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Old 09-24-2008, 02:10 AM   #81
The4thHorsemen
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here's mine, but I don't know how to make it into a midi file.

does this abide by the rules?

edit: I guess I'll try to explain how I wrote it. I mostly just tried to find a way to play those notes that didn't sound completely ******ed, then I added in the choir ahs a tritone above to give it a creepier atmosphere, and then added in that galloping drum to give it a little something extra.

For the second part I actually did something not completely stupid, I decided to just take all the notes from those random ones, got rid of the A# and made a scale, then I used this to come up with that riff, and added the galloping drums in again. When I revisited the main idea I kinda took it and just changed around the rhythm and put it in 9/8.

For that weird little outro thing I thought "hm, I bet I just used minor triads for those notes and played it in a weird way it would sound fucked up and creepy... let's see what it sounds like." so I tried it, kinda liked it in an extremely add way, and left it.

what do ya'll think? to me it's kinda *shrug* idk. I'm just proud of myself for being able to come up with something remotely musical out of that.
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File Type: zip Experiment #1.zip (1.0 KB, 81 views)
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Old 09-24-2008, 03:22 AM   #82
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Quote:
Originally Posted by Archeo Avis
archeos midi

that sounds quite cool actually!
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Old 09-24-2008, 04:18 AM   #83
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With this riff, is still horrible.

Archeo, or somone else, can you tell me if Im breaking any rules?

As far as writing this, the main thoughts were

Chromatic Run should be fast, I didnt want to hang onto the cromatic tones, as the last times I had tried, it sounded pretty bad.

The first long note was the D, the B - D being a minor third interval, wchich sounds "normal" not atonal.

Harmonized the G# - A - C bit in thirds, G# being on the bottom, added a Major 3rd harmony on top, being B# (C) which worked like-wise for the first and third note.

The A- G# harmony was passed over pretty quick, plus there was drums and guitar underneath.

With the G# - F# - F bit.

Thought of it was Ab - Gb - F

Put it in Db Major, and applied sixths harmony, which sounded alright, ending on a Minor 6th.
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Old 09-24-2008, 10:28 AM   #84
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Some of you guys have done beautiful work (the composition of destiny, particularly, was full of destiny and reminded me a little of Steve Vai - actually, would you mind if I covered it sometime?). It makes me feel a little bad that I did such a lighthearted and strange piece.

Ah well, might do another. I realised at the very end I'd missed a requirement. Which made me feel pretty stupid. I probably missed others, it never rains. However, I'm pretty happy with this.

Here's what I wrote as I composed -

Quote:
Okay, first thing that popped into my head was that the first four notes are an absolute gift to me. I have a kinda funky riff based on just those notes, so with some moderate difficulty I extended it. I paid very little attention to harmonic function, preferring humour and rhythm to drive the piece along.

Speaking of humour, I thought itíd be funny to just wallop audience expectation on the head by sticking a huge distorted, down-tuned chord on the end of the funk section. However, this quasi-serialist compositional box weíre in reminded me of the gradual introduction of tones in the chromatic tremolo theme from Meshuggahís Catch 33. This led to the next section. Pretty much channelling the doom theme music and Meshuggah-lite I just felt the drums go half military march snare and half death metal dirge, so I let them go that way. The high theme over the riff is based on a transposed version of G# A C G#, part of our theme. I decided to introduce the rest of the notes through a warbly, vibrato laden solo.

Actually, before I do that, allow me to consolidate A and B a little more by adding a part for the funkís rhythm guitar.

Ahh, now whatís happened is Iíve got so caught up in composing a working solo (Iím relying on special effects and not note choice to get it to work) that Iíve missed a huge chunk of the creative process. Iíve tried to imply some more interesting chord movement in the ďmeshuggahĒ guitar parts. I got what I was looking for, but didnít realise Iíd have to compose myself back to section A.

In the end Iíve gone for a cheap ďjump straight back in with some call and response to link back to previous sectionĒ. Actually, Iím going to get me a drum fill for between B and A2Ö thatíd help.

