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Topic: A Little GIO and GPO Love

  1. #1

    A Little GIO and GPO Love

    Here is a little composition I created on the side. I am practicing with the two libraries: including dynamics and testing all of the instruments for GPO.

    Everything in this composition is GPO (90%) and GIO (10%). I am using the built in convolution reverb that comes with ARIA.

    So here is some love from GIO and GPO :P



  2. #2

    Re: A Little GIO and GPO Love

    Very interesting little melody. It sort of reminds me of Lord of the Rings. It has an Irish lullaby feel to it. I like the rendition of it using GPO and GIO. Your mix blended them well together. The only part I would comment on as a concern is the opening woodwind melody. It seemed a little stiff compared to when the strings took it over. A wind instrument player will play through a line (dynamic of longer notes will increase then decrease). Phrases will also do the same thing. These markings aren't always shown in the music but a musician will do them just the same. This is just my opinion, of course, but working a bit with woodwind dynamics could breath a little more life into your lovely composition.

    Very nice piece, I really enjoyed listening!
    [Music is the Rhythm, Harmony and Breath of Life]
    "Music is music, and a note's a note" - Louis 'Satchmo' Armstrong


  3. #3

    Re: A Little GIO and GPO Love

    Someone's having a lot of fun with their GPO/IO combo! Great, Richard, and I love the fun graphic you came up with for the video screen.

    I certainly concur with RichR, that this has a nice blend of the libraries. The recording is sounding very warm and wonderful. It's an Irish/folksy take off on the most classic 1950's chord progression!

    I also concur with Rich about the first rendition of the melody on the woodwind, is that an alto flute? The rising and falling of volume that Rich describes is a key element to the performance of real instruments, and as you go on working towards more expressive dynamics in your pieces, that's something to keep way up front in your mind. If that flute would swell, and then fade during longer notes, and also over the time of the whole phrase, it would be more natural and musical.

    There's another element that's preventing the melody from flowing like you want, when the flute plays it, and also when the strings play it. It's a compositional element- The melody has some jumps that are a bit awkward, sounding more awkward since the performance of the melody isn't waxing and waning as described above. But two different things could make the melody itself smoother: Additional voice leading notes, and/or an adaptation of the chords so they don't collide with the melody.

    Here, if you don't mind a brief music lecture, I can point specifically to where I mean, referring just to the first opening version of the melody before the later developments which have similar awkward spots:

    --Half way through the melodic phrase, the melody stays on C. The arpgeggiated chord supporting it is on Em. That makes the notes B and C sit there together, and there's no resolution. So the sound is clashing, and not flowing.

    --At the end of the melodic phrase, the melody stays on G, and the rest of the instruments are playing the notes of a D chord. That makes F# and G sit together, unresolved, mirroring the same thing that happened in the first part.

    One way to change this would be to have that first half resolve itself to B, so the melody is momentarily on C, but then joins the chord and rounds the phrase off on B. The second half could be resolved in a similar way, going to either F# or A, notes that are in the underlying chord. I would think that A would be the preferred choice, because that would lift the melody and not make it exactly like the first half.

    And/or the chords could be adjusted so they're not clashing with the melody. At that first awkward moment, the chord could shift from Em to the 2nd inversion of C. Just lifting the B in the chord to C would accomplish that, and there would be that movement in the accompaniment which is accommodating the melody line.

    The end of the melody where there's the G and F# clashing together - that G is making the D chord a SUS4, suspended 4th, which is a nice chord. If the harp and piano would include the G instead of the F#, they'd be playing a sus 4th. Then
    resolving to D Maj would be in keeping with the simplicity you're going for.

    Basically I'm suggesting that after coming up with your chord progression, whether that was before or after the melody, the chords need to get a bit more complex in order for the chords and melody to work together more completely. And I am sure I would be adding a few notes to the melody so that it flows more with tones leading more smoothly to the next. The sound of your recording is lush and gentle, but the writing itself is a bit disjointed.

    I hope what I've tried to explain is clear enough, and of course I hope it's helpful, Richard.


  4. #4

    Re: A Little GIO and GPO Love

    Thanks Randy and Rich,

    I think I hear the problems and what I can improve wit hthe dynamics. Unfortunately, I don't understand music language well, so the c's and such I can't comprehend. I compose by ear and by drawing on the piano roll. For this particular piece I used 8th triplets... which I don't use. In 90% of what I compose its the 16th, 8th, 4th, and whole notes. The harp and piano where playing the 8th triplets. I am thankful for your feedback on this greatly. I am trying different styles and this is an attempt to do so.

    As for what you said Randy, when I switch the key/scale, the harp/piano should change in progression (if I understand what you mean). At the beginning the harp is the same then then the piano takes over with the same melody but at a different scale. That original melody with the harp should be changed once it hits the piano, etc. Is that correct? Sorry, I am very bad at the theory and understanding of music... I know how to compose certain things based on what I have learned myself, but then when I go off on another trail... its a whole new story .

