In music, if you look at the melody line and see it as a horizontal line (from start to end), then the harmonies can be seen as going vertically, adding the the piece of the music as opposed to lengthening it (Jamini, 2005, p.147).
If you listen to any song, you'll be able to hear harmonies (whether it from a solo artist where they sing on top of their lines when recording or even in more common choirs and acapella groups where the sound is intensified by the union of voices all singing slightly different notes).
In popular music, chords are known by their "root" notes then any another characteristics (such as sharps and flats).
When creating a harmony, the easiest way to do it is by using a chord as the foundation (for example "C major").
C major is made up up of its root note (C), the 'third' note above (E), then the 'fifth' above the root (G), creating a C major triad. Creating a harmony based on C major is as easy as someone playing/singing each note on top of the chord. You can also 'stack' on what you already have, with the "seventh" note above the root (which in this case would be B), which creates almost dissonance.
When performing live, it's hard to create a harmonies when you're on your own unless you have a backing track or a loop pedal however for me, it's not something that I'm going to be doing.
I was inspired however when I was listening to a live performance that Ed Sheeran did where he got the audience to participate and sing along with him
He tells the audience to sing along to the bit in the chorus and explains before he starts the song, what they're singing.
Although he doesn't necessarily do anything harmony wise with the audience, it helped me to figure out a way I could create a harmony in a solo performance when not using a backtrack/pedal.
Using people in the audience would not only help to make the piece sound more pleasing to the hear, but also a performer, it's important to connect with the audience through stage presence and body language.
I've been looking at how to incorporate it as part of my piece and as I'm doing a narrative style song, it makes it tricky at what I am able to do, as it has to simple enough for people to pick up on the spot. Also, it makes it musically challenging as I have to be able to correct things if people don't sing the right notes halfway through so I'd have to adapt on the spot (however I find that improvisation comes naturally to me)
One of my aims with guitar is to improve my finger picking skills, something I have struggled with until recently, where I pushed and challenged myself to learn new pieces that didn't have any strumming in it at all.
I have achieved a lot in a short amount of time by constantly practicing and am getting better with being able to sight read tab as well as play more and more complex pieces, however I still feel like I can challenge myself further.
The style of fingerpicking that I'm most familiar with, is known as "Travis picking", first coined by Merle Travis, a country and western musician. His son described his new style as unique hearing "rhythm parts, melodies and chords all wrapped up in one" (Gold, 2006). Adapted for the steel strings of an acoustic guitar, the method is the simplest, especially for beginners who are just starting out. "Pattern picking is the use of 'preset right-hand patterns[s] while fingerpicking, with the left hand fingering standard chords." (Traum, 1974) As the finger picking pattern never changes, as well as the chord shapes, it makes it simple and helps create create a fuller and richer sounding piece, potentially changing a song on the guitar with rock undertones to something more like a ballad.
To make things a bit more interesting, when reading tab, it is common for some notes to be on the off beat (as in one and two and three) which is known as syncopation. Syncopation adds to the existing melody and can be used in various ways to add a spin on the existing sound. You can combine the picking style with techniques such as hammer-ons and pull-offs to make the sound more dynamic and interesting to listen to, something I've started to do. One example is when I recorded an acoustic version of The 1975's Sex last year - adding hammer-ons and pull-offs when finger picking the C chord. This helped to make the piece more unique and gave it more of a melodic sound, something I wouldn't of considered beforehand.
The way that I taught myself to finger pick isn't what is considered the "standard way", as I got into the habit of primarily using my thumb to picks the strings. It's a bad habit as the thumb should only pluck strings E, A & D. In an attempt to break my out of it, I looked up guitar tabs to try and practice the way that accomplished finger pickers such as Mark Knopfler finger pick.
Hallelujah was originally sung by Leonard Cohen in 1984 however it was made famous by the version done by Jeff Buckley, released posthumously in 2007 as a single. Buckley used "his voice to careen between glory and sadness, beauty and pain... It's one of the great songs" (Tyrangiel, 2004). Buckley's version of the song does have a more complicated intro however when I practiced it, I focused on the main melody, concentrating more on the placement of my right hand fingers.
