~ composition ~

~ puzzles of love a love of puzzles ~

~ compose a song ~

~ arranging a song~

~ tell a story ~ creating verse ~

~ composing a solo ~

in a nutshell
puzzles puzzles puzzles
~ hook ~ riff ~ ditty ~ motif ~ idea ~ ~ theme ~ spark ~
composing a song
mapping out a tune
mapping out a tune
composing a solo

compose a song

compose a solo

compose an improvised solo

defining a well crafted song
hooks / motiv / development
write a blues tune
compositional elements
crafting melodies / 4 bar phrase
crafting melodies into songs
crafting songs by arrangement

 

a well crafted song / arrangements / turn beat around ...
expanding one motive / blues
cr
tell a story
compositional elements
new combinations
the modes within
blues melodies
improv
telling stories
diatonic cycles
capturing our emotions in music
crafting melodies

puzzle pieces

/ why study the theory / John Lennon and Paul McCartney totally unschooled yet determined to find the perfect piece in every one of a 100 or so puzzles / how many songs did they wrtite / how many of these went # 1 etc.

a question
the form
puzzle pieces
a four bar phrase
not a four bar phrase

'... the fine art of puzzling our artistic ideas together with musical sounds to tell our stories ...'

.

Love songs. As I look through my real books and spin the radio dial, probably seven out of ten songs are based on the theme of love. With 'new love', that spark that sets things in motion, topping the list. That love is 'what makes the world go round' is really no surprise. As the motor of the world, whose parts are built right into our own DNA, there's just no end to its potential energies. For its themes and variations are as varied as we each are, unique in our own ways and own capacities to love and be loved, simply for who we each are.

real books
radio dial
wiki ~ DNA

So as an inspiration for songs, love probably tops them all, with an endless malleability to be reshaped and reinvented by each of us as we search and find love in our worlds. Energizing us at every age throughout our lives, love energy is our own 'fountain of youth.' That mystical elixir that will forever bring back to each of us the energies of our younger days through our music.

wiki ~ fountain of youth

"The heart that loves is always young."

Greek proverb

So as an inspiration for songs, love probably tops them all, with an endless capacity to be reinvented by each of us as we find love in our worlds. Energizing us at really any age, a second benefit is that love is a source for each of our own 'fountains of youth.' That mystical elixir that brings us the energies of our younger days.

wiki ~ fountain of youth

 

There's few things ... we

Like most things between the life we lead and the art we create, the 'doing of it'

theory thinkers love more than to compose our own works. The following discussion outlines the perspectives; one key center at a time, we strive to know the interval of every pitch from the chosen key center, that we've a melody and some of its pitches are in the chords and rhythms. V7 I from folk to jazz and 3 stops in between.

rem

“I was lucky enough to write songs that carry a good beat and tell a real story that people could feel was their story, too — something that old people or the kids could both enjoy,” Mr. Domino told The Los Angeles Times in 1985.

There's few things ... we theory thinkers love more than to compose our own works. The following discussion outlines the perspectives; one key center at a time, we strive to know the interval of every pitch from the chosen key center, that we've a melody and some of its pitches are in the chords and rhythms. V7 I from folk to jazz and 3 stops in between.

rem

One tonic ... 'She remembered an interview with John Lennon in Playboy. He talked about how he couldn’t listen to some of the Beatles’ biggest records because the creative process had been so intense ~ to hear the music again took him back to the insanity.' When she’s writing, she said, “You start to get into a zone ~ what I would also describe as a mindfulness. You have to be aware that there are unwanted things coming in, but there is clarity in there, too, and you have to find it.” Gaga is not interested in the romanticism of self-destruction, but she did learn something even more important from Lennon. “Nerve,” she said. “You just have to have nerve.” (1) Seems there just might needs to be a bit of boldness all in this eh? Got boldness?

not four bars ... we theory thinkers love more than to compose our own works. The following discussion outlines the perspectives; one key center at a time, we strive to know the interval of every pitch from the chosen key center, that we've a melody and some of its pitches are in the chords and rhythms. V7 I from folk to jazz and 3 stops in between.

rem

Well crafted songs. In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective

 

...Here in essentials, a welloltrane is the king of this.

