[Dippshoe]

Ok, so I feel my biggest challenge at the moment with electronic music is melody layering and arrangment.
What do you tend to do when things get to repetitive? Do you change the chord progression? do you change the lead melody? Do you add another instrument? do you break up some instruments?

This is for an avarage "chiilout/insutrmental-song"

I feel that my tracks get to repetitive and that the same thing goes on and on forevevr. And if I try to change out something it suddenly sounds so "out of the mix". So bascially the problem is to get the changes in the mix "glued" together. Anyone?

[Johnny_Newman]

All of which you said are excellent ideas for development. If things are getting repetitive, and I've felt I've developed the melody enough, sometimes I'll just create a new section of music. Sometimes creating a new section with a new catchy melody without changing instrumentation, dynamic, or rhythm is enough to change things up and keep the song interesting before you come back to your initial melody. Perhaps when you bring the melody back, add a harmony to it? - add instrumental syncopated hits behind the melody. There's infinite things you can do.

As I mentioned beforehand, all of what you mentioned are great ideas - Trial and error is your best bet when finding what feels right in the development of your music. I can only suggest what works for me in my music based on the instrumentation & genre I work with. I certainly wish only the best to ya :-)

[sqeakaleak]

Different sections of ideas to variate from will help with breaking repetition, like Johnny Newman said. Maybe establish some sort of form like AABA or something. The B part could still be related to or reminiscent of the other sections (but it doesn't necessarily have to be), and it should be different enough that something has obviously changed. That could be as simple as changing an instrument that has the melody, or completely changing melody, chord progression, harmony, and drums all at the same time. It's the great but somewhat stressful part of music, it's really up to you what happens.

[apistat]

Firstly, I don't think repetition is something to be scared of, especially in downtempo/chill out. That said, if it's getting too much and is bugging you, there are various things you can do. Add/subtract something. Start a new section. Bring in a new effect. Finish the track entirely.

Brian Eno made a series of cards called Oblique Strategies that have slightly fotune cookie-ish phrases on them (e.g. 'listen to the quiet voice'). The idea is to make you think in a new way to overcome your creative block. The packs are expensive, but there are free iPhone/Android/dashboard apps of them.

[ghyt wembpang]

Originally Posted by Dippshoe

And if I try to change out something it suddenly sounds so "out of the mix". So bascially the problem is to get the changes in the mix "glued" together. Anyone?

this is something I've never understood. it's your song so you decide what sounds 'in the mix.' If it doesn't sound like it fits, and you're sure it's not just out of key or fighting another sound for headroom, then you're just being overly critical because it's not what was already there.

[bustthenotes]

There have been a lot of good suggestions so far. I run into the same problem when I'm not composing instrumental pieces, and I can never tell if it sounds too repetitive because I'm not used to that genre, or if it sounds too repetitive because it's too repetitive.

But there are a few things that have worked really well for me though when I get stuck in a repetitive section (when there isn't anything left to add, and I don't want to start taking things away). The first thing, especially if I want to build on the dramatic aspect of the piece, is to try and change the rhythm. Adding and slowly (or quickly, up to you) emphasizing a syncopated rhythm with the bass and beat, and then changing the melodies around that beat as an example.

If I'm really stuck, I rely more on my classical training. I usually find that when I'm stuck in a loop, the problem is I'm not taking in the piece as a whole, but zooming in to just the loop. So I step back, think about the chord progression, and where the melodies are going (even if they are looped, melodies feel like they are going somewhere). I will try to get an intuitive sense for where the lead melody wants to go beyond the loop. If I don't get any insights, I'll typically try and change up the chord progression, and/or modulate to a different key.

One thing that is always unbelievably useful is to know and understand music theory, and how it's applied to different genres. You realize all the infinite tools available to you when composing the more you know.

Another thing that might be helpful (no clue about your musical background, so sorry if I'm saying things you already know) is to spend a few afternoons studying and practicing counterpoint. Counterpoint is the traditional way competing melodies are composed in classical music. There are loads of sources online, and even though musicians tell you to study it for years, really a few afternoons and you'll get enough of the gist and be able to see loads of useful awesomeness that really helps in your works.

Just some thoughts, hope that's at least a little helpful.

[Renz]

^ I really like that set of advice.

[ckiiln]

You want to make something extremely well-sounding - a melody, a chord progression, a mood.. And then you'll want to take it away again, just as soon as the listener starts wanting it. At least that's how I've managed to write instrumentals that I find interesting to listen to, myself.

[Dippshoe]

Originally Posted by ghyt wembpang

this is something I've never understood. it's your song so you decide what sounds 'in the mix.' If it doesn't sound like it fits, and you're sure it's not just out of key or fighting another sound for headroom, then you're just being overly critical because it's not what was already there.

Kind of a game changer for me, actually!

Thanks for all the tips, I'm pretty sure my biggest problem is that I am limitng myself way to much. I'm gonna have fun making putting down more experimental arrangment!

[Owen De-Vice]

All of those things

but

listening to your track in your sig (which is good btw) btw first time I listened to the melody there was a lot of room for slight adjustments.

I think based on the quik listen that it repeats except the second time there is an additional lower note. I think you could quite easily change this up.

If that is an example of a general problem you have if your tracks are similar to that one just start playing with the melody.

[Djreject]

1) let it breath, bounce the file and listen to it without the visual support of the sequencer, sometimes it helps appreciating your work.

2) Maybe you didn't spend enough time at the sound design phase, generating a lot of material is very important, since your better off with a bunch of melodies you will not use in the final version than always going back to the sequencer to add stuff and relayer synths.

3) If you're working on a chillout project and have not a lot of room for new layers of melodies, just add a new textural layer
e.g: take a track and feed it with the output of another track and process it with different compressors and effects, sometimes helps adding a quick new touch to a piece.

4) Bounce what you already have and make some sort of a ''remix'' of your own song.


5) Invent a long speech about how you piece is explicitly giving your point of view on the situation in the middle east and individualism...works all the time...




Hope it helps (cept for that middle east thing)

[FingerBlast]

Don't know if this has been said but, Play with your cut off filters and volume. Add dynamics. I like the track in your sig, but I feel you lack a little bit in the dynamics department. Filter things out filter them in. This will allow room for single components to shine through while not completely taking away the others. crescendos and diminuendos are mad key bro!