EDM Melodies

[estellio]

Basically, I was wondering if anyone had any advice on how to make "bright", danceable melodies? I'm not much of a fan of the more simple EDM melodies out there, but I know making more complex, quality melodies will take time and practise. I imagine that choosing the right sound for it will also effect things, to some extent. I've been learning about the effects of different keys and their scales and stuff, as well, but nothing sounds quite right (even when I stick to a scale I tend to like). Perhaps they're not really danceable, or I'm just a bit deaf to my own stuff, lol. Has anyone else been through something similar? If so, what's the best way to come up with catchy, pleasant melodies suitable for EDM? Would appreciate all suggestions or advice, thanks.

[DJ Warmonger]

I suggest trying pentatonic scale for main motiff.

[estellio]

I suggest trying pentatonic scale for main motiff.

Thanks, I'll try it out.

[IncarnateX]

Basically, I was wondering if anyone had any advice on how to make "bright", danceable melodies? I'm not much of a fan of the more simple EDM melodies out there, but I know making more complex, quality melodies will take time and practise.

I like melodic IDM (in a broad sense) too. When you write “bright”, I simply think of major and not minor in the first place, so if you haven’t already, I will suggest that you explore our western major scales in one key at a time before going for modulations. Make a bass figure in one key and then try out the different western scales in major first:

Ionian
Lydian
Mixolydian

If that sounds too bright then try the minors. I like locrian and phrygian myself, especially due to the half step from tonic upwards to next note because it associates to a middleeastern mood that has been very popular in industrial and old school goa. They can be used to do something bright and powerful as well if major sounds too cheesy and happy. If they sound too dark to you, try dorian, which is a popular trance scale too.

My philosophy is that a good melody is one as simple as possible that can drive you through a whole tune in only one key, given that your other arrangements are varied enough to introduce the melody in different contexts. This to avoid that your brain gets habituated and fatigued before the tune is over. From this point, you can always make them more complex and change key etc. In many cases I do not do that myself if the simplicity works but in any case, it is a good starting point.

EDITED FOR SEMANTIC ERROR DUE TO BAD WEED!

[estellio]

Basically, I was wondering if anyone had any advice on how to make "bright", danceable melodies? I'm not much of a fan of the more simple EDM melodies out there, but I know making more complex, quality melodies will take time and practise.

I like melodic IDM (in a broad sense) too. When you write “bright”, I simply think of major and not minor in the first place, so if you haven’t already, I will suggest that you explore our western major scales in one key at a time before going for modulations. Make a bass figure in one key and then try out the different western scales in major first:

Lydian
Syntolydian
Ionian

If that sounds too bright then try the minors. I like myxolydian and dorian myself, especially due to the haft note from tonic upwards to next note because it associates to a middleeast mood that has been very popular in industrial and old school goa. They can be used to do something bright and powerful as well if major sounds too cheesy and happy. If they sound too dark to you, try phrygian, which is a popular trance scale too.

My philosophy is that a good melody is one as simple as possible that can drive you through a whole tune in only one key, given that your other arrangements are varied enough to introduce the melody in different contexts. This to avoid that your brain gets habituated and fatigued before the tune is over. From this point, you can always make them more complex and change key etc. In many cases I do not do that myself if the simplicity works but in any case, it is a good starting point.

Thanks! I'll do a lot of experimenting with the different scales you mentioned, and see what I like the sounds of best. I'll start with majors first, but if it's not quite what I'm looking for I'll try out the minors, as well. Appreciate you sharing that - very helpful.

[spendthrift2]

I don't have any experience, so my reply is just a guess...

I would say pick a chord progression, (say I, VI, IV, VII) and make arpeggios. This can be developed into bass and lead. I think everything starts with a chord progression!

Hope this helps!

[IncarnateX]

There are many ways to be inspired to a melody though I would not start with a chord progression because you may lock the possibilities of the melody and its potential harmonies by default. There are many ways in which you later can harmonize your melody when you have found it. If melodies themselves are to be explored, a free exploration over just a basic tonic can reveal their full potential compared to one locked within given harmonies, ime.

[ChamMusic]

Feedback could be much more tailored to your needs if you posted examples of what you've done so far?

[estellio]

Feedback could be much more tailored to your needs if you posted examples of what you've done so far?

That's very true. I'll look into it, because I agree that it would be super helpful getting more detailed advice. Since learning about the different scales and majors/minors I feel that my melodies (and chords) have improved quite a bit, in terms of making everything sound more harmonious, but finding the balance between simplicity and complexity, etc. is still frustrating.

[IncarnateX]

I forgot to add that if you go for locrian (e.g. white piano notes starting from B), you may want to turn it into an 8-tone scale by adding a real fifth (e.g. f#). This is because the fifth note in myxolydian is not a perfect fifth but the famous tritonus interval (three full tones), which creates a special dissonant like tension that you may want to dissolve now and then by using a perfect fifth instead.

[spendthrift2]

I forgot to add that if you go for mixolydian (e.g. white piano notes starting from B), you may want to turn it into an 8-tone scale by adding a real fifth (e.g. f#). This is because the fifth note in myxolydian is not a perfect fifth but the famous tritonus interval (three full tones), which creates a special dissonant like tension that you may want to dissolve now and then by using a perfect fifth instead.

