Uplifting melodies

[maclean]

So I often listen to what I would describe as uplifting, tension building or euphoric melodies and always find myself frustrated unable to get into the same 'zone' whilst playing my synth.

I have no problem with the sound design, but music theory is one of those things that I just seem to get more confused about the more I try to understand.... Kind of like how some people don't get physics or maths!

Some examples of the 'zone' I would like to work in are:


the chords played on the main pluck synth.


The chords played on the main pads that kick in around 30ish seconds

A lot of uplifting trance music is also in this uplifting zone.



I kind of expect the answer to be just f**k around on the keyboard, which I do quite a lot and sometimes find myself getting close.... But I ultimately find myself frustrated as I might get two or three chords that sound good, but then struggle to 'resolve' them and bring it full circle.

I guess I'm asking for a magic bullet that doesn't exist?

Is there any theory that can help me get closer or am I better off just doing what I've always done which is basically not read into theory too much and f**k around and try to get a 'feel' for it rather than try to learn some kind of formula behind it?

Any input appreciated!

[jancivil]

Well, in terms of the majority of what is taught as 'music theory' and will be related here, that basis is harmony and some counterpoint rather than showing how to create melody. IE: melody in the context of harmony at most. Counterpoint kind of deals in how to best shape lines, but the meat of it in terms of principles is lines vis a vis other lines. Melody is more mysterious for lack of a better word while principles of harmony, on the order of rules, can be quite concrete. The one concrete thing you said was 'these chords', I notice. I've not seen anybody really do anything with such a question here. As to your 'magic bullet' remark, I would say that looking to 'music theory' for recipes, a 'formula' tends to be a mistake. Teaching melody exceeds music theory class, into a composition course so it kind of seems a lot to ask of an internet forum.

"tension" in melody is subtle and I don't know how to talk about it without establishing some real background.

[skipscada]

What I hear in the examples above (only snippets) are very simple chords and melodies, like playing only the white keys in C. Nothing fancy at all, I think.

A point to keep in mind is that I get the impression that the uplifting element springs at least partly from the production, more precisely the (more or less gradual) introduction of high frequencies. It´s a well known trick - filter sweeps, introducing cymbals/strings etc, anything with a lot of high frequency action can produce a euphoric sensation. So why not try to play the themes you've already worked out and see if you can add some emotion by ramping up the high frequencies as you play them.

[Harry_HH]

What I hear in the examples above (only snippets) are very simple chords and melodies, like playing only the white keys in C. Nothing fancy at all, I think.

A point to keep in mind is that I get the impression that the uplifting element springs at least partly from the production, more precisely the (more or less gradual) introduction of high frequencies. It´s a well known trick - filter sweeps, introducing cymbals/strings etc, anything with a lot of high frequency action can produce a euphoric sensation. So why not try to play the themes you've already worked out and see if you can add some emotion by ramping up the high frequencies as you play them.

Yeah, and more than in the "production", as stated above, in the song structure and arragement.
But you are in the right track, of course the melody AND the harmony/chord sequence is most essential part when creating certain mood. What is "uplifting" is then partly matter of taste/culture (e.g. uplifting raga is not necessary same to you as to the person living in India).
I would advice you to analyze (and read/listen) the music of the great masters (of all genres), since Bach they have known the tricks for creating moods, each genre has its hooks but in the western music most of the basic rools are the same, what makew the song "uplifting".

[maclean]

Thanks for the input guys... I think what might be called for is analysing chord structures of many of the songs I like that are in this 'zone' (the boundaries of this zone are pretty subjective!).

When I hear what I like, find out what chords they are and try and build up a library of chord sequences.... Possibly some patterns will start to emerge!

Thanks and any more input appreciated!

