I love that you explained that it is important to state the main musical ideas on their own, I feel like it gives the piece an identity and some gravity points of resolution after you wander around as it goes along... Also, about the independent lines - incredibely underrated advice. In my experience, this is the aproach to use if you want to have full control over how the music feels. You write a melody on the violins, then start to play some cello or viola underneath and right away you can see which decisions to make about how you'd like the theme to sound and where you want it to go - something that you can't do when thinking in terms of chords/harmonic choices. I find harmonic structure useful when something doesn't sound right and you know why and how to fix it (parallel fifths, doubled thirds, wrong notes, etc.), a good ear helps a lot as well... Related to through composing, for me, it always produces better results. I think that the sweet spot is to not be afraid of new material while reusing existing one - two things that I used to do instinctively when I was a beginner and faded away as I learned more music theory/rules/form/harmony and felt deeply frustrated that my music sounded worse than it did at the beginning, but now, I started to loosen up again and go back to making music I like while enjoying the process. Not everything should be an ABA or AABB, etc... 😄 As always, love your work and thanks for all the tips and advice you give us!
Understanding the harmonic context that you would like all of the independent lines to fit into is really helpful at the outset-- sometimes I'll do a "chords and melody" thing with the outer voices and then fill in other lines to match that, which I've found usually just ends up giving just enough context and structure to ensure that the lines make sense, but leaves freedom to say, change up that A chord to an A9sus chord when the lines move or something. But yeah, it is amazing how thinking as polyphonically as possible really gives you an easy way to maintain interest in the orchestration in particular. Love to leave whatever tips I can-- I just always hope they are useful! Thanks for commenting and for your kind words!
Beautiful, warm and expansive sound. I like how this develops and builds. The commentary is interesting too. Really enjoyed hearing about your process...I work very organically...very close to through composition...but I think the term constant development applies better to what I do. Interesting video. 👍👍
@@dreammachine6833 This is mostly the Orchestral Tools Berlin series (StaffPad version) with some Cinesamples and Spitfire mixed in depending on the instrument.
I love that you explained that it is important to state the main musical ideas on their own, I feel like it gives the piece an identity and some gravity points of resolution after you wander around as it goes along... Also, about the independent lines - incredibely underrated advice. In my experience, this is the aproach to use if you want to have full control over how the music feels. You write a melody on the violins, then start to play some cello or viola underneath and right away you can see which decisions to make about how you'd like the theme to sound and where you want it to go - something that you can't do when thinking in terms of chords/harmonic choices. I find harmonic structure useful when something doesn't sound right and you know why and how to fix it (parallel fifths, doubled thirds, wrong notes, etc.), a good ear helps a lot as well...
Related to through composing, for me, it always produces better results. I think that the sweet spot is to not be afraid of new material while reusing existing one - two things that I used to do instinctively when I was a beginner and faded away as I learned more music theory/rules/form/harmony and felt deeply frustrated that my music sounded worse than it did at the beginning, but now, I started to loosen up again and go back to making music I like while enjoying the process. Not everything should be an ABA or AABB, etc... 😄
As always, love your work and thanks for all the tips and advice you give us!
Understanding the harmonic context that you would like all of the independent lines to fit into is really helpful at the outset-- sometimes I'll do a "chords and melody" thing with the outer voices and then fill in other lines to match that, which I've found usually just ends up giving just enough context and structure to ensure that the lines make sense, but leaves freedom to say, change up that A chord to an A9sus chord when the lines move or something. But yeah, it is amazing how thinking as polyphonically as possible really gives you an easy way to maintain interest in the orchestration in particular.
Love to leave whatever tips I can-- I just always hope they are useful! Thanks for commenting and for your kind words!
Beautiful, warm and expansive sound. I like how this develops and builds. The commentary is interesting too. Really enjoyed hearing about your process...I work very organically...very close to through composition...but I think the term constant development applies better to what I do. Interesting video. 👍👍
Glad it was interesting!
Respect++
@@yanlautsel4261 the ++ was nice
Beautiful video! Thank you so much for the content!
Could you tell me which symphonic string library was used here?
@@dreammachine6833 This is mostly the Orchestral Tools Berlin series (StaffPad version) with some Cinesamples and Spitfire mixed in depending on the instrument.
@@CurtisSchweitzer thank you❤