Composition Archive - Nadine de Macedo

My roles in music

Nadine — Wed, 17 May 2023 14:00:00 +0000

In the past months, I receive a lot of requests from talented musicians all over the world. Most of them result in awesome musical collaborations, but sometimes people seem to misunderstand my roles in music. I decided to write this blog post to explain what I do and what I don’t. You will notice that nearly all of my songs credit me as composer, arranger and producer. I write songs for full bands and search for vocalists and instrumentalists to record them. All songs start as a rough programmed demo with fake instruments, and will be adapted to individual preferences and ranges. Sometimes I intentionally leave some parts of the song open, that can be filled with an own solo or lyric. I also co-write with songwriters and composers, where different people write different parts or add new instruments to existing backing tracks. Things I can offer Things I don’t do I hope that this blogpost helped you to understand my roles in music. In a nutshell: composition, arrangement, production, lyrics – and sometimes helping instruments.

This post My roles in music was published at Nadine de Macedo.

Why music arrangers are underrated

Nadine — Wed, 23 Nov 2022 10:00:00 +0000

When people talk about a song, they praise the vocalist or a great soloist. I barely hear people discussing songwriters, composers, lyricists and producers. But there is another underrated role: the arranger. If you never heard the term: The arranger is the person who decides about the instrumentation and structure. Will the singer be accompanied by a piano or a guitar? When will the strings come into play? Should background vocalists support the main vocals, and if yes: What do they sing? What’s the difference between a music arranger and a composer? A composer writes down the melodies, chords and sometimes even the lyrics – An arranger can turn the composition into multiple different songs by changing the instruments, the articulation, the dynamics, the tuning, extending / shortening, rephrasing, transposing. It will be the same song in a completely different vibe. Even with the greatest musician and producers, an arranger can turn a great composition into a smash hit or into an odyssey of 10 minutes length. Reading the small prints in CD booklets, you may not even find the word arranger. It’s hard to believe why arrangers are so underrated, but let me tell you something: Most of the time, it falls together with the conductor, producer or songwriter. Next time you listen to a song, imagine how it would sound in a different genre or instrumentation. The special power of an arranger is knowing your people What I love about arranging music is the challenge to tailor a song for a given band. You have to know strengths and weaknesses of individual members and find the sweet spot. There are plenty of side conditions like vocal range, instrumental range, technical expertise or genre. I would never give a song and let people play it exactly like it’s written in the tabs. You could also think of an arranger as somebody who tailors a song for the audience. Especially in scoring, arrangers can make a song fit to a certain scene by changing the tempo, mood or showdown. They’re like conductors in a recording. I hope that this posts raises the awareness, that artists, vocalists and soloists are not the only important roles in music. There are many people involved in a good song – So appreciate them all 🙂

This post Why music arrangers are underrated was published at Nadine de Macedo.

