So this is the “sticky” post, meaning whatever else I blog about, this post will forever retain its priority position at the top of my homepage. Above the fold, as it were. So what to put here? Heck, since my blog has no centralized message, thesis or sales pitch, I don’t really need a sticky post. Enjoy the rest of the site.
I know many of you don’t care for music theory. It’s clinical, it’s boring, and it sucks the soul out of songwriting. Well, news flash: you’re using music theory whether or not you intend to. For myself, I know my theory pretty well, as I learned it at young age. I couldn’t tell you if I’m playing in a Mixolydian or Phrygian mode, though, except that it’s fun to throw “Phrygian” into normal conversation.
Case in point: the Circle of Fifths (the Circle). Download a hi-res copy here. I’ve been asked before if a certain chord progression is an example of the Circle of Fifths. The question is missing the point. The Circle of Fifths isn’t a technique like modulation or chord substitution. It’s a way of understanding the essential elements of western music: the notes, the intervals, the chords, and the relationships between them.
It’s the relationships between chords that make a chord progression. Referring to the Circle of Fifths can help you discover interesting chord progressions, particularly when you’re stuck for what the next chord wants to be.
Just like clockwork
The Circle looks much like a clock. Just like there are 12 hours on a clock, there are 12 notes on the Circle. (If you haven’t downloaded a copy yet, you’ll want to so you can refer to it as you read the rest of this article.)
Moving clockwise, each note is a fifth above the last one. A fifth, as we know, is the third note of a major or minor triad (3-note chord), and the fifth note of any major or minor scale. For example, the C-major chord is C-E-G. The G is a fifth above C, and one “hour” past C on the Circle of Fifths. Similarly, an A-major chord is A-C#-E. The E is a fifth above A, and one segment after A on the Circle. This pattern holds true for any starting point on the Circle of Fifths. And it comes full circle; if you start on C and go up a fifth 12 times, you’ll be back to C.
But the Circle can also be used to represent chords. The outer circle refers to major chords, and the inside circle to their relative minor chords. Remember, the relative minor is always the VI chord in a major key.
For example, in the key of C-major, the 6 major and minor chords are:
|I Chord||II Chord||III Chord||IV Chord||V Chord||VI Chord|
How many songs in C use a variation of these 6 chords? Many popular songs use only 3 or 4 of them. Now look at the Circle of Fifths. The chords touching the C-major are the other five major and minor chords in the key of C major.
Just like the notes, this hold true for whatever key you’re in, or your base starting point on the Circle. In the key of G, all the chords touching the G correspond to the other major and minor chords in that key.
There’s also a great youTube video that explains this well, specifically for guitarists.
Developing a chord pattern based on the six major or minor chords is tried and true. Even if you use the I, IV, and V chords in your verse and chorus, you could try starting with the II, III, or VI chord for your bridge. All the notes you’re using belong to the scale you’re in—i.e. you’re never going out of key.
Raise your hand if you’ve ever used a seventh chord. That’s the one that sounds bluesy or jazzy. It’s called a seventh chord because it’s a major chord plus a flattened seventh note. That is, the seventh note of the scale is taken down by one half-step or semitone. That note is out of key, technically, and it sounds Phrygian awesome (see? It works).
The point here is that going out of key is cool. It creates musical interest, adds tension and can really open up a song.
So how does this relate to the Circle of Fifths, you must be asking? Say you’re writing a song in the key of C-major, and you’re using the tried and true chords—the ones on the Circle that touch C. If you want to extend a little, say for your bridge, or heck, the third line of your verse, try a chord that’s “two hours away” from C. So, try a D-major, B-minor, Bb-major, or G-minor. Just like the seventh chord, these chords have one note that’s out of the base key signature or scale. The other two notes of each chord remain grounded in the base key signature.
If you want to experiment further, try the chords that are “three hours away” from your I-chord. Once you start introducing chords that have two notes out of key, things start sounding weirder or more dissonant. The trick here is to stay grounded in your home base. It’s fun to travel to strange and exotic places, but it’s reassuring to come back home soon.