Alright, that actually got developed into something resembling the opening bar and the transition is a fair bit smoother now.

As you can see, my method of composition is to rush in blindly and make things that amuse me or sound cool (ie, like early 90s PC games), and then try and patch it up. See if you guys like the piece, Iíve taken the liberty of including my work in progress files.

(ah shit, after having finished it and quite liking it, Iíve missed out the compound time requirement Ė I donít want to do anything cheap Ė like a single fill in 12/8 Ė so Iíll just leave it as it is. Thank god this isnít graded )
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Old 09-24-2008, 11:03 AM   #85
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damn freepower, that's absolutely diabolical very cool to listen to. I'm pretty impressed with your funky interpretation of the theme, that part I love. The ending was great, it gave me a chuckle lol. Your variation of the theme made me think of how Atheist mixed some jazz and metal elements on the Elements album.. kickass album..

anyway, I second that everyone else upload midi files as well, for those who don't have GP. I do, but a lower version so I can't hear everyones.
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Old 09-24-2008, 12:16 PM   #86
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Originally Posted by elvenkindje
Maybe you responded before my ninjaedit or I didn't made myself clear. Do you think the result will be something you're proud of? Do you think you'll enjoy listening to it? Do you think you'll use this method more after you did this experiment?

You're like the guy that was in my Atonal Theory class that, no matter how the teacher and other students tried to explain it, kept coming back and arguing that "there is such a thing as factually good and bad music, and this is clearly bad music, or just not music at all."

Open up your mind a little bit, dude. Clearly you've never studied or had any sort of real experience with serial or atonal music.
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Old 09-24-2008, 12:53 PM   #87
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Yes he used his Jew magic to divert my attention.
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Old 09-24-2008, 12:59 PM   #88
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Originally Posted by PSM
You're like the guy that was in my Atonal Theory class that, no matter how the teacher and other students tried to explain it, kept coming back and arguing that "there is such a thing as factually good and bad music, and this is clearly bad music, or just not music at all."

Open up your mind a little bit, dude. Clearly you've never studied or had any sort of real experience with serial or atonal music.
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them. If you dont force it (with alot of effort) to sound good and resolve, its going to sound like crap.

And I agree with your friend. Atonal music is either really, amazingly good (schoenberg and... nope just schoenberg) or so horrible that your ears will bleed (everyone other than schoenberg).

I might have a go when I get around to it. Chances are I'll be pretty busy doing nothing.
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Old 09-24-2008, 01:15 PM   #89
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Keep in mind that those notes only dictate the main theme. You're certainly not restricted to them throughout the entire piece. You can develop the theme in whatever way you see fit, and you can certainly introduce other melodies.

Nice. I think I'll fiddle with variations, including going into 6/8 from 4/4, maybe try retrogrades and inversions of the melody; perhaps trying something like Rachminov's Rhapsody on a Theme of Paganini, 18th variation(?)
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Old 09-24-2008, 02:17 PM   #90
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Quote:
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them.


Counter argument: Liquid Tension Experiment - Paradigm Shift
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Old 09-24-2008, 03:16 PM   #91
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^ period

ps: ead's song, just ****ing rocks.
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Old 09-24-2008, 03:48 PM   #92
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I just listened to Ead's composition. I really enjoyed that chord progression. I might have to try to incorporate it into one of my works somehow. From 1:01 onwards was just fantastic.
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Old 09-24-2008, 03:50 PM   #93
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Originally Posted by demonofthenight
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them. If you dont force it (with alot of effort) to sound good and resolve, its going to sound like crap.

And I agree with your friend. Atonal music is either really, amazingly good (schoenberg and... nope just schoenberg) or so horrible that your ears will bleed (everyone other than schoenberg).

I might have a go when I get around to it. Chances are I'll be pretty busy doing nothing.

