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Inspirations from Polyphia and Chon mixing it with the Baths thing and my own thing.

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Trying Times Backing demo #1

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Trying Times early guitar demos

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B Section

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A, B

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Star Trek Sample - Used on outro of Trying For Times

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Star Trek Sample - Used on outro of Trying For Times

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be right here, waiting in the past out in a new 
cultured meadow for the well lit bloom
and please get home in one piece
ill wait for you just dont get lonely
and be upset

my old friend
my best friend
my gay friend
my ex's 
my childhood friend
my innocence
my element
my buried lament

you're taking off 
and we're off for better
it sounds like it again
in the dark beyond the meadow
we're taking off
and you're off for better
we'll say it back here again
in the lost woods or the meadow

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Before we're through
Let's go
Up and off we're out again
into the cold

***

Though drifting i am here amidst the fog
I've still been able to find my way amongst thickness and molasses
Viseral debris that's been set alight by matches
I'm tarnishing myself from always thinking too much
Needing an embrace from anything with a warm touch

***

The cards never played out like you thought they would
Like you hoped they could
But did that mean it should?

Digging into the parts that make you
When you realised it wasnt made for two

****

end of the day we're still broken hearted
seeking a way to get this thing started
pull out and then some will see
from the get go, the get go

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Utilises fairly straight forward structures usually consisting of:

Intro
Verse
Pre Chorus or Chorus
Verse
Pre Chorus/Chorus
Mid 8
Chorus
In it's simplest form. Other styles like Rock, metal and folk musics around the world can be seen using structures similar to this.

What makes this simple format so effective?

The lyrics tend to follow the structure, variating on verses to elaborate upon the story arcs and contexts. The chorus is generally our strong reminder or summary to the songs message and in most cases is the more "catchier" section of the tune that people are meant to remember the most.

This is in no way a global representation, but generally most pop songs exist in 1 key and seldom journey beyond that unless its for a climactic ending in which a song is pushed up a whole tone or a third (as in the ending of Baby Be Mine by Michael Jackson) in the last chorus.
Harmony is generally diatonic, but can utilise other types of harmony like the melodic minor scale like in Beyonce's "Single Ladies."

Instrumentation is very varied as the term "Pop" is largely defined by cultural norms and what's current at the time in the main-stream media. Generally it utilises the whole spectrum of musical "voices" of a time or era and can exists anywhere from being the sounds of an acoustic singer/songwriter or someone using a computer to create backing tracks that are heavily MIDI or sample based, musics like EDM and Hip Hop, which all have songs that feature under the pop umbrella at sometime or another. Sonically the sound of Pop cannot be defined by any one category of instruments, because it exists across many genres and time period that where all "popular" at one point or another and is in essence the most diverse genre of music in terms of instruments used, how many are used and for what purposes they are used for.

Being a creation of culture, the main rhythmic and melodic ideas come from whatever is current at a time. The ideas of Pop are usually very basic to follow and don't exclude anyone in terms of understanding the context of the song, how it comes across or is heard by the listener. The experience is meant to be easy going, and does not pose any "sophistication" threats that come from more harmonically advanced musics like Classical or Jazz. Pop music sees to unify people more and delivers music that can be enjoyed by the majority.

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A
can't figure out much more from this
thinking there wont be no room for much more
being the way you are it makes sense to me, a vagabond, destined for kicks
conjured up in scriptures wrote on your door

B
lets go back a step and talk this out like gentlemen
before you anger and come down on me and use your nen
cut the bullshit this is far enough so take a chair
and in the end i hope that we get there

C
do da da de-ey-oh wuh oh u-oh
end of the day we're both broken hearted
seeking a way to get this thing started
pull out and then some will see
from the get go, the get go
end of the day we're both broken hearted
seeking a way to get this thing started
pull out and then some will see
from the get go

A
can't figure out much more from this, let bliss slip, you know what i mean
thinking it wont be your home for much more
being the way you are it makes sense to me, a vagabond, your get away is clean
Transmigration of the ultimate to find your true form

B1
so lets go back a step and talk this out like gentlemen
before you anger and come down on me and use your nen
cut the bullshit this is far enough so take a chair
and in the end i hope that we get there
going forwards, you've done enough to make it stick
show me rock, show me scissors, show me your trick
cut the bullshit this is far enough what's with that stare
and in the end i hope that we get there

C
end of the day we're both broken hearted
seeking a way to get this thing started
pull out and then some will see
from the get go, the get go

trickling down he wont come again for me
brasen and picking me up with both arms gently
reverse im out again opening doors to where i find
peering out into a world where boys are behind

end of the day we're still broken hearted
try'na make sense of that which we've started
pull out and then some will see
from the get go

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A Section idea

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A New Chorus Drum Line

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The melody above was written as an interpretation to this photo i was sent by a friend.
I used the bottom 5 lines on the left side of the pole as my stave and gave myself an arbitrary starting point (in this case E to work better with my instrument - the guitar which is generally tuned to E.) I then applied a displacement to the upper part of the melody, whilst keeping the bottom stave rhythm in 11/8 (omitting any notes on the bottom that sync up with the top line as this will become the bass players job) to make the melody less repetitious.

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An Riff - This is a cool progression because it could either be seen as a I / II / II or a IV / V / VI progression, but with the harmony of the last chord it clearly doesnt contain a b2 so I would say in any case of the ambiguity of the first 2 chords, the 3rd is either borrowed or diatonic if you chose to harmonise this progression starting on a Maj#11 (the characterising sound of a Lydian mode, the IV chord). Therefore this progression is in the key of F major

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This riff or melody starts on the b5 or blues note of an E minor Pentatonic scale, and decends chromatically to the tonic. However, instead of it resolving to a Minor chord (as would be the iii chord of C major) it resolves to a E major 9 before working its way up through an F major 9 (taking it back into C - this being the IV chord) and onto the V chord (G Dom11,) where the phrase ends, repeating again after the 3rd bar in 4/4 time (or 1 bar of 12/4) at 154 bpm.