And of course, this holds true right around the clock. You can start on any chord and you’ll have five other chords that are guaranteed to work in consonant harmony with it. Try chords that are 2 or 3 hours away from your base, and things can get interesting.
A fine example
The Beatles were masterful at creating interesting changes in the songs without compromising catchiness. In other words, they did some weird stuff without making it sound weird.
Take A Hard Day’s Night as a fine example. The A part starts with G-major, F-major, and C-major. Even though it starts with a G-major, the section is clearly in the key of C-major. The G and F are either side of C in the Circle of Fifths. It’s very consonant (i.e. not dissonant). The second half, however, things start to shift. They introduce a D-major chord (“things that you do”). The D is “two hours away” from C. They quickly return to the G-C-G pattern they introduced at the top to finish off the section. It’s like you’re walking along the curb of a street, and just for a moment, you step on to the road (maybe into a puddle), then right back on the curb.
In the B section (“when I’m home…”) they shift to a B-minor. This is a great contrast for two reasons: it’s “two hours away” from the base C-major, and it’s the minor flavor (it’s also Paul taking the lead vocal from John). By the end of this section, they’ve returned to the D-major chord that we’ve heard before.
The twists are both subtle and noticeable. There’s no mistaking the B section for anything else when it comes in. They always return to base fairly quickly.
Light a new path to songwriting
I co-wrote a song called Light Your Way with Adi Aman for our band Beige Shelter. We released it in May for Mental Health Awareness month.
Download the chord/lyric sheet here.
The verse, pre-chorus, and chorus all remain in the E-major key with no dissonant chords. The pre-chorus introduces the F#m chord which wasn’t used in the verse. For the guitar solo section and bridge, we flipped over by “3 hours” to the C#-major chord. By the end of the bridge, we’re back on B-major which is perfectly consonant with returning to E-major for the final choruses. Sometimes when you step far away from your base key signature, it can be tricky to get back to base.
Writing with purpose
I don’t deny that sometimes you just stumble upon some magical moment when you’re writing; you don’t know why it works, but it sounds cool and different, and you go with it. For myself, I’ve been trying to embrace my intuition for writing more recently. Knowing about the theory doesn’t destroy your intuition; in fact, I think it strengthens it. If you practice writing with purpose enough, you’ll begin to forget the reasons you make excellent snap decisions, but you’ll make better ones and feel more confident that they’re right. Keep on writing.
I went to the album release party for Blair Packham, a top Canadian singer-songwriter who was the frontman for The Jitters a short while ago. He continues to write catchy, clever, and thoughtful songs and he also teaches songwriters at Song Studio in Toronto. I know Blair from his numerous appearances on Song Talk Radio (some of our best shows, thanks to Blair’s articulate insights into songwriting).
For this show at the Pilot, Blair performed songs from his new album Unpopular Pop with his band The Impossible Dream, and then took the stage with his old band The Jitters. I had a eureka moment when they played Last of the Red Hot Fools, as I recall that song being on the radio when I was a teenager, but I never lined up Blair (or the Jitters) with the song.
I’m glad I took my camera, as Blair really dug the photos (“Wow! Pictures of me that I don’t hate!”) I’ve been listening incessantly to the Jitters and Unpopular Pop since…
When you start creating mixes, you quickly realize that the low and low-mid frequencies are problematic. Without care and attention, they can sound muddy, boomy, and unclear. Mid- and high frequencies are much easier to manage—you can have multiple instruments and voices taking up the same sonic bandwidth and still hear everything clearly. Try this in the low frequencies and it’s a mess.
We feel low frequencies in our bodies. It’s where the punch, the groove, and the drive of a track lives. It’s critical to your mix that instruments in the low frequencies be clear, full, and bold.
As with many mixing decisions, it’s not about increasing the level or power of bass elements; rather, it’s about eliminating the stuff that gets in their way.
