Leaderboard

Hi there I'm going to be recording some demos of new songs, but in the meantime I'm self-recording just to have them to pitch. I'd love some feedback on this and the upcoming songs, especially all you talented vocalists and lyricists. I'm really interested in improving my vocals. This is a quick recording, I'm really hoping for ideas on how to improve the melody or guitar parts since this recording won't be final. It's pretty simple, pop-ish chord progressions, nothing crazy. Even if you don't comment, thanks for checking out my music 🙂 *** Lyrics: I've no fear of the sea cause with you I can tread higher water even if we drift off with the breeze I'll go the wrong way with you * When we drive down the road I get lost in the way you direct us no matter how far we are from home I want the wrong way with you * When I get back from working I come home to karaoke and your voice fills the room an out of key symphony but I can't help it, I'm in love * I tend the fire at night the warm light dancing free all around us I wish the sun would never come up again so I can stay right here with you down the wrong road with you and I love the wrong way with you any other one just wouldn't do when you're here, wherever we are feels right inside and I'll always throw away the guide and walk, the wrong way with you

Nice. Sounds like it has the potential for a hit country/folk song tbh I would say that the vocal melody phrasing could use some work on the last lines of each verse. It feels like the last line goes on just a bit too long, melodically. I would also say the instrumental gap between verse 1 and 2 is too long and makes it feel awkward.

My way of thinking about modes is that the major modes are one coherent system and minor modes are another. this creates an extended major scale and an extended minor scale. The extended major scale contains: I, lowered II, natural II, raised II, III, natural IV, raised IV, V, lowered VI, natural VI, lowered VII, and natural VII. In C, this contains C, Db, D, D#, E, F, F#, G, Ab, A, Bb, B. The extended minor scale contains: I, lowered II, natural II, III, lowered IV, natural IV, raised IV, V, natural VI, raised VI, natural VII, and raised VII. In C, this contains C, Db, D, Eb, Fb, F, F#, G, Ab, A, Bb, B. For each stable degree (I, III, and V), there exists two leading tones. II, VI, and lowered VII in major and IV, raised VI, and VII in minor do not explicitly lead to any stable degree. Leading tones create more tension than non-leading tones Any chromaticism not considered secondary functions can fit into either extended scale, as they can both be valid at the same time as in the hip-hop scale. However, raised II and lowered IV are extended-scale-exclusive, the former resolves to major tonic and the latter resolves minor tonic. Any mode dictated by classical harmony, therefore, can be constructed. (super-locrian's Ab could be considered a stable tone, The Bbb would then lead into it. For super locrian, the supposed tonic could actually be the dominant and that dominant leads to a III. The notes could be enharmonically spelled too for more complications)

Thanks Peter, I'm glad you dug the form, even if it was a bit unconventional. Glad you enjoyed the playing too! 🙂 I love this. You're a poet my good man 🙂 Thanks for checking it out Henry