TAKE ON ME by A-HA
http://www.youtube.com/watch?v=9AXNBR2s ... re=related (from 0.50)
BLIND by Stratovarius
http://www.youtube.com/watch?v=_6CQ_PQHAaI&hl=it (from 1.44 )


I was thinking the same when I was reading the first postingStar_Ocean wrote:Don't worry, IceCab will be in here soon enough to talk about how different the songs really are while mixing in a bunch of incomprehensible, psuedo-intelligent bullshit.
Malteada wrote:well, the chord progression is very similiar... but.. come on... when you are composing a song, you only think in your song, not in another songs, and many times the result sounds like another song accidentally.
I wrote the Dreamweaver-riff about two years before Stratovarius.NeonVomit wrote:Malteada wrote:well, the chord progression is very similiar... but.. come on... when you are composing a song, you only think in your song, not in another songs, and many times the result sounds like another song accidentally.
When I was 17 I wrote what I thought was an awsome song with a great riff. I carefully wrote it out in tabs and kept it a secret in my drawer until I could record it, so that no one could steal my idea.
I heard Cold Winter Nights on Destiny about a year later only to discover that it was the identical riff in a song similar to but far better than then one I'd written.
These things do happen.
Methods like serialism and twelve-tone technique (what you're essentially describing, but then taking them and applying certain mathimatical formulae to) have been around since the late 19th century, basically Schoenberg and the Second Vienniese School's techniques, and microtonal explorations around for not much less time than that. John Cage made a point of using composing techniques that would get as far away from conventions as possible in the early '60s and try to create true randomness in music.icecab21 wrote:One way to get original writing is to just pop up a pianos roll, closes your eyes, and start clicking randomly. This can also be done with a generator where it can be programmed to avoid all musical conventions whatsoever. Inventing your own scale is another option or creating a set of rules that disallows anything that can be found in a chord or music theory book or anything that is playable by a human.
John Cage killed music.NeonVomit wrote:Methods like serialism and twelve-tone technique (what you're essentially describing, but then taking them and applying certain mathimatical formulae to) have been around since the late 19th century, basically Schoenberg and the Second Vienniese School's techniques, and microtonal explorations around for not much less time than that. John Cage made a point of using composing techniques that would get as far away from conventions as possible in the early '60s and try to create true randomness in music.icecab21 wrote:One way to get original writing is to just pop up a pianos roll, closes your eyes, and start clicking randomly. This can also be done with a generator where it can be programmed to avoid all musical conventions whatsoever. Inventing your own scale is another option or creating a set of rules that disallows anything that can be found in a chord or music theory book or anything that is playable by a human.
Really, the boundaries of music have been pushed far beyond what most of us would even recognise as music, and all this happened well before anyone on this forum was born. Look at the works of Harry Partch, Henry Cowell and the aforementioned John Cage.
So, then, what is left for us to do? The answer is simply try to compose the best music you can with the knowledge and skills you have, and seek to constantly improve this knowledge and these skills. In Western harmony, it's basically a given that at least a part of what you've written has been written before so you might as well not bother worrying about it. Unless it's a blatant ripoff, it'll be okay.
Did he?warrencurrymetal wrote:
John Cage killed music.