Songwriting in modal scales – Part II

Nadine — Mon, 22 Aug 2022 18:33:00 +0000

Some years ago, I extended my songwriting skills by using other scales than major, minor and harmonic minor. I unintentionally wrote songs in dorian and lydian, that have a minor feel but use different notes. This year, I took it one step further and wrote songs in even weirder scales. Disclaimer: When I write music, I do whatever feels right and don’t spend much time music theory. This website is not the right place for a profound understanding of music theory. This article is a follow-up of this post about modal scales. If you hear the word modal for the first time, you should check my previous article. There are more modal scales Everything happened when I composed a guitar riff for a song. It’s based on an A major chord, but has a very weird and melancholic feeling, because the song is NOT in A major but in D melodic minor starting with A. I figured out that I used a scale called A mixolydian b6. It’s one note away from natural minor and mixolydian. I didn’t bother about the name, until I wrote another song called “Good Morning Blues”. I had serious trouble finding harmonies, because the scale was super weird. Talking to musicians, we figured out that my melody is based on the E lydian b7 scale. Another weird name I heard for the first time. So I started some research and wrote a summary about my results. Modes of the harmonic minor scale If you remember my blogpost about modal songwriting, you obtain the modes, when you do cyclic shifts on the natural minor (aeolian) scale. Starting with A, we do the same with the harmonic minor scale and get this: Indeed, these scales have weird names for people who are not into music theory. The # and b say which tone of the scale has to be altered. For example, you get the aeolian #7 from the aeolian scale by shifting the 7th position up by one semitone. In case of A aeolian (A – B – C – D – E – F – G) the G goes to G# on the A aeolian #7 scale, that is also known as harmonic minor. Modes of the melodic minor scale Some people may know that the melodic minor scale plays differently upwards and downwards. The down direction is equal to natural minor (aeolian). You can find the modes in my previous blogpost. Thus, we only scare about the upward scale. Apply the same trick here and end up with the following modal scales: This is where things are getting confusing. There are so many scales with a similar name, that you have to give the information about the alterations or use the aliases. On top of that, people may have different understandings of altered scales, so it’s best to include the notes of the scale you’re using. It may also help to talk to people who are not into music theory or jazz standards. Every musician knows the name of the notes, but not necessarily the name of the intervals or modes. Are there more scales? Indeed, there are many more scales. The ones I mentioned above are all you can get from playing around with major, natural minor, harmonic minor and melodic minor. If you start alternating other notes or change the amount of notes (like pentatonic, hexatonic blues or bebop scales), new horizons will open up. In different cultures, other tunings and temperaments (mathematical divisions within an octave) play a big role. You could also end up with microtonality; scales that include notes in between the notes. This world can be quite intimidating and confusing, so don’t try to learn everything at the same time. Using modes and exotic scales adds interesting flavours to your songs. The uncommon and complex your progressions are, the less they will stick in people’s heads. It’s a nice toolbox, if you want to try something new or drift into jazz, fusion, art pop, world or experimental music. Implementing these into a catchy pop song is hard, but it works. Coldplay use lydian and dorian a lot – and Metallica love phrygian for a reason. Microtonal prog metal may be an extravaganza, but I heard some Arabic scales in trap music. I haven’t heard a pop song in superlocrian yet. The trouble with harmonizing Working with jazz scales and exotic scales is not easy, because harmonizing a major scale with triads doesn’t like expected. The scales of this article are not parallel to ANY major scale or natural minor. They use different intervals and have alterations that make it really hard to make standard chords like major, minor fit right in. You will end up in chords like diminished, augmented, alternate, 6/9 or 7b5 – Chords, types most pop or rock musicians haven’t heard of. If you really want to understand how to harmonize, you have to visit a course on jazz theory. Understanding these scales as shifts of harmonic and melodic minor helps you to get some quick ideas, but you only get the modal feeling when you hit certain chords and notes that are charismatic. Here is a simple example: Are you able to write a song in A minor using mainly major chords? It will be very hard, because the most characteristic traits of A minor are the chords Am, Dm and Em. Otherwise, the song is mistaken for C major. Where do you learn which chords and notes are charismatic for the scale you’re using? There are tables in jazz theory books that tell you that locrian has m7b5b9 and 11b13 inside, but what exactly does that mean? How would you harmonize a hexatonic scale with the tiny bit of theory you had in school and writing pop songs in major scales?! Trial and error?! How can I use modal scales? I have to admit: I am not able to write a song in arbitrary scales. Okay, except for a super obvious four chord song in major and minor. When I write songs, I don’t care about the cadences and notes. I just write, and it’s alright, when I end up in weird jazzy progressions in G super locrian same as a catchy four chord song in C major. When I jump around the scales or use borrow chords, that’s fine too. I wrote this article to think outside the box. Stop thinking that an unusual chord progression is wrong! Start listening to songs that use borrow chords, modal scales, key changes and other extravaganza. Knowing modal scales is not a must, but it widens your horizon. You can write good music with complex chord changes or mess up the major scale in a way that it sounds good. P.S. I am not into music theory. Please indulge me, if I use the wrong terms or comment. I’m ready to fix that blog entry for you. I do not receive any money, backlinks and products for naming other people, their works or websites. The reason I write is sharing information and knowledge.

This post Songwriting in modal scales – Part II was published at Nadine de Macedo.

How many music genres have I tried?

