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      Donate to JWFan, win a CD!   05/30/17

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Justin

JWFan Composers
The Composer's Thread

1026 posts in this topic

You're welcome. :)

I like the calm stuff a lot (might be the hour, but I'm digging this anyway). The rest is pretty good too. :)

I'll come back to this thread tomorrow to listen to some more of the stuff others posted here that I haven't heard yet. I'm starting to really enjoy this thread. :D

- Marc, off to bed. :P

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I love the bond in action -- What sample set is that? It sounds amazing  -- Very Hollywood

Thanks very much. I am using a combination of Garritan Orchestral strings and Vienna Symphonic library for brass & woodwind.

What Vienna Symphonic Library package are you using? Opus 1? Also, what sample engine do you use? Native Instruments Kontat, GigaStudio 3? Thanks :)

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Does Garritan Personal Orchestra work directly with Sibelius like Kontakt?

jep, it does work fine with Sibelius. But you should have a fast pc and at least 1 Gb Ram. I haven't worked with the EWQL libs. I use Opus 1 from VSL. In combi with some older samples I have (some of them have more expression in the woodwinds and strings then VSL) and the GPO...well, it works.

The whole sampling thing is a work of combination of different soundsets from diff. libs and then layering together.

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Maybe, you feed too much the reverb on input? I use automation to resolve this problem sometimes.

Thanks for the tip.

Thanks you Fiery Angel.

Forge do you read french?

My french is quite ropey I am afraid. :)

What Vienna Symphonic Library package are you using? Opus 1? Also, what sample engine do you use? Native Instruments Kontat, GigaStudio 3? Thanks  

I am using the Brass & Woodwind Pro Edition. All my samples are played through Gigastudio 3 with instances of gigapulse to provide reverb.

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Everything before the guitar rocks on in is SUBLIME, Chris!!! I wish the following snare/percussion part was more authentic lol. Doesn't do it justice. Please extend this baby!

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Chris, nice string writing.

I'm having lots of fun writing the Attack of the Clones Geonosis battle music for the 2005 JWFAN contest. So fun to use those themes.

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F.Y.I. - "The Dour Bellringer" - a program

The theme/motive introduced in the piano introduction represents this extremely lonely, depressed and partially insane guy who lives in a belltower and has to ring the bell for a living. He desperately tries to forget about his horrid life by imagining and dreaming away his time, so his theme manifests itself along the way, acting both as a dour reminder of who he really is, and morphed to represent his creativity to pass the time, and whatever characters he might be imagining himself as. Essentially the line between imagination and reality is blurred. You decide whether a particular bar is desperation, or imagined swashbuckling drama. I can only describe the structure of this piece as deliberately plodding, uncertain in direction, occasionally surprising. But the ending is of course back to reality. The tugging of the bell ropes during the course of the six minutes is represented by the twin repeated chords in the left-hand of the piano intro, and wherever that sort of syncopated/off-beat two-note/chord accompaniment manifests itself along the way, as he becomes imaginative.

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Everything before the guitar rocks on in is SUBLIME, Chris!!! I wish the following snare/percussion part was more authentic lol. Doesn't do it justice. Please extend this baby!

Thanks ROTFLMAO When the piece is finished, it will be about a minute longer (or slightly more). The music is for the final scene and credits of the film being made, and the credits begin where the drums&bass begin the accompaniment to the theme, so I'm gonna extend the end to allow for an appropriate credits running time.

Yes, I know, the midi drums are crap. I'm trying to find some good samples for that, or maybe even record a real drumset. There's still much time before the film is finished, so I have enough time to work on the music ROTFLMAO

One more piece for this film: Music for a Quiet Scene

And this is the demo I made of the theme, so the director could OK it before I started on the complete finale sequence: Helmut Theme (Demo)

Somehow I'm more satiesfied with the "climax" in the middle of the theme here than in the "Finale" recording, I don't know why but there it sounds somewhat thin or something...

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Have you seen or heard Million Dollar Baby?

Clint should have hired you. Pfft, self-indulgent old crank. The demo theme also has a beautiful, graceful Eiger Sanction/Missouri Breaks edge. Nice, solid craft you got.

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Nope, the only stuff I know from Million Dollar Baby is what was shown during the commercial breaks at the oscars, and in the short film clips in the show.

But thanks for the comments ROTFLMAO

I realized those pieces I posted thus far are all more on the intimate side ROTFLMAO

If anybody wants to listen to some sub-par midi rendition, here is a more full orchestra piece (one mvt. from a longer suite, but so far the only one finished... this project will take MUCH more time)

The Museum of Stolen Memories - The Secret Library

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Today I did a short Titles music for a space shooter game Marian is currently programming, he considered it a bit too depressing for the beginning of the game, so I'm gonna try a more uplifting piece for that part...

