Demo Arrangement Notes

 

Mastering Metal Songwriting

 

Lesson Info

Demo Arrangement Notes

For we start going to a bunch of little exercises that just want to cover a couple things that way didn't totally get to in the last section, which is basically just taking some of the ideas a little bit further, but just another example of ah, song analysis for those of you who are wondering how to do this or why it's important, you know, some picking the same band a lot, and I think that it's important to note that you should be studying the music that you like, I like disband, therefore I study their music, I'm not going to pick songs that other people told me to check out, and, uh, I think you should either, so just a recap, song analysis, what you're basically looking to do is internalize um, all the different ways that a song evolves or exists over time that you like and one of the, uh, one of the big flaws in, I guess, crap here, metal writing is not developing sections and just having too many ideas in one song, and that comes from not learning how tio how to properly take a se...

ction in, recycle it and but bring it back in a whole different way, so I'm going to show us another example that I got from from another muse song, and this is see uncle uprising and basically all I want to show here is if I was doing a song analysis um nothing I ke and on is that the courses air different every time in very subtle ways but for those of you who want to write songs with three choruses that get mohr interesting every time well there's ways to do that you if you just copy paste your courses for in since uh by the time it gets to the end people might be sick of hearing it like for instance when we did the song critique last night one of things that we all kind of I got two on the first song was that that last chorus was just stuck on there the course has happened too many times and by the time you got to the end is like do you really need to be hearing this again? Well there's ways to get around that through arrangement and through being crafty so check out the chorus teo to this song real quick let me find it theo here's the first one noticed the arrangement yet the idea just loud enough for you guys by the way ok cool so you basically have the distorted baseline playing the main theme fromthe song of the drums vocals singing the melody and you have sense and that's it and like pat was saying before if you soloed out any one of those elements of interesting and I myself put together makes the course but that's fairly stripped down there's no heavy guitars or harmony vocals or anything it's just the main themes of the song being presented for the first time in the first time through the the structure of song that's fine but if you were to hear it exactly the same way the second time through you might and it might get sick of it you might be bored by that time and uh second time through the chorus is just a little bit different the first one again and and and once they're going to ask you what you hear differently but so here check out what's behind door number one so what do you hear a different there has gotten a little more busy and sort of our page eight on the second chorus there are electric rhythm guitars in there and then there's a harmony on the vocal line those are the things I noticed yeah that's what I picked up a cz well as opposed to cents basically just pay playing a more sports more sparse no electric guitars, no harmony on the vocals basically pretty open was going to say I like on the first course though how like I'm always really impressed when one note that carries across different chord sounds like so profound it's like you're singing one note and it like affects me it's like the weirdest thing I have one repetitive note can do that in the right context, you know and that's the power of a good melody like you can strip the arrangement down and it still works and I guess conversely shitty melody the biggest arranging in the world it's not going make a difference but you can add to the arrangement and it sounds cool but I think I think you're right on the first boris is noah no less musical then the second one it's just not as big, so we move forward to the third one and this is a little bit more subtle but it's still different see if you can catch the difference here on it that's over three here's number two ah a little play three or more time ok here's number three spotted it's it's subtle is health it sounds like something's a little beef here the last time through I don't know if there's like a synth in there that's a little fatter or a little like the base is maybe a little bit more in your face I'm not I've listened to this a lot to try to pick it out and the only thing I noticed is that the vocal harmony is one inversion up like there's a higher voice in there and for a second I thought there was almost like some verb that like rumi gang vocals in there but I think that was just maybe mistaken I think those air in the second chorus as well though yet that actually I thought that at first too but then I noticed those air in the second course to that would have been my first thing to think ok so they added big harmonies at the end of the song because lots of people do that but that's not the case that already happened before it's on ly thing I'm hearing is that there's one upper voice in the vocals was just uh takes it up one little step in intensity but yeah that's enough yeah you don't have to make it successful when you hear the last chorus it's not like copy paste or I've already heard this and I am sick of it so and court inversions that's ah something we touched on an easy keys earlier that's not something that if your guitar player you're gonna automatically be great at because there's sometimes pretty hard to play and there's a lot of memorization involved you know every single inversion of every court and just be able to call on it and say I want to just bump up the last chorus one inversion up of the same progression it might take a while I mean not that long but if you know what you're doing but still not as instantaneous is going into something like easy keys and going to the court a wheel and just bumping the inversion up one but is I think it's helpful to be able to hear that so I still think you should practice that stuff on guitar um and ah that is basically what I wanted to cover from the previous section so I just want to see if there's any questions about song analysis that anybody has you got anything? Anything an internet bill you know nothing about that specifically I think it's so cool to be able to see how you do that, how you talk about those different parts and just sort of parts that out because it always is a challenge right when you're listening to something to try to figure out like what just made that thicker and it's it's usually blended so well that it's a challenge so it takes a discerning ear and that's something you just have to develop assume over well yeah when you have ah when you have basically bands or artists or composers that are at the very, very top of the world game basically they typically have been working it for a very, very long time and they've master the art of developing simple ideas, making variations off simple ideas and it's the genius is in how they make the simplicity powerful and you know that goes back teo most our inbox super simple ideas done great, but the thing about super simple ideas and the development of them is that it's hard to spot subtlety you have to really listen hard, and once you start to spot that subtlety and you become aware of it, then you can get better at putting it into your own music. And I think that the exercise here that people should do is to make a point of doing this, uh, at least at least once or choice. So we kind of thing like it's, just a cz part of their working on music routine, if they haven't already done this, should at least do it for a good number of things that they're influenced by. I'm just going to say, like, training your brain or however you just put it that's like that's, exactly what it is it's like, you know, have a little learning to just hone in on tiny little part of the mix or a song like an average person will just, you know, gravitate towards the main vocal line and that's kind of all they remember of a song musician types tend to, you know, they'll they'll more be like, wow, that guitar tones cool or whatever, but then like to really, really get in depth like, like producer status type stuff, I mean, you need you need to, like, really see the tiniest little things and a lot of times, like someone having an emotional reaction to a song like the average person will be put into words like why a song makes them feel a certain way but sometimes it's just a little subtle thing in the background that they don't even know is there but it's like stirring up some some emotion inside of them you know? Well, yeah, the people the audience doesn't usually know why they like it they just know that they like eggs and I think a lot of a lot of musician types actually get in their own way by ah by confusing the two things but yeah, the one of the big tricks is to not let the audience really get thrown off of the song by changing things up too much and not making it feel like it's a different song it's it's this chorus that's really great happening again driving at home it doesn't need to be a reinvention of that will what does need to be is a development because I love adding like little synth parts where appropriate in different songs and stuff like that and sometimes could even, like literally be the same notes that guitars are doing, you know it's not really even like a unique part but it's like it's a kind of thing you hear the chorus like, okay, that sounds great and then when you meet that one track you like it's definitely better with it there, you know, it's, just like there's, those tiny little cumulative things will add up to be like, wow, this is really amazing, and now I want to dissect it. Yeah, however, the like you pointed out earlier, the first course, which is stripped down, was still great. The actual music still needs to be there in in, you know, a simple state, if it's it's, a crappy chorus, it's not going to suddenly become good because you added a bunch of instruments to it.

