Greatly appreciated Mattia! You are high on my ranking list of composers to follow closely on YT! Hilarious part at 1:21 where the two violists interact with each other as to the part being played! Had to laugh out loud. Strangely I hear nothing odd here!? But I love to watch people interacting with each other when playing; this makes the piece come alive! Sadly I don't see this too often in the live playing of classical orchestras.

You should have a million subs and you would deserve every single one. Great work. Your music is wonderful, colourful and inspirational.

Thanks man, appreciate it 😀

Thanks!

Thanks man, that’s very kind

Thanks, really appreciate it!

Thanks 😊

It has indeed!

Thanks Michael!

Thanks!

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Awe thanks man!

Thank you!

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Yeah, the piece was featured in the last episodes, so it’s nothing new. I realized though I lost so so many viewers along the way and decided to share it individually.

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Thanks! Yes it is quite surreal 😁

@@MattiaChiappa Your piece is such an masterpiece.

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Grazie!

Thanks man!

They sure were! Look at 2:09, the percussionist does a stick twirl which you don't get when the piece isn't interesting. ;)

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😁

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Thanks brother!

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Ahah yeah I love that moment!

Time and practice my friend. I’m not gifted, I spent countless hours studying, composing and playing musical instruments. It becomes easier with time just like any other skill.

regard texture, a tip that i can add would be to spend more time reading scores, watching score follow videos, and use other types of videos or sources just to answer questions rase by this. You should at least have a notion of the common figures and textures and when a composer is going beyond them (like Strauss, Mahler, Ravel, and principally Martinu/Dutilleux did). And it is a visual learning process; this is the best part! Leave some scores open in your room. It has also to do with you composing to much in track arrangement view, this leads to “block” writing, principally if you never composed direct on score. If you can’t read well, a piano lesson for one year helps, and later you hire someone to teach how to read scores on piano for a while. And the rest is as he said. time and practice, a clear problem to solve, and pray to you have some intuition and luck 🍀

the best repertoire to learn textures and accompaniment figures are variations and partitas, and the orchestration of such pieces

@@emanuel_soundtrack thank you very much for your comprehensive suggestions, so ultimately score readings are as important as listening right? It is quite common that in my music production company everyone music producer study music by only listening or looking at some Cubase project, but no one seems to use a socre reading as a common tool for learning becuase they think it is time consuming and only for those who prefer to persue "academic writing" (I am assuming it is because all of us are not really good at reading staff quickly). So as you said, in order to make a breakthrough in music writing, studying and reading scores is very important, and is worth spending couple of hours (or more) every week right?

@@emanuel_soundtrack By the way, what is your opinion of composing directly on score versus directly in DAW project? Is composing on score can lead to more advanced stuff, or will benefit a musician in a long-term if they are serious about developing their music writing abilities? I have received two years of training back in US years ago about four part writings, but that seems to not helping me too much in terms of writing good music, it is hard to imagine what the music will sound like if only composing on scores, is this because I haven't put enought time on this process? Any suggestions will help. Thanks!

Thanks 😁

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Thanks!

Yes lots and lots but I’ve mostly done library music so it’s single tracks across different media types

The piece was recorded in small chunks, each section 3-4 takes. It took about 1.15 minutes I believe. No this is not raw, I mixed it myself

@@MattiaChiappa Ah ok...so the last take where everyone is playing together never really happened during the recording right? I had a similar situation last year where I was in a program and they had live orchestral sessions of our compositions and I find that unless meticulous care is taken with placement, recording all together is sometimes messy...LOL. Nice pice...any virtual embellishments on top? I've been thinking of trying one of these remote services myself.

I’ve done a complete take at the end just for myself. These guys are really good they can read anything and don’t need much guidance just a few comments to get things done how you want. This piece is very hard to play and I’m very picky but the long session I booked was overkill.

@@MattiaChiappa Thanks for the reply ;) Best of luck with it. Do you have something in mind for the recording or was it just for yourself?

No this piece was for the episode finale of my 10 orchestration techniques series. I wanted to end big with a live orchestra 😁

It was my own session

Thanks!