Chord progression

The Muse – Some Personal Experiences

Posted on by IJ


High School Sucks
Image by beX out loud via Flickr

© I.Woloshen

A “muse” as a noun in the dictionary, is defined as “A guiding spirit. A source of inspiration.” You’ve likely heard many songwriters say, when discussing their writing, that they often don’t know where their inspiration comes from. Well, sometimes we know EXACTLY where it comes from 🙂

The fact is that most of your inspiration comes from the people and events in your life. A new lover can be a “muse” (as can an old lover remembered :-). This is probably the most common…why do you think there are so many love songs out there?? But your muse can also come from emotional events, whether these are personal events that leave you deliriously happy or totally grief-stricken, or world events which can have the same impact. The events of Sept.11, 2001, for example, inspired thousands and thousands of people in creative ways. When good or bad things happen, we all get the muse at some point or another.

Stories about other people can inspire songs. I once wrote a song called “Calling” after watching a news magazine show on television telling the true story of a traveling salesman who died in his car on a mountain pass in the middle of winter simply because he got stuck in the snow. That may not seem very inspiring…but what HAUNTED me about the story was that this guy kept waiting for someone to drive by and help him out, and didn’t realize that JUST after he drove through the gates leading to the mountain pass, they were closed for the winter. So no one knew he was there. He sat in his truck and waited for someone to come along, and while he waited he started writing in this journal, a kind of long love-letter to his girlfriend. There’s much more to the story, but he was essentially stuck there for months trapped by heavy snow, and finally succumbed.



For a long time, I had that story at the back of my head. I began to write one song about it, but it just wasn’t working, so I left it again for awhile. One day, I was watching a special on television about another Canadian songwriter, and something about the way he played inspired me to sit down with my guitar and try some folkier chord progressions. I didn’t think of it right away, but once the music and melody were finished, I realized it would work perfectly for the story I’d been carrying around so long. The lyrics took me about six months to get right, but it finally came together.

One thing I’ve learned is to be patient. If you try to force your muse, it just doesn’t work. Your muse also pops up at the most unusual times, so be prepared! My muse often comes in the form of people; people who’ve inspired me or said things that resonated for me, and people I’ve fallen in love with, of course 🙂 But I can also find inspiration in IDEAS. I fall in love with ideas! The things I’m most interested in (besides music) often put me in a very heightened state of awareness. Books I’m reading will begin a flow of thought, and sometimes a line will come out of that, or an entire idea for a song. Science interests me, as well as philosophy, psychology and spiritual thinking. In one song I wrote years ago, “Fusion & Fire”, I used astronomical properties, like fire, the planets, and the universe, as metaphors for long lasting love. Sometimes I still stick astronomical references in my lyrics.

I am fascinated by eagles, and once wrote a song based on the fact that eagles always die with their faces turned toward the last light they see. I heard a preacher once talk about that fact in spiritual terms, so I used the the light as a metaphor for life after death. The result was a song called “Eagles Eyes”.

But really personal experiences often creep into my writing too. Like many hormone-crazed teens, I had a mad crush on a math teacher in high school. Many years later when I saw him again that same ol’ feeling hit me, and the result was a song called “Good For Me”. I used a few math references in it, enjoying the idea of playing with these terms in a different way. Not that long ago, a good friend moved away, and I wrote a song called “Miles Away”…but the song ended up being about the distance we feel in relationships sometimes. So your personal experiences don’t have to come out exactly as you experienced them, they can be used in many other ways.

The latest song I’m working on came from one line…this often happens to me. One line will come and I have to fill in the rest of the story. Where did that line come from? It just sort of popped out when I was fooling around with some chord progressions and a melody. Sometimes I wonder… 🙂

Lovers, stories, world events, personal events, your own interests, the past, old friends…they can all be sources for your muse. I’ll bet you can even think of a few on your own 🙂

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Song Breakthroughs – How Do They Happen?

Posted on by IJ

© I.Woloshen

Have you ever had a song breakthrough? Do you know what I mean by that? I’m talking about a song that somehow stands apart from your usual fare…something that doesn’t seem at all your “normal” style of writing. How does it happen, and when it does, do you fight it or do you welcome it?

First of all, the “rut” we all get ourselves into once in awhile often creates a kind of frustration that is actually very useful. I relate it to what happens to children when they are small…just before they have a growth spurt, they go through a small period of restlessness and discomfort. As a parent, you KNOW that when they start getting restless, it’s because a change is coming! If, as a songwriter, you try to view your ruts as the frustration before the breakthrough, this might help you to get through them.

