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Found 6 results

  1. hello, I wanna ask for an advice. I've been in music school for 9 years but I've resigned, because of the stress caused by performing exams and also I was kinda disappointed with low level of education in my school, it was just so frustrating that the school was taking a lot of my daily time and most of the things which I've learned were looking so useless and I didn't even know to what I can use it. I wanted to create music, compose and know everything about it since I remember, when i listen to some music which I like I wanna know every detail why exactly I like it and what makes that song so amazing, but sadly, in my music school we didn't learn how to compose at all. Now, I decided that I want to come back to music and learn exactly what I want, but the problem is - I don't know how I can learn what I want. All the knowledge on the internet seems to be really shallow and generic, some dumb tricks not really helpful for people like me. So there is a question, is there any way that i can learn about it all without going back to music school - and after graduating - to some music university? how can I learn about music theory, chord progressions, analyzing the song and literally everything what I can know about it? Do you guys know any source of good advanced music knowledge on the internet? Can you recommend me some good books? oh, and also - I really love jazz, r&b, soul and more complicated songs than just a pop songs, so I'm interested the most in this kind of knowledge, but I don't mind exploring other genres from various decades and regional creations. ps: please forgive my english, I'm not a native speaker, I'm self-taught.
  2. If any of you are interested in digging under the hood of song construction and what makes songs work, I’ve put together a blog on the nuts and bolts of verse/chorus structure. It’s a fairly in-depth analysis, and hopefully will help clarify what a chorus actually is, and then what makes it work as a chorus. I feel that there are a lot of fairly vague descriptions floating around, which aren’t necessarily wrong, but aren’t particularly helpful either. I’ve tried to isolate the specific musical elements (harmonic, rhythmic, melodic) that characterise a chorus, and examine how they work together. If you’re interested, elsewhere on my blog there is some analysis of specific songs, as well as other blogs about form and structure in pop/rock music. (work in progress … AABA form coming up!) Putting it out there in a spirit of research for discussion. If it’s helpful, so much the better! https://petecrosbie.com/2016/08/25/how-verse-chorus-structure-works/
  3. I've always considered myself a musical scientist. I would be so bold as to say you should as well. While I don't know much about the craft of audio mixing and engineering, I've always had a natural ability to compose and I believe it is this mentality that I am a scientist of music that helps me to do this. Let me explain what I mean. The average musician from my experiences tends to be highly emotionally involved in their creations. They become attached to the work, attached to sounds they want to work in their songs, attached to the cool riff they came up with on guitar, attached to that synth sound that worked before it was mixed in with all the other instruments. Music is a form of expression and because of this musicians tend to be very subjective when it is being created. This is a piece of our soul we're trying to get out, so dedication to objectivity is a struggle. But what does a scientist do? They perform experiments in a lab. They mix chemicals together and see what happens. Objectivity is key in science, and if a scientist has an agenda and tampers with his results to give off the appearance of this theory being confirmed, he will be found out one way or another and labeled a pseudo-scientist. Musicians would do well to look at this process of experimentation and objectivity and apply it to their musical endeavors, as hard as that can be, and as strange as it may sound. This is where inspiration needs to meet with reality, not to be replaced by reality, but to be blended with it in a harmonious way. I know from my own personal experience that when I feel inspired, when that wave of emotion hits, what I'm writing seems magical to me. The ideas flow yes, but they are seen through rose colored shades, because I'm feeling a strong emotion. For the rest of my life when I hear what I wrote at that time, I may be brought back into that emotional place, the same way that smells and scenery do when I had a great experience with friends. This only lasts however when I'm alone. As soon as I am in the company of someone else and I show them the idea? That feeling is gone, and as I'm playing the song I had such a fondness for, I suddenly realize there are many things wrong with it! Why did this happen? Because I held too tightly to that wave of inspiration, that feeling I had, and I became convinced it was in the song, when in reality I just associated it with the song. And that's where a scientific approach becomes helpful. Your