.

~ a start to composing a song ~

 it took me 20 years to find out how to write a song in 20 minutes."[6]

bart howard wiki

~ a method and curriculum ~

~ numbers of pitches ~

triads
triads + 7th
5 note pentatonic groups
pentatonic + 1 groups
seven pitches major
seven pitches minor
harmonic minor
melodic minor
whole tone group

' an academic approach to making art happen for the evolving musical artist who will compose their own stories into music ...'

In a nutshell, start composing. "Composing is doing." To compose, anything really, is to create something. And this creative can happen anywhere, with whatever is at hand right? The idea and process of composing can be a daunting endeavor to begin, but like other such journeys, once in motion it generates its own momentum forward. So, ready to start? Let's compose some songs together and at the end, make a recording of them and you can listen back and behold your ideas through the magic of musical time and space.

Have a song floating around up there that needs to be finished? Cool. Know what style you want it to basically sound like? Cooler. That's all it takes really to begin composing. With that much already going, we can easily begin to write our songs. Start by singing what you've got, in time please, and give Muse a chance to begin filling in your open measures, next words, melodies etc.

The first few ideas here are about our lyrics, the words, phrasing, the storylines and hooks. We then scoot right back to the metrics of music, numbers of pitches in various groups, and the common aural colors they provide. Along the way through the groups of pitches, we pair up our song ideas with another song we already know that has the same number of pitches.

We then emulate that tune, or not, to compose a new or just create a parody of it. As composing is about doing, once we complete a couple of songs, our juices kick right in and we begin to know our own process. Then we just do, we compose our songs and be curious about whatever else is about our own composing.

For once we walk a mile or so in a composer's shoes, have written a couple of tunes, we know. And when we read about other composers talk about their 'process', we can dig it, we know of the toils.Also, just make a list of pieces of art you dig and research their creations. For ... 'every picture has a story don't it.' And every song too :)

We start with one melody line, like in the old old old days, then add another, then another etc., till we get to four. Once we've four melody lines grooving along together, they usually start to sound more like chords. One melody line on top supported by chords. This build up is today's way for just about everything Americana for the last 100 years or so.

Academia. The academic leaning part of this curriculum is included as a guided study in music composition with clear, measurable results. As most of the main topics within this Essentials 'e' book, we simply numerically work up through the pitches. Always starting at our core group of five, the pentatonic group, one by one we add a pitch until all 12 are included. As each one is added, we gain a new puzzle piece to fit into our songs.

The academic discipline of this method is based on the principle of diatonic, the 'through the tones' idea. Here, at least in theory, we're trying to being very strict; if we don't have the pitches we can't make the part. Thus we be forced to figure out solutions with just the pitches we get. This rule quickly means less and less once we pass the seven pitch mark. For once at seven, all the chords and their color tones are now in play.

Past the diatonic seven pitches, each additional pitch brings a new color into the mix. To keep a bit of a lid on this for emerging composers, just one, maybe two, suggestions for what the new pitch can create within the diatonic sphere are included. Look to the right of these entries for longer avenues to explore. Again the idea of relativity between number of pitches and musical style. So styles don't need certain pitches. And that's cool. We just want to know and understand how they can influence our own art.

So our aim here is to shape perspective of what each of the pitches brings on their own accord. Working as composers, we 'minimalist' and restrict the process in these academic exercises and in doing so, locate and make every pitch count, for what it uniquely brings when included into the evolving group of pitches.

And please, DO NOT HESTITATE to write songs that may conjure up for you along the way that ARE NOT PART of this exercise, for lest we forget that all music was once new, so it has to come from somewhere, and in regards to this academia process please consider to ...

"Don't let schooling interfere with your education."

Mark Twain

wiki ~ Mark Twain

Start ~ composing lyrics. Already writing lyrics? Cool. Then just 'keep on keepin' on as they say :) A cool think about lyrics is that they do not need anything else to be created. Other things help of course, but in essence, words on paper ... and even then we don't need the paper, we can rote memorize, and share our thoughts. Beyond amazing really. So, need a place to start? Easy, cool. There's always a first step in new journeys.

500 year old lyrics ...

Parody your favorite song.

the loving joy that we once new

had returned yet again

i knew from the start

we'd fall in love again

a heated spark that lights a new

that flame we once new

our stars now aligned ...

would ascend to heights that

none could follow

now your in my arms once again

now we're of one heart yet again

and we'll love and we'll love

till we say good bye again ...

Essentials method. Most of my lyrics come as one liners, so I put them into a 12 bar blues form and write a song. Sooner or later they might end up somewhere else, in an AABA ballad or jump tune, but 12 bar blues is a 'one liner's iambic pentameter's dream come true.'

 

 

.

going as they say :).

Compose by the number of pitches. All

 

three of these intervals are either major intervals for creating the relative major group, or all three are minor intervals to create the relative minor group of pitches. The remaining four intervals and pitches, being 'perfect', stay the same. This last bit of the discussion is the essential theory seam that knits together much of the Americana sounds we love.

Five pitches. Must be the major / minor pentatonic group. Examine the pitches. Example 1.

numerical scale degrees
1
2
b3
4
5
6
b7
8
E 7 / blues chord
E
F#
G
A
B
C#
D
E
                 
                 

Good chance there's a 100 years of Americana coolness in this last shape and bluesy suspensions for certain. Feel the rub of the blue notes against the V7 chord? Just the blues rub in actionnee. Like to sing the blues too and 'E's just not your key? Find a capo and move it all, to where it needs to be :)

Six pitches. Must be the major / minor pentatonic group. Example 1.

numerical scale degrees
1
2
b3
4
5
6
b7
8
E 7 / blues chord
E
F#
G
A
B
C#
D
E

Good chance there's a 100 years of Americana coolness in this last shape and bluesy suspensions for certain. Feel the rub of the blue notes against the V7 chord? Just the blues rub in actionnee. Like to sing the blues too and 'E's just not your key? Find a capo and move it all, to where it needs to be :)

Seven pitches. Must be the major / minor pentatonic group. Example 1.

numerical scale degrees
1
2
b3
4
5
6
b7
8
E 7 / blues chord
E
F#
G
A
B
C#
D
E

Good chance there's a 100 years of Americana coolness in this last shape and bluesy suspensions for certain. Feel the rub of the blue notes against the V7 chord? Just the blues rub in actionnee. Like to sing the blues too and 'E's just not your key? Find a capo and move it all, to where it needs to be :)

Eight pitches. Must be the major / minor pentatonic group. Example 1.

numerical scale degrees
1
2
b3
4
5
6
b7
8
E 7 / blues chord
E
F#
G
A
B
C#
D
E

Good chance there's a 100 years of Americana coolness in this last shape and bluesy suspensions for certain. Feel the rub of the blue notes against the V7 chord? Just the blues rub in actionnee. Like to sing the blues too and 'E's just not your key? Find a capo and move it all, to where it needs to be :)

Nine pitches. Must be the major / minor pentatonic group. Example 1.

numerical scale degrees
1
2
b3
4
5
6
b7
8
E 7 / blues chord
E
F#
G
A
B
C#
D
E

Good chance there's a 100 years of Americana coolness in this last shape and bluesy suspensions for certain. Feel the rub of the blue notes against the V7 chord? Just the blues rub in actionnee. Like to sing the blues too and 'E's just not your key? Find a capo and move it all, to where it needs to be :)

Ten pitches. Must be the major / minor pentatonic group. Example 1.

numerical scale degrees
1
2
b3
4
5
6
b7
8
E 7 / blues chord
E
F#
G
A
B
C#
D
E

Good chance there's a 100 years of Americana coolness in this last shape and bluesy suspensions for certain. Feel the rub of the blue notes against the V7 chord? Just the blues rub in actionnee. Like to sing the blues too and 'E's just not your key? Find a capo and move it all, to where it needs to be :)

Eleven pitches. Must be the major / minor pentatonic group. Example 1.

numerical scale degrees
1
2
b3
4
5
6
b7
8
E 7 / blues chord
E
F#
G
A
B
C#
D
E

Good chance there's a 100 years of Americana coolness in this last shape and bluesy suspensions for certain. Feel the rub of the blue notes against the V7 chord? Just the blues rub in actionnee. Like to sing the blues too and 'E's just not your key? Find a capo and move it all, to where it needs to be :)

Twelve pitches. Must be the major / minor pentatonic group. Example 1.

numerical scale degrees
1
2
b3
4
5
6
b7
8
E 7 / blues chord
E
F#
G
A
B
C#
D
E

Good chance there's a 100 years of Americana coolness in this last shape and bluesy suspensions for certain. Feel the rub of the blue notes against the V7 chord? Just the blues rub in actionnee. Like to sing the blues too and 'E's just not your key? Find a capo and move it all, to where it needs to be :)

"We learn wisdom from failure much more than from success. We often discover what will do, by finding out what will not do; and probably he who never made a mistake never made a discovery."
wiki ~ Samuel Smiles
"

Bell Burnell will be honored at a ceremony on Nov. 4.

She told the BBC that she believes her drive came from being a minority within the field which is why she wants to encourage more women, refugees, and underrepresented ethnic minorities to study physics.

“I have this hunch that minority folk bring a fresh angle on things and that is often a very productive thing,” she said. “In general, a lot of breakthroughs come from left field.”

We learn wisdom from failure much more than from success. We often discover what will do, by finding out what will not do; and probably he who never made a mistake never made a discovery."
wiki ~ Samuel Smiles

Grout, Donald Jay. A History of Western Music, p. 10. W.W.Norton and Company Inc. New York, 1960.

 

~ a start for composing ~

~ method and curriculum ~

~ and some magic ~

 

 

 

~ octave to octave melodies Norwegian Wood ~

~ a song for each group of pitches w/ diatonic chords include a chart ~

~ write a song there once was a time when I knew our love was true, ~

~ lyrics / 1st solve riddle, then puzzle ~

pentatonic groups
pentatonic + 1 groups
seven pitches major
seven pitches minor
harmonic minor
melodic minor
whole tone group

 

just 5 pitches to start
express joy
6 pitches for gospel and blues
express contentment
7 pitches provide the ancient balance
express sorrow
8 pitches sets the V 7 wheels to turn
express loss
with 9 pitches vi becomes a V7 type
express mystery
10 pitches gives us V7 to vi
just be happy
with 11 pitches vii becomes V7 to iii
angry no more
12 pitches closes one line and opens another
got me some wings ...

' an academic approach to making art happen for the evolving, up and coming learner who will compose ...'

 

 

 

 

just 3 pitches to start
express joy
just 5 pitches to start
express joy
6 pitches for gospel and blues
express contentment
7 pitches provide the ancient balance
express sorrow
8 pitches sets the V 7 wheels to turn
express loss
with 9 pitches vi becomes a V7 type
express mystery
10 pitches gives us V7 to vi
just be happy
with 11 pitches vii becomes V7 to iii
angry no more
12 pitches closes one line and opens another
got me some wings ...