In a 2 measure phrase in 4/4 the strongest ending position is beat three of the second measure. In a 4 measure phrase in 4/4 the strongest ending position is beat one of the fourth measure. These are good places to end choruses.
Other strong ending positions in a 2 measure phrase but not as strong as beat three are beat one, two and four. For even weaker ending positions that would be the offbeats, 16th and/or triplet subdivisions. Those are good places to end verses.
You can end the chorus on positions other than beat three of the second measure but its best to make sure that the verse doesn't end stronger than the chorus. Other strong ending positions in a FOUR measure phrase are beats 2,3 and 4 of the fourth measure.
Starting positions have a similar hierarchy. A choruses strongest starting position is the first beat of the first measure of either a 2 or 4 measure phrase. Next in line is beat 3. Weaker still is beat 2 and even more weak is beat 4. Weakest of all would be starting on the off beats, 16th and triplet subdivisions.
Of course it's possible to start a phrase before the first beat of the bar as in pick-up notes/pick-up measure (also known as anacrussis). Normally you'd have to make sure you actually place a note on the first beat of the measure and not skip over it in that case, if it's a chorus we're talking about.
แสดงบทความที่มีป้ายกำกับ Verse แสดงบทความทั้งหมด
แสดงบทความที่มีป้ายกำกับ Verse แสดงบทความทั้งหมด
วันอาทิตย์ที่ 19 กรกฎาคม พ.ศ. 2552
วันพฤหัสบดีที่ 9 กรกฎาคม พ.ศ. 2552
Songwriting Intermediate
I think it's best to take the big picture and plan in advance how each song on an album is going to be different. You can always change things later if they don't work out, but having variety planned in from the beginning will probably benefit most people. So, for arguments sake, you could define the parameters of your next album by saying The first tune will be in C Major the second rune will be in Db Dorian and the third tune will be in D Mixolydian and the fourth tune will be in Eb aeolian and the fifth tune will be in E minor pentatonic etc...
Then decide on variations in the form. IVCVCBCO, IVCVCBCO, IVRCVRCBRCO, IVCVRCBRCO, IVCVCBRCO, IVCTVCTBCO, IVCVCTBCO, IVCTVCBCO, I=intro, V-verse, C-chorus, R-rise, B-bridge, T-transition, O-outro
Then make a chart and plan variations in each section of the music, perhaps the first tune can have two four measure phrases in both the verse and chorus, then don't do that again on the rest of the album. Have an 8 measure phrase folowed by another 8 measure phrase, have an 8 measure phrase followed by a 4 measure phrase. Have a four measure phrase followed by 2 two measure phrases in one section and two four measure phrases in the second one.
Or a four measure phrase followed by a 3 measure phrase or a 5 measure phrase even. If something doesn't work then just fall back on the tried and true 8 or 16 bar section divided in half.
If you're running out of ideas is when you might want to start both the verse and chorus on the same note in one song and start the verse and chorus on the same beat in another song. (I don't recommend doing both but it might work for a special song perhaps with drone and sitar.) Or switch things up by having the verse start on the downbeat.
Anything is possible really but like my art teacher used to say, it's better to know what the "rules" are and why you're breaking them. (Variety is a good reason I think)
Then within the phrases you'll want to plan some variety in the RHYTHMIC scheme which the melody may or may not follow. Schemes like abaa abac abba abcb abca abcd aaab aaba abab abcc. Something my professor of composition recommends is to use at least three different rhythmic levels in the same instrument especially when an instrument first comes in, such as quarter notes, 2 eighths and 4 16ths for the sake of explanation.
This is something I haven't looked into yet as far as popular styles of music go, but it may have some bearing.
Another thing to try is to plan to start on a different chord in each song's Chorus
If all of you're songs are in CMajor, for the sake of example, then start the chorus in the first song on D minor, in the second song on E minor, in the third song on G Major, in the fourth song on A minor and the the fifth song on C Major. Even if you don't keep any of these or the previous schemes, it gives something to shoot for and starts people writing, which may lead to new and better ideas.
Then decide on variations in the form. IVCVCBCO, IVCVCBCO, IVRCVRCBRCO, IVCVRCBRCO, IVCVCBRCO, IVCTVCTBCO, IVCVCTBCO, IVCTVCBCO, I=intro, V-verse, C-chorus, R-rise, B-bridge, T-transition, O-outro
Then make a chart and plan variations in each section of the music, perhaps the first tune can have two four measure phrases in both the verse and chorus, then don't do that again on the rest of the album. Have an 8 measure phrase folowed by another 8 measure phrase, have an 8 measure phrase followed by a 4 measure phrase. Have a four measure phrase followed by 2 two measure phrases in one section and two four measure phrases in the second one.
Or a four measure phrase followed by a 3 measure phrase or a 5 measure phrase even. If something doesn't work then just fall back on the tried and true 8 or 16 bar section divided in half.
