Process for creating complex textures?

Hello everyone

 

I'm curious about different peoples approaches to composing/arranging multiple layers of music. It would be cool if you could maybe share a little of your process like where you start or at what point you start adding secondary melodies etc...

 

Personally I come up with a rhythm/chord progression and simple melody at the same time on the piano. I then proceed to write another melody over it that becomes the main melody, while the previous one is now the secondary melody. Writing my main melody last seems to produce the best results for me personally even though I know many people argue that everything should be built around the melody.

 

I then treat it as 3 layers : 1st- Main melody, 2nd - Secondary melody and 3rd - rhythm (usually long sustained notes but sometimes with an active bass melody that creeps up into the second layer)

 

To add more lines I employ counterpoint rules within each layer but not in a way that it matters in relation to another layer. For example I will write a counterpoint line to the secondary melody sticking to counterpoint guidelines, this new melody may break many rules against the main melody like Parallel 4ths and 5ths and even 2nds and 7ths. I take advantage of this to write exiting textures. As long as it is in a different layer(controlled with dynamics and orchestration) The dissonant intervals and parallels tend not to stick out in a negative way and I think they add an awesome color to your music. By keeping the counterpoint strict within each layer to keep the lines separate makes it sound like there is an insane amount of things going on behind the main melody. Obviously I still make sure every layer works together as a whole horizontally and those chord tones are hit.

 

Well this my process. It's a way for me take advantage of strict counterpoint to keep lines separate from each other, while still being able to capture the sound of classically "forbidden" intervals/parallels that lots of world music employs for very unique and colorful textures.

 

 

I would be very interested if someone else is willing to share their approach.

Honestly, I write what I hear. I listen over and over and over and over and over and over and over and over again, and while I'm working, something will pop into my mind's ear that I'll throw in the mix. It's a very holistic/instinctive approach.

 

In certain situations—marching band, academic works, flimsy attempts at really cerebral contemporary classical scores, or even gigs on a time constraint or where it seems practical—I'll progressively "write to the math" or "write to the science," as I describe it, and rely more on theory and tried-and-true conceits. But without going into a long backstory about myself, suffice it to say I've been there, done that, and am thoroughly over using formulae in my writing.

I come up with a melody or chord sequence, then I play or program stuff over it. I don't think about any "rules" I may have broken or adhered to until it's finished.

 

As simple as that really

I'm pretty much with lookatthisguy on this, you get ideas as you go on. A good way is to visualize something to put the music into. When I have a clear vision of how the part would look, that's when I hear the parts that need to come next.

 

And just to keep it fun, I've had this little gimmick of making big-ass psychedelic textures:

 

1) Make a lead synth, for example ES2. Nothing fancy, a sharp unison.

2) Add an Autofilter and lowpass-LFO the synth until it's "bubbling" and not audible all the time.

3) Add wonky delays and possible phasers/reverbs/panning tremolos.

4) Duplicate the sound as much as you like. I keep it between three and five so it doesn't get too crowded.

5) Change the LFO Rate and the panning tremolo just a little bit, maybe even change the waveform of some.

6) Have a base scale and solo around wildly through all the tracks so you have loops with differing lengths.

 

Instant controlled chaos and multicolored neon worms coming through the ears

I'm pretty much with lookatthisguy on this, you get ideas as you go on. A good way is to visualize something to put the music into. When I have a clear vision of how the part would look, that's when I hear the parts that need to come next.

 

And just to keep it fun, I've had this little gimmick of making big-ass psychedelic textures:

 

1) Make a lead synth, for example ES2. Nothing fancy, a sharp unison.

2) Add an Autofilter and lowpass-LFO the synth until it's "bubbling" and not audible all the time.

3) Add wonky delays and possible phasers/reverbs/panning tremolos.

4) Duplicate the sound as much as you like. I keep it between three and five so it doesn't get too crowded.

5) Change the LFO Rate and the panning tremolo just a little bit, maybe even change the waveform of some.

