I'm back on this site after a break from it. I missed the true honest (I realize that was redundant :heh: ) criticism that the community on Ichigo's often provides. Here are two things I've done previously:

The Dmelody is something that I wish to orchestrate. I have ideas on how I want to do it, but I keep getting stuck.

I'm back on this site after a break from it. I missed the true honest (I realize that was redundant :heh: ) criticism that the community on Ichigo's often provides. Here are two things I've done previously:

The Dmelody is something that I wish to orchestrate. I have ideas on how I want to do it, but I keep getting stuck.

Gene's Theme - Suggestion: study and experiment with the "Theory of Chord Classification." You probably won't find it online, so here's how it works. It describes how chords "naturally" move to the tonic.

VI ---> III ---> ii / IV ---> vii°/V/V7 ---> I (in a major key; I forget the minor key one.)

Also, if you want to move away from the tonic, go left, etc. There are always variations to this system; do not treat it strictly. Ellisions (skipping steps in this system) are extremely common.

So in this piece, you have the following five chords at the first five bars: I7, I6 (first inversion), ii7, V, I9 (9th chord). This progression will do, but note that seventh, ninth, eleventh, and thirteenth chords of the tonic (I) are not great chords to use when resolving a V chord unless you intend to make an extended phrase (not a good way to end a piece, for example). Listen briefly to measure 5 again; do you hear how the C at the fourth beat wants to resolve to the D above? This is the reason why the aforementioned chords are not good chords to typically use, but in this case, since you're not trying to make a definite ending at this measure, it's fine.

Attached is a revision of what I would do (with only meas. 1 - 9 changed); analyze it, study it, and use it as a guide. A few things to note: try to always have something that is moving contrary or obliquely (no motion at all, e.g. a held note) to most of the harmonies (e.g. meas. 1; the eighth note melody is ascending whereas the bass lines are descending), the V7 chord is probably the most widely used chord in western music to establish a tonal center and is also a good chord to use when resolving to the I chord (e.g. meas. 4, 8), and keep a symmetrical structure when writing this style of music (you have a 4 + 3 meas. structure in the first bars of your version - I changed it to 4 + 4).

Thanks for all the help, clarinetist :lol:


Gene's Theme - Suggestion: study and experiment with the "Theory of Chord Classification." You probably won't find it online, so here's how it works. It describes how chords "naturally" move to the tonic.

I remember reading about this in theory books. I just can't always remember where some of them lead too.

I do hear now a lot more motion that can be added throughout piece. When I listen to the original, I can hear things that I want to add personally; nothing that really sounds like your revision though.

Thanks for the guidance and inspiration.