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The power behind great melodies
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| BIKKEL |
Lately i have tried to studie the midi's which have been made in the midi request forum.
What i founded out is:
9 Bars melodie
4x2 bars melodie( the last one has something different)
1x4 bars melodie
Do you guys have also some tips for great melodies.
Thx in advance! |
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| alanzo |
| power behind a great melody = a great chord progression |
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| eladla |
There are no real rules. Anything that sounds good is right by defenision. Sometime I just pick chords from a certien scale take them apart and in step record mode in cubase just randomly pick notes from these chordes and sometimes I get inspiration from that.
Just find a way that works for you, stick with it and you can`t go wrong. (and if you do, there is always ctrl+z and start over :stongue: ) |
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| kewlness |
| it also depends on what synth you use to play it... the melody could sound great on one synth but horrible on another... imagine three drives on a vinyl - greece 2000 on a lead synth or a 303 or something.. yuck |
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| Etherium |
I would love to say a chord progression is good enough alone (hard enough making this part as it is), but I think the real power comes from the interplay between the chord progression (pad or arp), the main melody and the counter melody.
Far From in Love is a great example of this. The huge pad in the background coupled with the beautiful piano and well chosen lead. |
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| BIKKEL |
ok ok ...
but arent their any things you just got to have in a melodie.
Because sometimes a melodie of mine sounds pretty good and sometimes you cant hear a melodie in it. |
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| B-Good |
just to add my cents :
As I've started to study the way that trance is made I became very surprised at just how simple the melodies in general are. What I saw was how important it was that A)The sound of the instrument is excellent, good sound good FX's B)It sits in the mix at just the right place, not to forward C)The melody compliments the rest of the track so well.
To me in great tracks it seems as though the producer has looked at what was missing and added exactly that to the mix. Together it just all fits so well like it was ment to be together. |
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| Jay M |
I'm not an expert but as we're talking about melodies.. Thing I like and try to create is a (part of a) melody/riddle which stays the same as the chord changes. Can bring some catchy things, I noticed.
Layering is important too, it's nice when the layers fit into each other, as if multiple melodies (wether they're from different synths or not) talk to each other. |
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| ephex |
| quote: | Originally posted by Etherium
I would love to say a chord progression is good enough alone (hard enough making this part as it is), but I think the real power comes from the interplay between the chord progression (pad or arp), the main melody and the counter melody.
Far From in Love is a great example of this. The huge pad in the background coupled with the beautiful piano and well chosen lead. |
listen to this guy, he knows his stuff |
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| FuzzyGreen |
| quote: | Originally posted by ephex
listen to this guy, he knows his stuff |
Agreed. |
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| Tranc3 |
| quote: | Originally posted by Jay M
I'm not an expert but as we're talking about melodies.. Thing I like and try to create is a (part of a) melody/riddle which stays the same as the chord changes. Can bring some catchy things, I noticed.
Layering is important too, it's nice when the layers fit into each other, as if multiple melodies (wether they're from different synths or not) talk to each other. |
Yes that's known as counterpoint. |
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| Drazzic |
9 Bars?
I think it's more normal to use 2/4/8/16/32 bars. 9 bars is really strange I guess but well if it sounds good, it's good ;) |
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