Piano Rock song [GP5]
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02-16-2011, 10:00 PM
Hey guys, it's been a really long time since I have posted a song on here. I took a little break from making music because I've been preoccupied with school, college applications, financial aid, etc. Anyway, this is maybe my most radio-friendly song I've done. The whole song is in 4/4, there is no guitar solo, and it's pretty repetitive. Just warning you. Also, if you are using a different version of guitar pro, you might have to adjust the volume of each track. Enjoy.
02-17-2011, 12:14 AM
I enjoyed this song very much.
As you said, it is a wee bit repetitive. I did like it a lot though. One thing I think would be cool is if you had one of the later choruses had been only piano, just to switch it up.
My favorite part of this song was measures 110-end and 82-94. I just love the way those parts sound. I feel like measure 96 should be cut out and measure 97 should have the previous chord from measure 95 tied right up until the F# on the "and" of beat 4. But that could just be me. Also, in measure one, have you thought about just starting on the F# at the "and" of beat 4 in measure 1, as a pickup note. I thought it sounded good that way.
02-20-2011, 10:32 PM
I actually completely agree with you. I think I'm going to make half of the final chorus just kind of a soft piano then come in really hard with the crash cymbals, etc. for the second half of the chorus. Thanks for the crit!
02-20-2011, 10:53 PM
The reminds me so much of The Hush Sound - are you a fan, by any chance?
I really enjoyed this piece as a whole, and my only real gripe is what ngSyn pointed out in his recommendation of turning the starting F# into an up-beat anacrusis before bar 1. It sets up the syncopated pulse much more effectively, and makes much more sense notated that way.
Otherwise, what you could do to make the off-beat pulse a little clearer - I still find myself hearing it as an eighth early unless I consciously try to hear that the pulse starts on the 4 & - is accent the higher notes on the beat (or reduce the dynamic subtly of the lower notes) to emphasize the accenting of the up-beat of 4.
Really nice use of sub-modulation to the parallel major in borrowing F#'s major-sixth during the verse - honestly, the inclusion of that D# adds SO much to the progression - and the countering bass lines were very welcoming!
I didn't really notice the repetition all too much since the melodies and overall structure was solid, and there's plenty room for a strong vocal melody or vocal trade-offs to turn this into a remarkable sing-along piece.
At bar 58 - 65, however, I figure it may be a chance for the bass to incorporate some of simple melody or repeated motif in its mid register, since the bass register of the piano is already maintaining the vamp and pulse. Plus, the drop-out is a great opportunity for this - so long as you think it's fitting, of course - and it remedy some concern of repetition you may have. It's also the sort of section where I'd imagine vocal whispers of any other variable of low-in-the-mix vocals to invoke some tension or anticipation in the listener.
The break at 82, like ngSyn said, is probably my favourite. Not because the other sections aren't good, but because its introduction is timed so well in the overall make-up of the piece. There's a great contrast there, and the unison between guitar and piano sounded fantastic.
Overall, absolutely a piece of music I'd love to hear recorded, so great work! I'd really recommend checking out The Hush Sound though if you're looking for ideas for vocal melodies - like I said, this song has so much of them in it, but not in a blatant rip-off sort of way :p:
I hope this has been somewhat helpful, and keep up the great work. If you have a moment, would you please return a critique to ''Two-Scoops With a Sun-Dance'' in my sig? It could really do with a bump, and I've already had three people not return the favour :p:
02-20-2011, 11:09 PM
that progression in the verse really reminds me of the house of the rising sun
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