#1
I was in a band for a while but our drummer had to move.
These are some songs that we put together in guitar pro 4
Attachments:
completed.zip
#2
first song is rather cheesy punk sounding, but the last two were tight, seriously.
Im guessing the first was just some bs played, but the other 2 seem better organized and the lead parts are melodic. Im sure it sounds better being playing through real equipment, and not that midi sound, but the ideas are on point.

hit me with a crit. http://mthree.zdsquared.com/Files/Embossed.mp3

gabe
#3
OK, In The Sun. You have some ideas there but the rhythm is a bit stiff, at least the way GP makes it sound. I am sure played it could be made to groove.

The rhythm of the melody part needs some reworking. You have a lot of forced rhythmic movement; meaning that melodic fragments often begin, in this particular piece, on the strong part of the beat. This inhibits the natural flow of the melody with the rhythm. A good practice is to begin most prominant melodic parts on an anacrusis (upbeat). This will lend a more lyrical flow to the notes comprising the melody.

You begin the melody with a B moving to an A. The B falls right on the strong one beat of the bar. One thing you might want to try is shifting the placement of the tones such that the A lands right on that same beat (beat one of bar 5) with the B acting a pickup. Of course the same idea would help the eith note motive you are using too.

Or, if you wanted to retain the original harmonic implications implicit in these particular notes moving over the chords, then you leave your B on the beat, and ad an upbeat note right before it. Generally melodies tend to move from weaker to strong beats, with fragments ultimately resolving on the first beat of the final measure. Applying this principle here you would align the A on the strong part of the beat, in this case square on beat 3. Then it may be a good idea to extend the A over the bar line, but, you can't. Not without displacing the repition of the motive in the next bar. So in this case, unless you wish to move the entire reiterance of the motive over a whole bar, we need a new solution.

The final and, to me, best solution is to simply move the A to beat 3, and then move the B to beat 2. Then, the B acts like a pickup to the A, which is what it sounds to me like you were shooting for. This entire measure acts as an anacrusis to the next measure, so no pickup note is required, just jeep these two notes on beats 1 and 3.

Then you would of course go through and treat the entire composition in similiar fashion. The eighth note passages espcially could benefit from proper rhythic placement or the addition of an upbeat note.

Then, of course, you just cut it off, so I am assuming this is simply a piece of a song you are working on. If so it's a good start.

I mean no disrespect and hope that I am not to forward in this critique. You asked and I wrote what came to mind. I do not mean to offend.