Anyway, here's the music: MaxFighter - Title (rejected :P )

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Sounded neat, though. Marian, what have you done?!? :P

- Marc, who agrees it might be a bit too depressing of an opening anyhow. ;)

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The Secret Library was really neat. The beginning was kinda weird, but MIDI always screws up good music anyways. I love the woodwinds in that song.

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Chris, I enjoy the "secret library" piece. This midi version sort of reminds me of "Legend of Zelda: the Minish Cap" music, which I am playing right now. I can imagine it with real instruments, too.

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Thanks :)

How is "Minsh Cap"? I'm a big fan of the Zelda series, but have never played it (not that I even own a GBA....)

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The Minish cap is great. It has some nice innovations by Capcom (its released by Nintendo, but made by Capcom). I always liked that game company, especially their non-survival/horror and non-fighting games, like Megaman series, Ghouls and Ghosts, Strider, and Bionic Commando. Great pixel artists!

If I had the time, I'd try sequencing some of your library music for GPO and EWGold. But I'm working on that Contest music these days. If you give me your file, I can do the beginning at least.

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Was my stuff okay, or did you guys carefully avoid commenting on them cos they're bad? I am sort of in need of validation lately - being extremely scared about my uncertain career path. Any criticisms or comments on my work so that I can improve will be appreciated heaaps.

(An eclectic sampler list: http://www.brainsandbeauty.org/bowie/bowie.htm

"The Dour Bellringer": http://www.chrisafonso.de/music/bowie/Dani..._finaldraft.mp3)

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Hi guys. Sorry I haven't contributed to this thread yet, as it's one I'm very interested in. I haven't listened to your pieces yet but I will!

My "Over Land and Under Sea" for horn, euphoneum and piano was premiered at Bliss Hall, Youngstown last night. It went pretty well. The performers did a good job and it held together nicely, given that the piece is "quite a blow" for the brass players. One thing that was painfully obvious to me hearing the piece as an audience member for the first time was that the piece is too long! At present it runs at around 19 minutes. The quiet middle section is the prt I need to try and fix before it's next performance on April 1st (April Fool's day! How about that? :)) It's always a heartbreaking task having to take an axe to your own music and chp off the dead wood, but in this case the piece really needs to be about 3 minutes shorter! Anyone else had to deal with this problem?

PS Greta, thanks for your kind PM, I will reply asap.

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Nice piece Bowie! Your harmonic language is convincing and the melodic material works well within your style. I couldn't hear any Bartok however (?). Definitely some film-score inspirations, which is no bad thing. Especially in the large piano bookends. Also some lovely transitions. My only criticism is that you might develop (or rethink) your ideas a little more, especially in the middle sections. It seems that no sooner have we entered a new section then we are moving on again. I'm not talking about the melody here (which is developed nicely), but rather the backing styles. The oompah section around 2.30-3.30 doesn't seem to go anywhre and seems a little out of place. Immediately after this however there is a lovely harmonic transition back to the reappearance of the piano! From here to the end is gorgeous. Keep writing for heaven's sake!!! You don't need criticism or praise from others to hear the merits in your own music. Be confident!!!

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Bowie, I have listened your music. I like it, but it's difficult to exactly explain every thing about it with my poor english!!

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Thanks Smile

How is "Minsh Cap"? I'm a big fan of the Zelda series, but have never played it (not that I even own a GBA....)

Minish Cap is typical Zelda. That's great, of course, but let me stress the typical. In other words, it's getting a little old. The music is part reused, part new...pretty cool stuff, though Koji Kondo didn't write it.

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I like Zelda music. I always got a kick when you could conduct songs in the last game for Gamecube. Strangely, the title escapes my memory.

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The Zelda main theme is classic...I played it on the piano in music class, and everyone was like, "ZELDA THEME!!!" I seriously think that theme is more well-known than Star Wars or Hedwig's Theme, at least among adolescents.

