How do you approach melodies in pop/rock song instrumentals?

BlindTruth · Post by **BlindTruth** » Tue Jul 19, 2016 11:15 pm

Hi all

There are a number of opportunities in which rock or pop songs with vocals are given as references, but the opportunity is for an instrumental. Drop the vocals and you've got a backing track!

So what do others do in terms of giving your pop or rock song instrumental a melody? I try various approaches, including guitar and synth, but it's either a solo, or a vocal track played by an instrument and sounds really lame...

If we're looking for a hard hitting rock track for a sports show, does it need a melody? Does a contemporary pop song as an instrumental need a dedicated melody?

Thoughts appreciated.

Steven

Paulie · Post by **Paulie** » Wed Jul 20, 2016 11:04 am

hi Steven,

This is like de ja vu all over again for me. I asked the very same questions last year when I joined.

What I've learned so far (and am still trying to get a grasp on) is that instrumental cues don't need a melody, they need a motif or riff, followed by some subtle variations or counterpoint later. Think of a short phrase that gets repeated every four or eight bars. A melody would be a unique musical line that lasts 4-8 bars (or longer) on its own. However, if sparse enough, a melody can work. It all depends on the listing. Let me try to give you some examples based on mown forwards:

Latin Guitar: https://soundcloud.com/paulcroteau/rosa ... arry-magee
Guitar takes the lead on this one, a basic theme, perhaps even a melody?

Children's Commercial: https://soundcloud.com/paulcroteau/chasing-the-dog-1
This has a sparse melody.

Bad News: https://soundcloud.com/paulcroteau/bad-news
This is a tension underscore, the three note piano motif is the basis of the piece and varies later on in the cue.

Hip Hop: https://soundcloud.com/paulcroteau/40000-feet-1
The pluck piano that starts at 0:15 is the theme. Follow it as it drops in and out and varies later on.

Rock trio: https://soundcloud.com/paulcroteau/dont-even-bother
Not sure if I would call this a melody or just a riff. It changes throughout the cue.

Hope this helps. It's always a good idea to browse the forwards forum to see what is pleasing the screener's ears these days.

Good luck!

BlindTruth · Post by **BlindTruth** » Thu Jul 21, 2016 4:12 pm

Hi Paulie

Thank you for taking the time to provide a few examples - great work, by the way. As you suggest, listening to what's getting forwarded is the best education, and I have been doing that.

You have given me a lot to think about - thanks again.

Steven

kova · Post by **kova** » Thu Jul 21, 2016 6:03 pm

Just as a way of example, to add to what Paulie wrote, here's a cue where I got a thumbs up on the melody (it was rejected for different reasons but the screener praised the melody): https://soundcloud.com/eternal-chroma/s ... renemy-cue

When in doubt, I tend to follow the rule that my cue should be an enhancement to a scene, NOT the centerpiece when there is dialogue. Thus, I picture a potential scene and if it sounds too busy, then I scale it back. I use the above cue as sort of the upper limit on how busy a melody should be.

BlindTruth · Post by **BlindTruth** » Fri Jul 22, 2016 7:09 am

Thanks Kova, great stuff. I think I am starting to get my approach sorted. Looking forward to attacking a new batch of tension cues and similar.

All the best and thanks again

Steven

andygabrys · Post by **andygabrys** » Fri Jul 22, 2016 7:35 am

one thing you can do for an alternate view point is to google production music libraries and listen to what they have in their catalogs.

Note I am not dropping the names but they are easy enough to find - just look for the really high bar ones associated with major labels.

mojobone · Post by **mojobone** » Fri Jul 22, 2016 10:28 am

I remove my boots and sneak up on them, walking pigeon-toed, like a native, so as not to scare them off....

KEEDING! Really there are two approaches, depending on whether you're building an instrumental song or an instrumental cue. A song is gonna have more melodic development, more elaborate structure, maybe with a bridge or lift as opposed to AABA, and a cue will have a sparser melody that draws less attention to itself, yet propels the piece forward. To really get a handle on cues, I recommend Dean Kripphaene's book, Demystifying The Cue.

I collect popular instrumental music because I want my instrumental music to sing. Jeff Beck is my hero because phrasing. Peoples' ears are so oriented toward a vocal, it's difficult for an instrumental song to hold a listener's attention, so I've developed a whole bag of tricks to tickle the ear. (or really, I stole most of them from Hendrix and Clapton, but that's another post) I also spend a lot of time studying singers, and so does Jeff-he noted in an interview how Judy Garland's vibrato, unlike most singers, only goes up to the target note, not above and below, just one of the attributes that made her unique.

lesmac · Post by **lesmac** » Fri Jul 22, 2016 8:23 pm

andygabrys
Reply with quotePost Posted: Sat Jul 23, 2016 1:35 am
Re: How do you approach melodies in pop/rock song instrument
one thing you can do for an alternate view point is to google production music libraries and listen to what they have in their catalogs.

Note I am not dropping the names but they are easy enough to find - just look for the really high bar ones associated with major labels.

Great advice. I have been doing some checking of an Australian based library recently.

The content is priceless for anyone new to this caper, {me}

Not only do you see and hear what music has made the cut you can check out stems, stingers etc, genres, keywords, moods, bpm.

Definitely worthwhile.