# New Music for Orchestra



## Tanuj Tiku (Jul 23, 2010)

Here is a new piece of music I did recently. 

Its just lot of fun stuff! Just wanted to share it.


Any comments are welcome!


Link: http://www.tanuj-tiku.com/DL.mp3 (www.tanuj-tiku.com/DL.mp3)



òô*   Ýˆô*


----------



## Dan Mott (Jul 23, 2010)

This is very very nice!

Good work!! I like.


----------



## JBacal (Jul 23, 2010)

Enjoyable listening.

Best,
Jay


----------



## Reegs (Jul 24, 2010)

Hi Tanuj!

Wonderful piece! Your brass and string orchestration really, really shines (all VSL?) I agree with Piet that the tail is a little long, but I don't think it detracts from the music. The themes are beautiful, and I love how you contrast the sweeping parts with the mechanical sections. If I might suggest one thing, it is to use the piano in more of the piece. You used it in the introduction, but then where did it go?

But you've left us hanging! More!


----------



## Tanuj Tiku (Jul 24, 2010)

Reegs,

Thank you for the generours comments. 

Yes, everything is VSL except Percussion. You may be right about the piano. May be, I should do an extended version with another playful section with more piano in it!


Thanks again for listening.


Tanuj.


----------



## SergeD (Jul 24, 2010)

A very nice piece with fine details,

SergeD


----------



## Tanuj Tiku (Jul 24, 2010)

Henrik and SergeD,


Thank you for your comments!


I am always trying hard to get the production standard high (the music first!). The reverb not getting mixed properly with the instruments only emphasizes the need for a state of the art professional studio space. 

If you cant hear it - how will you fix it? Unless you are in a good studio, you cant hear the tails properly in the mud and then you keep incòôú   Ý¹ôú   Ý¹ôú   Ý¹ôû   Ý¹ôû   Ý¹ôû   Ý¹ ôû   Ý¹!ôû   Ý¹"ôû   Ý¹#ôû   Ý¹$ôû   Ý¹%ôû   Ý¹&ôû   Ý¹'ôû   Ý¹(ôû   Ý¹)ôû   Ý¹*ôû   Ý¹+ôû   Ý¹,ôû   Ý¹-ôû   Ý¹.ôû   Ý¹/ôû   Ý¹0ôû   Ý¹1ôû   Ý¹2ôû   Ý¹3ôû   Ý¹4ôû   Ý¹5ôû   Ý¹6ôû   Ý¹7ôû   Ý¹8ôû   Ý¹9ôü   Ý¹:ôü   Ý¹;ôý   Ý¹<ôý   Ý¹=ôý   Ý¹>ôý   Ý¹?ôý   Ý¹@ôý   Ý¹Aôý   Ý¹Bôý   Ý¹Côý   Ý¹Dôý   Ý¹Eôý   Ý¹Fôý   Ý¹Gôý   Ý¹Hôý   Ý¹Iôý   Ý¹Jôý   Ý¹Kôý   Ý¹Lôý   Ý¹Môþ   Ý¹Nôþ   Ý¹Oôÿ   Ý¹Pôÿ   Ý¹


----------



## Guy Bacos (Jul 27, 2010)

I like this piece, but the bouncy part, which is really well done and fun, seems to give the main character to the piece, and I would of liked a bit less dramatic string section alternating with this. The solo oboe contrast is lovely, perhaps a play of WW would of been nice after that, I would of preferred to keep the lyrical string section for the end only, to avoid the exact structure repetition. But this is always a personal thing.


----------



## Tanuj Tiku (Jul 27, 2010)

Thanks for listening Guy!


I definitely need to study more about structure and form. And I know you do that well, so I take this in the best possible way. 

In fact it would be great if you could point me toward some good structure and form books or something. 


Thanks for droping by!


Tanuj.


----------



## Guy Bacos (Aug 1, 2010)

vibrato @ Tue Jul 27 said:


> Thanks for listening Guy!
> 
> 
> I definitely need to study more about structure and form. And I know you do that well, so I take this in the best possible way.
> ...




I'm not the best person to ask about this, although I can appreciate a good structure and have studied forms, I basically work by instinct, and in some way, have no idea what I'm doing and where I'm going when writing a piece. The only thing I pay attention to is how well balance the structure is, and make adjustments accordingly.