IncarnateX, wouldn't Mixolydian be white piano notes starting from G? I'm fairly certain that starting from B would be Locrian.

[ChamMusic]

I forgot to add that if you go for mixolydian (e.g. white piano notes starting from B), you may want to turn it into an 8-tone scale by adding a real fifth (e.g. f#). This is because the fifth note in myxolydian is not a perfect fifth but the famous tritonus interval (three full tones), which creates a special dissonant like tension that you may want to dissolve now and then by using a perfect fifth instead.

IncarnateX, wouldn't Mixolydian be white piano notes starting from G? I'm fairly certain that starting from B would be Locrian.

Correct in both cases! :0)

If you're going to explain modes...make sure you know them inside out! :0)

I think that all this advice is now much too generalized, (and potentially off -target), for someone who hasn't really given any concrete examples of where he is right now!

[jancivil]

Sorry but this is just confusing:

Lydian
Syntolydian
Ionian

If that sounds too bright then try the minors. I like myxolydian and dorian myself, especially due to the haft note from tonic upwards to next note because it associates to a middleeast mood ...

Syntolydian. Well, one may want to simply guess that this is a typographical error and means to represent Mixolydian. But I don't know what 'haft note' means and per mixolydian mode particularly - what?

So I think this needs cleaning up; let's look at three which have been mentioned.
And lets get away from white keys in favor of intervals and the objective.

Ionian begins tone, tone, semitone.
This part of a 7-note scale is known as the first tetrachord (forget the 'chord' part of the term, this is historical). 0 2 4 5.
Then we have tone, tone, tone: 7 9 11 [12]. 0 2 4 5 7 9 11.

Mixolydian begins tone, tone, semitone, the same as major or Ionian.
Then the second tetrachord gives tone, tone, semitone; 7 9 10. So compared to major or Ionian the seventh is a semitone lower.

For example: A B C# D E F# G. G natural rather than G#. Major w. flat 7, like.
So: 0 2 4 5 7 9 10; 10 as opposed to 11.

These, one will tend to call major as we saw here, as there is a major third.


Then 'minor' was brought in with Dorian.
First tetrachord: tone, semitone, tone. 0 2 3 5 now.
Second tetrachord: tone, tone, semitone; 7 9 10. Dorian's top half or tetrachord agrees with Mixolydian, while at bottom we have a minor third as opposed to the major in Mixolydian.
0 2 3 5 7 9 10.

For example: A B C D E F# G.

[ChamMusic]

Sorry but this is just confusing:

Lydian
Syntolydian
Ionian

If that sounds too bright then try the minors. I like myxolydian and dorian myself, especially due to the haft note from tonic upwards to next note because it associates to a middleeast mood ...

Syntolydian. Well, one may want to simply guess that this is a typographical error and means to represent Mixolydian. But I don't know what 'haft note' means and per mixolydian mode particularly - what?

So I think this needs cleaning up; let's look at three which have been mentioned.
And lets get away from white keys in favor of intervals and the objective.

Ionian begins tone, tone, semitone.
This part of a 7-note scale is known as the first tetrachord (forget the 'chord' part of the term, this is historical). 0 2 4 5.
Then we have tone, tone, tone: 7 9 11 [12]. 0 2 4 5 7 9 11.

Mixolydian begins tone, tone, semitone, the same as major or Ionian.
Then the second tetrachord gives tone, tone, semitone; 7 9 10. So compared to major or Ionian the seventh is a semitone lower.

For example: A B C# D E F# G. G natural rather than G#. Major w. flat 7, like.
So: 0 2 4 5 7 9 10; 10 as opposed to 11.

These, one will tend to call major as we saw here, as there is a major third.


Then 'minor' was brought in with Dorian.
First tetrachord: tone, semitone, tone. 0 2 3 5 now.
Second tetrachord: tone, tone, semitone; 7 9 10. Dorian's top half or tetrachord agrees with Mixolydian, while at bottom we have a minor third as opposed to the major in Mixolydian.
0 2 3 5 7 9 10.

For example: A B C D E F# G.

Thank you for writing all this! :0)

Sorry but this is just confusing

I was going to try and unravel all the issues with IncarnateX's 'suggestions', but just couldn't find the energy after a long day composing complex orchestral music for an awkward client!

Why do people write about things in such a 'knowledgeable' manner when they clearly don't actually understand them properly at all? It doesn't impress anyone who does actually have the knowledge and seriously doesn't help the OP's asking for advice one little bit!

[IncarnateX]

IncarnateX, wouldn't Mixolydian be white piano notes starting from G? I'm fairly certain that starting from B would be Locrian.

Yup. I am happily messing it up. Locrian. I stand corrected and deserve some spanking.

The right names of the minor scales mentioned is phrygian starting with E and locrian starting with B. D is for Dorian but I meant phrygian.

As far as the majors go, starting on C is ionian F is Lydian and G mixolydian (of course )

Here is a better overview for the OP and plz forget my foggy mix up.

https://en.m.wikipedia.org/wiki/List_of ... _and_modes

Viva la internet