At the end of the day, it’s good to understand your intentions for a song as you establish its form. Each type of song section can serve a different purpose. If what you’re working on isn’t sitting right and you can’t find any specific problems with harmony, lyrics, or any of the other components we’ve discussed, it may just be that you need to revisit the overall structure of the song.
In Bach’s pre-Enlightenment time, understanding how and why he composed his music might lead contemporary composers to new and exciting areas. Learn more.
Your engagement metrics will tell you which efforts are getting the most attention on a weekly basis, and how that’s changed over time from a macro perspective. What this means is, you can easily see where you’re getting the most interaction and focus in any particular space, and how images or videos two years ago for example stack up with those posted more recently.
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You see, “Sorry” is written in E♭ major (a key that boasts the same number of flats as C minor, more on this later). This means E♭ major is the tonic or “home” chord, thus all of the melodic and harmonic content is being created from the E♭ Ionian (major) scale.
Of course, you don’t need to know whether your listener wears a raincoat or a windbreaker. You just need to know your listener’s musical experiences, and that’s not that hard to figure out! You can base a lot of that off educated guesses if you know both the target audience you’re writing for, and the basic context of the show or film’s fictional world.
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Now that you’ve got a nice, loud vocal sitting right up in your face, it’s time to add a little space with reverb and delay. Stereo effects are great for creating width, while mono effects work better for pushing the vocal back in the mix and adding depth.
By paying close attention to your playing and constantly giving yourself feedback, you can focus in on the moments that give you the most trouble and work at those specifically. One additional way to give yourself feedback might be to record yourself. If I record myself playing my Errol Garner tune, I can even compare it to the original, and make notes about the spots where I’m not quite getting it right!
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Tredici Bacci’s latest record, La Fine Del Futuro, released this spring, makes me feel like I’m playing a minor character in a movie about falling in love on mushrooms in a European technicolor nightmare circus. And oh yes, it’s definitely set in the 1970s. Simon Hanes is this 13-piece soundtrack-pop ensemble’s fearless leader, as well as its composer and arranger. Flypaper’s Dre DiMura asked the California-raised Brooklyn-based musical polymath to speak about his sense of humor, which is integral to the music, and Hanes said something which I think encompasses a huge part of the ethos of this interview series:
In a song that was spliced together from the independent compositions of different feuding band members, John McVie’s contribution takes prominence here at the end. Played along an E minor scale, it starts with a long A and ascends to the C, before descending via a run of notes to resolution on the E. Simple yet effective, especially with the repetition, it builds up with intensity into a driving tempo over Mick Fleetwood’s drums. But one thing that shouldn’t be overlooked is how much musical tension is created between the bass and the lead guitar as a result of what I call “reverse” pedal point.
Whatever the case, holiday albums do seem to be a great way for musicians to pull in a bit of extra cash, especially in a year when an artist hasn’t released significant new material. Holiday songs are mostly public domain, since their copyrights have lapsed, which means more royalties for the singer. These albums often “hit the shelves” (that won’t be a term for much longer…) as early as October, in order to give them a bit of time to build publicity and airtime. Labels will start ramping up marketing towards mid-late November, right as Black Friday and holiday gift fever starts to set in.
This is a very classic song structure that can be found in everything from James Taylor to Ariana Grande. Here are some recent songs that use this structure (or something similar):
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