I'm Jake Lizzio and welcome to my Advanced VHS tutorial class on composing with the mixolydian mode in this video. We'll learn the secrets to taking simple chords and transforming them into sick riffs that make the crowd go wild.
Please note, this transcription was computer generated and has not been checked for errors. However, I do hope you find it helpful. Be sure to check out The Ultimate Modal Poster!
We'll also learn how structure Arrangement and production decisions can really help take a boring idea and transform it into a a killer Rock single. So if you're ready to take your songwriting to the next level buckle up because it's time to rise.
All right, there's a lot to get to in this video because we are going to be writing and producing an entire radio release-ready single. So let's get started with the writing the inspiration here all came from that mixolydian sound if you watched my other videos on mixolydian, you know that I think it works very well for high-energy fun fist-pumping rock. It has all the happiness of major but it doesn't have that sweetness.
It doesn't have that cleanness to it. It's like Majors older cousin that grew up on the other side. Side of town. It's got a little bit more worldly aspects to it. And I really like that sound. I think it lends itself very well to Classic Rock. So when it came time to write a mixolydian song My Brain instantly went towards the genres of Van Halen Motley Crue AC/DC that style right there now once I realized I was writing a classic rock song I ran into the problem of realizing I can't sing classic rock fortunately. I know the ultimate classic rock singer and performer. His name is Carrie Divine you may have seen him on my other video on the Mario. Games where he ignited a Christmas tree just with the sheer power of His Voice.
The carried is a real creative force. Not only is he the frontman of several bands like lava rock a chicago-based band and not only did he create an entire act Rockstar Roadshow, but he's also a writer and was a perfect person to collaborate with on an idea like this. You see I knew I wanted to write classic rock, but I didn't know what I was going to write about. So I sent him a text asking if he'd sing for my song and I also mentioned that if he had any ideas for What the song should be about to let me know I was going to do something silly like right about supernovas or tsunamis.
That felt like a very 80s metal thing to write about but he came back with this text suggesting a song you're going to get what's coming to you. And once I heard those words it really set off everything into motion the energy the attitude the concept and how the lyrics would be framed. It's so important to realize that before he sent me that text I really had no concept of what this song was actually going to feel like so it's important to keep in mind that you know songs grow. Not not always are you going to have the complete Vision all at once? Sometimes you'll just have A part of the vision in this case. It was I know I want to do 80s hair metal. What's it going to be about? Well that piece of the puzzle didn't get answered until I started collaborating with somebody else. So once I had this better vision of what this song was actually going to be like I started actually writing riffs on my guitar. I knew I wanted it to sound cool. I wanted it to be a riff that if I was 16 or 17 and just started playing guitar. I would hear that on the radio think I want to learn that guitar riff. So I pick the key of D. Mixolydian and D. Mixolydian is the same notes as the G Major scale, except we will be focusing on No D instead of the note G likewise. It's the same chords as the G Major scale except we're going to be resolving and starting on the Cordy instead. Now in any mixolydian key. I believe that the Holy Trinity of chords the three chords you really want to be using are the major chords that are in that key. For example in D. Mixolydian. I have access to a D major which is the one I have access to a C major, which is the flat 7 and I have access to the four chord, which is just those three chords and nearly any combination.
Give you this really fun major upbeat rock kind of sound. It's really bright, but it's not like sickeningly bright. So I already knew I was going to be composing with those three chords D major C major and G major, but that doesn't sound cool to me. How do you get a cool sounding riff? Well, one of the things I always like to do is to Peddle a chord progression over a consistent base note. So we're in the key of D here. What if we play the D major over the denote like this and then what if we played our C major? the same denote letting d-ring out on the base but the see Majors on top now we'll play a G Major D is still on the base and then we could go back to a d so you get D major C major / D G major /d and then D major again taking that concept I just started riff a fighing and here's little bits of the courtiers little bits of the D major and then a little bit of a d suspended and then here's a little bit of a dese us to and then I snap into a C major and then here's a little bit of a G major all being played over D and then just a root in an octave D so what I've basically done is taken this simple chord progression of D major to C major to G major and I've turned it in to this riff here and I really like the way that sounds is kind of reminiscent of the song There's a song by rat perfect 80s Heavy metal band called lay it down and that's a much faster song and it doesn't stay just in mixolydian. It does a little bit of modal mixture as well. But I feel like it kind of is in that same vein of 80s metal.
Now one thing I have to bring up throughout this entire song one of the most difficult things to get just right was all the syncopation.
If you really pay attention, you'll notice that a lot of my downbeats a lot of my one beats and two beats and 3 beats are completely eliminated or Or not stressed at all and instead it's the and it's the upbeats that get the accent.
So a lot of these measures start 1/8 note early than they might normally do and that's an important thing for your band to know if your band doesn't know that you're coming in an eighth note early. You kind of get these mushy little transitions instead of real tight punches.