In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

One motive / bar blues song / repetition. Coltrane is the king of this.

 

recitative, intro , forms, outro, ect.

 

Color tones in melody. Coltrane is the king of this.

In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

Melody. In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

Harmony. In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

Rhythm. In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

Words. In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

In a nutshell / well crafted. In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

One tonic ... I V7 I from folk to jazz and 3 stops in between.

rem

Work back from Four ... 'She remedness?

Work back from Four ... 'She remedness?

One tonic ... 'She remembered an interview with John Lennon in Playboy. He talked about how he couldn’t listen to some of the Beatles’ biggest records because the creative process had been so intense ~ to hear the music again took him back to the insanity.' When she’s writing, she said, “You start to get into a zone ~ what I would also describe as a mindfulness. You have to be aware that there are unwanted things coming in, but there is clarity in there, too, and you have to find it.” Gaga is not interested in the romanticism of self-destruction, but she did learn something even more important from Lennon. “Nerve,” she said. “You just have to have nerve.” (1) Seems there just might needs to be a bit of boldness all in this eh? Got boldness?

First a thought ... 'She remembered an interview with John Lennon in Playboy. He talked about how he couldn’t listen to some of the Beatles’ biggest records because the creative process had been so intense ~ to hear the music again took him back to the insanity.' When she’s writing, she said, “You start to get into a zone ~ what I would also describe as a mindfulness. You have to be aware that there are unwanted things coming in, but there is clarity in there, too, and you have to find it.” Gaga is not interested in the romanticism of self-destruction, but she did learn something even more important from Lennon. “Nerve,” she said. “You just have to have nerve.” (1) Seems there just might needs to be a bit of boldness all in this eh? Got boldness?

In a nutshell. With artists such as Lennon and Lady Gaga, we hear the purposeful crafting of their ideas into songs that easily become a part of our everyday lives. For they often capture the life and times of all of us in the musical sounds of the day. And while their genius knows no bounds and a challenge to present, their unique ways of composition and craftmanship is something we theorists can readily take under study. For in the age old ways, such studies might help us locate, strengthen and shape our own ideas into a similar genius.

So the following discussion is created by examining what is termed here 'a well crafted song.'

While each topic is also linked back into the theory discussions, it also generates examples of the common ways successful composers have solved their puzzles. For newly minted composers here, learning closure is created by including 'doing suggestions' to compose a new work at various points along the way.

Theory of composing..

Got an intro..

Got a hook / got a melody / some changes etc.

. The following discussion is created by examining various components of musical composition. Each topic is linked back into the theory that generates it, if applicable, or generates new examples and ideas included on this page. Also included is an exercise to compose a new work of music so a brand new composer has a way into the process.

Double nutshell / tell and shape the story. In composing music we get to tell a story. And as musicians we get to shape how we tell the story. In the following learning sequence we compose storylines within traditional forms for songwriting. In doing so we get to write tunes as well as find our way around musical forms and various balances.

In shaping our story Essentials explores the idea of a 'well crafted composition.' Based on a well loved traditional formula for American song, for writing success, a well cr

diatonic core
12
ballads Song for mitch

novelty yes we got no banannas

 

dance
ethnic
jingles
endings

In a nutshell / well crafted. In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

call and response
four bar phrase
a hook
melodies and chords
arranging
endings

~ a four bar phrase ~ a hook ~

~ melodies ~

How do we write songs that capture and era of time. What elements do we use to recreate an era of history and civilzations? Does the theory of the music place the music in ah historical era??

For once in my life

https://en.wikipedia.org/wiki/Too_Late_to_Turn_Back_Now_(song) Too Late

Make a #1 section and short paragraph the theory of each.

In a nutshell. The following discussion is created by examining various components of musical composition. Each topic is linked back into the theory that generates it, if applicable, or generates new examples and ideas included on this page. Also included is an exercise to compose a new work of music so a brand new composer has a way into the process.

