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1up
  Artist
Topics: 129
Replies: 1022
Registered: 23.Jan.04 |
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Gopher wrote on 10 Feb. (13:19) :
I recall an article that PPH posted a while back, (I *think* it was on Thomas Newman, but I might be completely wrong) whereby it was suggested that, in general, one should step away from his usual methods of composition in order for something original to take place. What this means is that when you try doing something a different way, the results may also be different to the usual.
So, doing something on paper and doing something on a computer might not necessarily lead to the same place with the same results.
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True enough. The brain works by association so using different tools makes different associations and results. That doesn't necessary mean better though. What comes out might be original to your earlier work, but will it be _better_?
For example I tend to use a broad set of tools, during the years ranging from whistling, singing, real instruments like piano, harmonica, guitar and trumpet I think that's provided a broad range of music but sticking to one technique and excelling in it should in the long run be most effective for creating great songs. Compare, note writing, to improvisation by the piano to singing.
Catch That Amish!
http://www.ctgmusic.com/song.php?id=5624
1up's Artist Grounds
http://www.ctgmusic.com/artist.php?id=967 |
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PPH
 Member
Topics: 48
Replies: 843
Registered: 13.Jul.03 |
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Well, I don't think you guys should be impressed by the fact that I can compose songs in my head. Like Gopher says, it's much more easier than you think. All it takes is to have some starting point and, of course, not forgetting the starting point 
What Gopher says is very interesting: I've done that too. To take a melody of another piece and develop in a totally different ways, so that, in the end, it becomes another melody and you can even make a piece of music out of it. Maybe I shoudln't say that, but the main theme from "Free Man's Tango" was created this way. I had this tango introduction with the piano, but I didn't know how to go on. A snippet of a melody of an old track that I never finished jumped inside my head, but played in a tango rythm. Finishing the melody was easy. I even used the typical "question"/"answer" thingy (by the way, Cooth, I didn't invent that).
Another thing: when I compose a piece in my head, i don't do it in detail. So, I don't think of D7 chords, etc. I think of the main melody and the harmony, but I just "hear" the harmony, and not in much detail. I know if the chord in some place is discordant or not, but that's it. I tend to use very simple chording in my tracks, after all You must have noticed that.
Also, in general, the ideas I have I put them in the tracker as soon as I get home, so that I don't forget. And after that I go on composing in my head. In general, I don't need to resource to the tracker to remember, but once I heard it in the tracker, I won't forget. So, in practice, it's not like I compose the whole song just in my head. The only track I made which was composed almost completely was "Marcha Heroica". That was because I was in the country, no computer, no piano. Nothing. Of course, when you track the song, some more ideas occur and you change it.
On forgetting ideas, it used to happen to me, but now it doesn't, and this comes together with the habit of creating large portions of music in the head. Here are some practices that have worked for me:
1.When I have an idea and I'm not at home, I repeat the melody in my head over and over again.
2.If I can (i.e. I'm not in class or at work) I whistle it. Once I've heard it I won't forget it, in general.
3.If I know I won't be home for long and I have pen and paper, I try to write the melody down. I write it using tracker notation. That makes the timiming very easy to write (just put a dot for each 16th note, for example, then think of the melody while going from dot to dot and each time there's a new note in the melody, write the note over the dot). Knowing what note it is might be trickier. If you have any doubts, just try to think of a scale. Start hearing the notes of the scale in order C D E F until one of them sounds like the note you want to right, or, if the note's not there, half a semitone above or below. The danger of using this technique is forgetting the melody, because you had to take a break and think of a scale, so, keep repeating the melody in your head from time to time
4. I do not think of any other melodies or pieces of music! I force yourself not to do so.
5. I don't try to go on with the composition (unless I'm already sure I won't forget the initial idea). That's the main secret. After I have one or two good ideas, I repeat them in my head until I get home. I enter them in the tracker, mess a little with it, and then I'm set. The next day I will still remember and I will be able to go on composing the piece of music in my way to work or whatever. Also, if I added something to my idea in the tracker, it may help.
6. The time I spend on the bus when I go to work would be a waste, so I use it to compose music in my head. It's fun and productive.
In the end, the way it works better, like in many things in life, is the hybrid approach. Compose the main ideas in your head, away from the computer. Enter them in the computer. Then compose a little more in the head. Enter it. I'm still looking for better ways. I'm trying to leave the structure for later, now. Planning a little more. But I can't say it works, yey, although I think it will.