[DigitalDevil248]

I've never really been too focused on the theory side of things, mainly because it fries my brain thinking about it. I'm not saying to abandon theory but just that all of the theory I've learned has been retroactive rather than proactive. What has worked for me is to listen to the music I like and playing it out on my keyboard...many many times. It's learning by trial and error I suppose but I feel I've developed a much stronger intuition for composing my own melodies and harmonies. When you're comfortable reconstructing music you like and can play by ear, you just naturally start "hearing" how to progress and deviate on your own material.

[zethus909]

chords don't always have to be based on the root, 3rd and perfect fifth........experiment with other voicings

[xcentric]

Don't underestimate humming.

[murnau]

Well, in terms of the majority of what is taught as 'music theory' and will be related here, that basis is harmony and some counterpoint rather than showing how to create melody. IE: melody in the context of harmony at most. Counterpoint kind of deals in how to best shape lines, but the meat of it in terms of principles is lines vis a vis other lines. Melody is more mysterious for lack of a better word while principles of harmony, on the order of rules, can be quite concrete. The one concrete thing you said was 'these chords', I notice. I've not seen anybody really do anything with such a question here. As to your 'magic bullet' remark, I would say that looking to 'music theory' for recipes, a 'formula' tends to be a mistake. Teaching melody exceeds music theory class, into a composition course so it kind of seems a lot to ask of an internet forum.

"tension" in melody is subtle and I don't know how to talk about it without establishing some real background.

You nailed it. After all the years i think i can add that you also don't underestimate the importance of inspiration that even if you are a trained musician is inalienable. Without inspiration (or call it what you want) you will have a hard time producing. I had some close collaboration with other musicians in my life and some were brilliant at least very good in playing their instruments but a few of them never come over with some composed stuff which was worth to work further on it. On the other side you have musicians who barely can play a keyboard with two hands but compose and arrange wonderful tracks. Anyway, a basic ability to write down what you hear in your mind is essential and without some kind of knowledge impossible. I'm not saying you have to study music theory the hard way as many "learn" music while playing over years without any teacher and even if they rich and famous they can't read any notes (Vangelis, McCartney etc.)

So what to keep in my mind? It don't come over night, work hard on your technical/musical skills never cease and your progression will continue. As i wrote in the beginning: Also "learn" to find and first of all use your imagination and inspiration because that is the only force that really separate you from the rest and hopefully make your music shine.

[ghettosynth]

Sorry to get off topic, but does uplifting mean to trigger one's gag reflex? I thought I understood the word, but it seems that I'm still confused.

[fmr]

So I often listen to what I would describe as uplifting, tension building or euphoric melodies and always find myself frustrated unable to get into the same 'zone' whilst playing my synth.

I have no problem with the sound design, but music theory is one of those things that I just seem to get more confused about the more I try to understand.... Kind of like how some people don't get physics or maths!

.../...

Is there any theory that can help me get closer or am I better off just doing what I've always done which is basically not read into theory too much and f**k around and try to get a 'feel' for it rather than try to learn some kind of formula behind it?

Frankly, and besides the first piece, which is a gradual "crescendo" by means of slowly adding instruments to a initial bass ostinato, I can't hear any kind of "uplifiting" or "tension building" in the other two.

For good examples of that "crescendo" technique, you have the well known "Bolero" from Ravel, and also many Vangelis pieces. One of the most notable is Alpha, from the album Albedo 0.39. Another one is "To the Unknown Man", from Spiral. You may easily find these two on You Tube, if you look for them.

The other two sound to me like common pop electronica, with no tension building at all (bit this is just me). What you are trying to achieve has nothing to do with music theory, rather it has to do with arrangement and instrumentation/orchestration (orchestration here used "lato sensu", not strictly attached to symphonic orchestra).

[maclean]

So I often listen to what I would describe as uplifting, tension building or euphoric melodies and always find myself frustrated unable to get into the same 'zone' whilst playing my synth.

I have no problem with the sound design, but music theory is one of those things that I just seem to get more confused about the more I try to understand.... Kind of like how some people don't get physics or maths!

.../...

