advanced songcraft written commentary finaljake christopher wilson mip-504 advanced songcraft 4 the...

Jake Christopher Wilson MIP-504 Advanced Songcraft

Songwriting Portfolio


Contents

Pages: 1 - 6 Pages: 7 - 12 Pages: 13 - 15

Reflective Evaluation Appendices Bibliography


1

Reflective Evaluation Live For Me

‘Live For Me’ is a song based around the singer/songwriter genre. The tempo is approximately

135bpm which is associated with the tempo marking known as molto allegro – “molto allegro is an

indication to play in a quick, lively tempo” (Kraemer, 2018). I kept this arrangement minimalistic as I

wanted it to feel and sound like a live performance, with an intimate atmosphere where the lyrics are

the driving force of the song.

Figure 1. A scene from the music video for ‘Losing My Religion’ by R.E.M (Ducker, 2016). The feel of

this arrangement was inspired by this song.


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On the other hand, the jazz arrangement

features the use of different instrumentation

in addition to both time and key signature

changes.

A piano provides the harmonic content in

the form of basic major, minor and

diminished triads, 7th chords and extended

chords – “Extended chords are chords that

have extended or added notes beyond the

seventh” (Simplifyingtheory.com, n.d.). Using

7th and extended chords helps to add more

colour and character to the sound of each

chord progression in this arrangement. This

harmonic framework helps to differentiate

this version from the original which mainly

uses basic triads and added tone chords (add

chords) – “Added tone chords are triads with

an added note a second, fourth, sixth, ninth,

eleventh, or thirteenth above the chord root”

(Musictheoryblog.blogspot.com, n.d.).

The saxophone provides the majority of

the melodic content by imitating the vocal

melody of the original arrangement. The

melody notes are derived from the chord

tones found in basic triads, 7th chords and

Figure 2. A selection of instruments which are

vital to the characteristics of the jazz sound and

feel (Ali Express, n.d.). The jazz re-arrangement

includes piano, double bass, a drum kit (with

brushes instead of regular drum sticks),

trumpet, trombone and an alto saxophone.

Figure 3. An example of a minor 9th chord

which is made up of the intervals R, b3, 5, b7

and 9 (ScalesChords, n.d.). Examples of chords

used in this arrangement include: dominant

6th, dominant 7th, major 7th, minor 7th and

minor 9th chords.


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extended chords such as major 9th, minor 11th, and major 13th chords. These chord tones are played

alongside notes in the bass-line to imply chords when there is no supporting harmony – the B natural

minor scale is also used alongside these chord tones.

Accidentals (Appendix E) are used as passing notes to create tension and dissonance which is

resolved once the key signature changes. Modulation (Appendix F) is used in this arrangement to

change the key signature.

In the solo sections the trumpet, saxophone and piano utilize a concept called ‘trading fours’.

Trading fours involves “soloists taking turns at improvising, playing for four (or eight, etc.) bars at a

time” (Ccnmtl.columbia.edu, n.d.).

The drums act as the rhythmic foundation for this arrangement by accenting certain beats and

incorporating syncopation into the groove to create a ‘swing’ feel (Appendix J) – as opposed to a

straight rhythmic feel. The walking bass-line further emphasizes a jazz feel by creating a sense of

movement and outlining the chords implied by the melodies.

Figure 4. An example of modulation can be heard when the key of B minor changes to Bb major by

implying a secondary dominant chord (Appendix G) in the saxophone melody – during this section the

Bb blues scale (Appendix H) can be heard. The C mixolydian mode (Appendix I) can be heard in the

melody during the final section. (Wilson, n.d.)


4

The Pursuit of Political Aims

The original arrangement of ‘The Pursuit of Political Aims’ is a progressive rock song influenced by

bands such as Pink Floyd, Genesis and the Grateful Dead.

This arrangement utilizes sound effects (such as explosions) to help portray the environment and

the theme that I was trying to replicate. The use of sound effects in compositions is known as “musique

concrete” and it is “a particular trademark of Pink Floyd” (mCLUB - inspired by music, n.d.).

Another characteristic of progressive rock is the use of “lyrics that convey intricate and sometimes

impenetrable narratives, covering such themes as science fiction, fantasy, history, religion, war,

madness, and literature” (mCLUB - inspired by music, n.d.). This relates to this song because the

purpose of the lyrics and sound effects is to convey and replicate a potential scenario of everyday life.