----------



## mverta (Aug 1, 2010)

Having studied formal structure to the point of wanting to pancake my nuts with a sledgehammer, let me just say this: Get your sense of structure by listening to repertoire pieces, and ignore the academia. 99% of what we're taught in academia was reverse-engineered from pieces by composers who didn't need "rules" to follow to write compelling music. And almost without exception, rigidly formulaic adherence to structure is about the fastest way to kill the soul of a good piece I can think of. Too much predictability kills a joke, spoils a story, and ruins a magic trick. What Guy is talking about - that vibe/sense/instinct - is actually honed internally automatically, simply by absorbing works. The brain is galactically good at finding patterns simple and complex, and eventually you will begin to develop a sense for it.

I should say, though, that this requires more than just passive listening - you really have to study... look at the scores, do piano reductions, even learn to play parts; whatever, really. "Get inside" the music; the less abstract, the better.


_Mike


----------



## Tanuj Tiku (Aug 1, 2010)

Thanks Guy and Mike,

I actually do the same - I follow my instinct. And I do listen a lot. But definitely need to think about it a bit more.


What did you think of the music Mike? 


Thanks for listening guys.


Tanuj.


----------



## mverta (Aug 1, 2010)

My prevailing thought is that you get bored of your ideas before your audience does. The key to a good subject/theme, in my opinion, is that it's worth stating, and restating/embellishing/developing. It's like opening a speech with a really good thesis - whether it's controversial, or poetic, or whatever, it should make the audience ask for more, and no matter where you go with the speech, the connection to the opening thesis should always remain clear. This goes for contrasting ideas, as well, like your string stuff, which may very well illustrate something about the opening ideas BY VIRTUE of their contrast, especially if by the end you can show how they relate, or can co-exist. Changing up flavors is great - the best, but here it seems almost random to me. I was just wrapping my head around your opening piano thing and it was on to something else. I guess it wasn't worth paying attention to in the first place, is the way that feels to me!

One exercise I do sometimes is write some retardedly simple motif, and force myself to just develop, develop, develop it and insist it stays interesting, and goes somewhere. Basically, I dare myself to justify its existence. If you can do that with something simple, you can learn to do it with more complex stuff. I've done that exercise with really mundane tunes like Mary Had A Little Lamb, for example. Write a 3-minute version of that that manages to stay fresh and interesting, yet never has to change flavors from the opening statement. That'll teach ya 


_Mike


----------



## Guy Bacos (Aug 1, 2010)

Good advice Mike.

I think something else to keep in mind is, if you contrast themes, as Chopin done so masterfully all the time, often as oppose to a development section, you should make sure any other ideas or orchestration in that piece does not over shadow or compete with your main theme, but rather help lift it. If each of your sections were specifically attached to a film scene wanting this type of contrast, I could appreciate it, since it follows the picture, and perhaps that's what you were trying to emulate, your own scenario, but as it is, it does not demonstrate your organization or economical skills between section. However your ideas are good and musical!

That would be my 2 cents.


----------



## Narval (Aug 1, 2010)

Ingenious, easy going, and refreshing. Loved it!

I have no issue with the structure. The piece develops organically and the motifs / themes respond well to each other. The changes are never forced and the repetitions are never lazy, actually I find them quite smart. In short, the form makes good sense to me, both overall and in detail. The timing was perfect too. Also, good sense of orchestration - simple, to the point, and effective. No nonsense. The humorous touch was the cherry on the top of this yummy cake.:D (and yes it needs some good reverb whip cream.)

Bravo!

Encore!
8)


----------



## Tanuj Tiku (Aug 3, 2010)

Mike and Guy,

Thanks so much for your input. Development of an idea with variety if done well, is really exciting and the mark of a great composer for sure. The inner sections must be well connected and affect each other in a sense. 

Definitely, some things to think about and put to use!


Narval:

Thank you so much for your kind words. I am glad to know that you enjoyed listening to my work! 

I am working on my Reverb at the moment, I think I may have fixed certain issues.


Thank you all for listening! Its really great to present my work here and get some good feedback - both negative and positive - thats the whole point!



Tanuj.


----------

