#how to structure a song

[gagliandi]

From Idea to Lyrics

From Idea to Lyrics

From Idea to Lyrics: How to Structure Your Song(Inspired by Jack Perricone’s Great Songwriting Techniques)After you’ve decided on a title or central idea, it’s crucial to clarify what you want to say and how you want to say it. This involves choosing your perspective (who’s speaking, and to whom) and developing a concept that ties every lyric element together.The Power of a ���Concept’A general…

[wanna-bee]

making beats for a boring dumb bitch fucking GNARLY

[whaliiwatching]

Hey hello. Consider. Hobie reading over and suggesting edits to drafts of Peter's writing and then going home visually with clippings and quotes from said writing as a part of him. Alternately, Peter takes inspiration from quotes visible on Hobie

heart on your sleeve…..

[lewyn-martell]

FAVORITE LINES FROM EVERY SONG I LIKE

Alexander Hamilton (Hamilton: An American Musical by Lin Manuel-Miranda)

[wackywatchdotcom]

falls to the ground. my favorite song is one that i looked at back in early march and went oh, this works well for ragatha... and im listening to it again and i DO still think it fits ragatha a lot. but it ALSO fits gangle. but i dont wanna put the same song on two character playlists from the same series, so im just gonna keep it on ragathas. either way it mainly fits manager gangle specifically but not the entirety of her. i think it fits ragatha more generally

[wassupmygays]

somethin somethin both of Soda's main songs in the musical have him playing the mediator between pony and darry in some way, its just not as directly as him trying to stop them from fighting. he is the messenger, the middle man, the voice of either of their thoughts to the other.

in Throwing In The Towel, he's trying to convince Darry how much pony loves and needs him, how much Soda loves and needs him. he is trying desperately to explain Ponyboy's point of view to Darry

and in Soda's Letter, its the opposite. soda is the voice to Darry's thoughts, because they both know ponyboy will listen better to something that comes from soda. so he writes about Darry's perspective and love for ponyboy, to try and convince pony of darry's love that soda sees.

in both songs, hes just trying to convince either darry or ponyboy that the other loves and needs them. because soda sees both of them, he knows how each one is feeling, he just has to get them to understand the other. and he thinks maybe it works, until they start fighting again and then he's the one to break down. and he finally gets to explain to and yell at both of them at the same time. so he doesnt have to play the middle man again, like hes done the whole play

[a-bottle-of-tyelenol]

I definitely get why people want more screen time with the crew and individual crew members (Perimedes, for example), but I actually kind of like the fact that we don’t know very many of them and we don’t hear any of them by name except Polites and Eurylochus.

(This can be seen as a continuation of this post where I talk about Odysseus seeing himself as above man and, therefore, above his crew.)

I have my own personal headcanon that Odysseus knows each of his men personally and by name, even those not on his specific ship, but I do think that having them as this unknown, unnamed blob of a force reenforces the me vs them conflict that Odysseus has.

Eurylochus is the voice of the crew and it makes sense that the crew wouldn’t bother Odysseus directly with things. He’s busy and it’s Eurylochus’ job to handle the unimportant stuff. But it means that Odysseus is separated from his men in more ways than one. He’s of royal blood (while most, if not all, of his men are not), he’s a war hero that will forever be remembered (while his men will forever be the vague title of ‘Odysseus’ crew’— iirc, this is actually why they open the windbag in the Odyssey, because they don’t think it’s fair that he gets the glory AND riches), and he’s the captain (while the rest of them have to follow his every order even when he refuses to listen to anyone but himself). He is inherently detached and singled out from the rest of the crew that are considered, both by the narrative and by the meta-ness of how EPIC is written, to be one singular entity.

“You relied on wit and then we died on it.”

The crew could’ve said “they died on it”, obviously pointing to Scylla’s victims and maybe even references those who died to Poseidon, but they wouldn’t because they are connected in a way that Odysseus does not relate to. This is, personally, also why I think that Odysseus is wrong when he says that Eurylochus would’ve done the same thing he did. People like to point to Circe’s island to say that Eury would’ve, but I disagree. Circe’s island is something entirely different and context matters here.

