Uplifting melodies

[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.

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

What a coincidence, that's exactly how I feel about uplifting melodies.

[Otherworldly]

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!

.. As the Beatles would say and I agree, Keep it simple, you can't go wrong if you start with major scale (diatonic scale) example notes: C.D.E.F.G.A.B.C (key signature = C) << Play those notes starting with C and work you way up to C. Now that sounds up lifting.

.. The opposite of that is the minor scale (heptatonic scale) many great songs of sadness are in minor key signatures such as Am (A.minor) or Em (E.minor). Worth noting, Minor Natural Scale has no sharps # as a demonstration play the following Am scale (one note at a time) A.B.C.D.E.F.G.A. and to get a better understanding of how it sounds, play the following three notes together: A.C.E (A.minor) A being the root key note, C and E notes are good for harmonies (i.e. vocals). Now change from A.C.E to A.C#.E Okay, you have gone from 'sad' to 'cheerful'. Notice the C# added in the major chord, that one note up from the C, pun intended; is up lifting lol. A.C#.E as apposed to sad: A.C.E

.. Knowing the difference from an Am to a A (major) key signature and chords should help you understand the difference (how it sounds) between up-lifting and sad. It also helps you create strong melodies and harmonies, as explained above (2nd paragraph).

My above explanation is a start. From hereon you have to keep on writing, experiment, you will eventually succeed

[HitEmTrue]

I saw this posted in another section of KVR...pretty good stuff:

[jancivil]

uplifting, tension building or euphoric melodies

music theory

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

Is there any theory that can help

start with major scale (diatonic scale) example notes: C.D.E.F.G.A.B.C (key signature = C) << Play those notes starting with C and work you way up to C. Now that sounds up lifting.

.. The opposite of that is the minor scale (heptatonic scale) ...

Minor scales are heptatonic, yes, but so is any 7-note scale, 'hepta' indicating 'seven' as it does. I would not say "the opposite of", since major is 4/7ths in agreement with. *natural* minor, & 6/7ths in agreement with 'rising melodic minor'.

many great songs of sadness are in minor key signatures such as Am (A.minor) or Em (E.minor).Worth noting, Minor Natural Scale has no sharps #

This, and the above may be errors of omission, but perhaps should be addressed. 'A' natural minor contains no sharps, but eg., E natural minor contains 1, B natch minor contains 2, etc.

...three notes together: A.C.E (A.minor)
Now change from A.C.E to A.C#.E Okay, you have gone from 'sad' to 'cheerful'. Notice the C# added in the major chord, that one note up from the C, pun intended; is up lifting lol. A.C#.E as apposed to sad: A.C.E

.. Knowing the difference from an Am to a A (major) key signature and chords should help you understand the difference (how it sounds) between up-lifting and sad.

Sorry, but music needs more than a mere instance of a chord (or M vs m key) to be anything like 'uplifting'. Minor = sad/Major = happy is facile to the point of shallow when you really get down to it. Somewhere Over the Rainbow connotes... of something like yearning. Maybe the thing of 'uplifting' is a product by the end of the bridge, but one person may have different words for it than the next person. But 'happy as opposed to sad' is so simple-minded... what are we about, music for toddlers?

Watermelon in Easter Hay is dealing in Joe's last imaginary guitar solo in a major mode. I would even say 'profound' is what it conveys.

[jancivil]

"in D minor, which I always find is really the saddest of all keys, really, I don't know why. It makes people weep instantly..."

[Otherworldly]

uplifting, tension building or euphoric melodies

music theory

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

Is there any theory that can help

start with major scale (diatonic scale) example notes: C.D.E.F.G.A.B.C (key signature = C) << Play those notes starting with C and work you way up to C. Now that sounds up lifting.

.. The opposite of that is the minor scale (heptatonic scale) ...

Minor scales are heptatonic, yes, but so is any 7-note scale, 'hepta' indicating 'seven' as it does. I would not say "the opposite of", since major is 4/7ths in agreement with. *natural* minor, & 6/7ths in agreement with 'rising melodic minor'.

many great songs of sadness are in minor key signatures such as Am (A.minor) or Em (E.minor).Worth noting, Minor Natural Scale has no sharps #

This, and the above may be errors of omission, but perhaps should be addressed. 'A' natural minor contains no sharps, but eg., E natural minor contains 1, B natch minor contains 2, etc.

