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[songwritingcomposition3jayconway]

WEEK 12 - Course Review and Looking Towards the Future

In week 1 for this subject, we were required to outline intentions and goals for this semester, these were mine.

Write stronger lyrical content

Explore other cultural influences/genres and find what I want to fuse into my practice

Aim to write new and original song structures (in relation to my previous style)

Write catchier choruses

Develop bridges and middle 8’s

Experiment with writing pre and post-choruses.

Develop balance in my sonic palette between modern and vintage sound

Practice piano and singing

Explore new rhythmic patterns, times signatures and BPMs

I must admit I feel I have accomplished more points from the list than I was expecting, my lyrics feel stronger and I also got to explore different genres while strengthening my own go-to genre. I also wrote bridges for 2 songs including a rapp style breakdown that felt more developed as far as my other bridges go.

My song structures are still pretty much the usual as far as verses, choruses, and bridges go, so there is room there for me to experiment with song structures and also new rhythmic patterns, times signatures and BPMs. I also didn't give myself enough time to practice piano or singing but will at some point. I am planning to go to different Karaoke bars to improve my singing, crowd interaction, and performance skills.

Looking forward to next semester we will be required to fully produce and release our first EP, so over the break, I will be preparing tracks I wrote this semester for that, which could open up possibilities to create new song structures, rhythmic patterns, times signatures and BPMs for the new tracks. Another aspect of the production process that will play a big part is the use of tension and release between the verses, choruses, and bridges.

One thing I want to be apparent when releasing a 4-5 track EP is that all of the tracks occupy the same space and to do that I have chosen the 1st track that I wrote for the 1st assessment task for Songwriting 1, 1st year as the reference track. I got to reproduce it over the Christmas break to a higher standard. It is my most produced song to date and I want it to influence the other tracks.

Very much looking forward to this new process of production and am excited to see what the outcome will be.

OneDrive Link:

https://melbournepolytechnic-my.sharepoint.com/:u:/g/personal/s1541884_student_mp_edu_au/EaQbl6gHXVJDi1TaWKnlNA8BBekBL_0N7V69Uyqxl11HaA?e=XbnAnf

END JOURNAL WEEK 12 - COURSE REVIEW AND LOOKING TOWARDS THE FUTURE

[songwritingcomposition3jayconway]

Week 11 - Improvisation and Play

For week 11 we got to do a fun group improvisational activity that involved all of the students.

Each student was assigned an instrument, and this time we all stayed within our comfort zones, most other improv activities required us to think outside the comfort zone. I was given the drums to play/improvise on.

We were then given a set of instructions or parameters used to guide the types of improvisations for each instrument or element for each song.

I found with each set of instructions there wasn't much clarity on how the piece would decide on a tempo. In one way it was quite random and unexpected leaving more room for improvisational freedom, but then would also create a little confusion with which part to draw a tempo from.

Sometimes it felt like I just had to go with my own gut feeling when deciding and a full drumbeat element, and then try to bounce off of what the other instruments or vocal lines were doing.

Overall it was a very good example of what can happen when following a set of improvisational instructions, we also came up with ideas that could be fleshed out into a live situation.

One thing I did notice from this activity is that we are getting more familiar with each other for the class group improvisation activities, and can see the potential in having an improvisational group and how exciting things could potentially become the longer the group stays together.

END WEEK 11 - IMPROVISATION AND PLAY

[songwritingcomposition3jayconway]

Week 10 - Assessment 4 Presentations

For week 10 we gave presentations on the creation process of the song that was written for the week 10 assessment task. I will go into a bit more depth in how I wrote my track for the journal.

The song I wrote "Oh Leaf of Autumn" is a slight departure from the format of songwriting I have been using for the last 6-8 months, which has normally been a synth-pop style created with just using samples, loops, and VST instruments in Ableton and Logic. I have returned to my initial method of crafting a song with just an acoustic guitar and chords that either drive the melodies for the vocals or follow them.

