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Many trip hop songs use string parts so we decided to use the strings arrangement setting on a synth to get the same effect. Playing chords sounded a bit much so instead i played just a single key at a time.

Verse- A, G, F
Chorus- A, C, F

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VERSE
if i, lose my mind,
Remain Beside,
me through this ride,
until i, can find,
the path back to, the light.

PRE CHORUS
We're chasing reptiles through the shangri la,
Questioning where we really are.

CHORUS
I'm parallel beside you,
a million worlds away,
self-inflicted trauma,
a beautiful display.

VERSE
if you decide to choose,
me as your muse,
I promise,
I'll take you to,
a state of new,
escape, its true

PRE CHORUS
CHORUS
REPEAT VERSE
PRE CHORUS
CHORUS x2

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Vocals
Once Alfie and Ollie had written the instrumental, Ella and I devised a vocal melody. We implemented a soulful vocal sound as influenced by Portishead and Massive Attack. The lyrics we wrote were about an acid trip. This was because when you listen to trip-hop it has elements of sound which are very wavey and trippy.

[LYRICS HERE]

Ella decided to add a synthesizer to build that extra trip-hop layer.

[ELLA EXPLAIN SYNTH PART HERE]

I'd say the two main tracks which influenced this composition include Massive Attacks -Teardrop and Portisheads - Glory box.

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VERSE
Mary is my remedy,
she'll always be there for me,
The sun is shinning and mary is blinding my negativity,
She's with me, she's with me, she's with me, she's with me

CHORUS
surrender to,
My dimension you,
can escape the truth,
just me and you

VERSE
Mary is waiting for me,
Closing my eyes and my mind is free,
cause my my my soul is away with the breeze,
she's with me, she's with me, she's with me, she's with me

CHORUS X 2

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We thought we would rehearse the funk piece as it is going to be performed next week. So next week we will tighten up the composition even further. This week was more of a re-cap.

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At the the start of the song we thought we would have Ben start the song off with the catchy guitar riff for two bars, and then I would start by playing the root notes for a bar and then come in with a descending scale, a technique iv'e often heard when listening to a Smiths song

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For this composition we took inspiration from Ian Browns moody and drawn out vocals. We wrote the lyrics about drug-use which was very heavy in the 90s For example
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Our funk composition was one we l enjoyed playing. Dunk drumming is some of the t famous drumming ever, and is recognised across multiple genres. It i recognisable and influential in the growth how hop hop music. This is beacuse when hip hop first appeared, samples were taken from 60's and 70's funk records and produced into hip hop tracks. One of the most famous being 'Funky Drummer' by James Brown which has been sampled thousands of times. This style of drumming suites me as i love to play breakbeats when i rehearse in my own time.

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We perform this piece with great energy and I think it sounds very funky. I think this song has a great journey and progresses nicely.

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This composition needs rehearsing to ensure all musical elements are tighter. We have decided that as a group we will listen to more 1950s rock and roll to understand the playing structure.
Ella and Chantelle need to rehearse the timing on the vocals which we will do next week

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We worked very well as a group and was able to compromise until an authentic sound was created.

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Massive Attack - Angel

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We were not sure what genre we were going for but I wanted to play in a Stone Roses style. Ollie came up with a bass line which was based around three chords, G, C and D. I then found some interesting chord shapes and played a picking pattern through the different notes of the chord. This is a technique that John Squire uses a lot in Stone Roses songs. I used an effect with a twangy sound with a bit of distortion.

For the chorus I wanted to play kind of a Jimmy Hendrix rhythm so messed around with some different chords and once I had these chords worked out, then I started to try and make it more interesting by adding small fills in between the chords.

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We decided to write a trip hop composition, inspired by Massive Attack, Portishead etc. all based around the 90's Bristol scene. The tempo for Trop Hop or Downtempo is typically around 75pm, this means a very slow paced drum beat. It was very simple to come up with a beat on the ride and snare. Instead of playing on the snare, there is also the possibility of just playing a rimshot, which is commonly used in the genre.

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We decided that we wanted to use the funk piece for the performance as it is one of our strongest compositions and had a full structure. We spent today refining the song but lacked our bassist so it was hard to get an idea of the full sound. Some of the harmonies need some more practising as we spent more time on structure today.

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After experimenting with 90s Hip Hop we decided to spend next week composing a trip-hop piece as it suits the interests and playing style of our particular group more.

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Grandmaster Flash
Wu-tang Clan
Nas
Notorious BIG
De La Soul

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Rapping
Hip-Hop
Samples
DJing
They used to use a sampler

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Chantelle -Fugees

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For the 80's composition I played a fast eighth note beat on the hi hat and snare, it was a fairly simple beat as music of this genre rarely included complex drum beasts.