Enter the ubiquitous high-pass filter. The name is fairly self-explanatory; it filters out sound so that only high-frequencies pass through. The high-pass filter is sometimes called a low-cut filter. It’s easy to see how it works with a diagram. The horizontal represents frequencies, and the vertical represents amplitude, or volume.
In this example, the filter is set at 80 Hz, which means everything under 80Hz will be reduced in volume—just follow the slope of the line. For reference, 80 Hz is about the same as the low E string on a guitar. The low E string on a bass is one octave lower, about 40 Hz (that’s E2 and E1 on the piano).
For most instruments, including the human voice, there’s very little of value below 80 Hz. The bass guitar and thud of the kick drum usually live between 40 Hz and 250 Hz. So, the general wisdom is to high-pass everything except the bass and kick drum to 80 Hz or higher. The kick and bass will then have room to be heard clearly, which usually adds punch and groove to your mix.
Every single digital audio workstation (DAW, the software you use to record audio) has a high-pass filter. Usually, it’s a feature of your EQ (equalization) plug-in.
How high is your high pass?
The next question, then, is how high should you set your high-pass filters? That depends on your material. The rule of thumb is to dial up the filter during playback on a track until it starts sounding thin, then back down a bit. If you high-pass too much on guitars, pianos and vocals, you could rob the mix of warmth and body. If something sounds thin in solo, it could be just right in the mix; never judge your settings when listening to a track in solo—it only matters if the mix sounds good.
High-pass filters can also be used on bass and kick drum, but normally they are set very low. For dance music, you may want to include and emphasize the sub-bass (below 40 Hz). For most rock, pop, country and folk tracks, I recommend minimal high-pass filters on the bass and kick drum. Again, what matters is the kind of sound you’re after. Mix with purpose and you’ll get what to where you want to be much faster.
Microphones with high-pass filters
Some microphones have a switch for a high-pass filter. Usually it looks like this, where the crooked line indicates the “on” position for the filter. Usually they’re fixed at 80 Hz.
If you’re recording vocals or guitar (where there will be a bass in the arrangement), it’s advisable to use the high-pass filter on your microphone. Eliminating low frequencies you know you’re not going to need during the recording phase allows you to record a more consistent, louder signal.
Always mix with purpose
Finally, it’s easy to get carried away and high-pass everything judiciously. If you mix with purpose and subtlety, the overall effect can be dramatic. In other words, a subtle high-pass filter on 8 tracks, when they are all mixed together, can make a big difference.
I’ve personally found using high-pass filters to be the one technique that is universally effective on just about any mix, from a simple voice-over narration to a full band. Next to volume, it’s the move that makes the biggest difference to your mixes—in a good way.
If you’ve never mixed with using a high-pass filter, try it out on an old mix and see if it doesn’t clear out the muddiness and open up the sound. I’d love to hear your thoughts—leave a comment below.
As part of the indie rock band Beige Shelter, we were approached to write a new song for a youth gang prevention event. Although we declined to perform for the event, we realized our new song was also a great message for mental health awareness and conversation.
My friend and Beige Shelter frontman Adi Aman had written a song a few years ago with a message to help out a friend going through some tough times. Adi sent me a rough recording and his lyric/chord sheet to play around with. In particular, he said he wasn’t very happy with the melody. Before I even got a chance to look at it, he followed up with a revised lyric that was more poetic and a bit more abstract.
The rewriting process
At the time, we were still involved in the youth prevention event, and I took this angle when rewriting the song. I thought a more direct lyric would be more effective in reaching young people. I also wanted to highlight the aspect of reaching out for help and getting it from friends and family. This, to me, is at the cornerstone of good mental health—people need to be willing to come forward and talk to someone they trust, and their communities need to be willing to listen, empathize and help as best they can.