If you're running out of ideas is when you might want to start both the verse and chorus on the same note in one song and start the verse and chorus on the same beat in another song. (I don't recommend doing both but it might work for a special song perhaps with drone and sitar.) Or switch things up by having the verse start on the downbeat.
Anything is possible really but like my art teacher used to say, it's better to know what the "rules" are and why you're breaking them. (Variety is a good reason I think)
Then within the phrases you'll want to plan some variety in the RHYTHMIC scheme which the melody may or may not follow. Schemes like abaa abac abba abcb abca abcd aaab aaba abab abcc. Something my professor of composition recommends is to use at least three different rhythmic levels in the same instrument especially when an instrument first comes in, such as quarter notes, 2 eighths and 4 16ths for the sake of explanation.
This is something I haven't looked into yet as far as popular styles of music go, but it may have some bearing.
Another thing to try is to plan to start on a different chord in each song's Chorus
If all of you're songs are in CMajor, for the sake of example, then start the chorus in the first song on D minor, in the second song on E minor, in the third song on G Major, in the fourth song on A minor and the the fifth song on C Major. Even if you don't keep any of these or the previous schemes, it gives something to shoot for and starts people writing, which may lead to new and better ideas.
Songwriting Basics
on the repeats of the chorus' and verses' change them a bit, preferably more rhythmic events, embellishments and passing tones etc...(aka more complex so that the music is developing interest). Finally use part of your bridge to make the Intro which is ONLY 4 measures long for unknowns trying to break in to the biz.
People listening to your tune want to get to the chorus quickly. If you've written a GREAT chorus consider placing it before the verse and also consider dropping the intro. Now that the melody is handled, it's time to think about accompaniment and percussion.
The Bass guitar and bass drum should be similar but not identical most of the time, the high hat and the piano/guitar should be similar but not identical. One way to create the high hat part is from the bass part. Just use the bass part's rhythm played backwards.
Have the piano and guitar follow the high hat part fairly closely. Likewise, if you've come up with a good guitar or piano accompaniment part, make the high hat similar and then write it backwards and give the backwards form to the bass. (Picked that idea up from Modern Drummer magazine). This doesn't always work but it's a place to start. Some idea is better than no idea at all.
Major chords mostly don't work so well in root position except at the beginning and endings of tunes, so everytime you come across a major chord in your writing put it in first inversion (aka with the third in the bass)
Also, you can't repeat the drums ad nauseum. You have to put variety in. So if you've got a 2 measure drum pattern, repeat it but with changes in the repeat.
Then repeat those four and change the last measure or two of that, then repeat that and put a drum fill at the end of the section. (That's hard to do well if you're not a drummer.)
People listening to your tune want to get to the chorus quickly. If you've written a GREAT chorus consider placing it before the verse and also consider dropping the intro. Now that the melody is handled, it's time to think about accompaniment and percussion.
The Bass guitar and bass drum should be similar but not identical most of the time, the high hat and the piano/guitar should be similar but not identical. One way to create the high hat part is from the bass part. Just use the bass part's rhythm played backwards.
Have the piano and guitar follow the high hat part fairly closely. Likewise, if you've come up with a good guitar or piano accompaniment part, make the high hat similar and then write it backwards and give the backwards form to the bass. (Picked that idea up from Modern Drummer magazine). This doesn't always work but it's a place to start. Some idea is better than no idea at all.
Major chords mostly don't work so well in root position except at the beginning and endings of tunes, so everytime you come across a major chord in your writing put it in first inversion (aka with the third in the bass)
Also, you can't repeat the drums ad nauseum. You have to put variety in. So if you've got a 2 measure drum pattern, repeat it but with changes in the repeat.
Then repeat those four and change the last measure or two of that, then repeat that and put a drum fill at the end of the section. (That's hard to do well if you're not a drummer.)
Melody Writing
I’m just going to discuss the melodic aspect. However, minimally, I can say that the melody would be derived from the rhythm, accents and rise and fall of normal speech but with one caveat, the lyrics probably rhyme using some scheme and you should not say the same thing different ways as in poetry or break rules of grammar to make something fit such as; It is I you that love.
That said, we now have to know the form we should be writing in. Yes, even your favorite icons of rebelliousness are using a formula to write songs. Usually a song will have at least two sections labeled A & B which can also be called Verse and Chorus.
Usually the chorus is second so, unless you’re Mariah Carey don’t try to put the chorus first unless a person in the music industry is telling you to do that for a recording. Also, within each section there are usually two phrases. Sections can either be 8 or 16 measures long. So we are talking about two 4 measure phrases or some other scheme such as two 1 measure phrases followed by a 2 measure phrase.
To differentiate between the verse and the chorus, the verse should start on a different note than the chorus and/or in a different rhythmic position. The chorus should feel like home so normally it should start on a stronger rhythmic position and a stronger note than the verse. Strong notes in a scale are the 1, 5, and 3. Strong rhythmic positions are the first beat and third beat of the first measure of the chorus.
