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Freepower
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#1
I know there's a chat thread and composition critique group but this can double as both and get more exposure. Credit for the idea goes to one vision. Perhaps a sticky if the response is good.

Anyway, the basic idea is to to chat about, analyse and discuss our own compositions, showing compositional techniques in action!

Try to keep it composition based, don't let yourselves drift into Chat Thread territory.

Okay, I'll start the ball rolling. Here's one of my compositions, entitled "Too Many Kooks" - http://www.youtube.com/watch?v=grktxUqIG84

The idea was to go for a kind of Daft Punk feel, the real guitar riff (which I came across in a noodling situation) harmonised by synth guitars. It's in the key of B minor, basically because it sounded so chunky and right on the low B and I just had to keep it there.

The harmonised arpeggio "chorus" is an idea I naturally went towards due to the amount of Sonic The Hedgehog music I was listening to at the time - that and "Searchin" by Satriani, with it's wicked arpeggio whammy stuff. I tried to incorporate a few other elements as well, things that I do to a degree almost everwhere, the kinds of chords in "Track 4" should give you an idea of my taste in voicings and the influences of pentatonic asiatic folk music and Steve Vai.

Other than that, introduced a fun pinch harmonic riff for the solo section, which is a trade-off between a "real" guitar and a few synth'd DP cliches.

Drums, straight ahead and simple, can't see anything interesting there really, just keep the song going really. Actually, looking at them now I remember that I spent a fair bit of time putting together the little hi-hat flourishes under the chorus, I think they make a big difference. What say you?

Finally, this song was one of those "cobbled together in an hour or so" pieces, so it's rough around the edges and terribly titled - but I think it holds together well enough.

So, opinions, critiques, suggestions, adulation or negs all welcome, GP attached for your analysing pleasure. (minus solo, which was pretty obviously pure improv )

ED : oops, forgot to attach file I'd claimed I'd attached.
Attachments:
fun riff4.zip
one vision
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Join date: May 2007
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#2
*subscribed*.

I'll listen when I get home, but if it's on your youtube, I've probably heard it lol. I'll listen again anyways.



I have one composition written. Link in sig. It's a classical guitar romance, influenced by Beethoven and Chopin, and pretty much music of the romantic era.

I'm hoping to write a set of "Romances", one in each key. Currently working on my second and third simultaneously.

Yup.
Last edited by one vision at Jan 7, 2009,
demonofthenight
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#3
Thread needs more sheet music...

It's so much harder to critique a composition without sheet music. Maybe we should post everything in guitar-pro and youtube?
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Freepower
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#4
One vision, it'd be really cool to hear your approach to, eg, modulation, within those pieces, with a few sections of example. Better than just knowing what period you're imitating.

Demon, just export the GP into Sibelius if the tab hurts your eyes that much. It's useful to see how the ideas are fingered even if we suppose that even a tenth of the membership of this forum can read at all.

And GP and youtube sounds pretty damn good to me for future entries.
SG Man Forever
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#5
Here's one of my compositions, it only has bass and guitar so far, I was going for a kind of Iron Maiden kind of feel when I wrote it. The whole thing is just in D minor. Anyway, the song is just based around 3 main riffs, the first one is just a run down of the scale, with lots of pedal tones, and then harmonized in octaves, thirds, and fourths. The second riff shows how you can get interesting results by changing time signatures from bar to bar. The third riff is pretty straight forward, and provides a very easy chord progression to solo over. The solo itself is at first simply a single note version of that riff, followed by some ornamentation, then a very fast run to mark the beginning of the second section of the solo, which is basically a very long run down the scale, interspersed every other bar by rejoining the chord progression, giving a sense of togetherness. The final riff is a fast melodic line harmonized for both guitars, also with lots of pedal notes.
Attachments:
Stargazer.zip
ALWAYS

WANNA BE WITH YOU,
MAKE BELIEV
E WITH YOU,
AND L
IVE IN HARMONY, HARMONY,



OH, LOOVE!
Last edited by SG Man Forever at Jan 7, 2009,
one vision
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#6
Romance No.1 in D minor.