I printed out Adi’s lyrics and chords and sat at my piano to work on the song. Starting with small edits, I quickly found myself rewriting entire phrases. I realized that using Adi’s lyrics as springboards, I could develop a much more direct song, and marry a melody to the words more easily. This is the sort of lyric I never would have come up with on my own, but using Adi’s original take as inspiration gave me the direction and focus I needed. Here are the working pages I used:
I took care to develop a simple, flowing chord progression and catchy melodies. It was amazing how much mileage I could get from using C, G, F, and Am by playing around with the time between each chord change. I introduced a new, unheard chord to start the pre-chorus section. In other words, the Dm had not been heard in the song yet, but the rest of the pre-chorus chords were also used in the verse. This, along with the melodic centre change, was enough to give the listener a sign-post that the pre-chorus was a new section. For the chorus, I returned to the base C major chord but lifted the melody again.
Back and forth
I presented the revised song to Adi and he liked it very much. He had a few revisions for some of the chord changes, especially the unusual chords I used to end the chorus. Adi felt keeping it simple would be more effective, and once he sung it with his rich voice, I was compelled to agree.
Our bass player Tom made a suggestion for a lyric change at the end of the second verse:
Me: It goes “For your grief, but you know…” which is kinda cheap. We need a good word that rhymes with “grief.”
Adi (singing): For your grief, but believe…
Me: And that flows great into the pre-chorus lyric “You have got the strength to carry on…” — well done, Tom!
Feedback from other songwriters
I presented the song at a Songwriter’s Cafe Meetup by playing back the recording from our latest rehearsal. Members found the song to have an inspiring message without being didactic, and with a good flow to the chords and melody.
We adopted two points from the group to improve the song:
- Revised the chorus lyric “And you think that there’s no way to see the light” to “And you think there’s no way out of your plight” so that the word “light” isn’t featured twice in the chorus.
- Extended the ending to repeat the main hook “We’ll be lighting your way” a few times before finishing the song.
Recording and Producing
We wanted to release Light Your Way as a single during the CMHA (Canadian Mental Health Association) Mental Health Week between May 1 and May 7. I knew this would be a tight schedule to get it arranged, recorded, mixed, and released.
During our first recording session, we were still finessing lyrics and making small changes to the chords. I used a rehearsal recording to set the tempo for a drum loop. I recorded Adi playing his acoustic guitar and then recorded his vocals.
Tom recorded a bassline at his home studio and sent it to me. Meanwhile, I developed a drum track and added some piano comping. Our lead guitarist, Karan, was busy with final exams and couldn’t commit to the recording session. I asked singer-songwriter and guitarist Paul Vos to contribute lead guitar based on some noodling I had done on my keyboard. Paul did an awesome job with the last minute crunch and played the part with great finesse.
During the mixing stage, I decided the piano track wasn’t helping and re-recorded an electric piano track with a little more interest than simple comping. I still wanted the acoustic guitar to be the main rhythm instrument—the electric piano was just there to add some weight to the track. I also added a string pad and a tambourine to thicken up the choruses. Finally, I recorded some vocal doubles with Adi for the choruses, again, to give them a little more thickness.
We wanted something unique for the cover art. Adi happened to see a canvas watercolour painting of tulips that my wife Hema had done a few years ago. He liked it enough to ask her if we could use it for the cover art. She gave us her blessing, and I took a photo of it to develop the cover. We kept it very simple, with the Beige Shelter logo and the title. A big thanks to Hema for her beautiful contribution!
Here’s the final track, which is available on Spotify, iTunes, Apple Music, Google Music and other digital retailers. It was a great joy and privilege to write and produce this song with Adi, Tom, and Paul. Enjoy!
I always look forward to the arrival of the cherry blossoms at High Park. I don’t make it ever year, but each time go I try to think of a different way to capture their fleeting beauty. In 2011, I arrived with a photographer’s meetup at sunrise, in 2012, I focused on the people, and in 2015 I tried out daytime time-lapsed photography.
