Quote:
Originally Posted by composerorganist
Two ideas -
Vary the rhythmn of the recurring power chord motifs by lengthening or shortening, adding or subtracting rhythmns (ex you have approx a dotted quarter+eighth note rhythmn with the accent on the eight note, see what happens when you add two sixteenth notes), shifting the accent.
Change your harmonic colors from predominantly minor to major or something in between.
Lastly, I think you would profit much from 16th century counterpoint and keyboard harmony. The 16th counterpoint doesn't require an extensive musical background - just know your intervals, bass and treble clefs (knowing C clefs would be also helpful but not necessary) If you cantake a course in it that would be great or get the Jepperson counterpoint book. If you are proficient with piano then keyboard harmony isn't going to be difficult but it would be a good way reacquaint your harmonic knowledge (and extend if need be).
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Oi, thanks.
I'll do some research there and try to get my hands on the aforementioned book.
Quote:
Originally Posted by spherenine
The piece is great, but the guitar samples do suck. . .
Pretty epic. I don't really dig the bass line on the C that's just a pure sequencing of the bass line on D. It just doesn't sound right for whatever reason (I'm too lazy to figure out exactly what that is at the moment). Maybe de-emphasize the E natural or something. That's just a dumb guess, actually.
You may want to cut down on the instrumentation, too. I mean, three basses? Two organs? The piece will be more streamlined if you just chop off the fat. Then you can focus more on melody and the like.
Also, I'd suggest listening to some Cacophony (namely "Speed Metal Symphony") and Symphony X ("The Odyssey") to get the creative juices flowing. Both are epic speed/power/prog metal masterpieces. I really look forward to hearing this when it's complete. I think it has potential to kick some ass.
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Thank you.
I'll mess around with the bassline a bit and see what I can do but I'm actually pretty happy with how it turned out as-is. And the multiple instruments will be amended in the final cut. And I'll indeed check out these songs.
Oh, and I'll be getting some less-suck samples soon enough.
Quote:
Originally Posted by marsbars
I think you need to cut down on the orchestra hits towards the end, it gets tiring after awhile.
I suggest you look at a few of the guitar riffs and derive a soothing sort of melody out of it. Then maybe back the melody with a piano playing some of the string figures you've got going and then build back up from there. The piece seems to be relentlessly pumping on all eight cylinders; find a way to bring it down dynamically. (the ending feels like a good transitioning point)
Let the piece breathe a little.
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Gotcha chief. As for deriving a soothing melody, that's probably not going to happen. I really just wanted this to be a gratuitous and purely ridiculous aural jackhammer. But I
will take that into consideration accordingly.