Grand Guilds - Main Menu Theme

I'm not Doug but since I can't listen (family's asleep at the beach house) I have some pointers for the printed score:

First: If you want feedback on the written score make it downloadable. Issuu is a pain.
Bar 1: Vln1 are they playing natural or artificial harmonics? You should specify in this case.
Bar 6 and out: Break the beam of four 8-th notes to comply with beats.
Bar 11: Cellos: dotted 8th-note with staccato? Just make it a normal 8th-note staccato.
Bar 13 and out: Remove all system and tempo information from the trumpet staff.
Bar 13: Trumpet: How many are playing? It is confusing to have one note and stem in the one bar and then a two voice melody in the next bar.
Bar 14: Horns: take care of your dynamic placement. It happens often that they are flying around.
Bar 14: Use lv. tie for the sus. cym.
Generally: Don't use ties on tremolo notes.
Bar 18: B.Cl: Beam the 8th-note together with the 16th-note triplets in all similar cases.
Bar 19: Bsn and others: what does 14 mean?
Also: You don't specify in subsequent pages how many bassoon players there are.
Bar 19: Trombones and similar places: I would just place a whole note after doing all the dynamic markings. Players can tell how to do it. Bar 13 also.
Bar 14: Horns: Write them in two voices so that players and conductors can tell the difference between a tie and a slur and use whole notes for the voice that has two half notes tied.
Bar 20: Notes that last the full 5/4 measure should be written dotted half-note tied to half note in this case. In this case I would write bar 20 and 21 as two 4/4 bars.
Bar 20: Chord symbol for trumpet?
Bars 21-24: Have low strings follow the same dynamics as high.
Bar 22: Write the triplet out as two sets of 8th-note triplets on beat 2 and 3.
Bar 25: Your roman numerals don't tell me anything about who is playing what. If there are two notes you have to place one of the numerals below the staff. In this case I would simply write the one line for horns 1,2,3 and the other line for 4,5,6. Both unison (a3). Write trumpets in two voices. Check the placement of the slurs.
Bar 25: Don't write numerals for timpani.
Next couple of bars contain the same issues.
Bar 33: Horns have a C written. What does that mean?
Bar 36: Remove slurs from Snare Drum.
Bar 37: Unclear sectional dynamic marking in the brass. Make it consistent.

Take these comments as a way to improve your notation skills. These are simply the first things that jump out to me that I would change if you had handed it over to me.

Thanks for posting!

 

Lucky you ! :-^)

Truth. It was a huge pain to when zooming in.

@Eduardo Lopez: Thomas is fantastic, and given great advice.

 

@Eduardo Lopez you obviously have some serious composing chops. Awesome track. Congratulations!

First, about the notation, I agree with most of the comments made by @Thomas Bryla and would only add this one caveat, do not be afraid to over-notate. I played in large groups all of my life, and I never heard anyone complain about too much information from the composer. If we ever do get live musicians to play our music, it will be sight reading, with perhaps one or two run-throughs before the final take. Players are not going to take our music home and practice it like they would something by Tchaikovsky or Stravinski. So I say, leave as little to chance as possible and help the poor musicians do a good job.

Aesthetically you did a great job. My one thought is that as the music changes mood at 2:20 or so, the overall volume could decrease more. I would try to get down to a true piano. Good brass players can play softly, and that entire section would then have more impact, in my opinion. Not a right or wrong thing, simply a matter of aesthetics, but easy enough to try out and see if you like it.