Hi! Here is my channel - I make music with Reaper

[The Kid]

https://www.youtube.com/channel/UCMJ...Gb-6uUrPwFJzqw

[eq1]

You have a good ear for sounds that work well together, i.e. I like your sound choices. If I could make you do one thing that'd make me want to listen more to your stuff, or to more of your stuff, it'd be this: Expand your melodic and harmonic loops to at least 4 measures instead of just 2, complete the melodic and harmonic phrases.

I used to do a similar style of music, or at least do music building with mostly looped phrases. It's easy to get caught up in the loops and not realize you're laying down melodic and harmonic material that 'demands' resolution, that suggests something akin to a part B to complete the part A that's already there, but never actually does the part B. It's pretty common/typical in the genre. You could leap light years ahead of the game by doing this...

Anyway, think about it. Listen to your songs and ask yourself if this or that 2 bar loop is a complete phrase, or if it's really just half of an implied phrase. Then maybe try completing the phrase and using that as the loop instead... Alternatively, you could loop a 2 bar 'part A', but just make sure you do the part B at some point. There's lots of ways to handle it. The main objective is to simply avoid introducing melodic and harmonic material that suggests resolutions that never come, or to make sure you resolve all that stuff.


...The melodic and harmonic 'analysis' doesn't have to get technical nor deep. You can just think in terms of, say, 'question' and 'answer'. A particular melodic motif, for instance, or half of one, might sound like a question or the question; the resolution is an answer or the answer. It's really a lot like conversations, at least when it comes to melodic material. It's funny, sometimes I'll be listening to some talking head or some youtuber, and realize they have a really annoying...speech pattern, where everything they say is, say, intoned like it's a question? One long string of questions? They keep talking, introducing new words? But everything ends in a question? Even though it's not a question? See how that works? Incomplete melodic phrases are pretty much the same thing - and it gets really annoying, can seem really boring, etc.



Google translate:
Tienes buen oído para los sonidos que funcionan bien juntos, es decir, me gustan tus opciones de sonido. Si pudiera hacerte hacer una cosa que me hiciera querer escuchar más tus cosas, o más de tus cosas, sería esto: expande tus loops melódicos y armónicos a al menos 4 compases en lugar de solo 2, Completa las frases melódicas y armónicas.

Solía ​​hacer un estilo de música similar, o al menos construir música con frases en bucle en su mayoría. Es fácil quedar atrapado en los bucles y no darse cuenta de que está colocando material melódico y armónico que 'exige' resolución, que sugiere algo parecido a una parte B para completar la parte A que ya está allí, pero en realidad nunca lo hace. B. Es bastante común / típico en el género. Podrías saltar años luz por delante del juego haciendo esto ...

De todos modos, piénselo. Escuche sus canciones y pregúntese si este o aquel bucle de 2 compases es una frase completa, o si en realidad es solo la mitad de una frase implícita. Entonces tal vez intente completar la frase y usarla como el bucle en su lugar ... Alternativamente, podría hacer un bucle con una 'parte A' de 2 compases, pero asegúrese de hacer la parte B en algún momento. Hay muchas formas de manejarlo. El objetivo principal es simplemente evitar la introducción de material melódico y armónico que sugiera resoluciones que nunca llegan, o asegurarse de resolver todas esas cosas.


... El 'análisis' melódico y armónico no tiene por qué ser técnico ni profundo. Puede pensar en términos de, digamos, "pregunta" y "respuesta". Un motivo melódico particular, por ejemplo, o la mitad de uno, puede sonar como una pregunta o la pregunta; la resolución es una respuesta o la respuesta. Realmente se parece mucho a las conversaciones, al menos cuando se trata de material melódico. Es gracioso, a veces estoy escuchando a algún comentarista o youtuber, y me doy cuenta de que tienen un patrón de habla realmente molesto, donde todo lo que dicen está, digamos, entonado como si fuera una pregunta. ¿Una larga serie de preguntas? ¿Siguen hablando, introduciendo nuevas palabras? ¿Pero todo termina en una pregunta? ¿Aunque no sea una pregunta? ¿Ves cómo funciona eso? Las frases melódicas incompletas son prácticamente lo mismo, y se vuelven realmente molestas, pueden parecer realmente aburridas, etc.

[The Kid]

Originally Posted by eq1

You have a good ear for sounds that work well together, i.e. I like your sound choices. If I could make you do one thing that'd make me want to listen more to your stuff, or to more of your stuff, it'd be this: Expand your melodic and harmonic loops to at least 4 measures instead of just 2, complete the melodic and harmonic phrases.

I used to do a similar style of music, or at least do music building with mostly looped phrases. It's easy to get caught up in the loops and not realize you're laying down melodic and harmonic material that 'demands' resolution, that suggests something akin to a part B to complete the part A that's already there, but never actually does the part B. It's pretty common/typical in the genre. You could leap light years ahead of the game by doing this...

Anyway, think about it. Listen to your songs and ask yourself if this or that 2 bar loop is a complete phrase, or if it's really just half of an implied phrase. Then maybe try completing the phrase and using that as the loop instead... Alternatively, you could loop a 2 bar 'part A', but just make sure you do the part B at some point. There's lots of ways to handle it. The main objective is to simply avoid introducing melodic and harmonic material that suggests resolutions that never come, or to make sure you resolve all that stuff.


...The melodic and harmonic 'analysis' doesn't have to get technical nor deep. You can just think in terms of, say, 'question' and 'answer'. A particular melodic motif, for instance, or half of one, might sound like a question or the question; the resolution is an answer or the answer. It's really a lot like conversations, at least when it comes to melodic material. It's funny, sometimes I'll be listening to some talking head or some youtuber, and realize they have a really annoying...speech pattern, where everything they say is, say, intoned like it's a question? One long string of questions? They keep talking, introducing new words? But everything ends in a question? Even though it's not a question? See how that works? Incomplete melodic phrases are pretty much the same thing - and it gets really annoying, can seem really boring, etc.



