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1025727 Posts in 41105 Topics- by 32711 Members - Latest Member: kerrybowden

July 23, 2014, 01:35:29 AM
TIGSource ForumsDeveloperCreativeAudioWhat to do when the melody doesn't want to appear?
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Author Topic: What to do when the melody doesn't want to appear?  (Read 1178 times)
Estudio Evergreen
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« Reply #15 on: April 28, 2013, 02:47:59 AM »


What DAW do you use?

Errr... Right now im using pxtone for chiptune stuff and reason 4 for orchestral stuff. I want to start using cubase so i could use kontact instruments but i find it a little too complicated to use.

What DAWs do you people use/recommend?
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MoritzPGKatz
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« Reply #16 on: April 28, 2013, 04:03:11 AM »

CFG
...is a Csus4!

Kind regards,
- a Music Theory Nazi
Merely an enharmonic equivalent my good sir!
In said context it is an inverted Fsus2.
Oh, you're right - could be an Fsus2 as well.  Embarrassed

Still an opportunity for me to be a nitpicky bastard, though! Wink
Enharmonic equivalence is something different altogether, e.g. when an F-sharp and a G-flat result in the same note, making them different spellings for the same thing.
The different interpretations of "CFG" are more likely to serve a functional differentiation, e.g. assuming we're in the key of C: Csus4 is probably a "true" suspension on the tonic, while Fsus2 would be a "colored" subdominant chord.

Let's lose the specifications and just call it a triad.
Suspended chords aren't triads in the usual sense. Which can make the functional interpretation tricky at times!
They do, however, provide ample opportunity for awesome stuff like layering fourths or fifths! (in fourths: G - C - F, in fifhts: F - C - G)

What DAWs do you people use/recommend?
That's quite the recurring topic. Truth is, it's mostly a question of taste and the kind of workflow you need.
There are some "industry standards" like Pro Tools in traditional audio recording or Steinberg Nuendo for post production, but not to the same degree as Adobe products in graphical design.

There's a handy article on MusicRadar that gives a nice overview over 15 of the most popular DAWs around at the moment.

Cheers,
Moritz
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Estudio Evergreen
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« Reply #17 on: April 28, 2013, 04:23:22 AM »


That's quite the recurring topic. Truth is, it's mostly a question of taste and the kind of workflow you need.
There are some "industry standards" like Pro Tools in traditional audio recording or Steinberg Nuendo for post production, but not to the same degree as Adobe products in graphical design.

There's a handy article on MusicRadar that gives a nice overview over 15 of the most popular DAWs around at the moment.

Cheers,
Moritz

Actually I wouldn't use it normally to record, but more to put the instruments and there and compose the different parts. I don't need something to record audio, I would like something that is easy to use, and that helps me instead of giving me a lot of work. I find Reason quite easy to use, and everything is mostly intuitive, that's why I've used it so far. The problem is it doesn't allow vst (without rewiring) and I would like to use some very characteristical sounds (so I need vst). With all this in mind I have to make my decision.
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ZackParrish
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« Reply #18 on: April 28, 2013, 04:28:51 AM »


What DAW do you use?

Errr... Right now im using pxtone for chiptune stuff and reason 4 for orchestral stuff. I want to start using cubase so i could use kontact instruments but i find it a little too complicated to use.

What DAWs do you people use/recommend?

I personally use Sonar 8.5, but it's really a matter of preference when it comes down to it.  People argue endlessly over which DAW is the "best".

Reason I was asking, is if you had Sonar I was going have you send me the project file so I could "analyze" your track/melody and potentially offer some more "advice" by way of actually modifying a small section of it.  
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elizabitcrusher
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« Reply #19 on: April 28, 2013, 07:28:10 AM »

Take a sentence—maybe even one that has the game title in it, or some descriptor of the mood or plot of the scene you're scoring. Use that sentence to come up with a melodic phrase.
OR
I like to come up with complex chord structures and then extrapolate a melody. Sure, with C-G-F you can take those pitches and put them in the melody, but you could also use... E-B-A. And pick any rhythm. Then fill in that gesture with other notes. E-F-G-B-A.
I like step-wise motion a lot and I think the most memorable melodies are ones you can sing, so think about space, too, not just for breathing but to create tension and release.
I will say that, if you're going for a melody that's integral to the game/character/scene, start with the melody. It's your leitmotif. Chords you can add later—and change in really drastic ways if you need the melody to come back. It's much, much harder to do it in the reverse IMHO.
This is a fantastic thread—really good food for thought, though it's a lot to digest!

I tried my own method (about picking notes and filling in around them) here. https://soundcloud.com/elizabitcrusher/shadow-of-the-colossus-demo
But I think it's pretty unsuccessful :face palm: Whomp whomp.
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8thMode
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« Reply #20 on: April 28, 2013, 02:24:36 PM »

Enharmonic equivalence is something different altogether, e.g. when an F-sharp and a G-flat result in the same note, making them different spellings for the same thing.
Quote
In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. Thus, the enharmonic spelling of a written note, interval, or chord is an alternative way to write that note, interval, or chord.
Maybe the chord version of it is more of a jazz thing. You know those coked up cats can be a little loose with the specifics!  Toast LeftNoir

The different interpretations of "CFG" are more likely to serve a functional differentiation, e.g. assuming we're in the key of C: Csus4 is probably a "true" suspension on the tonic, while Fsus2 would be a "colored" subdominant chord.
Sure we're in the key of C, but I'm implying the 4th, the F more than anything. Also sus4 gets way to much love, we don't want to hurt sus2's feelings!
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KeepItSimple
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« Reply #21 on: April 30, 2013, 11:38:37 AM »

Quote
CFG
...is a Csus4!
It could be a G7sus4(no5). Just sayin'. I prefer to think of harmony as a result of counterpoint, as Bach or Wagner might, to name just two of countless. If you listen to their music you realize that there are so many interpretations we can give one melody, we won't end this thread soon if we start proposing all of them. This sounds like the beginning of a great TIGSource musical challenge. :D
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Keep it simple.
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« Reply #22 on: April 30, 2013, 03:44:40 PM »

I started composing after being a jazz pianist and learning improvisation. Coming from that standpoint, I don't really "think" about the melodies in a theoretical sense. Instead I just sit down and start playing with an instrument (or even just the mouse), varying whether I'm experimenting with the left hand (chords) or the right hand (riffs, melodies). Then I just play the same thing over and over, modifying each bit until it "sounds right". Over time I've just learned to associate certain chords with certain "nice sounding" melodic progressions without having any idea at all what the actual theory is behind what I'm doing. Sorry if that's hard to follow!
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