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G Min (Eb Major)
iii / I / IV / vii
Gm/ Eb / Ab / Dm7b5

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Full Play Thru 1

At the moment I cant sing and play the guitar lines at the same time, so this might be something I either give to the Synth parts so I can sing, or I find someone to sing the main bulk of the lyrics.
The mid solo section too needs some work on its length, or just the things that happen in that length of time. There's not shortage of ideas, it's just a case of figuring out how it all goes together and who plays what parts.

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Lots of synths - 16/32 bit

-delay modulation

Guitar either clean or slightly overdrive - compressed for lead tones.- Axe Fx

Digital - ElectronicXGuitar

Ranges from warm head voice to falsetto

Get others to mix so they know my sound.

Journey/story pieces - Through Composed - Linear -

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Texture - the layers. Heavy use of Polyphony.
Tone - a certain voices tonal range, how that certain voice can vary within its own characteristic parameters,
Dynamics - contrasts, the production side of things - what did i do to the guitar to make it blend.
Musical Intention -
Arrangement- how you choose to divvy the parts out and structure the piece. Hooks, repetition, how did i make the pieces work?

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Anew - Demo 1

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Using the chord progression from Week 7 I continued on to write this intro

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SAMPLE USED - Candle Clicks from HunterXHunter

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SAMPLE USED - Candle Clicks from HunterXHunter

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My idea for this first idea was to create something that played on the minimalist side of composition, pedaling the piece around a static A5 chord and having the bass line change around that to take it into new chords and keys. This way of writing was inspired by Steve Reich's approach to minimalist, static writing that can stay in the same place (on the same chord) for large portions of time, which ties emotionally into the idea of longing and an unwillingness to move on from the past, which is what this video of the storm (as seen below) brought to mind

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Takashi Yoshimatsu inspired

This piece was based on an improvisation that starts around a Amin9 vamp adding flavours of the major sound to give it a melodic minor feel or just straight up modulations into a major tonality. I was inspired to write this piece from the 3rd Movement of Takashi Yoshimatsu's 5th Symphony, where the strings create a very power and strong emotional connection to the listener and conjures feelings of longing, loss and confusion that ties into the subject matter of the moving image I have chosen.

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Inspired by the types of loop tunes that Geotic makes. The albums "Mend" and "Morning Shore" were big influences in creating this piece. It was largely improvised with a loop pedal.

The piece cycles around a bass line in Fm, outlining the b6, 1 and 5. of Abmaj making this the 6 chord or Aeolian modally.

Another guitar Responds to this musical phrase with a staggered 8th note rhythm that starts on the 3rd, goes down to the 9th and works diatonically up to the 5th where the rest of the phrase begins the response, starting on the 9th, going down to the 1 and up to the 3rd, adding a playful vibe to an otherwise somber mood.

Over this a melody plays a quarter note melody of  Ab, G, Db and Eb.

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sick of it all you left home with your brother
sleeping in doorways awaiting your lover
believing things could all go back to 4/11
whilst holding your switch blade in the dark

deadlock glares and the scorn towards your mother
slipping away at night when she's holding your lover
in the night you crawl in as the clock reads four eleven
and offer up a declaration with her heart

beating her down you show your true colour
bleeding a way like you've seen of no other
beating her down show your true colour
screaming insane like i've seen of no other

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This song reminded me a lot of Lavender Town from the game PokeMon, composed by Koji Kondo, so I felt like going a more "chiptune" route with the production.

The opening section starts with the following chords, G#min69, E6(with the 5, 7 no 3rd), F#/D# , C#m69, F#69 (1, 5, 6, 9 ) Aadd9, D#69, B6, E#11, G#11, Dm6bb7, C#m7, Cm7, G#11, A#11b9, F#m9.

I couldnt really say what key this belongs to, I think it meanders through a couple and definitely has instances of Bitonality like in the case of the F#/D# and the Dmbb7.

i mostly used my ear to guide the piece as relying too much on a numerical basis can be stifling creatively at times.

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First Full Demo featuring Guitar and Vocals

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Using my ear I went on to finish this piece in a relatively short period of time and is mostly based around the intro chord sequence with the top lines furthering the melodic information.

The structure form is:
A, A1, B, A1, A, C, B1, A1

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Here I asked a friend to have a shot a mixing the track for the summative. I wasnt 100% happy with the drum sounds in the end so I opted to use my own until he had a chance to mix it again.

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Live Take 2

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Trying Times mix by Jonas Butler

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Updated Chords to Week 7 chords Song (i should really name this!)

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Updated Chords to Week 7 chords Song (i should really name this!)

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A B A B1 C B2

Had a bit a re-jig of the structure towards the end, something felt like it was tapering off too much after the C Section and the re intro to the B2 section.

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After listening to the song a few times I felt It needed another C section after the initial B and so I put one in and adjusted intro to the B2 section. It feels like it has more flow now and references the sections a bit better and have more uniqueness between the ends of the sections.
The C sections consists of a 2 chord vamp, Ab Maj7 (1st inversion) and Dbmaj7 (1st inversion,) that modulates down a whole step to Gb, cycling this 2 times for the section.

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Helped to inform lyrical decisions in "Anew"

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2.1 Trying Times - Songwriting Summative Performance

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2.1 Trying Times - Songwriting Summative Performance

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1. Anew - Songwriting Summative Performance

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1. Anew - Songwriting Summative Performance