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  #1  
Old 2005-08-31, 18:54
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Mayhem666 Mayhem666 is offline
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Tieing riffs together

Good techniques to tie riffs together? ive been having trouble lately.
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  #2  
Old 2005-08-31, 19:00
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Do a little descending (or ascending) scale from the last note of 1 riff to the first of the next?
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  #3  
Old 2005-08-31, 20:49
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hmm, I did read a theory book that suggested when changing Key signatures, between two passages or more, chromatics were an invaluable tool. Of course youd have to apply this to your circumstances, who knows if they are of differing keys or not, for one. But do you get the concept?

Also the easiest way I find is by using bridges, of course.

How I write bridges to parts, is Ill sit back, listen to the rhythm or main idea (melody, note patterns and phrasings/groupings) in a part Ive written, and think; 'How can i further build upon this idea, in writing a bridge? How do i want to progress with this, what mood am I aiming for? What is the story Im trying to tell', and that last idea is fundamental to composing, I find. Work on existing ideas, while introducing new ones. You could have the same notes as your first riff, but the rhythm of the second, bridging the gap.


Really this is all the help I can give, from a theory aspect, and also conceptual. Remember, blocks happen to us all.
Hope Ive helped.

Edit:
You dont HAVE to add new ideas with every piece of course, God no, i shouldnt have said that as its false, but rather give precedence on tying the existing ideas to each other. Give the listener something to latch on to, something they can remember. The old rule of course, is to say the story three times:
Tell people what your gonna say
Tell them what your going to say
Remind them what youve said
Then it sticks. Same applies to tying riffs. You could treat them, in this metaphorical example, as a part of a main paragraph, but going in to detail, clarifying a part, or focusing on good ideas.

And dont be afraid to give people what they expect to hear. If your riff ends on a chord now, repeatedly play that chord, and think about what your ear WANTS to hear next. Its not always a bad thing to do this. Obvious, but sometimes we forget the obvious. And from perhaps, that chord that is so satisfying, another idea is born which acts as a tie for riffs.

Theres really so much you can do, I cant touch on it all. And remember this is only advice from how I write, and im no expert so im not saying im right, but I have a method which works for myself.

Lastly, ill leave you considering the possibilities of other instruments bridging the gap.

Last edited by ImBored : 2005-08-31 at 21:02.
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  #4  
Old 2005-09-28, 20:17
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What I like to do is use the last bar of a riff as part of the next riff to sort of tie the riffs together.. And there is always the option of having a short fill consisting of some sustained notes or part of the next riff between riffs...And if you have a riff that starts two beats early(Ozzy Osbourne - Over the Mountain) and want to go into another riff play the beggining of the riff and then go right into the next one...
example....
4X| 4X
|-5-3-2-|-111141-|-5-3-6---------|
|-3-1-0-|---------|-3-1-4-0-0-0-0-|

Like right there, come up with a riff that starts with a powerchord at the third fret and and then write a riff then has the first two notes..I know how it feels man, I have half a notebook full of unused riffs...
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Old 2005-09-28, 21:44
MurderLegendre MurderLegendre is offline
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All of the ways listed above are valuable, and probably the 'neatest' way of tying 2 riffs together, but if you're feeling lazy (as i frequently am), just stick a big snare roll over the end...
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  #6  
Old 2005-09-28, 22:45
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chromatics work well, just a lil motiff with notes from the first riffs key, and the second riffs key, if their changing keys, work well too. Ascending or descending runs to the next riff. I like to use ascending/descending invervallic runs for changes, adds alot of excitement for the next piece. Hell, even a set of palm muted chunks work well. It all depends on the context of the riffs.
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