is finding a way to carry the forward movement in a rhythmical way (which I tend to do with the piano) using other orchestral instruments. Using the piano for arpeggiation is just a habit I picked up from composing on the keyboard, and I need to start venturing out into other ways of accomplishing it.
As a novice composer I cant really offer any suggestions other than to say I think the piece is fantastic.
If some of the parts could be replaced with real instruments playing it would be ready for commercial release and I know I would buy it!!! I am really into this kind of music and have loads of albums of a similar style.