Study and analysis of composing melodic line for guitar, a case study: Tattoo colour’s Hong Ser album

Abstract

This article is an academic paper on the research and analysis of the composition of melodic line for guitar solos on the album Hong Ser by Tattoo Colour. The emphasis of this study was a compositional review of the melodic line in the guitar solos of all ten tracks on this album. The study examined particulars in 1. Melody, it was discovered that the use of notes in the primary and phonogram are relative key. The nine tracks solo melody typically begins with a level note and the sound does not exceed C6. There is a string-pushing technique for both half-tone and whole-tone pushing. There is a technique for strumming the notes in an octave by alternating two-string strumming with a solo on a single note. 2. Chord Progression, it was discovered that the composer of the song used the chord sequence IV/iii/ii/V7/I for the song's key signature. Utilizes chords from different chord tracts linked to the key, such as chords from other modes, second-order dominant chords, and translating keys. 3. The predominant sound quality
characteristics utilized in tuning guitar solos (Sound), there are those of the Overdrive guitar sound type. Only two songs were played on the acoustic guitar and nylon string guitar, and the following sound effects were utilized: rotary, slight delay addition, and reverb. This research was conducted so that readers who are interested in popular music composition can develop their knowledge and skills.