While listening to the song, it's clear to see how Buckley's version of it is "one of the most beautiful pieces of recorded music" (Q, 2007). The crescendo of the verse complimented by the haunting sounds of the guitar help create a tranquil sound. That, coupled with the almost ghostly-like singing of 'Hallelujah' also help to creative a narrative, painting a picture in the head of what is being said (another reason why I chose this song, as it's something I hope to produce as a songwriter).
When practicing the song, I didn't really concentrate on my voice (and the only reason I sung along was to start to practice using the guitar to help the vocals and lead into the lyrics). When it came to the actual learning of the piece, it was easier said than done. Although I used the Travis picking style, as the song had Gs, Cs Ems and Ds in it, the actual finger plucking part was something that I had to really practice, especially considering I could only use my thumb for three strings.
The most complicated part was trying to get the piece to flow, especially the transition from 'you don't really care for music, do you? to 'It goes like this, the fourth the fifth'. I tried to slow the piece down by the end of the first part then lead into the second part at a faster tempo to help with the crescendo of the dynamics as well as creating a varied sound, putting and emphasis on the actual storytelling part of it (as singing at one level is boring - as is reading in the same tone). I also tried to emphasis the placement of 'Hallelujah' along with the two notes I plucked on the guitar, helping to synch up both voice and guitar, creating a sound which is easy on the ears.
If I were to do this again (even after my many failed attempts beforehand), I would focus on the quality of the song as there were some notes that I missed out or weren't played because I was slightly muting the strings (at the 'It goes like this...' part). Also doing the whole song as opposed to the first verse and the chorus would be good for me as it would push my guitar playing skills, especially when it comes to different techniques. Adding a hammer-on or pull-offs to put a spin on it would help make the version of the song more personal to me as opposed to just copying Buckley's version.
All songs have a message behind them, even if it is not evident at first however telling a story through a song is a different matter. Described as having a "bittersweet palette of major and minor chords" with a melody of "high emotion recollected in tranquillity" (Brown, 2010), Don McLeans' Vincent tells the story about the famous painted Vincent Van Gogh and pays tribute to his many works of art as well as his mental illness.
One of the more prominent things about this performance of his song here is the use of the place notes on the guitar to lead into each verse. When McLean is singing, his plucking is soft and gradual, to make his voice stand out more. When it's just the guitar on its own, the playing style is louder and is almost free, with his pull offs and hammer ons placed at different points every time. In a way, it helps to create the flow of reading a book and acts as punctuation.
Along with the carefully placed notes which compliments McLean's soothing vocals, the story of the song is told for the listener. Opening with the lyrics "Starry, starry night" is a reference to Van Goghs' painting of the same name and even after that, other paintings are referenced with Van Goghs' Sunflowers painting with the line "Flaming flowers that brightly blaze" which not only help to create the image of the sunflowers against the yellow background, but also help to produce the image of a sun burning in the sky, to contrast with the starry night time.
It's easy enough to write a simple 4/4, four chord pop song, as evidenced by half of the songs in the charts. For me however, to further push myself, writing a story as a song would help me branch further out into the fields of songwriting.
Although I am good at having a message in a song and getting across emotions through song, one thing that would help would be to use the structure of a story (with a beginning, middle and end) and apply it to a song. One way I could help to do this would be to have a changing chorus as opposed to a repeated on. Not only would this make it different to a conventional ABA structured song, but it would also challenge my writing skills.
For my individual assessment, I'd like to further explore the relationship between music and storytelling as well as continuing to improve my finger picking technique. In the video, McLean uses his thumb on the three strings (E, A & D) which I still struggle to do even though it is considered the 'proper way' to do it - with the thumb resting on the fourth string, index on the third, middle on the second and ring on the first, known as the "home position" (Eckels, 2006). The more I practice it that way however, the better I will become, especially with certain styles such as blues and jazz that need the extra dexterity in order to create the "funky" rhythms.
Chance music (or aleatoric music) plays with the idea or being spontaneous and leaving the music up to chance (from as simple as rolling the dice to determine the next chord). This opens up the composition of music and allow the artist some freedom from their usual work.
