Видео

Спасибо! Я написал музыку, рад, что она вам понравилась

Thanks! Glad you liked it!

Thanks Kirsten! ❤ Glad you like it.

You’re very kind! I’m sure you could write for orchestra

@@adriendecroy7254 I did orchestration at Uni in the 3rd year in Edinburgh Uni. But it definitely didn't sound anything like that. My friend Anna Clyne is a great orchestral composer ❤️🎶🌟

The tools now make it a lot easier. I think you would be surprised.

@@adriendecroy7254 thanks for the inspiration, have a great weekend 🤗🌻

Thank you 😊😊 I live in New Zealand.

моя - я написал это, Спасибо!

Thanks so much for your comment and for giving me so much of your time and attention! Every piece of music always has some kind of story around how it was born and grew into whatever shape it finally took, and these stories never end either. The symphony was written over a fairly long duration, and to start with I never actually set out to write one. The first movement just grew organically and a friend composer said "you should make it into a whole symphony". To be honest at that stage such a thing was very daunting as the majority of my pieces to that point had been much shorter. So anyway, the 1st movement was written in 2021. It originally was going to go somewhere else at the end (it had a shocking loud angry part there - 2min of it). But I couldn't for the life of me figure out where to take it, so after being stalled for a few months on it, I decided to move onto something else, and in the end I trimmed off this last 2 minutes to leave it at a more obvious end. The something else was the 2nd movement. I thought I'd like to write something with a horn solo. They can be so beautiful, like the one in Tchaik 5, or Borodin 2. So I wrote a short solo and I was quite pleased with it, I reused the theme and developed it, and then it went off in its own direction into an angsty nervy section. At this time the war in Ukraine had started, and I had dear friends there. So the middle faster part of this movement was influenced by the Russian advance towards Kyiv. I had visions (completely unsubstantiated by reality) about tanks racing across the tundra. I'm not proud of this vision but there it is, I take inspiration from wherever I can get it from. It took me literally months to figure out the transition back to the recapitulation of the main theme with the ascending harp and horns/ww triplets but in the end after spending 2 weeks literally on 1 bar, I was happy with it, and then the ending wrote itself. My idea for the coda of it was basically peace achieved only by the end of struggle that comes with death. Pretty morose, but that explains the church bell tollingin the background and the unforced dissonance. Desolation was the goal here. In the end, I was happy with how this movement turned out, and I had it reviewed several times, and went through it numerous times, so it has had the most attention of all the movements. In late 2022, an opportunity arose for a performance of it, in Yerevan of all places. Khachaturian has long been one of my most favourite composers, and so the idea of attending a concert of my work in the Khachaturian Hall in Yerevan was irresistable. I went over there for 10 days, and attended the concert with my friend from Kyiv. At this time, I was doing a bit more writing in my hotel room, and I had an idea to start a movement with a reiteration of the final theme from movement 2 at the start of the coda, but in 4/4 instead of 3/4. This I thought would make people realise that the coda of the 2nd movement was a foreshadowing and get them to re-evaluate that. I immediately took the movement in a different direction though. But it never really grew. When I came back to NZ, I moved onto other works and the symphony overall stagnated. I wrote some other works, had even some performances of them, toyed with the idea of making these other things into a movement. Even the idea of a very short interlude between the 2nd movement and something more boisterous to finish with. But at this stage also, the Russians had started night attacks on Kyiv. I got messages about it being 2am and having to go to the basement as the air raid sirens went off. I had an idea of a night, peaceful but interrupted by approaching Shahed drones, air raid sirens, air defense response, followed by a kind of peace as that subsided. So this is the shape of the 3rd movement. Peaceful start, with an unexpected rise to a short climax and then back to peace. I went with this for largely expedience, as I moved onto the 4th movement. The 4th movement I wanted something different. I had 3 movements which were largely slow and brooding. I wanted something tender and then I wanted something to portray the Ukrainian counter-offensive which was going on by this time in mid 2023. I found an old waltz I had started in early 2022, and it had the kind of feeling I wanted, I imagined a soldier in a trench, knowing they have to attack in the morning, and it's peaceful and they are thinking about the tenderness of their mother as a young child, and a pang as they realizing they need to fight to protect their family who they may never see again. Then I added the attack sequence as I kinda think of it. This was another idea of a charge of some sort, kinda like cavalry although that's anachronistic I know. Then I needed the whole thing to be longer. I didn't want it to drag out in the final section, and I knew I needed something else between the 3rd movement and the tender part of the 4th, so I started writing an angstly angry dissonant string section. If you see the first version of this symphony I put out last year you'll see what I mean. I originally wrote it pp, but then I thought maybe it should be ff. So that's what I did. It became a very angry, angsty tortured exclamation of frustration and defiance marked with pain. That's how I think of it anyway. then I had the whole symphony reviewed and a comment came back that the opening of the 4th movt was weak, and that the movement overall was under-developed. So I added a ton of heavy artillery (brass) to the opening and although it covered some of the dissonance (still there in the strings) I was happy with the result. I also reworked the final ending. So there it is - the story of the symphony thus far. Re your comments on the rendering, audibility etc of things. I know what you mean. Dynamic markings in Sibelius are fairly blunt, and in reality when you perform a piece in an orchestra, every single player will adjust the dynamic they play, guided by the written marking, and the conductor, but mostly by their ear in terms of how they perceive they are blending with the rest of the ensemble. It's pretty much impossible to indicate this in the score, and the dynamic markings are too far apart. I think you have to hope that the conductor in rehearsal can see / hear what are the important lines, and make sure they are brought out in the performance. It would be possible to tweak individual note volumes outside of the dynamic markings but this is an enormous amount of work. This would typically be done if the mockup was being done in a DAW, but I was just rendering straight out of Sibelius, using the newest NotePerformer and a bunch of commercial 3rd party sample libraries. My biggest fear about all this is that the writing means that even in a real performance some things will not be able to be brought out. I have been trying in my writing to be less dense, not use so much of the orchestra all the time. Remembering that the trumpets will cut through anything, and that trombones playing fff will cover a lot of other sections. Things that aren't reflected in the sound you get back from the software. Finally, I have an offer for a performance, and I will have some opportunity hopefully to attend rehearsals and see whether anything needs changing in the score. It's pretty hard to take parts out at this stage but we will see. I have a few review sessions before then with the conductor and hopefully we will identify the majority of these places when we go through it. Relying only on my ear (since I never studied music theory) then means I'm at the mercy of the rendering. Anyway, if you've read this far, thank you again, and I wish you well also on your own musical journey.

