Take the hard way and suddenly you'll notice your pieces actually start sounding nice.Īlso if you can't afford the top shelf libraries I suggest you sign up for composer cloud. I did and it leads to only one place: staccato infested shit that sounds like Hans Zimmer from over a decade ago. There's a reason why there's millions of newbies churning out hybrid trash pieces: because it's easier and panders to the EDM mindset where most of us began. Transcribe, study, transcribe and then transcribe some more. See? Knowing your shit makes all the difference. You can hear it in the break the way the woodwinds are quacking constantly on every note. Going back I can hear distinct errors in how I handled the bassoon and untuned percussion mainly stemming from incorrect velocities and wrong articulations. Here's an example of when I was fucking around with woodwinds 3 years ago: I normally do specific pieces that incorporate instruments I'm not comfortable with in an effort to force myself to learn. The bassoon and contra-bassoon are essential for the Williams sound e.g. Make an effort to get to know each instrument in the orchestra. What's the difference between vibrato and tremolo? Pizzicato and bartok pizzicato? When you've done that for the strings it's on to woodwinds, brass, untuned percussion, tuned percussion etc.
You need to understand the difference between marcato, staccato, spiccato etc so that you can utilize the string section correctly. Orchestral stuff requires a detail oriented mindset and a willingness to go into tedious detail to wring out the best out of yourself.
correct articulations for every part of the piece etc. Orchestral stuff sounds "real" when you actually treat each and every section like their real counterparts.Ī good exercise I used to do was to download old ass midis of mozart/beethooven stuff and wouldn't stop until it sounded like a real orchestra. There isn't really much to demonstrate when it comes to orchestral music.
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