So throughout this entire thing, you'll see like this main riff if I try counting it and for an and two and three and four and one and two and three and four and one and two and three and four and You how many ads there are right. There's not a lot of big ones not a lot of big twos and threes and fours. It's all in between those downbeats and that helps give it that syncopated bouncy feel but I just want to stress to you when you're producing a song Those little rhythmic complexities are extremely important to make sure the rest of the band is aware of your bass player and your drums really want to be paying attention to are we coming in on the one beat or we coming in on a that'd be you know before that or after that a little bit. So I've got this cool riff here, right? I can now make this the intro to my song Here's all I did. I recorded that Rift once and I panned it all the way to the left speaker then on a different guitar. I recorded it all over again, and I panned it all the way to the right speaker. But when this guitar track comes in I also had the drums come in with a big kick and crash and I also had the bass guitar come in on a giant demon.
That serves as a wonderful 80s intro now we got to turn it into a driving rock force by adding some drums. I began by just programming in some drum so I could get a good feel for it. But my good friend beard stank is back from his adventures on the road as the guitar tech for John 5 and beard stank is a magnificent drummer. So I decided to employ his skills here to record the drum parts for this entire song as the producer of this song. I trusted that Would play the right part but I specifically asked him to try to make it as easy as possible for 95% I wanted the drum part to be easy enough for a kid in middle school to learn except for just a few little parts that are outside of the range and he took that direction perfectly through the whole song giving us a really energetic and dynamic drum track that never gets boring and never gets into the flashy over playing territory. Which in my opinion is exactly what you want for a song like this is that it's just meant to appeal to the masses now. Here's what his drum sound. Like when we recorded them and didn't add any effects or processing to them.
And I personally think that sounds terrible.
Fortunately. I have learned to use the software available to me to take that drum sound and make it sound like this instead.
This involves lots of compression gating Equalization, but more importantly I've sampled the sound of his actual snare drum and his Kick Drum using triggers that I created just using the stock effects in Ableton. So adding those big drums underneath our guitar part sounds like this.
I started getting that Van Halen Vibe and I thought since would be a great thing to amp that up. So once again, I consulted my synthetic music advisor moogly who's been doing a lot of great synth work on his channel lately. So I do suggest you check that out and he was able to lay down some very simple chords for me and a nice 80s patch that fits very well over the Timbre of my guitar in those drawings.
Now it's time to address what the base should be doing and I had about four or five different ideas that I all loved for the base. And this is one of the big problems with composing which ideas to you. Keep which ideas do you throw away?
Sometimes you can find a way to kind of use all of them if you're clever. So I'm going to show you a few of the different ideas. I had and then how I ended up settling on the final versions of those different baselines first. We know that my chord progression is just a d and a c and a g. It's just being peddled all over.
So I could outline those chords I could outline the denote and the C note and the g note to just rock out on those notes rhythmically underneath that riff and I'd get something like this.
I also considered instead of playing a g for the G chord just playing Abby and that way it feels like a g over B chord next experiment with straight eighth notes on the bass going down those exact same notes. We just talked about D for the D chord c for the seek thee for the G chords. We have a g over B and then back to D for the Now we know that the guitar riff is all centered around that denote and it pedals over D. So what if we had the base just hammering away at that same denote and straight 8 I really like the way that sounded but to me the magic happened when I started taking those eighth notes and started playing them staccato and said so they didn't actually ring out all the way through gave it a really great pulsing effect as you can.
Truthfully, I loved almost all of those options. So what you'll actually hear throughout the song is I did a little bit of all of them in different spots and hopefully it's consistent enough. So it doesn't feel like a different section but there's enough variety to keep things interesting and that's one of the key components to writing popular music is that it's considered depends on repetitiveness. You have to be repeating yourself most of the time if you want to write popular music, but if it's too repetitive with no changes, that's where it just gets.
Nauseating so it's about tiny little variations throughout those repetitions that usually give us something interesting catchy and likable now, I know this is a lot to talk about for just our intro riff, but it will show up later on in the song in the middle and it'll show up at the very end as well. But there's one more thing that we really have to talk about in this is an extremely nuanced thing that you might not ever approached as a guitar player or a musician, but it is one of those things I encountered through producing this and I feel obligated to talk to you about it because it's such an obscure problem to have it was such an interesting solution. Ian you see our guitar is an equally tempered instrument which means that some of our intervals are naturally Out Of Tune like the major third if I try to play a major third here on D, you might be able to hear that just an isolation those two notes are actually out of tune with one or one another. It's not like my strings are out of tune with another one another if I try to play a perfect fifth wheel here that that's nice and in tune but these two notes there's some dissonance there and the only way we can do that. The only way we could fix it is by flatting the major third just a little bit or we could raise. The note up underneath that the tonic note, but what I'm going to do here is just detune my second string just the tiniest amount.
So my major third becomes perfect and that was a perfectly tuned major third. The only problem is is that when I get to this chord my G now this note is a little bit flat. So I actually have to bend it sharp.