'I let a song ...' There's this thing that happens to composers. A good idea for a new song comes along and the next thing we know ... poof it's gone. Vanishing just as magically as it first appeared. There's a song about this titled "I Let A Song Go Out Of My Heart." Its lyrics describe a 'sweetest melody' that somehow slips away. A 'please bring back sweet music' is the .

'There is a town in North Ontario ...' There's this thing that happens to composers. A good idea for a new song comes along and the next thing we know ... poof it's gone. Vanishing just as magically as it first appeared. There's a song about this titled "I Let A Song Go Out Of My Heart." Its lyrics describe a 'sweetest melody' that somehow slips away. A 'please bring back sweet music' is the .

Compose / endings. There's a ton of these out there and those still to be invented. For most often cliche ideas end up capturing a historical era or moment in our American societies. Here's a half dozen Americanas that fit into all sorts of composition places.

Compose / cliche. There's a ton of these out there and those still to be invented. For most often cliche ideas end up capturing a historical era or moment in our American societies. Here's a half dozen Americanas that fit into all sorts of composition places.

Compose / intros. Here we simply take any of our themes in major and use the idea to create something new in minor..

.

mm

Compose / something new in common. Here we simply take any of our themes in major and use the idea to create something new in minor..

.

~ super theory game changer ~ theory of arrangement theory for commercial music a well crafted tune on the radio intro

once we start to organize the music with bandmates we quickly have a new investment in the music. From garage band days to other bandstands, there's a tone of theory stuff to examine.

new way to

Compose / something new in common. In composing, key centers can also create key schemes, the way composers lay out their musical storylines and melodic developments in a song. A key center diatonic chord progressions and relative key center pairings, truer modulations using a V7 to get there, cyclical modulations by consistent intervals or combinations of intervals. That we can parallel key schemes with our core musical styles spectrum. .

.

Ready to write a song?

Can you put it in a musical style? .

Words / Ready to write the lyrics of a song?

Can you put it in a musical style? .

Ready to write a song in a mode?

Can you put it in a musical style? .

Write a song with a diatonic One and Six vamp.

Can you put it in a musical style? .

Write a song with a diatonic One / Six / Four (ii) / V7 One.

Can you put it in a musical style? .

Write a song in natural minor

 

a diatonic One / Six / Four (ii) / V7 One.

Can you put it in a musical style? .

Write a song in a mode.

.

One for each of the modes with a backing track of the basic chords / a progression

Designing chord progressions.We most often either design our chord progressions in support of a poetry phrase or melodic idea, or come up with a couple of chords that fit together that will become a song. Either spark will set forth the magic to compose a new piece of original music.

So in designing and refining our chord progressions we can think of the function of each of its various components. In doing so, we create a pallette of possibilities of components that function the same way. Like hats. They all do basically the same thing yet are in all sorts of shapes and colors with wide fashion variations that have socially evolved right along with us in the ever changing times we live in.

Tis the same for our musical components. For example, sampling existing music to be placed into a new work is a composing technique of today. While we composed for a couple of thousand years without it, we can welcome the new to augment the old, to better tell our tales in the moderness of today, or not as the case might be.

So designing or refining our chord progressions becomes a part the composing process. We use the theory to generate new possibilities for components that in general will function in a similar manner to our existing ones. Chord type, modal development, major minor, style influences all are ways to generate new ideas and filter and polish our motifs into gems.

organic evolution
chord type
modal ideas
major / minor
motifs

Write a song with a plagel cadential motion.

 

a diato

dylan's shelterfrom the storm / plagel cadencenic

One / Six / Four (ii) / V7 One.

Can you put it in a musical style? .

Write a song with a modulation.

 

a diato

dylan's shelterfrom the storm / plagel cadencenic

One / Six / Four (ii) / V7 One.

Can you put it in a musical style? .

Melodic development.

 

a diato

dylan's shelterfrom the storm / plagel cadencenic

One / Six / Four (ii) / V7 One.

Can you put it in a musical style? .

