Consistent Tone/Sound
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- KVRist
- 110 posts since 23 May, 2006 from Los Angeles, CA
I have this problem where every song I write always has this mellow tone in it. I have tried writing in other scales such as major and some how even in major I get a mellow tone. What are ways to get out of a mellow tone? I think a big reason why I might have this problem is because most of the music I listen to is mellow.
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- KVRist
- 227 posts since 10 Aug, 2006 from europe
Erm, think of something awful till you are completely pissed off, then try to compose something in the diminished scale with this attitude?
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- KVRAF
- 13444 posts since 14 Nov, 2000 from Hannover / Germany
Can you post some small examples? I mean, so far I don't have an idea about what you consider to be "mellow".
There are 3 kinds of people:
Those who can do maths and those who can't.
Those who can do maths and those who can't.
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- KVRist
- Topic Starter
- 110 posts since 23 May, 2006 from Los Angeles, CA
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- KVRAF
- 13444 posts since 14 Nov, 2000 from Hannover / Germany
I'm still not sure what exactly you mean, but if you ask me, to get something to represent any character, it's always a combination of several things:
- The melodic element. There's very few melodies in your tunes. The lack of them will make anything harder.
- The harmonic element. Yes, there's a few chord progressions that tend to sound more "mellow" or "happy" or whatever you may like to call them, whereas there's others that tend to sound "darker", a bit more "sad" or something. But usually, it all comes down to the next point...
- Combination of melodies and harmonies. The very same melody can sound dramatically different over a different set of harmonies. IMO *the* most important thing to observe.
- Melodic phrasing. IMO, different phrasing can give quite new meanings to the same old melody.
In the end, it all comes together and each of the mentioned points should be taken into account.
Of course, there's also a sound component. For instance, for most of your stuff you seem to be using a rather mellow sounding epiano as the main harmony instrument. Maybe something else would already make things sound a bit "harder" or so?
But well, finally I think it's the combination of a melody and its development over a harmonic structure.
- The melodic element. There's very few melodies in your tunes. The lack of them will make anything harder.
- The harmonic element. Yes, there's a few chord progressions that tend to sound more "mellow" or "happy" or whatever you may like to call them, whereas there's others that tend to sound "darker", a bit more "sad" or something. But usually, it all comes down to the next point...
- Combination of melodies and harmonies. The very same melody can sound dramatically different over a different set of harmonies. IMO *the* most important thing to observe.
- Melodic phrasing. IMO, different phrasing can give quite new meanings to the same old melody.
In the end, it all comes together and each of the mentioned points should be taken into account.
Of course, there's also a sound component. For instance, for most of your stuff you seem to be using a rather mellow sounding epiano as the main harmony instrument. Maybe something else would already make things sound a bit "harder" or so?
But well, finally I think it's the combination of a melody and its development over a harmonic structure.
There are 3 kinds of people:
Those who can do maths and those who can't.
Those who can do maths and those who can't.
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- KVRist
- Topic Starter
- 110 posts since 23 May, 2006 from Los Angeles, CA
thanks a lotSascha Franck wrote:I'm still not sure what exactly you mean, but if you ask me, to get something to represent any character, it's always a combination of several things:
- The melodic element. There's very few melodies in your tunes. The lack of them will make anything harder.
- The harmonic element. Yes, there's a few chord progressions that tend to sound more "mellow" or "happy" or whatever you may like to call them, whereas there's others that tend to sound "darker", a bit more "sad" or something. But usually, it all comes down to the next point...
- Combination of melodies and harmonies. The very same melody can sound dramatically different over a different set of harmonies. IMO *the* most important thing to observe.
- Melodic phrasing. IMO, different phrasing can give quite new meanings to the same old melody.
In the end, it all comes together and each of the mentioned points should be taken into account.
Of course, there's also a sound component. For instance, for most of your stuff you seem to be using a rather mellow sounding epiano as the main harmony instrument. Maybe something else would already make things sound a bit "harder" or so?
But well, finally I think it's the combination of a melody and its development over a harmonic structure.