The Complete Guide to

MODERN
SONGWRITING by Greg Daulton
 Foreword to the Reader

Whether just beginning to write original music, or an already accomplished songwrit-

er, Modern Songwriting is intended to challenge any level of musician and offer alternative
thought toward each of our individual methods of songwriting.
While many excellent compositions may be written using only the Getting Started sec-
tion of this book, the Further Thinking section is included for those already completed Getting
Started to experiment with further supplemental techniques and practices in their composition(s).
Furthermore, as this book serves to challenge individuals through their own self-set goals and
approval, it is not only possible to, but recommended that the reader skip between lessons
within either section, and apply teachings as one feels necessary.
As the readings and exercises in Modern Songwriting are designed to be relatively
short, the density of each lesson suggests the reading and application of only one lesson per
day. Therefore, one should consider not how fast one can accomplish these lessons in or-
der to reach the next, but how much of which lesson(s) one should choose to apply in their
composition(s). As advice to the reader, because this book may be used to write multiple songs,
writing in pencil and/or photocopying of worksheets prior to filling out is highly recommended.
Finally, while the guidelines and rules set forth in this book should be seen as a road
map to songwriting in general, it is important to remember that in the creation of any master-
piece there are no absolute set rules… Congratulations! You are on your way.

To download your free suite of Modern Songwriting audio examples please visit:
www.Modern-Songwriting.com

Ebook users click next to each example to hear embedded audio.

 Getting Started

The Getting Started section of this book is designed for beginning one’s composition,
or continuing an already started, or partially written song. While it is recommended that the
reader start by completing the readings of The Fundamentals of Music, Understanding Rhythm,
Interpreting Melody, and Conceptualizing Harmony before other sections, the order of readings
and which lessons are to be employed is completely at the discretion of the reader.
Furthermore, while the readings and exercises in Getting Started, and all of Modern
Songwriting are designed to be relatively short, the density of each lesson suggests the reading
and application of only one lesson per day. However, following the first reading, the reader may
wish to read two or more lessons per day with the intent of employing a combination of the
teachings at one time in one’s composition.
Lastly, as each reading requests the reader to critically implicate the teachings of this
book into their own writing, the reader is encouraged to question the guidelines in these les-
sons and to consider alternative techniques with each reading and song written using this book.
1. Fundamentals of Music

With music it’s important to recognize that as a painter paints on a canvas and a sculp-
tor works in clay, the musician’s parameters are time, more specifically notes and their duration
within this time.

While lyrics, chords, melodies, basslines, and drumbeats may seem the obvious ele-
ments of any song, there are actually only three fundamentals which any of the above are
founded upon, and these three governing over all instrumentation. Listed in order of impor-
tance, they are rhythm, melody, and harmony.

As seen in drum music, rhythm is the only one of the three that can act as music on
its own. And since music is an art form in time, neither a melody, nor a harmonic progression
would exist without rhythm to dictate the notes’ duration or rhythmic value over time. Without
rhythm, notes and chords would simply just start, and never end, and in fact if they ever did
end, at that moment some rhythmic value would be placed upon them.

Melody is the second of these three, because it is with melody that we introduce pitch
into the spectrum of music. As melody would not exist without its rhythmic counterpart to
control the duration of pitches, harmony would not exist without the concept of pitch in which
to harmonize.

Finally we get to harmony, the once thought of foundation of any song, and now the
lesser thought younger brother to its two more prominent siblings. But harmony, while being
the least important and a completely unnecessary element of music, gives us something that
neither rhythm nor melody are capable of. The very moment we hear two or more pitches at
the same time we have harmony, and it is with harmony that both allows for the layering of
additional pitches, yet at the same time is a product of itself.

So, now that we have a greater understanding of the fundamentals of music, which
should we start with? Please complete the following sections in any order before con-
tinuing on to other lessons.

Understanding Rhythm
Interpreting Melody
Conceptualizing Harmony
2. Understanding Rhythm

Ex 2:1
4
1

w
NAME NOTE REST BEAT VALUE 4 MEASURE TIME SIG. BEAT VALUE

w
1 2 3 4
(#)
WHOLE 4
1

h
Œ
1 2 3 4
(#)
HALF 2
h h 2

q © © © ©
‰
1 2 3 4
(#)
QUARTER 1
4

e ≈ © © © © © © © ©
1 & 2 & 3 & 4 &
(#)
EIGHTH 1/2
8

x ©©©© ©©©© ©©©© ©©©©

1e&a 2e&a 3e&a 4e&a
(#)
SIXTEENTH 1/4
16

With the first mention of rhythm, most people’s first inclination would be the drumbeat
of a song. However, rhythm, being the backbone of all music, actually establishes itself in a
piece of music far before any drumbeat, and in most cases, is predominantly responsible for de-
termining the feel of the composition, including the drum beat, as the meter, measure, tempo,
and phrasing allow.

Before moving forward, it’s important to understand why measures exist in the first
place. Measures are used to group notes into tangible chunks by number of beats so as to bet-
ter navigate a piece of music. Therefore, it makes much more sense to say “Let’s take it from
measure 35” than “the 140th beat”.
The meter, also referred to as a time signature, is identified by two vertically aligned
numbers placed to the left of the staff, and determines how many beats will be in the measure.
The bottom number indicates the value of the beats used: a 4 for quarter note value beats, or
an 8 for eighth note value beats, and in some cases a 16 for sixteenth note value beats, or a 2
for half note value beats. The top number indicates the number of these beats per measure.

For example 24 would mean two quarter note value beats per measure, 34 three quarter
note value beats per measure, and 44 four quarter note value beats per measure. Together, an
agreed upon measure with meter will dictate the feel of a musical phrase.

There are several different meters to pick from, and each its own characteristics and
feel based upon the placement of the downbeats, or emphasized beats. A few of the common
meters are 24 , 34 , 44 , 68 , 98 and 12
8 , but there are many to choose from.

The below example demonstrates how to count a few different meters, and the
downbeats to be emphasized (indicated in bold).

Ex 2:2
 As 24 and 44 are very similar to each other, one measure of 4
4 can sometimes easily be
mistaken for two measures of 24 due to the lining up of downbeats.

Ex 2:3
1 2 1 2

Ex 2:4
1 2 3 4

Therefore, it is common for composers to only utilize a true 24 measure should the musi-
cal phrase actually only be 2 beats long, or when adding two beats between phrases.

Ex 2:5

4
4 is the most commonly used meter in today’s music, so common that it’s sometimes
indicated with a C for common timing, and is counted |1 2 3 4 |1 2 3 4 |. Being four quarter
note value beats per measure, a standard 44 drumbeat would be kick drum emphasizing beats
1 and 3, and snare beats 2 and 4.

Ex 2:6

hi hat
snare
kick

A 34 measure is most closely associated with ballroom dancing like the waltz, and
counted |1 2 3 |1 2 3 |. Being less common in today’s popular music, an example of a drumbeat
would be kick drum emphasizing beat 1, and snare on 2 and 3. However, being less common
and less familiar today, more variations within this meter may be widely accepted.

Ex 2:7 Ex 2:8 Ex 2:9

 6
8 is where we introduce compound meters. Simply put, compound meters allow for
divisions of three equally spaced beats per PULSE instead of two equally spaced eighth notes per
BEAT as seen in 24 , 34 , and 44 . While there are six eighth notes in both 68 and 34 , 68 is actually a
subdivision of 24 and based on three eighth notes per pulse |1 2 3, 4 5 6 |, when compared to
3
#’s
4 two eighth notes per beat |1&, 2&, 3&|. 98 is similar to 68 in that it is based on divisions of
three equally spaced beats per pulse, but 98 is the subdivision of 34 counted |1 2 3, 4 5 6, 7 8 9 |.
Following 98 we have 12 8 , a subdivision of 4 , and counted |1 2 3, 4 5 6, 7 8 9, 10 11 12 |. The
4

below example depicts the correct ways to subdivide compound meters when paired with their
parent time signatures.

Ex 2:10

While there is a large abundance of songs written in 24 and 44 , the following examples
demonstrate just a few popular melodies in which utilize more unusual time signatures.

Ex 2:11

Ex 2:12
Ex 2:13

Ex 2:14

Finally, as the mathematics regarding time signatures suggest, we can also create our
own meters such as 13 12
8 (thirteen eighth note value beats per measure), and 16 (twelve sixteenth
note value beats per measure), etc. However, in order to justify the meter chosen, unless a
phrase can be equally divided across multiple measures of the chosen meter, the meter should
be equal to only the number of beats needed to complete the phrase without any beats remain-
ing.
 Exercise

Now that we understand the different breakdowns of different meters, try experimenting with
some existing beats, melodies, or harmonic progressions by altering the meter to feel the dif-
ference. Choose a meter in which to place a beat, melody, or harmonic progression; and take
time to consider tempo, and the correct placement of downbeats.

If you have already decided your beat, melody, or harmonic progression, experiment with
lengthening or shortening the rhythmic value of notes and chords to fit different meters. Using
the space provided in the back of this book begin to assign a meter in which to place a beat,
melody, and/or harmonic progression.
3. Interpreting Melody

When it comes to writing melodies, there are only a total of three circumstances in
which to write melodies. They are: writing a melody by itself or against a beat, writing a melody
in conjunction with another, and writing a melody in conjunction with a harmony/two or more
melodies. And within these three circumstances only three types of melodies: lead or support-
ing melodies, arpeggiations of chord progressions, and ostinatos.

In all three circumstances in which to write a melody, our two different approaches
are whether the melody is to be diatonic, using only notes belonging to a particular scale, or
non-diatonic. For intensive purposes we will include all scales and modes in our mentioning of
diatonic melodies.
Next, it all comes down to our tonic, or first note of the scale. As a melody emerges
with the sounding of each note our goal is to return to the tonic, but as each note in a scale has
a tendency or want to move specifically to another, the path we choose to return to the tonic is
ultimately dictated by these tendencies.
As the below example demonstrates the diatonic paths notes choose to return to the
tonic in a major key, the tonic is the only stable tone and can move to any note, while other
notes tend to follow a predetermined sequence to return to the tonic. In the below example
notes of the scale are indicated using roman numerals to represent their degree within the key.
For example in C major, C is the tonic or I, and G is the 5th degree of the scale and therefore
represented using a V for five.

Ex 3:1
Major

V vi vii I ii iii IV V vi vii I

Sol La Ti Do Re Mi Fa Sol La Ti Do

As listeners, we are accustomed to the sounding of certain notes in succession of one
another. When we hear a passage of notes that sounds as we expected, we hear consonance,
and when unexpected, deception, ultimately leading to dissonance if left unresolved. As our
melody is played, every instance of deception builds tension, and the more tension built the
more impact of a resolution once we hear consonance again. Furthermore, in the ending of
just about every melody, as mentioned before, it’s all about the tonic, and generally speaking a
melody does not sound concluded without playing the tonic as the final note.

Ex 3:2 Ex 3:3
 If starting a song by writing a melody by itself, we are free to go about simply play-
ing the notes we like in the order we like. The melody can be intended as a lead or support-
ing melody, arpeggiation of a chord progression, or ostinato. Once finished, notes placed on
downbeats and/or of the larger rhythmic value should be considered to outline chords, should
we choose to add a harmony to accompany the melody.

Ex 3:4

If writing a melody in conjunction with another, such as a bassline, we must take into
consideration the ways in which notes harmonize with each other when sounding at the same
time. As we are also accustomed to the sounding of certain intervals between notes over oth-
ers, we have consonant and dissonant sounding intervals as well.

Ex 3:5 Ex 3:6

Generally speaking our consonant sounding intervals should be intervals in which

chords are formed ie: 3rds, 4ths, 5ths, 6ths, octaves etc, while our dissonant intervals are mainly
2nds, tritones, and 7ths. In the following examples intervals are displayed as numbers between
harmonizing notes.
 While consonant intervals may be played endlessly in succession of another, the ways
in which we must treat dissonant intervals require some finessing. As a rule, any more than one
or two dissonant intervals directly in succession of another will generally result in cacophony,
or not sounding pleasant. Therefore, to avoid this, when writing a melody in conjunction with
another, we may insert additional notes or remove notes where necessary to prevent the suc-
cession of multiple dissonant sounding intervals in a row.

Ex 3:7 Ex 3:8 Ex 3:9

Ex 3:10 Ex 3:11

Following the completion of the two in conjunction melodies, as rhythm permits select
harmonizing notes will dictate or imply a chord progression and harmonic rhythm.

Ex 3:12
 Finally, as two or more in conjunction melodies imply a harmony, our final circumstance
of writing a melody in conjunction with a harmony/two or more melodies should be thought of
as one in the same. But by already having established a key by way of a harmonic progression,
or implied harmonic progression, each type of additional melody added comes with its own
considerations.

We can write a lead or supporting melody that spans over the entire harmonic pro-
gression. While in some instances we may need to alter the melody(s) or harmony to better
intervallically accommodate one another, keeping things diatonic may help to avoid dissonances
between the harmony and melody(s).

Ex 3:13
Amin Fmaj7 Dmin Fmaj7
 We can also blend in with the chord progression by playing a series of arpeggios or
chord based melodies that move with each chord throughout the progression. However, while
this may help to add texture to a standard chord progression and relatively easily, it may present
challenge concerning a more busy activity of intervals if attempted over the implied harmonic
progression of multiple melodies.

Ex 3:14 Ex 3:15

Amin Fmaj7 Dmin Fmaj7 Amin Fmaj7 Dmin Fmaj7

Thirdly, we can accomplish writing our melody by playing short exactly repeating melo-
dies called ostinatos. An ostinato is when the same arbitrary melody repeats several times per
chord, implied chord, or harmonic phrase with little to no regard for interval or harmony. As
some of the ostinato’s notes will consonantly harmonize with tones of chords, and others will
not, an ostinato should only consist of scale tones diatonic to the same key of any melodies or
harmonic progressions to preserve the awareness of the keys tonal center.

Ex 3:16

Amin7 Amin7/G Fmaj7 Fmaj7
 Exercise

Using the space provided in the back of this book begin to write your melody(s).

If starting to write a song with a melody, once the melody has been decided, experiment with
playing the melody over the different chords that the melody may suggest. Then experiment
with different meters and changing accompanying chords on either only downbeats or back-
beats to establish a constant harmonic rhythm.

If writing a melody in conjunction with an already existing melody, such as a bassline, pay close
attention to the intervals between the notes for suggested chords. Try to define suggested
chords by harmonizing notes on either only downbeats or backbeats to establish a constant
harmonic rhythm.

If a harmony has already been written, try creating a melody using only chord tones before add-
ing additional scale tones. Then determine which type of melody will best suit the progression.
4. Conceptualizing Harmony

When it comes to writing a harmonic progression, there are two types, diatonic, using
only chords naturally occurring from notes diatonic to the key, and non-diatonic. For intensive
purposes we will include all scales and modes in our mentioning of diatonic progressions.

With literally limitless combinations of chord progressions out there, we only really hear
a small fraction. Many songs share the same progressions, and oftentimes, entire songs can
be harmonically identical to each other. This is because as listeners, we are accustomed to the
ways in which notes seemingly have a want to move to others. And as a chord is nothing more
than a collection of these notes and their tendencies, chords too have tendencies to move to
specific other chords. Furthermore, some chords may have a stronger want to move to another
chord, and are therefore considered less stable.
As the below examples demonstrate the diatonic paths chords choose to return to the
I chord, I is the only stable chord and can move to any chord, while other chords tend to follow
a predetermined sequence to return to the I chord. In the below examples chords of the scale
are indicated using roman numerals to represent their chord quality and degree within the key
utilizing uppercase numerals for major, lowercase for minor, and lowercase o for diminished.

