https://soundcloud.com/jonathan-chon/current-project-1

This is what I am working on right now. I tried to play some chord progression over the lead, but they just end up sounding too dissonant. Is it possible to play chord progressions over a lead and make it sound good? Also Do I need to layer my lead?

 

It's all in the mix my friend. This is entry level synth layering and EQ for the most part
Utilize a Analyzer to make sure you are filling in the right frequency range.

I suggest

ADSR.com

or

www.bassgorilla.com

 

also depends on what the chords are doing (are they being gated?), what sound you are using (pads, strings?) where do you want them to sit in the mix (in front / at the back / left or right?) use the notes in the melody to work out which chords will work best, start with the chord's root note

allowing for space in the mix for different frequencies to be heard better will also help (EQ) using eq filters such as low shelf, high shelf, band pass, notch, etc

as the name suggests the "lead" sits out in front, everything else is further away

I would probably work on a bass line next to compliment the lead melody

 

You can use Mid/Side EQ tecnique 1-2 so you will divide two sounds (1 loud on side, the other centered) or use Waves.com Center or Voxego MSED (Free)

 

Mixing and Harmony are each a science, and equally deep. Others have already given suggestions on the mixing side of things.

If you are talking specifically about harmony, there is a science to how to fit chords to a melody, and there's no easy answer other than "learn theory".

Chords are stacked thirds (play with all combinations of major/minor thirds - two minors make a dim, two majors are an aug, in addition to regular major/minor), and if you stack two intervals.

When trying to fit chords, you really have to 'think like a pianist' and it really helps to have some keyboarding skills, but not a must. Here's some things to think about:

*DISCLAIMER* Music can be analyzed an infinite number of ways, this is just one way that helps one think harmonically. Don't want to get into arguments about how you don't need music theory to write edm...

- Major elements are rhythm, harmony, melody, harmony is usually the least-developed element in electronic genres.

- These are not mutually exclusive. There is "Harmonic rhythm" as well as "melodic rhythm" and if you ask a drummer, I'm sure they'll tell you about the rhythmic melody, they think about percussion in terms of "phrases".

- If thinking about harmonic rhythm... Listen to your inner ear, how often do the chords change? Every beat, bar? Every 4 bars? Change it up. You wouldn't want a chord on every hit of the melody (eighth notes) unless you want the dense busy feel.

Once you know major/minor/dim/aug chords, it is a really safe bet to use chords that contain the notes of the melody.

Also it is generally better to have the downbeats sound consonant, you can get away with much more dissonance on upbeats.

 

@ Jonathan,

For that, you must to first analyze which Notes (and Intervals) are used in your Lead, mainly which Scale(s)/Mode(s) you're using within your Lead.
From here, you can start to build a 'Chord Progression'...

 

Another point,
A common trick (which I hear in your track) to "fatten" leads is to layer them with the fifth. When using such a synth, and you play a D, you are actually hearing a D and an A. That is fine usually.

But say, hypothetically, you want to harmonize that D with a diminished chord underneath. (DFAbCb)
The diminished fifth, Ab, will clash with the layered fifth on the D and create mad dissonance, more than the dim chord. You really end up with what sounds and functions like a Ab7b9. These effects can be really cool, but if trying to come up with a simple harmonization, having a fifth in the melody makes things tricky.

* Of course, you can tweak things in mixing, but as I stated, this is a compositional/harmonic perspective. Both are valid.

 

Bassgorilla has a nice crash course in music theory in his songwriting secrets videos.

 

Yes, it is possible to harmonize your lead with a progression.
To understand the nature of your lead, see it as two lines:
1) An ascending B-C-D-E then descending scale E-D-C-B.
2) A repeating E first stressed then on the off-beats.
It is a common 17th Century Organ technique called a 'Pedal Point'.
It delays motion and prolongs the tonality. In short, you have anchored
E or A minor with the repeating E and cancelled Major with the C natural.
(Later, you modulate the lead to C Major with the Dominant G as pedal point.)
Knowing your key and how it is being used will prevent you from 'wrong notes'.

Here are some fundamental examples of ways to harmonize your lead.

Example with a descending scale:
View attachment 1.mp3

Example with an ascending scale:
View attachment 2.mp3

Example in parallel and contrary motion with a reinforced pedal:
View attachment 3.mp3

Example tonicising both A minor and E minor in a sequence:
View attachment 4.mp3

Example of chromaticism and an upward sequence:
View attachment 5.mp3

You can also re-write the prolonged E to follow the bass instead:
View attachment 6.mp3

I can go on and on with hundreds more but you get the point.
Hope that helps you get a couple of ideas. Good Luck!

 

Learn how to harmonize a scale or use some software .. I am a fan of the Chord! Android/iPhone app

 

Thanks everyone for the help.

Yes, I am planning to use pads. I don't know if they are gated or where they sit in the mix, because I am not too familiar with how production work.

Thanks, I will try those. I was using a pads for tertian chords and tried progressions like 1-4-5-7 1-5-6-7 1-3-5-7 1-2-3-1 and they all just sounded very dissonant.

 

Maybe try using the relative scales for whatever your arpeggio is currently playing in.

For example: if your Arpeggio is played in C major, use A minor for the Harmonies. Both scales consist of the same notes (all White keys on the Keyboard in this case) but if you start on A, the halftone steps shift down too, so that the scale becomes minor)

Finding the relative scale is really easy if you follow this simple rule:

If you are in major, count 3 Semitons down. For exampe: F Major, relative Scale: d Minor
If you are in minor, count 3 Semitones up. For example: f minor, relative Scale: Ab Major (not G#)

On a Keyboard G# and Ab are "technically" the same, but as far as theory is concerned you cannot have the same letter in a scale twice which you would have in f minor: f-g-g#, but that's a nono! ;)

If you still get dissonant sounding results try looking for tritones (interval of 6 semitones) and try to resolve them be chainging the voicing of the lead or Harmony with the use of inversions.

You may also want to check by how many cents the pitchdrift of the voices of your arpeggio lead is spreading. Sounds pretty wide an chorus-y already. Could be a source for conflicting harmonics.

A good point of reference for harmonies can be the bass note of the Arp. Listen to some Barock music (like Bach or Pachelbel), because that's where the concept of the bass as leading element in a piece of music and how to voice everthing else along with it comes from.

Good Luck

 

This is a very informative post. Thanks to everyone sharing.