Friday, 17 May 2013

Meet The Threetles (And The Twotles Too!...)



It's quiz time again on Beatles Songwriting Academy! Here is a list of the 12 tracks where only three out of the fab four reported for duty. Can you name the missing Beatles and who (if anyone) filled in for them?

1) Eleanor Rigby
2) She Said She Said
3) The Inner Light
4) Back In The USSR
5) Dear Prudence
6) I Will
7) Savoy Truffle
8) Long Long Long
9) Here Comes The Sun
10) Maxwell's Silver Hammer
11) Because
12) I Me Mine



And for a bonus question

13) Can you name the four Beatles songs that feature only TWO Beatles?

Don't leave any spoilers. Check your answers and leave comments here.

Friday, 10 May 2013

Joe Scala's Got A Ticket To Write

Today's guest blogger Joe Scala combined a Beatles approved chord with a really original approach to writing lyric in one of his recent songs...



I used an interesting process on the FAWM song Take A Photograph. I wrote the moody echo-y music first, but I had no idea where to go with the lyrics. The obvious direction was something along the lines of “I am lonely, I am empty, I am nothing” but this isn’t the kind of song I want to write. It’s ok to be moody; you don’t have to be depressed.

An idea came to me – from out of nowhere it seemed, although it probably un-buried itself from my memory from a writing class in college – to use photos as inspiration. (I often use poetry by Frost, Whitman, Dickinson, but I was tired of that method). I pulled up flickr and looked at the daily photos. I saw a lot of stuff, and when something struck me, I wrote a description of what I saw.


It started with very basic, prose-y stuff: “a gray and brown train riding along with a town in the background”. But then I kept pushing myself to write more, what else could I find? I added some flowery descriptions. I repeated this for 3 or four photos, and I expected to find some good lines for the song in there.
I didn’t. Everything still looked boring. So I printed out all of my descriptions like this:







































I looked for interesting phrases across the lines, stuff that I would never have written, although I kinda did, and just found it. I circled lots of stuff. From there, I constructed a new list of possible lyrics. Once I found the lines “Take a photograph / Fill it up with what you see” it suggested a pattern to the verses, and away I went. I pieced the song together from there. It’s interesting how the verses each reflect one of the photos, even though I chopped everything to bits.

I was browsing Beatles Songwriting Academy for an easy idea to use and found “Ticket 44 – Use the Minor 5.” While I was messing around with a chord progression, a pretty standard one actually, I looked for a place to insert the minor 5, an unexpected twist. This lead me to the structure of the verses that I ended up with. I used my new Hamlet pedal and set the reverb to 12 (yes it goes to 12!) to get the eerie arpeggiated guitar tracks.





Joe Scala is a 'regular guy with a regular job' from Baltimore MD who is also the guitarist in The Katie Bowers Band and Katie & Joe. You can check out some of their music here and listen to another Beatles related tune by Joe here.

Want to read about more regular guys using Beatles songwriting knowhow? Here you go!

This post originally appeared on Joe's blog (thanks Joe!).

Monday, 29 April 2013

10:17 Martha My Dear (pt.5) Cells And Rugs




So far we've seen that Martha My Dear is an incredibly complex song rhythmically and structurally key-wise, yet it doesn't descend into prog-rock indulgence. How come?

One of the reasons it remains accessible is the way McCartney uses melodic cells – creating different melodies by reusing the same 3 note fragments (Ticket 9).

So the first (and probably most memorable) cell is the Bb C G that occurs twice in the melody

Mar-tha my dear, 
though I spend my days

in interval terms that movement would be described as up a tone (to C) and down a fifth (to G)

this exact same interval also occurs in the phrase

Silly girl

at the end of every bridge

(F) up a tone (to G) and down a fifth (to D)

But what our ear instinctively picks up on and finds pleasing are not the notes or even the intervals as much as the overall shape.

So the SHAPE could could be described as - take three notes, play the middle, then highest, then lowest.

Bb C G - middle, high, low
F G D - middle, high, low

Inverting this pattern (middle, low, high) gives us the second cell, which occurs three times in quick succession in bridge 2

You're bound to see - F D G
That you and me - A G C
Were meant to be - F D A

different notes, different intervals, even different rhythms but the same shape – middle, low, high. The fact that the motif is repeated in an ascending pattern really helps the bridge section take off.

Is this some kind of musical Da Vinci Code? Am I seeing patterns where there are none?



Possibly.

Surely Paul wasn't consciously using patterns?

Probably.

But in random song like this with so little direct repetition something is making it catchy. One thing that distinguishes great songwriters is the instinctive ability to craft a melody with a pleasing shape. Like the Dude's rug melodic cells really tie the song together.


