PA Songwriters'/Composers' Association

Polymorphia wrote: The Pessimist wrote: More spamming from me: Footage from my band's gig on Sunday afternoon. It was sunny and a fox was sitting in the garden, perfect for clapping in 9/4. Our drummer goes a bit crackers at the end too, which is nice to hear. After listening to some of the links you've posted, I have to say this one's my favorite. The clapping added another texture which was a nice touch. I might like some more variety in general with your material. When translated to a band setting, you guys tend to use similar tricks and evoke the same moods. I know how hard it can be to create variety in a trio, though.

What kind of variety would you suggest? I'm open

I do like the music, though.

Here's one of the ShouldBe Band's efforts http://soundcloud.com/the-shouldbe-band/alpha-omega 

...and another. A song about loss or bereavement. http://soundcloud.com/the-shouldbe-band/love-within

This one I composed on my iPad when I was on holiday in Morocco http://soundcloud.com/the-shouldbe-band/moroccowip

Polymorphia wrote: The Pessimist wrote: Polymorphia wrote: The Pessimist wrote: More spamming from me: Footage from my band's gig on Sunday afternoon. It was sunny and a fox was sitting in the garden, perfect for clapping in 9/4. Our drummer goes a bit crackers at the end too, which is nice to hear. After listening to some of the links you've posted, I have to say this one's my favorite. The clapping added another texture which was a nice touch. I might like some more variety in general with your material. When translated to a band setting, you guys tend to use similar tricks and evoke the same moods. I know how hard it can be to create variety in a trio, though. What kind of variety would you suggest? I'm open  The kind you add here could give you some ideas. The human body has a myriad of other musical sounds that you could use, if you wanted. Different moods might help. The solo stuff you have on piano tends to vary a little bit more in mood than when you translate it to a band setting. Maybe discuss with the band what kind of mood you're going for. You also tend to use the doubled basslines a lot, especially with odd meters. Maybe vary the textures? The bass could play higher sometimes. Basslines don't always have to be doubled, and when they are doubled they don't always have to be in unison or octaves. There could be two or three octaves. You could have parts with more and less voices.

I don't know man, I think music works a lot better when there are fewer elements, otherwise it gets too much and unfocused. The fact that we use the bass/piano doubling a lot is just because we like that device. We're trying to achieve a similar vibe to progressive metal like Meshuggah with a piano trio, and that's one of the few ways of emulating those kind of riffs. Regarding moods though, I would agree with you, although too many moods get confusing for me.

The Pessimist wrote: Polymorphia wrote: The Pessimist wrote: Polymorphia wrote: The Pessimist wrote: More spamming from me: Footage from my band's gig on Sunday afternoon. It was sunny and a fox was sitting in the garden, perfect for clapping in 9/4. Our drummer goes a bit crackers at the end too, which is nice to hear. After listening to some of the links you've posted, I have to say this one's my favorite. The clapping added another texture which was a nice touch. I might like some more variety in general with your material. When translated to a band setting, you guys tend to use similar tricks and evoke the same moods. I know how hard it can be to create variety in a trio, though. What kind of variety would you suggest? I'm open  The kind you add here could give you some ideas. The human body has a myriad of other musical sounds that you could use, if you wanted. Different moods might help. The solo stuff you have on piano tends to vary a little bit more in mood than when you translate it to a band setting. Maybe discuss with the band what kind of mood you're going for. You also tend to use the doubled basslines a lot, especially with odd meters. Maybe vary the textures? The bass could play higher sometimes. Basslines don't always have to be doubled, and when they are doubled they don't always have to be in unison or octaves. There could be two or three octaves. You could have parts with more and less voices. I don't know man, I think music works a lot better when there are fewer elements, otherwise it gets too much and unfocused. The fact that we use the bass/piano doubling a lot is just because we like that device. We're trying to achieve a similar vibe to progressive metal like Meshuggah with a piano trio, and that's one of the few ways of emulating those kind of riffs. Regarding moods though, I would agree with you, although too many moods get confusing for me.

^Follow your intuition. I'm a fan of the idea that only the one being critiqued knows how to adapt the criticism the right way. Suggestions from the outside will always be hit and miss. If you don't sense a problem, don't worry about it. If you do, just fix it the way you think you should. 

Thanks 

https://soundcloud.com/paul-drozah/yap

I made a hip-hop tune. Samples are from the Jeremy Kyle show.

https://soundcloud.com/andrey-gaganov/disagreement