It’s almost like A Tale of Two Cities. “It was the best of times, it was the worst of times . . .” — Charles Dickens. There was confusion, and then there was clarity.
OK. The Composer/Arranger is a difficult book which to my eye is for what I’d call an advanced educated musician (or I am rather stunted). But where the opening of the book changed topics and perspectives at rapid pace, here in the ensuing pages about melody while the author makes frequent references to clarification in later parts of the book he does stay on point. And they are very good points indeed.
Let’s talk about melody, and in the larger sense talk about creative construction in general. Continue reading →
I better hurry up, someone’s already up to “Music Theory – 0012” as of this writing. Take your time. The worst thing you can do is rush through these things before you are ready to move on. Let’s get on to the next step of writing for our first real chord progression: Continue reading →
Let’s go to step three of the process I’ve been using for writing simple songs. In the first step I chose a simple chord structure encompassing eight measures. In the second step I decided to arpeggiate the bass. When you play an arpeggio, that is just a chord where you play the notes of the chord individually instead of all at the same time and that arpeggiation can go all over the place if you like. In the third step, I’m changing the two measures with the G Major chord so they are in root position and I also add a basic melody for you to build on. Continue reading →
I want a day off. I want a rest. And I am going to do just that and blow off today. Normally when I do this I post a piece of original music, say a few words about it, and then my readers can listen to it or not. I woke up today thinking about the musical “rest”. Continue reading →
I’ve thrown a lot at you up to this point. Articles 3-6 were packed with information, showing you how to use a music processor called NotePad, showing you every note on the grand staff including multiple ledger lines, and then rhythmic values for notes starting with a whole note and suggesting there are divisions going beyond the 64th note. That is a lot. It is time to look at simple melodies and I will repeat what you need to know from previous articles for the time being. This is hard until it becomes second nature and I understand that. I have a habit of showing the overall picture and then backing off and showing simpler and more limited examples. Let’s start by looking at a base melody: