hearing that main theme at 25:50 in ballade 4 orchestrated really highlights its strangeness. Great work by the way, these being played by a real orchestra is something i really hope is recorded in my life time.
I would lengthen that final c major chord 35:27 cause its the climax point and that previous chords would be better if you could make the strings do pizzicato. I know that you are using a informatic programme, but you can perfecten some things. Anyway, good job, that's a lot of work!
@@hugomusicpianog Those seem very useful and detailed suggestions you made. We can always revisit a work or arrangement and reconsider how to make a passage sound, in this case, an orchestration. There’s always so much to learn in these processes, specially when I started to orchestrate about a year ago, so I could still consider myself a beginner. I really enjoy this immersive experience into the world of the composer, and I appreciate, foremost, the time you took listening to it and to share some observations to make it even better. Thank you.
Hmmmm idk what is weird about this... but like it changes between several instruments on all places where it goes up. Sounds just like you've thrown it into an algorithm and just seen what comes out.. But yea sounds kinda interesting for sure Especially the 2nd ballades start was quite interesting. Curious how you did it
First of all, thank you for comment and for taking your time on listening to this. I would like to make clear that I did this completely by myself from beginning to end. I don’t find interesting to use an IA or another technology device which facilitates all the work through. I prefer much more enjoy the results when I am conscious about all the choices, all the knowledge I tried to put on it (distribution of pianistic designs into different instruments characteristics, textural changes, voice leadings on different orchestral families and in general, even the structure of the piece, etc…) It’s true that I wrote this on a computer, using a score editor (MuseScore 4), but I would find it pointless to miss all the slow process of learning, creating the whole thing. With my own mistakes, there may be multiple possibilities and versions of the same pieces on their translation into the orchestral idiom. Even the instrument and its colour has helped me to evoke certain “feelings” (for example, to me, the oboe in the first ballade section playing the melody, can be understood like nostalgia about distancing from homeland, just as Chopin experienced on his lifetime when writing this, and its absence on the last reprise, makes the music even more dangerous and menacing, omitting an element that was recognisable before, infusing even into fear, just before the dramatic coda). Also on the fourth ballade I employed the duality of the flute and oboe on the main theme and their interchangeability into the first variation, to show through tonal changes, their possible contrast and different shades, combining both musical parameters. I could comment or quote more examples about what I had in mind in several passages. It’s just, work on your own fantasy and instincts (and your technical knowledge) and trying to reinvent or restore this with another musical medium, the orchestra, and enjoy the possible results.
Great work! My one thought would be there might be more space to incorporate the brass section, particularly to hold some of the lower register chords and give them a little umf. Right now, the brass seems to be pretty minimal in a lot of passages, at least from what I can hear, you could get some good use out of them. Overall, very impressive! I enjoyed listening to this and thinking about how you orchestrated it, and the creative solutions you employed.
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hearing that main theme at 25:50 in ballade 4 orchestrated really highlights its strangeness. Great work by the way, these being played by a real orchestra is something i really hope is recorded in my life time.
I would lengthen that final c major chord 35:27 cause its the climax point and that previous chords would be better if you could make the strings do pizzicato. I know that you are using a informatic programme, but you can perfecten some things. Anyway, good job, that's a lot of work!
@@hugomusicpianog Those seem very useful and detailed suggestions you made. We can always revisit a work or arrangement and reconsider how to make a passage sound, in this case, an orchestration. There’s always so much to learn in these processes, specially when I started to orchestrate about a year ago, so I could still consider myself a beginner.
I really enjoy this immersive experience into the world of the composer, and I appreciate, foremost, the time you took listening to it and to share some observations to make it even better.
Thank you.
Hmmmm idk what is weird about this... but like it changes between several instruments on all places where it goes up. Sounds just like you've thrown it into an algorithm and just seen what comes out.. But yea sounds kinda interesting for sure Especially the 2nd ballades start was quite interesting. Curious how you did it
First of all, thank you for comment and for taking your time on listening to this. I would like to make clear that I did this completely by myself from beginning to end. I don’t find interesting to use an IA or another technology device which facilitates all the work through. I prefer much more enjoy the results when I am conscious about all the choices, all the knowledge I tried to put on it (distribution of pianistic designs into different instruments characteristics, textural changes, voice leadings on different orchestral families and in general, even the structure of the piece, etc…) It’s true that I wrote this on a computer, using a score editor (MuseScore 4), but I would find it pointless to miss all the slow process of learning, creating the whole thing. With my own mistakes, there may be multiple possibilities and versions of the same pieces on their translation into the orchestral idiom. Even the instrument and its colour has helped me to evoke certain “feelings” (for example, to me, the oboe in the first ballade section playing the melody, can be understood like nostalgia about distancing from homeland, just as Chopin experienced on his lifetime when writing this, and its absence on the last reprise, makes the music even more dangerous and menacing, omitting an element that was recognisable before, infusing even into fear, just before the dramatic coda).
Also on the fourth ballade I employed the duality of the flute and oboe on the main theme and their interchangeability into the first variation, to show through tonal changes, their possible contrast and different shades, combining both musical parameters.
I could comment or quote more examples about what I had in mind in several passages. It’s just, work on your own fantasy and instincts (and your technical knowledge) and trying to reinvent or restore this with another musical medium, the orchestra, and enjoy the possible results.
nice work
@@cloverisfan818 I’m glad you enjoyed it. Thank you!
Great work! My one thought would be there might be more space to incorporate the brass section, particularly to hold some of the lower register chords and give them a little umf. Right now, the brass seems to be pretty minimal in a lot of passages, at least from what I can hear, you could get some good use out of them. Overall, very impressive! I enjoyed listening to this and thinking about how you orchestrated it, and the creative solutions you employed.
Thank you very much for your words and your attentive listening through it, sharing with me your advices. I’m happy to know you enjoyed it.
@@gonzaloperezcanas I hope you publish these and get them performed!