#1
Just noodling around and came about this. Just an idea. The cut from the chorus to the bridge is a little abrupt, but nothing ridiculous, imo. One of my better pieces in terms of cohesiveness. If anything, it sounds like some awkward mix of My Chemical Romance, The Used, Yes, and The Killers.

The bass is more of a lead instrument on this song, as well as a rhythm instrument. I think the bassline for this song is perfect.

About 3 minutes long. Enjoy.

Goredit: I'm using a cleaned up version of this song now (thanks go to Weeping Demon7 for cleaning it up).
Attachments:
Rock Polished.zip
R.I.P. Charles Michael "Evil Chuck" Schuldiner
B. May 13 1967 - D. December 13 2001

Quote by eggsandham2
cuz ppl hate how power metal they are cuz they think its "gay" or w.e, which is immature and dirogitory
Last edited by Slaytanic1993 at Aug 1, 2009,
#2
Sounds pretty good not really my thing and im not sure how PHC this is.
Bars 47 sounded really bad
i dunno why haha the rest of the solo sounds good. I also think you should play with the volumes a bit more Bridge was real sweet.
Solo 2 was the highlight of the song for me very nice phrasing and such.
126 into the chorus with the drums sounded far too empty.
Pretty good song
8/10
C4C
https://www.ultimate-guitar.com/forum/showthread.php?t=1173631
#3
The intro has a pop-punk kinda feel. (Forgive me, but the drum beat especially has a very Fall Out Boy feel to it.) When the bass comes in, it establishes a nice melody for the song. When the Track 3 guitar comes in, it has a very up beat groove to it that gives it a very Blink-182 feel. When the second guitar comes in with the power-chords, the song seems to blend together very well and the song evens out. All in all, the intro is solid, it's not spectacular, but it's not bad either.

7/10 for the intro

As for the verse, as soon as I heard it, I really dug the way the drums compliment the two guitar parts, the lead guitar part really adds a sense of melody to the song (I'm assuming this is written for a band with a singer?) but the classic consistent 8th note grove comes back, which isn't a bad thing, but makes the song slightly repetitive.

I've always been a fan of the way octaves, when used correctly, can add another dimension to the sound of ones song. This song is an example of how they're used CORRECTLY. The slides give the progression a sense of direction, but don't add to much attention to the band in comparison to whatever the singer might be singing.

Verse? 8/10. Good. Very solid. Everything adds to something bigger, but nothing really detracts. The first two bars gave an extra point to your score.

The chorus build up is tight, but the drums make it even better. I'm a fan of good drum tracks, (maybe because mine are pretty monotonous) and I give a lot of credit to those of us who use fills, which you do very well. The first part of the chorus (pre-35) is solid (7/10) but the really cool bass line adds another point. However, when 35 comes around, the guitar part gives this song an uplifting feel, borderline epic, even. But the riff at measure 39 on the lead guitar part is kinda awkward, but I think that's just the MIDI.
Chorus 8.5/10 (mainly for the cool guitar riff at 35 and cool bass line.

The solo isn't quite as good. It's kinda awkward and a little atonal. The octaves only work on certain pitches. You're better off just hitting single notes in the key. (More on that later). The part after the solo is cool; it brings the song down, getting ready for the next part.
Solo=5/10 (1 point given for the post-solo part).

Going back to the verse and chorus is to be expected of any classic rock song. Everything is fine up until the bridge.

The bridge itself is possibly the best part of the song. It settles the song down in a really beautiful way. I really, really, dig this bridge part. The only problem is, you settled down too fast. I won't even knock a point off for this, but give it two measures of rest (with a drum beat keeping time on the cymbals or something), THEN come in with the bridge.

To be honest, when I saw the lead part coming up, I was a little nervous that it would be something similar to your solo, but it wasn't. It flows very well. (Not perfectly, that's very rare) I could feel where it was going (which I like to be able to do; some call that repetitive, I call it normal) and I thought it took me to the second solo really well.
9/10 for your bridge.

The solo is loads better than your first one, but still only a 7/10 because there isn't a very catchy phrase in there (but I liked how you kept repeating that one phrase).
6.5 maybe a 7/10 for your solo.

I really liked the way the second solo brought the last chorus back. It was uplifting again, which I really like. This chorus gets a 9/10.

Ending was tight, but it doesn't deserve an entire rating.

Starting from 10, I'm going to have to take 1 point away because this style of music and hardcore/metal is really overused. I'm going to take another point because the first solo was pretty rough. Half a point more for being a messy score (no key sig, bars not completed with rests) but all in all. A really solid song.
7.5/10.


Going onto giving you some other advice, the key for your song is pretty weird. Your progression follows an Emajor/Dmajor/F#minor which put me in an odd position in trying to name your key because my first thought was that your key was E because that was the starting chord, but I saw a Dmajor, so E major couldn't but the key because in E major, there is no D, there's only a D#diminshed.

D major doesn't fit, because Eminor is the second, not E major.

I finally decided that A major is your key, even though you don't have an A in your song. So your progression follows a V/IV/iv which is pretty uncommon. Nice.

Which is why the octave run at the beginning of your solo sounds kinda atonal. But trying to alter any note in that riff means your playing double notes which don't move the melody along like a solo should. So it's a tricky call. You can play it by the books and make it fit the key, or drop that riff and add another one, or you could say f*ck theory and keep it how you like it.

I don't know if you want to use this one instead, but I ran through your score and polished up your key signature, color coded your master tracks and sections, added some score info and polished your

I'll attach it!

Thanks for your crit. Hope mine was helpful.
Attachments:
Rock Polished.zip
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#4
Thanks for the opinions, man.

Also, I think I might use your polished version because I did plan to throw this into some band practices so I'll need to print out the music anyways, so the key sig helped. I was tired and usually don't screw with the perfections late at night :/

Well, I would love to say f*ck theory, but really now I might have to go back and fix that part of the song...but I kinda liked it

Ah, well, anyways thanks for the crit and the tips and the polished version
R.I.P. Charles Michael "Evil Chuck" Schuldiner
B. May 13 1967 - D. December 13 2001

Quote by eggsandham2
cuz ppl hate how power metal they are cuz they think its "gay" or w.e, which is immature and dirogitory