Nadine — Mon, 16 May 2022 15:00:00 +0000

I have been asked quite a couple of times, in how many music genres I have tried to write songs. I call myself a multi-genre songwriter and composer for a reason, but it has been very hard to give a number. I decided to start a list with different examples that will be maintained regularly. My comfort zone Being a multi-genre songwriter is hard. You find inspiration everywhere, that you’re constantly dropped out of your comfort zone. Let’s talk, what is easy for me in different roles. Please note that some genres are in brackets, because I cannot enjoy them for personal reasons. This list is from May 2024. As a producer / mixing engineer, I love moody, heavy and melancholic music. I enjoy hard drums, heavy guitar riffs and multiple styles of vocals. It’s easy for me to mix a dense arrangement with vocals, guitars, piano, bass and drums. I feel best doing:Alternative Rock, Pop Rock, Progressive Metal, Progressive Rock, Blues Rock, Punk Rock, (Electro House), (Hard Trance), (Epic Trance) As a composer, I have tons of fun with heavy melancholic and complex music. I’m a big fan of weird chord progressions and modulations, which is best in progressive genres. But I also do pop music, when I’m allowed to escape the usual 4 chord scheme. I’m still taking a break from electronic music. I feel best doing:Progressive Metal, Progressive Rock, Alternative Rock, Pop Rock, Pop Ballad, (Progressive Trance), (Epic Trance) As a lyricist, I enjoy writing heavy lyrics and diving into shady characters. I don’t mind strong language or complicated words. Storytelling ain’t my thing, so I have issues with country and singer-songwriter. My way to write is quite straight and direct – I am not a poet! I only write in English. I feel best doing:Alternative Rock, Alternative Metal, Nu Metal, Pop Rock, Progressive Metal, Progressive Rock My skills as an instrumentalist are inferior, so I have to rely on mid-tempo songs with easy progressions. I hope that I can catch up on that soon and try new genres. My playing is heavy, so don’t bother me with soft emotional songs. I feel best doing:Pop Rock, Alternative Rock, Blues Rock As a listener, I love heavy, fast, complex and melancholic music. This could be literally everything, but I don’t enjoy electronic dance music right now. I like listening to:Djent, Metalcore, Progressive Metal, Nu Metal, Symphonic Metal, Folk Metal, Melodic Death Metal, Industrial Metal, Grunge, Stoner Rock, Indie Rock, Swing, (Aggrotech), (Future Pop), (Electro House), (Epic Trance), (Hard Trance), (Dubstep), (Trip Hop) This is NOT for me – neither as listener, musician nor producer: Experimental, Ambient, New Age, Synthwave, Schlager, Humppa, Retrowave, Future Bass, Hardstyle, Rave, Gabber, Future House, Classical (especially baroque), Neoclassical (exept metal), Bossa Nova, Latin, Free Jazz, Neurofunk, Baile Funk, Contemporary R&B (stuff in the 90s is good though), Mumble Rap, Funk, Reggae, Reggaeton, Danceholl, Grindcore, Speed Metal – And I’m not a fan of the 70s! A brief overview My list is very long, because I tried many genres. So I decided to write it down as a table. The left column is filled with an emoji, how I feel about trying this genre again. The digit tells the number of finished songs or remixes. Some songs are not online yet, which is why I wrote the numbers in brackets. The links go to YouTube, Bandcamp or SoundCloud, where you can listen to a sample. How to interpret the emojis:😄 = I love it and want to do more.😊 = I will try again, when I have ideas.😥 = I keep on trying, but I haven’t succeeded yet.😔 = I gave up, because it doesn’t catch me (anymore)😕 = Never again. Electro I started writing electronic music in 1998 and producing in 2003. I have tried over 30 subgenres of electronic music and figured out that my home base is trance. Most trance related genre were easy for me, but I struggled really hard in genres that need sound design or rhythm. Electronic music is in hiatus, because I don’t have fun listening, writing nor producing. Fun Genre Amount Example Experience 😕 Acid Techno 2 Acid Orbit Techno made me shift my focus from melodies to sounddesign and automation. Though succeeding with two songs I don’t feel well in that genre. 😔 Acid Trance 4 Fruchtsäure However, combining acid techno with trance has been easier for me. Adding melodies is a game changer for me, but I won’t produce this genre on my own. 😊 Aggrotech 1 All Hallow’s Eve It has been fun to produce this genre, but it was harder than expected. Whenever I have a simple melody, I will try again. 😕 Ambient 1 Ambience I’m not calm and patient enough to enjoy ambient and chill out. That’s not for me. 😕 Ballearic Trance 1 Yesterday’s Past I never planned to write something in this genre, because I don’t like it. 😕 Big Room (1) tba Today’s edm music is full of festival and big room. You need simple melodies and heavy drops. Both is a challenge for me, and I don’t really like it. But I’m working on a remix. 😔 Chill Out 2 Deep Heart It took a while to produce a chill out song. Same as ambient, the focus lies on sounddesign. I love the result, but I cannot imagine doing this all the time. 😕 Classic Trance 14 World’s Future After producing trance with the sounds of he 90s and 00s for 15 years, it’s getting boring. It has been very simple for me, but not again, please! 😕 Dance 6 Hold Me Tight Starting with dance music, I realized, that I shift towards trance. So I gave up after 3 years. 