Ex 4:1 Ex 4:2
Major Minor

IV V iv v (V)
iii vi I VII III VI i

ii vii o
ii
o
vii
o

Following this, in writing a progression there are only two circumstances in which to
write a chord progression. We can either start a song by simply deciding the chord progression,
or if the melody(s) has been written, it should effectively dictate an implied harmony. This said,
longer sustaining, more prevalent, and/or notes attacked on downbeats contained in a melody
should almost always suggest chord tones.

Ex 4:3
Cmaj (I) Emin7 (iii) Amin (vi) Fmaj7 (IV) Dmin7 (ii) Cmaj (I)
 Next, depending on the duration of a progression, we may want to consider delaying
an expected movement by way of inserting different chords in between a specific chord and its
desired next chord. This can be thought of as the entire strategy behind writing chord progres-
sions.

Ex 4:4
Cmaj (I) Emin7 (iii) Amin (vi) Cmaj (I) Fmaj7 (IV) Cmaj (I) Dmin7 (ii) Cmaj (I)

As another example, in a IV V I blues, typically following the V chord, which has a
strong tendency to move to I, we insert the IV chord to delay this expected resolution. By delay-
ing the resolution we build tension, and allow for a larger feeling of resolution upon reaching
the I chord. But should too many chords come between a chord and its next desired chord, we
risk loosing our orientation of an expected resolution.

Ex 4:5

Ex 4:6

Bdim (viio)
 In manipulating this relationship of tension and resolution, our goal is to create a
progression that keeps moving, but has an element of stability to it. Too much movement in
our progression, and we risk our progression sounding too busy, but too little, and we risk our
progression just not sounding interesting enough. Furthermore, as the goal of any progression
is to return to the I chord, with too quickly a return we risk having a back-and-forth sounding
progression, but too long until we reach I again and we risk loosing our grasps of the tonal
center of the key.

Ex 4:7

Ex 4:8
o

While the above examples may suggest that it is in the sheer number of chords used
that affects our ability to maintain an awareness of a tonal center, it is actually in the expected
movement that each chord implies will follow. Therefore, it should be thought that it is in the
amount of movement a progression suggests rather than the number of chords per phrase that
dictate the awareness of a tonal center, and thus why so many popular songs stick with a three
or four chord progression. By only allowing two or three chords before returning to the I again,
the listener can quickly be reassured of the tonal center of the key.

Some popular four-chord progressions are:

Diatonic Progressions
Major Key Minor Key
I - V - vi - IV i - VI - III - VII
I - iii - IV - V i - III - VI - VII
I - IV - ii - V i - VII - VI - v
I - IV - I - V i - VII - VI - VII
 Exercise

Using the space provided in the back of this book begin to write your harmonic progression.

If starting a song by writing a chord progression, start with as few chords as possible. Listen for
each chord’s tendency to move to another, and experiment with either resolving or delaying this
tendency by inserting additional chords as desired.

If writing an accompanying progression to an already written melody, identify which notes

from the melody suggest chord tones, and experiment by superimposing each chord that the
melody’s notes may suggest. Try to keep the harmonic rhythm constant, and primarily to only
downbeats or backbeats.
5. Effective Basslines

While it may seem simple to lock down a cool beat on drums, or to come up with a
basic chord progression and melody to accompany it, writing a truly effective bassline may seem
to present some challenge.

Firstly, we must understand that in an ensemble the role of a bassline is to connect the
pitched instruments to the percussive. While the rhythm section in an ensemble generally con-
sists of a bass player and a drummer, the rhythmically aligning of these players parts combined
with the sounding range of the bass allow for the bassline to color the drumbeat. This said, by
playing tones simultaneously with specific drums within the drumbeat, a bassline’s tones blend
with drums allowing for the drumbeat to further resonate amongst the pitched instrumentation
of the ensemble.
There are several ways in which to accomplish this, but as a bassline is a melody at its
core, it should follow the same set of considerations as writing a melody. But in doing so, all
basslines fall into one of only three categories. These categories are blending in, pedal tone and
ostinato, and lead or supporting melodies.

Blending in is by far the most commonly used technique today, whereas it is also most
players’ go-to when first getting acquainted with a groove. Blending in can be described as
when the bassline shares the same harmonic rhythm as the chord progression. Oftentimes, this
is accomplished by doubling the roots of chords, but blending in actually pertains to the dou-
bling of any of a respective chord’s tones, or any moving melody outlining the chord progres-
sion.

Ex 5:1
Ex 5:2

While it may seem that in blending in the bassline is subject to the harmonies outlined,
since we generally hear the lowest tone in a harmony as defining the chord, the bass is actually
in control. This said, a bass player can actually dictate inversions of chords, and should a bass
player wish, they can actually change the chords we hear by the notes they choose to play.
For example, if a guitar player is playing an F major chord, and the bass player plays
an F note, we hear the chord as an F major, but should the bass player decide to play a minor
3rd below the F, a D, we then hear the chord as a D minor seven. The below example demon-
strates how a whole note harmonic rhythm has been changed to a half note harmonic rhythm
by way of the bass further determining the chords.

Ex 5:3
Fmaj7 9
Dmin7
Dmin7 Amin Fmaj7 Dmin bB maj Fmaj
 This can be a very effective technique in adding motion to a progression, and leads us
to our next category of basslines, pedal tone and ostinato. Pedal tone and ostinato are another
common technique, and while they may be slightly different from each other, serve the same
function in a tune, and thus are included within the same approach.
Pedal tones are best described as long sustaining notes that stay the same regardless
of the movement of chords or melodies surrounding them. Since some tones can remain com-
mon amongst the different chords throughout a progression, these tones tend to work the best.
However, part of an effective pedal tone or ostinato is in the tension built when a tone actually
temporarily clashes against another between consonantly harmonizing with others.

Ex 5:4 Ex 5:5
Fmaj7/A Amin Dmin/A Fmaj7/A Fmaj/C Amin/C Dmin7/C Fmaj7/C

Ostinato can be thought of as a more rhythmically specific variety of pedal tone in

which a rhythmic succession of notes is repeated while the chords, or other melodies of the
song seem to arbitrarily move around the ostinato.
Ex 5:6
Fmaj7 Amin Dmin Fmaj7

Lead or supporting melodies are given to the bass player in many styles of music. Sim-
ply put, the bass plays a melody and in turn helps determine the meter, feel, tempo and phrase
length of the sections. As with any melody, the notes of this melody should help dictate, or
imply a harmony, and should intervallically cooperate with any other melody or chordal progres-
sion.

Ex 5:7

As there may be only three approaches toward writing a bassline, consider employing
two or more approaches within one song. Also consider that in applying the desired technique,
it may be in the combination against the other elements of a song that make one approach
more effective than another. Furthermore, as it may be easy to write a bassline that “works” in
a song, if one considers all options, a truly great bassline may be within one’s grasps.
 Exercise

Which of the above techniques would YOU usually consider first in your writing? Try all others
first before deciding on which approach to writing your bassline. Using the space provided in
the back of this book begin to write a bassline.

If a drumbeat has already been written, consider both downbeats and backbeats in which to
align notes of the bassline with select drums of the drumbeat. Establish a constant harmonic
rhythm in which to blend the drums with the ensemble.

If starting to write a bassline as a lead melody, once the melody has been defined, experiment
with playing the melody over the different chords that the bassline may suggest. Then experi-
ment with different meters, and changing accompanying chords on either only downbeats or
backbeats to establish a constant harmonic rhythm.

If writing a bassline in conjunction with an already existing melody, pay close attention to the in-
tervals between the notes for their suggested chords. Try to define suggested chords by harmo-
nizing notes on either only downbeats or backbeats to establish a constant harmonic rhythm.

If a harmony has already been written, try creating a bassline using only chord tones before add-
ing additional scale tones. Then determine which type of bassline will best suit the progression.
6. Drumming Explained

Ex 6:1
CRASH CYMBAL CRASH CYMBAL

RACK TOM 2
RACK TOM 1
SPLASH CYMBAL RIDE CYMBAL

CHINA CYMBAL
HI HAT

SNARE DRUM FLOOR TOM 1

FLOOR TOM 2

KICK DRUM

KICK PEDAL
HI HAT PEDAL

Ex 6:2

While most people would explain the role of the drummer in an ensemble is to keep
time, the more specific explanation of the role of a drummer would actually be to accent time.
While keeping time is one of the many roles of a drummer, keeping time is actually a by-product
of accenting the tempo, pulse, and meter by way of establishing a drumbeat.
An example of how a drumbeat is broken down is as follows. Within a meter we have
downbeats and backbeats. In a standard 44 rock beat the downbeats, beats 1 and 3 in most
cases, are emphasized using the kick drum, and the backbeats, beats 2 and 4, accented by the
snare. The hi hat and ride cymbals are interchangeable for one another, and while exceptions
may be made, generally play a repeating pattern, or constant quarter, eighth, or sixteenth note
permutations throughout a measure.
Ex 6:3 Ex 6:4 Ex 6:5 Ex 6:6

Crash, splash, and china cymbals, can be added as an increase in dynamic demands, or
can be seen as substitutions for patterns played on the hi hat or ride cymbals.

Ex 6:7 Ex 6:8 Ex 6:9 Ex 6:10

In addition to cymbal substitutions, rack and floor toms, predominantly used in fills,
and rolls, etc can also be utilized as alternatives to our above standard kick-snare drumbeat.

Ex 6:11 Ex 6:12 Ex 6:13 Ex 6:14

While the above methodology regarding the assignment of subjective drums and cym-
bals may be thought of as a blueprint to drumming in general, there are several types of meters,
drumbeats within these meters, and variations of these beats to choose from. Therefore, read-
ers are encouraged to experiment with and develop original approaches toward drumming, and
writing drumbeats as one becomes more acquainted with drumming. Some additional common
meters and drumbeats are:

Ex 6:15

Ex 6:16
Ex 6:17

Ex 6:18
 Exercise

Using the space provided in the back of this book, begin to write your drumbeat. For best
results, start with a simple beat and add activity as needed, rather than starting with a compli-
cated beat and simplifying as needed.

If a bassline has been written, try to establish a beat which aligns with and emphasizes potential
chord tones in the bassline, and further confirms the harmonic rhythm of the phrasing.
7. Dynamic Drumming

The concept of dynamic drumming refers to the ways in which the drums contribute to
the intended dynamics of the different sections within a song. While contributing to the high
and low energy sections of the song, all drumbeats must retain just enough similarity between
sections for continuity, but have enough variation to support the collective dynamic of each
section.

As a chorus is generally thought to be the bigger sounding section of a song when

compared to a verse, there needs to be a sense of connectivity between the two. More often
than not, it is the drummer’s duty to connect these sections by accenting the one thing that
generally stays constant throughout all sections of a song, the tempo.
As discussed earlier, the drummer’s role is to accent time by way of establishing a
beat. Once established, the drummer must then find ways to transfer this beat’s feel to each
section’s intended dynamic as a contribution to the collective dynamic.
For simplicity’s sake, there are actually only three specific approaches that when ap-
plied in different combinations, are responsible for a change in dynamic drumming. They are
velocity, ornamentation, and texture, each of equal note, and equally reliant on a combination
of one another.

Oftentimes, the most obvious change in the drums per section may be the velocity, or
volume. A drummer will start off with closed hi hats or even a playing the ride cymbal for a
softer feeling verse, then when the chorus comes, explode playing open hats or even playing a
similar pattern on the crash cymbals.

Ex 7:1

As our cymbals are among the loudest component of the drum set, they are also the
longest to decay, and thus by thickening up our drum presence in a section, allow for an in-
crease in volume across the entire kit.

The next most obvious change in the drums may be the ornamentation or activity. With
the addition of rolls and fills per phrase, and implemented crashes where none were before, it
is with this increased dynamic of our bigger sounding sections that our earlier beat is expanded
on, and kit-wide activity becomes more apparent.
Ex 7:2

The combination of the above two methods may also seem to give rise to what seems
to be faster or shorter beat permutations within the drumbeat. Where we once had a quarter
note feel, we may have an eighth, sixteenth, or even thirty-second note feel.

Ex 7:3

Our third and final approach to a changing of dynamic is a choice in texture, or color.
While a bigger section of a song may leave room for more activity or volume, a changing in the
drums or cymbals played will color a passage differently. For instance, while rack toms may
generally be used for fills, etc, they can also either substitute for other drums, or be combined
with drums for a variation of an already established beat. Therefore, it is not uncommon for
passages to combine snare and floor tom, kick and snare, or any other components of the drum
set simultaneously in order to color a passage differently.

Ex 7:4

While the above example may suggest a very drastic difference in dynamic between
sections, once one has completed their larger dynamic section’s beat, one may wish to return to
the smaller dynamic section, and ornament as necessary.

Ex 7:5
 Exercise

While listening to your most influential artists or bands, try to determine which approaches of
dynamic drumming are used, and how they affect the songs dynamic. Experiment with similar
techniques, develop alternative approaches, and apply in your own composition as the section’s
dynamic suggests.
8. Objective Lyricism

When it comes to writing original lyrics, one can easily become overwhelmed by the
sheer amount of decisions one must make in just getting started. Whether it’s the choice of
topic, vocabulary used, writer’s perspective, or the emotional undertones behind the above,
choosing the proper combination so that the song can be heard as it is meant to be may be one
of the biggest challenges in songwriting.

To make things easy, all songs fit into one of only three categories: statements, stories,
and the abstract. While the choice of topic, vocabulary used, writer’s perspective, and emotional
undertones may be just as important to each approach, once the type of song is decided, we
can continue to groom our song in the direction we desire.

To further define these categories:

Statements should consist of lyrics only concerning the present and/or future tense.
Statements can be obvious or remain somewhat ambiguous, but should allow for an anthem
like approach in which a listener can associate, feel included, and in best cases gain a sense of
participation.

Stories include lyrics with any mention of past tense, even if combined with the pres-
ent, future tense, or narrative. Stories should also allow for a listener’s association and par-
ticipation, but it is with the mention of the past that the story becomes more identifiable with
individuals, and less identifiable amongst the masses.

The main difference between statements and stories, both potentially having the pres-
ent and/or future tenses in common, is that should a song reflect upon the past at any given
point, it becomes a story and thus already happened. So if “it’s raining on a sunny day… And
I’m going to wish the clouds away”, a statement, but if “it’s raining on a sunny day, because
she broke my heart yesterday”, a story; with or without the addition of “and I’m going to wish
the clouds away”.

Abstract should be thought of as being completely free from any chronology or tense.
Being the less common of the three writing approaches, this is where writers experiment with
alternative concepts. Whereas a song might simply be a groove with anonymous catch phrases,
it is with the entry of any additional lyrics that the qualification of remaining abstract may be
open to interpretation.
 Exercise

In your daily routine, try to determine which approaches are being used in the music listened
to. Consider how effective the approaches chosen are for the songs, and how successfully they
accomplish getting the messages across. Then critique original compositions to determine if
the most effective approach(s) has been utilized, and if not, how to. Consider which approach
best suits the intended purpose of these songs, and if necessary, how simply can the approach
used be changed to better suit the song. Using the space provided in the back of this book
begin to write your lyrics.
9. Implementing Lyrics

Most, if not all songs, whether metaphoric or literal, should consist of a, sometimes the
same, general blanket statement in the choruses. This said, these general statements should be
supported by more in depth and definitive lyrics in the supportive sections of the song (intro,
verse, prechorus, bridge, etc). And these more in depth supportive lyrics helping us to further
define just what this blanket statement means.

