2

You might use Vivaldi's "The Four Seasons" and Haydn's "The Seasons" and PDQ Bach's "The Seasons" (Opus 2.5 tsp) to find ideas.


2

I used to just gate the heck out of the soundtrack whilst trying to keep any useful dialog's head just above the water. Start by hard-cutting all the bits that don't have dialog. I used to use movie trailers straight from YouTube, rather than try to find bits of full movies I could re-score. You kind of have to pick ones you think you'll get the best ...


1

Use the regular clef. The lowest written note is C two leger lines below the staff. The highest on a modern instruments is G three lines above the staff, but on older instruments the pedals may stop at F, or even D. The sounding pitch of notes played on the pedals can be anything from two octaves below (or even three on a very few instruments) to two ...


1

...However, I am finding that I seem to be getting an eighth note tactus. Let's work with the assumption that the beat (tactus) is not the quarter note but rather the eighth note which of course will make the tempo feel faster by double. The question would seem to be why and what actually determines the pulse? When the second beat plays the repeated G at ...


1

You sound like you've got a really clear creative direction - which is good! I would consider using using motifs or common rhythmic ideas to create a sense of the different pieces 'speaking' to each other. Another way might be to use the same chord progression and dress it up differently (for instance, different instrumentation, orchestration, etc - or ...


1

...often the first theme ends on a half cadence... I think you have mislabeled the cadence ending the first group of themes. It should be... ...where mm. 12-13 is a PAC in F. At that point there is an elision in m. 13 where the transitional phrase takes up a triplet figuration an modulates from F to C. It seems strange to select the transitional phrase ...


1

The way the E is doubled you do need to move the voices in contrary motion to avoid parallel octaves to D. Considering that it seems OK. Maybe their expectation is to double the tonal degree G so the outer voices are E C# to D D. The doubled G then moves by contrary motion to the inner voices F# A. Like this: When it comes to the question of double ...


1

So, if you think of it this way, 140bpm is 70bpm doubled. So, rather than changing the tempo to something like 116 from 70, all you're doing is doubling the speed of the tempo, literally. In terms of musicality, reflect this through instrumentation and space. You can hear, specifically, that Electronic (EDM) tracks reflect a bpm change to double its original ...


Only top voted, non community-wiki answers of a minimum length are eligible