The method for writing this track came from the week 8 in-class activity and was new and exciting for me as I had not used it before and found it very helpful during the songwriting process. The in-class activity which involved sitting down and writing for about 45 mins on a single theme or idea, you could say ruminating on that idea. After the 45 minutes, we were then directed to write a 6-line verse and 4-line chorus that had repetition in it. This was pretty straight forward but later on, when I returned to work on the track, the exciting part was when I read over the written work or ruminations, that content then informed the remaining parts and sections of the song, filing it out quite nicely, and quite quickly.

This technique resonated with the way I write my music and will be utilized again in the future, plus for me, it sheds light on other techniques of songwriting that have been presented in this semester's Songwriting Class, the Sound Studies class, and also the Independent Music Artist class.

I also used the track "Oh Autumn Leaf" for my music production assignment and recorded live drums and guitar for it which I'll add the link to below.

https://melbournepolytechnic-my.sharepoint.com/:u:/g/personal/s1541884_student_mp_edu_au/EbnRRxV09-9PvJ6LN4BmO5YBd09dZJRKSGj93weW0iWoFg?e=5Z3ppy

END JOURNAL WEEK 10 ASSESSMENT 4 PRESENTATION

[songwritingcomposition3jayconway]

Week 9 - Lab Session

This week we got to do some songwriting in the new Synth Lab on campus, I found the session very engaging as I was forced into a place outside of my comfort zone. Normally I would just use a DAW to flesh out my ideas with a giant collection of drum kits, samples, VST instruments and loops, but today I was stuck to just one little machine (KORG Volca sample), a really old school Roland Synth, and a newer Roland Synth.

OneDrive Link: https://melbournepolytechnic-my.sharepoint.com/:u:/g/personal/s1541884_student_mp_edu_au/EWAWvVK6DYZLqqkj21XNTwIBcLA88J8EjQud0_In8kkbdw?e=KPyi5I

One thing I liked about using these instruments is that everything I recorded was Anolouge, and none of it was to a grid, which created a really organic feel. The 1st instrument I recorded was the Volca Sample and the controls on it took some learning, but essentially it made a whole bunch of beats and sounds to sound like a fully produced techno track, that could be made more complex and less complex with its different controllers. Although it wasn't on a grid I did match it to the grid in Ableton.

I then used the old Roland Synth and found a nice fluty sort of clarinet sound and used it for a bass-sounding part. Because it wasn't on the grid it started making a pumping sidechain compression sound, without the sidechaining.

Then the newer Roland synth had some massive sounds, I just used the 1st preset that was in it, which had this really abrasive saw tooth like shrieking sound that would change pitch in an octave riser. After that sound started appearing randomly I added another layer of smoother bass to appear in and out of unison with the saw-tooth bass.

The overall feel of this track was to use the analogue sounds and effects off the grid, so the instruments that appear are almost random, but also in unison. There was somewhat of a grid created by the Volca Sample, but I used the other instruments to move away from it.

END WEEK 9 - LAB SESSION

[songwritingcomposition3jayconway]

Week 8 - Outer Music Traversing Transpersonal Themes

How does your music (not only lyrics) tackle personal or transpersonal themes?

When I write I tend not to have the lyrics be so much about myself or things I might be going through at the time, but more touching on societal issues that I will have some knowledge of, like drug use and how army personnel suffering from PTSD might experience depression and find drug use as an escape.

Sometimes when I'm fleshing out the later part of the track it's like I start having an argument with myself about the song lyrics and the lyrics that are born from the argument are the good outcomes of the argument.

Another personal theme is having a mental illness, which is not something I try to write about personally, but I do like touching on the different edges of its boundaries, and how people may perceive its existence. While other may not know anything about it at all, you can then play on people's preconceived expectations to inform them of its actual characteristics, helping them make beneficial decisions about their own identity.

When I write about relationships and love songs I have to use my imagination and draw from experiences past to create situations that listeners might find appealing or attractive to create more of a connection to the song, and also to myself as an artist.

Sonically my music wants to make connections with as many people as possible, and for that to happen I have to let go of a lot of ideas or concepts I have about what I feel is popular and tap into what is really popular, like Taylor Swift or Dua Lipa. Normally I like to listen to Swedish Death Metal, but when I create a track, it will be synth-pop.

