Musicians and psychologists hold slightly different practical definitions for what is known as the contrast principle. A good description of a psychologist’s use of the term might be something like the following, which comes from the JackMalcom.com website: If you put your left hand into a bucket of cold water, and your right into hot water, […]
When we think about a song’s energy level, particularly as it pertains to the instrumental choices, we often think about how much energy we can generate by adding instruments into the mix. That’s a pretty instinctive approach, and it has worked in almost every genre, in any era. Eighties’ power ballads took this to extremes. […]
Songwriters spend a lot of time thinking about what their next song is going to be about. They certainly spend more time thinking about a song’s topic than listeners do. There is a good reason for that. Audiences take in the entire sonic experience when they listen to a song. The actual topic is but […]
Constructing songs so that we hear verses, choruses, bridges, and so on, is a good and easy way to ensure that your music incorporates contrast. Even before hearing a particular song, we know that the chorus is likely to be higher in pitch, that the chorus chords will probably be stronger and shorter than the verse, […]
I use the word “fragile” when talking about certain kinds of chord progressions. “Fragile” usually means that the tonic chord less than obvious. In that context, here’s a list of chord progression characteristics that might result in a “fragile” progression: “Fragile” may mean that it uses a lot of chords that don’t exist naturally in the song’s key. For […]
If you were to ask me to describe what makes a good song melody, I’d probably tell you this: On the whole, when you look at songs that have made their mark and have been held up as iconic representations of their genre, the following is usually true: They move in a mainly stepwise way. […]
