Playing a staccato pattern through the verses, the rhythm subtly shifts, moving the third chord by a beat to make room for the main vocal melody. The chords’ job is to offer rhythmic counterpoint to the bass, articulating the second and fourth beat where the bass articulates the first and third. The chords play an ii-vi-i-v pattern for almost the entirety of the song, but do so with a clear purpose. Take the Raconteurs 2006 hit, ‘Steady As She Goes’. If it sometimes feels like the chords in your track are a little uninspired, merely padding out the rest of the song, it can be a good time to reconsider what it is that you truly want to express. In each instance, the chords seem to define the song, offering a rich world of harmonic possibilities that underpins the songwriters chosen mood, without interfering with or overtly dominating the composition as a whole. Perhaps the seductive groove of Stevie Wonders’ ‘Superstition’ or the staccato glory of Britney Spears’ ’Toxic’. The driving simplicity of Eminem’s ‘Lose yourself’. We can all recognise a really good chord progression when we hear one. In this article, we will be exploring some of the best ways to improve your chords.ĭaniel Hignell-Tully discusses some neat ways to write better chords in your own compositions. Play it safe with a repeated I-iv-v progression, and you’ll struggle to make your music stand out. Throwing in a couple of clever suspended chords might spice up your riff, but might also conflict with vocal melody. It takes some understanding of not only which notes might complement one another, but how different combinations of chords can alter the perceived mood of your track. Throw any three notes together and you’ve got yourself a chord – simple, right? In truth, writing better chords is a tricky business. I’ll be doing just that, letting what's out of focus feel that much better when I know it's soft to the auditory touch.Killer Tips for Writing Better Chords. The end of this beautiful EP is like letting go of a hand-once strange, now familiar through episodic adventures, stitched together by emotional overlap and fleshy diversions, the urge to just grip it again and dance together into the fuzzy backlit horizon. The EP was a happy accident of pandemic lulls, accidental structure, and an artistic pivot shedding one artistic skin for another, all of which bundles into an aesthetic or living grey area life “distressed to the moment of softness.”Ĭomposed initially with a DIY on the carpet mindset, being “lucky in an unlucky time” allowed Evangeline to collaborate intimately with Dillon Casey, who she credits for being both a great musician and interpreter, a co-architect of the songs that filtered “feelings that need rooms built around them.” The bulk of Fuzzy is sonic vignettes, small portraits captured in notes and melodies, a celebration of life’s awkward gifts whether they be a post-fight walk through the neighborhood with a lover, a pithy exchange with an online nuisance, or a delicious understanding finally understood. While not your typical TikTok nubile by any standard, the promise of this work is unassumingly brilliant, a poetic statement, revealing storytelling cordially nuanced with xylophones, bright guitar chords, and draped by wet, wave-like rhythms.īorn to a creative California family, and having experienced the trappings and pitfalls of artistry under a former project, the warmth of Fuzzy feels like fresh-turned soil, a bed of ideas wanting for ripening. I wanted to gift a paraprosdokian to a fellow writer, but failing that, I want to make clear how wondrously illuminating this debut EP from Evangeline truly is. Good music is fuzzy, hard to discern until it lands softly.
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