In some ways, it is similar to improvisation in the fact that there has to be some musical knowledge to be able to competently perform.
"If one traces the history of Western art music and the development of its notional system, it is revealed that composers have tried to control more and more aspects of their compositions as precisely as possible" (Joe & Song, 2002, p. 264). Chance music when written down is something that would seem alien to someone who has been classically trained, as there is no right or wrong when it comes to interpretation of it.
This piece of chance music here includes many instruments as in a conventional orchestra ranging from wind instruments such as clarinet and oboe to piano and harp to stringed violins and the percussive timpani. The notation for each instrument is conventional however. The only recognisable feature is the treble clef and stave with the notes that follow placed in seemingly a random way. Furthermore, the whole piece is split into five sections, with one spanning most of the page while four only a quarter of that.
This way of notation not seen in the Western world of music allows for interpretation and means that no two performances of the same piece will be the same. There's something exciting about that fact as art encourages freedom of expression.
One piece of chance music that has been performed is titled "Stripsody" by Cathy Berberian, an American mezzo-soprano. Showing wide vocal range and accomplishing a characterisation that had not really been heard of by a women before was overshadowed in the "male dominated world of contemporary composition, [having] a decisive impact on the critical reception of her compositional debut with Stripsody in 1966" (Meehan, 2011, p. 8). By only using words and comical annotations, Berberian interprets the piece and makes it her own right from the beginning with a yell that would rival Tarzans'. Barbarians' contribution to the contemporary scene help to shape and educate people about aleatoric music in the western hemisphere and the fact that that music doesn't have to perfect and sound the same every time. Stripsody represents "a radically new paradigm and a totally different musical conception" (Garbuglia, 2011, pp. 44-58)
Working on chance music for me was a unique concept as I had not really done anything like that before however I was willing to give it a shot. Although it is not my usual style of composing, I found it interesting in the fact that I can see it helping me when I have writers block when writing a song and can't figure out the next chord to use.
Adding on to the concept of rolling the dice to determine the music, using an 11 digit phone number and a twelve sided dice (to represent a chromatic scale, where there are twelve pitches, each a semitone above of below another - as opposed to a harmonic). Assigning each note to a number: 1 = C, 2 = C#, 3 = D, (and so on) and using the number's of the phone to determine how long each note would last: 0 = rest, 1 = 1 beat etc, an unusual melody was created with the right hand. To make the piece sound more like a composition, I improvised when it came to the left hand and played a variety of chords. In a way, it can be a starting point for a composition however for me, as much as I like the chance aspect of it, it isn't really what I enjoy.
As well as focusing on my guitar playing (as my primary instrument), I have also taken it upon myself to improve my participation in en masse singing.
Joining the university choir has strengthened my voice, harmonies and breathing. Studies have shown that a lack of physical activities that utilise the lungs can "impair the development of the entire organism, including the respiratory system" (Ryszard, 2015, p.42). Although choir may not be seen as a physical activity, it does involve many of components that other strenuous exercises do such as running or football, therefore it is something that should be considered important in the development of growth, especially if children aren't as gifted playing sports. It provides an opportunity to develop as a person, interacting with others, creating the same social skills that can be gained from playing team sports. The use of the diaphragm to regulate breathing and create a bigger space to utilise is something that is important when singing (especially for opera, musical theatre and en masse singing). Fully being able to fill the space and use the diaphragm (which as a muscle, will strengthen as any others do) will help support the voice especially when belting out loud or long notes, creating a richer and stronger sound.
One of the benefits that I have experienced from taken part in the choir is that in others areas of my singing (such as musical theatre where I am currently doing Chicago), I have found it easier to transition from the lower notes - where the sound comes from the chest area - to the higher notes without going into falsetto - known as the head voice. As a tenor, I am always trying to improve my range and give better support, especially the higher end of the range so I don't end up damaging my vocal chords
Another benefit that I have noticed is that because as a choir, you act as one voice, with nobody standing out as an individual, you have to really listen to each other. "Chorus and orchestra can sometimes give a strong impression that cannot be achieved by solo play" (Tokuda & Kuwahra, 2012). It has strengthened my knowledge in how I work our harmonies when not sure (listening to the piano chords helps) as well also improving my sight reading (which does get a bit confusing when you spend a lot of time trying to sight read tab for guitar as well).
