#1
Well, I have been tinkering with it here and there since a couple of weeks ago. There should be a continuation of the solo into the next segment, as you can see that it is built over a variation of the progression of the previous part but I haven't got to its second half yet.

I advice on using the RSE (though it's hard to get a good mix with it), but if you insist on using MIDI-sound change the "Accompaniment Clean" track to "Electric Guitar (jazz)", also on bar 171 with F10.

Also, there aren't really any drums at the moment except for something I threw into the introduction.

Thanks in advance.
Attachments:
GuitarComposition39.gp5
Last edited by TLGuitar at Nov 8, 2014,
#2
I really hope that I don't come off too harsh on this one. I understand the amount of work that was put into this--so I'll be as thorough and honest as possible.

The solo from bars 1-20 seems to be quite heavily rooted in the neoclassical genre while it ventures off into odd time signatures typically found in prog. Not quite sure how I feel about it, in all honesty. It's strange how that part leads into bar 21, and I'm not even sure if the introduction really adds to the piece as a whole.

The main chord progression is pretty interesting in a way. On it's face, it's simple and almost annoyingly catchy. Underneath there's a lot of superimposition of chords, upon listening to and seeing the chords used between the distorted guitar and the clean guitar. The superimposed chords blend quite well into each other. The little leads in the clean track from 21-40 are nice. The overall section seems to hint toward a "fusiony" genre (which is further highlighted by the later change at 41).

The change at bar 41 is cool, but I'm not sure I'm liking the last two chords of bar 42--it's a bit dissonant and to my ear it doesn't really lead into bar 43. From Bar 43 to the middle of 44, it sounds good, but the scale run after the chords had me lost.

I wonder what the section up to bar 54 would sound like with more layers to provide context. Without proper context, the chromatic run seems to be rather random.

Skip to the section starting at bar 91. The entire feel of the track changes completely. In fact, it seems like an entirely different song. It has a bit of a prog feel and a bit of a neoclassical feel to me, much like the introduction.

Skip to 171, I must admit that I'm quite lost as far as trying to determine the direction the piece wants/wanted to go. This section itself is quite nice, but I honestly don't know where anything fits in the grand scheme of things.

---

The piece itself is incredibly ambitious. It touches on quite a few genres on the musical spectrum. There are a lot of cool ideas going on (each of them could probably construct multiple songs), but there isn't really a central theme to tie it all together in this one piece.
#3
Quote by D2BII
I really hope that I don't come off too harsh on this one. I understand the amount of work that was put into this--so I'll be as thorough and honest as possible.

The solo from bars 1-20 seems to be quite heavily rooted in the neoclassical genre while it ventures off into odd time signatures typically found in prog. Not quite sure how I feel about it, in all honesty. It's strange how that part leads into bar 21, and I'm not even sure if the introduction really adds to the piece as a whole.

The main chord progression is pretty interesting in a way. On it's face, it's simple and almost annoyingly catchy. Underneath there's a lot of superimposition of chords, upon listening to and seeing the chords used between the distorted guitar and the clean guitar. The superimposed chords blend quite well into each other. The little leads in the clean track from 21-40 are nice. The overall section seems to hint toward a "fusiony" genre (which is further highlighted by the later change at 41).

The change at bar 41 is cool, but I'm not sure I'm liking the last two chords of bar 42--it's a bit dissonant and to my ear it doesn't really lead into bar 43. From Bar 43 to the middle of 44, it sounds good, but the scale run after the chords had me lost.

I wonder what the section up to bar 54 would sound like with more layers to provide context. Without proper context, the chromatic run seems to be rather random.

Skip to the section starting at bar 91. The entire feel of the track changes completely. In fact, it seems like an entirely different song. It has a bit of a prog feel and a bit of a neoclassical feel to me, much like the introduction.

Skip to 171, I must admit that I'm quite lost as far as trying to determine the direction the piece wants/wanted to go. This section itself is quite nice, but I honestly don't know where anything fits in the grand scheme of things.

---

The piece itself is incredibly ambitious. It touches on quite a few genres on the musical spectrum. There are a lot of cool ideas going on (each of them could probably construct multiple songs), but there isn't really a central theme to tie it all together in this one piece.


Thanks for the crit!

It basically started (as far as I remember) from the rather simple harmonics-riff I just jammed on my guitar, on which I built the chordal accompaniment heard in the distortion-guitar.

Regarding the "fusion part" - first, it did kind of sounded "fusionish" to me, by I didn't want to describe it as such as I didn't really learn jazz and I don't know if it makes real connections with it.

But anyway, regarding the progression from 42-to-43: it's all pretty much extended harmonies (which probably contribute to it seeming jazzy) so it's hard to say that it's "pleasant" or even making much sense in the usual-sense, but you could say that the chord opening 43 is Am-add9, while the last chord on 42 is C#min9th (no5th), which also alludes to an E chord. It's all really just a result of forming the chords melodically rather than harmonically, so I can't say it sounds like anything it "should". The run at 44 is just a breaking of the chord I put in there, but I found it to sit well, actually, rather giving more of a sense of a flow between all this "chord jamming".

Basically, the composition is currently dividable into two parts (not sections). Sans the introduction, the part from 91 is built on another idea I had (which is itself made from several sections), while basically the part from 171 (where the solo is) is based on the previous theme but in a different tempo/rhythmic feel. I originally made it follow the exact same notes, but I later moved it around a bit the give a more interesting harmonic background to the solo. I'd say I'm actually very happy with the solo part itself, so far.

I understand most of what you're saying, but it's also one of those stuff you somewhat need to "get used to". I found that many musical ideas only seem to make sense after you're a bit familiar with them.

