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#41
Quote by Freepower
*Long post edited for economic quoting


I'm a bit of a drum nut when it comes to composition so first of all I'd say I would have really liked some more active drumming. You've said that you weren't exactly trying to make them that exciting but I still woulda liked a bit more flair

It was a cool riff and I really liked the solo and the little lead at bar 11, but I was really hoping that you'd get a bit more of a melody going to match the exoticness of that Koto track, rather than just repeating the same little shapes. Actually, I think that could have happened if you'd cut the 8 bars of rhythm before the solo comes in over it so that it's a more convincing segue. I appreciate that the GP file isn't meant to be taken as law for this piece, but maybe just some notes to fade in/out on would make some of the transitions a little smoother, too
Quote by justinb904
im more of a social godzilla than chameleon

Quote by MetalMessiah665
Alright, I'll give them a try, Japanese Black Speed rarely disappoints.

Quote by azzemojo
Hmm judging from your pic you'd fit in more with a fat busted tribute.
#42
Quote by DarTHie

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

HAHA.

Oh wow. I just totally heard it in that context too.

I used that chord movement (Bbdim - Dm - Edim - Dm) a few more times in the song, but I guess that phrase brings it out more.

Awesome.
#44
Quote by michal23
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...

Not bad, I would like to hear your recordings. Are they on your profile?

In the one titled 8 I honestly felt like that Eb was just a bum note. That dissonance was just too strong for my taste. Maybe it's the midi that doesn't help and the timbre of a real guitar would breathe life into it - idk.
Si
#45
Quote by 20Tigers
Not bad, I would like to hear your recordings. Are they on your profile?

In the one titled 8 I honestly felt like that Eb was just a bum note. That dissonance was just too strong for my taste. Maybe it's the midi that doesn't help and the timbre of a real guitar would breathe life into it - idk.


It isn't to me. But I always had a knack for that major into minor stuff...
Quote by Johnljones7443
my neew year reslosutions are not too drikn as much lol.

happy new yeeae guyas.
#46
^^ to the "8"

If you take that bar with the 2 Eb notes and make the 2nd a D note, then it could fit more nicely.

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#47
Quote by xxdarrenxx

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 personally didn't find it to be dissonant, but I might change it from an E to an F instead (minor third). I'll give it a try.
ALWAYS

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



OH, LOOVE!
#48
Bass note changed to F, except for the first bit, which I thought fit. I like it better this way. I also fixed an error in the bass towards the end.
Attachments:
Stargazer.zip
ALWAYS

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



OH, LOOVE!
#49
Ok, I've been experimenting with a progression that's (for the sake of simplicity, transposed to C Major) C - A7 - Bb6

Just by looking at this, you would expect it to be in the key of D minor, but it resolves to C major if I remember correctly. So...am I using some kind of chord substitutions that I'm not aware of?

I just hate composing stuff that I can't theoretically explain.

Any help?
#50
It resolves to C mixolydian. Similar, but not C major
ALWAYS

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



OH, LOOVE!
#52
^harmonic minor, then back to aeolian.
ALWAYS

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



OH, LOOVE!
#54
Quote by one vision
I'll just consider it a secondary dominant of D minor.

So...

ii/V

Yeah?


Nah man,

VII, V, VI.

Second chord just uses the raised seventh of D harmonic minor.

At least, that's how I interpret it.
ALWAYS

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



OH, LOOVE!
#55
Michal23 the harmony in your composition is fantastic, I can't wait hear it when it's completed, usually the hard part is getting a good ending.

Oh and xxxdarrenxxx you can find the recording on my profile.
#57
Quote by one vision
I never compose anything in order.

The end came right after I wrote the theme for my composition.

The middle section came last



lol, was it awkward trying to fit something in that will fill it? Or does it come straight from your head instantly.
#58
Umm, I had a few phrases worked out, and towards the end, I was just kind of making transitions between them.

Like I have the theme, and then the secondary theme, and then just stuff in between that.

Same goes for the second section.

The middle section is just there to contrast.

And it was pretty hard, because I came up with a good bit, and think to myself, "where the hell is this going to go?" .
#59
Quote by one vision
Ok, I've been experimenting with a progression that's (for the sake of simplicity, transposed to C Major) C - A7 - Bb6

Just by looking at this, you would expect it to be in the key of D minor, but it resolves to C major if I remember correctly. So...am I using some kind of chord substitutions that I'm not aware of?

I just hate composing stuff that I can't theoretically explain.

Any help?



Well first of, it's a nice progression and how you wrote it, it's C mixolydian.


The last chord, and it wants to resolve because it's has the tension of an Csus4 chord with an A# in the bottom (which makes it a modal vamp (mixolydian), which wants to lead into the C of course.

The A7 is a chord substitution.

You made an Mixo modal vamp, by using that A# while still resolving to C because of that sus4 sound.


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Last edited by xxdarrenxx at Jan 9, 2009,
#61
Quote by one vision
Lol. Yay.

Haha. I'll give it a try.