Progressive rock is also known to make use of “unusual time signatures, rhythmic techniques,

scales, or tunings. Many pieces use multiple time signatures and/or tempi, sometimes concurrently”

Figure 5. An example of a synthesizer – a Moog Minimoog (Twells, 2016). This arrangement features

appropriate instrumentation for the genre, which includes a synthesizer, bass guitar, electric guitar,

acoustic drums, piano, strings and horns – supporting evidence of this can be found in Appendix K.


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(mCLUB - inspired by music, n.d.). This relates to this arrangement as it uses several time signatures

throughout it – this includes 3/4, 4/4, 5/4, 6/4 and 7/4 (Figure 6).

Another characteristic of progressive rock is an “extremely wide dynamic range, with very quiet and

very loud passages often occurring in the same piece of music” (mCLUB - inspired by music, n.d.). This

relates to this arrangement because the

use of dynamics varies throughout the

song. In each verse, the bass guitar

drops out to reduce dynamics. When

the bass riff re-enters, the dynamics

increase for the chorus sections where

new layers appear. An explosion sound

effect causes a sudden volume increase

which adds tension during the guitar

solo. At the end of the song, there is a

decrescendo (Appendix L) and a

ritardando (Appendix M) to signal the

end of the music.

I decided on doing a folk re-

arrangement of the original version

because I thought that the narrative would translate effectively to folk. For the folk re-arrangement I

changed the key signature and based it on the mixolydian mode. To do this I changed the chord

progressions so that the root of this mode felt like the tonal centre of the music. This resulted in only

two chords being used for the whole song. The vocal melody was simplified to reinforce the modal

feel of this arrangement. In addition to this I changed the time signature to 4/4 which is a typical meter

found in folk music. Using these arrangement techniques created a drone like feel whilst retaining the

Figure 6. An example of how to count an odd time

signature (Coughlin, n.d.). Using irregular/odd

time signatures (5/4 and 7/4) creates a slightly

rushed or jarring feel in this arrangement. Using

all of these different time signatures together

helps to build anticipation for what is to follow

next.


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narrative of the lyrics. The ways in which these techniques were applied helped to make the lyrics the

focal point of the arrangement. Characteristics of folk music can be found in Appendix N.

In conclusion, the genres I chose to use for each arrangement are arguably a part of my artistry and

I believe I have created appropriate arrangements for each genre. From here I will continue to explore

new techniques/concepts and apply them to my own portfolio, with the intention of creating new and

unique songs based on old methods which work effectively at creating an emotional response to a

song.

Word count (main body, excluding quotes etc): 1050

Word count (including everything): 2695


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Appendices

Appendix A – Live For Me (Lyrics) CHORUS A Come and find me when it’s my time Come and find me when my time has come again VERSE Days have passed, has my time come? To make amends for the things I've done I wish you all the best Sharing secrets with those, I'm blessed CHORUS B Take what is left of me Separate the heart from soul When it's my time VERSE Months have passed, do you still ache? Live for me, allow your mind to rest Remember what is left of me, In peace, you can leave me be CHORUS B Take what is left of me Separate the heart from soul When it’s my time, oh BRIDGE Let me go, and leave me be You have a life to live, so live for me Let me go, and leave me be You have a life to live, so live for me So, so live for me So, so live for me Oh, live for me


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CHORUS A Come and find me when it’s my time Come and find me when my time has come again CHORUS B Take what is left of me Separate the heart from soul CHORUS A Come and find me when it’s my time Come and find me when my time has come again Come and find me when it’s my time Come and find me when my time has come again When it’s my time When it’s my time Come and find me when it’s my time Come and find me when my time has come again Come and find me when it’s my time Come and find me when my time has come again, oh. Appendix B – Live For Me (Lead Sheet) Please refer to the attached documents for this.