Class Description

It’s easy for musicians to get so caught up in the latest gear, plugins, and presets, and forget that ultimately, it’s all about the music. Join Eyal Levi and special guests Ryan Clark (Demon Hunter), Todd Jones (Nails, Terror), and John Browne (Monuments) for an in-depth exploration of what it takes to craft great songs.

Eyal will share the tricks of the songwriting trade he’s learned over years of experience as a producer at Audiohammer Studios (The Black Dahlia Murder, August Burns Red, Whitechapel) and guitarist for Century Media/Roadrunner artists Daath. Throughout this two-day course, you’ll learn everything you need to know about the three core components of metal/rock songwriting. You’ll learn about basic song structure and riff-writing; melodies, leads, and vocals; and fine-tuning the arrangement to take your song from good to great. Eyal will be joined by special guests -- from musicians to producers and more -- who will empower you to take your songwriting to new heights.

Reviews

Mike Lamb
 

This was a massively inspirational and incredibly helpful course. By the end of it I had a notebook full of incredibly useful tips and tricks, and I definitely plan a rewatch as soon as possible. I've been in bands writing songs for the better part of 15 years, but this has put a lot of focus on some of the corners I've cut or the areas where I've been lazy with the smaller details. No matter where you are in your songwriting you'll definitely benefit from this, and Eyal articulates everything in an engaging way and positive way. Even if you think you're a good songwriter, there's a tonne here you can benefit from. 10/10 - Thanks Eyal!