For instance, if a metaphoric approach were taken and the chorus were “it’s raining
on a sunny day”, the supportive sections should more specifically describe why it feels like it’s
raining on a sunny day. As the song progresses, the listener gets a chance to decipher the lyrics
to figure out just what the song is really about.
However, should this blanket statement be of the more literal intent, the supportive
sections should describe this concept of raining on a sunny day in literal terms including sights,
sounds, smells, feelings, tastes, and other literal descriptions in the present tense.
If writing a story, the blanket statement should sum up the point, moral, or theme of
the story, and the supportive sections act as the play-by-play or the chapters of the story. Gen-
erally speaking, it also works best if the supportive sections work in chronological order, mean-
ing the order of verses in the order of events. So verse one chapter one, verse two chapter two,
verse three chapter three, etc; rather than the story being told out of order.
The exception to this blanket statement/supportive sections format would be should
the lyrics be different for each chorus. In this case, lyrics should follow a very similar rhythmic/
syllabic pattern and rhyme scheme, and the vocal melody should almost always remain identical
for all choruses.
If writing an abstract song, it is not necessary to follow the above format. In fact it’s
not even necessary that a song be written about anything, but to qualify as an abstract song,
the lyrics must refrain from the mention of any past, present, or future tense.
While the three above approaches toward writing lyrics may seem very distinct, and
lines drawn between the three, there are opportunities to combine writing approaches. While
some would argue one approach was utilized more than the other, there are arguments for
statement stories, abstract statements, etc.

 Exercise

As each approach to lyric writing has its own set of considerations, the lists below may be used
as checklists for writing statements, and stories. In an effort to streamline one’s work, deter-
mine which approaches best suit the intended purpose of one’s song(s), and consider altering
lyrics as needed to further conform to the intended approach.

Statement:
What’s the topic?
Is the statement metaphoric or literal?
What’s the message/opinion/where do we stand?
Is the song identifiable to a group of people?
Who is the target audience?
Is the statement told in 1st, 2nd, 3rd person, or narrative?
Do the supporting sections further define the chorus?
How will someone associate?
Does the listener feel participant?

Story:
What is the story?
Is it an interesting story?
Is it an identifiable story?
Is the story metaphoric or literal?
Is it written in past, present, and/or future tenses?
Is the story told in 1st, 2nd, 3rd person, or narrative?
Does the hook sum up the moral/theme of the story?
How will someone associate?
Does the listener feel participant?
10. Song Construction

While it may sometimes seem difficult enough to put together an instrumentation to a

groove we like, sometimes building a song from this single section can seem quite the feat. As
all songs are comprised of sections, all sections of a song are generally derived from one initial
groove, and it is in the ways in which a song is constructed from this initial groove that can
present challenge.

The first step is in asking our selves which part of a song our groove should become.
If our lyrics are already written, determining which section this groove will become should be
quite simple. But if we are determining which section our groove should become based on its
musicality alone, it may require more thought.

Generally speaking, if our groove sounds as though it should be a chorus, we should
start by working backwards to some degree. As a chorus should, in most cases, be the biggest
section of the song, we can start to consider ways in which to simplify the groove with the in-
tent of creating intros, and verses, etc from this riff.

Typically, a verse should act as the foundation in our song and should hint toward the
chorus, so that when we do hear the chorus, we know it. So if our groove sounds as though it
should be a verse, we should consider the ways in which we can evolve this riff into a chorus. In
addition, as it is always easier to start with simplicity as a framework and elaborate, we should
approach the ways in which we adapt our groove into sections the same. For this reason, the
next step can be divided into two paths to choose between, and these the two paths in whether
the harmonic progression is to stay the same throughout our song, or change with sections.

Whether implicating a changing of harmonic progression or not, our first three con-
siderations should be with our instrumentation, instrumental activity, and dynamic. However,
should we wish to maintain the same harmonic progression for the entirety of the song, the
above three considerations should be our main focus.
As our chorus should almost always be bigger sounding when compared to our verses,
it should contain a heightened level of dynamic, but also allow for a simplicity in its blending
of instrumental activity, so as to not interfere with the message being heard. The instrumenta-
tion should be full sounding, with long sustaining harmonies, and a full range timbre across the
instrumentation.
This said, the verses should typically be of a lower dynamic of energy, featuring a more
sparse instrumentation, and smaller range of timbre. As the following examples demonstrate
the relationship between a verse and chorus of the same harmonic progression, the chorus uti-
lizes a heightened dynamic for an increase in energy and additional melody line for a more full
timbre.
Ex 10:1

Ex 10:2
 If we do wish to employ a changing harmonic progression, we must first consider that
it will be easier to stay in the same key, and thus to feature the same tonic in each section.
Following this, it’s important that we balance the changing of harmonic progressions between
sounding too drastically different or too similar between sections. This can be easily accom-
plished by exploring our available harmonic substitutions.
A simple way to avoid sounding too drastically different or too similar between sec-
tions can be by simply substituting just one or two of the existing grooves chords, or by briefly
inserting a new chord, or a chord’s available substitution(s) between already existing chords.
However, in an effort to preserve an awareness of our tonal center, when substituting chords it
is recommended to explore possible diatonic substitutions before non-diatonic, and to consider
limiting the use of non-diatonic substitutions all together.
The below example demonstrates an alternative chorus for our verse, but with changes
to the harmonic progression. In the below alternative chorus a B5 (V) has been inserted be-
tween the E minor (i) and C5 (VI), and the F#5 (ii) has been replaced by a D5 (VII).

Ex 10:3
 As the below example pairs chords with their available substitution(s), a chord’s avail-
able substitution(s) may also work well when used to transition between sections as pivot
chords. By replacing one another toward the ending of the last phrase of a section, an available
substitution(s) while sharing some tones may function similarly within a chord progression, but
sound different enough to add variety.

Diatonic Substitutions Non-diatonic Substitutions

Major Key Minor Key VII = vii o
vii o = V VII = v VI = vi
vi = IV VI = iv V = v
V = iii v = III IV = iv
IV = ii iv = ii o III = iii
ii = vii o ii o = VII II = ii, ii o
 Exercise

Determine which section your groove is to become in your song, and using the mentioned
methodology toward building a song from this section, begin to construct your song. Try to
stick with a simple framework and focus on the instrumentation, instrumental activity, and dy-
namic before further expanding on any section. Using the space provided in the back of this
book begin to develop your groove into additional sections.
 Further Thinking

The Further Thinking section of this book is designed to introduce the reader to com-
mon concepts and formulas found in songwriting. While only a general introduction to some
music theory, the Further Thinking section should be thought of as the conceptual and practical
application of music theory.
While the mention of music theory may sound intimidating to the self-taught songwrit-
er, the lessons contained in this section are intended for any level of scholar among musicians,
and thus do not require any prior knowledge of music theory. Instead, the lessons contained
in Further Thinking, as suggested, are of the more intellectual. But while requiring less writ-
ten work, should be equally if not more demanding of the reader’s attention and thought. It
is because of this that it is highly recommended that the reader not combine the application of
different teachings in their first read, and only attempt to digest and apply one teaching in this
section per day.
As a final reminder, this section too can be navigated completely and solely at the dis-
cretion of the reader. But while set up somewhat sequentially, the application of the lessons set
forth in this section may be best applied in order in the first read.
11. Tension and Resolution

When broken down into its most simple building blocks, a song is a series of moments.
Moments, being the specific instances of change within a song whereas a chorus may enter at
the absolute perfect time, or a solo may lead into a final chorus as the culmination of the song.
These moments are created by a manipulation of what’s called tension and resolution, and when
properly treated, tension and resolution are responsible for the series of moments which make
up a song.

Each section in a song has a distinct purpose, and as the role of some sections is to
build into others, these sections create tension. But as some sections in a song, such as a cho-
rus, must be built into, once reached, are accompanied by a feeling of arrival, this is resolution.
It is this feeling of resolution that lets the listener know when they have reached a particular
point in a song, and it is as these building sections create tension prior to, that these arrival sec-
tions are set up so well to resolve tension, and allow for this feeling of arrival. This said, songs
not only have smaller and larger sections, but more and less tense or resolved sections as well.
In order to pull our listener through a piece of music, we build tension to resolve it, only
to build and resolve it again, and again… Until the culmination of the song has been heard, and
we resolve this tension one final time, concluding the piece. Moreover, it should be thought
that the more tension is built, the larger the following resolution will be.
Generally speaking, with few exceptions, a song’s resolved sections are its verses and
choruses, and its tense sections pre-choruses and bridges. Solos and interludes can serve either
function, but as a general rule, are dependent on their accompaniment. Should a solo or in-
terlude in fact be accompanied by a progression found in the verse or chorus, its function is to
resolve tension, but should a solo or interlude be accompanied by any other, or new section, its
function is to build tension.
Following the above mentioned methodology, there are numerous ways to accomplish
building and resolving tension, whether rhythmically, melodically, harmonically, or a combina-
tion thereof. But with regards to song construction, a song will typically alternate between
tense and resolved sections over the course of the song, as well as increase in intensity with
each instance of tension and resolution.
 Exercise

Rate the level of tension in the following sections of a song as YOU perceive them (1 being
LEAST tense/MOST resolved, and 10 being MOST tense/LEAST resolved).

Intro: ___________ Bridge: ___________

Verse: ___________ Interlude: ___________
Prechorus: ___________ Refrain: ___________
Chorus A: ___________ Solo: ___________
Chorus B: ___________ Outro: ___________

Now, plot your answers using dots placed correctly on the Y axis above the corresponding sec-
tions located on the X axis; in order to create a line graph displaying the use of tension and
resolution throughout a song.

10

Intro Verse Intro Verse Prechorus Chorus Refrain Intro Verse Prechorus Chorus Bridge Solo Chorus (Outro)
12. Collective Dynamic

The dynamic range of a song can be thought of as the difference in volume, activity,
and intensity between the softer, less energetic sections of a song, and the more powerful. It
is with dynamic that songs build to explosive choruses and settle into soothing interludes. And
without the proper transfer of dynamic between sections, the intended effect of different sec-
tions potentially lost.

As all songs should have larger and smaller dynamic sections, a chorus should be of the
larger and should be accompanied by a more powerful dynamic, just as smaller sections should
be accompanied by the less intense. But it is in the comparison of the intensity of all sections,
against one another, that produces the dynamic range of a song. This said, a song that has little
difference in intensity between sections is considered to have a smaller dynamic range than that
of a song in which has a vast difference in energy between sections.
The concept of a collective dynamic is the contribution of each player to the ensemble’s
dynamic range. Furthermore, whether we choose to have drastic changes in dynamic between
different sections or a more gradual, the concept of a collective dynamic is not accomplished by
any one player, but instead is dependent of the entire ensemble working collectively.
For example, have you ever listened to a song and thought the singer didn’t quite de-
liver during the chorus, or ever finally heard the chorus of a song and thought, “that’s it?” Most
of the time this is because the collective dynamic was not taken into consideration as much as
it should have been.
Because a band must unite as one with their dynamic, all players must be conscious
of their own high and low energy spectrums, so that they can accommodate a fluctuating dy-
namic, correctly, together. Should even a single player’s dynamic not properly coincide with the
ensemble’s collective dynamic, this player will either stand out too much, hold the band back,
or be drowned out in high dynamic sections.
The most obvious mistreatment of dynamic can be heard with singers. Should a singer
lack an ability to project, they will likely limit the ensemble’s potential for a heightened collec-
tive dynamic. However, should a singer project too much too early in a song, it’s likely they
won’t have much more to contribute in the larger sections. Whichever the case, the result will
be a very flat, mundane, and uneventful dynamic range to the song. This said, a strong singer
isn’t necessarily one with a huge range, but one who is conscious to accommodate and adhere
to a changing in collective dynamic.
Finally, as the chorus of a song is to sum up the message of the song, the singer should
be thought of as the message bringer. But should the singer not be able to increase their in-
tensity equally with the other players in the chorus from that of other sections, the message
can be completely missed. Moreover, should any player limit the amount of energy that can be
collectively increased, the section will just simply not come to fruition as it was meant to. But
should a band accomplish a changing of collective dynamic together, the song’s high and low
sections may be heard for their true intention and purpose.
 Exercise

Do all dynamics match the musicality and message of your song, and if not, what could be
done to better accomplish this unity? If they do match, consider whether the song is better
suited employing a more drastically or gradually changing dynamic, and how this may be ac-
complished.
13. Collective Timbre

The collective timbre of a song should be thought of as the organic blending of the en-
semble’s instrumentation within the song. When combined together in a song, all instruments
should sound as though they do belong together in the composition, and almost sound as if
one.

Have you ever listened to a band, and thought maybe the guitar stood out too much,
or that you love the music, just not the singer’s voice… And that if another singer’s voice were
to replace this current singer’s, it would sound that much better? Much of the time, these can
be issues easily remedied by acknowledging the collective timbre of the ensemble.
Timbre is a term which refers to the sounding quality of a pitch. For instance, as there
are several places to play the same note on a guitar, each position to play the same note has a
different characteristic to which the note sounds. An example of a difference in timbre can be
heard when playing a C note on the 20th fret of the low E string, when compared to the same
C note at the 10th fret of the D string, or the 1st fret of the B string. While each position pro-
duces the same C note, each position resonates with a different quality, and the most noticeable
difference in timbre heard when comparing the C played at the 20th fret of the low E string and
the 1st fret of the B string.
As we decide on our instrumentation, as to which instruments will play which parts, it’s
just as important to decide where and how these parts will be played on the instruments. While
sometimes only subtle differences in timbre may be heard on a single instrument, it is with the
addition of each instrument’s parts, and the considerations of how these parts are to be played
that the collective timbre is achieved.
As mentioned before, all instruments in an ensemble should sound as though they
belong together. As the bassline of a song is intended to color a drumbeat so as to blend the
percussive aspects of a song with the pitched, the harmonic aspects of a song exist to further
blend this combination of bass and drums to the melodic. The melodic aspect’s purpose is to
complete this blending of the ensemble by connecting it to the melodies and syllabic rhythm
outlined in the lyricism. Therefore, it is because of this relationship between the instruments of
the ensemble that a collective timbre should not only be desired, but considered a necessity.
One successful formula for a collective timbre that many bands employ can be heard
with the lead instruments of bands and the lead vocalists. One method that most of all suc-
cessful bands share and utilize, regardless of genre, is that the timbre of the vocalist’s voice
seems to coincide with the timbre of the lead player’s rig. Whether a tangy voice to match that
country guitar sound, a soulful gospel voice against a grand piano, or screaming and growling
paired with death-metal distortion, it doesn’t necessarily matter how this practice came to be;
but important to acknowledge its prominent existence.
There are several more techniques in which to accomplish a streamlined collective tim-
bre in an ensemble. However, as it is an exercise in listening for this blending of instruments,
it’s important that we each discover our own methods toward developing a collective timbre…
And it is in the techniques we each choose to employ that lend themselves to each of our own
unique sound.
 Exercise

Listen to artists that sound similar to ourselves, and try to pick out as many similar sounding
aspects within the ensemble. Try to incorporate these techniques within your own collective
timbre, and find ways in which to match the timbre of the singer’s voice with the instrumenta-
tion; or vise versa. When matching timbre, consider the register(s) of the instruments played
and lines sung. Use capos and transpose where needed, but be cautious of the singer’s projec-
tive range.
14. Thematic Development

Thematic development, first used in early classical music, is the technique of con-
necting the different movements of a composition through reoccurring melodic, harmonic, or
rhythmic themes, and elaborating on these themes as the piece progresses. Over the course of
the piece, these themes may change in register, range, key, length, and even instrument, and
typically with each larger section, continue to develop until complete, giving the listener the
entirety of the theme in its final statement.

