Page 3 of 4
#81
here's mine, but I don't know how to make it into a midi file.

does this abide by the rules?

edit: I guess I'll try to explain how I wrote it. I mostly just tried to find a way to play those notes that didn't sound completely retarded, then I added in the choir ahs a tritone above to give it a creepier atmosphere, and then added in that galloping drum to give it a little something extra.

For the second part I actually did something not completely stupid, I decided to just take all the notes from those random ones, got rid of the A# and made a scale, then I used this to come up with that riff, and added the galloping drums in again. When I revisited the main idea I kinda took it and just changed around the rhythm and put it in 9/8.

For that weird little outro thing I thought "hm, I bet I just used minor triads for those notes and played it in a weird way it would sound fucked up and creepy... let's see what it sounds like." so I tried it, kinda liked it in an extremely add way, and left it.

what do ya'll think? to me it's kinda *shrug* idk. I'm just proud of myself for being able to come up with something remotely musical out of that.
Attachments:
Experiment #1.zip
Last edited by The4thHorsemen at Sep 24, 2008,
#83
With this riff, is still horrible.

Archeo, or somone else, can you tell me if Im breaking any rules?

As far as writing this, the main thoughts were

Chromatic Run should be fast, I didnt want to hang onto the cromatic tones, as the last times I had tried, it sounded pretty bad.

The first long note was the D, the B - D being a minor third interval, wchich sounds "normal" not atonal.

Harmonized the G# - A - C bit in thirds, G# being on the bottom, added a Major 3rd harmony on top, being B# (C) which worked like-wise for the first and third note.

The A- G# harmony was passed over pretty quick, plus there was drums and guitar underneath.

With the G# - F# - F bit.

Thought of it was Ab - Gb - F

Put it in Db Major, and applied sixths harmony, which sounded alright, ending on a Minor 6th.
Attachments:
Archo Idea.zip
#84
Some of you guys have done beautiful work (the composition of destiny, particularly, was full of destiny and reminded me a little of Steve Vai - actually, would you mind if I covered it sometime?). It makes me feel a little bad that I did such a lighthearted and strange piece.

Ah well, might do another. I realised at the very end I'd missed a requirement. Which made me feel pretty stupid. I probably missed others, it never rains. However, I'm pretty happy with this.

Here's what I wrote as I composed -

Okay, first thing that popped into my head was that the first four notes are an absolute gift to me. I have a kinda funky riff based on just those notes, so with some moderate difficulty I extended it. I paid very little attention to harmonic function, preferring humour and rhythm to drive the piece along.

Speaking of humour, I thought it’d be funny to just wallop audience expectation on the head by sticking a huge distorted, down-tuned chord on the end of the funk section. However, this quasi-serialist compositional box we’re in reminded me of the gradual introduction of tones in the chromatic tremolo theme from Meshuggah’s Catch 33. This led to the next section. Pretty much channelling the doom theme music and Meshuggah-lite I just felt the drums go half military march snare and half death metal dirge, so I let them go that way. The high theme over the riff is based on a transposed version of G# A C G#, part of our theme. I decided to introduce the rest of the notes through a warbly, vibrato laden solo.

Actually, before I do that, allow me to consolidate A and B a little more by adding a part for the funk’s rhythm guitar.

Ahh, now what’s happened is I’ve got so caught up in composing a working solo (I’m relying on special effects and not note choice to get it to work) that I’ve missed a huge chunk of the creative process. I’ve tried to imply some more interesting chord movement in the “meshuggah” guitar parts. I got what I was looking for, but didn’t realise I’d have to compose myself back to section A.

In the end I’ve gone for a cheap “jump straight back in with some call and response to link back to previous section”. Actually, I’m going to get me a drum fill for between B and A2… that’d help.

Alright, that actually got developed into something resembling the opening bar and the transition is a fair bit smoother now.

As you can see, my method of composition is to rush in blindly and make things that amuse me or sound cool (ie, like early 90s PC games), and then try and patch it up. See if you guys like the piece, I’ve taken the liberty of including my work in progress files.

(ah shit, after having finished it and quite liking it, I’ve missed out the compound time requirement – I don’t want to do anything cheap – like a single fill in 12/8 – so I’ll just leave it as it is. Thank god this isn’t graded )
Attachments:
archeo project.zip
#85
damn freepower, that's absolutely diabolical very cool to listen to. I'm pretty impressed with your funky interpretation of the theme, that part I love. The ending was great, it gave me a chuckle lol. Your variation of the theme made me think of how Atheist mixed some jazz and metal elements on the Elements album.. kickass album..

anyway, I second that everyone else upload midi files as well, for those who don't have GP. I do, but a lower version so I can't hear everyones.
#86
Quote by elvenkindje
Maybe you responded before my ninjaedit or I didn't made myself clear. Do you think the result will be something you're proud of? Do you think you'll enjoy listening to it? Do you think you'll use this method more after you did this experiment?