GP File. Analyze the hell out of it

I don't really know where to start. I more or less stayed in D minor most of the time.

The middle section, F Major, had a modulation to Bb Major in it for a while, then back again through a cheap chromatic thing into a C7 .

Yeaah.

Ignore the writing at the bars showing which part is where, Major/Minor whatever.

I forgot to update it as I was going along. Lol.
Last edited by one vision at Jan 7, 2009,
RedDeath9
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#7
I have three RPG style things on my profile. Check them out if you have time I'm not an expert on theory or anything.

Lately I've been trying to incorporate more... "emotion" into my riffs. Like, if the riff doesn't have any emotional content, I won't use it.
SG Man Forever
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#8
Quote by one vision
Romance No.1 in D minor.

GP File. Analyze the hell out of it

I don't really know where to start. I more or less stayed in D minor most of the time.

The middle section, F Major, had a modulation to Bb Major in it for a while, then back again through a cheap chromatic thing into a C7 .

Yeaah.

Ignore the writing at the bars showing which part is where, Major/Minor whatever.

I forgot to update it as I was going along. Lol.


Cool, I was kind of wanting to learn that. I'll post my other composition (Cruel Sea) here when I finish the drums in the next day or so. For those who haven't heard the original drafts of it, it's a heavy metal thing reminiscent of The Call of Ktulu by Metallica. I'll talk about it more when I post it.
ALWAYS

WANNA BE WITH YOU,
MAKE BELIEV
E WITH YOU,
AND L
IVE IN HARMONY, HARMONY,



OH, LOOVE!
one vision
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#9
Quote by SG Man Forever
Cool, I was kind of wanting to learn that. I'll post my other composition (Cruel Sea) here when I finish the drums in the next day or so. For those who haven't heard the original drafts of it, it's a heavy metal thing reminiscent of The Call of Ktulu by Metallica. I'll talk about it more when I post it.



I'll listen to the one you posted when I have sound.
demonofthenight
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#10
BTW, guys, I'm mostly analysing/critiquing the starts of songs more than the ends. Just cause I'm lazy.
Quote by SG Man Forever
Here's one of my compositions, it only has bass and guitar so far, I was going for a kind of Iron Maiden kind of feel when I wrote it. The whole thing is just in D minor. Anyway, the song is just based around 3 main riffs, the first one is just a run down of the scale, with lots of pedal tones, and then harmonized in octaves, thirds, and fourths. The second riff shows how you can get interesting results by changing time signatures from bar to bar. The third riff is pretty straight forward, and provides a very easy chord progression to solo over. The solo itself is at first simply a single note version of that riff, followed by some ornamentation, then a very fast run to mark the beginning of the second section of the solo, which is basically a very long run down the scale, interspersed every other bar by rejoining the chord progression, giving a sense of togetherness. The final riff is a fast melodic line harmonized for both guitars, also with lots of pedal notes.
There's alot of minor seventh harmonic intervals on strong beats in your song. Generally most guys avoid that.

Normally on strong beats (first beat of the bar) you'd want to keep all harmonic intervals as either third, sixths, Perfect fifths or octaves (the last two can be used, but should be avoided). Perfect fourths also, but not between the bass and the second lowest part.

There's also alot of octave stuff, which does sound cool, but sort of stuffs the individualization of the parts. For instance, if I wrote a song with two parts completely harmonized in octaves or fifths, it would sound like one beefy part instead of two individual parts.

Romance No.1 in D minor.

GP File. Analyze the hell out of it

I don't really know where to start. I more or less stayed in D minor most of the time.

The middle section, F Major, had a modulation to Bb Major in it for a while, then back again through a cheap chromatic thing into a C7 .

Yeaah.

Ignore the writing at the bars showing which part is where, Major/Minor whatever.

I forgot to update it as I was going along. Lol.
Same with mr SG, watch out for dissonance on stressed beats.

