Welcome to the Just Plain Folks forums! You are currently viewing our forums as a Guest which gives you limited access to most of our discussions and to other features.
By joining our free community you will have access to post and respond to topics, communicate privately with our users (PM), respond to polls, upload content, and access many other features. Registration is fast, simple, and absolutely free; so please join our community today!
OK. So this is my make a song thread. Start with ipad recording of drum set. Share to youtube, and connected with my two brothers and sister to get three likes on the "short" created. and got a like from Japov. Ok good enough start. Music = Connect Correct? Already I'm ahead. Plus , its just plain fun too.
I also caught the recording on my Zoom R8 w two mics. My thought was to add guitar, bass and melody. Fail. Not possible at my current skill level.
Solution.
Start over. Create a chart. Say 4/4 w 60 32 measures.
Establish:
verse/verse/chorus/verse....each section 16 8 measures. Craft a lyric with all the usual yadas Pick a key in my vocal range/conjure a 2 melody variations - one for verses/one for chorus. make the verse melody plain, and the chorus melody memorable in contrast. Play chords to a click track, stick to 64 32 measures no more no lease.
I think you're on the right track for methodology. Even in an instrumental composition, attention to 'Musical Movements', component parts, could serve the finished product, establishing an appreciable Structure. I identify the Introductory Movement, and the 'Enough' concept, the Songwriter's Judgment Call regarding 'Enough', 'Not Enough', and 'Too Much'. The Introductory Movement need only be 'Long Enough' to serve that function, to Hook listener interest, and keep them Hooked until the next Movement commences. The next Movement may be a Verse I, or a Chorus. It is conceivable a Bridge might be the next Movement after the Introductory Movement, or even a Coda, the final Musical Movement in a Composition. All the component parts have a wide range of possible arrangements. If it works, it works. If a Composer found a way to 'open' their Composition with the same Musical Movement with which they end it, and it works, it works. If opening with Introductory Movement, Verse I Movement, it is likely you can go to the Chorus Movement next. The Composer's/Songwriter's Judgment Call is in constant application. Is Verse I adequate, 'Enough', Musically, Melodically, Lyrically, to merit moving on to the Chorus, summing up the essential Idea of the Song? Is it 'time' to go to the next Movement? How much is 'Enough', 'Not Enough', 'Too Much' can be assessed. Much of this Judgment decision-making is done without having to think deliberately, but deliberation can consciously make those decisions. Intro., Verse I, Chorus, Verse II, Chorus, and... what? Verse III? Or a Bridge to break the Repetition. Repetition supplies Structure the listener can relate to. They 'learn' the Composition as they listen. If it lacks 'Enough' Structure they may drift off to their own thoughts instead of pay attention, being entertained, engaged, in attentive listening. If it has 'Too Much' Change, instead of Repetition, that too may lose their attention. They come 'Unhooked' and we don't even know about 'The one that got away!' The Songwriter's Judgment Call on Timing is strategic. Your Judgment may be that the minute-long Introductory Movement is fine may or may not be the listener's Judgment Call. The audience will be making its own 'Enough' Judgments. We enjoy emoting, vocally, Lyrically telling our story, and our Judgment may differ from the listener's. If sitting at a drum set and 'Composing', these attentions to Timing and Composition could help define that Structural 'base'. I recommend this Compositional attention to Structure for rap. A man came back from a tour of duty out of the country and asked, "When did rap become R&B (Rhythm & Blues)? Apparently the genre had changed perceptibly, to him, while he was away. I speculate that the 'industry decision-makers', perhaps the Composers themselves, perceived the Compositional benefits of mixing more R&B Structural Components into their works, to keep listeners Hooked. Rap can be very Repetitive, to the point of Monotony, which is 'relieved' by Change. The right Combination of Repetition and Change can keep the listener listening; Hooked. Starting with the drum 'track' doesn't mean you're 'stuck' with it. If your guitar or keyboard work suggests Changes to what you've laid down to start with you can redo the percussion to pick up and support the new dynamics of the ongoing Composition. If your vocalization and Lyric suggest percussive Changes you can redo the drums. It's your Song, your Judgment call. Keep going. You're on 'a' right track, maybe 'the' right track. Create. That, more than anything else, may be the strategic factor.
There will always be another song to be written. Someone will write it. Why not you? www.garyeandrews.com
Your drum sample has 32 measures. Cool. and useful. I changed/edited my original plan above
the bpm is around 132. swing/latin style rhythm? A move off the cymbol sound after 16 measures (and completion of the two planned verses)..and into the chorus w the rolling toms.
Gary : I think you're on the right track for methodology......
Thanks. I like the detail you provide and will read again as I build the song. The notion of "movements" can be applied to the music composition AND the lyric/story construction....the two going hand in hand.
Continuing with this project. I had this song pop into my head, and thought it might be a useful format to follow. I fished it out of a song book I have, and it is 32 measures long. The key/melody is also in my vocal range. The lyric is packed with varied and imaginative format.
I'm going to start by recording a simple drum pattern that follows the musical rhythms. Then I'm going to write a lyric that follows the rhythm closely. I'll post the result here. Bill
It may be. But I want to lock into the percussion exactly. so the lyric and guitar rhythm conform to the drum pattern exactly.
I've made a bit of progress on my project here. I happened on this youtube where Jacob Collier illustrates a Stevie Wonder song....and starts off with an analysis of the percussion underlay....comes out in the first 2 min....no need to listen to more.
Further, I created a mirror drum part for the song, "I can't give you anything but love". Its simple. but there are some tricky bits. documenting my personal learning curve.
Man I procrastinate. to push myself, I wrote a plan for this project, forcing myself to make decisions (recording , instruments to use, etc). I will type that out here in the next reply, for the record.
But so far I have got an initial sing, as follows. More to add later.
OK. i made myself write something that matched the rhythm of my project song prototype: "I Can't Give You Anything but love"....32 measures, mimic lyric writing of original...etc. I did a sing over suno back just for fun.
I want to add this minimal drum instructional for myself. use of snare snap & ghost. ride position and use. bass drum addition right foot. hihat chink left foot.
does it real slow and also splits into learning sections.
also positioning of various pieces, body position, stick/arm position.
I really enjoy the late Rory Gallagher’ music. This capture from 1977 is so good. The band is really good. And RG exudes total rock joy…the fans chant his name between songs. AI can’t touch this. had to save it here.
not sure, but i do know drummers use lyrics to find their way through a song. When u get into odd time signatures its easy to get lost, many say, just follow the lyrics and it will come to you.
I love drums, think om one of the greatest air drummers of all time. And so much fun. When i used to struggle with home recording alot of times id spend weeks on the drumes, all id have were drums, cause everything else came out so bad.
Yes the lyric is a guide. If the lyric is out, the drummer is out and the song derails. I play on stage with a group once a week. Just a beginner, and learned a big mistake for a beginner, is the placement of fills. So I start a bad executed fill, in the middle of the vocals, when I should be staying out of the way.
I’m fortunate to have an acoustic set at home in the basement. Takes up space, very noisy when practising, but my wife is tolerant.
Last edited by Bill Draper; 01/04/2601:30 PM. Reason: Use my words better
We would like to keep the membership in Just Plain Folks FREE! Your donation helps support the many programs we offer including Road Trips and the Music Awards.