Eurylochus would’ve NEVER intentionally sacrificed anyone to get back home. To him, it’s better to have died together— which does add an interesting layer to him hurting Helios’ cattle. If Zeus had posed his ultimatum to Eurylochus instead of Odysseus, Eury would’ve picked himself to die every single time regardless of his own guilt or fault in the situation. And, to be honest, I think a lot of the crew would’ve too. These are selfish men, yes, but they are also men who would rather die of honor as brothers than disgrace themselves, especially because they’d know that getting home alone would be basically impossible anyways.

I bring this up because it’s yet another showing of how Odysseus is set apart from the others. “If you want all the power, you must carry all the blame” isn’t Eurylochus attempting to deflect from what he’s done with the windbag— he already thought Odysseus forgave him/moved on from that. He is specifically commenting on the fact that Odysseus made this decision without consulting any of them— something that Eurylochus didn’t do, with the windbag or on Circe’s island, and would never do because, again, the crew stands as a collective and they, along with the narrative, views each other as extensions of themselves.

The crew is so betrayed by what Odysseus did because they consider themselves to be a family, warriors in arms that will die for each other, and since going to the Underworld, Odysseus just doesn’t understand it. I sincerely believe that, had Odysseus told them and laid out the situation they were in, there would have been six men willing to volunteer themselves if there was truly no other way. Hell, Eurylochus might’ve even been one of them just to get as many of his friends home as possible.

I think that Odysseus is fundamentally different in how he views himself vs the crew and ‘Monster’ put the final nail in the coffin. I doubt it was intentional or anything more than the unfortunate reality that Jorge just didn’t have time or space for more content about the crew, but I think reducing them to a collective that stands behind Eurylochus from Odysseus’ perspective really works. In the early stages of the show, it highlights the foreshadowing within ‘Luck Runs Out’ and, as the show goes on, it really shows how Odysseus refuses to stand with them.

I particularly like that Mutiny’s blocking directions say that Eurylochus looks around at the gore while Odysseus keeps his back to it and the crew. I imagine a lot of scenes where Odysseus’ back can face Eury/the crew and it being symbolic of this dynamic— when the crew is distrustful in ‘Keep Your Friends Close’, when Eury is trying to admit that he opened the windbag in ‘Puppeteer’ and when he actually admits it in ‘Scylla’, when Eury is trying to convince Odysseus not to fight Circe, when he orders them to kill the sirens, when Zeus strikes them all down, ect.

Anyways, I don’t have any real way to end this. I do totally get people wishing there was more an emotional impact on the death of the crew for the audience, but I don’t really think it’s all that necessary and I like the implications that come from demoting the crew into being a singular ensemble entity.

[gagliandi]

From Idea to Lyrics

From Idea to Lyrics

From Idea to Lyrics: How to Structure Your Song(Inspired by Jack Perricone’s Great Songwriting Techniques)After you’ve decided on a title or central idea, it’s crucial to clarify what you want to say and how you want to say it. This involves choosing your perspective (who’s speaking, and to whom) and developing a concept that ties every lyric element together.The Power of a ‘Concept’A general…

[if-loki-was-a-fox]

I am not a person who knows music. but like. the way malevolent has such a limited selection of background music, such that you can become so familiar with exactly what each one means, how the music interacts with the rest of the scene to set the emotional tone just as it's supposed to be. I didn't consciously realize just how much of an emotional foundation and anchor, stability, it provides until the part 52, when that's torn away in an instant to be replaced by Kayne's new and ever changing symphony of background music, ever shifting, and never something familiar to the normal background music. it's like the music equivalent of having a rug pulled from under you, like the very ground beneath your feet is no longer staying as it should. not to be dramatic about it, or anything. but it's so uniquely unsettling. that's what really makes that scene feel so much more intense than other scenes where things go horribly wrong, I think

[calamitoustide]

“That oh from us, so much will grow.”   