I heard some chromatic lines in there, which sounds great. I also heard some andrew lloyd webber and beethoven in there (.

I like how you've phrased your main melody, but I noticed each phrase is finishing on the same note. When repeating a phrase you don't need to copy them exactly, it's usually best to change a few notes (especially the last notes). The best notes to end on are the 2nd, 5th, 6th and 3rd notes of the scale.
Keeping in mind the last phrase of each verse (or movement) should resolve stepwise to the tonic of the scale.

Not a bad peice.

I might write something later, right now I feel out of it.
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one vision
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Join date: May 2007
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#11
^ Thanks!

It's my first piece, so I didn't expect it to be completely amazing lol.

Before the middle section, I kinda did a different thing, I resolved to F Major, and then started the middle section.

But, hey. It's a piece of the "romantic era", where all rules of harmony were broken

Thanks for the input though. Informative indeed, especially the part about what notes to end parts of the phrase on.

Also, could you elaborate on the "dissonances on stressed beats"?



EDIT:

Quote by demonofthenight

I heard some chromatic lines in there, which sounds great. I also heard some andrew lloyd webber and beethoven in there .

Last edited by one vision at Jan 8, 2009,
Myung-trucci
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#12
I have a link to a piece I wrote in my sig, it's sort of progressive in terms of influence but not much technical playing or odd time usage. It's not that great, I put it on T and C a while ago, just wanted some input from you guys, so yeah, GP5, GP4 and MIDI in my sig.
GoldenGuitar
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#13
My composition is titled Sleeping Patterns, it's a Classical solo piece and is highly influenced by my experience in classical.

It's in the key of A major, I was going to modulate to F# minor or E major but I couldn't find a way for it to work.

Since I don't have guitar pro, I saved it a graphic file from Sibelius. You can listen to the recording on my profile.
Last edited by GoldenGuitar at Jun 3, 2009,
SG Man Forever
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#14
Quote by demonofthenight
BTW, guys, I'm mostly analysing/critiquing the starts of songs more than the ends. Just cause I'm lazy.There's alot of minor seventh harmonic intervals on strong beats in your song. Generally most guys avoid that.

Normally on strong beats (first beat of the bar) you'd want to keep all harmonic intervals as either third, sixths, Perfect fifths or octaves (the last two can be used, but should be avoided). Perfect fourths also, but not between the bass and the second lowest part.

Any reason for that, other than it simply isn't common? I mean, as far as the seventh thing goes, it's part of the main chord progression, and TBH, "dissonant" is the last word I would use to describe this song. It's pretty much all harmony.
ALWAYS

WANNA BE WITH YOU,
MAKE BELIEV
E WITH YOU,
AND L
IVE IN HARMONY, HARMONY,



OH, LOOVE!
one vision
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#15
Quote by GoldenGuitar
My composition is titled Sleeping Patterns, it's a Classical solo piece and is highly influenced by my experience in classical.

It's in the key of A major, I was going to modulate to F# minor or E major but I couldn't find a way for it to work.

Since I don't have guitar pro, I saved it a graphic file from Sibelius. You can listen to the recording on my profile.

Beatiful. I like it a lot.

Very nocturnesque. What kind of classical is it influenced by in particular?

Give my piece a listen if you got time, it's also classical, link in sig.

And also, modulating to the relative minor would be pretty easy imo. In the middle of a Major progression, I throw in the Major dominant of the relative minor, and it sounds very powerful.

Last edited by one vision at Jan 8, 2009,
20Tigers
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#16
I can't listen to guitar pro files I tried the demo and didn't like it. I'm not paying for it and I'm not a thief so oh well.

Freepower I followed the link. It was a cool riff. Didn't care much for the synthesizers in that one and overall I think the sound quality didn't do your skills much justice. It sounded kind of tinny and lacking in punch you need some big booming Daft Punk bass drum to liven it up.