You're missing the point. Everything you just stated is your opinion and will vary from person to person, just like the impression certain music has on someone will vary from person to person. You will get people arguing that rap is "bad" music, or someone who likes rap might argue that country is "bad" music, or someone who likes metal might argue that classical is "bad" music. But what it all comes down to is that everything is opinion.

Go to a region of the world where microtonal music is the norm and you'll probably think that all of their music is "bad". Meanwhile, they'll think the same thing about the bands and composers YOU like. It's all opinion and what our ear is trained to hear (or open to hearing).

To state that a piece of music is "good" or "bad", or to state that a certain technique or phrase or idea in music or composition is "good" or "bad", is to state an opinion, not a fact.

My argument to you would be to PROVE to me that an extremely chromatic line is "inherently bad" in music. A fact can be proven, so you should have no problem doing so. But coming back with something along the lines of "just listen to this song" will only be proving my point because, in my opinion or someone else's, that song or phrase just might sound good, even if you think it's the most godawful noise you've ever heard.

Last edited by PSM : 09-24-2008 at 03:53 PM.
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Old 09-24-2008, 03:55 PM   #94
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Quote:
Originally Posted by demonofthenight
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them. If you dont force it (with alot of effort) to sound good and resolve, its going to sound like crap.

And I agree with your friend. Atonal music is either really, amazingly good (schoenberg and... nope just schoenberg) or so horrible that your ears will bleed (everyone other than schoenberg).

I might have a go when I get around to it. Chances are I'll be pretty busy doing nothing.

Oh yes, and you DON'T agree with my friend because in his opinion, ALL atonal music was horrible, bad music, including Schoenberg, Berg, Webern, and the other major atonal/serial composers.
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Old 09-24-2008, 04:17 PM   #95
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Quote:
Originally Posted by demonofthenight
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them. If you dont force it (with alot of effort) to sound good and resolve, its going to sound like crap.



^what's good or bad is always a matter of opinion. BTW I dont think most composers say.... "hmmm I really have to do something chromatic"..... and then force it to work. its more likely that they use their ears to create something that sounds good to them (not forced at all).... and it just happens to be chromatic....... or whatever.

btw EAD, I really like what you did with yours. It sounds like you used your ears rather than just theoretical concepts alone. I could listen to yours all the way through, and to be honest I wasn't expecting many, if any to be something Id want to listen to (no offense intended). nice!

Last edited by GuitarMunky : 09-24-2008 at 04:24 PM.
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Old 09-24-2008, 04:49 PM   #96
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Quote:
Originally Posted by Archeo Avis
I just listened to Ead's composition. I really enjoyed that chord progression. I might have to try to incorporate it into one of my works somehow. From 1:01 onwards was just fantastic.


The funny thing is, most of the piece is in Db major (at least the ending), but you didn't put Db/C# in your rules
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Old 09-24-2008, 05:17 PM   #97
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The funny thing is, most of the piece is in Db major (at least the ending), but you didn't put Db/C# in your rules


I didn't put any key in my rules. It doesn't concern me what key you use.
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Old 09-24-2008, 05:29 PM   #98
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thanks for the compliments, fellas
GuitarMunky: I'm glad you liked it and thought it sounded more like an ear piece instead of a theory peice, because that's what I try to aim for when I compose. I might pick a scale or something, like for my 'other theme' I guess you could call it, I wanted to have the b6 in there. I wasn't really conciously thinking strictly in harmonic major, I just picked up my guitar and the melody came out.

and yea, the way I interpreted the notes brought my last chord in the theme to Db major, and to me it sounds like it resolved there so I expanded on it.

I think that chord progession is instantly likeable I realized why it sounds so familiar.. its a slightly different version of a short jazz thing I came up with that's in my profile.

sadly I've run out of steam I really want to add more but I have no idea what to do with it now. I might try jam something up later
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Old 11-25-2008, 11:06 AM   #99
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so... has everyone forgot about this?
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Old 11-25-2008, 11:23 AM   #100
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im gonna make one
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