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AngelCityOutlaw

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AngelCityOutlaw last won the day on September 5

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  1. The best way is with an actual multi-sample library like Cinematic (Studio) Strings, Cinestrings, the stupid amount of string libraries Spitfire makes, etc. As for phrase libraries there are a couple like Action Strings by Native Instruments or maybe Sonuscore's "The Orchestra". But adjusting an existing phrase from like a loop library or existing piece is going to sound bad, especially with pitch-shifting. You'll also be severly limited in the music you can make with that method.
  2. AngelCityOutlaw

    How to deal with doubt

    Yeah, Don't view your peers as "competition".
  3. AngelCityOutlaw

    The Olympian Conscript

    Thank you, Monarcheon!
  4. AngelCityOutlaw

    When do you get melodies?

    Anytime Yes Melodies, or more specifically, "tunes" have a structure, shape, and phrasing akin to grammar. At least...they should. I'd advise learning more about melodic contour, phrasing, and thematic structures like the musical sentence or period and working within this framework.
  5. You've been chosen by the gods! The last tune I'll be sharing for a while; it was inspired a fair bit by the music of the Soul Calibur games. Hope you all like it!
  6. AngelCityOutlaw

    Within

    I like it; very chill! Good atmospheric use of the vocals too.
  7. AngelCityOutlaw

    Swashbuckler Showdown

    Thanks you guys!
  8. AngelCityOutlaw

    How to "practice" composition?

    I'll take flak for this, but I don't care and have seen enough to no longer hear arguments otherwise: I think your comparison is apples to oranges. Playing an instrument, drawing, etc. is more a matter of motor function, muscle memory, etc. than anything else and every individual does actually have an upper limit and you have to keep practicing to stay sharp. Through repetition and proper form, one gets better at playing any particular piece although certain exercises and advanced techniques will likely remain out of reach for some. No, I don't think everyone can play guitar like Michael Romeo, even with ridiculously-good practice. Composition, however, as in "putting all the notes together" as a crude description, is something that requires execution of techniques and (cue outrage) formulas that have been boiled down to a science over hundreds of years; how you apply these is where the art and individuality comes in. You can do this with just a pen and paper and no further skill. So if you're failing to achieve something, it's because you don't have a strong enough understanding of some concept to execute it rather than technical ability. So how do you practice? By writing more pieces that utilize what you just learned, refining and comparing it against the source until you have it right and have memorized how it works. For some things, like creating chord progressions or simple harmony, a person can often effectively put that knowledge into practice after simply reading about it once. For others, like counterpoint, it can take longer to master because there is a lot more to remember and keep track of at once. But once you do get it, you don't tend to forget it, and the possibilities in your music are forever expanded by your learning of it. It really is more like learning basic math than learning how to juggle.
  9. If it were "all" about voice leading, 99% of rock music, a significant amount of guitar music in general, or basslines consisting solely of root notes would sound terrible — but they don't. I think a lot of people here are thinking smooth motion is synonymous to "good", which is a bit of a mistake. Honestly, this just isn't rocket science. Examine your melody and pick out the chord tones, take the scale and make an 8 bar bassline consisting of root notes and go from there, examine existing scores and find out what progressions they used that you like; how many film scores don't use the same chromatic-mediant changes?
  10. Then I am afraid there's nothing anyone can tell you that is to likely to help that they haven't already.
  11. This provides a bit more insight, and I think I can see where your frustrations and confusion are arising. You don't need a computer program to teach you this, you just need to know the theory better. Namely: Modes & Levels, as well as chord tones and non-chord tones. The first thing I think that's getting you is the assumption that two harmonies in succession, formed by interlocking melodies = a progression, but it does not necessarily. In doing so, you're probably treating everything as if it's a chorale, which isn't going to work if it's not a chorale. A chord progression is a shift of level that happens when one modal frame is temporarily contrasted against another. So for example, a way that you could melodically think of I - IV - V - I in C, is not as C - F - G - C, but rather Ionian - Lydian - Mixolydian - Ionian. By stacking thirds on those roots, you then get chords. However, that progression is still implied just by those root notes alone. Two or more melodies may vertically create triads themselves, but this does not mean the progression has changed, and I'm about to demonstrate why: This is one of the most famous themes in recent times: The Harry Potter theme. Except in the actual score, it's harmonized like this. The top note is the melody, and the bottom two are harmony parts and it's all played over the root note in the bassline. You'll notice they are nothing but parallel movement. In fact, when the triads are kept in the same position like this and moved chromatically, it's called "planing" and John Williams uses it extensively. Let's take a closer look at the first figure, which is all played over a single A note in the bass. I've highlighted the non-chord tone here in the first bar. Specifically, this kind of non-chord tone is called a "neighbor tone" because it neighbors (chromatically in this case) the chord tone. Now watch what happens when I bring back the harmony parts to the melody: Three neighbor tones at once instead of just one. You could play this over the full A Minor chord and it would still work just as well. You could keep harmonizing the melody like this (and Williams does) for the entire progression and it would still work. It's just harmonizing the melody in thirds downward, and emphasizing chord tones of the current underlying chord in the progression. This is not like a chorale, where how many tones the human voice can leap, and how quickly, are limited. Thus, in such a case, each new note is often the next chord in the progression or at least a chord tone, and the voice leading is there to make the smoothest transition and ensure that it's easy to sing; the top voice is the melody, like so: I hope this helps!
  12. I didn't say there wasn't, in fact: I explicitly said why some work and others have told you as well. Taken from the same key/scale/mode, common tones, leading tones, stepwise motion, relationship to the melody, etc. That's why the progression works. Voice leading is about creating independence for the different lines that make up the chord and making changes to nearest note because it's easiest to sing. That's why it sounds smooth. Further, can I ask exactly what the point of the program is? This is a very easy thing for composers to do all on their own.
  13. I think your thread title, and this question, are two different things. Voice leading makes it sound "smooth", but smooth is not necessarily "good", which becomes increasingly subjective at a point. The "good" aspect comes from the relationships between the chords themselves, and the between the chords and melody. The details of the former have been refined over centuries to the point that you can literally just use any progression that's been used before. The latter is as easy as looking to see what chord tones are present in the melody itself. Every melody worth its salt implies a harmonic progression all by itself.
  14. AngelCityOutlaw

    Swashbuckler Showdown

    I love classic, adventure films like Indiana Jones, Zorro, Cutthroat Island, etc. So here is an action theme with a similar aesthetic.
  15. AngelCityOutlaw

    Synthwave track - Driving through Miami

    Stranger Things Intro One thing I can say is that your bass is a little too distorted and aggressive; the overtones are creating a bit of mud in spots and it's too low like at 1:25. The track is also a little too sparse on melody IMO. I know this is in the incidental and soundtracks, but even still, it feels a bit too much like an instrumental backing for a song rather than a standalone synthwave track. The ending is also too abrupt. But it's definitely getting that 80s AquaNet vibe
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