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Appendix C – The Pursuit of Political Aims (Lyrics) VERSE 1 Another one, it goes again Daily lives ruined by another fool Eye on the prize, a weak disguise They’ve been fed another simple lie CHORUS Hold them close, Turn your back away Pray to God, I hope you’re still awake VERSE 2 Please forgive me if I’m wrong They are dressed just the same as you Eye on the prize, a weak disguise, We've been fed another simple lie (lie) Another simple lie CHORUS Hold them close, Turn your back away Pray to God, I hope you’re still awake, awake SOLO Another simple lie Another simple lie Another simple lie Appendix D – The Pursuit of Political Aims (Lead Sheet) Please refer to the attached documents for this.


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Appendix E – Accidentals “An accidental in music is a symbol that indicates the modification of a pitch. A music accidental can

turn a pitch sharp, flat, or back to its natural state.” (Kraemer, 2017)

Appendix F – Modulation “Modulation describes the process where a piece of music changes from one key to another key.”

(Musictheoryacademy.com, n.d.)

Appendix G – Secondary Dominant Chords “A Secondary Dominant is a Dominant 7th chord that is the dominant of a diatonic chord other than

the tonic.” (Leach, 2012)

Appendix H – The Blues Scale The Blues scale is “the pentatonic scale with one more note (added in the scale). This note is known as

‘Blue note’ and it is the flattened fifth in the case of the minor pentatonic, or the flattened third in the

case of the major pentatonic.” (Simplifyingtheory.com, n.d.)

Appendix I – The Mixolydian Mode “The mixolydian mode is just like the major scale, except it has a flatted 7th note. This makes it

especially suited to be played over dominant chords, which include the 1st, 3rd, 5th, & 7th notes of this

mode.” (Eichenberger, 2013)

Appendix J – Swing Feel “People will say swing rhythm is pretty much the same as shuffle rhythm. This is more or less true. And,

in the beginning you may as well think that way. To me, I think of shuffle as rigidly based on the


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underlying triplet rhythm. Swing is similar, but open to more interpretation. If you listen to different

jazz musicians, they all swing rhythms slightly differently. There's a lot of room for subtle variation.

Most people will tell you swing cannot be accurately notated, only felt. In jazz you're always expected

to swing 8th notes unless it is a Latin tune (i.e. Bossa Nova, Samba) where you use straight 8th notes.

The swing rhythm is a defining element of jazz.” (Pouska, n.d.)

Appendix K – Progressive Rock Instrumentation “Prominent use of instruments unusual in rock music, including electronic instrumentation, as well as

unusual vocal styles.” (mCLUB - inspired by music, n.d.).

“Keyboard instruments including the synthesizer, organ, piano, and Mellotron are very common in

progressive rock” (mCLUB - inspired by music, n.d.).

“Other examples include the use of non-western instruments, particularly ethnic percussion.”

(mCLUB - inspired by music, n.d.).

Appendix L – Decrescendo

Decrescendo means “gradually reducing force or loudness; diminuendo (opposed to crescendo)”

(www.dictionary.com, n.d.)

Appendix M – Ritardando

Ritardando means “becoming gradually slower” (www.dictionary.com, n.d.)


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Appendix N – Characteristics of Folk Music

“In its 21st-century urban and institutional manifestation, folk music is normally performed by singers

accompanied by stringed instruments, by instrumental ensembles, or by choruses. By contrast, in its

traditional rural venues, most folk music is monophonic (that is, having only one melodic line). Yet

polyphonic folk music, with several simultaneous melodic lines, is part of the old traditions in some

parts of the world” (Nettl, 2005)

“Diatonic modes (i.e., using stepwise scales of seven tones to the octave) are another important group.

The modes most frequently used are Ionian (or major), Dorian, and Mixolydian, but Aeolian (or natural

minor), Phrygian, and Lydian are found as well.” (Nettl, 2005)

“In the older traditions of folk music, rhythm and metre largely depend on the metre of the poetry.

Thus, in western Europe, where poetry is organized in metric feet, there is a tendency toward even

isometric structure based on one type of metre—typically, 4/4, 3/4, or 6/8, although 5/4 also appears.”

(Nettl, 2005)

“Polyphonic vocal folk music is more common in eastern and southern Europe than in western Europe.

Styles vary; the simplest include two-voiced structures that use drones (i.e., sustained sonorities) and

parallel singing of the same tune at different pitch levels; more-sophisticated styles include choral

songs in three or four voices.” (Nettl, 2005)


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chorus-and-how-they-work/ [Accessed 21 Nov. 2018].


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