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  • Noob

Hi,

 

I'm a songwriter/ vocalist for Norwegian industrial rock band SIN 5.

I've been writing music for a number of years, although have only recently taken up self-studying music theory in an effort to unlock some of the musical secrets I've wanted to explore for a while, rather than just using my ear and the basic theory knowledge I already have. So far, I'm thoroughly enjoying it!

My main reason for joining is pose questions regarding various songs I'm trying to analyze and find out why they sound the way they do - which mode(s), key(s) they're using (for example), in an effort to broaden my own songwriting skills.

Of course, I do my best to help answer any questions in discussions I am able to contribute to, as well.

I hope to geek out over music with some of you soon!

Iscariot13

 

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  • Noob

Thanks! Some folks are of the opinion that theory stifles creativity and locks one into "rules"; I say absorb everything - learn techniques from pop music to classical and everything in between :)

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Welcome to Songstuff Dallas! Good to have you aboard :)

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  • Noob

Indeed Tom! You can never learn too much ;)

 

Gidday John; nice to meet you!

 

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People say that about song writing rules all the time, that it stifles creativity. In song writing though, they are guidelines, not rules. Each guideline relates to well established lessons learned by songwriters over generations. Every single guideline can be broken, however there is a cost. Many are not hard and fast rules, they relate to aspects of listeners and how they perceive words and music. Sometimes you can break one or two and it enhances a song, others if you break it one way it enhances it, but in another way it can ruin it. Knowledge is built up by first learning the guideline, then understanding what it is and why it exists, then you might just be able to break the right rule at the right time in the right way... Instead of the wrong rule at the wrong time in the wrong way!

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  • Noob

Indeed...one of my missions currently is understanding how to use modes in songwriting effectively. I've always enjoyed music that had "odd" chord changes, modulations and melodies (Bowie's "Life on Mars" from verse up to the chorus; also the chord changes and melody in the verse of Nick Kershaw's "The Riddle" and the pre-chorus modulations on Alice Cooper's "Poison" to name but a few).

I kind of understand what modes are, but am still not clear on how to properly write a melody/ riff in a particular mode so as to get it's "flavour"; does one say "this song in G Lydian", for example? Is there a reason why major (Ionian) and minor (aeolian) modes are used more than the others?

 

One song that I'm analyzing is Ghost's "Mummy Dust"; the whole song has this really sinister vibe (with tri-tones aplenty), yet it flows so well. Each section has it's own mood, yet they link beautifully with each other. The opening riff seems to have all the notes of D locrian, but, as mentioned earlier, I'm still trying to figure all this out!

 

 

Edited by Dallas Takitimu
grammar
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  • 3 weeks later...

Hi

 

Welcome to Songstuff.

 

Hope you enjoy being a member here   :)

 

Janeva

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