6) Have a base scale and solo around wildly through all the tracks so you have loops with differing lengths.

 

Instant controlled chaos and multicolored neon worms coming through the ears

 

Ooh, that sounds fun. I'll have to give that a go soon! Thanks!

Lately, this is what I've been doing which seems to help when feeling creatively dry:

 

1) Come up with a four or eight measure phrase and write it down using the old pencil to manuscript paper method.. For this, I use single-staff manuscript paper (which I create using my notation software program).

 

2) I input that four or eight measure phrase into my notation program (currently Finally 2012) and use a plug-in that automatically creates variations of the phrase (inversion, retrograde, retrograde-inversion, etc.). I will admit that I used to do this by hand, but I've gotten lazy over the years. LOL!

 

3) I write down a basic form which I either follow or amend as the composition progresses. For example:

Intro-A-A-B-A-Interlude-C-D-C-D-Interlude-B-A-ending. These are usually four or eight measure phrases.

 

4) I get out my condenced orchestral-version manuscript paper and begin to experiment the crap out of the original melody, auditioning different instruments to the melody and picking the ones which makes me the happiest freakin' person in the world at that moment.

 

5) I develop that original 4 or 8 measure phrase usually using a variation of that phrase (see #2). I tell you, doing this really does help break-up any mental-blocks during the creative process!!

 

6) At the same time, I work on the chordal structure that I MIGHT use underneath the devloping melody. There are a few "tricks" that I use which I've grown to like using. This might include deriving chordal structures from the melody/phrase itself, using some kind of ostinato texture, or just using some "Chord Cliche" (I-vi-iv-V-I) and making poly-chords or hybrid-chords from that "cliche".

 

7) As the piece develops, I see if I can using some kind of contrapuntal phrasing to the melody. This could be a simple round or maybe a bit more complex to something resembling a fugue-like structure.

 

8 ) All the while I'm experimentating with different instrumental "textures". (Oh yes. I forgot to say that this is what I do when I compose for a computer-based "orchestra". But the basic process can be used for ANY instrumental mix for any genre of music.) As I work through the pre-set form of the tune (see # 3), I audition (experiment) with different instrumental combinations. Once I hear what I like, I put that pencil to manuscript paper for further development.

 

9 ) Putting pencil to manuscript paper is helpful for me to see how the music is developing. I'm a visual person as well as an audio person. So, seeing those notes on the paper is very helpful for me, especially as the composition is being developed. I look for "space" within a phrase for counter-melodies and/or rhythmical chordal structures to fill.

 

After a while, the composition becomes developed (or complex in texture). Throughout the process, I also consider dynamics which include soft sounding textures as well as loud ones. I also consider tempo changes. And, I also consider changing tonal centers. Doing all of these things, at least to my ears, helps make the music sound more interesting (rather than staying in one key or tonal center all the time, using the same static tempo with little to no variation in dynamics - BORING!).

 

You see, I view composing music (or creating complex textures) as a craft. Like any other craft or profession, there does exist "tricks of the trade". I found it very helpful to learn those "tricks of the trade" (aka music theory). It's helped me to create some nice music. It may not be Bach and it may not be even Gentle Giant (look up that group if you don't know them), but it satisfies my ever-increasing refined and matured taste in music. I like to hear something that's well-crafted, no matter the genre, especially if it's my own music.

 

Happy composing. . . .

I generally do something pretty simple - I jam stuff till it sounds good. I find that either a chord progression, a melody or sometimes just a rhythm will be the kernel for the whole thing. It's got to be inspiring to me; that really helps with generating other ideas over/under the first kernel idea. I also find that listening to other people's stuff, particularly product demos on various sites, can be a great source of inspiration.

 

Sometimes I jam too much stuff and then wade through it all, fixing lines, cleaning up messy chords and so on. This approach can be a lot of fun when I'm in the initial creative / jamming phase but often as not this method can be a pain to sort through if I've improvised too many ideas in one area.