Is there any theory that can help me get closer or am I better off just doing what I've always done which is basically not read into theory too much and f**k around and try to get a 'feel' for it rather than try to learn some kind of formula behind it?

Frankly, and besides the first piece, which is a gradual "crescendo" by means of slowly adding instruments to a initial bass ostinato, I can't hear any kind of "uplifiting" or "tension building" in the other two.

For good examples of that "crescendo" technique, you have the well known "Bolero" from Ravel, and also many Vangelis pieces. One of the most notable is Alpha, from the album Albedo 0.39. Another one is "To the Unknown Man", from Spiral. You may easily find these two on You Tube, if you look for them.

The other two sound to me like common pop electronica, with no tension building at all (bit this is just me). What you are trying to achieve has nothing to do with music theory, rather it has to do with arrangement and instrumentation/orchestration (orchestration here used "lato sensu", not strictly attached to symphonic orchestra).

Thanks for yours and everyone’s input. The advice is truly going to help me.

The purpose of my examples was to help illustrate the feel or mood I am aiming for rather than using words which I find rather inefficient at doing so. To me all three sound "uplifting", and the first one has a tension element to it IMO. But obviously others just hear "pop" or some other undesirable style of music they are not into. TBH it’s more the uplifting element I want to focus on rather than "tension" which is just an adjective that popped into my head when writing my OP but thinking retrospectively is maybe not the best word.

You are suggesting it is not the chords themselves that achieve this feel rather the instruments that play them that do? Or how the instruments are introduced via arrangement? From my playing with music there is a definite mood created from the core chords which is why I was thinking this is a music theory question.

I have plenty amazing synth/orchestral sounds but I feel it is my chord knowledge which is the missing link from what I am trying to achieve.

[maclean]

Sorry to get off topic, but does uplifting mean to trigger one's gag reflex? I thought I understood the word, but it seems that I'm still confused.

Lol, what do you want me to say??

As someone who is into as many "dark" styles of music as "uplifting" ones I just find your comment immature

[jancivil]

So I often listen to what I would describe as uplifting, tension building or euphoric melodies and always find myself frustrated unable to get into the same 'zone' whilst playing my synth.

Is there any theory that can help me get closer...?

Frankly, and besides the first piece, which is a gradual "crescendo" by means of slowly adding instruments to a initial bass ostinato, I can't hear any kind of "uplifiting" or "tension building" in the other two. What you are trying to achieve has nothing to do with music theory, rather it has to do with arrangement and instrumentation/orchestration (orchestration here used "lato sensu", not strictly attached to symphonic orchestra).

You are suggesting it is not the chords themselves that achieve this feel rather the instruments that play them that do? Or how the instruments are introduced via arrangement? From my playing with music there is a definite mood created from the core chords which is why I was thinking this is a music theory question.

I have plenty amazing synth/orchestral sounds but I feel it is my chord knowledge which is the missing link from what I am trying to achieve.

Dealing with the chords and 'how to melody' aren't quite the same question. "The chords played on the main pads that kick in around 30ish seconds" - Well, "uplifting" is subjective language. Those are triads in a weak progression ("weak" is not pejorative, it's technical, as opposed to "strong" root movement such as rising 4ths) with smooth voice-leading (minimized movement of parts). I don't know what to say about creating emotion by technical means, it's not really in my wheelhouse. It's subtle... I'm not surprised particularly that that section works for you in that way, but for me very much of that will be enervating or soporific if anything. So the 'question' is rather nebulous. It's unsurprising to see we're really dealing with chords. Some of this, perhaps a lot of this feeling for you likely had to do with the sounds used and the dynamics in combination with the harmonies.

[wolverine6]

find simple melodies you like - for instance la ,,,,,,,,,, daaa .............. daaa ................. daa. Pick notes in a slow manner spaced evenly.

And then once you are really happy with those slow playing melodic notes. Fill them in and you'll be sure every crescendo and climax is a planned one.

Better results in such a manner.
Good luck.