END WEEK 8 - OUTER MUSIC TRAVERSING TRANSPERSONAL THEMES

[songwritingcomposition3jayconway]

Week 7 - Inner Music – Embracing Subjectivity

Describe your inner music; the sounds you hear and the kind of sounds or styles of music that get stuck in your mind?

The sounds I hear are often in my head and can happen at any time of the day, which sometimes can be annoying, I might be right in the middle of something or driving my car or right in the middle of class. So to remedy that I have recorders in different places, one that doubles up for my car and my bedroom, and then my phone for other situations.

Sounds I might hear vary from a melody to actual lyrics, or guitar parts. Sometimes I might hear a verse idea, that, if I think about, can be fleshed out into a verse and chorus. That is usually when I will stop what I am doing and record the idea to work on at a later time or start working on it straight away.

They are usually then sung into a recorder or phone, I had to leave class the other day to record an idea. From that vocal performance, the sounds of the idea can translated into a synth melody/pattern, an arpeggiator pattern, a guitar part, a melodic run, or a vocal idea. Something else that happens is lyrics, which usually come with a melody attached, but not always, it might just be lyrics with a metre..

Once the idea starts taking form it can be strange as that idea can be interpreted in different styles or ways, not just the one, but generally I try to find a sound that appeals to the widest audience.

END WEEK 7- INNER MUSIC - EMBRACING SUBJECTIVITY

[songwritingcomposition3jayconway]

Week 6 - Getting Lost and Your Unconscious Creative Process

These ideas, of not being afraid to fail or get lost while playing and composing is a very new and exciting idea to me. Every time I sit down to practice, these are not ideas I would normally try to adhere to, normally I will try to go for as long as I can without making any mistakes or getting lost. But by now implementing these concepts I can see a whole new approach to how I practice and compose that should essentially open up new doors and ideas.

Failing, being/getting lost? I have noticed when I sit down and just start playing or practising I can land on a wrong note or chord that is technically a mistake but it opens up a whole new space that can be filled with new ideas. Also getting lost or not being afraid to take a song in a completely different direction, (some of Paul McCartney's songs he did with Wings) can lead into new areas and sonic landscapes.

Unconscious? The unconscious is a very deep and wide unknown expanse, I don't even know how big it is, or where it is as a locality, but if tapped into can be a very powerful source of inspiration, creation, contemplation and a field to draw from ideas and concepts that draw people to a piece of work (art, music, poem, film, story).

Not knowing where the end is? I like this idea, of not being afraid for your piece to just keep going, and creating as many twists and turns without any compulsion to end a work. (Sort of like Star Wars)

Although the workshop and slides for this week were quite short, I felt the concepts implied were very deep and far-reaching in bringing about subtle changes in my future works, and my approach to writing, composing and practice.

Sorry for going over the word count but these ideas I felt needed to be journaled for future reference.

END WEEK 6- GETTING LOST AND YOUR UNCONSCIOUS CREATIVE PROCESS

[songwritingcomposition3jayconway]

Week 5 - The Geneology of Genre

In what way do historical styles fuse in your work and for what reason?

At this point in time, my music is being influenced by bands like Kraftwerk, Devo, and 80's Pop. The reason for echoing these styles is not something that is done intentionally, but more so what happens when I search for sounds to use for my songs inside of my DAW. When I search for sounds, these are the ones that appeal to me and feel can be used to convey the message of my lyrics in a way that has a broader appeal and or larger audience. Music I listen to when I'm not writing can vary from Super Heavy Death Metal to Bjork or George Micheal, but when I'm writing it's more of a focused sound and the sounds I'm drawn to in that sense.

I am also a big fan of modern classical music like Arvo Part, his music draws on themes from classical greats of the past but with more modern intentions. One thing I enjoy about classical music is the way it stimulates my brain with so many elements appearing in the same space (Synphonic Orchestra), but also the runs going up and down feel like its massaging my imagination. I think that is an important aspect that needs to appear in some form of my work.

I find my work slowly evolving and taking on new styles with each new track that is written, but the core of the music is always going to be the sounds and ideas that resonate with me as a person.

END WEEK 5 - THE GENEOLOGY OF GENRE

[songwritingcomposition3jayconway]

Week 4 - Experimental Learning New Instruments

During an in-class reflection exercise, I noted one of the ways for me to advance my songwriting craft was to get better at the piano. A couple of weeks later I got to sit down on my piano at home which is a 61 Keylab Essential and compose an improvised piece, that I also recorded with my Zoom recorder.