In today’s music, thematic development is still used to connect the different sections
of a song through reoccurring and developing themes. While establishing an overall theme to
the entirety of a song, developed themes are the takeaway for listeners, what gets stuck in their
head, and what they can’t wait to hear the next time they hear the song.
As a song progresses, thematic development is used to tease the listener in the smaller
sections of a song with less developed statements, and reward the listener in larger sections
with the more developed. As the culmination of the song approaches, these themes will com-
plete their development with what is usually the largest section of the song.
A very common example of this today can be heard with the lead instruments of a
song. Oftentimes, a lead player will add little nuances throughout an intro or verse, which hint
toward what develops into the vocal melody of the chorus. Following the first chorus, where
the listener makes this connection, the theme will usually revert back to its simplistic nature in
the following smaller sections, and captivate the listener until the next more developed state-
ment in the following larger section.
As mentioned before, these themes may be passed from instrument to instrument over
the course of the song. Themes heard earlier in the smaller sections of a song may be played
by the lead players, then further developed and sung by the singer in the chorus. Finally, com-
pleted as its most developed and elaborated statement in the culmination, as a solo, the theme
will likely return to its less elaborate, but still complete statement in the final chorus of the
song.
As the idea of developing a theme may seem an exercise in elaborating on an already
complete musical idea, thematic development is actually best accomplished by simplifying and
already complete musical idea in stages. Then by inserting the more simplified excerpts of the
theme in the earlier smaller sections of the song, and reserving the more developed statements
for the later and larger sections, the theme can develop.
 Exercise

Try to isolate excerpts from your melody(s) to be played in early stages of your song, with the in-
tent of elaborating on this theme(s) as the song progresses. Do also consider which parts of this
melody can be assigned to the vocalist, considering the rhythmic quality that the lyrics syllables
suggest. This can be done easily by playing through the melody to develop the complete theme,
then removing some of the more prevalent, or in-between notes, and utilizing the less event-
ful tones earlier, so as to allow for the more impactful pitches to enter as the song progresses.
15. Methods of Soloing

As one’s first assumption regarding solos may pertain toward guitar solos specifically,
the following discussion should be thought of as analytical approach toward soloing in general
for all instruments.
When referring to a solo, we are referring to a section in a song where a single player,
at least at a time, gets their chance to show off their ability on their instrument. As alterna-
tives to guitar solos, many styles offer opportunities for drum solos, bass solos, and keyboard
solos, etc, but as the word suggests, solos may be played by any one instrument in an ensemble.
Furthermore, as the solo may seem to be a required element in some genres, regardless of the
genre, or the instrument playing the solo, the purpose(s) of the solo remains the same.
In most of popular music, the solo, usually paired with a bridge either before or after, is
initiated at approximately 2/3rds through the song. Generally speaking, it is at this 2/3rds mark
in a composition that something drastic happens. In all of art this is referred to as the golden
mean. In our composition this specific point is usually our climax.
By the time we have reached this 2/3rds mark in our song, our listeners should be fa-
miliar with our groove, and thus have an idea of what to expect. However, it is at this moment
that we aim to change things up. As we always want to keep our audience wanting more, it is
this 2/3rds mark where we want to keep our audience guessing. This said, our solo is founded
upon the same three methods in which to write a melody, but the function of a solo, to act as
the culmination of our song with a spontaneous and somewhat improvised feel. In doing so
there are three specific approaches toward writing a solo.

The first approach is an elaboration of a reoccurring theme. As our song progresses,

themes heard earlier in our composition should further develop. Oftentimes, a solo will pick
up where the most recent development of this theme left off, and simply elaborate on it. An
example of this may be heard when the lead instrument initiates their solo by way of playing
the vocal melody. The solo may start off playing this melody exactly, but then expand upon the
melody, using the specific characteristics and techniques of the instrument. Generally, this is
best accomplished by playing this melodic theme a couple times, then spontaneously improvis-
ing over the chords or scale, before ultimately settling into completing the melodic theme over
the course of the solo.

The next approach to writing a solo can be heard when at this 2/3rds mark, the lead
instrument arbitrarily of any previously developing theme actually starts a new melodic theme.
In doing so, the soloist develops this theme, sometimes leading to a new section such as an
interlude, or end and vamp section. Moreover, sometimes a song may opt for an end and vamp,
jam section, or elongated outro instead of a final chorus. In these sections players can develop
riffs in different ways, often times each taking solos, and extending the song with a new groove
before ending it.

Our final approach can be thought of as arbitrary of any theme and strictly functional.
The soloist may choose to improvise in the key to simply show off their ability, with little to no
concern for themes already stated in the song. In this approach the solo’s sole purpose is to
build tension before a final section, where this tension can be resolved. A player may increase
the energy of a section by continually ascending/descending or accelerating/decelerating a pas-
sage. By doing this a player can build tension, until the moment the band rejoins together,
relieving this tension, by what has become the biggest and most resolved section of the song
due to the tension built before it.

Depending on the specific song, or the genre one may be writing for, one approach,
or combination of approaches, may be a better fit when compared to another. However, it is
in understanding the three above approaches, that we can better understand just what type of
solo our composition may call for, and implicate as needed.
 Exercise

Listen for the approaches similar artists to our selves use in implicating solos, and consider had
they opted for an alternative approach for their solos, what the result may have been. Consider
the intended purpose of a solo in your composition, and which approach for writing a solo will
best yield your desired results.
16. Applied Voice Leading

The concept of voice leading should be thought of as an alternative method to navigat-

ing a chord progression when compared to more conventional approaches of chord changes.
Simply put, the concept of voice leading is changing chords by only moving notes should one
have to, and in doing so, by way of the shortest interval possible.

This said, there are only a total of four ways in which two notes can move in conjunc-
tion with another. These four methods can be thought of as cellular motion, and the four types
parallel, similar, contrary, and oblique.
Parallel motion is when two notes both move either up or down and at the exact same
interval. Similar motion is when two notes both move either up or down, but at different inter-
vals. Contrary motion is when two notes move either toward or away from each other at any
interval. And oblique motion, most ideal for voice leading, is when one note, common between
chords, stays the same and the other, either moves up or down at any interval.

Ex 16:1 Ex 16:2 Ex 16:3 Ex 16:4

As our traditional studies of harmony teach us that from bass to soprano a chord is
comprised of a root, 3rd, 5th, 7th, etc, the reordering of a chord’s tones still produce the chord,
but as an inversion. Furthermore, should any collection of tones be able to be unscrambled
and labeled as tones that belong to a specific chord, that chord’s harmonic function still exists
regardless of bass to soprano spelling.
If from bottom to top we have E, G, C, B, these tones can be thought of as the 3rd,
5th, root, and 7th of a C major seven chord, and thus a C major seven chord just the same. As
a general rule, if a chord features its root as the lowest pitched note, it is labeled a root position
chord. If it has its 3rd as the lowest pitched note a 1st inversion, its 5th a 2nd inversion, and
its 7th a 3rd inversion.

Ex 16:5
 Voice leading allows us to navigate a progression within the smallest possible range.
Therefore, by combining cellular motion with inversions of chords, we can voice lead progres-
sions by utilizing a chord and its next chords closest voicing. The below example illustrates a
progression followed by three different choices of which to voice lead it.

Ex 16:6 Ex 16:7 Ex 16:8 Ex 16:9

These different choices, in which to voice lead the progression, can also be linked to-
gether for longer passages spanning entire registers.

Ex 16:10

As we wish to incorporate voice leading into our compositions, it makes for a very in-
teresting texture in which to change up the resonance of a chord progression. Voice leading is
very useful in constructing solos, interludes, and intros, but can also be very effective in simply
orienting our listeners to a chord progression in general, regardless of voicings. Voice leading
can also be used to expand upon progressions in a composition, with the varying of colors and
texture that a chord’s inversions produce.
 Exercise

Try voice leading an already existing chord progression, and as some chords share the same
notes, be sure to only move notes when necessary, and by the shortest interval possible. Experi-
ment with starting a progression’s chords in different inversions, and implicate where desired
in one’s composition.
17. Harmonizing Leads

The concept of harmonizing leads, not to be confused with the implied harmony of two
or more melodies, is a technique in which to thicken up a lead. Harmonizing leads should be
thought of as a rhythmically identical harmonizing of a melody by two or more players at the
same time.

While a harmonizing lead may employ more than one of the following methods, there
are only three specific methods in which to effectively harmonize a lead. These three methods
are the harmonizing by way of diatonic intervals, non-diatonic set intervals, and the inversions
of chord tones.
When harmonizing a melody by diatonic intervals, the notes of a melody must only be
harmonized using notes diatonic to the same key. This said, an interval would first be decided,
but by only using notes diatonic to the key, the exact interval between notes would change de-
pending on the degree of the scale. For instance, if playing in A minor, we decide to harmonize
by 3rds, an A would only be harmonized with a C, a minor 3rd, but a C would be harmonized
with an E, a major 3rd.

M3 = Major 3rd
m3 = Minor 3rd

Ex 17:1
 If we were deciding to harmonize by 4ths, all notes within the key of A minor would be
harmonized by an interval of a perfect 4th, except for the F, which would be harmonized with
a B, forming a tritone.

Ex 17:2

When harmonizing by way of non-diatonic set intervals, a melody would be harmo-
nized with an exact unchanging interval regardless of notes available to the key. This means
that in order to preserve exact intervals with a changing of degrees within a scale, that notes
non-diatonic to the key must be utilized. If we were playing in A minor and we decided to
harmonize by minor 3rds, an A would be harmonized with a C, but the C would be harmonized
with an E flat, non-diatonic to the key. Furthermore, all notes within a key would be harmo-
nized by this exact interval, arbitrarily of which notes diatonically exist in the key.

Ex 17:3
 Our third method toward harmonizing a lead would be with regards to outlining chord
progressions through arpeggiation. As our inversions of chords offer alternative spellings of
chords from bottom to top, all harmonizing intervals are products of tones existing in a chord
when played against each other. The simplest way to accomplish this would be by harmonizing
an arpeggio with the same chord’s either next highest, or next lowest inversion of itself. As
the notes progress, notes harmonize with each other by way of a changing interval between
harmonizing chord tones.

Ex 17:4
 As a very effective way to outline a chord progression, harmonizing leads by inversions
may also be delegated to as many players as tones available in a particular chord.

Ex 17:5

As each technique has its own unique sound, each method also has its own tenden-
cies for consonance and dissonance. Therefore it is common to employ the combination of
the above methods over the course of a passage in order to avoid unwanted dissonance where
desired.
 Exercise

Experiment with implicating the mentioned techniques in order to harmonize an existing melo-
dy. Consider the different methods of harmonizing to avoid the succession of dissonant inter-
vals, rather than simply changing the interval. When harmonizing a melody over a harmony,
be sure that the decided interval in which to harmonize the melody doesn’t conflict with the
existing harmony by either implying other chords, or a succession of dissonant intervals.
18. Harmonic Substitutions

When considering substituting chords within a progression, it’s important to under-

stand that while some chords may function similarly in a progression, the improper use of sub-
stitutions may displace a listener’s awareness of a key’s tonal center. For this reason, it is crucial
that we understand how, when, and why a chord’s available substitution may work best.

Firstly, we must understand that while any chord can technically replace another in a
progression, a chord’s substitutions should be thought of as those that contain notes common
to each other, have a similar tonality, and thus function similarly in a progression. As the below
example demonstrates a comparison between a ii V I, and a IV V I cadence, both the ii chord
(Dmin) and IV chord (Fmaj) contain F and A notes, and thus function similarly proceeding the V
(Gmaj).

Ex 18:1 Ex 18:2

Furthermore, as no one chord has notes that only belong to it, chords that share chord
tones, regardless of quality, may function similarly within a progression, and those that do can
be seen as substitutions for one another. The below example depicts diatonic chords in both
major and minor keys, grouped with chords that share tones; and that can function similarly. As
the below example suggests, the more tones common between chords, the more similar their
function.

Ex 18:3
o o

Ex 18:4
o
 In addition to diatonic substitutions, many progressions employ the use of non-diatonic
substitutions. Simply put, while a particular key will dictate the quality of chords (major, minor,
dim, etc) diatonically occurring within it, some progressions utilize non-diatonic alternatives
whereas alternative qualities of chords may be used in place of the diatonic. As the above
example of similarly functioning diatonic substitutions suggests vii o, or IV in place of ii, etc, the
non-diatonic II major is also an option.
However, in an effort to preserve the awareness of the tonal center of the key, non-
diatonic substitutions are most typically utilized as changes to chord quality only; meaning II in
place of ii, iv in place of IV, etc. A common example heard today is with i, III, VII, IV progres-
sions. While diatonically speaking the iv chord in a minor key should be a minor chord, many
bands successfully employ this progression using a IV major.

Ex 18:5

Following the use of diatonic and non-diatonic substitutions, where chords are simply
replaced with similarly functioning chords, some progressions will alter an existing harmonic
rhythm to allow for the insertion of substitutions in between chords. As the below example
demonstrates an alternative to our ii V I cadence, the rhythmic value of the ii chord (Dmin) has
been changed from a whole note value to a half note’s to allow for the insertion of the vii o
(Bdim) between ii and V. Moreover, as the vii o chord shares tones with both ii and V, it can also
function as a substitution for either, making it an excellent selection for the below progression
when inserted between the ii and V.

Ex 18:6
o

Another interesting application in which to utilize a chord’s non-diatonic substitution

can be when pairing a chord back to back with its non-diatonic alternative. While in the below
example the diatonic iii chord has been substituted for an E major, the I, III, IV, iv progression
also demonstrates the succession of an F major by an F minor. While both chords share the
same root and 5th, the F and C are carried across the entire measure, while emphasizing the
chromatic movement of the A to the A .

Ex 18:7
 As the previous example demonstrates the common tone of F as the lowest voice for
both F major and F minor, we also have the ability to utilize both diatonic and non-diatonic
substitutions by way of voice leading. Should we wish to employ a chord and its substitution
back to back, as our inversions allow, we can utilize the same common tones between chords in
their respective registers while changing others to allow for a seamlessness in the changing of
chords.
While the below example demonstrates an altered ii V I cadence pairing the ii chord
in succession with vii o in 1st inversion, both the D and F notes are preserved throughout the
measure as the chords change. In the following measure, a 1st inversion I chord precedes the
V, with the common tone of G as the lowest voice in both chords.

Ex 18:8
o

Continuing the discussion of harmonic substitutions we also have non-diatonic passing

chords. While sounding out of place as long sustaining chords, non-diatonic passing chords are
products of chromaticism and work nicely when inserted in shorter rhythmic values immediately
proceeding or following chords a half step away. In the below example of an altered ii V I ca-
dence, a II major chord has been inserted in a quarter note value between the ii and I chord.