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Me and Ollie were working on a funk riff and baseline for the verse, so we were experimenting in the E pentatonic scale, trying to make both the guitar and bass fit together and flow really well. I worked with the baseline and played a similar riff but different fills and in a different rhythm. This means that the two instruments colide and flow well together.

I use a war war pedal and  mute the strings, like a technique that  Jimmy Hendrix used in a lot of his songs. I do this when Ollie playys higher up on the fret board, so you can hear the bass more.

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We then decided to write an 80s song as when jamming, the riff sounded very 80s

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What i thought i'd do was to try and combine  the stylings of James Browns music and Stevie Wonder to create a melodic funk style baseline that could also be recognised as funk genre

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VERSE
The fevers in the air,
Then the rythym takes me there,
boy i need your touch,
cause i can never get enough

I wanna feel your loving,
above and beyond and,
how you take me there,
like a rebel just don't care

PRE CHORUS
Uh, got that funky freaky love thing,
Uh, it's like I'm losing hold of something,
Woah, it happens every time i see you,
and i know what we could do

CHORUS
Funky, freaky, love thing
Funky, freaky, love thing
Funky, freaky, love thing
Funky, freaky, love thing

VERSE
Now you know I'm loosing,
my mind and still you're choosing,
to treat me like a fool,
but still i just can't keep my cool

The way your groove this evening,
got me begging and pleading,
The irresistible way you,
allure me,
with what ya doing

PRE CHORUS & CHORUS

~~~~~BREAKDOWN~~~~~

PRE CHORUS & CHORUS

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Once the boys came up with a composition, Ella and I started humming some funky melodies. We used James Brown and Prince as an inspiration. I would say our vocal style was very Michael- Jackson inspired too.
When writing the lyrics we tried to avoid being too conversational and used funky sounding words to make it sound authentic.

For example ,  the fever's in the air and funky freaking loving was the main hook.

We decided to sing the bridge in Unison and then split into harmony for the chorus to add depth.

The overall tonality of the song was very upbeat and feel-good, so like a lot of funk and soul we based the lyrics about love and euphoria. Some of the lyrics are quite suggestive which took some influence from 1970s disco.

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I came up with a riff based off of the song 'Sultans of Swing' by Dire Straits. This riff plays through out the whole intro and verse with variations of different licks in-between.  But I think that I will change the riff around a bit because it sounds too much like Sultans of Swing.

For the chorus we played the chords G, D and E minor, though on the E minor I play a variety of licks based in the E petotoic scale.

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Inspiration
Ella- Supremes
Chantelle- Marvin Gaye
Ben - Rolling Stones
House of The Rising Sun

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I just played the 12 bar blues in A minor and added small licks in between the chords; Chuck Berry does this a lot. I then just added a solo, and because it was blues I just used the pentatonic scale

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The bass line wasn't too difficult to come up with as most songs of the 50's featured a walking baseline in a twelve bar blues scale.

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William John Clifton Haley (; July 6, 1925 - February 9, 1981) was an American rock and roll musician. He is credited by many with first popularizing this form of music in the early 1950s with his group Bill Haley & His Comets and million-selling hits such as " Rock Around the Clock", " See You Later, Alligator", " Shake, Rattle and Roll", " Rocket 88", " Skinny Minnie", and "Razzle Dazzle".

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For the drum part of the song, i looked up blues drumming tutorials and came up with a simple quarter-note beat on the ride and snare. I played this throughout the song experimenting with various fills and improvising where possible. I used a swing rhythm especially on the kick drum and on the fills.

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CHORUS
My baby got a brand new cadillac,
my baby got got a grand new cadillac,
my baby got a brad new cadillac
my baby got a brand new cadillac,
my baby baby baby baby

VERSE
He was fine, (Who's fine?)
Girl he's mine, (Oh Yeah?)
He's from Chicago Town
And he's always on my mind
She said he's from Chicago Town
And she's losing her god damn mind.

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Our brief today was to create an original song which was inspired and contained elements of 1950s music. One of the main songs which inspired us was 'Rock around the Clock.'

The invididual layers were developed in the following ways...

Ollie Bass
write it ere

Ben Guitar
write it ere

Chantelle & Ella Vocal
We let the boys create a 50's inspired instrumental composition and began to hum melodies which we thought would sound good. The notes we chose are very bluesy and tend to jump around the scales.
When writing the lyrics we took into consideration the era and decided to write it about a 1950s cadillac.