I wrote this stupid long melody in the key of Bb and have problem with choosing the best parts. How to do that? Some parts are similar but most ones are not. Please don't pay attention to the rhythm because it's stupid again.

 

Please don't take this the wrong way, but I listened to as much of that as I possibly could without slitting my wrists. I just have a problem finding ANY best bits.

 

So static.

 

Yes it's poor and defective yet I know but please notice that it's just a simple melody without any ornamentation and without any making repetitive patterns from them (just pure pitches without anything).

For the first time and also the art's sake, please take a look at music from the composer's eyes not the trendy styles'.

 

Last edited by a moderator: Mar 29, 2017

hard one. Either you need some meaning full chords or repetitive patterns. How to choose the best parts? Only you can tell whats the best parts. If you ask 10 people you probably get 10 different best parts. I cant dig that workflow. I allways start with a short repetitive pattern of a melody in my mind. Or a simple chord progression that i like. And then a melody is evolving.

 

Last edited by a moderator: Mar 29, 2017

Don't write stupidly long pieces of whatever that's suposed to be in the first place. Part of the song writing process, is to write something that will stick in people's head so the remember the song. The only thing people will remember from this, will be the bottle of asprins.

No it's not. There's nothing melodic about it. It's just different notes played one after the other.

And what art would that be exactly, or am I the only one not hearing any. And history repeats itself.

 

ok being a non theory knowing musician that just counts on his ears i can actually hear pieces that would work,
@foster911 mind if i rip the file and do some cutting copying and pasting caus i think i hear something in the first 15 secs that in my ears are something that you could work around

and to the rest: has anybody ever looked into how keith richards writes his gitar riffs? he'll just play for a few hours doing completely different things , notes, styles and whatever. he then listens back to it and selects parts that are good, and here comes the fun part, the man has no idea what he played or how he did it. so he calls up the studio with a few guys that can analyze and reproduce what he played and send that back to uncle keith and another hit is born by the stones, it's quite silly but also brilliant in it's own way

 

He is playing with ideas, yes i do that too. I grab my guitar play 30 minutes and listen back. But i am sure keith dosent change his phrases and ideas every single bar. That makes no sence to me.

Edit
Ok i listend again - its all 2 bars. Dont count me on that i wasnt able to listen the whole piece again. But you get what i mean.

 

Last edited by a moderator: Mar 29, 2017

Ever thought about golf?

 

so you 're advocating Foster to try heavy drugs washed down with a fifth of Jack Daniels for inspiration?

 

I joined in 2011 and waited SIX YEARS to find a message worth a reply.
This is it.

Well, thank you so much. I was about to erase a project that I thought was s*** (my songs usually just being bad). This kind of depression is often happening after a new Depeche Mode or New Order album is out. Then I heard your work.
Well thanks. I know what to do. Sell my CD collection and concentrate on SoundCloud demos to diminish my musical low self-esteem.
Then of course I'll post my own stuff online, read comments and I'll be back on Prozac.

 

I just don't write this way, but I suppose that's due to most of my material being driven vocally. I'll write a guitar riff, usually by just noodling around, and hear something really cool. Sort of the same workflow that @statik mentions above. Sometimes recording, sometimes not. Once I have something that inspires some sort of vocal melodic hook, I'll get to writing some words. The rest of the song usually fleshes itself out after that. The words will usually set the mood I'm trying to capture which then cycles back to creating the additional guitar parts and melodies for eg. a verse chorus structure. There's no defined "rule" for this, though, when I'm writing. You just have to jump on the bus, and go wherever it takes you.
People complain about writer's block, and I used to have that same issue myself. I now believe that comes from trying too hard to control the direction of a song. The "I've got to make it sound like this" mentality. Once you let go, and just go where the song takes you, this becomes pretty much a non-issue. At least it did for me. For me, creating music is much more a subconscious effort than a directed conscious idea of what I want the end result to be. You will definitely write some material that isn't useful to what you envision, but I'll take 1 killer song out of 5 or 10 flops any day versus banging my head on the wall and accomplishing nothing.

 

The best melodies are lyrical - they make you want to sing or hum over and over (well, provided they're slow enough to do so).

 

yeap pretty much on spot...

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Notes depressing and boring. Congratulations.

 

Its a bass, not a melody. In pop (because only 13 year girls buy music) 99% its just bass.
Melody is like a woman. depth, curves and contrast. For an old proto robot its good!
CHEERS!

 

You have to understand that in music everyhthing is connected to everything. Even a one-note melody can shine with a proper groove, chords and percussion.

Your role as a composer is to send a message through music. That's it. If I fail to understand your message that means you're a poor composer.
Food for thought: At this point a video clip of an old TV's white noise sends more message than your melody.

 

Choosing the best parts? Suppose that depends on what you are choosing them for? Best is subjective so possibly some parts more fitting etc but what they supposed to be for?
Is hard to choose I guess when you don't know what you are choosing the parts for?

Again how can rhythm be "Stupid" & why include it if you don't want us to pay any attention to it?
What's the point in it being there if it's "stupid" unless your intention is to somehow convey stupidity?
I don't get what you mean i guess
Is it intended as some kind of reference point?
If so, note selection should reflect the backing but no hard rule I guess.
Learn how to connect scale shapes etc in all positions as in your Modal Theory of past and then you will be able to select appropriate scale patterns & play or connect them rather than stumbling upon them.
What I mean I suppose is why ask people to select "the best" note patterns?
Also shouldn't you be selecting the notes and isn't that kind of the whole point of music?
Expressing your own thoughts & ideas rather than other peoples etc?
I don't quite get what you want people to select & why but i'm possibly not seeing the whole picture

 

That's why heavy drugs and swilling whiskey work so well for some, it unleashes the subconscious mind!