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I’ve been listening to Foo Fighter’s fantastic new hit, “Rope“, from their newly released album “Wasting Light”, and it got me thinking about song energy, and specifically about the issue of tension and release. “Rope” is a relentlessly powerful tune, and you might legitimately be thinking that you hear all kinds of tension, and not a lot of release. However, tension and release happens in many different ways, and even high-power songs like “Rope” need to have musical ideas that present conflict that need to be resolved. When your song is generally a high-energy performance from beginning to end, the proper release of tension becomes vital.
Many of the ways we build tension have to do with the musical arrangement of the song: the performance. So things like 1) style of drumming, 2) instrumental accompaniment, and 3) vocal/melodic decisions (harmonies, range, etc.) all affect the perceived energy level of a song.
But in addition to those, there are things that songwriters can and should be doing to build tension, and then release it. Using “Rope” as a model, take a look at the following:
- Harmonic tension: The tension in “Rope” comes from the odd choice of the two verse chords: Bm and Dm. Even though the Dm chord shares the note “D” with the Bm chord, the switch from the F# note to F as Bm moves to Dm is harmonically unsettling. The release comes from the more standard chorus progression: G Em Bm A… (All chords, incidentally, from the key of D major, which brightens the overall temper of the song.)
- Melodic tension. The tension comes from the juxtaposition of a rising melody in B minor, reversing direction on the F# note. Switching on that note highlights the unusual relationship between Bm and Dm. The release comes from starting the chorus melody a semitone higher – on G – and beginning with a descending scale that, in part, mirrors the opening melody.
- Lyrical/rhythmic tension. The tension comes from the beat-displacement of each verse word, the syncopation generating considerable energy. That tension is released in the chorus, where each line of lyric starts with a word that is placed directly on – not between – the beat.
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Written by Gary Ewer, from “The Essential Secrets of Songwriting” website
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I was surprised to see this. I have really been digging Rope since it came out. I’m not entirely a die-hard Foo Head, but I really do love them, and all of Dave Grohl’s endeavors; which is why I feel that a lot of his work is under constant scrutiny by the real die-hard fans. I have to say, Rope really impressed me, and I was surprised to see not many people talking about it. The beat displacement is what really caught my attention, and the instrumentation is very solid for this heavy hitting song.
Your selections is what surprised me though. You went from Black Eyed Peas, to Imogen Heap, to Lady Gaga, to Owl City. Really diverse selections, and your always on the mark with the info you provide with them as examples.
U really love your blog!
I really love your blog!*
haha wow, looks like I need to look before I submit
Thanks for writing, Alexis, and for your comments. Regarding my diverse interest in music selections (from B.E.P. to Heap, etc.), there’s music there that I personally love, and other music that is… not so much what I’m really into buying for myself. But in their own way, they all work to a certain degree. At least, they work enough that they each get a large following. And so it’s important for us to dig in and try to figure out what people are hearing. Ultimately, I find that what makes one song work is what makes them all work. That certainly doesn’t mean that they’re all of similar quality; some of the music I analyze will be with us for decades, I believe, while other tunes will fade quickly. But they all have something that works, and we can become better writers by figuring out what that is.
Thanks again,
-Gary