 

Another approach I take is to leave some areas quite simple, knowing that the core idea is there and that I'll return to it later and flesh out that section, depending on what's going on before or after. This works quite well for me.

 

One more approach which I don't use very often but which I'd like to do more with is to first create a piano-only part and then orchestrate that afterwards. I don't make any attempt to make a piano part that's actually playable by a human, but it will have the core melody and chord parts, and maybe some other lines.

Interesting, I sometimes do the piano thing, but after I've done some orchestration.

 

I'll merge all midi parts, minus percussion, and load up an EXS piano. You can really hear the harmonic worth of a piece that way, I feel. It even inspired a girlfriend of mine to learn to play an electronica tune of mine on piano once, which was nice

Now that's interesting too. Kinda reminds me of the old days with my hardware sequencer where sometimes I'd accidentally change some setting and suddenly all the parts would be playing on one instrument, often to hilarious result. Occasionally I'd like it and try to incorporate it somehow. Man, I wish I still had some of those old experiments.

It really depends on what style you're writing for. I do a lot of combining orchestral & electronic elements, so my "fillers" are usually ambient synths and percussion. This would be different if you were doing purely orchestral music, and different still if you were writing songs or pop music.

 

Generally I start with a strong melody and percussion groove, and then start filling out the sound from there.

I usually start with a chord progression, then write the melody. I have a golden rule that i must write before i produce, otherwise i get stuck messing around with plugins. Plus its always the song that people here, not necessarily the production. A good song should work with just a piano (or guitar) & vocal. After all, you can't polish a turd.

I will sometimes start with a melody but i will write the bassline at the same time. I will play the melody on the piano as well as the bassline. You can really feel the consonance & dissonance created. I will then add the chords.

I have a golden rule that i must write before i produce

 

Me too.

 

I think it's a good rule even though there are no rules.

For me it is an ever changing process:

 

Most of the time it just comes from me loading up some sounds and just messing around. I find making new sounds or combinations of sounds are a great source of inspiration. Perhaps a big string section mixed with vibes and choir, playing chords in the left hand and melodies in the right, although sometimes I just load one single sound and try to create melodies without an chordal accompaniment. From there I make sure to write it down in a book of manuscript paper with as much detail to the sounds I using and the "feel" of the playing (e.g., jumpy, sprightly, somber, grand, etc.) so that when I come back to it later I can recreate it appropriately.

I generally have to then look at where in a song the part I just wrote would fit. For instance just the other day I wrote a big grand string, french horn, and choir section where it would make more sense to have near the end of a song for the climatic point of the piece. In those cases I write the stuff before with that melody in mind and always attempt to work towards it. Other times what I wrote works great as a beginning, middle, etc.

 

Other times, depending on the piece, I may create some drum loops. I write a lot of "hollywood" style scores so I am generally loading up the big epic ethnic drum patches from EW/QL Stormdrum libraries, but it also may be some electronic drums from Battery 4, and then Logic's Ultrabeat and Drum Kit Designer. Just make a loop and...well...loop it and mess around while it's playing. Long giant chords or melodies; whatever I'm feeling until something stands out.

 

Other times it is just from hearing a cool song and saying "I want to recreate something like that" and taking a shot at it

 

Sometimes I just mess around making a synth sound that I like and write an entire song the revolves around that one sound and I simply write melodies and harmonies as the piece progresses.

 

Another thing I do is away from the computer. I did this in school all the time while I was waiting for class to start.

I would pull out my big book of manuscript paper and write 4 part chorales. I'm not good at looking at a piece of music and thinking "oh, it should sound like that" so I would just write it at random (a simple 8 bars usually), take it home, play it in and see how it sounded. Sometimes it sounded awful but other times there may be 3 chords that sounded really cool.

 

As far as some books I can recommend Arnold Schoenberg's Structural Functions of Harmony and Fundamentals of Musical Composition have had some pretty helpful stuff, but aren't the easiest reads in the world.