chance with you - mehro/choices - messermoon/chance with you - mehro/unknown/waiting room - phoebe bridgers/choices - @sophsicle/waiting room - phoebe bridgers/choices - messermoon/waiting room - phoebe bridgers/unknown/faking - koda/choices - messermoon/faking - koda/the last day of pompeii -karl bryullov/take me back - heroe/choices - messermoon/take me back - heroe/the last day of pompeii -karl bryullov/peter - taylor swift/choices - messermoon/unknown/somewhere only we know keane/choices - messermoon/somewhere only we know - keane/unknown/peter - taylor swift/choices - messermoon/peter - taylor swift/unknown/we're in love - boygenius/choices - messermoon/we're in love - boygenius/choices - messermoon/we're in love - boygenius/choices - messermoon

[madrone33]

The Ghorman National Anthem

Here is the structure of the song, transcribed by ear, after many hours and listening more times than I can count to the crowd in Palmo Square, the end credit opera version, and the OST album acoustic version!

There's about ten different verses sung in the episode, none of which rhyme, but the refrain within the verse and chorus both stay the same. There may be a bit of variation in the vowels ('o' or 'a') depending on who's singing and in which style, but this is the way it's most consistently sung.

Verse:

[First line; seven syllables]

Gom bol dum Ghor (We are the Ghor)

[Second line; seven syllables]

Gom bol dum Ghor (We are the Ghor)

Chorus:

Vahlen (Valley)

Mejga (Highland)

Dip mo laimoon laiso lejna (Let me spend my every day there)

[rathologic]

I've always found Alexander Saburov interesting, especially P1 Rubin's take on him where he tells how Alexander in incognito saved people from burning house and went unrecognized for the deed (nor flaunted it). Wonderful and easy to miss characterization.

YES saburov's fucked up sense of performing duty by putting himself at risk... my favorite... have had thoughts brewing in response to this that aren't quite cooked enough yet but it's very much a gendered standard that he holds himself to IMO, of idealized masculinity as a responsibility. as an active role and as the way things must be done. making the choices that he thinks need to be made regardless of how bad they are for him. pairing beautifully with katerina's self-destructive attempts to conform to the extremely feminine-gendered role of mistress, pairing wonderfully with the two of them's catastrophic attempt to conform to the heteropatriarchal nuclear family archetype by adopting the changeling :^) and especially how this is a function of how saburov relates to his Job, a role that's been passed down in his family and Actually Is critical to the function of the Town, inescapably so as long as the system of rulers exists

[freshthoughts2020]

[candleeyed]

saw Shucked! yesterday. my main three takeaways:

1. I grew up in/around like 20 towns exactly like this

2. I like how one guy thinks he's in a romantic rivalry with the other guy (who just wants to escape with his money), and the main girl is just trying not to punch everyone. and her cousin is bisexual

3. oh this badass lady wants to carry this little conman around like he's her purse dog.

[asha-mage]

The thing about the Prose Edda and the Poetic Edda is that it's not like they're some sort of codified religious text. They're collections of stories and poems written down centuries after the Norse religion had died out, and in the case of the Prose Edda, were more popular as a poetry instruction manual with the myths being used primarily as examples. What they can tell us about the mythology, the religion, and the roles the gods played in the day to day lives of the Norse is actually pretty limited.

It would be like if future and/or alien scholars where trying to piece together an idea of what the Hellenistic mythology, religion, and tradition looked like, but with only Percy Jackson and The Olympians, Supergiant's Hades, and The Song of Achilles for sources- three works that all broadly agree on the Big Picture stuff, but diverge hugely in the details and just far enough to start scholars fist fighting each other.

(Which by the way, if I ever get time travel powers one of my first stops would be a future university panels where I can listen some of those shouting matches cause they would be lit as hell).

All this to say, getting hung up on canon for any mythology is already a doomed endeavor, but it's an especially doomed one for Norse mythology- and criticizing modern works that draw on those myths for not being accurate enough is silly, because at the bare minimum they are adaptions of an adaption. The best anyone can do is get the vibe right and hope for the best.

[orb-the-watchman]

this is REALLY wonky but this has been stuck in my brain for weeks and I had to get it out