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In a Land of Myth [Orchestrated]

Discussion in 'Critique & Feedback' started by Duncan Formosa, Sep 2, 2020.

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  1. #1 Duncan Formosa, Sep 2, 2020
    Finally got round to orchestrating this. It's turned out better than I thought it would and I'm quite pleased with it.

    Let me know what you all think.

     
    Michael Lückgen likes this.
  2. #2 Doug Gibson, Sep 3, 2020
    Overall I like it very much.

    Too much "tinker bell" piano for however. (Is that meant to be a celeste?)

    By 50 seconds in I am tired of it, and by 105 it bothers me.
    It really seems to go against the storytelling of the piece from this point on.

    We now have a new character. I would have much rather heard the piano part orchestrated up to 2:05

    When the vocals come in, I think the piano could return and it would be both familiar, and welcomed.
    As it is now, it's kind of like a friend that stays on your coach and just moves in with you.

    At 2:30 your "singer" sounds like a sex doll. It might be that the glock doubling an octave higher and the sampled singer
    have too close of a timbre and it sounds like the vocalist is up in the stratosphere. If it's Bb above one line above the treble stave
    then most singers can hit that and is a good note for them. But the effect, as it is now is of being an octave higher, which is insane.

    Nice work
     
    Duncan Formosa likes this.
  3. #3 Duncan Formosa, Sep 4, 2020
    Hey Doug,

    Thanks for taking the time to listen and give me your feedback! I appreciate it.

    I did experiment with changing the orchestration for when I repeat the main theme, tried with strings but didn't really like it, wanted to save the woodwinds for the B section and didn't want any brass.

    Think I could get away with keeping it up until 1:07 then just switch to the piano on it's own? At the moment I've got celeste and piano playing at the same time. Celeste doing the main melody only and piano doing melody and chords. Kind of like the feel of it.

    When the singer comes in I did initially have no celeste and then someone suggested bringing it back in so that the vibe links to the first half, otherwise it feels completely different. I think it gives it a little bit extra but it definitely can work without it. I listened to it for ages without it and thought it still sounded good.

    The high note the singer hits at 2:30 is a Bb5 with the celeste and 1st violins playing an octave higher. Not sure if the octave jump like that is achievable in real life. Maybe drop the voice at that point and just leave the strings to carry it?
     
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