Although I may not create a piece for a big choir, it has helped me to further develop my knowledge of the different types of music available and also has gain confidence as just a singer (without an instrument) and fully using my voice which is something that I want to look at (especially how I can create harmonies in my song and make a richer sound).
When first starting out playing guitar, I didn't really listen to that much music apart from what was in the charts.
It was only from learning on my own and teaching myself how to play that I started to listen to a greater variety of sounds and artists.
One of the first artists that had a great impact on how I play and write songs today is Ben Howard while watching his performance at the Brits awards in 2013. Inspired by listening to "classic records by the likes of Joni Mitchell and Bob Dylan" (Independent, 2013), Howards' blend of folk and rock playing on the guitar has given me something to aspire to play like - all it takes is practice
His performance of 'Only Love' mesmerised me as it was only his voice, guitar, cello and one person backing with harmonies. I remember saying to myself that one day, I'd like to become half as good on guitar, and it spurred me onto really practicing and fine tuning my playing style.
His performance in the video is simplistic and fits the theme of the song, with the soft tones of the guitar complimenting the harmonies sung. Furthermore, the lighting highlights the intimacy of the performers, making the huge stage seem tiny, reducing the grand scale of the Brits entirely and proving thats it not all about the backup dancers and pyrotechnics that make a great performance.
One of the more unusual things that Howard does apart from use alternative tuning in his songs - 'Keep Your Head Up' (EADGAD) and 'Old Pine' (CGCGGC) - is that he plays with the guitar lying flat on his knees, using percussively also which was inspired by one contemporary folk singer, John Smith
This contemporary way of playing the guitar is not for the beginners and even at the level I am now, I still don't think I'd be able to achieve it (especially as I'm trying to still teach myself how to finger pick). It does create a nice sound using the guitar as a makeshift drum and helps to give it a natural rhythm to compliment the simplistic hit of the strings.
To help practice my finger picking skills (although I didn't do it with the guitar against my knees), I tried to learn the main riffs of Howards' 'The Wolves' as quick as I could to help improve the dexterity in my fingers and also to improve my finger picking skills in terms of not having to look at the individual strings, to concentrate more on feeling where I need to be instead, which would improve my style in a live performance.
There are a few mistakes (this was not the first take so my fingers were beginning to hurt), however the more I practice it, the better I'll become and pretty soon, I won't even have to look or even think about what I'm doing.
Improvising in music is mainly recognised in the jazz genre, with musicians such as Louis Armstrong, both on the trumpet and scatting however is also present in other genres such as Indian ragas, described as a "tonal framework for composition and improvisation" (Bor, 1999, p.181).
"Every individual who creates improvised music brings his or her own musical technique and style to the creative music." (Wigram, 2004, p.40) When it comes to performing (and even just playing around), improvisation can be quite a daunting thing, as the fear of "what if it doesn't sound right with what everyone else is playing?" can cause many to simple say no, however as I always like challenges, when this this done in class, I simply just went with whatever came out of my mouth.
We started in a circle and everyone had their own unique noises to make (coming up with a random noise on the spot is harder than it sounds). As the 'conductor' cued us all in, we all had to listen to each other and communicate non verbally to keep on the same level. One pointed at, you had to improvise with a bit of scatting which is easier said than done.
It was an interesting activity to do, and was followed up after I said that it would be harder to do with musical instruments as opposed to the voice.
This seemed more challenging, however following the same rules as before, I felt comfortable with my musical knowledge to do an improvised solo on the tambourine, which not many people can say they have done.
The one thing that it made me realise is that subconsciously, I improvise everyday - whether that be an improvised humming while doing work, or just tapping a drum beat out on a desk.