studio, your room you write in, the place you create, that's your lab. Your inspiration is your work material, it's what you've got in your test tubes if you will. Your goal now should be to experiment with that material and TEST YOUR RESULTS. Holding onto the hope that you are getting the result you want is not going to make it happen. Staying grounded and realistic, while not in itself going to obtain the result, will at least allow you to know what you have actually created, rather than what you wish you had. So how do you apply this practically, metaphors aside? I know of two concrete ways. First you need to make the conscious decision to keep your emotions about your work and your examination of the work separate, it is a choice. Practice thinking like a critic. After you get what you feel is a good rough draft or even a finished song, put yourself in the shoes of a critic (maybe not the harshest critic though, you don't want to fall into the other trap of not giving yourself credit where it is due). Imagine you are someone who is in a grumpy mood, someone who doesn't expect this song to be entertaining, and see if you see any problems with the song. Secondly you need to compare your work to similar projects that you know are getting the results you want, compare your lyric, your composition, or mix to an established artist who does a similar style. Does it stand up? Could you follow that act? If not, you may need to re-examine your work. In the realm of composition I find this the most true, and also time saving. Rather than assuming the musical pieces you expect to work will indeed work and then spending lots of time trying to make them work, be a scientist. Experiment, throw an idea in and see how it reacts to the other parts of the song. If it's not working? Come up with a different idea. In the writing process if things aren't flowing? Go for a walk, don't try to make them flow, get away, come back with a fresh perspective. Objectivity is going to take you from a personal songwriter writing for yourself, into a communicator who actually gets your emotions across to others. So the next time you sit down to create, think like a scientist. Experiment, stay objective, and test your results. It's difficult, and I myself forget this sometimes, but it's a good thing to keep in mind. At least, this Symph thinks so
  4. Hi guys, I couldn't find a place in the forum that looked like a great fit for this question, so hopefully I did a good enough job with "Songwriting Reference." I have what is probably a pretty stupid question, but I've had trouble tracking down the answer... My question is, when going from, say, a "I" chord to a "V" chord (let's assume I'm in the key of C, so from "C-chord" to "G-chord") on a piano, am I supposed to be going down the keyboard, up the keyboard, does it just depend on my own preference for the song, or am I just missing the boat somewhere else in even asking this question? To elaborate, from some basic piano training (it wasn't focused on songwriting, but just on learning piano, which typically meant memorizing how to play classical songs, etc), I had come under the assumption that in going from a "I" chord to a "V" chord, I should really just be playing what I now know are the inverted forms of the chords in my progression to minimize / make easier the movement of my hand(s). For example, in going from a "I" chord to a "V" chord (C-chord to G-chord), I had assumed I should just be playing "C-E-G" for the "I", then transition to the inverted "V" (V^6, "five-six"), or "B-D-G", because that would greatly minimize the motion required for my hand. But, just recently, I was reading through a good book I found on music theory that really gets into what I'll call "songwriting theory", and it seemed to be stating that there is a HUGE difference between playing "I" --> "V", verus playing "I" --> "V^6"... not that you would never play "I" --> "V^6", but it seemed that it was pretty atypical vs. most songs out there (i.e. on the radio). Thus (assuming what I said above is generally right and makes sense), you can see the predicament I'm in, and hence, the stupid question: If I am indeed supposed to [generally] be going from "I" --> "V" instead of --> "V^6", do I go UP the keyboard (i.e. same octave) from the C-chord to the G-chord or DOWN the keyboard (down an octave) from the C-chord to the G-chord? As I said, I had previously assumed (I think, incorrectly) that the answer to this question was "stay in the same place", and just invert the next chord (and the chord after that, etc) to minimize hand movement required from one chord to the next. Any help from any of you music theory / piano / "songwriting theory" experts out there would be GREATLY appreciated! Thanks, Dan
