New Song Diary: History

Looking at my songwriting history, there are six pieces in my past. I think it's important to see where I've been to know where I'm going:

- The first song: Shinka

I co-wrote this piece with another member of the group, and it was okay for a first piece, but definitely needed polishing. We came up with the ji together, the pulse, but each threw our own ideas into the pot.

One issue we ran into was that two of the three main players in the piece were facing away from the audience. They were very static and hampered the energy that could have gone outwards. We did had a line of 3 shime off to the side that were the "horns" section, which I still think is a nifty idea.

- The second song: Mismatch

This was my "kitchen sink". I wanted to do so much and threw it all in there. There was portable okedo, odaiko, theme multiple themes, hocketed patterns, duets, trios...

There was some really good stuff in there, but it was muddled with all the other stuff. It also ran way too long for us, being that most songs in SJT run five minutes and mine was nearer to eight! Even though it came and went, it taught me what NOT to do when it comes to a composition, and I got to get out so much stuff that I had a clearer palette the next time.

- The first encore.

For encores, SJT tends to want everyone involved and a chance for each to bow (usually in rows or groups). It should be less work to learn than a regular song, as well.

I had two themes that I built this encore around: Soul Train and a music video from Daft Punk. lol. The latter was really minor and didn't turn out as I wanted, and the former had to be modified quite a bit, but there was a party feel and ultimately it was fun to play! That comes across to the audience, so it was a success overall.

- The third song: Rhythmus

Man, what a weird title. I'm rarely inspired on titles; it always feels weird to "define" a piece I've written by giving it one. Anyways, I had three main themes on this song: Visually, I wanted to convey the feeling of clockwork, and I arranged the drums to facilitate sharp movements between them. Musically, I had a pattern with a strong pulse.

This song almost worked. It had momentum but never quite came together, I think. If I had expanded on more of the visual elements, or somehow built the ending up to something more powerful, it could have been a keeper.

- The second encore.

I really had a plan with this one. I had a super-catchy ji and multiple circles of various groups of instruments, with each group getting a section to show off.

There were two big problems, however. The hand percussion section was neglected and that was my fault. I sort of left them to figure things out and it turned out to be mostly improv between the four of them and a half-ass ending that I wrote. The other problem was that I wrote a song and not an encore. It required more time than I had, and it was also my fault. If I had done it as a song, I think it would have worked much better.

- The fourth song: Commotion

This song wrote itself. Musically, most of the patterns had been in my head from music I listened to since my teenage years. It was a matter of just splicing and layering them on top of each other. The music also led to a more upbeat, energetic style of song, so that helped me design the movements. This time, I knew what I wanted and it was a matter of making it sound right. There's a video of it here.

It turned out to be too short at first, barely three minutes. I had to figure out how to extend it without simply doubling a section, so I expanded on the "commotion" theme and it also added a nice textural shift in the song without losing the soul of the piece. It also makes you sweat and smile when you play, which is a big plus in my book!

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So what did I learn?

• Workshopping ideas with other people is a big help. You don't waste everyone's time and you can identify and deal with potential problem areas early on.

• You need to be more than one step ahead of what you teach. In other words, you need to know more of the structure to come than just what you're teaching that night. It'll help you deal with unexpected questions and keep you focused.

• Even if you do have a structure in mind, know that unexpected potholes can and will appear. Stay flexible! Again, having a solid concept can really help here.

• Keep the kitchen sink in the kitchen. Think of the songs that stand out to you - do you remember the ones that go all over the place thematically? Odds are, it's the ones that did something special for you, either melodically, visually, or emotionally that stick with you.
  

• Finally, don't be afraid to fail. You might find yourself with a song that just doesn't work for you or your group. At worst, it's a learning experience. At best, you can regroup and take it in a different direction.