😕 Deep House / / Major props for sounddesigners. It is very hard to make textures, blips and cuts sound harmonic and cool. I lost my patience. 😕 Dream House 1 Moonlight I often feel like dream house and classic trance a connected. I can produce this, but I don’t like to, because it’s closer to ambient. 😥 Drum & Bass / / Well, I was not able to program the charismatic beat with a simple bass. Maybe I try again someday, but not now. 😥 Dubstep 2 / I like the hard wobble in dubstep, but I didn’t expect the synths to be so hard to program. Rhythmic issues followed. I succeed remixing something, but I am not allowed to upload. 😊 Electro House 5 Neotokyo After leaving trance, electro house became my second home. I can go heavier and go crazy with the bassline. It’s a good style to remix, but songwriting is hard. 😥 Electro Industrial 1 Liminal Spaces Well, I tried it a couple of times, but I had issues in sounddesign. This song definitely has some influence but isn’t pure industrial. 😥 Electro Swing / / Electro swing uses plenty of old samples with house beats. I am not a big fan of sampling, so I want to write the swing arrangement by myself. This is what makes this genre hard. I am still trying! 😄 Epic Trance 11 Adagio of Life I was so glad when I found that niche in trance music. My only possibility to write weird chord progressions and gigantic arrangements in electronic music. It’s still hard for me to write the orchestral part. On hiatus. 😕 Goa Trance / / It’s been okay to program arpeggios and bass, but I don’t feel goa and psy. 😊 House 2 Lost Letter I never expected that house is connected to soul music. If you don’t feel it, you won’t create a cool groove. I need good vocals and loops to help me with the drums, otherwise it won’t groove. 😄 Hard Trance 7 Dream of You Oh yes, I enjoyed rocking out! A genre I like to continue when I have simple melodies. 😊 Indietronica 4 Dystopia It’s never been my aim to connect pop with idm and trance, but I did a couple of these. And it worked. It’s nothing I could do intentionally. 😊 Rock House 2 It Only Takes A Miracle I love rock – I love house – But getting a good riff is harder than expected. This may happen again whenever I have a cool riff – But only with real guitars, please. 😕 Uplifting Trance 25 Breathing Rush Instruments and melodies were just in my dna, but I cannot listen to this genre anymore. 😕 Progressive Trance 9 Lightyears Away Sidechain compression made me produce this genre more often than expected. And I loved it. And now I don’t like it anymore. 😕 Tech House 3 Promenade This has been very hard, because I have no idea of sounddesign. The songs I wrote here were just experimenting with knobs. 😕 Tech Trance 4 Transitional However, combining experimental techno with trance has been easier than house. But it’s nothing I’d do again. 😕 Trap 1 Weight Trap is full of sounddesign. I didn’t succeed in writing a song, and ended up with a hybrid. 😊 Trip Hop 10 Going Nowhere This seems to be my go to genre, when I try downtempo electronic music. Pop & Hip Hop I started composing and writing pop music in 2001, but only around 2005 I was able to collaborate and produce. I need vocalists and guitarists to realize these projects. This is why I see myself as composer, but I also produce and write lyrics. I love big arrangements and acoustic instruments. Fun Genre Amount Example Experience 😕 Art Pop / / What I like about art pop is the openess to weird scales and sounds. I tried it often, but I have trouble with sounddesign. 😊 Ballad Pop 6 A.L.E.X. I usually don’t listen to ballads, but they are easy to write. I have a knack for melodramatic melodies. 😥 Country / / It is very tricky to get the country sound without banjo. I haven’t succeeded yet. 😥 Contemporary RnB / / The modern version of rnb is not my favourite genre, but I just had to try it. I wrote a beat and a chorus… and now I’m stuck. 😕 Dance Pop 2 Dancing In the beginning of the 2000s, I listened to dance pop – but I don’t like to produce it. My melodies and harmonies are not happy enough. I enjoyed it more than pure dance. 😔 Folk 1 I’m not angry Practising fingerpicking on the guitar helped me to understand folk music. It’s not my favourite though. 😔 Future Pop 1 Perpetual Machine I succeeded in writing genre typical lyrics, but sounddesign is still too hard. 😊 Gothic Pop 1 Seven Days To Live Dark, soothing, melancholic pop music with a bit of electro. Just my thing. 😔 Hip-Hop 3 Darker Programming beats has been much harder than I expected. I wrote a couple of raps, but nobody was able to turn them into a song, so I trashed them. I won’t continue unless I have a great idea. 😊 Indie Pop 2 Going My Way I never intended to try this but I liked it. Even more than folk. 😄 Pop 5 Promises Writing pop music is quite easy for me, but my tendencies go to adding a touch of rock. Pop with synthesizers and synthetic beats is hard for me. 😄 Pop Punk 5 When I’m Gone I produced many songs in that direction, and also wrote lyrics, but I’m quite fresh to writing. More to come! 😄 Pop Rock 11 Don’t tell me if it hurts What I like about pop rock is the possibility to use simple hooklines in a rock arrangement. This genre is simple for me. 😊 Trance Pop 3 Daylight Means Endeavour I will continue on this when I have more ideas. Rock & Metal Since 2006, I love writing rock music. After a couple of years, the connection to metal has been given. My guitar playing and singing is not good...

