#1
I know this might sound stupid but I found a couple cool chord progressions (there's only one chord difference between the two). They're odd sounding and dissonant but sound really brutal and interesting (they sound great when tremolo-picked for Black Metal). I discovered them by accident. I'm mostly experimenting with harmony and trying new things.

First is C Major (could be major 7th), Fm (F Major might work as a consonant substitute), G Aug, Am, and C major. Second is C Major (could be major 7th), E Major, G Aug,Am, C major. They're both a sort of warped C Major progression.

I love the sound of G Aug and how it interacts with a C Major progression. I'm curious how one would approach writing melodies and soloing over these chords. Tell me what you guys think and try to be nice.

Also does anyone have any tips for writing hyper-metrical rhythms? I've been on a Polyrhythm, Polymeter, Djent, and odd time kick lately.
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
#2
I have a hard time hearing those as not jazz, like they're from a Jobim tune or something.

My experience with melody is that it's hard to do both intentionally and well. You can come up with something, but with melody in particular I think it has to have an impulse that elicits a feeling or a thought or a curiosity in the listener. It's hard to do that without actually feeling it, yourself. For me, the best things are 1) Jam on the groove or progression until something ear-catching comes together or 2) Listen very carefully to the melodies in your head and try to work them out.

Much of writing is about being able to work through a process and be mentally organized. You don't have to start at the start when writing. When jamming with a track to work up a part, you'll find places where you decide you want a high or low note, or a fast run, or whatever melodic feature. Having a concept of structure will guide your writing far more than having specific melodic ideas.

If you're doing something with a focus on an unusual rhythm, you have the choice of working with or against the meter (ie hemiola). You can choose whether the odd meter is subtle or featured loudly. You can lay on the accents or weave a part between them. I'd recommend recording your other parts, and then just jamming with the track and making conscious decisions about what you want to hear.
Last edited by cdgraves at Nov 2, 2016,
#3
RonaldPoe

A few things:

Augmented roots can be ambiguous, but if they have function, writing the name with the function will clarify things.

1: C(maj7) Fm E+/G# Am
2: C(maj7) E E+/G# Am

In the first one, the common tones Ab (G# enharmonically) and C (B# harmonically) carry over from the borrowed bVI... I hear this more as A minor than C major.
In the second one, same thing about A minor as key chord. The E+ even elaborates on the V/Am, leaving an extra common tone (B# = C).

You asked about video game music; I suggest you think more simply. The selling point of a lot of popular songs is not only rhythm (generally 4/4 accented slightly differently, or build-ups like Avicii), but good melodic content (that's what everyone sings). A lot of video game music, particularly Japanese, is pentatonic in nature melodically. I like using this as an example:



Notes in the first part:
Bb--F--Eb-F-Ab--F----
Bb--F--Eb-F-Ab-Bb-F----
Bb--F--Eb-F-Ab-Bb-Eb-F-C-Db-Bb------

The ONLY time when it goes out of pentatonic is in the continuation of the sentence (at the very end), and that can be considered a neighbor tone of the entire section actually, because Ab-Bb-Eb-F-C-Db outlines two chords, Ab (strong chord at the moment of playing) and Bbm (underlying key of the entire song, but not the focus of that specific area).
-----
So yeah. Simpler ideas may work better in your case. I'd work with pentatonic and more conventional ideas before approaching the unconventional and highly inventive.
#4
cdgraves, I just looked up Jobim (wasn't familiar with that name) and like what I'm hearing (his music is very good). He was a Brazilian compose best known for writing Bossa Nova style Jazz standards and collaborating with Frank Sinatra (he also has played with Pat Methany). Good recommendation. The G Augmented chord was used because I found a simple shape for it at the time and it has a very interesting sound. Thanks for the tips and keep'm coming.

Neo, nice tips and I've done a little research on Japanese melodies. You're right about them loving pentatonic scales (Major Pentatonic is quite popular there) and catchy melodies (the western world loves them just as much). One of my biggest influences is Yoko Shimomura (especially her work on the Kingdom Hearts series) and am trying to analyze her style (I'm having much difficulty). I'd love to have written something like the Xenoblade example. Sadly I'm just an electronic musician with guitar experience and a love of bass guitar.

Edit: I believe if you master pentatonics, you'll be able to write good melodies easily but we all know that can take decades. There's a reason the pentatonic scale is so popular.
"I don't know what you're trying to suggest. There's no shame in taking what you need to hold your position!"

Super Buu (DBZ) on assimilation (it could also apply to blues guitar and guitar soloing in general).
Last edited by RonaldPoe at Nov 4, 2016,