You're like the guy that was in my Atonal Theory class that, no matter how the teacher and other students tried to explain it, kept coming back and arguing that "there is such a thing as factually good and bad music, and this is clearly bad music, or just not music at all."

Open up your mind a little bit, dude. Clearly you've never studied or had any sort of real experience with serial or atonal music.
#88
Quote by PSM
You're like the guy that was in my Atonal Theory class that, no matter how the teacher and other students tried to explain it, kept coming back and arguing that "there is such a thing as factually good and bad music, and this is clearly bad music, or just not music at all."

Open up your mind a little bit, dude. Clearly you've never studied or had any sort of real experience with serial or atonal music.
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them. If you dont force it (with alot of effort) to sound good and resolve, its going to sound like crap.

And I agree with your friend. Atonal music is either really, amazingly good (schoenberg and... nope just schoenberg) or so horrible that your ears will bleed (everyone other than schoenberg).

I might have a go when I get around to it. Chances are I'll be pretty busy doing nothing.
#89
Keep in mind that those notes only dictate the main theme. You're certainly not restricted to them throughout the entire piece. You can develop the theme in whatever way you see fit, and you can certainly introduce other melodies.

Nice. I think I'll fiddle with variations, including going into 6/8 from 4/4, maybe try retrogrades and inversions of the melody; perhaps trying something like Rachminov's Rhapsody on a Theme of Paganini, 18th variation(?)
Call me Batman.
#90
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them.


Counter argument: Liquid Tension Experiment - Paradigm Shift
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#92
I just listened to Ead's composition. I really enjoyed that chord progression. I might have to try to incorporate it into one of my works somehow. From 1:01 onwards was just fantastic.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#93
Quote by demonofthenight
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them. If you dont force it (with alot of effort) to sound good and resolve, its going to sound like crap.

And I agree with your friend. Atonal music is either really, amazingly good (schoenberg and... nope just schoenberg) or so horrible that your ears will bleed (everyone other than schoenberg).

I might have a go when I get around to it. Chances are I'll be pretty busy doing nothing.

You're missing the point. Everything you just stated is your opinion and will vary from person to person, just like the impression certain music has on someone will vary from person to person. You will get people arguing that rap is "bad" music, or someone who likes rap might argue that country is "bad" music, or someone who likes metal might argue that classical is "bad" music. But what it all comes down to is that everything is opinion.

Go to a region of the world where microtonal music is the norm and you'll probably think that all of their music is "bad". Meanwhile, they'll think the same thing about the bands and composers YOU like. It's all opinion and what our ear is trained to hear (or open to hearing).

To state that a piece of music is "good" or "bad", or to state that a certain technique or phrase or idea in music or composition is "good" or "bad", is to state an opinion, not a fact.

My argument to you would be to PROVE to me that an extremely chromatic line is "inherently bad" in music. A fact can be proven, so you should have no problem doing so. But coming back with something along the lines of "just listen to this song" will only be proving my point because, in my opinion or someone else's, that song or phrase just might sound good, even if you think it's the most godawful noise you've ever heard.
Last edited by PSM at Sep 24, 2008,
#94
Quote by demonofthenight
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them. If you dont force it (with alot of effort) to sound good and resolve, its going to sound like crap.

And I agree with your friend. Atonal music is either really, amazingly good (schoenberg and... nope just schoenberg) or so horrible that your ears will bleed (everyone other than schoenberg).

I might have a go when I get around to it. Chances are I'll be pretty busy doing nothing.

Oh yes, and you DON'T agree with my friend because in his opinion, ALL atonal music was horrible, bad music, including Schoenberg, Berg, Webern, and the other major atonal/serial composers.
#95
Quote by demonofthenight
There are some things that are inheritly bad in music. Extremely chromatic lines are one of them. If you dont force it (with alot of effort) to sound good and resolve, its going to sound like crap.



^what's good or bad is always a matter of opinion. BTW I dont think most composers say.... "hmmm I really have to do something chromatic"..... and then force it to work. its more likely that they use their ears to create something that sounds good to them (not forced at all).... and it just happens to be chromatic....... or whatever.

btw EAD, I really like what you did with yours. It sounds like you used your ears rather than just theoretical concepts alone. I could listen to yours all the way through, and to be honest I wasn't expecting many, if any to be something Id want to listen to (no offense intended). nice!
shred is gaudy music
Last edited by GuitarMunky at Sep 24, 2008,
#96
Quote by Archeo Avis
I just listened to Ead's composition. I really enjoyed that chord progression. I might have to try to incorporate it into one of my works somehow. From 1:01 onwards was just fantastic.


