I like the minimal percussion at the beginning and the airy flutes that come in shortly after. The warm strings and chromatic motion in the harmonies at around :45 are both really nice. The texture is a bit thin for my tastes for a lot of the piece, and sometimes I wish the piece was a bit more flowing to match the tranquil mood. The transitions in this piece often seem a little rushed, especially 4:30. That said, the sound design is top-notch, and there's a lot of variety in the soundscape to keep things interesting. I especially like the haunting violins at 2:30-ish, and the soothing counterpoint from 3:00-4:30 or so probably constitutes my favorite part of the piece. You did a nice job of making the ending sound conclusive without overselling it - a fittingly mild-mannered conclusion to a very tranquil and lovely piece. Nice work, Samulis! I should really check out more of your recent stuff. ^_^
Author Comments
I wrote this piece this year for a voxel RPG called Lost Existence as one of the overworld tracks. I wrote the first two minutes about a year ago, then dusted it off and wrote the rest in a single sitting, starting with the molto rubato B section at 2:10, mostly played/improvised live on the keyboard, about 6 hours work in total. I ended up using a rondo form, returning to the main theme between each contrasting section, which helps to hold the work together quite nicely. This is the second longest work I've ever written, and by far the longest single-movement work I've done to date, which is a pretty exciting milestone!
The piano, woodwinds, and percussion are all my own sample library creations (Joachim's Piano, VSCO 2 Pro), while the brass and strings are EW Hollywood. A friend of mine builds drums and recently made a 90" rope tension bass drum (!) for a marching band which he let me sample; the results of which you can hear in the track at a few points.
More Info on LE:
Thanks TL! I'm glad you gave it a listen, and enjoyed it. :)
As game underscore, it was not possible to make it too active/full in texture or else it would wear the player's ears after a short time. I also tend towards smaller ensembles these days, just a consequence of growing up I guess, haha.
4:30 isn't a transition, it's a 'response' to the 'question' posed in the previous horn phrase. The transition out of that section is at 4:46.
0:33, 3:06, and 4:48 are all the same material, just with more elaborate orchestrations each time, by the way. The material between those sections are the contrasting portions of the 'rondo'.
Credits & Info
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samulis 
Licensing Terms
Please contact me if you would like to use this in a project. We can discuss the details.
