East (feedback wanted)

East (feedback wanted)



Liner Notes: 

Feedback wanted if you have time:
1 - does the main melody get repetitive/do you get bored or tired of it?
2 - how to better transition into the different instrument changes and sections?
3 - does the piano part work at the end?

This is not a style that I try very often. I think just last year's 50/90, I tried my first waltz.
Some of you on here have inspired me to at least try a more orchestral style, just to see.
The main melody was inspired by music that was in the background on a youtube video; the youtuber is a food blogger and this particular video was him touring a floating market on the Mekong Delta.
Anyway, it was something about that traditional melody that everytime I hear it, stirs something within. Its an odd sensation and happens without fail every time I hear it.
But again, this is not my wheelhouse of styles; the arrangement skills needed to make orchestral music - - yeah, I don't have that. Yet.
So I'm asking the community the above questions, if you have the time and don't mind giving feedback. I know there have been many many convos about the topic of feedback, but I'm specifically asking for it here (and for the record, I don't ever mind it even if I don't ask). And anything else you can think of, please tell me.
So thanks in advance!
I wanna try more like this, but need a little direction.

Please keep your comments respectful, honest, and constructive. Please focus on the song and not the demo.


mike skliar's picture

I like it- you've got that kind of 'eastern' or 'southeast asian' (to be more specific) sounding melody, and then this kind of psychedelic backwards-sounding chord overlay on it. the piano totally works for me at the end. It all depends on what you're aiming for, probably, but this is fine, and very welcoming and listenable and fun.

Zeekle's picture

The changes sounded smooth. The sections are short enough to not loose the listeners attention. Orchestra music is not my forte either.

coolparadiso's picture

i would say its very chinese asian, although it moves away from it later on and became more like cathedral music- a big style change. i did like both style. transitions were fine - it certainly wasnt boring but on the phones i found the reverse music from 0.24 to 1.11 ( i think it was) overpowering.

kahlo2013's picture

I really love the cinematic feel and it flows and moves with a wonderfully rich feeling global sound with a Southeast Asian influence that builds and transforms to an orchestral feel. I think it works well. It drew me in and not only held my interest but really engaged me. Nice!

Tim Fatchen's picture

The melody is lovely, and there are sufficient sonic breaks for it not to get repetitious but rahter be recognised as it returns. The piano at the end is very Japanese/Zen in its feel (think Studio ghibli) and finishes it off well. And also illustrates an important thing with orchestral writing--the piano is particularly effective because the backing becomes sparse without fading away. Less Is More! Q..E.D. I compose at the piano, and always, always the first orchestral drafts are like something dug up from a swamp--there might be gold grains in there but oh! so much mud! And most of my "arrangement" consists of deleting doubled notes, too many notes (that's vertically, as in a chord, too many, not linearly along the melody line!) It is soooo easy with a keyboard to thicken up the texture by using more and mre and more fingers, until you have fourteen-note chords playing (and a pedalboard adding if available!) Surprisingly, this can work well with a pipe organ (if in doubt, pull out another stop and couple the octaves!!! Biggrin ) But with an orchestral patch it leads to dense thick and unlovely textures. Try to pull back the chord being played to 4 parts, or even 3, and immediately everything starts clarifying. Also, dynamics, let the melody come and go, but let the volume of the backing go and come to make rrom for it. And the last bit in this raving: make use of the pan function to spread your instruments out left to right, that also makes for clarity. And after all that, yes, I enjoyed it, and I think the melody is lovely.

JūS's picture

1 - The melody is strong and you have ample variation. The only point where I would have desired something different is the phrasing that ends around 1:46. I would carry that idea through, ascending a couple more notes instead of ending early, continuing with the ascending quarter notes onto Ab, Bb, and the the one count on Db. That might not sound good at all but it was my first impulse as a listener and maybe it would connect the end of the melody with the beginning of the next one.

2 - I would bring in a bass drop or something at :48. Interpret that as you will and maybe I'm off, but I was yearning for something on the lowend. Besides that, I love the counterpoint. There is a ton of support for the melody in the strings, particularly in how the hint of dissonant notes resolve with the melody (around 1:42, for example).

3 - Yes, personally I love the finality and how it reels that melody back in from full bloom to a focal point. It is a strong finish and I like the pads around it. That final ringing note, however, is the relative minor instead of the tonic. I was left kind of wanting the song to end on key. Still, it left me feeling like I was drifting back in from a beautiful dream or peacefully sailing away somewhere nice. Truly evocative and I loved the beautiful use of traditional pentatonic with modern instrumentation. Keep with this one.

edit: it's not my wheelhouse either, really (you're at least as skilled as I am in this department, sounding like you know what you’re doin’). However, I listen to quite a bit of orchestral and non-repetitive instrumental stuff so consider my thoughts that of hyperactive listener who dabbles.