Ever want the basics of one of the greatest art forms of self-expression, songwriting, to become illuminated as clear as day? Well, here’s one way of looking at it:
The Quintessential Songwriting Method
1. The ideal “Idea” title.
– This creates a generalized “word-form” conceptual cohesion to the phenomenon in general (in principal, referent language).
2. Poetically interlocking, and title-expressive, lyrics.
– This creates a “spiral descent” into a combinatorial linguistic theme.
3. Synesthetically-aligning melodic harmony with respect to verbally expressed theme.
– This provides the “footing” upon which the ears travail through the unified conceptual program administered.
4. Mathematically recursive and emphasizingly repetitive self-referencing refrain structure – with complementary developmental variation.
– This is the glue by which the finished entity forms an endlessly repetitive and timeless truism.
5. Clear and succinct encapsulation of communicative purpose.
– This rounds out all the necessary utilization of peripheral harmonic ornamentation.
6. A clearly delineated antagonistic pathos towards a designated anti-ideal (to produce action-reaction motive and direction through such conflict).
– Just as feet need a ground surface upon which to tread, a listener needs contrast with some obstacle to be overcome as a means of conceptually traversing the scape of the composition and to relate to its principles.
7. Archetypal arrangement, both universally and to target listeners.
– Without this, there is no breadth of artistic reach.
The Quintessential Songwriting Theory of Tonality
1. Preserved note symmetry in elaborative variations; particularly in chord progressions.
2. Harmonic tension-resolution dynamics, melodically and rhythmically, to achieve the greatest possible auditory relief, in a tuned-in listening and tuned-out “escapist” sense, and greatest listening pleasure, and thus executory, success.
3. Self-resolving denouement in timely circularly-linked reference to the introduction.
4. Synesthetic correspondence to latent physiological tensions and strains to produce alleviation via mirror-neuron engagement as the greatest method of beneficent, and thus universally valued, cognitive influence.
5. Self-repeating generative structure with emphasis to evoke limitless and renewably recurring listenership and enduring relevance.
6. Dynamic rhythmic accentuation in stress, pitch, volume, and underscoring percussive expressions as a syllabic analogue for meaningful interpretation.
7. Maximization of overall harmonic pleasure principle from synesthetic correlation with perceived symmetry in otherwise disparate note arrangements, producing moments of awe, subtle astonishment, and sensorily revelatory enlightenment – the sum intentional effect of producing something at all from a previous nothing.
With these basics, one understands that a song is a means of getting from point A to point B, by road C – and the more you pour yourself into C, the more quickly you will reach point B from point A.
(to be Continued)
About the Author: Nolan Aljaddou is an alumnus of the University of Nebraska Omaha, and has recently authored his second book and several papers on physics. He started playing guitar at the age of 12 and writes extensively on Psychology, Mathematics, Physics, Philosophy and of course, Music.