Ex 18:9

The following example demonstrates non-diatonic passing chords as they occur within
major and minor scales. In short, if a diatonic chord is major, the root may be sharpened to
make a sharp-diminished chord. If a diatonic chord is a minor chord, the root and 5th may be
flattened to make a flat-major chord. If the diatonic chord is a diminished chord, the root alone
may be flattened to produce a flat-major chord.
Flat-major and sharp-diminished chords work well when applied in a progression as
chromatic passing chords. However, flat-major chords tend to work best when descended to
from chords a half step higher, while sharp-diminished chords tend to work best in shorter
rhythmic values preceding chords a half step higher.
Ex 18:10
Major Key

b b b b
b b b b
o o o o

Ex 18:11
Minor Key

b b b b b b b
b b b b
o o o o

Concluding our discussion of harmonic substitutions, we have secondary dominants.
Whereas the role of the V chord in a progression is typically to return to the I chord by either
ascending a perfect 4th or descending a perfect 5th, secondary dominants allow for similar
sounding resolutions to be heard, but from different degrees within a key.

A secondary dominant is a non-diatonic major triad or dominant chord that has a
strong tendency to move to another chord either a perfect 5th below or perfect 4th above it.
An example of this can be seen with what’s referred to as a five-of-five chord. Indicated as V/V,
the V/V chord is really either a II or II7 chord, but when followed by a chord either a perfect 5th
below or perfect 4th above, it has a similar sounding resolution to that of V to I, and is therefore
considered a V/V chord.

The below example demonstrates the difference in function of a Dmaj when utilized as
II preceding an Fmaj or as V/V when resolving to Gmaj.

Ex 18:12 Ex 18:13
 Following the V/V chord, as any chord’s quality may be substituted for using a major
or dominant quality, secondary dominant chords may also exist in relation to any of a key’s
respective chords (V/IV, V/ii, V/vii o, etc).

Ex 18:14

In addition, V/ chords may also succeed each other as long sequences in which resolu-
tions continually follow another, and can be very useful when used to transition between keys.

Ex 18:15

Ex 18:16
b b
b

Some popular substitutions are:

Diatonic Substitutions Non-diatonic Substitutions Non-diatonic Progressions
Major Key Minor Key VII = vii o i - III - VII - IV
vii o = V VII = v VI = vi I - ii - �II - V
vi = IV VI = iv V = v I - V - IV - iv
V = iii v = III IV = iv I - I7 - IV - V
IV = ii iv = ii o III = iii I - III - IV - iv
ii = vii o ii o = VII II = ii, ii o, �II i - #iii - iv - V
 Exercise

Experiment by either replacing one or two of a progression’s existing chords with their substi-
tutions, or altering the harmonic rhythm to allow for the inserting of substitutions in between
chords already existing. For best results consider a chord’s diatonic substitutions before any
non-diatonic substitutions.
19. Advanced Rhythm

As the reading of Understanding Rhythm explains there are many different meters to
choose from in which to dictate a passage’s phrasing, there are also additional techniques to-
ward articulating a phrasing utilizing more advanced techniques. These techniques are mixed
meter, polyrhythm, and syncopation.

In addition to the previously demonstrated meters, we can also combine different me-
ters in succession of each other should a phrasing call for it. We call this mixed meter. While
there are countless combinations, an example of a mixed meter would be a phrase that consists
of a measure of 44 followed a single measure of 34 .
While in some cases it would be more correct to write a single meter of 74 , should the
phrasing call for a different rhythmic accent, a single measure of 44 followed by a single measure
of 34 may be interpreted as more appropriate. The below examples demonstrate two similar
musical phrases, and the correct use of mixed meter when compared to a phrase that calls for
a single measure of 74 .

Ex 19:1 Ex 19:2
 Not to be confused with mixed meter, there is also the potential for polyrhythm. Poly-
rhythm is when two or more different meters are used simultaneously, and thus different in-
struments play together at the same time, but in different meters. Within the concept of poly-
rhythm there are three distinct approaches in which different meters may exist together.

Our first example involves different players playing in similar meters at the same tempo,
with aligning bar lines. In the below example beat/beat pulses and bar lines line up, but the
rhythmic subdivisions of the opposing meters beats differ. While the guitar part is in 44 , each
beat is divided in twos for eighth notes, or fours for sixteenth notes, the drum part is in 12 8 , the
triplet subdivision of 44 , and each pulse divided into threes for eighth notes or sixes for sixteenth
notes.

Ex 19:3

Our second method in which to employ polyrhythm into a composition is with regard
to opposing meters, and different tempos between the players. Given the option for different
tempos, any two meters may be paired with the intent of aligning bar lines. While more com-
plex than the above example, utilizing this approach is best employed when pairing meters that
contain similar amounts of beats, regardless of beat value.
However, should one wish to utilize meters with larger differences in number of beats,
it should be expected that without an aligning of beats/beat pulses, the player playing the faster
tempo may be heard as playing ‘tuplets over the slower and predominant sounding meter.

Ex 19:4
 Our third example of combining opposing meters against one another may also add
very interesting accents to a piece. The below example demonstrates a drummer playing in 44
and a guitar player playing in 34 . While the tempo for both players is the same, the meters are
very different, and because both players share the same tempo, the bar lines will only line up
concluding phrases.
Both players start their phrasing at the same time, but when the guitar player is enter-
ing their second measure, the drummer is just finishing their first measure on beat 4. Following
this, both players would only synch their phrasing every 13th beat, four measures for the guitar
player, and only three for the drummer.

Ex 19:5

Following polyrhythmic composition, we reach syncopation. Whereas how polyrhyth-

mic composition, if given enough phrases will at some point always return to aligning of players
parts, syncopation is a free form where players parts may never line up. Syncopation, as best
described, occurs when musical phrases are intentionally displaced to avoid accents from a me-
ters beats, beat pulses, or even bar lines.

Ex 19:6
 Exercise

Experiment with mixed meter, polyrhythm, and syncopation in an existing composition. Either
shorten or lengthen and accent phrases appropriately to accommodate mixed meter, assign
alternate meters to players to establish polyrhythm, or by displacing notes of a phrase to create
syncopation.
20. Tempo Accentuation

As tempo is generally something which most players tend to set and forget, there are
several techniques in which to alter the tempo of a song, yet stay in time, and accentuate a
pieces rhythm for a desired feeling.

First we have swing. When a melody is swung, player(s) deliberately deviate from a pas-
sages straight feel, and interpret note values as alternating longer values followed by shorter
values. While most commonly applied to walking basslines, swung melodies can exist for any
instrument or in any genre. As the below examples suggest, the scale in example 20:1 may be
interpreted by a player to sound as either example 20:2 or 20:3 are written.

Ex 20:1

Ex 20:2

Ex 20:3

Following swing, our next approach is cut time, meaning to cut the time in half. While
a sudden change to a tempo can leave a listener disoriented and struggling to find the new
tempo, cutting the time in half, or doubling the tempo, can add acceleration with minimal dis-
ruption to the predictability of the previous tempo.
Simply put, this can be accomplished as simply as changing a meter that reflects quar-
ter notes to one that is in eighth notes. Switching to cut time is most effective when used
abruptly and changing tempos between sections for an accelerated chorus, interlude, or bridge.
An example of this would be to switch from 44 to 48 .
As the following two examples suggest two different ways to indicate cut time, ex-
ample 20:4 utilizes the articulation of cut time with no alteration to notation, while example
20:5 indicates a change to cut time through notation alone.
Ex 20:4

Ex 20:5

The inverse is also possible. Referred to as half time, half time can be just as dynami-
cally effective as cut time when used correctly, but will abruptly slow a section to half the speed
of the previous tempo. An example of this would be when switching from 48 to 44 , or from 44
to 42 .

Ex 20:6
 If wishing to gradually speed up or slow down a passage over a period of time, we have
accelerando, speeding up, and ritardando, slowing down. While these techniques are much
harder to seamlessly accomplish with each additional ensemble member, they can be very effec-
tive in either building or resolving tension while transitioning between sections or in concluding
a song.
As a general rule, accelerando tends to build tension as a passage speeds up, while
ritardando tends to resolve tension by slowing down. However, it should be thought that unless
we are concluding a piece, the function of either accelerando or ritardando will be determined
by the following section.

Ex 20:7

Ex 20:8

Next, for the most abrupt of all tempo changes we have rubato, in which there is a
sudden transition into free time, where there is no predictable meter or note value. Rubato can
be very effective if wishing to add tension through long non-rhythmic sections or to purposely
displace a listener’s awareness of a preexisting tempo. Much harder to accomplish with an en-
semble than accelerando or ritardando, rubato generally takes cueing from a conductor in order
to accomplish in unison with other players.

Ex 20:9
 Our last rhythmic alteration to tempo is hits over time. Hits over time can be described
as when two or more players in an ensemble attack their instrument simultaneously to accent
certain rhythmic or lyrical points. Hits over time can be used in conjunction with the above
techniques, or within a predetermined tempo, and can be very effective when used to empha-
size specific lyrics, or to add variety to the harmonic rhythm of an accompaniment.

Ex 20:10

While the decision to accentuate a songs tempo may present some challenge, it should
not be thought of as on a needs base only. It can be hard to execute, but even as just a finish-
ing touch, as small as it may seem, tempo accentuation can make the biggest difference in a
performance, both live or recorded.
 Exercise

Experiment with the discussed techniques within sections to add tension, resolution, dynamic,
and accentuation to your composition. When utilizing tempo accentuation in between specific
sections, consider the intended dynamic of either section, so as to properly accentuate tempo
to either gradually, or drastically transition between sections.
 Marketability and Branding

The following discussion of what may seem as an introduction to the business end of
music may reshape the reader’s view of their material. The reader may feel inclined to further
groom their material to conform to a desired genre, or cut existing material from their catalog
in an effort to refine one’s sound.
As a reminder, the teachings in these lessons are not necessary rules that must be fol-
lowed, but considerations based upon factual observations. The concept of the marketability
and branding of one’s sound and image should also not necessarily be thought of as any qualify-
ing factor or definite potential of any work. It is simply yet another conceptual way of thinking
to more accurately analyze our music for its intended fit, purpose, how to best deliver it to the
intended audience… And whom this intended audience may be.
While not to be confused with selling out, the ideas behind the marketability and
branding of ones sound and image are concepts in which to further refine or develop one’s
niche. It is the conceptual streamlining of ones sound, image, and values; determining our
intended demographic, and thus determining how our art is to be best perceived by this target
demographic.
Furthermore, as we wish to reach people with our music, it’s an important realization
that not everyone will like our music, and to thus focus on our target audience as the ones that
will. Should we wish to make music our business, it should be thought of as business. The
following lessons have been broken down comparatively toward business strategies in general,
and outlined as the four steps in which any sale is accomplished.
21. Developing a Sound
“The Greeting”

First, we must have a sound. Our sound is what lets our listeners identify us. And
while our own unique sound may evolve and change throughout our discography, the objective
awareness of our sound is the first step toward focusing in on our own unique musical identity.

To avoid becoming a one hit wonder, our audience must like more than just one song.
This said, our songs must have a common thread of musical similarity throughout our catalog
for consistency, but at the same time, each song must be different enough from one another so
as to not all sound the same. However, should our songs be too different from each other, we
have no one stylistic identity, making it difficult to continually interest the same demographic.
As our music must be unique enough to be something different from what is already
out, it must also possess this sense of familiarity to our listeners. However, should our music be
too familiar to what is already out, we tend to loose our musical individuality. But if our music
is too unique, it may just not be familiar enough for our listeners to understand or get.
It’s also important to note that genres exist solely to group different artists together
by the similarities they share. And it is these similarities within a genre that offer the listener a
sense of familiarity from one artist to another, and that lead listeners to better associate with
and gravitate toward a specific genre over another.
Finally, as some of us wish to write in multiple genres, some artists establish side proj-
ects so as not to deviate from one ensemble’s sound. By establishing additional ensembles, the
artist can keep the different ensemble’s sounds separate, while still allowing fans to know what
they can expect from each ensemble.

While discovering one’s sound may seem quite the balancing act, once we in fact have
refined our sound, the ways in which we should view the marketability and branding of our
sound can be broken down into three steps: determining an intended demographic, appealing
to a demographic, and finally, continuing with a demographic.
 Exercise

In our own compositions try to find similarities amongst existing songs. If only having satis-
factorily written a single song, seek out attributes within this song that you desire to include
in a growing catalog. Examples may include: topics, instrumentation, lyrical and instrumental
timbre, rhythmic, melodic, and harmonic devices, tempo etc.
22. Determining an Intended
Demographic “The Qualification”

Determining our intended demographic may start as simply as identifying a desired

audience. However, in doing so, the more specific we can be, the more directly we can target
and reach this demographic.

When determining whom our intended demographic is, we should first consider our
own roots, influences, inspirations, and how and why we choose to identify with this demo-
graphic. This said, some specifics to consider can be: our target demographic’s age, gender,
social class, religious beliefs, economic standing, recreational activities, interests, fashion sense,
cultural background, values, and stereotypes.

In business, there are three main strategies to a successful business plan and each with
their own set of pros, cons, risks, and considerations. For intensive purposes we will pair these
three strategies with their corresponding approaches toward determining one’s target demo-
graphic.

The first strategy of a sound business plan is to create a product or service that meets
a need. In music we can tailor our sound and image toward an already existing genre’s demo-
graphic, a need for our music, and groom ourselves to pin point this specific fan base and meet
this demographics’ need for our music.
While many successful songwriters have used this approach, both the pros and cons
can be quite obvious. Sure, there is already an existing market and proven format, but the
competition is likely high while strictly conforming toward an already existing genre. It also
may not leave room to deviate from the acceptable and popular formulas of the genre, making
it easy to become outdated since the trends of today’s music may already be yesterday’s news.
It is this balancing act between conforming to the genres standards while adapting with coming
trends that can present great challenge with respect to keeping an artist current while strictly
conforming to one genre.

The second strategy toward a sound business plan is actually very similar, but involves
creating the need, then developing the product or service to meet this need. An example of
this can be seen with crossover artists. As all genres came to be by way of combining influ-
ences from different preexisting genres, large numbers of artists have become household names
by doing so. These said artists have created their fan base, or need by combining the fans of
different genres, writing the music for this new combined demographic, and thus meeting the
need by servicing that which they have created.
Should a successful combination of genres be popularly accepted, one can easily be-
come the namesake behind a new sound, and in some cases become completely responsible for
carving out a new genre. However, while this strategy may have the strongest chance at a long
and fruitful career, it can also come with high risks.
The music enthusiasts of today’s genres may be very critical when it comes to new
styles emerging. Oftentimes, fans of the contributing genres may feel the music is not rock,
country, metal, or jazz (etc) enough, and may be unwilling to accept the addition of another
contributing genre’s influence onto “theirs”. Just as likely, it can also be very difficult to effec-
tively combine some styles together in any division to create one sound.

The third and final strategy can be thought of as the middle of the road approach. In
business it is taking a product or service that already successfully meets a need, and simply im-
proving upon it. With regards to determining our demographic, it may be thought of as loosely
conforming to a certain genre, and adding only small amounts of outside influence.
This approach allows for the writer to enter the security of a proven and existing
genre’s fan base, but to integrate some influence from other genres. While this approach may
not be as potentially fruitful as inventing a new genre, it is also not as risky, and does come
With the potential to evolve more traditional formulas found in the genre. Furthermore, by
incorporating even small amounts of outside influence, we may help ensure more individuality,
less competition, and less chance of becoming quickly outdated.
While the above three approaches each come with their own considerations, no matter
the why, how, and which strategy one wishes to employ, the point is to identify one’s target
demographic; and this in itself an exercise. However, once identified, we can more specifically
appeal toward this demographic with our writing, sound, and image, and ultimately come to
better understand and better identify with our target demographic.
 Exercise

Regardless of which approach the writer chooses to pursue, some good questions to periodically
ask one’s self are:

Does this genre effectively represent me as I’d like to be portrayed in reaching my desired de-
mographic?

