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ComposerEthan

Comments on my new Composition please?

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This is a new song I created, for a "planned" movie.

It plays as Alex Harper (a character based on Tintin) walks out of class clutching one-half of the treasure map that leads to a school treasure. However, Alex and his friends, Cassandra and Archie (archibald Haddock, anyone?) run into Allan, the school bully. They start arguing, and during that, Alex drops the paper, which is promptly picked up by an elementary student who runs off with it. Shortly, Alex and Allan find that it's missing and chase after the kid into the school fare. After Alex catches the kid in slow motion (Pursuit of the Falcon), the ruckus they have caused has caught the attention of Mr. Kaufman, the strictest teacher on campus, who confiscates the paper.

This song is heavily influenced by Williams, and it was my first use of syncopation. It does sound very random at times, but that's because I was trying to emulate Williams' modern action cues.

There are a few recurring motifs:

Allan's Theme (Sounds a bit like the secondary motif in Flight of the Bumblebee)

The Treasure Theme (Sounds like Zimmer's "Mermaids" combined with the Unicorn motif)

Trio Fanfare, to represent Alex, Cassandra, and Archie (sounds a bit like the trio fanfare in "Pursuit of the Falcon")

The Pursuit Motif (a syncopated group of notes that appears throughout the score)

The songs that I received the most influence from are

"Flight from Peru" (the beginning pizzicato)

"The Basket Game"

"The Snake Pit"

"Flight to Bagghar"

Enjoy! :)

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Nice. You're certainly absorbing Williams' action music style. A few suggestions. When writing for synthesized instruments, it's a good rule of thumb to write only real, playable parts - not because you expect it to actually be performed, but because it almost always sounds better. I'm thinking of that horn part right at the beginning, for example. Doesn't it go on a bit too long? Imagine actually playing that figure on the horn. By imposing this limit upon yourself you'll avoid falling into traps of repetition and monotony. The other suggestion is to reel in your tempo changes. Williams' action music, as complicated as it is, has remarkably little variation in tempo. Metrically it's all over the place; the quantity and subdivision of beats change constantly, but the pulse stays pretty steady. That's not to say that you can never introduce a tempo change, just that you should consider it carefully and build, rather than jump to it.

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Thanks so much! :)

In actuality, this is more of a thematic idea, as I haven't filmed it yet, but as soon as I do, I'll upload it here!

(I have a weird thing of composing music while imagining the scene in my head).

I like that there is often more than one interesting thing going on at the same time.

Right? Its Williams influence I tell you! :P

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That's cool that you compose with a story in mind, definitely a great inspiration for writing music. I do the same sometimes :)

As you compose more of the story, post more (ifyou want). Ill be interested in how the story continues!

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That's cool that you compose with a story in mind, definitely a great inspiration for writing music. I do the same sometimes :)

As you compose more of the story, post more (ifyou want). Ill be interested in how the story continues!

You mean "The Adventure Continues" ;)

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Hey buddy, nice one,

I really like the choice of scales and also you have a good ear, writing complex music but without messing it up.

With a good production this can be a very enjoyable piece of music.

Keep it up!

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Hey buddy, nice one,

I really like the choice of scales and also you have a good ear, writing complex music but without messing it up.

With a good production this can be a very enjoyable piece of music.

Keep it up!

Thanks so much! :)

To all of you who have listened, is there any motif you particularly liked or any specific part (like time section) that you enjoyed most? :D

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Hey Ethan,

I can clearly see why Williams is your favourite composer. This is a great piece that is fashioned after some great Williams stylings. There are a lot of parts where I think "Tintin" and there is a lot of your own musical voice that is apparent here. I would love to hear this piece played out by a real orchestra. The use of the motifs is executed well as well. I also like the dark ending.

And I love how you do the same thing as I do, compose music after a story!

My favourite motifs would be these two fanfaric moments I heard in the piece. The one at 2:26 is awesome and the heroic moment at 4:38.

Great work Ethan! Keep it up. And think about signing up for the next Composers Challenge that I mentioned to you earlier.

Thanks for sharing.

- KK

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Hey Ethan,

I can clearly see why Williams is your favourite composer. This is a great piece that is fashioned after some great Williams stylings. There are a lot of parts where I think "Tintin" and there is a lot of your own musical voice that is apparent here. I would love to hear this piece played out by a real orchestra. The use of the motifs is executed well as well. I also like the dark ending.

And I love how you do the same thing as I do, compose music after a story!

My favourite motifs would be these two fanfaric moments I heard in the piece. The one at 2:26 is awesome and the heroic moment at 4:38.

Great work Ethan! Keep it up. And think about signing up for the next Composers Challenge that I mentioned to you earlier.

Thanks for sharing.

- KK

Thanks for the comment! :)

I thought I was the only one who composes with a story! Glad to see I'm not alone!

I don't know if you caught it but the motif at 2:26 is also played (less fanfaric though) at 1:41, and by woodwinds (then brass later) at 3:44-3:59, and Alex's Theme (4:38) is played by Clarinet at 3:59!

Sorry, I bet you caught them though! :D

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My favorite theme/ motif is :05-0:16. I like the way it plays around with notes that aren't really in the key of the chords underneath (if that made any sense lol) in a quirky way like Williams also does.

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