The Destroy the World Gentlemens Club in your profile on the other hand - was really awesome!! And the Fall out Tactics was cool. Where'd you get that voice loop?
Si
Last edited by 20Tigers at Jan 8, 2009,
SG Man Forever
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#17
Quote by GoldenGuitar
My composition is titled Sleeping Patterns, it's a Classical solo piece and is highly influenced by my experience in classical.

It's in the key of A major, I was going to modulate to F# minor or E major but I couldn't find a way for it to work.

Since I don't have guitar pro, I saved it a graphic file from Sibelius. You can listen to the recording on my profile.

It sounds more folk-ish than classical to me, but still very good.
ALWAYS

WANNA BE WITH YOU,
MAKE BELIEV
E WITH YOU,
AND L
IVE IN HARMONY, HARMONY,



OH, LOOVE!
demonofthenight
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#19
Quote by one vision
Also, could you elaborate on the "dissonances on stressed beats"
In purely chordal music (like contemporary stuff), chord tones at the start of every bar. So the first note of every bar should be a chord tone.

In chordal based music, this rule can be avoided pretty easily just by changing the chord. Like, if you really must have a note that makes a sixth with the chord playing, just add a sixth to the accompaniment (so you now have a X6 chord).

In contrapuctual-esque music (classical, electronica, two voice songs and so on) you'd want the first note of every bar to make a sixth, third (prefered), fifth or octave with the other instruments playing.
Quote by SG Man

Any reason for that, other than it simply isn't common? I mean, as far as the seventh thing goes, it's part of the main chord progression, and TBH, "dissonant" is the last word I would use to describe this song. It's pretty much all harmony.
Haha, I'm not insulting your peice. I actually like it, but it does need a little work.

Dissonance just means instability, it doesn't mean "bad." Dissonance is needed to keep your song moving, if your song is too consonant it will sound stale, sterile and stagnant. If your song is too dissonance, your song will sound instable.

The sevenths thing is inplace because it's too dissonant for a strongly stressed beat (the first note of every bar). This beat should also be very consonant.

It's not my rule, just something I picked up.
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one vision
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#20
Quote by demonofthenight
In purely chordal music (like contemporary stuff), chord tones at the start of every bar. So the first note of every bar should be a chord tone.

In chordal based music, this rule can be avoided pretty easily just by changing the chord. Like, if you really must have a note that makes a sixth with the chord playing, just add a sixth to the accompaniment (so you now have a X6 chord).

In contrapuctual-esque music (classical, electronica, two voice songs and so on) you'd want the first note of every bar to make a sixth, third (prefered), fifth or octave with the other instruments playing.

Those don't really apply

I know what you mean though, I just didn't want to change time signatures, in case a time signature was needed. And some of them, I've played with fermatas and ceasuras which were not stated in GP. So yeah. It's played with a rubato-esque tempo in mind.

But thanks, I never knew about those other conventions.

GoldenGuitar
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#21
I saw your video on youtube one vision good execution of tone and dynamics, overall very beautiful. And like Beethoven you can start with one Idea and build off it well.

Also thanks for the advice, I'll try what you said in my piece I'm working on currently. I'm mostly influenced by Fernando Sor. But Carulli and Giuliani influence me too.(They are also from different times but only about 100 years)
SG Man Forever
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#22
Quote by demonofthenight

Dissonance just means instability, it doesn't mean "bad." Dissonance is needed to keep your song moving, if your song is too consonant it will sound stale, sterile and stagnant. If your song is too dissonance, your song will sound instable.


I know that, I'm trying to understand what you are talking about, dissonance is something I use all the time, in particular the piece I plan on posting in the next day or so. But in this particular piece, there is hardly any dissonance to be found, unless you consider a perfect fourth to be dissonant. Almost all the harmonies are thirds and fifths, and all the chords used are fifth power chords.
The sevenths thing is inplace because it's too dissonant for a strongly stressed beat (the first note of every bar). This beat should also be very consonant.

It's not my rule, just something I picked up.


