Writing better melodies and harmonies (on Elektron machines)

The Lounge General Discussion
#49

I am currently working my way through this (free) course on music theory and can highly recommend it: https://www.daveconservatoire.org/

I’ve tried learning theory from a couple of (written) sources before and not got very far, and I’m not usually very good with learning from videos (they usually waffle too much for me!), but I’m actually really enjoying this - each video is only 5-10 minutes long, and they get straight to the point, but are presented in a nice informal way. The structure of the course mostly is good too, although there are a few bits that seem to appear out of order.

I’ve been watching a few videos before work most mornings and taking notes, I’m just starting on “modes” now and already feel much more confident in my understanding of what makes melodies work etc, despite not dedicating much time to putting it into practice. Definitely worth checking out I think :slight_smile:

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#50

Nice thread, based on reading a couple of posts.

Currently I’m frustrated by youtube advice that seems to amount to ‘stab around randomly in fruityloops (while considering the chord and scale)’ … and the end result qualifies as a top line of the score but rarely a coherent melody. Which I guess is okay in some contexts, but leaves me unsatisfied.

So I’m going to be re-reading this.

Welcome more advice like the preceding in this thread.

#51

Link is broken, has now moved to here.

Looks like an awesome site.

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#52

I think its pretty important to also consider the sound design and type of music as well now.

I still like messing around with a piano instrument to find pleasing progressions, but I run into a few problems problems when I try to incorporate them into the type of music, which is faster (130 bpm) dance oriented.

Firstly, big long pad sounds tend to suck the energy out of the music, so it doesnt really do to have them prominent.
Secondly, if you have a really big and cool lead sound covered in delay and reverb, often simpler melodies sound better. Like if theres some intricate progression it just gets overwhelming and loses impact.

I also like just faffing around in synths making sounds, so i combine making synth patches and progressions/melodies. If i start with a progression I will try it out with pad sounds covered in reverb etc, or if i make a cool lead I will try find a melody or riff that suits it. I save the sound and pattern in a big ableton project which i can lean on down the line. Still working on putting everything together though.

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#53

I am curious how DT / DN users are coping woth the 4-bar pattern limit because that’s quite a hurdle to take if you want to make progressions that span more bars.

#54

Either chain patterns or set the track scale resolution to half or quarter, works on most elektron machines…

#55

I usually get around this with conditional trigs (one pass plays 1:2 and another 2:2) and chaining. The sequencer limit does influence what you write, though. You naturally want to write shorter phrases and your brain wants to wrap it up in 64 steps.

Same with the one-octave keybed on the modules… I strongly suggest a midi controller for anyone attempting to write melodies on these boxes. I always end up stuck in C because of how hard it is to play anything in another key while in live record mode.

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#56

Thats a pretty good video/thread. He has a bunch of chords in a midi, which he uses to sample synths into his OT, which he then slices up and can explore with plocking slices.

This guy is also cool Elektron Octatrack Mk1 🧻🧻 – ManCave3 he’s an OG of electronic music in Australia and re the OT he writes

Do you like loops? Good. Do you like melodic progressions? Not so good. Even the clever bald dude that demos the unit online tends to get a groove and just fuss that around. It is just a rhythm machine and you will need other toys to provide the actual music.

Obs people will disagree but it does kinda match my own experiences.

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#57

I have a friend that used to teach piano to all ages as a side gig. When I wanted to learn a bit about music theory she recommended I start with understanding chords first–I’d been struggling with books and guides that started elsewhere.

She told me adults tend to do better starting with chords for some reason, but you really can’t go wrong by starting with a chord progression and sticking with those notes. Use the roots as the bassline etc.

I mean, it won’t have you writing symphonies, but for most electronic music its a great place to start.

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#58

You can get 32 bars using note repeat and microtiming.

For example, to create the pattern:

xxx0x0x0 xxx0x0x0

you would set to 1/8 time so one bar was two steps, then on each step place a trig pushed forward 3/64 with a note repeat of 1/8 and 4.25 (for three repeats). Not tried this, but you might be able to use LFO on pitch and HOLD, so it runs an LFO and plays the value on trig to change notes in the repeat.

I find I can often compress patterns into 1/4 without much trouble and into 1/8 if they’re a bit sparse.

Separately …

If you use analog rytm II you can get very nice lead synth noises out of the metal cowbell and dual VCO from which melodies can be composed. You can also get good stuff from rimshots and plastic kick. So even on drum synths there are often melodic options.

#59

Thanks for the tip, I’ll give that a try when I’m feeling courageous.
This kinda goes against the OP’s question though, this is no longer writing or composing melodies, it’s more like coding or programming them after they’ve been composed.
I’m not trying to bash anyone/anything, it’s just I’ve found the 4 bar limit and the absence of song mode to be quite a creative limitation of my Digi twins.

#60

ok, revealing my secret:

  1. using Phrygian Dominant scale
  2. i’m brilliant!

downsides: after a while you might found yourself listening to old school goa trance :stuck_out_tongue_winking_eye:

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#61

I want to use dorian mode, but the minor 6th is definitive sound of techno. It’s my greatest dilemma and the gordian knot preventing me finishing anything

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#62

Ha, I love that scale and never realized it’s name, thanks :blush:

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#63

Great thread. I cheat, I use Launchpad Pro Mk3 scale/chord modes. I pick a mode/scale, and use my ears, usually I make something far to fulsome, and the the trick then is removing notes.

I agree with all those above who point out simplicity and rhythm as key elements in melody. I listen to a lot of Johann Johannson, Max Richter, Phil Glass, even Sibelius, as well as Kate Bush and Stars of The Lid, and Bob Dylan. We can all spot a good melody, and we can’t even defend against a catchy one…but yeah…how do you write one?

I wouldn’t say I’m good at it, yet, but yeah, simplicity, rhythm, using your ears, removing notes, adding space.

There is a good MOOC I did, where they cover the basics of music theory, I recommend that, too. (https://www.coursera.org/learn/edinburgh-music-theory)

As for “with elektrons”. The DN has a great way of picking a scale, and only playing those keys. Run it in live record, noodle, remove notes. Don’t always quantise, cos that is where interesting rhythmic elements can come in. For me, LPMk3 goes into the DN midi in, and I play stuff in that way. I spend a lot of time going “live record, clear notes, live record, clear notes”. As soon as you get a phrase/progression you like, move to the next pattern, so you don’t end up stuck in a four bar loop and building layers.

I usually use 3 tracks, one for “chords”, one for a melodic element, one for bass. I usually add them in that order.

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#64

Nowadays you dont need Music Theory to make music.

#65

Despite the clickbait title, I found this useful … not as the only approach, but as a way of thinking about melody.

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#66

Thanks for sharing this, this is absolutely amazing content!

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#67

Concur. I started that and found it answered some of my questions, partly in the realms of music theory, but the most useful content was outside that. ‘Form’ in particular was stimulating.

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#68

This is the exact same for me, it also how I approach melodies. I too am mainly bass/guitar player and got an indie band and I also jump about in a punk band, the way I layer my guitar is not to produce separate melodies but all layer to make a whole and your ear then can’t pick out what note is on what layer/guitar, then add different effect to different layers to make it even harder to pick out.

I’m a synth novice but I approach making my electronic music in the exact same way and for me atleast it was easy transition and manage to have same end result. A whole complex melody made up of 4/5layers of simple 3/4note hooks.

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