This time, I wasn’t sure what I was going to try, but after a few photos I decided it might be interesting to only shoot the blossoms on their shadow sides. Perhaps it was because the barrage of people shooting with their backs to the setting sun made it crowded to shoot from the sunny side—who knows?
In any case, I did find myself wanting to step around and turn direction to get the blossoms with direct sunlight many times. It’s easy to argue direct light makes for better photos. Each time, I managed to keep myself in the shadows.
There’s something about the translucency of the blossom petals that make shooting from this side interesting. Of course, this works best when the sun is low; I was shooting during the hour before sunset.
Every photo in this gallery except the first one was shot from the shadow side.
Melanie is a bone fide Anne of Green Gables and Lucy Maud Montgomery expert. Her first novel is about the teenage years of the famous Anne author—her trials and tribulations of becoming a writer, her love interests, and family dramas.
I presented Melanie with a few design options, including a variety of colour schemes, backgrounds, and general look and feel. We settled on a template, and I continued to refine the style to her taste and the appeal of her audience, which includes readers, teachers, and other writers.
Check out the website at melaniefishbane.com.
I also helped Mel with photography. We set up a classic typewriter with some of Mel’s Anne-flavoured memorabilia and miscellaneous stuff for her main homepage banner. I also took the photos for a few other banners and items for the website and accompanying media (e.g. bookmarks).
I appreciate that Mel refuses to use stock photography, preferring to instead use her own photos and memorabilia. This gives her website a very personal and intimate presentation. She invites her audience into her personal and professional life, and we even got her cat Merlin in on the action!
I also provided technical support, set up her domain name and a new email address, web hosting, and imported her previous blog into the new website.
Melanie also needed assistance with a small social media campaign. In preparation for the book launch, she selected seven quotes from the novel. I created social media cards which she posted each day for a week until the launch day. I used elements from the cover design to give her campaign a consistent look.
When writing a collection of songs, whether for a album release or in general, we sometimes end up playing it safe and resorting to tried and true motifs and ideas for every song.
For myself, when I become a fan of an artist or band, I like to hear a variety of songs. Sometimes the differences are obvious, like a ballad vs. a rockin’ out song. And sometimes, the variety comes in more subtle ways—-ways that only looking closer reveals. Your audience will know something feels different and unique, but only the more discerning listeners will know the how and the why.
More than likely, you’re already doing some of these “7 ways” — they are by no means truly unique ideas, as my examples of popular songs will show. Some of them may not work for you, and this list is by no means exhaustive. Hopefully, looking at these will spur on some more ideas. So let’s get into it.
One: Play with the structure
The typical verse, chorus, verse, chorus, bridge, chorus structure is a go-to for many songwriters. But you don’t have to look any further than the Beatles for excellent examples of structural inventiveness. In I Feel Fine, for example, the title occurs at the end of each verse. Then there’s a “B” section that almost sounds like a bridge, until it repeats later, and then maybe you can call it the chorus. Who knows? And more importantly, who cares? It’s all catchy, the title is clear, and the changes are frequent, regular, and interesting. They did something similar with A Hard Day’s Night, and we
argued about discussed it on an episode of Song Talk Radio.
When you play around with structure, the parts of the songs sometimes defy conventional nomenclature. Call it a bridge or a chorus, it doesn’t matter; it’s merely semantics. Sometimes it’s more effective to use terms like “A section”, “B section”, and “tag.”
Sometimes the narrative you establish can inspire an unconventional structure. For my song, Depend on Me, I established a narrative with three distinct parts: an easy going afternoon drive, a car accident, and the aftermath. This structure inspired me to begin the song with a simple verse chorus, verse chorus, then a bridge (for the accident) and a completely new section for the aftermath.
Two: Write a song with very few or no perfect rhymes.
Rhymes are usually an integral part of any song in a popular medium. If there’s anything most genres have in common, it’s rhyming. More “pop” songs characteristically have lots of perfect rhymes. At the other end, folk songs tend to have fewer perfect rhymes.