This post How many music genres have I tried? was published at Nadine de Macedo.

Songwriting techniques worth trying

Nadine — Sun, 13 Feb 2022 14:15:00 +0000

Do you have favourite techniques for songwriting? Some artists may develop a certain process to write songs more quickly. In this post, I’ll discuss different processes and methods of songwriting that may help you on how to write a song from scratch. Talking to plenty of musicians and lyricists, I figured out that everybody developed a process to start a song from scratch. I noticed, that people who call themselves lyricist, start with the lyrics or vocals first, whereas drummers are more likely to create a groove and add a bass. In my honest opinion, there is no right or wrong. These are different attempts, and most of them are worth a try. Theme oriented songwriting The main idea about theme oriented songwriting is to write down a topic or a musical theme and construct the song around. Here are some ideas on how to write a song. Start with lyrics Are you a wordsmith? Some songwriters already have a topic in their minds and write down the lyrics first. Most of them already have a metric and rhyme scheme. Even without knowing the melody, words of a skilled lyricist flow naturally in rhythm. You may only vary the pitch to create a melody. About a year ago, I tried another method which has been completely unknown to me: Word clouds and mind maps. You start with a keyword and generate words that are linguistically or contextually related. For example, building is connected to house or construction, construction may be connected to noise and dirt… Once you found a couple of words, you build phrases. This has been an interesting and challenging experience. Another quite related method to start a song with lyrics is creating 2-4 phrases and search for end rhymes with a rhyming dictionary. This will set your focus on metrics and rhyming. Be careful not to use super obvious rhymes like “you” and “blue”. You can also write down your spontaneous feelings and thoughts about your perception. Just a snapshot of your life or the situation you’re observing right now. It’s a more natural way to use a word cloud. This technique seems to be used quite often in singer-songwriter and country lyrics. Sound design first I must admit, I’d never have heard about this method, if I never talked to producers, keyboarders and guitarist who left their heart on sound design. You can spend hours and hours on your amps or synthesizers to recreate the sound you have in your mind. Sometimes, a certain sound inspires you to write a melody. Once you’re done, you create the next sound and the next element. Working this way is very, creative and intense experience, leading to a song with a strong atmosphere. Genres like ambient, lo-fi, shoegazing or djent cannot live without sound designers. Even if you don’t know the meaning of all the knobs of your gear, you can follow the sound design first approach by using presets. Take a sound, play some notes, jump to the next. Put some weird effects on it and listen. It’s interesting to turn some arbitrary knobs and hear the outcome. “Neotokyo” happened this way. I used odd compression settings on the piano and wrote the chords later. Getting the rhythm straight In my early beginnings, I wrote plenty of songs, starting with the rhythm section. I picked a tempo, choose some nice samples or drum sets and created a typical 16-beat intro for club music. By adding more and more percussion elements, tonal FX and loops you start a good build. The next natural step would be adding the bass, and then you start with fragments of melodies turning into full themes. I always thought it’s an approach for writing club music, but I talked to rock and fusion drummers and bassists who also work this way. It’s been interesting to hear, that a drum riff could be as catchy as a guitar riff. I never thought this could happen to me with non-electronic music, until I wrote “Wrench in the works” based on a 6/8 drum groove using plenty of toms. In my honest opinion, the interplay between drums and bass is very important, no matter if acoustic or electronic music. A good song needs a strong groove. Starting with the rhythm section first urges you to structure a song, cause the drum groove should not become boring after a couple of repetitions. Building a song around a melodic theme In classical music, soundtrack and jazz, the idea of writing a song to an existing melodic theme is quite common. Of course, it’s boring to loop the same melody over and over again, so musicians modify the theme by using different instruments, accentuations, keys or inversions. If