just after trying to work some beats and chords with E harmonic . i decided to try to make a lead melodic lead line with E Minor Melodic scales. seems that i am not still happy with the results. i was wondering if maybe switching to G Major Scale would work well . or should i try just to stick with E minor Harmonic for the lead?
Need a bit more info Aline… What don’t you like? What chords are you using? There are a lot of potential ways to remedy the problem but I’d need specifics. Sometimes switching to the relative major is useful, but you might as well just use the natural minor on ‘e’ instead and see if that works. Remember, the harmonic minor scale keeps that pesky leading tone D# in there which makes it more difficult to wander through the scale. It probably sounds a bit too exotic.
Try lowering the D# to D and see if that helps. Otherwise, I’ll probably have to hear a sample and have you tell me what bothers you about the melody you currently have.
J
Hi Jamie thanks for the tip man . this is a small sample of the track i am working on and i want to create a lead line that contrast the Rhythm and bass. so far i don’t like the results. A,B,F#C#F. i cant touch the C# because it sounds so dissonant. and ugly. and when i try to use the other keys it just sounds not fun or exciting. i want a lead that contrast the rest of the track , creating a deep sense, and at the same time have a meaning . I hear producer like the timewritter which his lead lines sounds so alive and create a feeling wich i still cant create . maybe because am i just thinking too much about the theory or maybe because i need to learn more Theory .
. witch i still struggle to get a deep lead line .
also does it have to see maybe that the lead is just too long? 4 bars long ? i know there is no rules but i am sure there is something that i am not doing right.
any suggestion would be appreciated brother.
Thanks
Honestly, Aline… I don’t think it sounds that bad at all. I do think the second portion of your phrase needs a bit of contrast since it is so much like the first half, at least in a rhythmic sense. Now you could take the consequent phrase and change something about it, like the direction, rhythm, frequency of notes, and so on, so that it leads back to the start of your melody in a logical way. I think the fact that the end is left rather “open” is what might be bothering you about it. It doesn’t seem to have a strong push at the end of the phrase. Know what I mean?
Now, you could always keep the melody as is (because it does sound good!) but add a repetitive, secondary melody somewhere else while the long-held notes in both phrases are doing their thing. You know, something to distract us away from the fact that the main melody is being drawn out.
Those are two things I’d try right away and see if that clears up the issues you have with it.
J
[quote]JamieinNC (23/06/2011)[hr]Honestly, Aline… I don’t think it sounds that bad at all. I do think the second portion of your phrase needs a bit of contrast since it is so much like the first half, at least in a rhythmic sense. Now you could take the consequent phrase and change something about it, like the direction, rhythm, frequency of notes, and so on, so that it leads back to the start of your melody in a logical way. I think the fact that the end is left rather “open” is what might be bothering you about it. It doesn’t seem to have a strong push at the end of the phrase. Know what I mean?
Now, you could always keep the melody as is (because it does sound good!) but add a repetitive, secondary melody somewhere else while the long-held notes in both phrases are doing their thing. You know, something to distract us away from the fact that the main melody is being drawn out.
Those are two things I’d try right away and see if that clears up the issues you have with it.
J[/quote]
awesome man . i think that was my issue i will try to figure it out and post the result. thanks so much for the help man. you are awesome !! 