And I agree, it doesn't necessarily pull towards C, but it's certainly a possibilty.

Thanks


Ye soz I edited a bit my post, I only use the word Pull or something in cadence, rest is taste.

Btw The A7 is a chord substitution.

Still musical nice progression

To make it more logical.

C - Amin7 - Bb6 - G - C

Comes closest in a C Major "correct" progression.

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Last edited by xxdarrenxx at Jan 9, 2009,
#62
^Hmm. I'll try that.

I'm just composing something, and trying to get as far away as I can from staying diatonic, if you know what I mean.

Once I clean up the guitar pro file (it's like a scrapbook right now ), I'll post it here in a day or two for advice and opinions.

And yeah, I was wondering whether or not that A7 was some kind of chord substitution that I didn't know the terminology for.

Thanks.
#63
Quote by one vision
^Hmm. I'll try that.

I'm just composing something, and trying to get as far away as I can from staying diatonic, if you know what I mean.

Once I clean up the guitar pro file (it's like a scrapbook right now ), I'll post it here in a day or two for advice and opinions.

And yeah, I was wondering whether or not that A7 was some kind of chord substitution that I didn't know the terminology for.

Thanks.



Yes Diatonici away!!

Use ur original one, cause it offers more tonally due to an A7.

I see 7th chords as "gateways" in music to to other scales/modes/tone centre's, because they are so neutral.

Without 7th chords, half of all music wouldn't exist

That's why alot of blues uses 7ths and jazz also. It is harmonically "more weak", but offers more note choices.

I did a crazy rant on that yesterday in another topic, but i'll leave it at this

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#65
Quote by 20Tigers
Not bad, I would like to hear your recordings. Are they on your profile?

In the one titled 8 I honestly felt like that Eb was just a bum note. That dissonance was just too strong for my taste. Maybe it's the midi that doesn't help and the timbre of a real guitar would breathe life into it - idk.


Okay, the recordings are on my profile now

Please excuse the mistakes and ****ty sound quality, I was in a bit of a hurry and was using rubbish gear.
#66
Quote by michal23
Okay, the recordings are on my profile now

Please excuse the mistakes and ****ty sound quality, I was in a bit of a hurry and was using rubbish gear.


Acoustic piece #2 was nice.

I only think that it would sound better if you use that Db (at 0:14 highest note) once as a passing tone. Playing it twice imo implies it's part of the harmonic movement because it follows the similar patterns as the arpeggios before it.

Since it's high register it serves more of a melodic function, and it implies that that melody on the chord is the resolvance, because it's the last chord before it repeats.


I liked the piece, and was waiting for Robert Plant to come in with singing.

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Last edited by xxdarrenxx at Jan 9, 2009,
#67
^ awesome, thanks very much! And I agree, it sounds better if the second Db I replace with a D.

IMO there's nothing better (for me, anyway) than composing in open or alternate tunings. Any patterns that you once had are gone, and you're forced to completely use your ear (which I, occasionally, find surprisingly hard). Only problem is, I can't improvise a solo for **** in open tunings.
#68
^I liked both of the acoustic pieces.

It sounds like they would go good together if you somehow merged them into one composition. I don't have access to the GP file (I'm not at home), but they sound like they are in the same key, or at least in closely related keys. Are they?

#69
Quote by one vision
^I liked both of the acoustic pieces.

It sounds like they would go good together if you somehow merged them into one composition. I don't have access to the GP file (I'm not at home), but they sound like they are in the same key, or at least in closely related keys. Are they?



One's in D and one's in G if I remember correctly, so yeah they would go well together. However, they're in ever so slightly different tunings, so I'd have to change one or two notes in the second one. But yeah, I did think (and still am, if I can come up with something) about merging them into one composition.
#71
Quote by one vision
^Yeah, maybe find a compromised tuning that fits both?

But re-learning stuff is annoying.

Especially when it's your own composition


Exactly

The main problem is, the one composition uses the Open D on the low string, whereas the other composition uses an Open E while playing higher up the fretboard

EDIT: What I have been considering, is playing the octave of the E on the 7th fret of the A string, but it just doesn't sound as good and I'm a very picky person
#73
^^

Double neck acoustic

/discussion


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[font="Palatino Linotype
Who's Andy Timmons??
#74
Quote by GoldenGuitar
Michal23 the harmony in your composition is fantastic, I can't wait hear it when it's completed, usually the hard part is getting a good ending.

Oh and xxxdarrenxxx you can find the recording on my profile.

Not really, I have a piece I'm working on right now, that the ending is, IMO, one of the best parts of it, and I came up with it very early on in it's composition. I find the hardest part is writing the main themes, and expanding on them, so the song isn't just repeating them for four minutes.
ALWAYS

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



OH, LOOVE!
#75
Quote by SG Man Forever
Not really, I have a piece I'm working on right now, that the ending is, IMO, one of the best parts of it, and I came up with it very early on in it's composition. I find the hardest part is writing the main themes, and expanding on them, so the song isn't just repeating them for four minutes.