So what do you do to get to the “breakthrough” part? This should be treated exactly the same as when you are simply low on inspiration, which is pretty much the same thing. Many songwriters discuss the idea of listening to other music, something completely out of your normal realm, as being helpful in this cause. Trying other instruments can also bring about a musical epiphany. If you’re stuck on ideas for song topics, read a book that you would not have chosen before, go to a place you haven’t been before and people watch, or read some lyrics from your favourite lyricists.

I’ll tell you something that recently worked for me. I sat down with my guitar and started to pretend I was a completely different singer…I was basically “acting”. And for some reason, this brought out a very unusual (for me) chord progression, melody, and a kind of phrasing I hadn’t tried before. What is “phrasing”? In musical terms, it’s a grouping of words and melody. For instance:

Mary had a little lamb
Little lamb, little lamb

The first line has one phrase, the second has two. I’ve separated the phrases with commas. Do you write in long phrasings, or do you create a series of short ones in, for instance, a verse?



But I digress 🙂 The point is that pretending I was someone else just put me in a completely different head space, and out came something quite new for me. This is what I would consider a “breakthrough”. I could have just laughed at it and moved on, but instead I allowed myself to explore it a little. Don’t throw anything away too quickly! If you’re not sure about it, record it on your trusty little digital recorder and then listen to it later with fresh ears. Then again, you might be extremely excited at what is coming out and have the drive to finish it right then and there. The opposite could also be true…you could finish it and then when you’re listening to it later, it could sound like complete garbage. Oh, well 🙂

In the beginning, as you’re honing your songwriting craft, you might have quite a few breakthroughs. A learning environment almost always inspires. As time goes by, you’ll likely find that you fall into more predictable patterns with your writing as well. This is not necessarily a bad thing…hey, maybe it’s just your style! But if you feel stagnant, then it’s time to do something really different in your life that will change your perspective and help you to find a fresh path. Changing your songwriting environment may also help. Have you ever tried to write something in the great outdoors? On a beach or under the stars?

Another point: don’t be afraid to explore this breakthrough with several songs. Sometimes painters will draw a number of sketches of the same subject before they focus on one perspective and paint that. If you’ve come up with something really different for you, let it develop a little by writing a couple of songs in the same style. Breakthroughs don’t come along very often…so make the most of it!

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Chord Keys

Posted on by IJ

© I.Woloshen

Here’s an email I received recently:

“Irene,

If I write a song and start playing the first chord as (A) what other chords can I use that would fit. Usually I go to the C to G type, but that’s because I’m limited. How can I find a wide selection of chords that would that would fit ? especially with minor chords.”

When I first started to learn how to play guitar, every new “neat” chord or progression I learned ended up being in a song 🙂 The more I learned, the more I wrote! So I understand completely the limitations that pop up when you don’t know your instrument all that well. Translation: Learn your instrument!

Here is my simple explanation of very basic chord theory…I hate theory, but it helps to know some of it so you can expand your understanding:

First of all, chords are grouped together in families called “keys”. These chords all relate to each other, which is why they sound good together! If you sit down and look at the chords to a lot of popular songs, you’ll notice that very often the same chords will be together in different songs. If you see a song with a “G” in it, you’ll often also see a “C” and/or a “D” too.

Below, I’ve listed some keys, and all of their relative chords. If you play these chords together, you’ll notice that they all sound like they work together…voila!

Chord Keys
Chord Keys

So that’ll give you a few chords to work with. But of course there are MANY, MANY more different types of chords! Not only that, but you don’t HAVE to use chords in the same key…experiment by throwing a chord in a different key in somewhere…that’ll give a little musical twist to a song! Nirvana was a band notorious for writing songs with chords that were in different keys…it gave a kind of strange mood to some of their material that was part of their ‘sound’. What’s your sound going to be? 🙂

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Dynamics and Tension: What They Are and How To Use Them

Posted on by IJ

© I.Woloshen

Having spent many years listening to and reviewing other songwriter’s songs, and working on my own, I am struck by a number of recurring problems that songwriters have. The obvious ones, like a low quality recording or not having a great singing voice, aren’t the only problems. What seems to be an affliction of many of the songs is that they lack dynamics and tension.