How relevant is what I’m doing toward my genre and demographic?

Am I currently refining or expanding my reach within this demographic?

How does my approach toward determining my demographic help me accomplish my goals?

23. Appealing to a Demographic
“The Pitch”

Regardless of which strategy an artist chooses to reach one’s target demographic, the
next step of appealing to this demographic is just as important, and is an entirely separate topic
all together.

As any successful company knows their ideal client to a T, and in some cases even bet-
ter than the clients may know themselves, the artist should know their listeners just as well. It
is unarguable that the successful company knows whom their ideal client is, and that by directly
and continually appealing to these clients, it is these clients that continue to represent and best
sell the product.
Appealing toward one’s demographic can be thought of in the same manner. It is our
fans that represent and sell our music, and it is in the better identifying with our demographic
that furthers our ability to appeal to and influence our audience.

For instance, when Country music first emerged its lyrics targeted the everyday middle-
America man. Voices preached of modern day struggles, the humbling ways in which to over-
come these struggles, and just how to celebrate these small victories along the way. Complete
with cowboy hats, muddy old boots, and big wheel trucks, Country represented a generation
and defined a lifestyle, and remains today as the second most listened to genre worldwide.
In the 80’s, Rap came out, and was targeted toward low-income urban African Ameri-
can men and women as an art form from this same culture. It then went on to brand this image
with everything from the ‘gangsta lifestyle’, the clothes worn, cars driven, and the values of this
culture. Over the next ten years the anthems of this culture would go on to outsell country, and
become the most listened to musical genre in the world.
While a first comparison might suggest that these two styles have nothing in common,
and couldn’t be any more different from another, the ways in which both genres interact with
their demographic couldn’t actually be any more identical. Both styles identify with their listen-
ers, accept them for who they are, further influence them who to be, what to drive, what to
wear, to overcome the struggles of everyday life, and just how to celebrate the good times.

Just as we each are infinitely more likely to listen to and accept advice from someone
we can relate to when compared to someone we do not, it is the entertainer’s duty and respon-
sibility to find this common ground in which their demographic can relate… And the first step
in appealing toward a demographic.
This can be accomplished as simply as lyrically mentioning the target demographics’
favorite places, cars, clothing, and pastimes using the vocabulary in which the demographic is
accustomed to. For example, while in Country we may mention Nashville, Ford, Wrangler, and
off-roading using a southern vocabulary, in Rap we might mention Los Angeles, Cadillac, Nike,
and clubbing using urban slang.
The tangibility of places people are from, the vehicles they drive, the clothes they wear,
and the pastimes they share are door-openers to the demographics’ identity. They are status
symbols and represent accomplishments of the demographic. Once the audience sees that the
artist has a similar identity, the audience may be more willing to listen to the message of the
artist.

The second step in appealing toward our demographic is our overall message. Our
message should consist of a more forward thinking in line with our demographic. It is where
the artist can steer their fan basis in a direction, but it is this ability to steer a fan base in a di-
rection in itself that is important, not necessarily what that direction may be. It is the ability to
steer the audience in a direction that affirms our ability to relate to our listeners, and what gives
an artist an edge. It is what will keep an artist relevant, one step ahead, and further allow their
fans to relate.
As examples, in Country our stance and overall message that we stand for may pertain
toward patriotism, and in Rap, political oppression. While these may not be the specific mes-
sages that we each individually identify with, one can see how it is the idea of a further think-
ing, whatever that may be, that gives the artist the edge of being ahead of the pack, looked up
to, and relevant, while at the same time of the people.

Our third and final step of appealing toward our demographic is actually in the packag-
ing, and how the overall experience of our music and performance is delivered. Once we have
related to our demographic, and delivered an overall message or theme to our art, we need to
include our fans. Just as we each have a need for affirmation in our daily lives to feel that we
are doing good, our audience needs the reassurance that by participating in our art, that they
are part of something they can be proud of,
Finally, in completing this three-step process, the cycle should repeat in order to further
relate to the audience, continue to deliver a message, and continue to include the audience in
our art by keeping things cool.

Again, some specifics to consider are: our target demographics’ age, gender, social
class, religious beliefs, economic standing, recreational activities, interests, fashion sense, cul-
tural background, values, and stereotypes among others.
 Exercise

Take any existing songs lyrics, and by only replacing single words, see how specifically you can
target a specific demographic. Try to effectively and authentically alter lyrics in an effort to
make the song as targeted and marketable as possible.
24. Continuing with a Demographic
“The Closing”

The only notion absolute in concerning our demographic is that regardless of how long
our lasting power as an artist, the one thing we can be sure of is change, and more specifically
change to the demographic we identify with.

This said, whether specifying a demographic in too much detail or too broadly, we no
longer have a demographic. No matter what we do, people change, and while the gender or
ethnicity one identifies with may rarely change, these types of factors alone do not constitute a
demographic in which to continually market one’s self to. Furthermore, the ways in which we
decide to continue with a demographic are crucial if our art is to survive, and how we decide to
continue, the potential for longevity with our fans.
There are only three specific ways in which an artist can continue their career amongst
their demographic, but not one of these three ways full proof. As with anything, each approach
has its own set of pros, cons, risks, and considerations. Furthermore, as our fans will grow, ma-
ture, and change in the aspects that once defined them as belonging to a specific demographic,
and as we too change, our art will change.

An artist may in fact choose to intentionally evolve by means of little change, at their
own pace, and completely arbitrarily of any cultural movement, demand, or trend. The artist
may adapt new influences, and reflect upon new topics as desired, but with deliberately little
change to their musical identity. But while this may seem the most authentic approach, it does
have the potential to become uncharted territory.
While some artists following this approach do still tend to draw crowds and sell music
to a dedicated fan base long into their profession, the risk with this approach may be the po-
tential of becoming outdated, played out, and a thing reminiscent of the past with fans.

The next approach, while risky, has huge opportunities combined with the respect that
someone whom transcends styles, topics, and even genres receives from continually support-
ing fans. As change within ourselves is just as imminent as within our fans’ demographic, as
musicians we change, and many artists choose to deliberately. Some artists have successfully
navigated their careers adapting new influences, new topics, and even genres. But while tran-
scending genres, for example, may seem quite the professional feat, artists who do, may not
always be guaranteed the longevity that one might think.
As people change, the topics and musical formulas which once set the artist apart from
others may no longer be prevalent in their writing. Needless to say, this can be good or bad for
the artist in their creative process, but more importantly this can affect the relating of the artist
to their changing fans.
Many times we hear people speak of how disappointed they are with the later albums
in an artist’s/band’s career. While an opinion like this from one individual may not make much
of a difference, if it becomes the general opinion of an artist’s career, one bad album may make
another following it almost impossible.
While from most artists’ perspectives our last approach may seem like selling out, it is
actually the most predictable business strategy in which to continue with a demographic. The
artist may choose to continue as they are and deliberately stay the same. The artist will take
what they consider an already successfully supporting demographic, and regardless if current
fans outgrow them, the artist does not deviate from their proven formula.
A perfect example of this can be seen with artists that target age-based demograph-
ics. Even more so with younger audiences, fans outgrow an artist if the artist only continues to
relate to the age group in which they previously belonged to. As these fans outgrow the artist,
new fans grow into the demographic, and thus replenish, or in many cases, actually increase the
numbers of this demographic,
As the artist carries the almost certain risk of becoming played out with maturing fans,
the artist’s anticipated shelf life with these fans is expectedly limited. As the newer to the
demographic ensure a steady stream of new interest in the artist, their interest outweighs the
value of any continued interest from maturing fans.
While from the financial perspective the artist may be cornering a market, the risks may
be quite obvious. As artists that generally choose to intentionally stay the same in a world that
is always changing, the single demographic in which they have identified with is ultimately vola-
tile. This said, as the artist may have become known for their professional character amongst
this demographic, once there is no longer interest in them, their career may cease, without the
ability to be taken seriously in other mediums.

Whichever method to continue with a demographic we decide to explore in our musi-
cianship, the ideas related to the potential for longevity in our craft should be constantly revis-
ited. As we each have our own desires and goals for which to accomplish with our music, the
decisions of how we are to continue with a demographic should always be in our thoughts.
 Exercise

Statistics show if a band doesn’t make it in five years, they should start another band. As it is
fun to think about, imagine and write down a five-year plan for your future music career. Keep
accomplishments realistic, and practical, with milestones along the way. Then consider which
plan to continue with your demographic best plays into the success of your career, and gets you
where you want to be.
25. Getting YOUR Music Out There!

The following chart is a mathematical formula explaining exponential growth. It is

meant to be encouraging to the reader in the next steps of his/her composition. As the chart
explains, if one person were to play your song on day one, two people on day two, four people
on day three, etc, etc; by the end of the month your song would have reached 2,147,483,647
plays... In just one month!

Day Reach Date/ Location Name

1 1 _________________________ ___________________________________
2 2 _________________________ ___________________________________
3 4 _________________________ ___________________________________
4 8 _________________________ ___________________________________
5 16 _________________________ ___________________________________
6 32 _________________________ ___________________________________
7 64 _________________________ ___________________________________
8 128 _________________________ ___________________________________
9 256 _________________________ ___________________________________
10 512 _________________________ ___________________________________
11 1,024 _________________________ ___________________________________
12 2,048 _________________________ ___________________________________
13 4,096 _________________________ ___________________________________
14 8,192 _________________________ ___________________________________
15 16,384 _________________________ ___________________________________
16 32,768 _________________________ ___________________________________
17 65,536 _________________________ ___________________________________
18 131,072 _________________________ ___________________________________
19 262,144 _________________________ ___________________________________
20 524,288 _________________________ ___________________________________
21 1,048,576 _________________________ ___________________________________
22 2,097,152 _________________________ ___________________________________
23 4,194,304 _________________________ ___________________________________
24 8,388,608 _________________________ ___________________________________
25 16,777,216 _________________________ ___________________________________
26 33,554,432 _________________________ ___________________________________
27 67,108,864 _________________________ ___________________________________
28 134,217,728 _________________________ ___________________________________
29 268,435,456 _________________________ ___________________________________
30 536,870,912 _________________________ ___________________________________
31 1,073,741,824 + previously accumulated plays = 2,147,483,647 plays in one month.
 Reading and Locating Notes

w w w
w w w w w w w w
& w w w w
w w w (w) w w w w
w w w w (middle C)

w w w
C3 D E F G A B (C4) D E F G A B C5 D E F G A B C6 D E F G A

w) w w w w
? w w w (
w w w
w w w w w w w w
w w w w w (middle C)
E F G A B C2 D E F G A B C3 D E F G A B (C4) D E F G A B C5
�

�
�

�
�

�
�

�
/A

/A

/A

/A

/A
/D

/D

/D

/D

/D
/E

/E

/E

/E

/E
/B

/B

/B

/B

/B
/G

/G

/G

/G

/G
D� D� D� D� D�
A�

A�

A�

A�

A�
G�

G�

G�

G�

G�
C�

C�

C�

C�

C�
F�

F�

F�

F�

F�
C1 D E F G A B C2 D E F G A B C3 D E F G A B (C4) D E F G A B C5 D E F G A B C6
(MIDDLE C)
 Reading and Locating Notes

GUITAR

E F F /G G G /A A A /B B C5 C /D D D /E E
B C4 C /D D D /E E F F /G G G /A A A /B B
G G /A A A /B B C4 C /D D D /E E F F /G G
D D /E E F F /G G G /A A A /B B C4 C /D D
A A /B B C3 C /D D D /E E F F /G G G /A A
E F F /G G G /A A A /B B C3 C /D D D /E E

5 STRING BASS

G G /A A A /B B C3 C /D D D /E E F F /G G
D D /E E F F /G G G /A A A /B B C3 C /D D
A A /B B C2 C /D D D /E E F F /G G G /A A
E F F /G G G /A A A /B B C2 C /D D D /E E
B C1 C /D D D /E E F F /G G G /A A A /B B

UKULELE

A A /B B C5 C /D D D /E E F F /G G G /A A
E F F /G G G /A A A /B B C5 C /D D D /E E
C4 C /D D D /E E F F /G G G /A A A /B B C5
G G /A A A /B B C5 C /D D D /E E F F /G G

5 STRING BANJO

D D /E E F F /G G G /A A A /B B C6 C /D D
B C5 C /D D D /E E F F /G G G /A A A /B B
G G /A A A /B B C5 C /D D D /E E F F /G G
D D /E E F F /G G G /A A A /B B C5 C /D D
G G /A A A /B B C6 C /D D D /E

MANDOLIN

E F F /G G G /A A A /B B C6 C /D D D /E E
A A /B B C5 C /D D D /E E F F /G G G /A A
D D /E E F F /G G G /A A A /B B C5 C /D D
G G /A A A /B B C4 C /D D D /E E F F /G G
 Keyboard Scales

Since there is only one place to play any note on a keyboard, and as different notes
are used in different keys, alternate fingerings must also be utilized to preserve the intervals
between scale tones when transposing scales.

