(I'd like to say 'progressoin' is the french way to say 'progression' ahem!)
I've been going over some theory hardcore for a while now, more so to help my listening skills rather than my compositional ability but that's another topic.
Anyway, I've begun listening to a lot of Stuart Price after I watched a great interview with him and Kylie Minogue and from what I can tell he (and a lot of pop/blues producers) uses some pretty simple progressions but really just shines in terms of sounds and melody.
So I just want to set a few things straight with some questions, and hopefully some answers!
The 12 bar I - IV - V - (modal vi occasionally) is to be used in what way when it comes to song structure? I'm talking ABCBA (not talking about arc specifically) just saying that so you know what I mean by structure - you know, verse, chorus, coda, blah?
Specifically, I'm wondering if the I - I - I - I (first line of a I - IV - V 12 bar) is supposed to be taken literally as 4 measures? For instance are we, as songwriters, supposed to just loop I - I - I - I - IV - IV - I - I - V - IV - I - I forever and ever and act like the chorus and verse are just going to land wherever the hell they decide to land? Or is there some manipulation going on under the veil? Or do verses usually come about in the I - I - I - I while IV - IV - I - I - V - IV - I - I acts as a chorus? OR is my confusion over the whole matter what makes compositional experimentation an existing thing?
I feel like there are no rules but its the general consensus to have verses jump around in just one chord (with w/ varying passing tones ofc) and then use the later two lines of the 12 bar progression sheet as the chorus. Or maybe some gray junk in between.
Anyway, as I understand it now, a good starting point is to use the insanely simplistic 12 bar set up with I - IV - V and making the chord progression sonically interesting with chordal trickery (inversions, spacing, other voicing), right? Or am I missing something important. I think I am.
I've been going over some theory hardcore for a while now, more so to help my listening skills rather than my compositional ability but that's another topic.
Anyway, I've begun listening to a lot of Stuart Price after I watched a great interview with him and Kylie Minogue and from what I can tell he (and a lot of pop/blues producers) uses some pretty simple progressions but really just shines in terms of sounds and melody.
So I just want to set a few things straight with some questions, and hopefully some answers!
The 12 bar I - IV - V - (modal vi occasionally) is to be used in what way when it comes to song structure? I'm talking ABCBA (not talking about arc specifically) just saying that so you know what I mean by structure - you know, verse, chorus, coda, blah?
Specifically, I'm wondering if the I - I - I - I (first line of a I - IV - V 12 bar) is supposed to be taken literally as 4 measures? For instance are we, as songwriters, supposed to just loop I - I - I - I - IV - IV - I - I - V - IV - I - I forever and ever and act like the chorus and verse are just going to land wherever the hell they decide to land? Or is there some manipulation going on under the veil? Or do verses usually come about in the I - I - I - I while IV - IV - I - I - V - IV - I - I acts as a chorus? OR is my confusion over the whole matter what makes compositional experimentation an existing thing?
I feel like there are no rules but its the general consensus to have verses jump around in just one chord (with w/ varying passing tones ofc) and then use the later two lines of the 12 bar progression sheet as the chorus. Or maybe some gray junk in between.
Anyway, as I understand it now, a good starting point is to use the insanely simplistic 12 bar set up with I - IV - V and making the chord progression sonically interesting with chordal trickery (inversions, spacing, other voicing), right? Or am I missing something important. I think I am.
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but not all of them. Here is what I'm still confused about.