  5. I don't pet little monkeys after lunch ... and I strongly suggest that you shouldn't either. Something about those bananas they eat (or maybe it's the little foo-foo drinks that usually accompany them) really pisses them off. Plus, it reminds me much too much of Music Theory class, where that line was actually a mnemonic device that I rather-desperately used to remember this: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian. (Damm, it must have worked ... professor, be ye proud.) I remembered those words exactly long enough to pass the course, then forgot about them for the next twenty years ... until I finally learned what they were really talking about, and why it could actually be very useful to me (or, to you) as a songwriter and composer. I promise that I won't mention those words again. (Class is over... you graduated, maybe, and eventually paid-off your student loans, maybe. Welcome to the rest of your life.) Now, let's do them. Let's do Modes, and those pseudo-latin names that were worth 25 points on the final. Turns out, it's easy. Grab your handy piano keyboard and play one of those one-handed songs that you find on the first three pages of the first music books. Say, Merrily We Roll Along. Park your hands on the all-white keys beginning with Middle C, and, without playing any chords, play the melody. Slightly emphasize the "C" and the "G" as you play. (So, how does it feel to be seven years old again? Two more years until you grew enough to reach the pedals ...?) Now for some bona fide magic. Here goes ... Shift your hands two places to the left, and, still on the all-white keys and still without playing any chords, play Merrily again. (Where you were playing "C," now play "A," and just do the all-white-keys as you did before.) E-D-C-D-E-E-E now becomes C-B-A-B-C-C-C and so on. Now, listen. No, I mean it. Play it again. Now, listen... until you stop focusing on what you're doing and can hear what you are doing. OMG! (Okay, okay: "WTF?!") It sounds minor! And, in fact, it is. Okay, more magic. Two places to the right. Play Merrily again, all white keys, centered on E in place of C. Different again! We're on a roll, here. Let's do magic seven times. Just keep doing that until you've tried all seven starting white-keys. And what you'll immediately see is that all of them sound different ... sometimes very much so ... even though every one of them used only the white keys. But ... why? Here's the "simple explanation" I promised you: "now, look at the black keys." You know that there are 12 keys in the total scale, and that each adjacent key, white or black, is one so-called "half step" from its neighbor. This means that five of those white keys are a "whole step (= 2 half-steps)" apart, because there's a black-key in between, but that keys #3 (E-to-F) and #7 (B-to-C) are only a half-step away from their upper neighbor since there is no black-key in-between. Therefore, if you played the C-major scale (all white keys starting with "C"), even though the keys that you played were "all white, and obviously 'next to each other,'" in fact they were not. In fact, you played a mixture of whole and half steps, with the half-steps in positions 3 and 7. So, what happened when you shifted your hands? You shifted (actually, rotated) the placement of the half-steps in that underlying sequence! When you shifted your hands two places down (or, six places up ...) to "A," then the half-steps – which previously were at positions 3 and 7 – now occupied various different places on the scale that you were then playing, although they remained a (rotated) fifth apart. Let me say it again: When you played "Mer-ri-ly" as (shifted right ...) C-B-A instead of E-D-C, a half-step got in the way. These three notes that formerly had been a whole-step apart, weren't a whole-step apart anymore, because there's only a half-step between C and B (whereas there had not been, between E and D). Furthermore, the outer neighbors C and A are also a half-step closer than E and C had been. Yeah, even though we are still playing "all white keys," truly everything has changed. And that, Virginia, is what "modes" are. It is both generally and categorically true that: notes that are "next to one another" in your melody, are not necessarily "next to one another" in actual tone. However, within any and every "scale," there is a regular pattern to their spacing. And so, what you're actually doing, with each mode, is re-arranging that pattern ... while ... (importantly!) ... doing it in a consistent way. Every re-arrangement is a rotation. (okay, up for air now ... breathe breathe breathe ... 'cuz I'm gonna toss one more thing at ya) There's another way to achieve this "rotation." Yes, you can also do the exact same thing another way! You can keep your hands exactly where they started. Always "E-D-C-D-E-E ... etc"), and continue to slightly-emphasize C and G, but now, do it in different keys. Now you are not continuing to play "all white keys." You're respecting the sharps-and-flats of whatever key you're in. But... you are continuing to emphasize to your ear that "the root of what I'm playing is [not "the home of the key that I am now in", but ...] the note 'C' (sharped or flattened as the key-signature prescribes)," and that "the fifth is 'G' (ditto)." The center of your melody hasn't shifted to G! No, it's still at C, and so, if you look closely at what you're doing, you'll see that, thanks to the sharps and flats, the sequence of whole and half-steps has shifted beneath your fingers as