The progressions and rhythmic motifs are great. This is quite enjoyable and pleasing to listen to. Nicely done.
The progressions and rhythmic motifs are great. This is quite enjoyable and pleasing to listen to. Nicely done.
Thanks so much!
The intro is so good. I could listen to the first minute all day. My only wish is that you would develop that section more fully by making it its own thing. But thats just coming from a listener that doesn't listen to dubstep. Best of luck.
Thank :)
これは良いこと!
これは良いこと!
Rumor has it you went missing so you can concentrate being funky. But did you really need a month to do this? Nice job. If I make it past auditions, please stay away. Thank you.
If I remember right, it was about 2 days of work. But don't worry, I'm incapable of working on any days that aren't directly adjacent to a deadline, so you should be fine. :D
Often times, I'll enjoy a piece of music here and I don't end up leaving a comment. Though, I want to let you I enjoy this one. Very somber and calm progression and with the melody, although simple, is quite effective in creating a nice reflective mood.
Thank you, that's really kind and I'm really glad that you've enjoyed it.
I miss hearing your work here as it's always a fun ride. Best of luck in the competition, and I'm looking forward to hearing more of your work. Although this is a short piece, I enjoy the form here. This piece has such a cool mystique within the piano parts. For NGADM, make sure you complete the train of thought as this feels like an appetizer.
Thank you for the kind words. Very welcoming. I'm glad you enjoyed the track. Good luck in the competition as well!
Okay upon first listen, and not knowing what to expect, the first 20 seconds reminded me of Clockwork Orange. That was quite fun to have flashbacks in that moment.
Really enjoyed this one.
OMG YOU ARE BACK YOU ARE BACK! WELCOME BACK OLDTIMER!
How's life! How's your family doing
Since you’re headed to Japan, I’ll describe this one as a little haiku. Interesting and pleasant enough to leave an impression of images in my mind as different instruments come and go, but not enough for me to really analyze a universal meaning from it I think.
Though, I think the first 8 notes(2 chords) introduces what is needed to know the theme of this piece. You outline a B-flat major 7 chord in a way that allows the reverb to carry the d minor from within it since the root of the chord is not it's lowest tone. Then you outline the F Major with that lingering B-flat starting the motif of the second line. If those two notes can be telling, “A” and B-flat, semi-tones in melodies often illicit sadness, but because that’s within the context of two major chords, I would say the title of the piece is describing a sense of trying to hide it. Even the two semi-toned notes in the beginning can be heard in two chords when you have the haunting chant at 39-42 seconds. When the chord resolves to that C minor, my soul melts. It’s a feeling I would describe as a nostalgic pain that has been felt universally for centuries as it cannot be explained. Perhaps the sliding tones downward can mimic the cries of a mother losing their child and this has been engrained in our bones from the beginning of time. Whatever it may be, hiding the light seems to be the therapeutic thing to do at first. I can just listen to the opening 4 notes over and over, and appreciate your choice of arranging them. Sure the timbre of that sound helps, but there’s something simplistically beautiful in arranging a sound that states optimism and caution in the beginning of a track that later becomes filled with intrigue, awe, and sadness.
However, I do get a sense of airiness and light toward the end of it, but the title is “Hide the Light.” Well, the silliness of doing such a thing is comparable to harvesting water in our grips in the hopes that no drop will fall. Even if one could shut themselves away from the light outside, and to keep ourselves from volatilizing, this track can remind us that the light will not cease to permeate from within until our final breath.
Well, truly in the spirit of an haiku, one can simply enjoy three little lines upon first reading, or one can meditate on something deeper in between them. Thank you for it.
It would be nice have you two for tea or coffee sometime.
Ooh, seeing this got me excited. It's been a while since I got one of the long reviews I used to see (and give) a lot on Newgrounds a few years ago. I appreciate you taking the time to really listen to the piece, and even giving it some analysis!
I wrote this piece mostly in chromatic order (though I did add/change some things here and there later), since I didn't have much time. I actually pre-selected most of the instruments, based on the kind of sound and emotion I wanted to portray, inspired by the art. I was surprised by how easy the actual composing came, when I had the sounds I wanted to use ready! I think I'll try to use a similar strategy for a more ambitious piece at some point, maybe even for the NGADM (assuming I pass the audition round, of course).
Anyway, the point I was getting to, is that the first thing I actually composed and that paved the way for the rest of the piece, were indeed the first 16 notes. I thought of repeating them once right afterwards, but after some playing around, I changed them around a bit in order to go well with the other sounds, such as the chant. I feel like the progression became more natural this way.
Another thing that inspired the piece, was using a fair amount of VSTs I rarely compose with. I have so many that I figured I should probably use them every now and then :p
It is difficult for me not to be drawn to the Joshua Bell Violin though; I don't want to become too reliant on it, even though it's wonderful.
As per usual, you have a very hitting analysis of not only the musical intricacies, but also the more in-depth aspects, such as the emotions and narrative interpretations. It always lights up my (already bright, with the midnight sun and all) days to read the thoughts of a listener, especially yours! I agree that there is a bit more hopefullness and light at the end of the piece; I wanted it to open up a bit. That said, I ended the piece on a pretty closed chord, and maybe it should've been more open. Then again, the shortness of the piece still allows for the "story" to continue after it ends, I feel.
I really enjoyed reading your interpretation, and it's not far from my own ideas when writing the piece either!
I would love to come over for tea. I am sure at some point in my life I'll visit the US (not sure what states though; probably depends on the opportunities, unless it's a vacation).
By the way, have you written any new music anywhere? If so, I'd love to hear it! I'm not very good at checking many other sites where people hang around. I am reachable on discord though.
Thanks again for the review, and I hope you have a good day!
Your voice is perfect for this. Your mix on your stacked vocals are spot on as well.
This makes me want to hear how you would interpret historical pieces from the 13th-15th century.
Take this piece for example: https://www.youtube.com/watch?v=OqwtJiS-eBk
Thanks so much Phono! This is a really lovely piece, and I definitely enjoy music from this realm in time. The harmonies and instrumentation are gorgeous! Nice to hear (read?) from you. I need to record some music in a church someday.
I like how reserved you keep the build up for the piece up until the last third of the piece. Great form, and your mix in this piece is spot on. Very enjoyable.
You're too kind! I personally think form is one of my greatest weaknesses in composing, so it really means a lot that you feel that way! Thanks so much for the kind words!
“Most people die with their music still locked up inside them.”
― Benjamin Disraeli
Age 36, Male
Chicago
Joined on 10/6/13