# Dissonant but not so dissonant



## rJames (Aug 29, 2004)

I'm going to add my kinda dissonant piece to this set of threads.

http://www.digitanimation.net/DarkWinds.mp3

Bet you'll never be able to guess why I called it "Dark Winds"

Well, OK, maybe you will.


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## Frederick Russ (Aug 29, 2004)

Fantastic rJames! That's perhaps the best thing I've heard from you to date! :shock: 

Excellent composition, scope, mix and production! Well done! Congratulations!


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## Mike M (Aug 30, 2004)

Wow! Great comp & mix. You need a movie to write for.

M M


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## rJames (Aug 30, 2004)

Mike M....from your keyboard to God's monitor...


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## Frederick Russ (Aug 30, 2004)

Hi Ron, 

Have you ever considered doing a "freebie" for an independent film maker as long as you get credits for the film? I know some people who do this as a start into the business - not perfect but hey.


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## Herman Witkam (Aug 30, 2004)

Great composition and mix! Nice stereo imaging and atmosphere. I like the violin runs a lot. Are you using GOS/Westgate here?


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## rJames (Aug 30, 2004)

Frederick said:


> Hi Ron,
> 
> Have you ever considered doing a "freebie" for an independent film maker as long as you get credits for the film? I know some people who do this as a start into the business - not perfect but hey.



Yes, I would do that. Most likely.

I don't really want to be a part of driving down the value of original scores although I suppose that's the way it goes from time immemorial.

I have a couple of ideas in the works. Have started some moves towards marketing and then got a slew of (graphics) work.

I have a copy of the Hollywood Reporter here that might direct me to such a client. Maybe not, I haven't yet scoured it.


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## rJames (Sep 1, 2004)

You know, it always amazes me as to which of my pieces people are drawn to. 

obviously, I like it too, I composed it to test my ability to use the woodwinds. But it just goes to enhance my insecurity about being able to choose music to put on a reel. 

I had one guy say to me, "send me your 2 best pieces." How can you do that? He only had limited time and was listening as a favor (a working game composer). But I can't see how he could get an idea of who I am by 2 pieces. Expecially ones that I think are most indicative. Unluckily, this was when I just had GPO (which is awesome for price and as a learning tool) and I was only about 3 months old as an orchestral composer.

On this one I thought I overused the chromatic runs in this piece. (I rationalized that it was the "wind" so it was OK)

Thanks for the compliments.


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## Frederick Russ (Sep 1, 2004)

heh - I know what you mean Ron. I slave over a piece and think it might be one of the best I've done and little to no response - then I do another with far less thought and with less attachments to it and that's one that gets the responses.

Moral: don't be attached. Just keep plugging away until you find your musical voice and how that voice interacts with the public.

Great piece btw - I just listened to it again


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## Patrick de Caumette (Sep 1, 2004)

Nice piece Ron, I enjoyed the textures and harmonies.
Not dissonant enough to be labeled this way in my book :wink: 
Shame the fast string lines don't sound more natural (legato)

Thanks for posting!


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## rJames (Sep 1, 2004)

Patrick de Caumette said:


> Nice piece Ron, I enjoyed the textures and harmonies.
> Not dissonant enough to be labeled this way in my book :wink:
> Shame the fast string lines don't sound more natural (legato)
> 
> Thanks for posting!



Thank you, Patrick. I've been told that the woodwinds could do with a little VSLizing as well.


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## deadbeat (Sep 1, 2004)

rJames said:


> Unluckily, this was when I just had GPO (which is awesome for price and as a learning tool) and I was only about 3 months old as an orchestral composer.



GPO's only about 7 months old now so that gives you....let me see...about 10 months orchestral compostion. And you did this? I'll get my coat.
I thought it was utterly beautiful, and some of the strings parts were brilliant. What did you use?


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## rJames (Sep 1, 2004)

deadbeat, you are too kind. Comments like this give me the idea that I can get work and then the reality of marketing rears its ugly head.

this is all EWQL Gold. Sharmy (Craig Sharmat [at VI control]) gave me some advice on the string runs. And I did change some of them. 

Its only a matter of time before I do the VSL thing. And then people will tell me why I need Sonic Implants or SAM horns (which I want really bad because I love brass).

I find that one thing about making music this way is that there are so many samples. It takes time to know one library much less 3 or 4. Plus there's all the sounds that all your synths can make. And then the percussion. Its a full time study on tone generators alone.


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## Mike M (Sep 4, 2004)

rJames said:


> http://www.digitMusic.net



ps: nice website.


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## deadbeat (Sep 11, 2004)

Well I like it. It has an old-time film noiry feel, especiallly near the beginning which in my book is nothing but a good thing. As the piece developed it did all that swooping and diving strings and ww stuff. Niceley done, but it lost my attention a bit. Jolly good though.


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