Performing and composing ideas
There are techniques for composing and performance in Since You Been Gone that are usual for popular music genres but also could be used across most music genres. Think of ways to include the following devices and techniques in other performing and composing tasks.
| In performance | In composing | |
| Use of verse chorus structure | Be aware that there may be sudden extensions to sections. It may be a good idea to discuss with the ensemble how to signal to one another during a performance so everyone can understand when to move to the next section. | Include variety when repeating verses and choruses by including different instrumentation and developing rhythms in the accompanying parts. Include a bridge and instrumental section to keep the listener interested. |
| Chord extensions | Practise the correct hand shapes if you play an instrument that requires the need to play chords. | Chord extensions such as the 7th and suspended (sus) chords add rich harmonies and open the work up to development. |
| Chord inversions | Changing the bass note to one of the chord notes instead of the root note affects the sound of the chord. | |
| Instrumental techniques | Playing typical techniques from the genre such as distortion and palm muting conveys the style convincingly and shows adaptability as a performer. | It is advisable to be aware of the specific techniques required by instrumental players in the composition. |
| Syllabic word setting | Ensure that the lyrics are annuciated correctly with each syllable. | Syllabic word setting allows the rhythm of the melody to follow the rhythm of the lyrics. |
| Modulation | To add extra interest in solo sections, soloing in a related key can really grab the attention of the listener - eg, playing a D major scale with a minor seventh over a G major 12-bar blues sequence. | Modulate to the relative minor, subdominant and dominant keys to create variety. |
| Use of verse chorus structure | |
| In performance | Be aware that there may be sudden extensions to sections. It may be a good idea to discuss with the ensemble how to signal to one another during a performance so everyone can understand when to move to the next section. |
| In composing | Include variety when repeating verses and choruses by including different instrumentation and developing rhythms in the accompanying parts. Include a bridge and instrumental section to keep the listener interested. |
| Chord extensions | |
| In performance | Practise the correct hand shapes if you play an instrument that requires the need to play chords. |
| In composing | Chord extensions such as the 7th and suspended (sus) chords add rich harmonies and open the work up to development. |
| Chord inversions | |
| In performance | Changing the bass note to one of the chord notes instead of the root note affects the sound of the chord. |
| In composing |
| Instrumental techniques | |
| In performance | Playing typical techniques from the genre such as distortion and palm muting conveys the style convincingly and shows adaptability as a performer. |
| In composing | It is advisable to be aware of the specific techniques required by instrumental players in the composition. |
| Syllabic word setting | |
| In performance | Ensure that the lyrics are annuciated correctly with each syllable. |
| In composing | Syllabic word setting allows the rhythm of the melody to follow the rhythm of the lyrics. |
| Modulation | |
| In performance | To add extra interest in solo sections, soloing in a related key can really grab the attention of the listener - eg, playing a D major scale with a minor seventh over a G major 12-bar blues sequence. |
| In composing | Modulate to the relative minor, subdominant and dominant keys to create variety. |