Thank you, John. I look forward to recording this, along with my other works for string orchestra with a real orchestra sometime soon. Thanks for listening and for your kind comments. Glyn
Thank you, James. I’m glad you enjoyed the melodic nature of my writing. That’s something that comes most naturally to me, so I follow my instincts. I really appreciate your comment about how every part is necessary. I’ve written a lot for choirs so I think making every part count is influenced by that.
I’m in the same situation, where I use samples because hiring an orchestral string section is unaffordable. It is a challenge to get samples to approach the nuance and subtlety of real players. This track was made with samples and I’m reasonably pleased with it. I hope to record them with an orchestra someday. That’s partly why I decided to start this Substack, since I had written several of these pieces and wanted to share them, in the hope of generating some interest leading up to recording them eventually.
Once you’ve had a look at the score, let me know if you have any questions.
Thank you, the piece is beautiful. And its always nice to find a fellow Aussie on substack.
Thank you, Michelle. There seem to be quite a few of us Aussies lurking around here! I’m glad you enjoyed the music.
So beautiful !! Hi there my fellow Aussies . Cheers from frank.
Beautiful.
Thank you for commenting, Nessa. So pleased you enjoyed my music.
Absolutely mesmerizing. Thank you.
Thank you, Gregory, very kind of you to comment. I like mesmerising at a description. 😊
Very nice work and congratulations.
Thank you, John. I look forward to recording this, along with my other works for string orchestra with a real orchestra sometime soon. Thanks for listening and for your kind comments. Glyn
Thank you, James. I’m glad you enjoyed the melodic nature of my writing. That’s something that comes most naturally to me, so I follow my instincts. I really appreciate your comment about how every part is necessary. I’ve written a lot for choirs so I think making every part count is influenced by that.
I’m in the same situation, where I use samples because hiring an orchestral string section is unaffordable. It is a challenge to get samples to approach the nuance and subtlety of real players. This track was made with samples and I’m reasonably pleased with it. I hope to record them with an orchestra someday. That’s partly why I decided to start this Substack, since I had written several of these pieces and wanted to share them, in the hope of generating some interest leading up to recording them eventually.
Once you’ve had a look at the score, let me know if you have any questions.