It’s been a while since I’ve done one of these. I suppose I got caught up in other projects and works and didn’t feel much up for analysis. I do apologize! As per request of r/musictheory, I give you David Bowie’s:
Life on Mars
There were numerous questions about this piece on the music theory subreddit some time ago. “Just what is David doing here?” many wondered. It’s so dreamy! It’s so alien! Yet, so beautiful! Are there any other songs like it?
To which the answer is yes, yes there are. Well, sort of–-at least harmonically. Bowie admitted that he took what was the sheet music to Comme D’habitude, a French song that would later be turned into that Sinatra song, put some lyrics on top of it, lost out to some hack songwriter named Paul Anka, and wrote Life on Mars almost out of spite. I use that phrase lightly, though. I do believe it was less out of spite and more out of “Well, shit, I guess I might as well do something with it and see what I can come up with. Sounds like a good time!”
Here, Bowie explains it a bit better:
Continue reading “Is There Life on Mars?”
Today I’ll be talking about a particular tool in the songwriter’s kit that I don’t see utilized much any more: The long, non-repeating verse structure. This is in contrast to your standard pop verse which might be upwards of, say, 16 measures long, but typically takes a four bar (sometimes eight bar) chord progression and repeats it a few times – maybe changing the vocal melody on top to keep it interesting. I’ll just dive right in so you get the idea of what I’m talking about:
Johnny Cash – Sunday Morning Comin’ Down
Continue reading “Lennon, Cash and Long Verse Structures”
I think back to my Rock Band days: Sitting in my friend’s living room during the middle school awkwardness, playing this track on a plastic guitar, then eventually on plastic bass and drums. I was fixated, mesmerized. Even the times I had heard this song before – on the radio or in the movies or what have you – I always found my ears erect, perked and delighted. The sound is so otherworldly, but not demented or twisted. Just…Strange. Captivating. And beautiful. Like an extraterrestrial, I can’t help but gawk at the alien life.
To me, there are two factors planting this song somewhere on Mars, and the first is the chord selection. More than half of the chords are non-diatonic, and even the tonal chords are approached in such bizarre ways that, well, they may as well be non-diatonic too.
The second is the guitar sound, but I’ll touch on that later. Continue reading “Black Hole Sun and Borrowed Chords”
I just…Wow. The first time I really sat down and listened to this number, I was completely taken aback. Yeah, I had heard this song before. Radios, shopping malls, restaurants, TV shows, 80s movies, commercials, yadda yadda. But when it came on in my car the other day my ears perked up.
Continue reading “Come On Eileen is brilliant”
EDIT: Updated with the official release of the song
I figure before the co-compositional process of this song gets lost to the seas of time, I may as well write what I remember. The earliest recording I have of the song, which is performed with the three of us and Cesar Ruiz on drums, is May 4th, 2015. This whole process took place in the week or two preceding that date. Continue reading “The Writing of Song for Syd”
If you haven’t heard Alien Days by MGMT, check it out:
(the video is creepy, but bare with me)
MGMT’s first record is overall a rather straight forward, electronic psych pop album. It was my first introduction to them, and I fell in love, but man how I also love what they’ve grown into. I recall reading an article where Andrew VanWyngarden actually told his label not to sign them because they would not be writing music similar to Oracular Spectactular, and that they would instead attempt to branch out and experiment. I must say, that takes an extreme amount of foresight, guts, and artistry on behalf of the musician. What’s more, they pull it off with flying colors. Continue reading “Alien Days – AKA How MGMT are the most interesting songwriters of this decade.”
On this first installment of songwriting tips:
The biggest, most immediate thing I learned from the Beatles (thanks in large part to Alan Pollack), was the element of variation. You can listen to any Beatles verse or chorus and I can guarantee you that there will be SOMETHING new compared to the preceding verse or chorus.
The best part about this songwriting tip is that it’s strikingly simple to implement, but also makes a world of a difference to the effectiveness of a tune. This principle is a major characteristic that keeps the listener interested as the song goes on, even if they don’t realize it’s happening. And, truth be told, 90% of your audience doesn’t. That’s fine. This is why you’re the songwriter, and they’re the listeners. Continue reading “Songwriting Tip #1: Variation”