markusrothko

Great feedback! Thanks. I will look into this right away.

Hi all, in my latest song, I'll Meet You There, I have taken into consideration some of the feedback that I received on some of my earlier songs on this forum. For example, I have tried to move beyond my previous 4 chord structures. I did this by trying to understand ideas about "movement" of chord progressions within a key – what they are inclined to progress and return to – dominant, predominant etc. I also tried to make use of a key changes between the verses and the choruses, changing between C and G. I chose this key change based on the circle of fifths, as (which you probably know) G is the closest one after C, as it has basically the same notes except for one. As I understood it, this would make it feel like a fairly smooth change, as I would only have to introduce one new note in the new key. I'm especially proud of the crescendo in the second part of the first chorus, where a lower octave base comes into the song. As my scores don't make sense (yet) there is no point in me attaching it, but I can answer more specific questions about the song you might have right here. Any feedback is much appreciated. It can be on the arrangement, the lyrics, the singing, the instrumentation, the production or what have you. Hope you like! Best, Markus

Hello again Luis, glad you liked Lilla Du! I've taken your feedback into consideration and booked a meeting with a friend of mine who is at the conservatory. She's going to help me write scores that actually make sense. Also, I thought about the 4 chord structure that I had mainly been using and tried to move beyond that for my latest song. I was looking at different ideas on how the tonic, the dominant, the predominant chords etc relate to each other in a key. I've made use of a key change, the song starts in the key of C and changes to G for the chorus and so forth. As I was writing this I also looked into how melodies work when moving between notes that are in the current chord and outside it (and in some cases outside the key itself). As my scores don't make sense (yet) I can answer more specific questions on how the chord progressions and melodic lines were written, in case you're wondering anything. Here is the result. I'm especially proud of the crescendo in the second part of the first chorus. Ps. I'm also going to post this in the pop music thread. :)

So, any comments? I know the score is really messy and that everything is from the G-clef but still :)

Managed to get out some notation using Finale instead. Attaching it.

I agree, it is better to look more closely at one of them. I don't write using scores (yet) but I've exported the track as a midi from my DAW and will attach it, so that you can open it in your notation software. I can't seem to make it legible in MuseScore on my computer (it leaves out instruments and gets the clefs all wrong) but I'll see if I can get it to work. I have uploaded the mp3 in 320 kbps quality. If it doesn't work, here is the direct link is: https://soundcloud.com/markusbowie/lilla-du Untitled – ah ok, I see what you mean. And I agree. I think even within this style or genre it isn't varied enough. Dance music can sometimes be this monotonous but pop usually needs more variation. This song falls somewhere in the middle. I personally find it a bit boring both in terms of the progressions and the actual sounds. But it has it charm. I did try to add the same tones of the chords one octave up and down from the original chord after each repetition (hope that makes sense!) in order to create a thrust forward – a build up of energy, loudness and body. Also during that first minute, there is a slight difference in the timing of how the chords are played as the song progresses. Anyway. let's talk about Lilla Du. :) (It's good for me just to try to explain what I have done!) lilla du.mid ld.mp3

Hi Luis, really appreciate that you took the time to listen! The link points to my soundcloud page and yes, that's me. :) I guess I want input on both the general impression of all the tracks; my "sound" as well as on any individual tracks. As for the saturation of the sound on "Hasta la vista, David", I am still learning to mix the sound properly, so that will be fixed before release. Will try to get a pro to help me. When you say that the patterns are repetitive are you speaking about the progression of the harmonies, the structure of the songs or the structure of the individual chords? Or something else? I have been using a lot of basic triads but I'm trying to add some variance to that. I was also sticking to specific key signatures in the beginning, like on "Untitled (Instrumental)", one key for the verses and a different one for the chorus. In the more recent songs I have been writing it more by ear. Please explain what you mean and maybe some suggestions on how I could make it less repetitive. Also, since it's pop, it should be kind of repetitive. But not so much that it gets uninteresting to listen to.

Hi all, this is the first time I post in this forum in years. I have been working on some electronic pop stuff for some time now and I would very much appreciate some feedback. You can find my music at www.soundcloud.com/markusbowie and I also have a single, Ode to Google on Spotify. Hope you like! Best, Markus