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Nice piece Bowie! Your harmonic language is convincing and the melodic material works well within your style. I couldn't hear any Bartok however (?). Definitely some film-score inspirations, which is no bad thing. Especially in the large piano bookends. Also some lovely transitions. My only criticism is that you might develop (or rethink) your ideas a little more, especially in the middle sections. It seems that no sooner have we entered a new section then we are moving on again. I'm not talking about the melody here (which is developed nicely), but rather the backing styles. The oompah section around 2.30-3.30 doesn't seem to go anywhre and seems a little out of place. Immediately after this however there is a lovely harmonic transition back to the reappearance of the piano! From here to the end is gorgeous. Keep writing for heaven's sake!!! You don't need criticism or praise from others to hear the merits in your own music. Be confident!!!
Well the piece is mostly in dorian mode, and with the bassoon playing the melody at the start, one of my teachers said it was similar to Bartok, and he is quite an influential composer... but yeah it's mostly Williams, but didn't steal anything. Actually, I developed a melody based around the "B theme" of E.T. and Me (where the harp/strings do that up-tempo dance bit), and the 3:30 section onwards has roots in Adventure on Earth. The oompah section was meant to be a surprise, sort of evolving quickly out of what happened before, depicting the insane, depressed Bellringer, but I guess it still shouldn't be too jarring.

Thanks for taking the time to listen and grasp the piece... I know there are merits in my music, but I also know there are problems and it's hard to hear them if you don't know what you would hear as a pure listener. But I get disappointed when someone seems unsincerely all-praise (I know I've been uncruelly positive about someone else's mediocre or terrible work before, though noone in this thread, in fact, everyone else here has a shockingly better ability than me, especially in the more expressive, beautiful music), or of course when comments are brief and unhelpful.

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Zelda music is far from the best game music out there.

Lots of better game composers and NO I dont mean just Michael Giaccino.

Yasunori Mitsuda's music and Nobuo Uematsu's music for games is far better IMO.

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Thanks for taking the time to listen and grasp the piece... I know there are merits in my music, but I also know there are problems and it's hard to hear them if you don't know what you would hear as a pure listener. But I get disappointed when someone seems unsincerely all-praise (I know I've been uncruelly positive about someone else's mediocre or terrible work before, though noone in this thread, in fact, everyone else here has a shockingly better ability than me, especially in the more expressive, beautiful music), or of course when comments are brief and unhelpful.

What do you mean by "Everyone else here has a shockingly better ability than me"? Don't mistake having a nice set of playback sounds for ability! I've generally been impressed with all the music I've heard by composers at this site (especially Jeshop) and I find your own to be comparably impressive. Plus yours is a complete piece with a well-developed theme and a real sense of conclusion thanks to the well executed return of the opening material.

As for the Oompah section (! it now has an affectionate name! :() you could make this work by expanding it and maybe even making it grow to a huge OOMPAH section, full orchestral tutti! I can see you like it as a sudden change of direction in the music, and it certainly works at that. It just doesn't seem to become anything more than a momentary distraction from the rest of the great music. Have you ever heard Nocturnes (for orchestra) by Debussy? The second piece "Fetes" is very flighty and jolly. Suddenly about halfway through Debussy introduces a march of all things! It's very quiet to begin, but builds to a huge climax and it really works. Very striking, and unexpected. Then he returns to the opening material. That's kind of how I think your oompah bit could go. If you've never heard Nocturnes you're in for a real treat!

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Ack, trust me to miss a Zelda conversation! Minish Cap was brilliant (I finished it the other day). I just love how it indirectly ties in with the series - i.e. small references to other games, the theme of "wind" etc. Great music too.

Yasunori Mitsuda's music and Nobuo Uematsu's music for games is far better IMO.

They have orchestras at their disposal, do they not? Zelda is yet to convert to acoustics, but when it does (and from what I've heard it will be quite soon) it'll blow everyone's socks off.

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I can't wait for the new GC Zelda... the trailer last year looked awesome. Gee, I bought my GC just for Zelda LOL

Oh my, we're getting off topic...

Bowie, listened to all your pieces, really nice stuff in there! I liked that RotS Finale you wrote, though I find it a bit unfocused inplaces... perhaps that's just from subconsciously comparing it to Williams, who would've (or has ROTFLMAO) used a more streamlined style, especially regarding the themes. Did I hear right that you mutated ATS and Yoda's theme a bit into the Imp. March?

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Whoa, yeah, great RotS finale! I guess I'm biased to anything with SW themes in it, but nice, very nice! Here's a challenge: instead of using the end credits music from AotC, try orchestrating your own version of it. That's got to take a lot of musical prowess to figure out...

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Hey, thanks Chris ma man.