But the last point I'd add is SOUND - It plays a huge part in the final product, especially in creating a more "prog-atmosphere", and guitar pro isn't all that good about it. I thought of adding some more keys here in there for the atmospheric wholeness (think of how Erotomania gets a nice foundation over its almost completely chromatic melody), but anyway it's hard to get it to sound as grand as you hope for on the computer.

As for the tapping introduction - well, it is somewhat separate, but again - with a good sound and perhaps a more "airy" feeling to it with stronger delay/reverb in an actual recording I think it should sound good and in context. The leading to the following main harmony is pretty straight-forward, actually (it ends on a B).
Last edited by TLGuitar at Nov 9, 2014,
#4
Wow...! I know that guitar pro doesn't always capture the essence of whats written but there is vision to the song as well as some really cool ideas that with some polishing could be amazing. I'll start by saying the drums really need a lot of work. I think the strongest part of the song is the extended, chorusy type riff. Its an excellent hook that, if it were a song I wrote, would be the centerpiece which the other chords are arranged around and eventually come back to. The extended transfers flow great and the use of different major, minor, jazzy, etc chords gives a sense of space and texture which might drag on towards the end.

Intro- Its eruption meets fugue in d minor, but I think if you do the instrumentation and sounds right it will work. Like you mention above a more "airy" tapping guitar (it made me think of tapping thing from don't fear the reaper leading into the guitar solo) wouldn't be as jarring. I think some synths or at least chords could work well under it...perhaps some sort of organ (church or rock) ? The drums here aren't necessary until bar 17 where you do the pedal tone - there the drums could do alternating toms that fade in as you would hear in heavier genres which would build tension up into the next riff. I'm sort of conflicted about this part because it doesn't sound anything like the rest of the song, which on one hand could hurt the overall listening but on the other its a pretty proggy song so it sort of prepares you for that.

Chorus/Hook/Thing - Definitely the strong point of the song, and not just because it's annoyingly catchy. The overlapping chords work great and the extended jazzier transition flows very well. I'm not a huge fan of the major chords in measure 29 but that's just me. Obvious DT reference with the staccato ending lol. I think the bass guitar here is a great start, but you are going to need some serious drums to match the intensity and variety of the ideas here. Back to DT-like antics in measure 78. I really like the chords you stack here, but towards the end the repeating rhythm strayed from the more...rebellious...transfers from before (44, 74). I was expecting to get tripped up on the rhythm towards the end and felt let down

Piano to choir - I love this part probably because I'm a keyboard player. Transitioning in with a piano part sounds great, and it sounds very Kevin Moore-ish, but I'm more of a Jordan Rudess kinda guy and would likely write more of an active piano part here. You could get more involved with the left hand doing octaves or low notes and the right doing more with the melody. It reminded me of Take the Time. 123-139 is a good build up to....

139 - I think this riff has a lot of potential. The build up makes you expect something crazy but doesn't necessarily deliver, it really reminded me of Take the Time leading into the synth solo and I think some form of solo, unison, lead, or flute/xylophone jam could fit well here. Maybe keep the descending keyboard riff but there needs to be something driving the bass/guitar riff underneath. This is another section where the right drums could make it even better.

147 - I think this is another great riff that could use a little definition with rhythm including drums and other instrumentation. I would do a quarter note on snare/cymbals, bass (low A) and rhythm guitar for the first note of measures 147-149 and 152-153, and then different endings for each motive.........if that makes any sense. I could tab it out if you want.

I would try to bring the song back to that cool chorusy riff at some point and didn't much like the acoustic guitar interlude because you already had a fadeout with a piano interlude prior in the song. After that I felt like the song really lost steam, but I'm not too big into prog/jazz (well at least not as much as I'd like) so I tend to look for a repeating, easily identifiable structure in songs. If you continue in this direction for the song it could work really well, but does need work with some new ideas, arrangement, cool drums, and MORE ****ING KEYBOARDS!!!!

So yeah I wasn't planning on writing that word salad but there were a few riffs I noted above that really stuck out to me as inspiring and musical and like I said originally there is definitely a vision here that you can pick up on pretty quickly. I can post some guitar pro examples if I was being confusing about things, and if you want to c4c I posted a song https://www.ultimate-guitar.com/forum/showthread.php?t=1660223
Last edited by ~Flounder~ at Nov 10, 2014,
#5
Wow, that was a long crit!
I remember seeing some of your stuff which I liked a lot!

I glad you (mostly) liked it, and I understand most of what you suggested, but I'm not sure I followed all of the measures you numbered as I think that at times you were referring to a different part of the riffs... Anyway, I have a piano but I'm not too much of a keyboardist so in the mean time I wrote the piano/keyboard parts using the guitar, and that's why you don't really see much "crazy piano leads" as you hoped for. Though I'd say I'm less into the Rudess type of playing as (to me) he's many times WAAAY over the top that it becomes a bit tasteless. I mean, they are all basically the most virtuosic of their instrument of choice, and I feel like when his playing is more "buckling down" and atmospheric - giving a sonic foundation to the rest of the band, it works better.

Anyway, drums as you can see are nowhere except for the tapping intro - which I just threw together so they're not necessarily final either. The thing is that I don't play drums and I don't even know if what I write for them makes sense.

Regarding the "acoustic part" - well, it's actually almost my favorite part, as I feel the somewhat mellow solo really goes with the atmosphere. The thing is that (as I mentioned) it's basically a variation of the previous section. It's slower and instrumented differently, but sans a few harmonic changes here and there it follows the same pattern if you listen to it. It might seemed to you that it's lost its place, but other then the acoustic change it really goes over the same idea.
Last edited by TLGuitar at Nov 10, 2014,