What exactly are dynamics in songwriting? Simply speaking, they are contrasting parts. For example…if you write a song with the chord progression and/or the melody the same in both the verses and chorus, you risk having a pretty dull sounding song. That is not to say that it hasn’t been done effectively, but this is just one example that I came across while reviewing songs. By putting a little contrast in different places, your song will stand out!

What exactly do I mean by “contrast”? All I’m really talking about is change…you can create contrast by having a different melody in the chorus than in the verses. When it comes to melody, you can also create these dynamics within a verse. For instance, maybe the melody starts out in a lower register (lower notes) at the beginning of the verse, but gets higher as the verse progresses. Or, you can change chord progressions within a verse toward the same end. So, for example, the first line might contain 2 bars of G followed by two bars of C. Maybe the next line is the same. But the third line could begin with a D and so on, just to create that contrast. But it doesn’t stop there! Dynamics and contrast can also be achieved lyrically…the mood or emotion can change from verse to verse or verse to chorus. As an example, the song might start out with the main character walking into an empty bedroom and feeling low because his lover has left him…the next verse might be him reminiscing about their relationship, about what they had and lost…and then the chorus could be filled with his anger at being jilted. Do you hear it? I mean, just by reading those words, can you almost hear what the music would be like? Interesting 🙂 That’s the natural dynamic of the story, almost begging you to put the right chords and melody to it!

Dynamics and contrast can also be achieved within the meter of a song (the rhythm of the words). As an example, in one of my songs, Let’s Make Trouble:

“He said ‘Damn! If you don’t look good tonight
……………………………………….
You’re a little bit of trouble and it’s just not right.’
……………………………………….”
But with a wink of her eye, he forgot what he said
Thoughts on fire and a body hell bent”
……………………………………….
……………………………………….
(“Let’s Make Trouble” Copyright © 2000 I. Woloshen SOCAN)

So what I’ve done in the example above (without actually showing you the music) is to show you how the lyrics work within the verse. There is a line of lyric, then just an instrumental line, then another line of lyric. THEN, I do two lines of lyric in a row, followed by two instrumental lines in a row. So the feel of the first half of the verse is more spacey, but the two lines in a row create a kind of build, feeling like I’m singing faster, and then there’s the release of the two instrumental lines. (If you’re interesting in actually hearing it, you can listen to Let’s Make Trouble on my Soundclick page. Scan down the page to find it…) So a dynamic is created within this verse by having the first half different from the second half. The length of lines can also be a contrast. In a verse of a song, you might have a long first line and a shorter second one, etc. You could also have, in a 4 line verse, three shorter lines and then a long 4th line. If you make everything exactly the same and don’t build in a few contrasts, there is no dynamic, and the song can sound pretty dull pretty quick!

Tension is another aspect that is often lacking in a lot of the songs I hear. Quite often, you’ll find choruses have a higher range of notes than the verses in order to create a dynamic effect. So there’s the “contrast” we spoke of earlier. But this kind of build up to the chorus does something else: it creates tension. Let’s put it this way. If you hold a rubber band loosely, and then slowly start to pull both ends of it, this would be what the verse is trying to accomplish…you pull and pull…then SNAP!! The chorus is the release of the rubber band…the release of tension. The next verse creates that kind of build again up to the chorus and the whole process repeats. But tension can also be created lyrically…think of a standup comic telling a story. He’s setting the stage, telling the story just right so that when he gets to the punchline or the payoff, you’ll howl with laughter! And then he might go onto another related story, occasionally referring back to the first one. He’s manipulating your emotions, playing you in order to get his laughs exactly where he wants them. And just like the comic, timing is another factor in songwriting, where you sing and where you leave a space can really produce an effect or leave an audience flat. Building up to something and then not delivering can be a disaster! You’ll never get a slot at Yuk Yuk’s again!

A great songwriter knows how to time everything…it can be done with humour, with anger, with any type of emotion…for example, expressing a deep longing and make you feel it too in exactly the right place and at the right time. A great movie maker can do the same thing. In fact, I think songs are very much like stories and movies…all stuffed into 3 or 4 minutes!

One other note: these effects…dynamics, contrast and tension…are also often achieved in the production of a song when it comes to the recording process. Different parts of a song can be supported by different instruments, a build of instrumentation, softer or heavier, louder or quiet. But if a song has all of these elements to begin with, you don’t have to rely on creating it in the studio! The best songs can be sung with one voice and one instrument creating that wonderful array of dynamics, contrast, tension and release without any need for anything else!