Hehe, yeah I tried to achieve as many themes as I could in the one piece, including my own, which John would not do. Here's a rundown though of what goes on in the Revenge of the Sith piece:

0:00-0:29 = my own "Hopeless theme" for the unsettling quiet of the galaxy after all the murders etc, based on Darth Vader's theme (ie, three repeated notes, and the fragment at 0:21) as well as a hint of Yoda's Theme at 0:16;

0:29-0:54 = Han Solo and the Princess in the horns, over the top of a more fully harmonised progression of my Hopeless theme;

0:54-1:18 = piccolo mixes HS&P theme with Leia's original theme, ending with that Darth Vader fragment;

1:19-1:37 = quiet, again, as the desolate lower register of the flute plays the Hopeless theme, and it ends with a minor quote of Luke's theme in the violins;

1:37-1:52 = Duel of the Fates theme is built up to a march. I tried to aurally clarify the quasi-palindrome between Luke's and Duel's themes;

1:52-2:04 = The Rebel Fanfare (rhythm, contour) meets The Imperial March (modality, march, that three-note fragment at 1:55), resulting in a Luke's Theme fragment at 1:58, which is imitated by the strings and glock. Luke's Theme is built up to result in Across the Stars...

2:04-2:20 = Essentially the same section, with a more obvious Across the Stars addition, again resulting in Luke's Theme in minor;

2:20-2:28 = This is the C theme of Across the Stars (the one rehashed from A.I. and CMIYC), underneath woodwind quotes of the Duel theme fragment;

2:28-2:36 = The brass/horns emerge with the Across the Stars B theme (with the descending triplet added to the rhythm), canonically imitated by the strings with quotes of Luke's theme/Across the Stars, desperately reaching upwards. Note the introduction of the choir, and the Duel theme fragment takes over underneath on the woodblock;

2:36-2:50 = A transition section, with the trumpet further developing the Luke/AtS juxtaposition, against a rather lethargic, descending bass line. A mysterious quote of Darth Vader occurs in the island flutes. Mid-strings reprise the Rebel Fanfare/Imperial phrase from before;

2:50-3:03 = The Force theme is pronounced at a semitonal rise in key, and with developed rhythmic and melodic contour, essentially modifying the ends of phrases with the descending triplet motive of Luke/AtS/Duel themes (2:56-8). The second phrase (3:02) is accompanied by upper woodwinds contributing amalgamations of the Force theme, Duel and Luke's theme;

3:03-3:10 = The low/island flute from the beginning concludes the full Force theme statement in, again, a stripped down fashion depicting quiet and calm amid frenzy;

3:10-3:50 = It continues with the Force theme again, to which the horns/glock respond with three varied quotes and fragments of Luke's theme. The sentence ends with three Duel quotes, and two intertwined quotes of Across the Stars, and an accented descending triplet in the celli, depicting the succumbing to the dark side;

3:50-3:58 = The flute reminds us of the eery woodwind accompaniment to the Imperial March, dotted by a quote of the March in the bass. Similarities are drawn between this and the Hopeless theme to follow:

3:58-4:14 = The Hopeless theme has new string harmonisation.

4:14-4:30 = The above section is repeated, and Yoda's Theme - in the horn - fits snugly over the top, building to a crescendo, with two string tutti strokes of the major third Vader theme fragment.

4:30-4:47 = Yoda's Theme in the trumpet dances to the rhythm and contour of the Imperial March, which rumbles to a climax incorporating that Imperial March accompaniment figure.

4:48-5:06 = Solitude again, as the trumpet sort of wanders back into the shape of the Imperial March, no longer heroicly Yodaish. This is above a string rendition of Across the Stars. The Imperial March and Luke's Theme mingle with two soloists: flute and double bass.

5:06-end = The Emperor's Theme, slightly varied chord-progression-wise, and spotted with Imperial quotations. It ends with Yoda going into hybernation near the Magic Tree, so quotes represent this, solemnified by more Imperial quotes. A trumpet run leads into the End Credits themes... This, by the way, was written just before I learnt who actually is last seen walking off into the distance at the end of the film, ie, C3PO.

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Hmm...nice use of themes...maybe overuse, though? I mean, that's pretty much themes nonstop with no space for nonthematic music; I think the symbolism and stuff is a little over-the-top.

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Whoa, yeah, great RotS finale! I guess I'm biased to anything with SW themes in it, but nice, very nice!

I'm glad you like the use of SW themes!

Hmm...nice use of themes...maybe overuse, though? I mean, that's pretty much themes nonstop with no space for nonthematic music; I think the symbolism and stuff is a little over-the-top.

I'm sorry you disliked the use of SW themes!

Bowie - who realises it was the same person :P I'm pretty much going to take both of them as compliments, Cerrabore. Ta. ROTFLMAO

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