C MAJOR

&
I w ii w iii h IV w V w vi w vii h (I)
C D E F G A B C

C D E F G A B C
w w h w w w h

D MAJOR

& # #

I w ii w iii h IV w V w vi w vii h (I)

D E F# G A B C# D

F� C�

D E G A B D
w w h w w w h

As the following examples demonstrate scales starting with the tonic C, alternate fin-
gerings must be used to correctly transpose the intervals between scale tones to different keys.
 Keyboard Scales

C MAJOR

&
I w ii w iii h IV w V w vi w vii h (I)
C D E F G A B C

C D E F G A B C
w w h w w w h

C MINOR

& b b b
b III b VI b VII
Eb Ab Bb
I w ii w w iv w v h w w (i)
C D F G C

E� A� B�

C D F G C
w h w w h w w

C HARMONIC MINOR

& b n
b
b III b VI
Eb Ab
I w ii w h iv w V h m3 vii h (i)
C D F G B C

E� A�

C D F G B C
w h w w h m3 h
 Keyboard Scales

C MAJOR PENTATONIC

&
I w ii w iii m3 V w vi m3 (I)
C D E G A C

C D E G A C
w w m3 w m3

C MINOR PENTATONIC

& b b
m3 b III w v m3 b VII w (i)
Eb Bb
I iv w
C F G C

E� B�

C F G C
m3 w w m3 w

C BLUES SCALE

& b) b
b (# /
b III #iv/b v b VII
Eb F#/Gb Bb
i m3 w iv h h v m3 w (i)
C F G C
Blues note

F�
/
E� G� B�

C F G C
m3 w h h m3 w
 Movable Scale Charts

On string instruments all scale fingerings are movable, meaning that the same finger-
ings of a particular scale may be used to transpose the same scale from any tonic.
C MAJOR

&
I w ii w iii h IV w V w vi w vii h (I)
C D E F G A B C

E C D E

B G A B

G E F

D B C D

A F G A

E C D E

(8)

D MAJOR

& #
#
I w ii w iii h IV w V w vi w vii h (I)
D E F# G A B C# D

E D E Fn

B A B Cn

G Fn G

D Cn D E

A G A B

E D E Fn

(10)
As the following examples demonstrate scales starting with the tonic C, the same
scale’s fingering may be played from any note to transpose the scale to any key.
 Movable Scales - C Major

&
I w ii w iii h IV w V w vi w vii h (I)
C D E F G A B C

GUITAR UKULELE
E C D E A B C

B G A B E F G

G E F C D

D B C D G

A F G A

E C D E BANJO
(8) D C D

B A B
BASS
G E F G
G E F G
D C D
D B C D
G
A F G A
(10)
E C D E
MANDOLIN
(8)
E A B C D

A D E F G

D G A B C

G C D E F

(5)
 Movable Scales - C Minor

& b b b
b III b VI b VII
Eb Ab Bb
i w ii h w iv w v h w w (i)
C D F G C

GUITAR UKULELE
E C D E� A B� C

B G A� B� E F G A�

G D E� F C D E�

D B� C G

A F G A�

E C D E� BANJO
(8) D C D E�

B B�
BASS
G F G A�
G D E� F G
D C D E�
D B� C
G
A F G A�
(10)
E C D E�
MANDOLIN
(8)
E B� C D E�

A D E� F G A�

D G A� B� C

G C D E� F

(5)
 Movable Scales - C Harmonic Minor

& b b n
b III b VI
Eb Ab
i w ii h w iv w V h m3 vii h (i)
C D F G B C

GUITAR UKULELE
E B C D E� A B C

B G A� E F G A�

G D E� F C D E�

D B C G

A F G A�

E C D E� BANJO
(8) D C D E�

B B
BASS
G F G A�
G D E� F G
D C D E�
D B C
G
A F G A�
(10)
E C D E�
MANDOLIN
(8)
E B C D E�

A D E� F G A�

D G A� B C

G C D E� F

(5)
 MOVABLE SCALES - C MAJOR PENTATONIC

Movable Scales - C Major Pentatonic

&
I w ii w iii m3 V w vi m3 (I)
C D E G A C

GUITAR UKULELE
E C D A C

B G A E G

G D E C D

D A C G

A E G

E C D BANJO
(8) D C D

B A
BASS
G E G
G D E G
D C D
D A C
G
A E G
(10)
E C D
MANDOLIN
(8)
E A C D

A D E G

D G A C

G C D E

(5)
 MOVABLE SCALES - C MINOR PENTATONIC

Movable Scales - C Minor Pentatonic

& b
b
b III b VII
Eb Bb
i m3 w iv w v m3 w (i)
C F G C

GUITAR UKULELE
E C E� A B� C

B G B� E F G

G E� F C E�

D B� C G

A F G

E C E� BANJO
(8) D C E�

B B�
BASS
G F G
G E� F G
D C E�
D B� C
G
A F G
(10)
E C E�
MANDOLIN
(8)
E B� C E�

A E� F G

D G B� C

G C E� F

(5)
 MOVABLE SCALES - C BLUES SCALE

Movable Scales - C Blues Scale

& b) b
b (# /
b III #iv/b v b VII
Eb F#/Gb Bb
i m3 w iv h h v m3 w (i)
C F G C

GUITAR UKULELE
E C E� A B� C

B G B� E F G
Fn/G�
G E� F C E�
Fn/ G�
D B� C G

A F G = BLUES SCALE
Fn/ G�
E C E� BANJO
(8) = BLUES NOTE D C E�

B B�
BASS
G F G
G E� F G Fn/G�
Fn/ G� D C E�
D B� C
G
A F G
Fn/ G� (10) = BLUES NOTE
E C E�
MANDOLIN
(8) = BLUES NOTE
E B� C E�

A E� F G
Fn/G�
D G B� C
Fn/G�
G C E� F

(5) = BLUES NOTE

 Chord Spelling Chart
M = major interval, m = minor interval, P = perfect interval, d = diminished interval
CHORD
Augmented Triad (Aug, +)
Major Triad (Maj, Δ)
Minor Triad (Min, -)
Diminished Triad (Dim,°)
Suspended Second (sus 2)
Suspended Fourth (sus 4)
Major 6 (Maj6, Δ6)
Minor 6 (Min6, -6)
Minor �6 (Min�6, -�6)
Major 7 #5 (Maj 7#5, Δ7#5)
Major 7 (Maj7, Δ7)
Dominant 7 (Dom7, 7)
Minor Major 7 (MinΔ7, -Δ7)
Minor 7 (Min7, -7)
Minor 7 �5 (Min7�5, -7�5,°)
Diminished 7 (Dim7,°)
Dominant 7 sus 2 (7sus2)
Dominant 7 sus 4 (7sus4)
Dominant 7 #5 (Dom7#5, 7#5)
FORMULA
R (M3) 3 (M3) #5
R (M3) 3 (m3) 5
R (m3) �3 (M3) 5
R (m3) �3 (m3) �5
R (M2) 2 (P4) 5
R (P4) 4 (M2) 5
R (M3) 3 (m3) 5 (M2) 6
R (m3) �3 (M3) 5 (M2) 6
R (m3) �3 (M3) 5 (m2) �6
R (M3) 3 (M3) #5 (m3) 7
R (M3) 3 (m3) 5 (M3) 7
R (M3) 3 (m3) 5 (m3) �7
R (m3) �3 (M3) 5 (M3) 7
R (m3) �3 (M3) 5 (m3) �7
R (m3) �3 (m3) �5 (M3) �7
R (m3) �3 (m3) �5 (m3) ��7/6 C (m3) E� (m3) G�(m3) B��/A
R (M2) 2 (P4) 5 (m3) �7
R (P4) 4 (M2) 5 (m3) �7
R (M3) 3 (M3) #5 (d3) �7
EXAMPLE
C (M3) E (M3) G#
C (M3) E (m3) G
C (m3) E� (M3) G
C (m3) E� (m3) G�
C (M2) D (P4) G
C (P4) F (M2) G
C (M3) E (m3) G (M2) A
C (m3) E� (M3) G (M2) A
C (m3) E� (M3) G (m2) A�
C (M3) E (M3) G# (m3) B
C (M3) E (m3) G (M3) B
C (M3) E (m3) G (m3) B�
C (m3) E� (M3) G (M3) B
C (m3) E� (M3) G (m3) B�
C (m3) E� (m3) G�(M3) B�
C (M2) D (P4) G (m3) B�
C (P4) F (M2) G (m3) B�
C (M3) E (M3) G# (d3) B�
 Keyboard Chords

While some fingerings on a keyboard may be used to play the same quality of different
chords, these same fingerings can also yield different qualities.

C Major G Major

C E G G B D
R 3 5 R 3 5
M3 m3 M3 m3

A Minor B Diminished

A C E B D F
R �3 5 R �3 �5
m3 M3 m3 m3

For this reason, the intervallic distance between chord tones must be taken into con-
sideration to properly form chords of a desired quality. As the following examples demonstrate
chords with the root of C, alternate fingerings must be used to correctly preserve the intervals
between chord tones within a chord quality.
 Keyboard Chords

C Major C Major 7 C Minor

E�

C E G C E G B C G
R 3 5 R 3 5 7 R �3 5
(M3) (m3) (M3) (m3) (M3) (m3) (M3)

C Minor 7 C Augmented C Diminished

E� B� G� E� G�

C G C E C
R �3 5 �7 C 3 �5 C �3 �5
(m3) (M3) (m3) (M3) (M3) (m3) (m3)

C Diminished 7 C Minor 7 �5 C Sus 2

E� G� E� G� B�

C A C C D G
R �3 �5 ��7 R �3 �5 �7 R 2 5
(m3) (m3) (m3) (m3) (m3) (M3) (M2) (P4)

C Sus 4 C7 C 7 Sus 2

B� B�

C F G C E G C D G
R 4 5 R 3 5 �7 R 2 5 �7
(P4) (M2) (M3) (m3) (m3) (M2) (P4) (m3)

C 7 Sus 4 _________ _________

B�

C F G
R 4 5 �7
(P4) (M2) (m3)
 Movable Shape Chord Charts

On string instruments all chords consist of movable shapes, and each chord quality
(maj, min, etc) has its own unique shape. A movable shape is a chord or segment of a chord’s
fingering that may be moved to anywhere on the fretboard to form additional chords of the
same quality.
5th

G E 3rd
C MAJOR
C Root

E 3rd

C Root

5th

E MAJOR
B G� 3rd
(4)

E Root

G� 3rd

E Root

5th

E MAJOR 2ND INV

B G� 3rd
(4)

E Root

As the following examples demonstrate, the same shapes found in open chords may be
moved to any place on the fretboard to produce the same chord quality using any root.
 Guitar Chords

MAJOR MAJOR MAJOR MAJOR

R 5 R R 5 5 R 3 5 3

3 R

5 R 5 R 3 3 3

R R R

MAJOR MAJOR MAJOR 1ST INV MAJOR 2ND INV

5 R R 5 R 5 R

3 3

R 5 3 3 5 R

R 5 R

MINOR MINOR MINOR MINOR

R 3 5 R R 5 3 5 R R

3 3

5 R 5 R R 5

MINOR 1ST INV MINOR 2ND INV MAJOR 7 MAJOR 7

5 R 3 5 R R 5 5 7 3

3 7

5 R 5 3 3

5 R R

MAJOR 7 MINOR 7 MINOR 7 DOM 7

R
7 R 3 R R 7 5 R 7 5 R

5 3 3

3 5 R 5 5

R 7
 Guitar Chords

DOM 7 DOM 7 DOM 7 DOM 7 1ST INV

5 R 3 R 7 5 R R

7 7 3

3 5 3 5 3 7 5

DOM 7 SUS 4 DOM 7 SUS 4 DOM 7 SUS 2 SUS 4

R 7 5 R R 7 2 5 R 5

5 5 R 5 5 R

4 4 7 4

SUS 4 SUS 2 SUS 2 DIM 7

R R 2 5 R 2 7

R 3

5 5 R 5 5

R 4 R

DIM 7 DIM 7 AUG AUG

5 3 R R 5 R

7 7 5 5 3

3 R 3 R

AUG ____ ____ ____

3 5

R
 Ukulele Chords

MAJOR MAJOR MAJOR 1ST INV MAJOR 2ND INV MAJOR 2ND INV

5 R 3 5 5 R R 5 3

3 R

5 R 3 R 5 3 3

R R

MAJOR 2ND INV MINOR MINOR 1ST INV MINOR 2ND INV MINOR 2ND INV

5 5 3 5 R R 3

R 3 3 5

3 5 R R 5 3 R

5 R

MINOR 2ND INV MAJOR 7 MAJOR 7 1ST INV MAJOR 7 2ND INV MAJOR 7 3RD INV

5 5 R 3 5 R R R

3 R 7 3 3

7 5 7 3 5

5 7

MINOR 7 MINOR 7 1ST INV MINOR 7 2ND INV MINOR 7 3RD INV DOM 7

3 7 3 5 R R 3 R 5 R 3

5 R 7 3 7

7 5 7 5

DOM 7 1ST INV DOM 7 2ND INV DOM 7 3RD INV DIM DIM 1ST INV

7 5 R R R 5 5

3 7 3 3 R

5 3 7 5 5 3

R R
 Ukulele Chords
UKULELE CHORDS

DIM 2ND INV DIM 2ND INV DIM 2ND INV DIM 7 AUG

R 5 3 5 R 3

5 3 5 3 5

3 R 3 R R 5

R 5 R

AUG AUG ___ ___ ___

5 R

R 3

5 3

5 R

___ ___ ___ ___ ___

___ ___ ___ ___ ___

___ ___ ___ ___ ___

 Banjo
BANJOChords
CHORDS

MAJOR MAJOR MAJOR 1ST INV MAJOR 2ND INV MINOR

5 R 5 5 R 3 5 3 5

3 R

R R 5 3 3 R R

MINOR MINOR 1ST INV MINOR 2ND INV MAJOR 7 MAJOR 7

R 3 5 R

5 5 R 5 3 7

5 3 R 3 R 5 7

R 3

MINOR 7 MINOR 7 MINOR 7 1ST INV DOM 7 DOM 7 2ND INV

R 3 5 7 R 5 7 5 R 3

7 7 3

5 R 5 R

3 3 7

DIM DIM 7 AUG ___ ___

5 5 7 3 5

3 3 R R

R R R
 Mandolin Chords
MANDOLIN CHORDS

MAJOR MAJOR MAJOR MAJOR 1ST INV MAJOR 1ST INV

R 5 5 3 3 R

R 5 R 5 3

3 R 5 R 5

R R 3

MAJOR 2ND INV MAJOR 2ND INV MAJOR 2ND INV MAJOR 2ND INV MINOR

5 5 3 3 R 5 R 5

R 3

3 3 5 3

R 5 R R R

MINOR MINOR MINOR 1ST INV MINOR 1ST INV MINOR 2ND INV

5 3 3 3 R 5

R 5 R 5 R 5 R 5

3 3 R 5

MINOR 2ND INV MINOR 2ND INV MAJOR 7 MAJOR 7 1ST INV MAJOR 7 3RD INV

3 R 5 R 5 R 3

5 3 3 7 R 5

3 5 3 7 5 7

R
 Mandolin Chords
MANDOLIN CHORDS

MINOR 7 MINOR 7 1ST INV MINOR 7 2ND INV MINOR 7 3RD INV DOM 7

R 5 3 7 R R 3 R 5

3 7 3 7

5 5 7 R 5 3

DOM 7 1ST INV DOM 7 2ND INV DOM 7 3RD INV DIM 7 AUG

7 R R 3 3 R

3 7 R 5 7 5 5

5 5 3 R 3

7 R

AUG AUG ___ ___ ___

5 R

3 3

R R

3 5

___ ___ ___ ___ ___

___ ___ ___ ___ ___

 Major Modes

Modes are the products of utilizing the notes of a key while emphasizing a note other
than the key’s tonic as I. By displacing the notes in a key the repositioning of the key’s half steps
change the tendencies notes follow to return to the mode’s tonic, as well as the positioning of
the keys diatonic chord qualities,

While the below example demonstrates there are seven notes in each key, there are
seven modes to each parent key. For comparison purposes the following diagrams depict
modes that share the common tonic of C.