What are you smoking? In the first measure, every bar of the melody begins with either the notes D, A#, or G, the tonic, sub mediant, or sub dominant, respectively. In the second riff section, the leading chord is still the tonic. In the third section, the chord progression is I, III, II, VII, the first time the VII makes itself a stressed beat. It avoids dissonance because it is the relative major of the chord preceding it. I really don't know what you are referring to.
ALWAYS

WANNA BE WITH YOU,
MAKE BELIEV
E WITH YOU,
AND L
IVE IN HARMONY, HARMONY,



OH, LOOVE!
GoldenGuitar
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#24
Quote by one vision
I saw a classical guitar in your profile pic, what kind is it?


It's a Admira Malaga.
Your_Dad
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#26
http://www.reverbnation.com/jamesfantom
Its on there, "C Harmonic Minor Scale Pattern"

I originally composed this for my orchestra class. The strings play a C minor Scale, while the winds play melodies and provide harmonic context (Although these harmonies often ended up very bland, mainly diminished). Ill leave the other stuff for you to analyze. I got a lot of work to do atm


EDIT: Goddam its in a sibelius score and I cant export the sheet music. fork.
My sig used to be so awesome it got me banned
demonofthenight
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#27
Quote by SG Man Forever
What are you smoking? In the first measure, every bar of the melody begins with either the notes D, A#, or G, the tonic, sub mediant, or sub dominant, respectively. In the second riff section, the leading chord is still the tonic. In the third section, the chord progression is I, III, II, VII, the first time the VII makes itself a stressed beat. It avoids dissonance because it is the relative major of the chord preceding it. I really don't know what you are referring to.
Between the bass and the lead.

The bass is plays an E on the first beat and the lead plays a D in harmony. This creates a minor seventh Harmonic interval.

EDIT: **** I meant harmonic, not melodic
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Last edited by demonofthenight at Jan 8, 2009,
SG Man Forever
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#28
The song is in D minor. E is the SECOND interval of that scale, and with such a strong emphasis on the tonic, it suggests nothing other than a SECOND interval, not a SEVENTH. The reason the bass is playing E is because it is meant to be a low end sound.
ALWAYS

WANNA BE WITH YOU,
MAKE BELIEV
E WITH YOU,
AND L
IVE IN HARMONY, HARMONY,



OH, LOOVE!
SG Man Forever
all dongs go to heaven
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#30
Quote by one vision
I'm likin' Stargazer.

Riffs were pretty badass. But I like the solos in cruel sea a lot more, no offence though. The more chaotic, the better for me, lol.


Thanks, I agree cruel sea is a much better song, I wrote Stargazer in a little less than three hours, not to say it's a throwaway song, but it's pretty simple.

Anyway, I've got the drums for about 70% of Cruel Sea written, but I'm not going to be able to work on it tomorrow, I have to help my sister move into her new house. Some parts are really hard to write drums that help augment the heaviness of the piece.
ALWAYS

WANNA BE WITH YOU,
MAKE BELIEV
E WITH YOU,
AND L
IVE IN HARMONY, HARMONY,



OH, LOOVE!
20Tigers
1
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#31
Quote by Your_Dad
...quote+overly long self gratifying sig

Here's one you can add to your sig...

I think Your Dad is using his large sig to compensate for something
Si
DarTHie
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#32
Quote by one vision
Romance No.1 in D minor.

GP File. Analyze the hell out of it

I don't really know where to start. I more or less stayed in D minor most of the time.

The middle section, F Major, had a modulation to Bb Major in it for a while, then back again through a cheap chromatic thing into a C7 .

Yeaah.

Ignore the writing at the bars showing which part is where, Major/Minor whatever.

I forgot to update it as I was going along. Lol.


I don't know almost anything about classical guitar and all that eras, so bear with me.

I loved the first part (bar 11, 12 - amazing melody). That F Major fast part became a little boring to me. After that part everything flows smoothly.

bar 55 - What A Wonderful World - please listen to that part
Quote by Johnljones7443
my neew year reslosutions are not too drikn as much lol.

happy new yeeae guyas.
Last edited by DarTHie at Jan 8, 2009,
xxdarrenxx
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#33
Freepower, nice piece, nothing wrong with it, and cool riff. Nice played. I liked it, and imo ur on the right track in ur "musical journey" with originality-meets-taste. Then again, ur a (Respected) guitar/music teacher, so it would be slightly expected that you "know ur ****".

