View the original article here
Songwriting thought of the Day
Is your lyric too long?
- Do you know the appropriate amount of words for a commercial pop lyric?
- Do you know what bearing the tempo of the song has on the amount of lyrics you can use?
- Is your lyric actually a lyric, or is it a poem, a list, or an essay?,,,,
- Did you know the average amount of verses for a pop song at the moment = 2 , whilst the average amount of choruses = 3
- Are you lyrics too 'wordy'?Here's a great article on this subject >>
A chord progression is popularly considered a series of chords played in some temporal order. Chords often relate to each other in some phenomenological, tonally-coherent way—though this may not always be the case, especially when discussing more complex tonal music after 1840. Chord progressions are central to most modern European-influenced music. Generally speaking, a chord progression will invariably share some notes (assuming equal temperament), which provides linear (voice leading) continuity to the passage. In the common practice period, chord progressions Continue
Seventh chords may be thought of as the next natural step in composing tertian chords after triads. Seventh chords are constructed by adding a fourth note to a triad, at the interval of a third above the fifth of the chord. This creates the interval of a seventh above the root of the chord. There are various types of seventh chords depending on the quality of the original chord and the quality of the seventh added.Five common types of seventh Continue
A suspended chord, or “sus chord”, is a chord in which the third has been displaced by either of its dissonant neighbouring notes, forming intervals of a major second or (more commonly), a perfect fourth with the root. This results in two distinct chord types: the suspended second (sus2) and the suspended fourth (sus4). The chords, Csus2 and C sus4 consist of the notes C D G and C F G, respectively. Extended versions are also possible, such as the Continue
Parallel harmony is harmony that generally follows the melody, going up when the melody goes up and down when the melody goes down. Because parallel harmonies are not independent of the melody, they do not follow the rules of well-written counterpoint and are generally not considered to be as interesting as independent harmony parts. However, parallel harmonies are easier to play for many instruments (keyboard instruments, guitar, dobro guitar, violin, and cello, to name just a few). Parallel harmonies are Continue
