Does structure really matter?

[SEDstar]

I think the "standard" pop (and country. lol) formula is a 3-chord song. If bridge is present, go to relative minr/major for usually 8 bars, perhaps 16 if its interesting. Chords are I, IV, V primarily.

other interesting structures to play with? That I played with and liked for something different?

1) Binary form. You have an A, then a B of similar length. You try to make them contrast and be as different as possible, yet share the same obvious thread. Same melody arranged drastically different, maybe.

2) Sonata form. Actually, the "standard" 3 chord model, with relative maj(or min)bridge chord changes? Its really an abbreviated sonata form.

3) pick an unusual harmonic progression and use it as the guide for a piece. I like I-IV-V-V...I-IV-V-IV. When I state a melody, its in these 8 chords. This is a classic "call and answer" setup, there are zillions of others.

4) do a theme and variations piece. Give yourself a simple 4 measure meloldy, and see how many variations on it you can make. You string them together and try to keep them connected. You can change instruments, keys, time signature, rhythm, mix up the accents from upbeats to downbeats or vice versa... some of these turn out horrible for me; but the pleasant ones are worth sorting thru them.

5) time signatures? You can be radically "different" by merely DARING to do something in any other time signature than teh box standard 4/4. Try 5/4... or let drums be in one, and guitars in another.

etc etc (there are zillions of others of these. Wiki is a good start, adn one i still use occasionally)


Example: Binary is a simple yet little heard form these days... what 2 chords for the A and B part? Hm... I,IV and IV,I are the two most powerful. Or use relative major or minor. Impress the #3 suggestion above onto it... lets do 5/4 since its so rare a novelty, too (#4 above)


mix it up...

structure is important in one way, and in another it isnt really important. It IS IMPORTANT that there be "something" thats tying it all together, or it would be random. It ISNT really important exactly WHAT structure you use; merely that you have one.

I mean, instead of a binary A-B piece... you could have a "A only" piece; a short, intense one melody only "big hooks only" short intense song.

structure couldnt get any simpler. OR... it can be as big and dramatic and complex as a progressive rock, 7 minute sonata done in rock instruments style.

and sometimes I STILL noodle somewhat freely... sometimes makes a small quirky piece I like...

 

[Clam Soup]

I think the "standard" pop (and country. lol) formula is a 3-chord song. If bridge is present, go to relative minr/major for usually 8 bars, perhaps 16 if its interesting. Chords are I, IV, V primarily.

other interesting structures to play with? That I played with and liked for something different?

1) Binary form. You have an A, then a B of similar length. You try to make them contrast and be as different as possible, yet share the same obvious thread. Same melody arranged drastically different, maybe.

2) Sonata form. Actually, the "standard" 3 chord model, with relative maj(or min)bridge chord changes? Its really an abbreviated sonata form.

3) pick an unusual harmonic progression and use it as the guide for a piece. I like I-IV-V-V...I-IV-V-IV. When I state a melody, its in these 8 chords. This is a classic "call and answer" setup, there are zillions of others.

4) do a theme and variations piece. Give yourself a simple 4 measure meloldy, and see how many variations on it you can make. You string them together and try to keep them connected. You can change instruments, keys, time signature, rhythm, mix up the accents from upbeats to downbeats or vice versa... some of these turn out horrible for me; but the pleasant ones are worth sorting thru them.

5) time signatures? You can be radically "different" by merely DARING to do something in any other time signature than teh box standard 4/4. Try 5/4... or let drums be in one, and guitars in another.

etc etc (there are zillions of others of these. Wiki is a good start, adn one i still use occasionally)


Example: Binary is a simple yet little heard form these days... what 2 chords for the A and B part? Hm... I,IV and IV,I are the two most powerful. Or use relative major or minor. Impress the #3 suggestion above onto it... lets do 5/4 since its so rare a novelty, too (#4 above)


mix it up...

structure is important in one way, and in another it isnt really important. It IS IMPORTANT that there be "something" thats tying it all together, or it would be random. It ISNT really important exactly WHAT structure you use; merely that you have one.

I mean, instead of a binary A-B piece... you could have a "A only" piece; a short, intense one melody only "big hooks only" short intense song.

structure couldnt get any simpler. OR... it can be as big and dramatic and complex as a progressive rock, 7 minute sonata done in rock instruments style.

and sometimes I STILL noodle somewhat freely... sometimes makes a small quirky piece I like...

I might need a translator, but it's really cool to hear someone speak music in musical terms and try to figure out what they mean and whether or not you're employing those theories without even knowing it.

I've written more songs than I can count ... aside from how long I can keep playing without repeating one of them. But, there is some consistency to their structures even if they are vastly different than eachother.

The last drummer I got to play with told me that I had a "signature delay." That is the term he used to define those moments where another musician might change chords, but I loiter inside of a single chord for an extra measure - or half measure - I don't know. What I do know is that people like the music for the rythm, melody, and content. ... "structure."