Existe um compositor dentro de você, rondando, indagando se é o momento certo de se revelar. Agora é. Este curso é um convite para deixar que o compositor que existe dentro de você saia ao sol. Tudo que você precisa é de um "sim" e você estará subindo aquela montanha com ventania e se maravilhando com a vista. Se você não escreveu muitas, ou nenhuma, música, este curso lhe mostrará um processo eficiente e eficaz para compor músicas para expressas suas ideias e emoções. Se você já compôs, olhará o processo com outros olhos, tendo o controle de aspectos do processo que você pode não ter percebido. Este curso iniciará examinando as ferramentas que estão disponíveis, tudo girando em torno do conceito essencial de prosódia. Você aprenderá a usar suas ferramentas para melhorar sua mensagem - a trabalhar na composição ao mesmo tempo em que desenvolve suas ideias. Você trabalhará tanto na música como com a letra, ainda que para trabalhar com a música não seja necessário que você saiba ler partituras ou tocar um instrumento. Se você toca, ótimo, e você será encorajado a tocar e gravar suas produções musicais das tarefas. Se você não toca, o curso lhe oferecerá diversas faixas musicais para utilizar. Tudo que você terá que fazer é cantar suas melodias sobre as faixas. As tarefas solicitarão que você faça postagens para avaliação dos colegas - às vezes trechos ou seções de letras, às vezes melodias, às vezes ambos. Nenhum deles precisa de acabamento. O curso é sobre composição, não sobre interpretação. E o mais importante de tudo, você se divertirá muito.
Escrevendo as linhas, Parte 2
Loading...
来自 Berklee College of Music 的课程
Composição: Escrevendo a letra
13 个评分
从本节课中
ESCREVENDO A MÚSICA
Nesta lição, você selecionará um novo título de música e criará uma planilha para lhe ajudar a desenvolver suas ideias. Você escreverá sua letra e a colocará na música, ajustando o ritmo da sua letra ao ritmo da melodia; Você criará uma melodia, usando notas estáveis e instáveis para suportar suas ideias.
与讲师见面
Pat PattisonProfessor
Note that in the first couple of lines, I hear you out there crying begging let me
in. I've used language that appeals somewhat
to the senses. I hear you crying.
and the notion of begging, is a tone of voice.
it might even be kneeling. So that, what happens is that sense bound
language, as it always does. Stimulates your listener's senses.
Asks your listener. To start rolling the film in their own
movie, so that I hear you out there crying, begging let me in.
Although it's fairly open ended, is going to stimulate, at least I hope it will
stimulate, a listener's imagination. And once a listener starts rolling that
movie inside their head, drawn from the well of their own experiences, then they
are putting their stuff into your words. Therefore, they're in your song.
The song is about them. The song is full of their stuff.
And so they relate. It gives them emotional access to your
ideas, but rolling their own film. And that's the whole point really, isn't
it, of creating a context in your song where you invite the listener in.
That it's not simply about me. There was night, there was a time when I
thought that things would be OK. And starting with abstract languages then
it becomes about me. When I say, I hear you out there crying,
begging, let me in, and you start rolling your movie, then it's about you.
So that, inviting your listener in with language based on the senses Is a very
important thing to do. I want to refer you, of course, to
chapter one of Writing Better Lyrics, and also to Songwriting without Boundaries
for 14 day challenges based on sense-bound language and metaphor.
That will give you a lot of practice, a lot of exercise in writing sense-bound
language and therefore covering that gap between what you feel and what you want
your audience to feel, creating, as it were, in the words of TS Eliot, an object
that correlates my feeling with yours. Eliot called it an objective correlative,
an object that correlates my feeling with yours.
That's the sense-bound writing and certainly seeing one thing as though it
were another. Which is this whole beautiful place of
metaphor. I encourage you to do as much work as you
can there. I started the second verse [SOUND] with 2
lines that sort of had been around for the entire developing of the boxes.
I wonder where you're going? I wonder where you've been.
And so now starting, by the way, with those fairly abstract head words, note
that we're still sense bound, that is to say that the.
Sense bound language in the first verse acts as a bag of dye, dripping it's
colors down and coloring all of the abstract language.
If we start with abstract language, started with the verse I wonder where
you're going. I wonder where you've been, which is so
open that you as a listener are just watching me wonder, rather than it
starting any film rolling in you. Now those same two abstract lines, I
wonder where you're going, I wonder where you've been Where you've been once in
this context of you're out there crying and begging and mourning and all that
stuff. A hobo wind, now, I am talking to the
wind clearly and now if it comes lot more intimate a lot more sense bound.
So I wonder where you're going. I wonder where you've been.
I don't know, this may sound a little, a little technical at the moment, but I
wonder if I should use wonder twice. I wonder if I should use wonder twice and
I don't know. I'm just going to leave it like that and
see what else develops. and and see what what happens.
So I wonder where you've been? Where have you been?
Where have you been? and so now I suppose that the next lines
The natural place to go for the next lines is to maybe speculate on where you
might have been. So the lines I came up with were, "I
think of hearts you might have touched," and "touched," of course, comes right off
of my worksheet. Let's think of hearts you might have
touched. And those hears, what about those hearts,
and now remember after [SOUND] stop, [SOUND].