One Vision; I already checked ur piece out a while ago, very nice executed and nice composition. I didn't need to open up the tab to appreciate it. Also 1 of the reasons why I approached you for classical guitar in Pm while back

*small note*
I don't like going to technical in reviewing, unless there's a wicked technical sweep pick arpeggios tap octave whammy bar w/e going on Or something I genuinly don't like. If I say less, there's a 99% chance that I like it (more).

To Goldenguitar
I can't read sheet music so srry I can't listen/review it. Perhaps get a recording or midi of it on?

To "your dad"
Ur player doesn't seem to work for me, very weird.

SG Man Forever;
I found the bassline in relation to the overlapping parts was stressing it to much with the occasional E note, which would aurally be "nicer" if it was just D (or if you want to keep the "downward" contour, a G or an A note ), but that's just my opinion. I do know if you would play that live with a few stacks, people will die from that dissonance Because if the lowest sound is dissonant it will have effect on the entire piece of music.

As for the solo; I listen to everything in a guitarsolo (dynamics, sound, timing, timbre etc.) so I won't comment on this, cause it's midi.


I'm not crude soz if that seems, I just be honest in my opinion


Did I miss someone? I did a quick read on the thread.

The "Re-incarnation of Plato" Award 2009
(most intelligent)
The "Good Samaritan" Award 2009 (most helpful)

[font="Palatino Linotype
Who's Andy Timmons??
Last edited by xxdarrenxx at Jan 8, 2009,
Freepower
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#34
Freepower I followed the link. It was a cool riff. Didn't care much for the synthesizers in that one and overall I think the sound quality didn't do your skills much justice. It sounded kind of tinny and lacking in punch you need some big booming Daft Punk bass drum to liven it up.


I'll definately take that into account should I be re-recording or similar, I would blame my amp for the punchless sound, believe it or not, I'm going through a 30W Kustom.

Yeah, the amp fund is the important one atm.

The Destroy the World Gentlemens Club in your profile on the other hand - was really awesome!! And the Fall out Tactics was cool. Where'd you get that voice loop?


The voice loop is from a game called "Fallout Tactics" - I was writing a mod for it at the time and so I had already found and listened to most of the sound files, some of the music is really cool. Anyway, from there I just kinda took the sample and stuck it over some realllllly weird midi that I ripped from a Berzerker track and just messed about with until it was unrecognisable. Mostly I was just playing around with "Digital DJ Decks" in Fruity Loops.

OV, your thread idea is really taking off!

Myungtrucci, listening to your piece now, I think the rhythms are a little over poweringly blunt - a few sections arpeggiated would have made a big difference. I like the synth riffs very much though. The section around 1:45 I really enjoyed as well, was there a particular influence there? And the bass coming in sounds great... Sega style synth solo

By the way, I do think you've kind of bitten off more than you can chew atm, it's long and certainly not dull, but I don't get the impression of one strongly carried out vision... on the other hand, it's a fantastic start towards that kind of extended composition that DT do, I think this piece shows a fantastic amount of potential, and in short, I'm impressed.

Section at 4:20 I dug as well, actually.
michal23
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#35
GoldenGuitar, I'm only going by what I can hear (haven't read the sheet music), but I really enjoy it. It's a great piece, with a very lovely peaceful feeling; somehow, it reminds me more of a folkish song than a Classical piece, but it's still awesome!

One Vision, I really like the start of your piece, very nice indeed! I particularly liked the part starting at 1:00 of the video. I must admit, though, I didn't really enjoy the fast part starting at around 1:26.

