# orchestral composition



## Op.123 (Mar 25, 2013)

this is an orchestral composition I started a while ago, and added a bit more today 


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https://soundcloud.com/m-burroughs%2Fsymphony-in-c-minor-10


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## Truckload (Feb 15, 2012)

Interesting composition. Are you using Finale with GPO soundset? Are you looking for any particular feedback on any particular element of the composition, or just sharing?

Sending you a PM.


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## Stirling (Nov 18, 2015)

Good bones, needs more filigree.


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## Op.123 (Mar 25, 2013)

Truckload said:


> Interesting composition. Are you using Finale with GPO soundset? Are you looking for any particular feedback on any particular element of the composition, or just sharing?
> 
> Sending you a PM.


I'd quite like any specific feedback you have and I am using Notion


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## Truckload (Feb 15, 2012)

Burroughs said:


> I'd quite like any specific feedback you have and I am using Notion


I enjoyed your composition and I am happy to provide more specific feedback. I will just take it in the same order as the composition. From the opening to the 1:00 mark you have a rather thick block chord texture without much to sustain interest. More about this below. It is usually best to try to grab a listener as quickly as possible and also end your piece with something memorable.

At the 1:00 mark my interest was immediately and dramatically increased by the introduction of a contrapuntal texture. This contrapuntal section was very well written and very effective. Again at the 2:30 mark you return to a contrapuntal texture and immediately the quality of the writing improves again. You also introduce some new sounds not previously heard (bells for one) which adds additional interest. You then begin a "build" to a climax at about the 3:10 mark. This section was substantially better than the material in the first one minute. In the build you succeed in creating a foreground and background within your orchestra (not always an easy thing to do) and increase the excitement and interest along with the increase in volume.

Sustaining interest is not easy with instrumental classical music. We can't fall back on a strong beat that's fun to dance to or a wild lead singer flashing some skin. We have to do it all with sound. And using virtual instruments simply makes it even harder. We have to avoid the dreaded "midi organ" sound and we can not rely on human players and physical distance and space between players to help us achieve breadth in our music. Better sample libraries help of course. But we have to do the best we can with what we have.

You seem to have good counterpoint instincts, my advice is that you should continue to hone that craft. The contrapuntal texture works fairly well with the tools you have right now. When writing the louder tuti sections I recommend trying to maintain a foreground and background. This will give your listener more of a focal point to sustain interest. Of course the best orchestrators can sustain a foreground, middle ground and background. As you acquire new tools (better sound sets) you can increase the size of your pallet, and find even greater joy in composing.

I also try to compose, and I get very frustrated. I want to be great, and I want to be great right now! But at the age of 63 I spent a lot of years trying to earn money to support my family, spend time with my wife and kids, go to church, etc. etc. I let my studies of music slide. I did not practice the craft of composition. Now I am back at it, but I will not achieve my goals without a lot of study, patience and composition experience.


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## Op.123 (Mar 25, 2013)

Thank you very much, it is very helpful


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