I think you might have touched, the tones afraid, the ones unloved...
Now let's go back to that second line, and wonder about using wonder twice.
Note is that short u sound is now completely populating these these lines.
I wonder where you're going. I wonder where you've been.
I think of hearts you might have touched. The ones afraid, the ones unloved.
Unloved. Unloved, you know, I had love in the in,
in, in my worksheet. But, maybe the reason that I'm feeling so
stuck is because I too feel the need to go search for that Nourishing thing that
love and so I liked unloved. And note that we have unloved, we still
have all of those u's. So I wonder about repeating the word
wonder. I might break the the short u sound there
with I wonder where you're going. And then instead of wonder to use
something else. One possiblity that suggests itself.
Comes again from the worksheet. My two big ideas in this song are hobo
and wind. So I don't know if this will work or not,
but I just wanted to try I wonder where you're going.
I don't know where you've been. And using the don't know to maybe pick up
the hobo in the title at the end. I don't know if it's going to work or
not. and I won't know until I listen to it.
After there's been some melodic rhythm. After there's been some melody, and so
on. so I'll just leave that.
Do I need wonder wonder or do I need don't know?
I don't know. I don't know.
But, you know, that's just part of the process of trying to think through it in
an organized way. Now, for those of you who think that all
art must be spontaneous. That all art must come in this rush of
inspiration. Well of course.
Spontaneity and inspiration are such a fundamental part of the human creativity
that we all have in common. And I don't mean to dispense with that at
all. But I find that the writing process is
enriched greatly if you bring not only your heart to the table but bring your
brain along. Because bringing your brain along brings
your whole self to the experience. And writing is such an interesting,
fascinating, satisfying, frustrating, maddening thing to get into that bringing
your whole self. Rather than simply saying, it just came
to me that way. Or simply letting the mad professor in
you just arrange things. Neither the head alone, nor the heart
alone creates the best art. So this whole thing that I'm thinking
about, don't know where you've been, or wonder where you've been.
Small thing But it reminds me of this wonderful passage from Matthew Arnold's
"Dover Beach," where he's describing the way the ocean comes up against the rocks
and then moves back down unendingly. Moves back down, comes up against the
rocks and moves back down. And there's two ways he could have said
this. Here's way number one.
That the waves begin and end and then again begin.
Begin and end and then again begin. Begin and end and then again begin.
And one of the things about begin and end and then again begin.
Is it's this whole cycle, begin and end. And then again begin and end and then it
begin and end. So,it's this cyclic flow of the waves.
Which, of course, Matthew Arnold sees as the generations of humanity and so on.
Works it into this gorgeous metaphor. But you could say, that this let's just
call it voice leading, of the vowel sounds and the consonant sounds,
particularly the N sound. Begin, and end, and then again begin.
That's not really what happens with the waves.
Because it's not this constant flow. Just remember that the waves come in and
they crash against the rocks and then slide down.
What Matthew Arnold actually wrote in Dover Beach, he broke the voice leading.
And said begin and cease and then begin and cease and then again begin and cease.
And so that the cease, he could have said stop by the way but the use of cease,
cease, sounds like the waved. Weird things that those artists think of,
isn't it? But look at how effective that line
becomes, not because all the sounds are in common, but because, at a really
significant point, one of the sounds is completely out of it.
So maybe don't know might work, instead of wonder in the second line.
Again, we don't know. So now we have to match that second to
the last line of the first verse, [SOUND].
And it has to rhyme with loved, unloved. And I thought that I might try moving
away here cause this is a sense of frustration, I think.
I looked at my love rhymes, though, yeah Lot of good stuff there, maybe untouched
or touched, I don't know. But I thought, what would happen if I
really pulled it away and used a consonance rhyme.
And so the line I tried was the ones you couldn't move.
The ones you couldn't move. I wonder where you're going.
I don't know where you've been. I think of hearts you might have touched.
The ones afraid, the ones unloved. The ones you couldn't move.
O Hobo Wind, Hobo Wind. It' s like, yeah, I like that, I like
that again, opening that gate, because the ones you couldn't move, that is the
ones that don't connect with of, but only connect with the[NOISE] ...
I thought that might work. I thought that might work.
Also, just as a small thing, the line, hearts you might have touched.
It occurred to me that I might even Throw in another short 'u' sound.
The ones you must have touched. The ones you much have touched.
And so I'm going to leave that open too, because, again, I'm not really going to
know anything until I find a melodic rhythm.
And perhaps even the melody, and that's something that is still in this writing
in the lyric down the road a bit. So, there I am in, in this land of, yeah,
maybe this, yeah, maybe that, and I don't need to decide.
Because again nothing's in stone. This whole thing could change depending
on where else I go. But note that I'm still working through
the boxes. Hey wind I hear you.
Oh where have you been? And the I wonder where you're going.
And so, I now have, two relatively workable versus, that are following this
whole idea of Moving forward in a non stable way, and are sort of filling out,
flushing out the ideas originally I set up in the boxes, and the boxes are so
useful.