Jay Piano Performance OneDrive Link: https://melbournepolytechnic-my.sharepoint.com/:u:/g/personal/s1541884_student_mp_edu_au/ESa3OVRRUQ9Gidv7pFvqC7QB0aGd0KrMJfde9qYTbpEY3g?e=Aj2W96

The initial idea was something I explored a little in class and then expanded on it at home. I wanted a sound that was discordant, playing just 2notes that are side by side. The reason why was I wanted to test the difference between how the discordant chords sound on a real piano, as opposed to something created by Midi inside of Ableton. The result was pretty accurate on Abletons' behalf, and I couldn't really tell the difference.

The other part of the journey was the performance which was quite intuitive in that the chord progression was random, and on the spot, but worked, and I tried to create some lift and then resolve. After recording the piece I paused the Zoom recorder and added some Delay from a plugin and discovered a resolve that could inform a track or song at a later date from the whole performance. I also feel more confident in my approach to the piano.

END WEEK 4 - EXPERIMENTAL LEARNING NEW INSTRUMENTS

[songwritingcomposition3jayconway]

Week 3 - Tension and Release

For this week's class we looked at the idea of tension and release, and how it is present in every piece of music ever created, it is a living and breathing part of musical creation at all levels, and is what makes the listener respond emotionally with a work.

For today's experiment, we were given an hour to find ways of creating more tension and release to our demo tracks.

I used the builds and drops technique by adding more complex rhythmic activity to the drum pattern in the middle 8 section of my track. It made that section a lot more dramatic and tense, creating a sense of needing the release of the chorus to return, which it does.

The chord for the middle 8 is an F as well, which creates tension to then return to the G major for the release.

END JOURNAL WEEK 3 TENSION AND RELEASE

SONGWRITING AND MUSIC PRODUCTION 3

[songwritingcomposition3jayconway]

Week 2 - Sonic Palette

What elements are most important in your sonic palette and why? Being a drummer the rhythm is very important to me by nature, but I would like to move outside the boundaries and find palettes from other places, like reverb environments/soundscapes to create more of a concept album way of tying my songs together. These sounds would be from the Scifi genre, with heavy keyboards/arpeggiators but also world music samples and sounds.

Describe how you want your music to sound from your aural imagination? I like having lyrics that appeal to the disco tech group of listeners, people having lots of fun dancing and socializing, but with a sort of punk disregard for politics and religion, maybe focusing more on science, and the science of relationships and how people can be affected by good/bad relationships. Making the connection with listeners through my own lived experiences to guide people through difficult times.

Maybe bad breakups, drug use or issues that touch on Army people suffering from PTSD. These ideas can be very dark and difficult for some people to feel comfortable even addressing so that has to be taken into account as well.

END JOURNAL WEEK 2 SONIC PALETTE

SONGWRITING AND MUSIC PRODUCTION 3

[songwritingcomposition3jayconway]

Week 1 - Song Anatomy to Embodying Music

Reflect on your judgements, positive or negative, from the deep listening exercise.

During each listening exercise I would reach a state of inner peace, which was quite relaxing, and each consecutive exercise I could reach the peaceful state more quickly. I feelt this was beneficial and can help when dealing with stress or anxiety. After multiple listening exercises I found a regular pattern that became a little monotonous and made me feel like I didn’t need to be doing the same thing over and over. 

What artists are examples of excellence in songwriting and why?

David Bowie is an artist that has managed to stay current with a songwriting technique that has changed and evolved through the years and stayed more relevant than just about anyone I can think of. Working with artists more recently like Trent Reznor, Arcade Fire, Placebo, and Petshop Boys, David’s work is like no other.

Bjork is also an amazing artist with her unique style of songwriting that for me that  is very diverse in the take up of new sound strategies for her arrangements, and no sense of fear in conquering new horizons, sonically and lyrically.

END JOURNAL WEEK 1 SONG ANATOMY TO EMBODYING MUSIC

SONGWRITING AND MUSIC PRODUCTION 3