Hey, man, those two are so so, I think. Too flat, i mean, no matter rhythm or melody. For melody, like Bminor2, it is ok, but you know, the note range is too narrow, though the sound effect you chose is good for this piece; for rhythm, in cadelia, you only used a fixed keyboard rhythm pattern, that is far away from enough. Come on, man, I'd like to some of your decent work, I mean, those that can reach the soul, not some pieces made only for music. I suggest you upload your works until you think
【在 w***k 的大作中提到】 : Hey, man, those two are so so, I think. Too flat, i mean, no matter rhythm or : melody. For melody, like Bminor2, it is ok, but you know, the note range is : too narrow, though the sound effect you chose is good for this piece; for : rhythm, in cadelia, you only used a fixed keyboard rhythm pattern, that is far : away from enough. Come on, man, I'd like to some of your decent work, I mean, : those that can reach the soul, not some pieces made only for music. I suggest : you upload your works until you think
p*s
5 楼
art别着急,wreck和我以前是一个band的,:) wreck,你的意思我明白。我也希望能写出能让自己永远不会后悔的作品来, 不过写象“Stairway to Heaven”,"Hotel California"之类的玩艺叫我感觉 还真是需要点灵感的。我现在作东西是理性多于感性,当我写曲子的骨架的时候, 我完全不知道这会成为怎样一首歌,它只有一个简单,稳定的节奏,一个简单 的曲式,仅此而已,在这个基础上可以有无数种变化的可能性,而最后 这首歌会变成什么模样,我不知道。然后在节奏的基础上一点点加入bass,键盘和 lead guitar,每一乐器的加入既要有严格的规则,也有自由发挥即兴的空间。 每录完一轨,这首歌的形状就清晰一点,等到所有轨录完,整首歌就有了 它完整的形体。(hehe,听上去象dynamic programming) 按我上面那种工作方式,理性的部分是70%,感性的空间是30%. 事实上70% 的部分作得好,就能作出一首好听的东西,至于是不是真能打动人, 更多取决于那30%。当然,要打动别人,首先得解剖自己,自己想说什么, 想作什么,为什么而痛苦,能表达些什么,表达到
Well, I have 2 slides, suited for those 2 different finger. Some great blues songs, the artist usually put the slide on WuMingZhi, and use the slide for about 90%~95% time. Also, my last post doesn't mean to discourage anybody, if I did, sorry. I just meant, everybody can make great stuff, no matter he's only a beginner or a professionale. The point is, just try to dig into your heart, not just follow some model or frame strictly, or to excessively emphysize some sort of musical discipline. Just