Most of the time the bass in a band plays the root of the chord of the moment. In most genres, it is stylistically desirable for the bass to occasionally fill in the spots between strong beats with other notes, and we’re inclined to rate a bassist’s abilities based on how inventive/supportive these between-the-beats figurations […]
Most songs in the pop genres use simple chord progressions. “Simple” means that they target the tonic chord — the chord that represents the song’s key — and make that tonic chord sound like “home.” These sorts of progressions: C-F-G7-C (I-IV-V7-I) C-Am-Dm-G-C (I-vi-ii-V-I) C-Dm-G-C (I-ii-V-I) These are all in the key of C major, and […]
Songwriters can be forgiven for looking for new and exciting chord progressions. There’s a fear that if you use a progression that’s been used before, it will sound either boring or overused, and lacking in originality. The truth is that as long as the chords are properly supporting the notes of the melody, even mundane […]
Songs that use the same progression for the verse and chorus aren’t unusual, but when you write that kind of song you need to think about other ways to create contrast between verse and chorus. Most songs need that contrast, because it’s contrast that keeps audiences interested on a musical level. And chords often play […]
If you’re bored with your chord progressions, you’re likely to opt for throwing them out and creating ones that are more creative. The problem with that approach is that you can wind up with chords that just don’t work well together, all for the sake of finding something more interesting. If you’re serious about songwriting, […]
The composer Mozart almost always composed by finding a catchy melody as a first step, and then finding a bass line that supported it. Filling in all the missing instruments was, for him, something closer to a final step in composition. We can infer two things from this kind of compositional process: He considered melody […]
