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'Kuwait Spirit' Performed by a 54-pc Orchestra

Discussion in 'Critique & Feedback' started by Abdulrahman Al-Othman, Aug 16, 2019.

  1. Hi everyone!

    I would love to hear your thoughts on my latest work :D

     
  2. Ouch !

    That opening is WAY out of tune.

    What you might consider is to have one version and simply cut the first 1:17. Things get better from there, and also it gets away from
    a clear quotation you have at 1:09. (you have some before too)
     
    Thomas Bryla likes this.
  3. #3 Alexander Schiborr, Aug 17, 2019
    Last edited: Aug 17, 2019
    Nice track. I enjoyed it. Good theme in my opinion. Orchestra is at times a bit off, true. I am still liking it. Woodwind runs..a short thing about them: While they can add excitement and motion don´t overdo such things as it can become jaring or too much of a joke then. There are other ways of using the high winds to add motion or filling out the orchestration, e.g. with little puctuated short figures instead. If you are somebody who like to use flourishing runs use them a bit more specific. E.g. 1:57 horn is playing..with changing notes + the runs..they simply fucks the horn line there, it doesn´t make it cooler. You need to make space for such things, the first thing. And making space has to do how your melody is designed ryhthmically. When your melody is quite more busy with changing the notes a lot than I would better recommend not using them or at best with some counterpointed short ideas there (for instance answering a rhythmic aspect of the lower instruments). Runs work in the way for me that they celebrate and intensify a very specific note or moment of the melody line or theme. (like Williams uses them both textural, but also for enhancing dynamics). You can see that in a lot of this works but just go with the indiana jones theme. He starts with those runs in the finale part of his theme to goose certain notes of the melody, in the first section he uses them counterpointed wise to answer the ryhthm a bit but also he makes space there, so that the notes rest and then he can make something. So 1). safe those things for the final because you might lose the impact what you can give your recapitulation when using them before and 2). think about where you really have some sort of space for them in order to make that work, so that everything stays out of the way. If you just pull them in for the sake of: Yeah we need that runs and winds to make that more exciting the chance is high that it ends up as a random approach. I know you love runs and we all do, still study the greats and see how they do it. Less is often more in the end. I bet my ass they you probably won´t need them at least for some of the parts which would it make sound much clearer, controlled and focussed. Its just my opinion of course and if you are fine with it leave it like it is.
     
    Rohann van Rensburg likes this.
  4. Lovely tune! I particularly enjoyed the ending. Some of the runs could be replaced by a counter melody or canon idea, answering the melody, maybe? But other than that (and what the guys have mentioned) I think it sounds cool.

    Is everything recorded live or is there a sample or two going on there? Which orchestra recorded this? If you could maybe let us know about the process in this thread or a different one, I think it would be interesting and valuable.
     
  5. Thanks for giving me some of your time to write this detailed feedback. If you added some spaces in the paragraph, it could have been more pleasing to the eyes.
     
  6. Hi Mauro,

    Thanks for your kind words.

    The process was simple actually. There is a website called Musiversal. They offer live recordings on a budget. They are the best option when it comes to the cheapest orchestra. You get to record your piece starting from $99.
    They are offering right now four services: Small Orchestra, Epic Symphonic Orchestra, London Strings and Prague Strings.

    Personally, I've booked the Epic Orchestra for the Brass and Woodwinds. As for the Strings, I went with Prague. The reason I did that was because I needed more capable players. I think Prague did good and the reason I'm trusting them again for my next recording in Septmeber 20.

    I couldn't afford more than 30 minutes of recording time. You get to choose in the end how many minutes you want for your session. This is what is called shared session, because other composers will be joining you as well and the total cost will be split amongst you. Each composer will get a different price depedning on his session time.

    Once you booked your session time, you will then need to prepare the score and parts. There is a tab in the webiste called Upload Score. This is where you will upload your compressed folder. I would recommend sending the folder to their email as well just in case. Better be safe than sorry. After all, everything has to be submitted 10 days before the recording day.

    I hope that answers your questions. You are welcome to check out my youtube channel. I made some reviews on them.

    Cheers!
     

  7. Wow, thank you, Abdulrahman.

    I hope this post is better structured so that your eyes are definitely more pleased and I am very sorry for that.

    I will definitely go and work on my layout technique for any future posts especially for you, man.
     
    Rohann van Rensburg likes this.
  8. I can't tell if you are trying to be sarcastic, but my intentions were good. I apologize if my comment sounded rude or misleading. Texts can't express my true feelings, so please don't take it so seriously.

    I was just saying that your feedback is very valuable to me. I was having hard time reading it, because texts were so close to each other. I wear glasses and I have issues with my eyes when it comes to reading texts. Everything becomes bold and blurry. I hope you understand that.

    EDIT: I like your new picture, btw :)
     
  9. All good. I haven´t much time these days so when I use my spare time it was just writing down quickly some thoughts as I always try to be a bit helpful of course. I didn´t pay attention to the layout of my post. So knowing that you are wearing glasses makes total sense. Knowing that if you prefer I can also write in bigger letters. Because I know how it is because I am wearing glasses too..
    Hope that makes sense. :)
     
  10. Did the two sessions tune to the same A? Did the latter session play to the previous session tracks? It explains the terrible tuning if you recorded it separately and the players were not aware.

    If indeed they tuned to the same A and had prelay tracks from the other session I would ask for a refund if the players were that much out of tune.
     
    Rohann van Rensburg likes this.
  11. Musiversal is a bit on the budget side and I understate that even a bit, I heard other examples where they were also slight out of tune depending on the piece and the time they had to prepare. Wasn´t musiversal the 99 Dollar Orchestra thing (see also their kickstarter)? I think they renamed? There was a dedicated thread on Vi-Control where people had mixed feelings.
     
    Rohann van Rensburg likes this.
  12. Cool theme!

    As usual, I have little to add beyond what the "heavy hitters" have already said. In terms of critique/feedback, I would have to agree with Doug and Alexander. The most common thing many people see with Williams (or Hisaishi, or any of the greats) -esque music is that things like runs are placed as a texture and not considered as much a part of the structure of the composition as they should be. It feels more like imitation than understanding. Direct quotes are also hard to do tactfully. I haven't quite figured it out yet, but until one really refines how to do that it's probably best to stay well outside of what's commonly recognizable. It will be easier to get away with quoting Schoenberg than it will be Tchaikovsky, or Scarlatti than Vivaldi, or one of Shore's concertos than a Lord of the Rings melody. It will be even easier to steal ideas from folk music, or Abba, or Deep Purple, and people will likely be more forgiving even if they do recognize it because it feels more like creative theft than simply borrowing.
     
  13. Thank you so much for the detailed answer. Very interesting. So there was basically striping involved, correct? If I understand correctly, you ordered two different sections, which means two different recording sessions.

    I checked your youtube channel with a review for a previous piece you did with them before, I think. I commend you for your interest in having the orchestra recorded live, most people settle for samples.
     
    Abdulrahman Al-Othman likes this.

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