If I close my eyes, I can almost mentally visualize Doris Day and Rock Hudson.
Nice sound, William. Good orchestration. Thanks for posting.
Larry G. Alexander
Totally sappy, William, like, totally, dude... lol.
Beautiful orchestration in this, William, and though
strongly reminiscent of the Doris Day era, I'm
afraid you slipped up and put some rather nice
writing and real content into the piece.
Call me sappy, too; but I enjoyed this piece --
and can well appreciate the care and skill that
went into the nuancing and detailing of the work.
Well, this takes me back to ...(well, nevermind about when ). Let's just say if you had some pops and clicks in this piece it would remind me of my parents and the music being played on an RCA Victor (no the newer one that played 33 1/3 LP's)!
Thanks for the memories!
[Music is the Rhythm, Harmony and Breath of Life]
"Music is music, and a note's a note" - Louis 'Satchmo' Armstrong
This is really beautiful. I don't think it's "Sappy" at all. Actually, I feel like it would work in something like "Roman Holiday" - it doesn't have to be just in a Doris Day movie :P. Of course, it could also fit in a classic Hollywood epic - like Gone with the Wind .
My only disappointment was the low-res MP3 - you did such a wonderful job with this piece, I wanted it in hi-fidelity .
Very nicely done. Thanks for posting.
- Michael Fortunato
William, this is not fluffy! I mean it is, but it's not fluff! I think as a composer it is important to explore all genres and eras of music creation. Orchestration and harmonization styles for films of that era vary from today's practices and it's important to understand it. I can only imagine how much research someone like Alf Clausen has done for the Simpsons. He's written music in EVERY style imaginable.
I love the crazy over-acting in those old films. It's so much fun.
Remember this day, Evelyn, don't ever forget it, not now, not ever!
All you need is a brassy trumpet section over the last couple of measures and a gigantic-vibrato choir.
Cool! Someone's listening!
Thank you all for the comments. I really enjoyed working on this piece. Though I must admit, it has taken a lot out of me. Do anyone else suffer from Post-Composition-Pardom-Depression? I have the hardest time getting back to composing. My recovery time between compostions is always a major battle.
Again thankyou all for listening and commenting! It means so much to me.
Great work and orchestration. Takes us all back to another time and place.
I think you have hit on something important enough to comment. Although it's not like having a premiere at Carnegie Hall, when I post a piece here--or rather, have posted (since it's been about four months)--it's like I'm sending it off into the big wide world. Healthy or not--likely not--I tend to place a deal of importance on its reception.Originally Posted by William West
But even regardless of the feedback, after a piece is done, you turn the page to a fresh new blank sheet of staff paper and think... well now what? Especially after pulling out every trick in the book on that last piece, what is left?
I have heard that if you are a composer, you should write every day; it's like practicing. A composer friend of mine suggested the same, but more realistic in his approach--for those of us with lives; I mean, I can't imagine someone completes their first symphony one day and begin writing the second one the day following. Not all of us have the time to sit and analyze and reharmonize Bach chorales or write counterpoint exercises every day (just the lucky ones).
So he suggested to write something, anything every day. Even if you just spend a few minutes and jot down a melody, or a rhythmic idea--whether it is garbage or not--even if you know you're just writing something dreadful and unusable. Embrace it. If I can only write a measure or two of stupid chords, I'm perfectly fine with that. The idea is that if you can keep the creativity going even when inspiration is barely trickling, it will help sustain you. And when the time comes to begin a new project, or inspiration strikes, you aren't so far from the composing process that it becomes unfamiliar.
This also helps dealing with the strange "empty" feeling you are describing. You don't feel as though you are "getting back" as you put it, because you never left.