Hey Guys,
Just looking for some opinions on some basic melodies I've been messing with for some hardstyle tracks.
Now, I'm incredibly new at this compensation, so bring on the critiques.
https://soundcloud.com/greg-brown-71/melody-tests
New Hardstyle Melody Projects
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- KVRer
- Topic Starter
- 2 posts since 17 Feb, 2014
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- KVRist
- 111 posts since 13 Sep, 2013 from Berlin, Germany
The second melody reminds me of Johann Sebastian Bach's fugue BWV 847:
http://www.youtube.com/watch?v=Y2gPAs8Iwdk
Of your three melodies, it is the second I would prefer, but not because of this (very slight) similarity, but because it sounds "connected", it forms a unit, it is something, where small phrases are part of a bigger whole. The other two melodies sound sometimes a bit "random" to me. Difficult to explain, though.
The Bach Example can be quite inspiring, as the main theme consists of only five notes, which are shifted many times in pitch as a unit. A good example, I think, of how much can be done by creative variation of "micro-themes".
http://www.youtube.com/watch?v=Y2gPAs8Iwdk
Of your three melodies, it is the second I would prefer, but not because of this (very slight) similarity, but because it sounds "connected", it forms a unit, it is something, where small phrases are part of a bigger whole. The other two melodies sound sometimes a bit "random" to me. Difficult to explain, though.
The Bach Example can be quite inspiring, as the main theme consists of only five notes, which are shifted many times in pitch as a unit. A good example, I think, of how much can be done by creative variation of "micro-themes".
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- KVRer
- Topic Starter
- 2 posts since 17 Feb, 2014
Good critiques.
Thanks.
I hadn't even really thought of looking into our Classical roots for some inspiration.
Thanks.
I hadn't even really thought of looking into our Classical roots for some inspiration.
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- KVRAF
- 4590 posts since 7 Jun, 2012 from Warsaw
These are realy nice and catchy motiffs for hardstyle. A lot of variety, not sure if not too much for average listener.
From here you can go polyphonic, adding slightly different accents on the similiar melodies played by two or more instruments. For your composition it would work nicely at the end of each 8th bar, for example. Also, the melody will work nicely if layered over bass with less variety.
From here you can go polyphonic, adding slightly different accents on the similiar melodies played by two or more instruments. For your composition it would work nicely at the end of each 8th bar, for example. Also, the melody will work nicely if layered over bass with less variety.
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Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
Tricky-Loops wrote: (...)someone like Armin van Buuren who claims to make a track in half an hour and all his songs sound somewhat boring(...)
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- KVRian
- 1000 posts since 1 Dec, 2004
First example starts with 171717.. 212121.. 767676.. and there's some kind of dissonance going between the 2 and the 6. Without accompaniment it sounds a bit like it lacks some of the stronger intervals (especially some 3 and 5) though maybe it works a lot better in the context of the song. Maybe I'd try 171717 212121 323232 etc since it forms a nicer melodic line (forms a simpler line and the minor second between 3 and 2 contrasts nicely with the major seconds between 1 and 7 and between 2 and 1).
Second example starts with 5 323 5 5 323 5 #6 434 #6 #6 434 #6 4 212 4 4 212 4 and I think it might sound stronger with a 6 instead of a #6 on the 2nd chord (though a bit more classical influenced), and it would strengthen the melody on the 3rd chord. Would probably work well on a bass pedal. Hadrondrift is right, the 2nd melody is the strongest thanks to the motif (which makes it easier to remember and more catchy).
Third melody I'm not sure I like the sortof key change at 1:50 with the b2 replacing 2... the melody is also kinda jumpy which might hamper it a bit...
Second example starts with 5 323 5 5 323 5 #6 434 #6 #6 434 #6 4 212 4 4 212 4 and I think it might sound stronger with a 6 instead of a #6 on the 2nd chord (though a bit more classical influenced), and it would strengthen the melody on the 3rd chord. Would probably work well on a bass pedal. Hadrondrift is right, the 2nd melody is the strongest thanks to the motif (which makes it easier to remember and more catchy).
Third melody I'm not sure I like the sortof key change at 1:50 with the b2 replacing 2... the melody is also kinda jumpy which might hamper it a bit...
