posted on Oct, 30 2006 @ 12:32 PM
Interesting track, and I like the distorted guitar riff. I hope I can provide a little help to you, and please, take this for what it is, just one
When you compose an instrumental piece like this, it is tempting once you come up with the riff to use it over and over. In some cases that can work
well, but usually only when there is a lead melody over it. In this piece, a lead melody of some kind would have worked well right where the drums
come in. That would allow the underlying rhythm guitar riff to take a second seat to the lead melody, and shift the listener's attention to the lead
melody, which at that point it needed to do. Why? Simply because too much of any one element without a shift in primary attention will tend to bore
If you listen to top productions in the biz, they will always do SOMETHING to break up or augment the existing rhythm structure. They might keep it
the same sometimes, but usually only in the case that there is a prevalent melody on top of it. U2's With or Without You, is an extreme example of
how they were able to keep the same bass line and rhythmical lick going throughout the entire song, but because of the good production done on top
with the vocal melody, they made it work, and are able to keep many listener's attention. To the more musically creative, however, it reeked of
The same principal can easily be applied to instrumentals. And in this piece, a lead melody line that takes over, and goes in a complimentary,
different direction than your base guitar riff would open up the piece and make it sound less repetetive. At this point all you'd have to do would be
to add it over what you already have. It could be a lead guitar, or a lead keyboard, or a lead whatever. Or even better, a bit of all three, for
contrast. Contrast is key, and repetetiveness must be controlled carefully. But you've got the basics! Hoping to hear you take it to the next level!
Remember, just my opinion, and hope you will consider.