My Second try to present my music here

Create music and sound effects for mainline or user-made content.

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My Second try to present my music here

Post by artturi »

Since the page where my music last time was never really worked, I moved my files to somewhere else. This page should work better.

For now, there's just 2 tracks but more will be added later when I compose them ready.
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Temuchin Khan
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Re: My Second try to present my music here

Post by Temuchin Khan »

artturi wrote:Since the page where my music last time was never really worked, I moved my files to somewhere else. This page should work better.

For now, there's just 2 tracks but more will be added later when I compose them ready.
It took me some time, but I did eventually get that other site to work. I edited my last post in that other thread several times to give you some hopefully helpful comments.

EDIT: Sound quality is definitely better this time around. I might have to reconsider one or two of my previous comments.
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Post by TimothyP »

I finally got the pieces to download! So here's some feedback:

Oblivion: You pretty much just shift chords around. It sounds like you have the strings and choir doubled on the same chords. Then you continue on this same progression and add more instruments here and there. Some of the chords shifts are awkward to because you have very few moving lines. You just shift from one chord to the next with no real approach or resolution to blend the shift together.

About 3/4 of the way through you change the chords finally. That is a welcome moment. This chord progression is more enjoyable than the first I think. And you make one more mod near the end and repeat it a few times. That's also nice.

This piece doesn't sound bad. It is tonal, with chords that make sense, and you make use of the tritone relationship for suspense and drama, which works for the most part. Every time you add an instrument, it's nice. Especially the glock or celeste about 1/3 into the piece.

The reason that this doesn't work for the standard Wesnoth library is that it doesn't sound like the work of a trained composer. It sounds like the music of someone who could produce some really good music with some more training. There is definite potential here for good music, but this isn't quite there yet. You went for the epic mood, which works, but not in a realistic manner. I hear orchestra sounds - but it doesn't sound like a real orchestra. When composing for Wesnoth, we put a lot of effort into simulating a real orchestra. Real orchestras have a lot of nuance and dynamic variation.

While this piece doesn't fit the Wesnoth library, it would work very well for a custom campaign. I know there are always people out there looking for music for their campaigns. Hopefully they give your music a listen!

Ghostly: You are using the common progression of minor 1 (i) to minor 6 (vi). This is an effect often used for spookiness because of the flat 3 in the vi chord. Does it work? Certainly. Danny Elfman uses this type of arranging frequently. From there, you move to more spooky chord shifts of different varieties. But, like Oblivion, these shifts come off as awkward because of how blatant they are. The chord just shifts without a lot of support from other instrument voices or moving lines. The only instruments I hear are choir, strings, and tubular bells. And then, you move into a harp - a welcome change. But what's happening in the background? Shifting chords in choir and strings. You keep the same mood going through the rest of the piece, with a change every now and then. Some of it reminds me of old adventure games like 7th Guest.

Do I see why your friend recommended you do music for Wesnoth? Yes. You have more quality to your music than many composers who post here. I don't think you are equipped to compose professional orchestra music, which is what we're doing on Wesnoth. But I think your music is well suited to custom campaigns, as I mentioned earlier.

Now, one of the biggest issues I see in your music is your samples. They sound like general midi. This is already noted as something we will not accept for Wesnoth. The harsh reality of composing today is running thousands of dollars of studio equipment. Not only that, but like anything else, if you want to do this well, you need training to do it. Has every composer had theory and composition training? No. But do all the best orchestra composers have training? You bet. Doing professional music requires a big investment of your resources.

Aleksi may come on here and give feedback eventually, but I think he'd agree with my assessment. If you show up here with pro orchestra music someday, we'll be glad to use it. For now, I'd recommend offering your music to custom campaign designers and keep training. Keep composing and studying music. Your music is good. You definitely have skills and talent.

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