before, even though your hands haven't moved. (Don't let me lose you here: "the pattern of sharps and flats" that corresponds to (say) "the key of 'G'" just happens to be exactly the right ones to produce the same arrangement of whole-and-half-steps that you plainly saw in "all-white keys starting-and-ending with 'C'," when you decide to start your octave with 'G', instead. All key-signatures are like that, and this is why. If you want to start at such-and-such note, and preserve that same w-w-h-w-w-w-h pattern of steps, the key-signature for that note tells you which notes must be sharpened or flattened. (So far so good? Cool. Now, make the intuitive leap: "ergo, how do you shift the pattern without physically shifting your hands?" Right you are! You pick a different key-signature, thereby shifting the pattern, then you don't shift your hands! Q.E.D.) (whew!! Okay, class is over now.) There's actually a fairly-endless fountain of possible creativity here, because "'the scale' of your tune" can actually be anything you like, as long as the set of notes is consistent. (Does it have to be w-w-h-w-w-w-h? No. Does it have to be twelve (or seven, or five) tones? No!) You might have seen that when you played a very oriental-sounding (pentatonic ...) melody using only the black keys of the keyboard. "The scale of your tune" is whatever you want it to be. It will become the most-elemental framework against which every other aspect of the song is hung. Every note in your "scale" will be separated from its neighbor by some "interval," and there will be some pattern to those intervals, just as there is with "all white keys" or, for that matter, "all black ones." There's a naturally-occurring system of tensions inherent in every one of those intervals (and even the notes, which in fact are not equally-spaced), which you can take advantage of in your music. Just remember to be sparing, and thereafter consistent. The ear can only take so much. Establish from the outset what "the 'normal' for your music" is going to be, whatever it is. ("Modes," as described, work because they are still "rotations" of that prevailing "normal," hence an acceptable variation.) It's possible to stray so far-away from the main stream here that you just confuse-the-hell out of your listener, but it's also possible to serve him something he's never heard before, using "just the same twelve white-and-black notes." (Or-r-r-r-r....)
  6. I couldn't figure out how to move my original post in another (probably less-fitting) forum subcategory, but this one seems to be much more suited for the question I have... My question is, when going from, say, a "I" chord to a "V" chord (let's assume I'm in the key of C, so from "C-chord" to "G-chord") on a piano, am I supposed to be going down the keyboard, up the keyboard, does it just depend on my own preference for the song, or am I just missing the boat somewhere else in even asking this question? I am asking this with respect to the "home" chord ("I", or "C")... So, say my progression follows the generic "I"-->"V"-->"vi"-->"IV" (C-->G-->am-->F) pattern, I'm asking whether "V","vi",and "IV" should A) all be below the "I" chord on the scale, B.) when played on the piano, C) should all be above the "I" chord, some combination, or D) "it depends." To elaborate, from some basic piano training (it wasn't focused on songwriting, but just on learning piano, which typically meant memorizing how to play classical songs, etc), I had come under the assumption that in going from a "I" chord to a "V" chord, I should really just be playing what I now know are the inverted forms of the chords in my progression to minimize / make easier the movement of my hand(s). For example, in going from a "I" chord to a "V" chord (C-chord to G-chord), I had assumed I should just be playing "C-E-G" for the "I", then transition to the inverted "V" (V^6, "five-six"), or "B-D-G", because that would greatly minimize the motion required for my hand. But, just recently, I was reading through a good book I found on music theory that really gets into what I'll call "songwriting theory", and it seemed to be stating that there is a HUGE difference between playing "I" --> "V", verus playing "I" --> "V^6"... not that you would never play "I" --> "V^6", but it seemed that it was pretty atypical vs. most songs out there (i.e. on the radio). Thus (assuming what I said above is generally right and makes sense), you can see the predicament I'm in, and hence, the stupid question: If I am indeed supposed to [generally] be going from "I" --> "V" instead of --> "V^6", do I go UP the keyboard (i.e. same octave) from the C-chord to the G-chord or DOWN the keyboard (down an octave) from the C-chord to the G-chord? As I said, I had previously assumed (I think, incorrectly) that the answer to this question was "stay in the same place", and just invert the next chord (and the chord after that, etc) to minimize hand movement required from one chord to the next. Any help from any of you music theory / piano / "songwriting theory" experts out there would be GREATLY appreciated! Thanks, Dan
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