Ella Fitzgerald, known as the "Queen of Jazz" was most famous for her scat style singing, something that is synonymous with jazz. "I Just tried to do [with my voice] what I heard the horns in the band doing" (Moret, 1996), she recreated and redefined the sound of jazz and went onto have a great career, doing what she did best. Performing here with just the accompaniment of one guitar, Fitzgerald's voice not only compliments the guitar, but also adds another element to the performance as a hole. It is not hard to imagine her voice being replaced with a brass instrument such a saxophone, with both her phrasing and her patterns mimicking the sound so closely.
With more practice, improvisation can become a less daunting thing to try and pull off, as you can never properly practice it, as the whole point is about being in the moment, and going with the flow of the music. "At any point many things can go wrong, as they can in any other living relationship" (Small, 1998, p. 301) therefore it's important to communicate with each other when performing as a group to ensure that everyone is being supportive, then when somebody does improvise a solo, they can go at it with everything they can and think less about the negatives, or "Self One" (Green & Gallwey, 1987), and more about embodying and embracing the music
When writing a piece of music, it is important to convey a message and create a story within the listener's mind. Music, as a form of communication dates back to tribal songs and to signal incoming danger, and is even present from animals (such as a mockingbird, being able to recreate notes when sung at).
Growing up listening to the charts and pop music, from the Spice Girls and Britney Spears to what I listen to now (a mixture of rock such as Lower Than Atlantis, alternative such as Imagine Dragons and Bastille to even acoustic and folk such as Ed Sheeran and James Bay) has shaped me into who I am and by listening to the stories behind the songs, it has even inspired me into writing my own material from my own experiences.
"The concept of 'communication' requires that there is both a performer's intention to express a specific emotion and recognition of this emotion in question" (Juslin & Sloboda, 2010, p.455). One example of this concept is Adele's 'Someone Like You' described as being "raw and unfiltered and incredibly sad but also, in a lot of ways beautiful and resolute" (Montgomery, 2011) was based on a person she had broken up with and finding out one day that he was engaged. Famously performed with just the accompaniment of a piano, Adele performed at the Brits which tugged at the nation's heartstrings, using only her voice. The emotion that she put into both her lyrics and using the controlled power in her voice not only made it a sombre and beautiful piece, but also connected to people on a level which was understood, as heartbreak is a common occurrence.
Another artist that I feel puts all into their songs is Ed Sheeran, a personal inspiration to me, creating images in the mind with only a sentence. 'Small Bump' was written about a friend's miscarriage, written from a first person's perspective. The song is written in B-flat major described as having a "cheerful love" and a "hope aspiration for a better world" (Schubart, 1806) which is enforced by the lyrics in the song such as "I'll hold your body in my hands, be as gentle as I can". Although it is not Sheeran's personal experience, he is able to put emotion into his songs that allow the listener to feel the pain and sadness of the actual ordeal.
Not all emotional compositions have to be sad or even have lyrics. Mozart's famous 'Marriage of Figaro - Overture' written in D major, boasts instruments ranging from flutes and oboes to trumpets and strings and creates a jolly undertone to open the opera with. Starting off with the fast tempo 'buzzing' of the violins, with the horns joining in immediately, building to a crescendo within the first ten seconds of the four minute piece, with the booming drums echoing in the background, the piece is kept light and bouncy with the quick tempo of the horns and flutes, even at the oboe solo which slows the tempo down, but still keeps the essence of happiness.
Emotion in music is vital, as for many artists, it is a way of putting their own personal feelings into something, and creating a piece that helps to express both the sad and happy. When writing my own songs, it takes me a while to fully get into it and tap into the 'emotion part' in my brain however once I fully embrace it, I am able to translate the words and the feelings into something music using just my guitar. "The performer is a creator who brings to life, through his own sensitivity of feeling and imagination" (Meyer, 1961, p.199). It is not enough just to be able to have the music in front of you in a live performance. To be able to fully get across the emotion within the song, the performer has to embody the emotion fully, ie: a sad song would just be standing quite still, with lots of eye contact, getting across the pain in the eyes as it is being performed.
One thing I need to work on is my performance style and how I get across the emotion in my song when performing live by looking at my body language and where I am looking when singing. Once I get the basic understanding of this, I feel like it will strengthen my skills as a musician and help the audience to understand on a more emotion level.
