September 26, 2017 at 2:27 pm #1950
Liou Bian songwriting journal
October 7, 2017 at 9:52 am #2076
October 7, 2017 at 10:27 am #2078
October 10, 2017 at 9:07 am #2090
Hi Liou. Great work. I like how this transitions half way through to higher voicings and how you then change chords but retain the same melody note on top.
Plenty of ways to approach writing melodies – but this is already showing development.
October 10, 2017 at 9:17 am #2092
Do you also have a note of what these chords are?
October 19, 2017 at 8:15 pm #2164
Inverse chords’ tune:
Dm A G A
Dm A G Gm A
Dm C F C
Dm (with descending root down to A) A5
October 19, 2017 at 8:21 pm #2165
Melodies with 2 chords exercise
chords: Cm – G
first one starting from the 6th
second one starting from the 2nd
third one starting from the 4th
I tried to start the melody when second chord would start with the equivalent intervals of the second chord, but still using the scale of C minor. Is that correct?
I was unsure if I should finish, or start with the interval used for each exercise in the second chord. I don’t play much melody everytime when the second chord plays because of this indecision.
being the 2 chords a bit slow paced, I felt like the need to put more notes, but tried to keep it simple
October 20, 2017 at 2:43 pm #2166
this has some nice atmosphere. When it comes to the second chord, you are correct that you want the note to be in relation to that chord (this is how your ear will interpret it anyway). You don’t need to use a C minor scale necessarily. C minor will differ from G major in having the notes of Eb and Bb – Bb sounds tense against G major as it is the minor third of G. You probably want to avoid that – in the example above, your ‘featured’ notes sound atmospheric, but that minor third against the G major chord sounds a bit less deliberate and it might be harder to make that level of tension work.
Keeping it simple is excellent at this stage. We really want to hear what the shape of the melody is. Imagine if someone was singing this and you’ll be along the right lines.
October 23, 2017 at 7:28 pm #2169
Half-cheated this one, stumbled upon an acoustic guitar song that has a section on 5/4 and I simply tried to emulate his fingerpicking pattern with a different harmony, but it got me to practice this rhythm so I thought I’d post it anyway
October 30, 2017 at 11:29 pm #2175
Simple tune built on top of the 5/4 exercise with rhythm ideas – it’s starting to get interesting, I’ll keep building on top of it!
October 31, 2017 at 5:55 pm #2176
This sounds great! I like the changes in the layers as you go along. It works fine as it is, but if you did want to extend it, what would some of your possibilities be?
November 17, 2017 at 7:05 pm #2256
To not clutter the forum, all my object writing will be in this google doc:
November 17, 2017 at 7:29 pm #2257
progress update to 5/4 song – implemented change to 4/4 around the end – not bad! https://www.dropbox.com/s/rba353ism1s18o6/SPOF_v0_8.mp3?dl=0
November 28, 2017 at 3:16 pm #2270
Good experimenting with the changes in rhythm. One thing you might also want to do with that arrangement is think about where the builds and dips are, and exaggerate them. It’s very tempting with a textural arrangement which uses loops to add elements on top of one another, and this can be effective, but we soon start to ‘tune out’ things that are repeating. It can be very effecting removing some elements as the composition progresses so that you are deliberate about what elements of the musical material you are foregrounding at any one time. Another way of developing it would be to introduce further harmonic change – so some different chords.
For the object writing, you have made a good start, and you can see that any one idea can trigger a lot of associations. From every one of those associations, you can go on to develop more material. One thing which will help is to write the senses at the top of each heading, so
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