that was something about his form that was different. Where as in previous dance, you would get a melodic build and then the whole thing. Which is why i picked that track. I love scot project but that is the only one , not even my favourite or top 5 but it was the one i thought had things about it that set it apart. And that is why i thought it was a masterpiece for dance music.
there is a difference between classic and a masterpiece. It is hard to find that in dance to be honest and if you do, it will be the early stuff because things just get done again slightly different.
i would say most dance master pieces are all 90s. There are some that pop up. A few tracks that are just unique in so many ways. But melody, well look, as much as you might want to disagree, there has not been any new chords or new melodies in decades. For dance, except the more jazz influenced melodies, 100 years. Melody in dance is almost always very simple, very sentimental and never an indication of a master piece. Look this is just the way I view it.
For example the beatles, although known for melody , that isn't what made them great. It was the fact that they mixed things that existed already , say those melodies in a context that was completely foreign. It was never the melody that made them so unique. Sure people remember them and i think that is was perhaps makes something classic , but a masterpiece for me, the process of evaluation is a little different.
There are some tracks in the 80s people would say sound like . Where is the 16 bar super saw melody and rolling bassline. But given teh context of when they were made, what came before, and then after, tbis is wbat makes something a masterpiece.
Tbat is sort of hard trance's weakness. It did some things that were great, but then just did the same melodies, but with more detuned unison saw waves. Iliked alot of it because i came from a rock metal background and i prefer aggressive music but i am aware the melodic content of it is all old stuff done again. Nothing new in that domain. I mean a say all dance melody is derivate, but hard trance just too the same thing , added a few more notes and voila. So although people liked it and it was neat, i don't think it was that special or novel.
And melody is so subjective. THat track posted , man with the red face, 3 note melody, But it is so memorable.Unfortunately it is the main theme from i think it must be a charlie parker tune. Anyways. melody has never been what dance is about. It adds to it but noobdy will look back and say , that dance track melody, damn .
Guest
Damn Looney even I'm getting sick of your posts
rubez
no need to get hung up on melodies.
dance music is all about percussion lead rhythm. that is the absolute basis.
this is why techno is so effective without the need for melody. can you imagine a melody-only tune? ing boring.
though if WE ARE talking about melodies, i think this is certainly a masterpiece. a bone fide trance tune, embodies that classic shimmery effect.
the ronski speed mix is one of the best, it injects a sense of pride, but all (of the many) remixes are amazing, such is the quality of the base track they have to work with, they can't really go wrong. awesome!
rubez
two pvd masterpieces before he went to
to listen to these two, then the commercial trash of his new album makes me want to cry! :eyes:
Guest
quote:
Originally posted by rubez
can you imagine a melody-only tune? ing boring.
Yea I can. Its what a lot of bedroom progressive house producers end up doing. I've seen tracks like this literally suck the life force from a dancefloor.
Looney4Clooney
quote:
Originally posted by Guest
Damn Looney even I'm getting sick of your posts
there is an ignore function. I'm sick of your avatar. You look like you have AIDS and that makes me uncomfortable. When you wear a black sleeveless shirt, that is you telling the world i am a raging cobbler but i remember you talking about your girlfriend. So ya, if you do have aids, sorry, and please try and analyze your shirt and understand why it is wrong for so many reasons. If you are gay, then scrap that , and go with the AIDS thing.
To Rubez, the funny thing is that when i use to dj, i always played his arome mix. I do prefer that version because it fulfilled a certain role few records do. So i do get where you are coming from. In fact scot project tracks where weird like that. They had intros that were always intricate like he really wasn't thinking of the dj. The intros would lead to a break of 4 or more measures which if you dj is awkward because it isn't 8 bars, the phrasing would be off unless you had it memorized or marked on a sleeve. his tracks where really not dj friendly sometimes. And they sounded different. They just didn't really mix well because they just sounded so unlike anyone else. You could tell a scot project track by the first 4 bars of the intro.