you want to dive deeper into the topic, I recommend listening to classical variations or visit jam sessions. There are different ways to write strong themes. If you wrote the chords first, you can figure out the scale, interpret it as a limited set of notes and improvise. Some people write melodies based on arpeggios from the chords they used. Pragmatic songwriters do not even know the scale they’re in, they just write! As soloist or arranger, you may also have tried a technique, I’d call harmonizing with melodies. Once you found your main melody, you try a new melody with a different instrument instead of using a chord. This may limit the amount of chords you can use for harmonizing. Arrangement oriented songwriting The above-mentioned techniques are great to write a song with a consistent feeling, melody or groove. But if you’re deep into arrangement, you can try to write the structure first and add interesting details. Composing with the main instrument In series and movies, songwriters are usually portrayed as guitarists or pianists playing their instruments and singing along. There may be some truth in it, but it is not the only way to approach a song with an instrument. If you’re deep into arrangement, you may write the chords first or in parallel to the melody. Use your main instrument to play the whole song, add more layers later. “Going My Way” has been written on the piano, before I created a drum groove, a bass and a guitar. Talking to fellow musicians, I feel like there are music theorists and pragmatists. People, who are really deep into music theory, deal with chord progressions, key changes and improvisations in a completely different way. I learned, that harmonic function theory and cadence theory are two approaches to (a) find the next chord according to a certain mood and (b) find chords to an existing melody. Jazz theory may even go deeper. Arranging final or draft takes Composers, instrumentalists and arrangers have different views on the moment you hit the record button. I know people, who prefer to learn to play a part properly, record it and jump to the next. Digital tools make it possible to change the order of the recorded parts or to re-use them. So they work part-wise, write and arrange their songs during their composition. I also know people who need the full arrangement before hitting ANY record button. And people, who love to write a first lousy prompt on their acoustic guitar, do plenty of re-recordings and go real big on their DAW. The idea is quite the same as composing a song with a main instrument, but every instrument of your first arrangement is a draft. When you’re done with the arrangement, you (re-)record everything neatly. Start with the full instrumentation Another huge point of discussion seems to be the question of where you start with your composition. Should you start in the beginning and create an intro, a verse and work your way up to the full instrumentation (tutti)? Or should you create the chorus or tutti first? Both methods have interesting con’s and pro’s. I noticed that sound designers love to create intro and outros. The full focus on the first part of the song ensures that the listener is carried away by a mind-blowing atmosphere. However, the length of commercial music decreases, and it is very challenging to write an intro for a song below 3 minutes. If you decided to work on the full instrumentation first, you have to make choices about when and where elements should be dropped. Writing an intro and verse is challenging, because looping the chorus chord structure can take away some drive. What is my approach? Thanks for reading my lengthy thoughts on songwriting. You may have noticed that I tried a lot of these techniques. I had serious issues writing a song based on sound design, rhythm or a word cloud. This is where I figured out that I’m definitely more arranger. I prefer to start my songs in the chorus or tutti. My reason for this is quite plain: I love catchy hook lines and starting with the tutti I know the maximum amount of instruments for that song. I’m flexible enough to add another element as soloist later on, but knowing the instrumentation makes it quite easy for me to decide who starts when. My biggest difficulty is writing verses. They need less instrumentation and have to fit in harmonically without being too close to the chorus. I also figured out that I love songwriting from rough drafts to final recordings. Trying different techniques on songwriting has been a pleasure. I learned so much about music or the way I work. How do you write a song from scratch?

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