This weeks task about following structures made me realise a lot of the music I love does not follow typical commercial structures. This can be seen in the song Mr. Grieves (Thompson, 1989) by Pixies, where every section of the song is different until at the end it resolves by returning to the first section, using the lyrics and melody it used at the start. This inspired me to write a song that did not follow your typical structure.
I furthermore am realising that the thing that is getting in my way the most when it comes to being creative, is my anxiety surrounding other people. I get scared about what they think of me or that I will be 'letting them down' if I do what I want to do, but ultimately, I have decided that it doesn't matter. I want to do what I want to do and it is nobody else's business. If they don't like it then they don't have to listen to it or have any relation to me whatsoever and that is okay.
This week I have realised that I always have so many ideas flying around my head that I find it difficult to concentrate on one because I keep having new ones. I am going to practice working on one continuous idea alongside having new ones, instead of always abandoning an idea because I've had a new one.
Something I have been practicing recently is telling myself that someone else's success does not mean the absence of my own. This is very important to me as in the past I have had a tendency to compare myself to others in a negative way and this eats up my creative spirit.
Despite all this, this week I have come up with some initial ideas for the first song I am going to work on.
I woke up one morning and I found myself singing a guitar melody consisting of two chords and a few lead guitar notes. I hummed the root note of the first chord I was hearing and realised it was an A#, then the next chord was a Fm. After playing this chord progression I realised it was very similar chords, but in a different key, to The Only Exception (Williams, Farro, 2009) by Paramore and I must have subconsciously borrowed these chords at the time of writing them.
After that, I improvised on the guitar and played something I liked so much I decided to keep it. This was the chords of G# down to F#, to then slide from A to A# to resolve it back to the chord it started with. The lead guitar part that came to accompany this, I came up with later on while improvising around my original idea. I thought it sounded really cool to have the lead guitar walking downwards in unison with the rhythm guitar, but then when the rhythm guitar slides up a semitone, between A and A#, the lead guitar slides down from F# to F. This, when you combine the root note of the chords A and A# (played on rhythm guitar) with the notes F# and F (played on lead guitar), create a perfect cadence using the third of the chord F# minor (notes F# and A) and the perfect fifth of the chord A# major (notes F and A#), which is the tonic of the key we are in (A# or Bb).
I used this website: https://websemantics.uk/tools/circle-of-fifths-chord-wheel/ to help me work out what key the song was in.
I am aware that, in my writing, I don't always use chords which are in the same key. I have a tendency to use a couple of chords in a key and then have some mode changes throughout or borrow chords from other keys. I do this because in my opinion it can make a song sound more interesting and a lot of the music I listen to does this which is why it comes up subconsciously for me when writing music.
This can be very clearly seen in the song Cyanide (Gould, W. Miles, I.) by CREEPER, where the chord changes are very particular, and it is in the key of A but borrows the chords F and B from another key, which is what gives the song such a particular momentum that feels as if it keeps moving from place to place.
Here are the chords I came up with; I was originally playing them with a capo, but then realised they didn't need the capo as they were bar chords.
I think I want to call this song Uptight Insights.