Salegon
If you're focussing on percussion, my recommendations are rather not suited, because those tracks are mainly about melody and atmosphere while still having some kind of (average?) percussion/beat.
Imho, a really awesome track must have a great melody as well as great percussion/beat (both things are dependend on ones personal taste thus subjective). Starting off slowly, it adds more elments/layers in the further progress building up tension and finally results in a furious breakdown, releasing a great deal of energy.
Out of all the tracks you posted, I like the one by Sonorous the most, followed by Smart Sytem's Remix of "Over emotion". I don't enjoy the other tracks.
DodecaphonicSym
That 16B track that someone recommended is excellent one of the best ones I saw on this list...too many really old tracks
I understand that in the golden years a track sounds better
but there are many masterpieces that occurred after 2000
far more masterpieces from 2002-2007 than from 1997-2002
anyone agree with me?
I also noticed fewer masterpieces from 2007-2012
what u guys think of that statement?
Bierheld
quote:
-Originally posted by DodecaphonicSym
That 16B track that someone recommended is excellent one of the best ones I saw on this list...too many really old tracks
I understand that in the golden years a track sounds better
but there are many masterpieces that occurred after 2000
far more masterpieces from 2002-2007 than from 1997-2002
anyone agree with me?
I also noticed fewer masterpieces from 2007-2012
what u guys think of that statement?
I agree if we're talking about music in general, but a lot of people here seem to really like niche music. Which, as a general rule, is almost always best in it's early years when it isn't a solid niche yet and still has to draw people in by it's ideas and musical quality alone.
When time goes on the greater perspective is usually lost and it starts to become obsessed with itself, to the point were an outsider can no longer see the appeal because all it's doing is making minor adjustments and tweaks to a formula that's otherwise set in stone and allows for little in the way of real creativity.
DodecaphonicSym
quote:
Originally posted by Bierheld
I agree if we're talking about music in general, but a lot of people here seem to really like niche music. Which, as a general rule, is almost always best in it's early years when it isn't a solid niche yet and still has to draw people in by it's ideas and musical quality alone.
When time goes on the greater perspective is usually lost and it starts to become obsessed with itself, to the point were an outsider can no longer see the appeal because all it's doing is making minor adjustments and tweaks to a formula that's otherwise set in stone and allows for little in the way of real creativity.
That is a brilliant analysis Bierheld, it makes me think that you are really intelligent
I think what has happened also is that some of the better producers
are trying to synthesize different genres by adding more of an electro feel to trance tracks and by incorporating dubstep elements and other musical assimilations in order to obtain a wider appeal for their productions so they earn more dough... also as you were saying certain DJs master a formula which remains idiosyncratic to that DJ they not only just lose sight of alternative musical manipulations they become habituated to tinkering with their formula in a way that leaves little room for innovation...
Some producers are better than others in this regard
but I also think many DJs are focusing less on innovating
less on creating extremely euphoric tracks with a haunting atmosphere (my favorite kind) and more on tracks which make the crowd dance
the tracks which fit well with other tracks of the period
but not the kind of tracks with as long of a shelf-life
as what they used to produce
I am not really a fan of Electrance or the invasion of dubstep
but I respect its role in garnering a wider audience for the EDM scene
what producers do you think remain versatile in their productions rather than being blinded by their particular niche?
Trance-MB
quote:
Originally posted by Bierheld
When time goes on the greater perspective is usually lost and it starts to become obsessed with itself, to the point were an outsider can no longer see the appeal because all it's doing is making minor adjustments and tweaks to a formula that's otherwise set in stone and allows for little in the way of real creativity.
So that would make many tracks we heard in the early 90's where we had often something like "WTF is this?" masterpieces as they used sounds and melodies which were never used before in such a way.
Probably I would call many tracks masterpieces where younger ones probably would says they are just classics, because of the reason you mention.
fredjan
quote:
Originally posted by Guest
Yea I can. Its what a lot of bedroom progressive house producers end up doing.