First, let’s talk briefly about rhyme types. Perfect rhymes are pairs of words which have both final vowel sounds and final consonant sounds the same – e.g. space / race, moan / cone, exemplify / diversify. Assonance rhymes have the same final vowel sound, but different final consonant sound, and the result is softer – e.g. lost / cough, graze / lake, policy / bakery.
The tricky part might be writing a song that minimizes perfect rhymes. Fast Car by Tracy Chapman comes pretty close, using mostly assonance rhymes to end her verses.
For my own song Hurting. Choosing. Learning, I managed to get through four verses and two choruses with absolutely no rhymes, and writing the verses as haiku poems to boot.
Three: Do a few songs in 3/4 or 6/8 time
This one is fairly common, but still, many songwriters fall back on the ubiquitous 4/4 time signature.
Before I get into examples, let’s go over what time signatures mean and how they work. Time signatures are normally expressed as two numbers (four-four, six-eight, or three-four). 4/4 time is sometimes called Common Time (go figure). The first number, or the one on top, is how many beats there are in one bar or measure. The bottom number represents the note division of the beats. So, if the bottom number is 4, the song is counted in quarter notes. If it’s 8, it’s counted in eighth notes (half the duration of a quarter note). It’s far less common to see a 2 for the note division.
For example, 4/4 time is counted as “1,2,3,4” in a moderate pace. 6/8 time is counted as “1,2,3,4,5,6” where each beat is about half the duration of the quarter notes. Of course, tempo plays a big part in exactly how fast the song is; the note divisions are relative to each other and also represent rhythmic emphasis—i.e. most of the time, there’s a strong emphasis on the “1”, otherwise known as the downbeat. In 3/4 time, the emphasis is usually on the 2 and 3, and in 6/8 time, the emphasis is usually on the 1 and 4. You can usually focus on the kick drum and snare drum hits in a song to indicate the stressed beats.
Compare the songs Wrapped in Grey by XTC and I Go To Sleep by The Pretenders. See if you can identify which is in 3/4 time and which is in 6/8 (hint: in the chorus of Wrapped in Grey, the snare hits on the “2” of every other measure).
Four: Treat your title differently
Many songwriters write from titles, which is a great way to get your song moving in a focused direction, and sticking to that focus. Sometimes the title is a phrase, at other times, a single word or pair of words.
Context is important here – does your title stand alone, or is it part of a larger phrase that maybe connects it with the verse or pre-chorus? Take note of your collection of songs; do you stick to one way of singing your title?
Consider Billy Joel’s song The Stranger. In this song, the “stranger” shows up frequently but it’s always part of a larger phrase in the verse. There’s a catchy “B” part which might be called the chorus, except that the title doesn’t show up there.
Contrast that with a song like Layla, where the title is the main hook (apart from the classic guitar riff), tops each chorus and melodically stands by itself.
Then look at the classic rock song Closer to the Heart by Rush; here the title is a full phrase that ends each verse in a verse-refrain structure (there is no chorus).
You can examine just about any song and note other ways in which the title shows up. Consider melody, narrative and what it might mean if the title was incorporated differently. For example, often when the title shows up as part of a larger context or phrase, the song is following a verse-refrain structure (see tip One above).
Five: Try a song with a quiet / small chorus
Where is it written that your chorus has to be the “big” part of your song? Typically, your chorus has a melodic center change to a higher, more expansive and catchy melody. But in Pretty Good Year by Tori Amos, the chorus is the most understated part of the song. The melody goes nowhere, it’s dynamically quieter, and very simple. The bridge is the section that takes on more characteristics of a chorus, expect the presence of the title and refrain (multiple repetitions in the song).
For a different example, check out the song Pretty by Miggs. The verse has a good amount of melodic range, and is fairly resolved. The chorus (“If it’s worth it..”) has more tension and less melodic range. Similarly to Pretty Good Year, it’s the C-section of the song that takes off with the catchiest, most energetic part of the song (“It takes a lot of steps…”). Call this part the post-chorus, maybe.