 

 

Overview. Throughout Essentials, the theories of composing music are most often paralled to the metaphor of fitting together the 'pieces of a puzzle.' That a completed work is simply a puzzle with all its pieces in place. That we can use the theory to help generate possible solutions to find the missing pieces is really the basis of the following discussions. That and simply suggestions, historical and biographical anecdotes and musical ideas and suggestions for listening to energize our juices to compose.

Along this pathway we follow in the tradition and historical ways composers have shaped and framed our classic Americana sounds over a wide range of musical styles. Ideally the theory helps us futher develop our own ideas and style by recognizing elements from other styles that we might be able to use in our own work. Thus; a folk song with a touch of blue, a blues tune that rocks, a rock tune with a pop hook or a pop tune with a jazzy touch.

Historically. So many of the songs we each love the best have one or more melodies, themes or hooks that conveys the idea and essence of the composers intent. Often times these melodic ideas will in various ways contrast one another yet combine to create art. This 'crafting' of contrasts, or not as the case might be, is part of what can make great art.

Artistic ideas such as emotional balance, tension and release and the surely ancient call and response format are all created inumerable ways with musical elements that we as theorists look to be able to define, label, write down and now today to record as audio or video. We do this to remember our ideas, share with others and pass along to future generations.

A puzzle of sorts. There's of course no one right way to compose, just the way that works best for each of us. One common trait with successful composers is tenacity; to keep working at it till the right piece is found. This can mean searching for a special rhythm, chord, a word or phrase that captures our idea. Those in the know know that a song is not really done till all the pieces are in place ... and sometimes there's days, months even years till that last piece is finally discovered to complete the puzzle now a mozaic.

gallop
jazz it up
the hope within

Three composers. There's of course no one right way to compose, just the way that works best for each of us. One common trait with successful composers is tenacity; to keep working at it till the right piece is found. This can mean searching for a special rhythm, chord, a word or phrase that captures our idea. Those in the know know that a song is not really done till all the pieces are in place ... and sometimes there's days, months even years till that last piece is finally discovered to complete the puzzle, perhaps now more of a mozaic frieze.

gallop
jazz it up
the hope within

Relative major ~ minor pairing. Surely by far and away all of the music we dig generates from this core pairing of key centers. The Yin Yang balance is something we as peeps just know and feel in our bones. . .?

Iambic pentameter
Shakespeare

Creating melodies. We each have our own way of composing I'd imagine. Whether working singley or in collaboration, there's probably a consistency to the process over the creation of a couple of pieces. That the melody . .?

Iambic pentameter
Shakespeare

Emotional environments. In composing the American sounds, is the four bar phrase at the core of it all? Does the Iambic pentameter of Shakespeare's lines bolt up to four bars in 4/4 time? Is the English language and spoken word built for swing rhythm and time?

Iambic pentameter
Shakespeare

Phrasing. art of composing is how we decide to transform our ideas into a weave musicsl elements. elements in composing. The texture of the weave and it's strands

The 10 and 90 percent scenario. It has been said throughout history that success is created by 10% of inspiration followed by 90% of perspiration. Success in composing music can surely equate with this correlation. What is also true in the arts is that these numbers can vary according to our own muse on any given day.

That we just accept the fact that some songs come fully together in an afternoon while others take a couple of months is just the way it is. And that the more we know about the composers we dig, the more we'll see how true this is for all of us who so endeavor to capture Muse.

Tonic centered music. In composing the American sounds, is the four bar phrase at the core of it all? Does the Iambic pentameter of Shakespeare's lines bolt up to four bars in 4/4 time? Is the English language and spoken word built for swing rhythm and time?

Iambic pentameter
Shakespeare

The phrase. In composing the American sounds, is the four bar phrase at the core of it all? Does the Iambic pentameter of Shakespeare's lines bolt up to four bars in 4/4 time? Is the English language and spoken word built for swing rhythm and time?

