I had a great time being interviewed for a youTube channel in Toronto last week. I got to chat with hosts Hugh and Yaz on a show called Liquid Lunch about my songwriting, Song Talk Radio, Beige Shelter, my blog, photography, and my Meetup groups. They also played my music video for Holiday Shopping Spree.
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.
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 first met singer-songwriter Adi Aman, aka Beige Shelter, at the Songwriter’s Cafe meetup. He appeared on Song Talk Radio in 2014. His songs instantly appealed to me for their 90’s alt-rock inspired style, and his often spiritually deep lyrics. On Song Talk Radio, I recall commenting how his songs are actually about something.
Last year (late 2015), Adi contacted me with a request to have his songs produced as an album. We had a brief meeting during which I got to know Adi a bit more, and really saw his personality as a generous, people-loving individual, and how that shone through in his songs. We came to an agreement, and began work shortly thereafter. The plan was to produce 12 songs for an album.
Adi would send me his demo recordings, along with lyric and chord sheets. For most recordings, I would set up a session in Sonar with a simple drum loop (of my own creation, of course, since I am a drummer). He would then come over and record guitar and vocals to the beat. Often he would ask for extra “guitar licks” tracks and/or vocal doubles.
The producer brain
For some of the songs, I would make melodic suggestions for the guitar licks, or arrangement ideas for when to include instrumental breaks. I also added drums, bass, piano, strings, and other instruments using my keyboard and MIDI. Of all the aspects of producing, I enjoy this arranging process the most. It takes a careful listen to each song, finding creative ways to supplement the original performance, and at the same time, taking it up a notch. My piano and bass parts were often quite understated, providing a foundation for Adi’s performance without overpowering it. I think this is a key point for any successful production.
For one song, Midnight, Adi had written a lovely arpeggio pattern on the guitar for the intro. The rest of the song rocked out. I suggested a break in the middle where he would repeat the intro pattern at tempo. This served to open the song up and provide a breath before the final chorus.
Adi had a neat riff and chord progression for a song, but no lyric. We worked together as I made chord suggestions (on piano) and a key shift for the bridge. Adi worked out lyrics about racial diversity and inclusion, with some tweaks from me. We share the songwriting credit for Colours.
For Who I Am, Adi had written it as a medium-tempo guitar rocker with harmonica. He wanted to try it out as a piano ballad, so I took his chords and developed a piano, strings, and drums arrangement. We had to re-record his vocals, as the rocker style didn’t really fit with the more ballad-esque piano arrangement. We also forewent the harmonica in favour of a cello solo. I think this song helps to open up the variety on the album.
Adi wasn’t entirely happy with his song Eden. I made a suggestion for chord changes in the chorus, which opened up the song to sound bigger. Interestingly, this song is almost entirely comprised of major chords (only one minor chord). In some ways, it’s my favourite track on the album, as it has elements of progressive rock.
Mixing, mastering and fine-tuning
I spent a lot of time going through each song with a fine-tooth comb, fixing notes in the MIDI tracks and tightening up the timing. For some, I used a fixed tempo grid to quantize all the tracks, and for others, I used Adi’s guitar recording as a tempo map. Since they were mostly recorded to a fixed drum loop, they were fairly consistent, but minor tempo variations still occur, and sometimes it’s better to embrace them rather than forcing them to fit a fixed tempo.
I also mixed and mastered the songs. I wanted punchy, clear drums and bass, and forward vocals to ensure all the lyrics were well heard. My new best friend became Native Instrument’s Transient Master.
Ironically, the sonically simplest song, She Now Flies, presented the greatest mixing challenge. It’s actually easier when you’ve got 6 or more instruments in the mix, with guitars, piano, bass and drums, than mixing a song with only guitar and vocals.
For the mastering process, I suggested to Adi that we each come up with a sequence for the album, then compare notes. He then arrived at a sequence that was a combination of my list and his. I made minor tweaks to the EQ of some songs, and applied the final volumes. There’s some finesse here too, as I didn’t want the softer ballads mastered to the same volume as the rockers. Hopefully someone out there still listens to complete albums!
The paths we take
It’s been an absolute joy working with Adi on this record. He had a very balanced approach to owning his songs and being open to suggestions for changes. As the producer, I would always take the approach of allowing Adi the veto power, to reject any suggestion I made. As it turns out, he took most of them. You can’t be too precious about your ideas, and understand that the vision for the record should be the artist’s, not the producer’s.
Listen to the album
As part of the band Beige Shelter (drums, percussion), we played our biggest show yet at the historic Lee’s Palace. The crowd was receptive, enthusiastic and supportive. Of course, since this was a “real” concert venue, the stage lights made it almost impossible to see anyone in the audience. But we know what we heard.
The Beige Shelter line up is: Adi Aman (songs, guitar, uke, vocals), Neel Modi (drums, percussion), Tom Kuczynski (bass guitar), and Karan Sabharwal (lead guitar).
I’m thankful to be playing with such talented musicians and Adi’s songs are passionate, heartfelt, and even spiritual. This is music in fine form.
We also performed a well known hit from the 80’s:
I’ve been playing drums and percussion for a while for singer-songwriter Adi Aman, aka Beige Shelter. The band name comes from Adi’s feeling that the colour beige is neutral and can express a wide range of emotions, and music being the place of shelter where he can best express them.
I started my collaboration with Adi as his producer. We’ve worked through twelve songs for his debut album release later this year. He expressed an interest in performing more to promote the album and get his music heard. I volunteered to back him up on percussion. So far I’ve played a drumkit when it’s available, and also cajon and shaker. In the future, we hope to rope in a bassist and lead guitarist.
Our gig at Page One cafe in downtown Toronto felt like our first “real” show. We had a great turnout, thanks to our friends and to FXRRVST and Madison Galloway, our supporting performers. I’ve branded my look, always performing in a pressed shirt and bowtie.
So far it’s been a high performing with Adi. His songs are very well written (we even co-wrote on one of them) and his performances are passionate and energetic. Together I think we make a good team, as I also give him tips on improving his performance and creating interesting song arrangements.
There’s nothing quite like getting on stage on putting on a show of great original songs. You get into a “zone” where the world around you fades into the background and for a moment, it’s all about the music.