The funny thing is, most of the piece is in Db major (at least the ending), but you didn't put Db/C# in your rules
#97
Quote by gonzaw
The funny thing is, most of the piece is in Db major (at least the ending), but you didn't put Db/C# in your rules


I didn't put any key in my rules. It doesn't concern me what key you use.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#98
thanks for the compliments, fellas
GuitarMunky: I'm glad you liked it and thought it sounded more like an ear piece instead of a theory peice, because that's what I try to aim for when I compose. I might pick a scale or something, like for my 'other theme' I guess you could call it, I wanted to have the b6 in there. I wasn't really conciously thinking strictly in harmonic major, I just picked up my guitar and the melody came out.

and yea, the way I interpreted the notes brought my last chord in the theme to Db major, and to me it sounds like it resolved there so I expanded on it.

I think that chord progession is instantly likeable I realized why it sounds so familiar.. its a slightly different version of a short jazz thing I came up with that's in my profile.

sadly I've run out of steam I really want to add more but I have no idea what to do with it now. I might try jam something up later
#101
thats actually a great theme and if you dont think so maybe you should kill yourself
i have explored the sea
#102
^ Uhh.... what?

And yeah I think everyone did forget about this..
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
--Wordsworth

last.fm
#103
Quote by Thursdae
^ Uhh.... what?

And yeah I think everyone did forget about this..


its a beautiful melody, mate
i have explored the sea
#104
Quote by Deep-Sea-Seamus
thats actually a great theme and if you dont think so maybe you should kill yourself

....................................................
#105
Quote by Peaceful Rocker
....................................................

u mad?
i have explored the sea
#106
I certainly forgot.

I had a part written but had trouble moving it to the next part so abandoned the project without ever posting my progress. I had all my train of thought written down too. I thought I had done well with what I had. I think I'll have another crack at completing it.
Si
#115
I'm nearly done I haven't done more with it yet apart from thinking about it and listening to what I've already got. I need time to work so maybe later tonight.
Si
#116
Done. Making Sense of Chaos (Archeo's Crazy Experiment)

I wrote down my process you don't have to read it all, just listen instead and let me know what you think.
NOTES: A A# B D G# A C G# F# F

My initial approach was to find tones close to each other that are common to a chord. I was looking for fifth and third intervals and trying to use the in between notes for passsing tones between chords, extensions, or other kinds of embellishments. I played around with a number of different ways to arrange the random tones into a useable melodic and harmonic theme. - Many of the results were pretty ugly.

After a bit of playing around trying to make the progression sound fit my theoretical conceptions I realized I was forcing the notes and that they wouldn't cooperate if I did that. So instead I embraced the chromaticism and decided to use it to make the music swell. This was achieved through a line of chromatic whole notes

I saw the C and F as an opportunity for a cadence with some G# F# lead in from the C to F.

The arrangement of the notes then let me use the initial chromatic line to swell from an A up to the C where I could then create some tension and resolve down to the F.

After playing around with different chords I decided that with so much chromaticism present in the melody I felt clear simple harmonies would be most effective in the melodic theme I had created thereby allowing the ear time and room to get familiar with the melody. Since I was planning to resolve to F I decided to harmonize the opening A with an F and C making the first chord F then climbing chromatically through F# to G and then jumping to C before falling back to the F. Then start again.

Opening with the trumpet playing the melody and a couple flutes for harmonic backing keeps things clear and obvious for the listener.

The main theme is repeated while new layers explode on the scene - Bass, Electric Guitar, and Drums. I also pulled out the microphone and played with some ideas before distorting my voice for a line "Making Sense of Chaos". That is what I felt I was trying to do with this insane line and it was what I would title the effort if I had to.

I repeat the trumpet and flutes again with all the new layers to steady things. Then I tried to renew the interest with some slight variation on the main theme with a pop flute. The variations are basically a fusion of new chord tones with the original theme.

I wanted a second section that was quite distinct from the first part and I couldn't find anything that would work. I put in some bass drum and left it at that.

Then the thread surfaced again and I pulled the work out to finish it. I played around with the second section and got frustrated. I thought **** it I'll just stick in some random soundtrack from a classic movie. I searched Steve McQueen but had trouble finding a good sound track. Then I thought of Full Metal Jacket cause it has some great lines.

I pulled off some of the soundtrack and stuck it in and it just stuck. Underneath the section of soundtrack I pulled there is a F - B tritone bass pulsing. I went with this and just used the guitar and bass to elaborate on a diminished F chord.

To finish I returned to the previous variation on the theme underneath with electric guitar and then the same guitar riff with the main theme. I finished on the F then threw in a bend up to A to give a cowboy feel as the Drill Instructer enters and tells everyone to get back in their bunks.

That's it.


There's lot's I could polish up but it's just an exercise. I had fun doing this.


P.S.
Quote by elvenkindje
200 to 1 that the end results will sound like raped children. Action, anyone?
I'll take that bet. I honestly think the main theme hear sounds musical.
Si
#119
i liked the song. i really did.
i didn't understand where the FMJ thing started and ended though
was it that part where it got really quiet?