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Putting Music with Lyrics

Posted on by IJ

Here’s an email I recently received:

“Dear Irene,

I play guitar (lefty), just started, and i find it sometimes abit hard to get songs i like (like, by famous people, from the radio, whatever) abit hard to play, because i can’t get the exact tune. So i wanted to start writing my own songs. So i sat down to write some, and i couldn’t. i mean, i wrote a couple, but i can’t seem to accompany my voice (which isn’t very good) with my guitar. i like chords more than notes, so i just go through all the chords i know, just the main ones, and try to fit it together. Anyway, the whole point of me writing, is to say thankyou, you’ve helped me quite abit. But could you please put abit more about putting music with lyrics.”

I began writing songs for the same reason you did…I couldn’t play my favourite radio hits! In fact, over the years I’ve met many songwriters who started for the same reason.

When I was in Grade 12, I was given the opportunity to write some music to several poems in the play “Through The Looking Glass”. The idea was that I would play and sing them during the performance with the cast…I was put up in a loft at the back of the stage with a sound system. But the first REAL challenge was writing the music. I had always come from a “music first” place in my songwriting, and never before had tried it the other way around, so when I first sat down with all of these strange poems, I had no idea where to start. After succeeding with one of them, the others came more easily. Here’s what I learned, and what I use to this day…maybe some of it will help you:

1. A song lyric should have a built in rhythm, or “meter”….which means when you read it out loud, you can sense a beat to the words. This will help you to establish the time signature…4/4 is most common, four beats to the bar. Simply speaking, the strum pattern on your guitar should reflect this time signature.

2. Before you even establish the chords, you need to find a melody that matches the lyrics. Don’t go near any instruments until you’ve tried just singing the lyrics accapella (without accompaniment) and found a melody. This takes practice! Look at the structure of the verses…how many lines are there? Are the lines the same length of syllables, or are they different? If you’ve got an even number of lines, say 4 or 6, try singing one melody for the first line, and then another for the second…repeat the first melody for the 3rd line and the second melody for the 4th…see how that feels. Keep it simple. When you get to the chorus, that should be a different melody. Try singing it higher up…the chorus is a kind of climax, if you will, so it needs to be more dramatic in some way. Raising the melody at the chorus is one way of achieving that. If there is a bridge…sing that differently too. Essentially, each part of the song has its own mini-melody, but they all fit together. Creating a great melody is not achieved instantly! Well, not in most cases anyway 🙂

3. Let’s assume you’ve found a melody…now what are the chords? There are several ways you can go about this, most of them take time! First of all, you can randomly look for a chord that “fits” what you’re singing. Knowing a little bit about chords will take you a long way. Is it a sad song? Should the chords be minor chords, or is it upbeat? Do you hear chords around it already in your head when you sing the melody? If you play guitar and have a capo, use that as a means of getting into a key that suits your voice and the melody…you don’t have to play barre chords or fancy progressions, just use the capo up the neck until you find something that’s close. Get yourself a chord book and find out what chords are in a key…which chords go together, in other words. Try out some of the other chords in the key you decide on.

4. When should a chord change? This is where your “ear” really comes in handy. When you listen to a song on the radio, can you hear when the chord changes? If you can, you’re already half way there. Start out simply, by playing one chord all the way through the first verse, let’s call it “Chord 1″…when you hear that the melody doesn’t “fit” that chord, that’s where you should change chords! Okay, so now you need to find “Chord 2″…look in your chord book at all of the chords associated with and in the same key as “Chord 1″…and try them each out. Most likely, one of them will fit. So now we have “Chord 1” and “Chord 2”. Maybe your verse looks like this:

Chord 1
La, la, da da da, la, la, la

Chord 2
La, da da, la, da da

Is the rest of the verse repeating these phrases? Or are they different somehow? If they are the same, use the same two chords again. If they’re not, try another “associated” chord, or a chord in the same key. Now maybe you’re getting a feel to your song. Use the same process for the chorus, if you have a chorus, and the bridge, if there is one.

That is a beginner’s approach to writing melodies/chords to lyrics…remember to keep it simple! And when it gets “boring”, make a change! No one can write those melodies for you, it is something you learn to develop in yourself over time and with much patience (and sometimes none 🙂 Good luck!

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