...three notes together: A.C.E (A.minor)
Now change from A.C.E to A.C#.E Okay, you have gone from 'sad' to 'cheerful'. Notice the C# added in the major chord, that one note up from the C, pun intended; is up lifting lol. A.C#.E as apposed to sad: A.C.E

.. Knowing the difference from an Am to a A (major) key signature and chords should help you understand the difference (how it sounds) between up-lifting and sad.

Sorry, but music needs more than a mere instance of a chord (or M vs m key) to be anything like 'uplifting'. Minor = sad/Major = happy is facile to the point of shallow when you really get down to it. Somewhere Over the Rainbow connotes... of something like yearning. Maybe the thing of 'uplifting' is a product by the end of the bridge, but one person may have different words for it than the next person. But 'happy as opposed to sad' is so simple-minded... what are we about, music for toddlers?

Watermelon in Easter Hay is dealing in Joe's last imaginary guitar solo in a major mode. I would even say 'profound' is what it conveys.

Jancivil,

How rude!

My post to the OP is based on facts, and I did not treat him as a toddler (as you implied), how about showing some respect and civility on these forums.

You are totally aware that I had already added you to my block-list, yet you continue to 'quote me out of context' for the purpose of distorting and confusing what I said i.e. you deviously cut the end of my sentences that contained the conclusion (correct answer). On another topic you clearly caused disputes and confusion; derailing topics by showing disrespect (bigotry; patronizing) and show no interest in keeping the peace. I've seen you do this repeatedly. FWIW these are the reasons why I have added you to my block-list, yet again you are replying; harassing; I am now asking you to "Cease and Desist" from having any further contact with me.

.

[jancivil]

Yeah, I did just notice in the counterpoint/counter melody thread you said you'd blocked me. I had questioned your post in perfectly polite terms. So evidently you think you can't be disagreed with at all or there's a big stink to be made (even as you were incredibly condescending with Fernando - who I ASSURE you understands that topic vastly better than you - there). I was not aware of it until today. Tell you what, your problem won't become my problem. And why are you replying to me as supposedly blocked? To tell me not to 'contact' you further? Your choice, you could choose not to reveal that post.

And no, 'major equals happy' is _not_ a fact. I didn't imply anything about your treatment of the OP. I stated my thought as to the quality of your statement. Quote you out of context? WTF? That's just irrational.

The mere presence of the major third is supposed to convey a definite emotion, 'happy' or even 'uplifting'. No, music requires more consideration, we need context, like a whole THOUGHT.
SO: there's major doing something, well, more: Watermelon in Easter Hay. QED.

As to me as a bigot, you'd have to be really ready to twist shit on a personal level as a product of your petulance and your own poor disposition to come away with that. You want to argue some other position, why not do it on topic.

[dnekm]

Uplifting can be different things to different people.....

Best advice I could give would be to concentrate on the emotion you want, let your hand loose and see what comes out on the keyboard....

[jancivil]

you continue to 'quote me out of context' for the purpose of distorting and confusing what I said i.e. you deviously cut the end of my sentences that contained the conclusion (correct answer).

You're flat out lying. In no way do I distort what you did. I used the quote option which provides us with a direct reiteration of precisely your words. The "correct answer" is what? Knowing minor from major "...also helps you create strong melodies and harmonies, as explained above (2nd paragraph)."

That's somehow more significant? In itself, knowing <a major triad uses the major third vs. the minor triad/minor third> does nothing in itself towards any actual melodic or harmonic idea at all. It's just a single piece of information. "As explained above": where you listed the letter names of 'A minor' scale and provided us w. your first iteration of 'sad to cheerful' by the mere change of quality of the third. The creation of strong melodies and harmonies was definitely not demonstrated. I bet no one here needed the explanation of minor and major (Let alone your 'minor, ie., heptatonic'.). I recommend for you a revised course of action: more listening, less talking.

.

[jancivil]

[tweeky99]

I've always found the bVI bVII I chord progression to be very uplifting. Examples of this are the 'Can you feel it' by The Jacksons and the outro of Carly Simon's 'Nobody does it better'. It's probably to do with the fact that the first two chords more usually are followed by a minor chord, so when we get a major chord instead it's like a surprise happy ending