Here's a rough idea for a minimalist piece. It's just a few rough ideas I have, it's far from finished, so it doesn't really flow much. Anyway, if anyone can tell me what they think of what I have so far, I'd appreciate it. I might post some of my acoustic guitar stuff later on as well
Attachments:
minimalism2.zip
Ead
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400 IQ
#36
^^ i really like the sound of that. it has a really epic feel.. hopelesness or something.. its great id love to hear it progress, if you could have a dramatic chord progression. would make me think of like castlevania or something (which is a good thing lol)

i have two compositions on my youtube account, link in my sig.. ill upload the GP files as well. ive had them for a while but i thought this would be a cool place to share. i might start spending more time in MT again if this thread really gets going.

first one, the classicaly thing. i didnt even plan on making this when i started, i just made it all up as i went along. i wanted to see what i could do trading melodies with the strings and harp, in like a happy playful mood. i just made one on one instrument and had the other respond to it. the chord progression i like.. the intro could be called C Lydian, then to D, Bm, then E, which is a movement i like the sound of there. then i just started going wherever i felt the melody, so then to a little motif of Am and F. then C+, etc etc.

the jazzy one is the result of me trying to make just a kind of jazzy rythym in guitar pro, and i thought it sounded great on piano. all the melodies i jammed up on my guitar along with it and put them in gp. the piano solo may sound strange to some ears because i've never really played piano or know any conventions of it or anything.. but i just made it according to what i was hearing so its all good :P hm.. i guess i lost the guitar pro file for that
Attachments:
yeah.zip
michal23
=D
Join date: Jan 2007
3,221 IQ
#37
^ Ead I loved that! The orchestral harp and the strings create a wonderful atmosphere! Personally, however, I didn't like the pizzicato strings - unless it was the awful MIDI sound that caused me to dislike it, I'd personally replace it with another instrument. I must admit, I' not too sure what I'd replace it with; maybe two violins? Other than that, it was great

As I said I would earlier, I've uploaded two of my acoustic pieces. They're only about a minute long each (first one repeats), and is what I came up with messing around with different tunings. I was initially gonna upload my recordings, but the file size is too large even when compressed. You'll have to make do with MIDI...
Attachments:
Acoustic.zip
duncang
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Join date: Sep 2005
4,442 IQ
#38
Bookmarked. I was in that group and felt bad about never getting round to looking at many other people's stuff because I don't go on groups that much. Hopefully I'll get a good look at most stuff in here.

...and of course post my own
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one vision
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Join date: May 2007
727 IQ
#39
Quote by DarTHie
I don't know almost anything about classical guitar and all that eras, so bear with me.

I loved the first part (bar 11, 12 - amazing melody). That F Major fast part became a little boring to me. After that part everything flows smoothly.

bar 55 - What A Wonderful World - please listen to that part

Thanks! Yeah, that bar 11-12 is also my favorite phrase of the whole song.

The F major part was more technical, arpeggios and whatnot. I tried to make as smooth a transition as possible



Quote by xxdarrenxx

One Vision; I already checked ur piece out a while ago, very nice executed and nice composition. I didn't need to open up the tab to appreciate it. Also 1 of the reasons why I approached you for classical guitar in Pm while back


Thanks, I'm honored. And I hope I helped you too. How's the classical going?




Quote by Freepower

OV, your thread idea is really taking off!



Quote by michal23


One Vision, I really like the start of your piece, very nice indeed! I particularly liked the part starting at 1:00 of the video. I must admit, though, I didn't really enjoy the fast part starting at around 1:26.


Thanks, Yeah, I know it can get a bit boring. I wanted to balance out the sad, slow, brooding mood with something a lot more upbeat (As you should, contrast ftw).

I blame it on the bad recording quality



Ead: Very nice. It's very avant garde haha. Reminded me of a mix of oriental and 20th century art music.



I'll listen to the rest later, brb.
Last edited by one vision at Jan 8, 2009,
xxdarrenxx
UG Fanatic
Join date: Jan 2006
1,654 IQ
#40
Quote by one vision


Thanks, I'm honored. And I hope I helped you too. How's the classical going?





Np, it's good, though there's so much musical projects i'm working on atm, it's killing me

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