Much of what I said might be nonsense, but it has worked with me. Use it at your own risk. After all, I'm not Beethoven
EDIT: I don't remember having posted an article on Thomas Newman. I did post one on James Newton Howard.
From Darkness To Light, my newest track.
"I swear by my life and my love of it that I will never live for the sake of another man, nor ask another man to live for mine"
-John Galt, "Atlas Shrugged", by Ayn Rand |
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J.P.A
Artist
Topics: 0
Replies: 26
Registered: 05.Jan.05 |
What I do, when a melody pops into my head when I'm not around my computer, I (try to) sing the melody and record it on my mobile phone. Sounds awful when I listen to myself singing later, but at least I remember the melody. That's the whole point, after all 
I really, REALLY hate it when I'm waking up in the morning knowing that I had this awsome melody in my head the night before, but not remembering it. That really ruins my day. Has happened a couple of times. |
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Cooth
Member
Topics: 59
Replies: 3588
Registered: 02.Jan.03 |
PPH, with the composing in the head thingy... I gotta do that... Sometimes I feel in those moody moments I would really like to make some music, but I always put it off till I can work with the comp. You can imagine all the magic is often gone by then. I never actually trusted I would remember anything of what I'd make up 3 hours earlier.
Another difficulty is, again, the listening experience. Even if I can think of all the intervals and progressions in my head. When struggling to reproduce the melody with real sounds, I'm very likely to ruin all the ideas and forget what it initially was supposed to sound. And sometimes it just turns out too cheesy and, as Nifflas would say, blah.
Anyway, still gotta try that. 
I would put a tax on all people who post to forums.
...
Ooh!! |
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mrsix
Member
Topics: 95
Replies: 1834
Registered: 01.Nov.04 |
This is a stupid question, one may think a melody is golden, another may think it is crap.
What makes a good melody? A melody. |
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PPH
Member
Topics: 48
Replies: 843
Registered: 13.Jul.03 |
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mrsix wrote on 13 Feb. (13:40) :
This is a stupid question, one may think a melody is golden, another may think it is crap.
What makes a good melody? A melody. |
There are many tastes in music, so, finding an answer for that is difficult. Nevertheless, I would say the people who have a good ear and can therefore fully appreciate music (many people can't; they like music, but as they don't have a good ear, there's no way they can appreciate music like one does; this is the sad truth, although, of course, the ear can be educated) would pretty much have similar opinions regarding a given melody. Also, good melodies tend to be catchy. I don't mean instantly catchy, but they will at least stay in your head after listening to it sometimes. In the end, a good melody is a melody you like. I consider a melody to be good when I like it. It's the only way.
From Darkness To Light, my newest track.
"I swear by my life and my love of it that I will never live for the sake of another man, nor ask another man to live for mine"
-John Galt, "Atlas Shrugged", by Ayn Rand |
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Kcirr3d
Artist
Topics: 88
Replies: 1068
Registered: 01.Feb.05 |
PPH wrote on 13 Feb. (14:06) :
Nevertheless, I would say the people who have a good ear and can therefore fully appreciate music (many people can't; they like music, but as they don't have a good ear, there's no way they can appreciate music like one does; this is the sad truth, |
I totallly agree with that, most i my friends like music that has a certain image.. like J-Lo newest song for example. When i ask them why they like the song I get answers like: cuz she has a nice round ass, etc. There are some real stupid people around that say they like music, but dont know sh!t about it. 
ps.: I like Beyoncé's ass more  |
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sfds
Member
Topics: 4
Replies: 189
Registered: 29.Jan.05 |
I think a good melody has to be able to show the person listening what kind of mood your trying to create.
Doesn't hurt to be catchy as well 
http://sbrander.freewebpage.org/chat/ |
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Zepsi
Artist
Topics: 53
Replies: 1132
Registered: 30.Jan.03 |
We need more topics like this one.
What a horrible night to have a curse.
Ears? (2952 hits)
Eyes? (2794 hits) |
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PartySan
Artist
Topics: 54
Replies: 6015
Registered: 20.Jun.04 |
Hell yah. This would be a great place to quote from "The Manual", but sadly I don't have it.
Anyone can find a quote in there?
"You are what you is" - Frank Zappa
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