Another thing that ties the song together is the way McCartney ends both bridges with the same line “silly girl” (ticket 41) McCartney did this with Golden Slumbers, Let It Be and the guitar part of Blackbird and Lennon used it on Julia.

And speaking of bridges – did I mention that this song has two? That's gotta be worth a new ticket (T62). Why have one bridge when you can have two? Tricky to pull off without looking like you don't know what you're doing, but the Beatles did it on I'll Be Back. Do you think it works? Any thoughts on when a song might benefit from two distinctly different bridges?

Leave me a comment.



Monday, 22 April 2013

Under The Influence: Richard M. Sherman



The people who I just admire the most in the whole popular music business [are] the Beatles. I just think the Beatles were an incredible, incredible, incredible group - talent in every direction. I loved them ... the songs they wrote will live forever. They sang so well, so beautifully, with emotion and feel. My God they were good songwriters. 

Richard M. Sherman (Sodajerker On Songwriting Podcast #38)

Richard, along with his brother Robert were Disney's primary staff writers for 9 years and wrote songs for Mary Poppins, Jungle Book, Winnie The Pooh, Bedknobs and Broomsticks, Chitty Chitty Bang Bang and many others.




It's well known 'little known fact' that the vultures in Jungle book were originally modelled on the Beatles



Maybe this would be how it turned out!



Tuesday, 16 April 2013

10:16 Martha My Dear (pt.4) Time and Key Signatures





As is sometimes the case with Beatles songs before you can mine them for songwriting tips you have to ask such (seemingly) obvious questions as “what key is this really in?” and “where is the one?” We had this issue with She Came In Through The Bathroom Window. This time I'll try to keep it quick and painless.

What time signature?

Easy. 4/4.

Hold on there hoss!

Once we get going it's 4/4. But the first musical phrase has 13 beats in it (it ends with remember me). So how does that divide up? The Beatles Complete Score has 3/4 2/4 4/4 4/4. Pollack counts it double speed and calls it 2/4 followed by 4/4's.

I think The clearest way to decipher it is to feel where the strongest accents are and call those the 'one' of each bar. The most likely suspects are

5/4 4/4 4/4
Martha my dear, though I spend my
days in conversation,
please remember
me

Or 4/4 5/4 4/4*
Martha my dear, though I
spend my days in conversation,
please remember
me

For me the second option feels right**. We're dealing with one rogue extra beat and, listening to the vocal line, it's the word “conver-sa-tion” that feels stretched out compared with the rest of the melody. Sing “spend my days in conversation, please” with the same rhythm on "-sation" as you have on the rest of the line (8th notes/semiquavers) and it converts seamlessly into good old 4/4. So you could say that Paul is using the Lennon Extension (Ticket 52) - adding an extra beat where he needs it to fit something in.



What Key?

More often than not the first chord is the root chord - but not here. Unlike Yesterday, where the 'seven drop' (ticket 60) takes you out of key in the 3rd bar of the song but brings you straight home in bar 4, here we never really get home to Eb major, because that isn't home.

Where we should be hearing Ab we have A natural quite prominently in the melody till we land on the F major chord on the word 'please'. Mentally pause there. Feels like home? Sure does. The first half of the verse is in F major and the only out of key note is the Eb we mistook for the root note. But it gets weirder. We DO get the Ab we need now in abundance in the next 4 bars as the chords alternate between Bb7 and Ab. But when we get to the final 'Martha My Dear' of the verse we are sitting peacefully on a Bb7 chord and a Bb melody note. We don't feel the need to resolve back to Eb even though all the notes fit in that key. That's because we are now in the Bb mixolydian mode (the 5th mode of Eb major). Once again it's all about what note and chord we feel settled on. If your ear isn't being pulled towards some other chord you're already 'home'.

What about the bridges? Well not to disappear down a rabbit hole of analysis (if I haven't already) we're back in F major in bridge one (hold you head up). Lots of A natural, no Eb at all. In bridge two there's the introduction of B natural within the G9 which could suggest we're in (wait for it!) D dorian mode. But, to my ear, these are notes that are merely spice up the key rather than change it. Not just because this only lasts four bars before we end up back in F major but because Paul 'ignores' the chord and doesn't use Bb or B natural in the melody at those points (ticket 14) whereas the earlier A natural note appears in the melody, chords and bassline.

For me the final proof about the song being largely in F major and Bb mixolydian is that when Paul lands 'home' on Eb major (after “for each other silly girl”) what should sound like a final chord sounds like the announcement of a key change (in the same way as the final chord in both sections of Penny Lane (meanwhile back) leads you into a new key.



Practically Speaking...

So if you've hung in with me thus far (and if so you have my admiration!) is there a practical songwriting lesson here?