Yeah, this.

I spent about 3 weeks rearranging and revising my countertheme. Which is like 5 bars.

Still though. When you're working all night and even get 1 bar of something you think is great, it's a night well spent.
#76
Is it just me or does my post appear empty to everyone? If I edit it it's full of text.

EDIT, perhaps it works here:
Quote by SG Man Forever
Stargazer

The main riff was quite nice, but I did not the F of the bass in the new version, nor did I like the E in the old. Your using the D as a pedal note in the riff and I think you should have kept the bass on this aswell. The riff at the beginning is quite cool, although it gets a bit repetitive. But perhaps you could solve it by doing something that maiden does aswell, repeating the same lick over different chords (or different notes on this example). So like having the bass do something like
|D |F |G |F-E|.
W E E E E E E E E E E E E E Q.
-------------------|--------------------------|------------------------|
-------------------|--------------------------|------------------------|
--5----------------|--5--5--5--5--5--5--5--5--|--8--8--8--8--8--8------|
-------------------|--------------------------|------------------------|


E E E E E E E E E E E E E Q.
----------------------------------|------------------------|
----------------------------------|------------------------|
--10--10--10--10--10--10--10--10--|--8--8--8--8--7--7------|
----------------------------------|------------------------|

This way the notes in the riff stay the same but their distance to the "bass progression" differs giving different sounds and making it more interesting.

The rest sounding interesting though, I really liked the solo, how you let like the theme come back and build arround it.
But I assume you still have to put it like in correct order, because that intro really came out of nowhere (It was nice though but didn't fit the song).

(I'll edit in a sec with some of my stuff for you guys to have a look at but IE is a bit dodgy)

The ninth circle
Craipshait I had a really nice story about the song covering every aspect of it but then stupid IE let down on me I'm on Firefox now.
Now about the song, it is a really evil song, mostly in E phrygian but I wander off to E Locrian once (you see the A# more often but it's an accidental everywere except the 00-0-0-0-5-6-5-6 riff) and to E minor. There is no solo tabbed but the progression for the solo is a really simple chromatic descending line, to allow random chromatic notes and general guitar wank (It adds to the feeling of the song in my opinion, a solo with "feeling" and harmony wouldn't fit here. Then we go to a creeping death like riff followed by harmony in B minor.
The outro is a bit weak.
BEWARE: This is metal and there's a lot of thumping a muted E, I suggest only listening to the Verse only once and skipping the rest because it's really repetive without vocals.
Attachments:
The Ninth Circle.zip
Guitasr:
Cort KX-Custom
ESP LTD M-200FM
Amp:
Engl Powerball
Misc:
Focusrite Scarlet 2i4
Last edited by pinguinpanic at Jan 9, 2009,
#78
I fixed everything, also One Vision I liked your composition but I don't think I'm on that high level yet so it's hard to comment, it's above my knowledge so to say. But it sounds nice although the beginning sounds a bit slow, but that might also be why it sounds so nice.
The youtube video sounds nice as well, you must have put everything on 11?
Guitasr:
Cort KX-Custom
ESP LTD M-200FM
Amp:
Engl Powerball
Misc:
Focusrite Scarlet 2i4
#79
Quote by pinguinpanic
Is it just me or does my post appear empty to everyone? If I edit it it's full of text.

EDIT, perhaps it works here:

The main riff was quite nice, but I did not the F of the bass in the new version, nor did I like the E in the old. Your using the D as a pedal note in the riff and I think you should have kept the bass on this aswell. The riff at the beginning is quite cool, although it gets a bit repetitive. But perhaps you could solve it by doing something that maiden does aswell, repeating the same lick over different chords (or different notes on this example). So like having the bass do something like
|D |F |G |F-E|.
W E E E E E E E E E E E E E Q.
-------------------|--------------------------|------------------------|
-------------------|--------------------------|------------------------|
--5----------------|--5--5--5--5--5--5--5--5--|--8--8--8--8--8--8------|
-------------------|--------------------------|------------------------|


E E E E E E E E E E E E E Q.
----------------------------------|------------------------|
----------------------------------|------------------------|
--10--10--10--10--10--10--10--10--|--8--8--8--8--7--7------|
----------------------------------|------------------------|

This way the notes in the riff stay the same but their distance to the "bass progression" differs giving different sounds and making it more interesting.

The rest sounding interesting though, I really liked the solo, how you let like the theme come back and build arround it.
But I assume you still have to put it like in correct order, because that intro really came out of nowhere (It was nice though but didn't fit the song).

(I'll edit in a sec with some of my stuff for you guys to have a look at but IE is a bit dodgy)


That's actually a really good idea, even though I consciously had that many repetitions, so that way I could play with the harmonies, I was afriad that it did sound little repetitive. I'll give that a try, thanks! I might keep the F for the first bit, since it provides, combined with the guitar playing a D chord, essentially a D minor chord. I'll play around and see what "progression" I like.
ALWAYS

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



OH, LOOVE!