marsbars

Did you ever consider the dominant minor. It may give your piece a more 'poppish' feel with the flat seventh. This would also convert the Eb major to minor. But I reckon it will come off as a less standard modulation as the above.

It's a solid piece. I like the adventurous attitude of it all. There is a very symmetrical sort of harmony going on. Not saying it's bad, if harmony is your concern, you may want to have a look at that.

hey thanks. 👻

Sometimes a melody is all you need. The need to fill up space with block chords can be a cumbersome task. You may need to only highlight certain things. Your melodies also may be too complex. If they need be complex, try orchestrating the melodies rather than harmonizing them.

This is a short song that was basically improvised. It is a conglomeration of a few motifs I had brewing thepanther.mp3 thepanther.mp3

Interesting, i enjoyed some of the clusters here. Were you working off some harmonic or tonal framework by any chance? It seems the piece centers around a few core ideas

I think one of the key things to look at is context. Someone can enjoy an extremely modern concert and have no foundation for enjoying that music. Why? Because it's high and mighty. It's a 'thing.' It's like having caviar. However if you played that music to someone out the blue, they may want to strangle you. A hollowed out coffee can may make great music for a film, depending on where you put it. Being the artist is about controlling the context. No matter the genre You have to understand where your listener is coming from, this might be deeper than you think. In other words someone may or may not listen to it just for pure life experience others education, others want to smoke weed to it, or it maybe just serves as a record for your own life experience.

It's usually things other than the standard 'blocks' of music theory that get me going. Sometimes just hearing a certain type of ambience might hit me a certain way. I find the things that can get a song going are usually bare, stupid, and dumb sounding. Sometimes I may start from an audio engineering angle and mix something a certain way. It's usually pushing something into the "no" zone that can spur an idea.

It's sort of a phase thing. Young people have energy to burn; they do things for cheap or free and later regret it. I would say it's a bad habit to get into because you are putting yourself in a 'hoed out' position. I would say maybe go through that phase and experiment and then come up with a business model that allows both flexibility and reward. Truth is most people are looking for the quickest, economical way of doing it and that hardly fits into most artists uhh.. 'world' You're going to go through the merry-go-round of getting exploited, you'll have to build some kind of machine to help protect yourself.

Hmmm. I really like the melody You can use simple inversions to add variation. I started with a 2nd inversion. Try to hear the desired bass line and how it 'steps' and figure out how it fits in the original chord structure. You can also use sixth chord hear and there to maybe add texture. dmin.mid

I would say 4/4 is the closest thing to it. But there are clearly parts where there is alot of decoupling from any sort of time signature. I Have a feeling someone edited an original recording to make it sound more 'flowy' and random. I wouldn't say all of it fits into one time signature very well.

Sounds like something film composers might do. Like off the soundtrack of field of dreams or something. If you try I- IV V it sounds rather hilarious like you turned elmo inside out or something.

Interesting. You could also think of a scale's tritone as it's center and find the distance the from the tritone. C's tritone would be F# If I wanted to mirror F it would 1 semitone below F#. So add 1 semitone to F# - G If I wanted to mirror E that's 2 semitones below F#. Add two semitones G#

Interesting. I'm semi lost at the 5.5 steps part but I think I got it. You said ii - V - i maps to bVii - v - i. I thought this would be IV - v - i

If you want something other than a lowsy job. (I use that word to illustrate a point) You have to work 10-100x as hard. I'm not sure how to quantify that, but everyone wants to be an artist. You never quite make it, it's always an uphill battle.