Iambic pentameter
Shakespeare

Let's find out. Turn on the radio, find some music you dig and start counting along with the phrases of the song. I'm going to do this randomly.

video

The results. Turn on the radio, find some music you dig and start counting along with the phrases of the song. I'm going to do this randomly.

video

Call and response. Here in Essentials, while ideas about time and rhythm are peppered in throughout the whole text, once the core concepts, vocabulary and counting skills are accounted for, there's just three main discussions here about the musical time of American music. Everything else to be based on these topic centers.

Counter lines. Here in Essentials, while ideas about time and rhythm are peppered in throughout the whole text, once the core concepts, vocabulary and counting skills are accounted for, there's just three main discussions here about the musical time of American music. Everything else to be based on these topic centers.

Pedal tones / upper and lower. Here in Essentials, while ideas about time and rhythm are peppered in throughout the whole text, once the core concepts, vocabulary and counting skills are accounted for, there's just three main discussions here about the musical time of American music. Everything else to be based on these topic centers.

Ideas for things to compose about

Write and record compositions for each of the modes. Find their flaor, find a line and off you go.

in Essentials, while ideas about time and rhythm are peppered in throughout the whole text, once the core concepts, vocabulary and counting skills are accounted for, there's just three main discussions here about the musical time of American music. Everything else to be based on these topic centers.

Modal magic. Write and record compositions for each of the modes. Find their flaor, find a line and off you go.

in Essentials, while ideas about time and rhythm are peppered in throughout the whole text, once the core concepts, vocabulary and counting skills are accounted for, there's just three main discussions here about the musical time of American music. Everything else to be based on these topic centers.

Theme and variations. Here in Essentials, while ideas about time and rhythm are peppered in throughout the whole text, once the core concepts, vocabulary and counting skills are accounted for, there's just three main discussions here about the musical time of American music. Everything else to be based on these topic centers.

Head arrangements. Here in Essentials, while ideas about time and rhythm are peppered in throughout the whole text, once the core concepts, vocabulary and counting skills are accounted for, there's just three main discussions here about the musical time of American music. Everything else to be based on these topic centers.

 

The hook. Here in Essentials, while ideas about time and rhythm are peppered in throughout the whole text, once the core concepts, vocabulary and counting skills are accounted for, there's just three main discussions here about the musical time of American music. Everything else to be based on these topic centers.

Click clack.

Tetra chords. Here in Essentials, while ideas about time and rhythm are peppered in throughout the whole text, once the core concepts, vocabulary and counting skills are accounted for, there's just three main discussions here about the musical time of American music. Everything else to be based on these topic centers.

... Or not. So our loop of pitches does not have to close on itself? Nope. And we can compose music in using this principle. While we can weave any of our elements in this manner, the following ideas are based on the theories surrounding our #15 colortone..

Well crafted. In 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

Composing a new work. Mainly for first time composers, follow along the pathway to fit your idea into a song.

What's your idea? words, a melody, a hook ...

Major or minor?

Style?

How fast?

Motion to Four.

One pitch at a time.

One pitch at a time.

One pitch at a time.

One pitch at a time.

One pitch at a time.

One pitch at a time.

\

for a song inton 'Essentials' the idea of 'well crafted' creates an opportunity to talk about the various components of a song from a historical perspective ...

recitative, intro , forms, outro, ect.

 

With this technique Duane built climaxed solo's that can almost make your hair stand up. It's oftentimes in this repetition of a few notes or musical phrase where we can most clearly hear the rhythmic pull of the melody pitches against the 2 and 4 of the drumming that creates Duane's unique sense of a very hard driving swing. One of many Allman Brothers tunes to spin to hear his sense of time and swing is ?????.

Hooks.

"Drunk Before Lunch".

 

"When you’re onstage or recording, you put yourself in those stories."
George Joneshttp://www.nytimes.com; 04/26/13
Footnotes:

(1) Isacoff, Stuart. Temperament ... The Idea That Solved Music's Greatest Riddle, p. 40-42. USA Alfred A. Knopf, New York. 2001

(2)Aebersold, Jamey and Slone, Ken. The Charlie Parker Omnibook. New York: Atlantic Music Corp., 1978.