Google translate:
Tienes buen oído para los sonidos que funcionan bien juntos, es decir, me gustan tus opciones de sonido. Si pudiera hacerte hacer una cosa que me hiciera querer escuchar más tus cosas, o más de tus cosas, sería esto: expande tus loops melódicos y armónicos a al menos 4 compases en lugar de solo 2, Completa las frases melódicas y armónicas.

Solía ​​hacer un estilo de música similar, o al menos construir música con frases en bucle en su mayoría. Es fácil quedar atrapado en los bucles y no darse cuenta de que está colocando material melódico y armónico que 'exige' resolución, que sugiere algo parecido a una parte B para completar la parte A que ya está allí, pero en realidad nunca lo hace. B. Es bastante común / típico en el género. Podrías saltar años luz por delante del juego haciendo esto ...

De todos modos, piénselo. Escuche sus canciones y pregúntese si este o aquel bucle de 2 compases es una frase completa, o si en realidad es solo la mitad de una frase implícita. Entonces tal vez intente completar la frase y usarla como el bucle en su lugar ... Alternativamente, podría hacer un bucle con una 'parte A' de 2 compases, pero asegúrese de hacer la parte B en algún momento. Hay muchas formas de manejarlo. El objetivo principal es simplemente evitar la introducción de material melódico y armónico que sugiera resoluciones que nunca llegan, o asegurarse de resolver todas esas cosas.


... El 'análisis' melódico y armónico no tiene por qué ser técnico ni profundo. Puede pensar en términos de, digamos, "pregunta" y "respuesta". Un motivo melódico particular, por ejemplo, o la mitad de uno, puede sonar como una pregunta o la pregunta; la resolución es una respuesta o la respuesta. Realmente se parece mucho a las conversaciones, al menos cuando se trata de material melódico. Es gracioso, a veces estoy escuchando a algún comentarista o youtuber, y me doy cuenta de que tienen un patrón de habla realmente molesto, donde todo lo que dicen está, digamos, entonado como si fuera una pregunta. ¿Una larga serie de preguntas? ¿Siguen hablando, introduciendo nuevas palabras? ¿Pero todo termina en una pregunta? ¿Aunque no sea una pregunta? ¿Ves cómo funciona eso? Las frases melódicas incompletas son prácticamente lo mismo, y se vuelven realmente molestas, pueden parecer realmente aburridas, etc.

Thanks for the feedback! You figured me out, I'm lazy haha, next song will have longer phrases haha
If I do that, I will have to register the tunes as songs, to protect intelectual property.
This is some kind of therapy I do (I make this music to relax)
Cheers from Patagonia!

[eq1]

^ Maybe you should try something like 12 tone / 'serial' style of music. Basically try to write something that doesn't suggest a tonality or any of that. You'd probably like it, eventually.

[The Kid]

Originally Posted by eq1

^ Maybe you should try something like 12 tone / 'serial' style of music. Basically try to write something that doesn't suggest a tonality or any of that. You'd probably like it, eventually.

The tonal system is too strong a part of my musical background, but I will try it when I'm stuck and don't know what to do.

[eq1]

OK... Twiddle in some part Bs, a couple extra measures into those loops, then. Or if not that, do a full 'part B' loop - you've got the part A, now do a part B. So the song would develop around a 2 measure part A, for instance, like you've got, but then it would change-up to some degree, to a part B, before going back to the part A. I can almost guarantee you'll be pleased with the results...

Composers in the electronic genre get stuck-on 'part A' loops - it's almost a pathology, so easy to layer on new sounds and sometimes rhythms in the single 'A' loop mold and never actually get around to, get back to, the macro scale traditional compositional elements (like melodic and harmonic progression). That's fine, you don't need the 'traditional' elements to make good music - yet that stuff always ends up being there, in an incomplete form. The end result is lots of electronics twiddling and the suggestion of some musical form but little development and without resolution, the composition ends up feeling empty, incomplete, one dimensional, basically boring.

Since so much electronic music is like this, it's that much more worthwhile to do - because if you do it your music will stand out, most likely in a good way. You'll have the best of both worlds - all the positive qualities of sound-sculpting and rhythmic twiddling, in a decent traditionally-based musical package.

[The Kid]

Originally Posted by eq1

OK... Twiddle in some part Bs, a couple extra measures into those loops, then. Or if not that, do a full 'part B' loop - you've got the part A, now do a part B. So the song would develop around a 2 measure part A, for instance, like you've got, but then it would change-up to some degree, to a part B, before going back to the part A. I can almost guarantee you'll be pleased with the results...

Composers in the electronic genre get stuck-on 'part A' loops - it's almost a pathology, so easy to layer on new sounds and sometimes rhythms in the single 'A' loop mold and never actually get around to, get back to, the macro scale traditional compositional elements (like melodic and harmonic progression). That's fine, you don't need the 'traditional' elements to make good music - yet that stuff always ends up being there, in an incomplete form. The end result is lots of electronics twiddling and the suggestion of some musical form but little development and without resolution, the composition ends up feeling empty, incomplete, one dimensional, basically boring.

Since so much electronic music is like this, it's that much more worthwhile to do - because if you do it your music will stand out, most likely in a good way. You'll have the best of both worlds - all the positive qualities of sound-sculpting and rhythmic twiddling, in a decent traditionally-based musical package.

Makes sense