ViolaGhost Posted October 11, 2012 Share Posted October 11, 2012 Yeah, that got your attention Sorry if I sound a bit off, bad fever as I type. So, I write orchestral music and symphonic electronica. I've had this problem ever since I started writing where I'm really good at building tension, but when it comes time to break out into the crashing melody and deliver the epic thing I've been building up to, I'm often at a loss. Is this usual? I have no trouble with slower pieces, usually, but a lot of times I'll build dynamics, layering, etc, over time and then you get to the point where the big thing happens, and I don't know what to do. It's a lot of pressure when I write, and it's also really counterproductive. I'm aware that perfectionism kills creativity, and have lately been forcing myself to write consistently even when I'm not inspired. It's been really productive, and I've written what I think is some of my best stuff. However, this is a hump to get over. Have you ever been stuck on that brink where your track is supposed to get real exciting and brilliant, and you can almost hear it, but don't know how to get there? How do you get over it? Hope I don't sound conceited, it's just a really frustrating issue. Quote Link to comment Share on other sites More sharing options...
camillo jr Posted October 11, 2012 Share Posted October 11, 2012 Not conceited at all, ViolaGhost! You might try reverse engineering your climactic moment. IOW, write something out of the blue that sounds like it would make a good epic moment and then write into it. Or maybe the climax is already contained in the building tension? I find in some of my own writing that I'll get to an end point, where you'd think that it was time to move on to the next bit but noooo, I'll write another transition/building up section and then finally get to the point. Only later when I'm listening with fresh ears do I notice that I've ended a section two or three times! Maybe it's just a volume problem with some of your writing. In electronica, the drop is usually the loudest part of the song. And also bear in mind that what makes an epic moment is that it doesn't actually last that long! You build and build and build and then BAM, you've come to the exclamation point which might only last a few seconds. Anyway, I'm sort of rambling ideas here. Would love to hear what others have to say on this topic. Quote Link to comment Share on other sites More sharing options...
David Nahmani Posted October 11, 2012 Share Posted October 11, 2012 If you start writing all the tension building stuff first it can be very difficult to then write a climaxing melody. Is that what you're doing? What I would do is first find a very strong, epic, anthemic, powerful melody, and write the climax. Then you go back and write all the stuff that's going to build tension and bring the listener to the melody. If you don't know how to write a very strong, epic, anthemic, powerful melody, just listen to your favorite ones and start analyzing them, their rhythm, their intervals (the bigger the interval the more dramatic the melody) etc. Copy, tweak, change one note, or two, steal the rhythm but use your own notes, or steal the notes but use a different rhythm, etc... much like for everything really: listen, copy, modify, and before you know it you're writing your own stuff. Hope that helps. EDIT: again here, a bit late to the party. I see Camillo uses similar techniques... Quote Link to comment Share on other sites More sharing options...
djleejordan Posted December 28, 2012 Share Posted December 28, 2012 i always automate a high pass filter cutting more of the low frequencies out as i approach the end of the break, then drop it back in on the money! Quote Link to comment Share on other sites More sharing options...
NickMagick Posted January 1, 2013 Share Posted January 1, 2013 Not conceited at all my friend. I also make electronic music mostly house and dub stuff and if there's no drop, there's no pop! I find sometimes in a build, you may even have already something in there that can help the drop kinda as camillo said. Sometimes it's a matter of changing the synth/strings/lead or whatever to something a little more powerful or that cuts through the mix better. I find sometimes even a cut before the drop like a hair of a pause can pop or widening the stereo image on a break or drop can do a lot too. Like David said, it has to be a strong melody to begin with, and once you have it, a lot of times the other things will click. I feel your dilemma though as I have the exact problem working the other way. I usually have some decent melodies, but once they're down (scratches head) . It's always about trying new things. Artists including myself tend to get into a pattern of how they create and its better to create while being creative. Make sense? Start with a melody, start with a beat, start with chords,use a new free synth, take a walk or a drive with a rough bounce of what you have. You'd be surprised how inspired you can get by just listening in a new environment. Don't get discouraged man, some of the best "writers blocks" end with an A HA moment and they end up being some of your best work! Best of Luck! Quote Link to comment Share on other sites More sharing options...
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