Notes Notes Diatonic Chords

C Ionian CDEFGAB Cmaj (I) – Dmin (ii) – Emin (iii) – Fmaj (IV) – Gmaj (V) – Amin (vi) – Bdim (viio )

D Dorian DEFGABC Dmin (i) – Emin (ii) – Fmaj (III) – Gmaj (IV) – Amin (v) – Bdim (vio ) – Cmaj (VII)

E Phrygian EFGABCD Emin (i) – Fmaj (II) – Gmaj (III) – Amin (iv) – Bdim (vo ) – Cmaj (VI) – Dmin (vii)

F Lydian FGABCDE Fmaj (I) – Gmaj (II) – Amin (iii) – Bdim (ivo ) – Cmaj (V) – Dmin (vi) – Emin (vii)

G Mixolydian GABCDEF Gmaj (I) – Amin (ii) – Bdim (iiio ) – Cmaj (IV) – Dmin (v) – Emin (vi) – Fmaj (VII)

A Aeolian ABCDEFG Amin (i) – Bdim (iio ) – Cmaj (III) – Dmin (iv) – Emin (v) – Fmaj (VI) – Gmaj (VII)

B Locrian BCDEFGA Bdim (io ) – Cmaj (II) – Dmin (iii) – Emin (iv) – Fmaj (V) – Gmaj (VI) – Amin (vii)
 C Ionian (Major)

Degree/Parent Key Scale Key Tones

1st of C major CDEFGAB N/A

Diatonic Chords
Cmaj (I) – Dmin (ii) – Emin (iii) – Fmaj (IV) – Gmaj (V) – Amin (vi) – Bdim (viio )

&
I w ii w iii h IV w V w vi w vii h (I)
C D E F G A B C

KEYBOARD UKULELE

A B C

E F G

C D

G
C D E F G A B C

GUITAR BANJO

E C D E D C D

B G A B B A B

G E F G E F G

D B C D D C D

A F G A G

E C D E (10)
(8)

BASS MANDOLIN

G E F G E A B C D

D B C D A D E F G

A F G A D G A B C

E C D E G C D E F

(8) (5)
 C Dorian

Degree/Parent Key Scale Key Tones

2nd of B�major C D E�F G A B� �III, �VII

Diatonic Chords
Cmin (i) – Dmin (ii) – E�maj (III) – Fmaj (IV) – Gmin (v) – Adim (vio) – B�maj (VII)

& b
b
b III b VII
Eb Bb
i w ii h w IV w v w vi h w (i)
C D F G A C

KEYBOARD UKULELE

A B� C

E F G

E� B�
C D E�

G
C D F G A C

GUITAR BANJO

E C D E� D C D E�

B G A B� B A B�

G D E� F G F G

D A B� C D C D E�

A F G G

E C D E� (10)
(8)

BASS MANDOLIN

G D E� F G E A B� C D E�

D A B� C A D E� F G

A F G D G A B� C

E C D E� G C D E� F

(8) (5)
 C Phrygian

Degree/Parent Key Scale Key Tones

3rd of A� major C D� E� F G A� B� �II, �III, �VI, �vii

Diatonic Chords
Cmin (i) – D�maj (II) – E�maj (III) – Fmin (iv) – Gdim (vo) – A�maj (VI) – B�min (vii)

& b b b
b
b II b III b vi b vii
Db Eb Ab Bb
i h w w iv w v h w w (i)
C F G C

KEYBOARD UKULELE

A B� C

E F G A�

D� E� A� B�
C D� E�

G
C F G C

GUITAR BANJO

E C D� E� D C D� E�

B G A� B� B B�

G E� F G F G A�

D B� C D� D C D� E�

A F G A� G

E C D� E� (10)
(8)

BASS MANDOLIN

G E� F G E B� C D� E�

D B� C D� A E� F G A�

A F G A� D G A� B� C D�

E C D� E� G C D� E� F

(8) (5)
 C Lydian

Degree/Parent Key Scale Key Tones

4th of G major C D E F# G A B #iv

Diatonic Chords
Cmaj (I) – Dmaj (II) – Emin (iii) – F#dim (ivo) – Gmaj (V) – Amin (vi) – Bmin (vii)

& #
I II iii
C
w
D
w
E
w
�Fiv h V
G
w vi
A
w vii
B
h (I)
C
�

KEYBOARD UKULELE

A B C

E Fn G

F�
C D

G
C D E G A B C

GUITAR BANJO

E C D E D C D

B G A B B A B

G E Fn G E F� G

D B C D D C D

A Fn G A G

E C D E (10)
(8)

BASS MANDOLIN

G E Fn G E A B C D

D B C D A D E F� G

A Fn G A D G A B C

E C D E G C D E F�

(8) (5)
 C Mixolydian

Degree/Parent Key Scale Key Tones

5th of F major C D E F G A B� �VII

Diatonic Chords
Cmaj (I) – Dmin (ii) – Edim (iiio) – Fmaj (IV) – Gmin (v) – Amin (vi) – B�maj (VII)

& b
b VII
Bb
I w ii w iii h IV w v w vi h w (I)
C D E F G A C

KEYBOARD UKULELE

A Bn C

E F G

B�
C D

G
C D E F G A C

GUITAR BANJO

E C D D C D

B G A B� B A B�

G D E F G E F G

D A B� C D C D

A E F G G

E C D (10)
(8)

BASS MANDOLIN

G D E F G E A B� C D

D A B� C A D E F G

A E F G D G A B� C

E C D G C D E F

(8) (5)
 C Aeolian (Minor)

Degree/Parent Key Scale Key Tones

6th of E� major C D E� F G A� B� �III, �VI, �VII

Diatonic Chords
Cmin (i) – Ddim (iio) – E�maj (III) – Fmin (iv) – Gmin (v) – A�maj (VI) – B�maj (VII)

& b b b
b III b VI b VII
Eb Ab Bb
i w ii h w iv w v h w w (i)
C D F G C

KEYBOARD UKULELE

A B� C

E F G A�

E� A� B�
C D E�

G
C D F G C

GUITAR BANJO

E C D E� D C D E�

B G A� B� B B�

G D E� F G F G A�

D B� C D C D E�

A F G A� G

E C D E� (10)
(8)

BASS MANDOLIN

G D E� F G E B� C D E�

D B� C A D E� F G A�

A F G A� D G A� B� C

E C D E� G C D E� F

(8) (5)
 C Locrian

Degree/Parent Key Scale Key Tones

7th of D� major C D� E� F G� A� B� �II, �iii, �V, �VI, �vii

Diatonic Chords
Cdim (io) – D�maj (II) – E�min (iii) – Fmin (iv) – G�maj (V) – A�maj (VI) – B�min (vii)

& b b b
b b
b II b iii bV b VI b vii
Db Eb Gb Ab Bb
i h w w iv h w w w (i)
C F C

KEYBOARD UKULELE

A B� C

E F G� A�

D� E� G� A� B�
C D� E�

G
C F C

GUITAR BANJO

E C D� E� D C D� E�

B A� B� B B�

G E� F G� G F G� A�

D B� C D� D C D� E�

A F G� A� G

E C D� E� (10)
(8)

BASS MANDOLIN

G E� F G� E B� C D� E�

D B� C D� A E� F G� A�

A F G� A� D A� B� C D�

E C D� E� G C D� E� F G�

(8) (5)
 Circle of Fifths

MAJOR

C
F G
1 1
minor

B a D
d e
2 s 2 s
g b

E 3 s c f 3 s A

f c
4 s 4 s
A b g E
e /d

5 s 5 s
D 6 s/6 s B
G /F
 Glossary

Accelerando A gradual speeding up of tempo.

Backbeats The typically unaccented beats of a measure (ie: beats 2 and 4 in a
4
4 time signature).
Bar Line The vertical line dividing measures or bars.
BPM An abbreviation for beats per minute measuring the speed of a
tempo.
Cacophony Sounding unpleasant, dissonant, or without resolution.
Cellular Motion A concept that pertains to the ways in which two notes may move
in relation to each other.
Chord Tones Notes which chords are comprised of.
Chromaticism The succession of both diatonic scale tones and non-diatonic notes
by half step.
Collective Dynamic The collective energy of a section derived from individual players’
contributions.
Collective Timbre The sounding quality of a section derived from individual players’
contributions.
Common Time A “C” at the beginning of a staff indicating a 44 time signature.
Compound Meter Meters in which beat pulses are equally divided into threes (ie: 68 ,
9 12
8 , 8 , etc).
Consonance Sounding pleasant and as expected.
Consonant Interval A pleasant sounding harmonic interval between notes.
Contrary Motion When two notes move either toward or away from each other at
any interval.
Cut Time To play to a tempo twice as fast.
Decay The time taken and quality of timbre in which a note silences after
attack.
Deception When a tone or chord does not resolve as expected.
Diatonic Notes or chords naturally occurring within a key.
Diatonic Interval An interval naturally occurring between diatonic notes in a key.
Diatonic Substitution A chord’s substitution that while sharing some common tones may
have a different chord quality, but functions similarly and exists
diatonically in the same key.
Dissonance Sounding unpleasant, or unresolved.
Dissonant Interval An unpleasant sounding harmonic interval between notes that must
be followed by a consonant interval in order to avoid cacophony.
Downbeats The emphasized beats or strong beats in a measure (ie: beats 1 and
3 in a 44 time signature).
Dynamic A term which pertains to the level of energy and volume of a pas-
sage.
Dynamic Drumming The contribution to the collective dynamic through drumming.
Dynamic Range The difference in energy between a passage’s low and high energy
sections.
Flat ( ) A symbol dictating that a specific note sound one half step lower
in pitch.
Free Time The lacking of a distinguished tempo and beats, also known as
rubato.
Half Step The smallest interval between notes in western music, also known
as a minor 2nd.
Half Time To play to a tempo half as fast.
Harmony An element to music in which a combination of two or more notes
sounding at the same time resonate at intervals.
 Glossary

Hits Over Time The combination of pitched and percussive instruments in accent-
ing specific, and often lyrical aspects of a passage.
Instrumentation The arrangement and assignment of instruments and their parts.
Inversion A term used to categorize alternate spellings of chords from bass to
soprano when compared to root position voicings.
1st Inversion The spelling of a chord when featuring its 3rd as its lowest pitched
note.
2nd Inversion The spelling of a chord when featuring its 5th as its lowest pitched
note.
3rd Inversion The spelling of a chord when featuring its 7th as its lowest pitched
note.
Key A specific scale and set of tones in relation to a corresponding
tonic.
Key Signature The sharps and flats at the beginning of a staff indicating the key.
Measure Also known as a bar, and used to group sections of music according
to number of beats.
Melody An element to music in which a rhythmic succession of changing
pitches creates a phrase.
Meter Also known as time signature, and dictating the number of beats
within a measure.
Mixed Meter The sequential use of different meters within a single musical
phrase.
Mode An alternate succession of notes in a key whereas alternative notes
are emphasized in place of the key’s tonic.
Natural (�) A symbol indicating a note is neither flat nor sharp.
Non- Diatonic Notes or chords not naturally occurring within a key.
Non- Diatonic Interval An interval not naturally occurring within a key or between notes
non-diatonic to a key.
Non-Diatonic Passing Non-diatonic chords chromatically existing between diatonic chords
Chords in a key.
Non-Diatonic Substitution A chord’s substitution that utilizes a non-diatonic quality of a chord.
Oblique Motion When one note stays the same and the other either moves up or
down at any interval.
Octave The interval between a note and the next highest or lowest occur-
rence of the same note equal to 12 half steps.
Ornamentation The rhythmic, melodic, or harmonic embellishment of a passage.
Ostinato A repeated phrase which repeats exactly regardless of changes in
the melody or harmony.
Parallel Motion When two notes both move either up or down and at the exact
same interval.
Pedal Tone A note which sustains throughout a passage regardless of changes
in the melody or harmony.
Phrase A complete statement of a musical idea.
Pivot Chord A chord that occurs in two keys and is used for changing between
keys.
Polyrhythm The use of two or more different time signatures at the same time.
Range A term pertaining to the low and high pitch limitations of an instru-
ment or passage.
Register A term used to identify the octave(s) being utilized.
Resolution The movement from a tense unstable tone to the more stable or
final accompanied by a feeling of arrival, conclusion, or finality.
Resolve When a tone or chord cadences from dissonance to consonance.
 Glossary

Rhythm An element to music in which notes are played to accented and

unaccented beats.
Ritardando A gradual slowing down of tempo.
Root The tone in which a chord identifies it’s name with, generally its
lowest voice unless utilizing an inversion.
Root Position Chord The spelling of a chord featuring its root as its lowest pitched note.
Rubato The lacking of a distinguished tempo and beats, also known as free
time.
Scale Tones Notes belonging to specific scale or key.
Secondary Dominant A non-diatonically occurring major or dominant quality chord pre-
ceding a chord a perfect 5th lower or perfect 4th higher.
Sharp (#) A symbol dictating that a specific note sound one half step higher
in pitch.
Similar Motion When two notes both move either up or down, but at different
intervals.
Stable Chord The I chord of a key which has no specific tendency to move to
another chord.
Stable Tone The tonic note of a key which has no specific tendency to move to
another note.
Swing The rhythmic interpretation of a passage emphasizing alternating
longer and shorter note values.
Syncopation The stressing of normally unaccented beats in a rhythm, melody or
harmonic progression.
Tempo The indicated speed of a passage in units of beats per minute or
BPM.
Tendency The seemingly want or need a particular note or chord has to move
to another.
Tension The perceived need for relaxation created by the listeners expecta-
tion for resolution.
Texture The defining instrumentation of a collective timber and dynamic.
Thematic Development The development or evolution of a complete musical idea over the
course of a composition.
Timbre Pronounced “tamber”, referring to the sounding quality of a pitch.
Time Signature Also known as meter, and dictating the number of beats within a
measure.
Tonal Harmonies or melodies which accent, and resolve to the tonic of a
key.
Tonal Center The tonic note or I chord of a scale.
Tonic The starting note of a key or lowest pitch of a scale.
Triplet An equal division of a beat by threes indicated by a bracket over
note stems and a 3.
Tritone The interval of a #4th/ 5th, also referred to as a blue note in blues.
Tuplet An equal division of a beat by an odd number of note values or
note values other than 8th, 16th, and 32nd notes (ie: quintuplets,
septuplets, etc).
Unstable A note or chord that has a strong tendency to move to another.
Velocity The volume associated with the attack of an instrument.
Voice Leading Navigating a chord progression by shortest intervallic distance pos-
sible utilizing inversions to objectively share common tones be-
tween chords where possible.
Voicing The specific spelling of a chord from bass to soprano.
Whole Step The combined distance of two half steps, also known as a major 2nd.
Notation Paper
 Guitar Tab

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
B
G
D
A
E

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
B
G
D
A
E

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
B
G
D
A
E

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
B
G
D
A
E

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
B
G
D
A
E

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
B
G
D
A
E
 5 String Bass Tab

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
G
D
A
E
B

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
G
D
A
E
B

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
G
D
A
E
B

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
G
D
A
E
B

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
G
D
A
E
B

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
G
D
A
E
B

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
G
D
A
E
B
 Ukulele Tab

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
A
E
C
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
A
E
C
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
A
E
C
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
A
E
C
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
A
E
C
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
A
E
C
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
A
E
C
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
A
E
C
G
 5 String Banjo Tab

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
D
B
G
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
D
B
G
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
D
B
G
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
D
B
G
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
D
B
G
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
D
B
G
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
D
B
G
D
G
 Mandolin Tab

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
A
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
A
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
A
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
A
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
A
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
A
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
A
D
G

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
E
A
D
G
 Drum Tab

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
C
H
F
2
1
S
K

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
C
H
F
2
1
S
K

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
C
H
F
2
1
S
K

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
C
H
F
2
1
S
K

1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 & 1 & 2 & 3 & 4 &
C
H
F
2
1
S
K
Song:
Song:
BPM:

Section #Phrases Instrumentation

 About the Author

A graduate from The Berklee College of Music with honors, and a professional mu-
sician and music educator since 2001; Greg instructs a multitude of subjects including
guitar, bass, drums, vocals, songwriting, arranging, orchestration, and traditional theory.

Mr. Greg, also the founder of Southern California’s very own The Rock
Band Experience (www.TheRockBandExperience.net) strives in his everyday practices
to push the limits of students of all levels to achieve nothing short of excellence
in their original composition.

In Greg’s own vocation, Greg writes for and performs all instruments in his original
music. As best described, Greg’s influences include Hard Rock, Metal, Country Rock, and Blues.

To contact Greg, leave a reader review, or share your feedback please visit:
www.Modern-Songwriting.com