Gallivanting Among the Stars - My First Original Composition
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Dave Dunn
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Get a haircut ya hippy!
(You wanted criticism, you got it!)
As for the song, very nice. The only input I'd give is to work on some backing to fill it out, but no doubt you have that in mind anyway.
(You wanted criticism, you got it!)
As for the song, very nice. The only input I'd give is to work on some backing to fill it out, but no doubt you have that in mind anyway.
Colin the Bear
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Nice rainbow sax.
Wade Cornell
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Nice strong tone and well played. I don't know if it's the backing or exactly what you played, but it sounds very much like East Asian "pop" music.
Thanks Wade! My wife said it sounded like video game music - which mostly comes from Japan, so I can see that! I definitely have been listening to lots of video game music - so probably explains the influence
Dave Dunn
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Sorry mate, I listened at low volume on my phone so I only picked up sax and drums, I'll have another listen down in the spare room (my studio lol!) through the stereo.Thanks Dave! I had to pull back the instrumentation a bit to feature saxophone for the contest I entered. Normally would have more all around
Haircut was done just after this was recorded too lol
Also, up until a couple of years ago I have always had long hair, \m/, so "get a haircut ya hippy" became my catch-cry years ago.
Haha they need music for their ads I betNice! I think you should get in touch with these folks!
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I can see that. I like unusual tunes like this so thumbs up from me.
When I saw the word "gallivant" in the title I wasn't sure, but yes, there does seem to be quite some galivantification in there.
Mr Pedantic just tapped me on the shoulder and said it sounded in places like the bass line is echoing the melody somewhat - maybe some counterpoint or contrary motion would be better.
Thanks very much Pete! I felt it worked well - the title was made after I finished the song haha
I'm new to writing bass lines and drum rhythms, so the feedback there is very helpful! I actually had a bass line that was less in sync at first - but i felt it was playing into the synth lines, or making excess noise during space. Thus why I changed it to feel more like the melody. I'll have to learn more on bass writing for sure - but this has been a great learning experience!
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Wll, I haven't spent time analysing it, that wasa very basic imprsssion, I first noticed at the end of the bridge.
These things are partly down to bass lines havining inversions if there are roots in the melody, or maybe just different harmonisation.
I learned some basic rules of composition (e.g. NO parallel ovtaves) some time after trying to compose - it's a bit like anything - it's good to know the rules before you break them.
So for example if you have a melody that is a bar each of C - E - F - D you should avoid harmoising it with
C major to E major to F major to D major . Instead we'd be taught to use C to A7 to Dm to Bb or something
C to E to F to D with the bass roots doing the exact same is one of my favourite songs ever: Sitting on the Dock of the Bay, so that breaks the rule very nicely.
Well then I never read the book on basic rules of composition
I had no idea parallel octaves were frowned upon! I did actively try to avoid hammering the root in the bass lines, but sometimes it was a logical step for the line I was writing. I'm going to analyze it myself! Thank you very much though, thats some superb information. Also had no idea that Sitting on the Dock had such a progression!I've made a couple of other small adjustments to this song that weren't featured in that recording after my instructor gave me some feedback - primarily just adding some more chord flavors in there, like tonicizing the vi chord and adding a ii-V-I turnaround in places.
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Parallel octaves and fifths are a no no, but that is classical harmony. (Although you may well find a bit of Beethoven that breaks those rules)
In pop, jazz and rock not so much an issue at all (think power chords) but is still worth identifying and deciding if it is good bad or bad bad.
Aha! This brings me back to a music theory course I took in high school. Our teacher (the band instructor) had the format of teaching us rules and then how to break them! It was a blast, and he was a phenomenal jazz trombonist. He retired my junior year of High School though, which ended the Theory courses and a lot of my learning of music - the next band instructor was a decent trumpet player, but cared more about sports programs and marching than jazz and theory.
JayeNM
Formerly JayePDX
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It's very nice.
One thing which kept popping into my head....
...have you tried recording it ...just a tad slower in tempo ?
If I am correct, it clocks in at around 110bpm (?)
The melody, to me, actually seems more suited for something like 100bpm, or even 98. It sounds in places like you are rushing to get thru the notes....and the melody is very nice, I think perhaps hearing it a bit slower would do the notes and syncopation more justice.
Just a thought...
One thing which kept popping into my head....
...have you tried recording it ...just a tad slower in tempo ?
If I am correct, it clocks in at around 110bpm (?)
The melody, to me, actually seems more suited for something like 100bpm, or even 98. It sounds in places like you are rushing to get thru the notes....and the melody is very nice, I think perhaps hearing it a bit slower would do the notes and syncopation more justice.
Just a thought...
Thanks Jaye! I just ran that through my sheet music software playback - and it felt sluggish, but thats probably because I'm used to the tempo. That said - I did struggle a bit at tempo in places sadly. I was running out of time to submit a recording to the national sax museum contest, so I may have put this together too early.
I'll give a bit of time to clear from my head and relisten at 98bpm again soon. I think you may be onto something though - the piano/synth line especially was much more the feel I was looking for at that tempo. Just need to wrap my head around the melody at that speed!
JayeNM
Formerly JayePDX
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yeah I know...sometimes it can be hard for the original artist to actually re-conceive of playing their own composition at a different tempo...while, for some reason, it's easier for someone 'covering' the tune.
Perhaps because of the emotional investment the original composer has in it.
But it'd be interesting to hear it at 98-ish...
saxstorm
Still battling on!
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Well done, great tenor sound! Could I just ask what mic you are using!
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