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.

From my pure personal pov: B- evokes a feeling of 'jazz' G- evokes a feeling of nobility D- kind of cinematic, deep or emotional F- can be kind of cheery Amin- sad but romantic C#min- very dark, foreboding

I think he means.. the musical phrase does not fall in even blocks of 4/4 measures. Which he seems to say in the previous sentence but it seems more a reiteration of the same point.

Writing a good melody is one thing. Writing a good melody to you is another. I think it's going to come down to shear time and brute force to formulate a melody you're content with. Probably because it's like a writing a song in and of itself. It may take some time, and then some more time to really get it right. But I would say don't skimp on it, spend days on it if necessary. Thinking of the harmonic implications of a melody could also help.

Damn. Pretty cool piece I like how the strings sort of shine through in some areas Was this a live recording? or digital I can barely tell But yeah a cool challenging listen, would be interested in hearing more

I would say B minor, while borrowing some things from Bb From what I hear it centers around triads: Bmin - Gmaj - D#min Later moving to Fmin and settling on Bb

No one makes a full time living off of music. And the ones who do are selling t-shirts and coffee mugs on the side. If you are planning on studying something for 4 years +.. my advice is to pick exactly what you want/crave. Not any kind of compromise. You'll have plenty of time later to compromise, but it's definitely not worth being stuck anywhere for 4 years unless you 100% into it.

There really isn't. I just stuck a block of it in between the string parts. Was it lackadaisical? Probably. However I thought that sort of egged me on even more to do it.

Yeah, I agree that it sounds naked. Not sure where it came from, but its almost a mockery of how film music always seems to add these big booms and sound design s*** to everything. Anyway thanks for listening. 🥵

I think if you want a more clear answer. You need to define the word purpose. Music can have an array of purposes. However I don't think it's ever clear. An architect builds a bridge for the purpose of transporting people to and fro. Does music have such a function? I don't know. I don't think anyone does The only thing I have to contribute is sometimes the whole 'lets debate music' can go too far. Because aside from analysis, we are essentially talking in circles. Anyway that's my take.

There is none. That is the purpose of it.