I took the “quiet chorus” approach when writing my own song, Brave Daughters. In this case, the chorus lyric was more reflective and less direct than the angrier verse lyrics, so it led me to treat the music with a lighter energy.
Six: Open a song with your chorus
Opening your song with the chorus is a great way to give it a great kick off, particularly if your chorus is catchy and tight. This works usually when your chorus expresses the central theme of the song, and it doesn’t spoil anything to give it away up front. If you’re used to working in a double chorus at the end of your songs, this is an opportunity to keep that a single, lest you have too many choruses in your song.
A couple of good examples are We’re Not Gonna Take It by Twister Sister, and All About the Bass by Meghan Trainor. (Note: The song doesn’t kick in until over 2 minutes in We’re Not Gonna Take It, but that first couple of minutes is classic music video satire at its finest.) In both songs, the opening chorus is treated more like an introduction, with lighter arrangements than the full-blown choruses that come later.
Seven: Try a different mode in a song
I’ve saved the (arguably) most complex tip for last. Using different modes assumes you know about scales and key signatures, but after that, it’s fairly simple. Customarily, we begin a chord progression on the I chord of the key we’re playing in. But what about starting on the II chord, or III chord? Doing this imparts a subtle tension to your song, and especially works well if you resolve to starting your chorus with the I chord.
Try playing a major scale using the same notes but going from the II tone to the II tone. For example, the Dorian mode in C major would go like this:
D – E – F – G – A – B – C – D
You would also stick to chords in the base key signature. So in the the key of C major and the Dorian mode, this would mean you start your chord progression with a D minor. Famous songs in the Dorian mode include Scarborough Fair (made popular by Simon and Garfunkel), and Eleanor Rigby by the Beatles.
I tried this myself in a collaboration I did with my friend Shari Archinoff, called Winter Without You.
Note that the special, unusual chord progressions start with the II, III, IV, or V chord. It’s very common to start with the VI chord, known as the Aoelian mode or natural minor—just think of every song starting on A minor and using C major, F major, and G major.
You can also combine any of these tips into a single song. Please comment below about any of these 7 ways you’ve used, or about other tips you have for adding some variety to your collection of songs.
I met singer-songwriter Shari Archinoff at one of my meetup groups. Shari plays piano, guitar, sings, and lives in the same neighbourhood I grew up in.
The first time we met, I came up with a simple chord progression on the piano. Shari developed lyrics and a melody for a song about moving on from a relationship with a winter theme. We also threw in a little joke about the debate over the naming of Canada’s national bird. We completed a draft of the song in one afternoon.
Something I’ve been playing around with recently is trying to write in different modes. For the verse, I developed a chord progression in C major, but started the progression on D minor (the II chord). The mode reveals its slightly unusual nature when the G major chord turns up in the verse. Normally, if the song were in D minor, the IV chord would be G minor, but using a G major instead keeps the song in the key of C major, even though it doesn’t start with a C major chord.
A couple of weeks later, I had developed a more interesting chord progression for the chorus and some greater melodic interest for the piano verse part. Shari had completely re-written the lyrics with much greater attention to poetics and melody details.
We performed the song at a Songwriter’s Cafe Meetup in January. Feedback from the group was largely positive, and we ended up taking a suggestion to transpose the song a whole step higher. We found the higher key resonated a bit better with Shari’s voice.
We recorded the final version in my home studio. Shari added some wonderful melody variations to the final chorus.
It was a joy to work with Shari and we’re hoping to do some more writing together.
Once again, I attended a night of talented singer-songwriters in a Nashville-style round, where four performers do four songs each in turn. What makes this kind of setup amazing is when the performers backup each other with guitar or harmony vocals.
The performers for the February 9 show at the 120 Diner in Toronto were:
- Chase Stevens
- John Chris Ford
- Bruce Harrott
- Annie Bonsignore
As before, I took some photos of the performers and shared the hi-res copies with them.