    Thanks again greatly for the feedback,


  5. #5

    Re: A Little GIO and GPO Love

    Having listened (very nice by the way) - what Randy is saying is that the main melody doesn't resolve.

    Imagine for example a G7th chord - imagine ending a phrase on one. There would be an overwhelming desire to resolve the chord (most commonly to the root C) - leaving it hanging would be 'odd'.

    It's far less obvious in your melody, but it remains 'unresolved' due to the ending note, and the chord change under it. You could first isolate your melody line for a moment and then try to resolve it in some manner with a different note or chord that better supports the ending note of the phrase.
    YouTube Music:
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  6. #6

    Re: A Little GIO and GPO Love

    Richard! This is a nice gentle piece. A very relaxing sound. I like it. Jay.

  7. #7

    Re: A Little GIO and GPO Love

    I vi IV V "Heart and Soul..." (End this piece on "I" dang it! LOL) For more fun: http://www.starlandguitar.com/1-6-4-...ion-song-list/

  8. #8

    Re: A Little GIO and GPO Love

    Hi, Richard - Thanks for once again responding well to my feedback. I can see you understand I'm only wanting to be helpful. And, as you can see from Jay's new response, it's not as if what I pointed out earlier about clashing notes is something that's going to bother everyone.

    Graham "Plowking" summarized what I was talking about very well, more clear and to the point. It's just good to be aware of when notes are clashing, and then we can decide if we think it sounds right or not. Momentarily clashing notes are "passing tones" which often sound fine. It's when notes are held that the clash can sometimes result in something we didn't really intend.

    You work in the Piano Roll View. That's the place to look for what I was talking about. The vertical keyboard on the left has all the note names labeled. Click a key on that keyboard, and that highlights all the notes on that line. That makes it easy to see what the note names are.

    Count this piece in slow 4/4. As you said, you're using triplets in the accompaniment. 3 notes per beat. AND, by the way, I really admire what you did with that - You said in your new response that you're trying different things, and this is an effective thing you have going on in this - The triplet patterns, with the melody in straight time on top of it. Nice!

    Starting from the top of the piece, you have a 4 measure intro with the harp going through the "Heart and Soul" chord progression, as Rodney described it - classic 1950's triplets playing the chord progression which glued many a pop song together. Then the flute comes in. The accompaniment pattern continues - 1-and-a 2-and-a etc. and that's how the measures keep being counted.

    The first part of the melody takes two measures. "Da-da-da da-Da da-da Daaaaaaaaa" - That last note in that second measure is the first note we're saying is "unresolved," meaning it stays hanging in the air. And melodies can do that, it's not as if that's necessarily "wrong." But take a listen. As that note is held, the chord underneath it is playing the next note right next to that melody note, and two neighboring notes hanging in the air together is dissonance. Every time that happens, you need to decide if that's what you want to have happen. Usually, for a simple, melodic piece like this, dissonance is avoided. The suspended and clashing notes in your melody are the last notes in measures 2, 4, 6 and 8.

    Look at that measure in the PRV, and look at the last note of that measure. Go over to the vertical keyboard and see that it's a C. You know that you can display the notes for more than one track at a time, right? That's the way to study your work to see what's going on in the relationship between notes. So in the PRV menu choose to see the flute and the harp at the same time. Click on one track's name, and while holding Shift, click the next one. Now you'll see the harp's notes at the same time as the flute. In the area of that held melody note, the last one in measure 2 of the melody - you'll see that the harp isn't ever playing a C. It's playing E, G, and B. It's the B under the melody's C which is clashing. With both tracks displayed, you'll see the notes are right next to each other. And that's what you usually want to avoid when there's a note held like in your melody.

    You could move the harp's B notes to C, and that would get rid of the clash. But everything will still sound unresolved, hanging. So you could have both the flute and the harp go to B after playing the C. In the same amount of time, instead of holding that C as long as you have now, you could have it hold that C for half the amount of time, then go to B. As you go into the melody's third measure, there would then be a pleasing continuity.

    As always, words describing something like this make it sound more confusing and difficult than it actually is. If you want, just go to the PRV and take a look as I described - I'm sure you'll see what I mean, and it could give you ideas of how to develop your music in more detail.

    Thanks again, Richard.


  9. #9

    Re: A Little GIO and GPO Love

    Thanks Randy and Everyone,

    Thanks for all the feedback guys, greatly appreciated.

    I am open to all feedback from everyone in this great community. This is what is helping me to do better at what I am doing. This is what is going to help me complete my biggest project. However, I think I may pick up a few books on music theory and such. It's time to learn some education about it.



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