If you start on the note C in C major in your chorus and you play C on beat 1 that will help to make your chorus feel like home. If you do the same thing in your verse, you will sound like a complete amateur and I’m not kidding. You CAN fudge on one, but not both. So, if the chorus starts on beat one then maybe the verse should start on beat 2. And if the chorus starts on the first note C then maybe the verse should start on a weaker note such as G, E, F, B, etc...
Another point is that if the chorus does not start on C and starts on G or E for example, the fifth or third respectively, then the verse probably shouldn’t start on a note which is even stronger than the chorus.
If you choose to do that, then please don’t also start on the same rhythmic position as the chorus which, again, will make you sound like you don’t know what you’re doing.
Also, to make the chorus sound like home, it should probably end on a strong rhythmic position and a strong note. A strong ending position in a four measure phrase is different than for a 2 measure phrase. The strongest ending position for a four measure phrase is beat 1 of the fourth measure and secondarily beat 3 of the fourth measure.
In a 2 measure phrase, the strongest ending position is beat 3 of the second measure.
You CAN end the chorus in a weaker position but then you’d have to pay attention to making the verse end even more weak than the chorus.
The reason is that you want the verse to sound like more music is coming, since more music IS actually coming. In which case it’s best to make it sound like it’s not ending.
If the chorus starts on the note G then it would be natural to end on C if you’re in C Major.
If the chorus started on the fifth note of the scale and ended on the first note of the scale then the verse perhaps can start on the 7th note of the scale and end on the third note of the scale.
Also, the chorus should perhaps reach a higher note than the verse.
That said, we now have to know the form we should be writing in. Yes, even your favorite icons of rebelliousness are using a formula to write songs. Usually a song will have at least two sections labeled A & B which can also be called Verse and Chorus.
Usually the chorus is second so, unless you’re Mariah Carey don’t try to put the chorus first unless a person in the music industry is telling you to do that for a recording. Also, within each section there are usually two phrases. Sections can either be 8 or 16 measures long. So we are talking about two 4 measure phrases or some other scheme such as two 1 measure phrases followed by a 2 measure phrase.
To differentiate between the verse and the chorus, the verse should start on a different note than the chorus and/or in a different rhythmic position. The chorus should feel like home so normally it should start on a stronger rhythmic position and a stronger note than the verse. Strong notes in a scale are the 1, 5, and 3. Strong rhythmic positions are the first beat and third beat of the first measure of the chorus.
If you start on the note C in C major in your chorus and you play C on beat 1 that will help to make your chorus feel like home. If you do the same thing in your verse, you will sound like a complete amateur and I’m not kidding. You CAN fudge on one, but not both. So, if the chorus starts on beat one then maybe the verse should start on beat 2. And if the chorus starts on the first note C then maybe the verse should start on a weaker note such as G, E, F, B, etc...
Another point is that if the chorus does not start on C and starts on G or E for example, the fifth or third respectively, then the verse probably shouldn’t start on a note which is even stronger than the chorus.
If you choose to do that, then please don’t also start on the same rhythmic position as the chorus which, again, will make you sound like you don’t know what you’re doing.
Also, to make the chorus sound like home, it should probably end on a strong rhythmic position and a strong note. A strong ending position in a four measure phrase is different than for a 2 measure phrase. The strongest ending position for a four measure phrase is beat 1 of the fourth measure and secondarily beat 3 of the fourth measure.
In a 2 measure phrase, the strongest ending position is beat 3 of the second measure.
You CAN end the chorus in a weaker position but then you’d have to pay attention to making the verse end even more weak than the chorus.
The reason is that you want the verse to sound like more music is coming, since more music IS actually coming. In which case it’s best to make it sound like it’s not ending.
If the chorus starts on the note G then it would be natural to end on C if you’re in C Major.
If the chorus started on the fifth note of the scale and ended on the first note of the scale then the verse perhaps can start on the 7th note of the scale and end on the third note of the scale.
Also, the chorus should perhaps reach a higher note than the verse.
Relationship between the Bass Guitar and the Bass Drum part Deux
If the previous rhythm was a chorus and you wanted the intensity of the song to come down a bit for the verse or bridge sections, I've got a way of constructing that from the rhythm of the chorus. You COULD use an entirely different groove but frequently all that serves to do is to make it sound like the verse and chorus are part of different songs and should not be together in the same song.
Of course this is just one method of bringing the intensity down. It shows the original rhythm of the section and then less intense variations created through the technique of subtraction.
There are at least two other possibilities; where you leave only the down beat and perhaps it’s off-beat or where you subtract only the downbeat and perhaps it’s off-beat..
Of course this is just one method of bringing the intensity down. It shows the original rhythm of the section and then less intense variations created through the technique of subtraction.
There are at least two other possibilities; where you leave only the down beat and perhaps it’s off-beat or where you subtract only the downbeat and perhaps it’s off-beat..
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