#16
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What differentiates a song lyric from prose or poetry is that it moves in the air and is captured by the ear, not lying on a page and seen with the eyes. So, developing a good ear matters for the lyric, the melody and the rhythm. Best, Jayne |
#17
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I come from the era where you put the needle on the LP and tried to duplicate what you heard......then again.....and again! Wore out a lot of needles that way! LOL! I didn't realize at the time how this helped me develop and certainly didn't know how I'd apply it 30 and 40 years later! One tune I'm composing now, for example, has struggled to come together. I'm 3/4 finished, but there is a part I've been searching toward the end.....how do I finish off and stitch things together......does it replicate part A? Go with an altered Part A at the end to add familiarity but not duplicate? Work in some parts of part B in there? All this moving through my head and taking time to let it all make musical sense and sound best to my ear. A LOT of listening intently and assessing where that will finally go and taking advantage of different evenings of mood and playing to mix things up and find the right combo. So, yes, the old ear gets the assignment.....and the workout!! LOL!
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1993 Bourgeois JOM 1967 Martin D12-20 2007 Vines Artisan 2014 Doerr Legacy 2013 Bamburg FSC- 2002 Flammang 000 12 fret 2000 McCollum Grand Auditorium ______________________________ Soundcloud Spotify Mike McKee/Fred Bartlett Spotify playlist |
#18
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Having a good ear is part of it. So is having and using good taste as well as having some knowledge about how
tunes and songs are usually constructed (in the categories of music you want to compose in).
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#19
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Lessons from a MASTER!
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________________________________ Carvin SH 575, AE185-12 Faith Eclipse 12 string Fender RK Tele Godin ACS SA, 5th Ave Gretsch G7593, G9240 Martin JC-16ME Aura, J12-16GT, 000C Nylon Ovation: Adamas U681T, Elite 5868, Elite DS778TX, Elite Collectors '98 Custom Legend, Legend LX 12 string, Balladeer, Classical Parker MIDIfly, P10E Steinberger Synapse Taylor 320, NS34 Yamaha SA503 |
#20
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More Insight...
Average songwriters 'borrow'. Great songwriters STEAL!
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________________________________ Carvin SH 575, AE185-12 Faith Eclipse 12 string Fender RK Tele Godin ACS SA, 5th Ave Gretsch G7593, G9240 Martin JC-16ME Aura, J12-16GT, 000C Nylon Ovation: Adamas U681T, Elite 5868, Elite DS778TX, Elite Collectors '98 Custom Legend, Legend LX 12 string, Balladeer, Classical Parker MIDIfly, P10E Steinberger Synapse Taylor 320, NS34 Yamaha SA503 |
#21
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My thoughts exactly. You *do* need a good ear. But that can be trained. It can be trained deliberately, or, as in my case, non-deliberately just by listening to music, breaking it down, looking at how the pieces fit together. Without even knowing why I'm doing it. I remember when the I - IV- V, hit me like a hammer; I'd probably been playing guitar for around 3 years when it occurred to me. If I'd had a teacher that would have been made clearer a lot earlier. It later becomes an unconscious function. You realise for example that a D7 will normally lead to a G if it needs to resolve. That a C often drops to an A minor. Etc etc. I should study harder. Harder? I'll rephrase. I should study. The more you learn, the more you realise there is to learn. |
#22
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How much of songwriting is based on having a good ear?
I think good songwriting is all about having a good ear. - Glenn
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