I've noticed the "Luigi's Mansion" and Super Mario games' haunted house levels inspiration simmering in the piece. Also, that's still quite the amazing piece.
@@Marshoyen That makes a lot of sense. It's usually the same key (A minor / La mineur). I don't really notice the chord progressions, though, although that makes sense.
The diminished chord at 29 is brilliant, and a relief from just two chords. More composers should use diminished chords. But have you experimented with augmented triads? You can use an augmented triad on V (So) in place of a V7 chord at a cadence, but you can also sneak in an augmented triad in the middle too. Try this progression: I , I-aug , IV . . .
Diminished and augmented chords can easily sound weird, but they can also sound really good. That's why I rarely use them. I think I used the I, I-aug, IV chord progression once in a ragtime but I could use it more often.
The oboe (hautbois) gets louder as it reaches the bottom of its register, so I find the pianissimo entrance at mm. 35 unrealistic. Also, giving the clarinets some time to breathe somewhere between mm. 27 and mm. 58 would be nice. It looks like it's written for three clarinets, so there's probably some staggered breathing that could be done, but showing exactly how the performers should perform the piece is always preferable. Works perfectly fine as electronic music. The melody and harmonies suit the mood of the piece and it sounds pleasant.
Ooh that's why I had to put ppp. Didn't know this about the oboe, thanks! Yes, I didn't write it for real musicians. If I had to, I'd put in more clarinets and make some adjustments. you're right about this. (and I'm glad you liked the piece!)
It's a beautiful piece, and you have fine gift for melody,. The piece is a good one for school or amateur orchestra, but at 27, it becomes difficult for the clarinets. They start and stop their notes with the tongue. Can _you_ move your tongue that fast, saying "ta-ta-ta-ta, ta-ta-ta-ta, ta-ta-ta-ta, ta-ta-ta-tat." At 29, you should mark the 2nd violin "divisi," so that one player plays the top note and the other player plays the bottom note, because a minor third is too close for one violinist to finger. Inverting it, so it is A over C would be preferable. Yeah, I know, you are just writing this for TubeYou, but you should write it so that it could easily be played by humans. One day, someone might want to play it! The composer Paul Hindemith told his students that whatever they wrote, they had to be able to play.
Thanks! Yeah I oftenly write only for the sound. But if one day an orchestra would play it (which is probably unlikely to happen) I would of course rearrange it because no one can play that fast without breathing😅
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I've noticed the "Luigi's Mansion" and Super Mario games' haunted house levels inspiration simmering in the piece. Also, that's still quite the amazing piece.
I've noticed that they almost always use similar instruments and chord progressions in the haunted themes in Mario
@@Marshoyen That makes a lot of sense. It's usually the same key (A minor / La mineur). I don't really notice the chord progressions, though, although that makes sense.
Restful, successful calm. Bravo ! JM.
POV: Harry Potter in an alternate universe.
I LOVE THE MELODY AND THE BUILD UP THOUGH. AMAZING ❤❤❤❤❤
🤣So true. Someone should use this in a short with that title, if this is what the composer, Marshoyen, intended.
@@peternewseterforever If no one does, THEN WE SHALL!!!!
@@mypianoschat9475 I probably can't, but eh.
Thank you so much!! I must admit that I didn't think of Harry Potter when I did that😅. I don't know why, it's obvious
@@Marshoyen 🤣
The diminished chord at 29 is brilliant, and a relief from just two chords. More composers should use diminished chords.
But have you experimented with augmented triads? You can use an augmented triad on V (So) in place of a V7 chord at a cadence, but you can also sneak in an augmented triad in the middle too. Try this progression: I , I-aug , IV . . .
Diminished and augmented chords can easily sound weird, but they can also sound really good. That's why I rarely use them.
I think I used the I, I-aug, IV chord progression once in a ragtime but I could use it more often.
Is the sound library also from Musescore? Great music❤
Thanks! Yes it is Musesounds
@Marshoyen wow I bought kontakt and made sth... i deleted.... I envy you, you are so talented. Keep up the 👍 good 💪works.
@@hellocafu Thanks! Don't be rude with you. It often happens that the music composers like the least is the most appreciated by the public😅
The oboe (hautbois) gets louder as it reaches the bottom of its register, so I find the pianissimo entrance at mm. 35 unrealistic.
Also, giving the clarinets some time to breathe somewhere between mm. 27 and mm. 58 would be nice. It looks like it's written for three clarinets, so there's probably some staggered breathing that could be done, but showing exactly how the performers should perform the piece is always preferable.
Works perfectly fine as electronic music. The melody and harmonies suit the mood of the piece and it sounds pleasant.
Ooh that's why I had to put ppp. Didn't know this about the oboe, thanks!
Yes, I didn't write it for real musicians. If I had to, I'd put in more clarinets and make some adjustments. you're right about this.
(and I'm glad you liked the piece!)
It's a beautiful piece, and you have fine gift for melody,. The piece is a good one for school or amateur orchestra, but at 27, it becomes difficult for the clarinets. They start and stop their notes with the tongue. Can _you_ move your tongue that fast, saying "ta-ta-ta-ta, ta-ta-ta-ta, ta-ta-ta-ta, ta-ta-ta-tat." At 29, you should mark the 2nd violin "divisi," so that one player plays the top note and the other player plays the bottom note, because a minor third is too close for one violinist to finger. Inverting it, so it is A over C would be preferable.
Yeah, I know, you are just writing this for TubeYou, but you should write it so that it could easily be played by humans. One day, someone might want to play it!
The composer Paul Hindemith told his students that whatever they wrote, they had to be able to play.
Thanks! Yeah I oftenly write only for the sound. But if one day an orchestra would play it (which is probably unlikely to happen) I would of course rearrange it because no one can play that fast without breathing😅