You're so lucky!

Thank you! Thanks for your comment, I am glad you enjoyed my symphony.

Thanks so much! This one almost wrote itself in the end and I am very happy with how it turned out. There’s a much better render available (using NotePerformer 4 - this one is NotePerformer 3) if you’re interested here: ruclips.net/video/Lgt-2IY60IU/видео.htmlsi=5uJDfVEkG6VxSnSJ

Danke schön! Und dir auch!

Thanks again Stefan for your support! I really appreciate it ❤

Thank you so much Fabian! I'm really glad to hear it kept your attention and that you liked it ❤

Thanks Stefan, yes it works I think so much better with the higher quality string samples since there are not many parts.

Thank you! Yes I thought better to not end up carried off the mountain on a stretcher! Tailbone is well and truly recovered thanks!

Thanks Stuart. Must plug those bad boys in one day. They are not very portable

Hi. I started playing in orchestras many many years ago, so I know a lot of musicians and conductors. I was on community orchestra committees, and I was also involved in arts sponsorship, and a record label and studio in the early 2000s. So when I started writing in 2018 I already had a lot of contacts. It does help certainly. I've had a handful of performances and I hope this work will be performed too. Thanks for the compliment, I was trying to write a proper symphony.

What about driving a boat into an island….I think that must have had something to do with this music! Haha 😂wonderful Adrien! 🎉❤️🧚🏻‍♀️

@@kirstenmorrell Thanks for the reminder! I haven't thought about that for a very long time... 😆😆

is there a particular piece it brings to mind?

Thank you Aziz!

I hope I didn't destroy the waltz at the end!

@@adriendecroy7254 The waltz can be separated into a separate piece so as not to wait for it to finally come. (the waltz is beautiful , it's like the whirling of moths)😊

Thanks so much Stefan! In the end I didn't come up with any new ways to make transitions. Maybe I will find something one day, it's not completely satisfying for me.

Danke schön!

thanks. Yes it's a bit of work!

Thank you! You can get a full set of parts and score for this for download for only $4.99 from sheetmusicplus.com www.sheetmusicplus.com/en/product/the-enchanted-garden-from-the-mother-goose-suite-20711379.html

Hi! Thank you! I'm glad you like my music, send me a message on Facebook. Same name and profile pic as here on youtube.

@@adriendecroy7254 My messenger stopped working: it says I committed an error in managing my "fan page"... and I have absolutely no idea what that means. Can I write you on instagram?

sure, instagram.com/adrien.decroy/

Thank you so much!!

Thanks so much Jesse! I would love to get a good performance of it, maybe will have a couple of options later this year. There are some ways my writing changed when I moved from NP3 to NP4. NP3 is very precise, and probably more precise in some areas than real players. I get tuition from a conductor for orchestration (not conducting), and he said the new one was more realistic in terms of the kind of issues you will have with a real orchestra as people are not quartz crystals. So I had to in general shorten things up, remove a lot of slurs to allow motifs to sound through. I found I also needed to think a lot about when notes finish (not just when they start), and how they finish. But other than that it took me some time to find my preferred instruments (hence the combination of libraries). Different sections in different libraries work better or worse than each other depending on the piece as well. This stuff is still pretty new, and I think NP will develop a lot over the coming year too.

​@@adriendecroy7254 Exciting that you may have opportunities to get this in front of live players! I will keep my eye on NP4 using NPPE some more, I'm sure it will improve with time - you've done some remarkable things with it here with the technology AND the composition. I'll be coming back to this symphony just to listen and maybe get inspiration!

Dear Ivan, thank you so much for your very kind words about my Symphony! I use Sibelius, and the sound is generated via NotePerformer 4 with a number of sample libraries such as Spitfire BBCSO and SSO, East West Hollywood Orchestra, and samples from Cinematic Studio Strings and Brass.

Hi! Thanks for your kind words. I don’t use any AI in writing, all notes I place manually. I use NotePerformer for rendering which uses AI to train various things, like dynamic balance between instruments, I think the results of that process are baked into NotePerformer and it’s not doing any real-time AI when rendering I don’t think.

Wenn die beiden gelaufen sind war es reine Magie.Und mir kommen immer wieder die Tränen wenn ich die Videos sehe

Согласна.30 лет прошло нет им равных.