How about this. Paul is doing something very clever (though instinctive) with key, time signature and a contrapuntal style of writing that was unusual. And he hits you with everything within a few bars! Many artists subconsciously 'psyche themselves' to include unusual stuff by bringing it in gradually. Don't do it. Grab your listener with the cool stuff right out of the gate (Ticket 61). Whether that's the mellotron on Strawberry Fields Forever, the talk box on Living On A Prayer or the drumless weird time signatures of Everything In It's Right Place or Pyramid Song by Radiohead.

* You could look at this as 4/4 3/4 2/4 4/4 but as 5/4 bars can be grouped 3+2 or 2+3 you can just think of it as a 5/4 bar counted 12312 or 123-45.

**Update courtesy of Rob Stevens the clapping on the instrumental verse (1:20-1:38) would suggest Paul thought of it as 4/4 4/4 5/4. Now I'm all conflicted!


Monday, 15 April 2013

10:15 Martha My Dear (pt.3) Silly Love Songs





You'd think that people would have had enough of silly love songs

What's in a word? A clue to a whole style or tone? Paul McCartney is often criticised for being twee his use of the word 'silly' is definitely twee. John Lennon never used it* (imagine him singing “silly bloomin' Tuesday”). Or imagine Paul substituting the word stupid in any of the following ...

Hold your head up you silly girl look what you've done
When you find yourself in the thick of it
Help yourself to a bit of what is all around you
Silly girl

Martha My Dear



Silly people run around
They worry me and never ask me
Why they don't get past my door

Fixing A Hole


He looks a lot like a guy I knew way back when
It's silly Willy with Philly band

Rock Show



Samson and Delilah would have made a crazy pair
if the silly woman hadn't shaven off his hair

Nobody Knows


That was a silly season, was it the best?
We didn't need the reason, just a rest.

Good Times Coming / Feel The Sun




Did any other songs influence McCartney's vocabulary? The Beatles covered Glad All Over (The one by Carl Perkins, not the Dave Clark Five)...

One little kiss from you
And I feel glad all over
Oo baby, hot dang gilly
It's silly
But I'm glad all over

Glad All Over



Are there words you find yourself using repeatedly in your songwriting. Or words you avoid?

*Lennon used 'Stupid' in I Am The Walrus and I'm So Tired

**Most of these photos are from a McCartney tumblr blog with a name to rude to mention


Monday, 8 April 2013

Golden Ticket: The Seven Drop




How do you use the 'seven drop' (Ticket 60) in one of your songs? Easy! Just start on the root chord and then immediately descend to the chord built on the seventh tone of the scale. In minor keys this is nothing special - it just gives you Em to D or Am to G etc - but in major keys things get interesting...

the 'correct' I – VII change in the key of C would be

C to B dim (B D F)

 or

C to B half dim 7 aka Bm7b5 (B D F A)

But that's a weird jazzy chord and many rock/pop guitarists don't like it (or even know it!).



So the Beatles tended to make things more complex by using simpler chords that don't fit in the key, like

C B7 (B D# F# A)

I VII7

or

C Bm7 (B D F# A)

I vii7

(out of key notes are in bold)

So we get progressions like I'm So Tired

      A  G#7   D                    E7
      I   VII7   IV                  V7
I'm so tired I haven't slept a wink


or Sexy Sadie

G          F#7      Bm
I           VII7      iii
    Sexy Sadie,          what have you done?




The verse of Martha My Dear doesn't have chord changes per se as it's made up of several interweaving lines but the progression that's implied is

Eb                                    D5           Gm
I                                       VII5          iii
Martha my dear though I spend my days

There's more going on than meets the eye (ear?) tonality wise here, because the root note and key here is actually F, but I'll save that for the next post. For now all we need to know is that our ear assumes the initial Eb is the root until we get to the end of the phrase.

Another example is Radiohead's Karma Police (directly inspired by Sexy Sadie) where the chorus has the same chord progression as part of Sadie's verse


Sexy Sadie 

C                      D                 G      F#7
IV                    V                  I       VII7
    You made a fool of everyone


Karma Police

C              D             G      F#
IV            V              I       VII
     This is what you get


The most famous/obvious example of this is Yesterday

F               E7sus4            A7                         Dm
I                VII7sus4         III7                        vi
Yesterday             all my troubles seemed so far


It's interesting that almost all these examples are from the beginning of the verses. So you could say the ticket works most effectively as a means of pulling the rug out from listeners the second they set foot in(on?) the song.

And also, whether we're going on a brief trip to a new key or heading for a home we didn't realise we had, the next step is often the same. Start on a major chord, drop a semitone to the seventh and then drop a fifth to the third degree of the scale.

     I – VII – III
eg C - B   -   E or Em

Next time we'll pause to look at some essential background work. What key is the song in, and where exactly is the 'one'?