#1
Hey guys how is every one? I need tips on how to write leads for rhythm...maybe some videos...not neccisarily solos just a lead to go over a rhythm....id appricate any help...
#2
Melodic Control
Google it...
Amorphis
Quote by iceman_8319
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By the time you've read this post, 3 ninjas have had sex in front of you.

#4
Target chord tones
Fender Classic Player 60s Strat
Washburn HB35
PRS Santana SE
Yamaha Pacifica 112MX
Vox AD30VT
Fender Champion 600
Dunlop wah
Danelectro Cool Cat fuzz
#5
less is more
What the ancients called a clever fighter is one who not only wins, but excels in winning with ease.

Sun Tsu, The Art OF War
#6
First, write down the chord progression that you're going to follow. Make sure that you're aware of the notes in each of the chords. Write a chord-tone melody that follows the strong beats of the tune. If your piece is in 4/4, your strong beats are 1 and 3. If you're in 3/4, your strong beat is 1. If you're in 6/8, your strong beats are 1 and 4. View more complex time signatures as combinations of simpler time signatures. If you align chord tones with strong beats, your melody is going to be strong and the progression will be easily heard through the melody. The melody is going to be just an outline of what is played during that passage; all that's left for you to do is embellish on it. If you always keep that chord-tone melody in mind, you will always be able to come up with new phrases and leads to play over a progression.

To give you an example, let's look at this progression in 4/4:
Em /// |Bm /// | F# /// | Bm /// |

If you were to analyze this, you would know that it's in B harmonic minor, but what's more important is that you know your chord tones, so let's analyze each chord:
Em is the iv of B harmonic minor, and it could be extended to Em7. Its chord tones are E(r), G(b3), B(5) and D(b7, from the Em7), with G or D being preferable when emphasizing the harmony.
Bm is the the i of B harmonic minor, obviously. It could be extended to Bm(maj7). Its chord tones are B(r), D(b3), F#(5), and A#(7, from the Bm(maj7), with D or A# being preferable.
F# major is the V of B harmonic minor, and could be extended to F#7. Its chord tones are F#(r), A#(3), C#(5), and E(b7, from the F#7), with A# or E being preferable.

I'm going to make a melody from the above chord tones, with a note being played on the first and third beats. My melody is:
D B | A# F# | A# C# | B F# |
This is going to be the base of my improvisation from this progression. It's not perfect, but I came up with it in like 30 seconds, so no bashing of the melody.

To start at the absolute basics, I'm going to build arpeggios from each note of above melody. The chord scale of B harmonic minor is this:
Bm(maj7)-C#m7b5-Dmaj7+-Em7-F#7-Gmaj7-A#*7

So the order of my arpeggios is going to be:
Dmaj7+ - Bm(maj7) | A#*7 - F#7 | A#*7 - C#m7b5 | Bm(maj7) - F#7 |
Here's one possible way to play these:

-10-9-6---7-6-10---|------12-9----------|-----------7-----|---------------9-12-|-10--
--------7--------7-|-11-8------7-11-----|-------8-----8---|-----7-11-7-11------|-----
-------------------|----------------9-6-|---6-9---6-----9-|---7----------------|-----
-------------------|--------------------|-8---------------|-9------------------|-----
-------------------|--------------------|-----------------|--------------------|-----
-------------------|--------------------|-----------------|--------------------|-----


Now that I read through that, it wasn't exactly the 'absolute basics.' One idea for embellishment of the melody is to precede each note with its leading tone, like this:

-10---6-7---5-|-6---------5-|-6---8-9---6-|-7---------9-|-10-----
--------------|-----6-7-----|-------------|-----6-7-----|--------
--------------|-------------|-------------|-------------|---------
--------------|-------------|-------------|-------------|---------
--------------|-------------|-------------|-------------|---------
--------------|-------------|-------------|-------------|---------

It's not Bach, but it's just to show you possibilities, and to show you that melody is everything. I could fill in the gaps of my melody with notes that make no sense at all harmonically, and you would still hear the harmony if the melody is strong enough. Here's an example:

-10-8-----7-8-5---|-6-8-10-----------|------------------|-----------------|---
------9-6-------9-|--------9-7-6-----|------------------|-----------------|--
------------------|--------------8-5-|---7-8----6-7-5---|-4-----------4-5-|-7-
------------------|------------------|-8-----10-------6-|---7-6-5-4-5-----|--
------------------|------------------|------------------|-----------------|---
------------------|------------------|------------------|-----------------|--

This is a little bit extremely extreme. I most likely wouldn't play this and you most likely won't, but it's just to illustrate the point.

Remember, if you're playing chord tones on strong beats, then you can't play a wrong note on any other tone. That being said, you need to consider the function of each chord that you play. If the chord is meant as a point of resolution, you wouldn't want to play too many notes that create tension. If you're playing a chord that is meant to be tension filled, play notes that tear people's ears apart. Maybe not to that extent, but you get the idea. Experiment like it's your job. Good luck!
#7
you just have to feel it. listen to the progression and the accents, use the melody to add emotion to the rhythm. dont really go with it, dont really go against it, add to it. its all too easy to just go with the rhythm and chords when writing melodies (i see singers do this WAY too much). the accents should line up pretty well, or blend together well at least, and the notes between should hold and/or syncopate for a more interesting melody, or suspend longer and stay more towards the accents for a more climatic effect.


listen to in flames, anything clayman era especially, imo jesper is a melodic god. bullet ride and only for the weak have some excellent examples of melody over various rhythms, and igves you an idea how parts should flow into eachother.

arch enemy tends to have some good melodies in a few of their songs (mostly in the chorus), nemesis and dead eyes see no future come to mind.


most important, listen to some good vocals, vocals are essentially the same as writing a guitar melody, with a few exceptions (guitar melodies tend to not stay on the same note like vocals do, and tend to not hold as long as vocals).
#8
i think he understands the melodic control part, i don't think anyone has really even explained to this guy that scales are involved.. which is really rare for this site seeing as so many people here emphasis on them so much.