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Take it from
me. No matter what you've ever told yourself about songwriting
and composition, you too are capable of writing a tune,
and possibly an excellent one. I didn't always feel that
way myself, so before we delve into the logical process
involved, let me share with you the events that changed
my mind.
To begin with, I never considered myself to be a natural
composer. An arranger? Sure. I had arranged standard popular
music for eighteen years prior to finally writing my first
song. During this time I'd met many fellow players and
students who dabbled in songwriting to one degree or another.
To my utter amazement, some had only played their instrument
for a few months, leading me to falsely conclude that
songwriters are born and not developed. Of course, all
I had to do was look at my dad's career. Pop arranged
music professionally from the time he was eighteen, but
didnšt write his first original until he was fifty-two
years old! Over the ensuing 10-15 years before his passing,
he managed to write over 200 terrific compositions in
a variety of styles, most in the jazz and latin genre.
If you've ever felt the unique satisfaction gleaned from
writing an original, you know that there's no greater
high in music. If you haven't tried at all, or not very
much, perhaps these tips will help you to achieve this
great feeling of artistic accomplishment on a regular
basis. Let's get started.
What Should I Know Before I Begin?
Not as much as you might think. You simply don't need
to be a rocket scientist or have a master's degree in
music to write a pop song. Išm a firm believer that some
of the best and most memorable progressions and melodies
are pretty simple. Nevertheless, when it comes to theory,
I always remember Pop's yardstick analogy: "If a 36-inch
yardstick represents all the theory that you could ever
imagine, you'll only need 6 inches of it to compose any
song you'll ever write. But you WILL need those 6 inches!"
Interpretation?
The basics. Know at least the major, pentatonic, and blues
scales. Develop a fundamental understanding of the primary
chords generated by the major scale (e.g. C = C, Dm, Em,
F, G, Am, Bdim). The cycle of fifths. Key and time signatures.
Simple principles of chord construction. And what if you
don't know your basics? I say write a song anyway. Much
of what I've learned in my career has been through adversity,
"by-the-seat-of-my-pants," "on-the-fly," etc. You can
always learn your basics by studying them on the side
as you go. Don't stop yourself by setting conditions,
especially those that are theoretically-based, on your
ability to be creative. In the long run, you'll just deny
yourself a lot of fun that way.
First Up: Melody, Progression, or Bass Line?
Not so fast! How about determining a key as a frame of
reference for your ear and mind? It can be any key you
wish, but bear in mind that sharp keys like E, A, D, &
G are very guitar-friendly if you're shopping around for
cool open bass figures. Once you've got a key, you're
ready to get serious.
Students frequently ask me whether I start a composition
with a melody, chord progression, or bass line. Generally,
for me, it's the progression itself. I should mention,
at this point, that there's no such thing as a truly original
chord progression. Believe me when I say it's been done
before, but don't get discouraged by that. An original
song is a LOT more than just a progression of chords.
You can even begin with an established, recognizable vehicle,
like a 12-bar blues. That's something I've done many,
many times. Or you can start with any two chords from
the chosen key (remember that a progression should consist
of at least two chords). Which chords should you choose?
Well, the I (root) chord (C in the key of C) is always
a safe bet. The IV (F) and V (G) chords are also powerful
tools, and the strongest minor choice is the VI (Am =
relative minor in C). The other chords in the key are
very important too, but not as formidable as those that
I just mentioned. Trust your ear when auditioning your
chord choices. If it sounds good, go with it. You can
always change your mind later. After all, you're the composer.
Chord Personalities & Flavors
One thing that contributes mightily to the uniqueness
of an original is the choice of chord voicings. It needn't
be a cowboy C chord, for instance. Try experimenting with
other options, like major sevenths (pretty) or add nines
(celestial) and so forth. Next time around we'll move
on to time signatures, basic structuring of song sections,
dynamics, and bass lines.
About
the author
Mark Stefani is a jazz guitarist and eduactor in Portland
Oregon. He has written many books in the guitar educational
field. In 1987 his career was spotlighted in Guitar
Player Magazine where he was described as possessing
a 'versatile style on both electric and acoustic guitars'
in addition to having a 'master's touch'. For more
info and to contact Mark go to www.visionmusic.com |
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