So it's more perfectly in tune. Now, this is extremely subtle. Like I said, I've never actually gotten this far into the weeds with something like intonation just to record Weird, but when you hear something you fix something that to me is my rule of production if you can hear something and you don't like it you should be able to find a way to fix that and to me I kept hearing the rattly dissonance of a perfectly of a an equally tempered major third and I thought you know, we could just fix that I could get rid of that thing. I don't like by just detuning my guitar for the Rhythm heart and then learning to play it with a little bit of a bender and it took quite a few plays just to get it right because that band was a little awkward for me. But comparing them side by side. I really do appreciate the effort of that perfectly tuned major third.
If you don't hear it, I get it. It's one of those things that I wouldn't have picked up on for many many years in my playing career. But I do want you to just be present and be aware of that the problem with that major 3rd on the guitar. It's much easier to hear with Distortion. If your ears having trouble hearing it, you should be able to hear that dissonance between those two notes when you're heavily distorted as opposed to playing on a clean setting. All right, so we're finally done talking about the intro riff. Let's get into our verse section, which is fortunately a very easy thing to talk about. We're using those same three chords D major C Major G major and D major except now. I'm turning him into root position power cords, and I'm playing them with just some steady Paul meets one two, and three and four and two and three and four and one and two and three and four and two and three and four and one two, and three so it's a nice little groovy thing right where chunking awaits and power cords instead of these chords ringing out big and loud like they were before now they're kind of in that lower register and that is like a nice bed a nice soil bed upon which our vocals can really shine on top. So we've got to start writing Melodies and lyrics for our verse now, we're in mixo-lydia in mixolydian has this really shining brightness to it, but could also be easily polluted with this bluesy twinge as well. So I chose to kind of walk between both of those lines the first half of My Melody really kind of accents the F-sharp the major third aspect of mixolydian, which is in the scale, but then the second half of them He brings in a minor third instead to kind of start bordering on to a blues feel which is pretty much like the foundation of a cdc's music in case you haven't seen my video on AC/DC and mixolydian. Please watch that if you haven't because all of this stuff will make a lot more sense if you seen that so let's take a look at the melody on top of these cords and I'll point out where the major third occurs versus the minor.
Mixolydian tonality right here, right. We were supposed to be using F sharp and we have chosen the F natural instead why it's because I like that sound listen to what it would have sound like if I kept everything in pure mixolydian. It would have been a little too happy for my taste.
Live in love with nothing can laugh but someday you'll know so by introducing that minor third over our major tonic we get that kind of bluesy grit sound and this is something I've been talking a lot about lately if you watched my Blues course, we really got into that idea of this minor 3rd and getting into the major third in the neutral third in between there. There's a lot of gray area there and here you can see that I'm really trying to employ both aspects of the third there in some tonalities. You can almost think of the third as Immovable.
You could make it a major. Third. You could make it a minor third. It's like optional when and where you choose it. Now, let's talk about the pre-chorus and introduce one of those signature mixolydian chords in D.
My five chord is actually a minor right in any other Deaky your five chord is probably going to be a major chord, right? But all of a sudden we have an A minor chord and I don't want to call it a sad chord. It's just a very melancholy kind of sound, you know, you've got all this brightness from mixolydian and then you get that a little bit of minor twinge to it. It's a really lovely cord and I thought it could be used here in our pre-chorus. We could play our a minor with a little bit of a palm muted pattern and then back to DD with some suspenders so a minor and then D sus4 to and the Rhythm that I ended up writing here actually ended up evolving from a combination of the vocal Melodies that were written. So in initially, I was just plowing away at those chords, but once I heard the vocal Melodies evolving I ended up changing my guitar parts, too.
Complimenting the vocal part then later on the drummer beard stank ended up hearing that little connection and that ended up accenting some of those rhythmic changes to so throughout the process of writing a song don't be afraid to revise old parts to help complement new parts. I don't think it's a good idea to set anything in stone. You should always be flexible when you're writing and especially when you're producing now, this pre-chorus leads me up to a big buildup on the G chord and I let it actually bring out for an extra measure longer than you might think it should and this gives us a little bit of like a delayed fuse effect before the chorus can come popping in and I really like this because later on we're going to get this same pre-chorus except the vocals are going to be different and that little delayed fuse measure won't be there. So instead of having the security of that Gap, you're just going to get thrown right in to the next chorus.
So again, we're doing the same thing like I talked about before we're repeating ourselves, but we're repeating ourselves with variations. And those variations are going to really be the spice that keeps this interest.
But look at you now baby.
So when it comes to gonna get what's coming to you before I go any further, let's talk about what this entire structure is going to be. Like if you haven't figured it out already. It's going to be the cookie cutter structure. I recently did a three part series on song structure for my patreon subscribers. If you're one of them you already know this stuff, but we're going to have is we're going to have a Troll a verse A pre-chorus and A Chorus. Then we repeat all of that intro Verse pre-chorus Chorus accept this second course is going to be extended. We're going to do something a little different here. We're going to Beef It Up and actually double the length of this course almost double the length of that course after that we'll go into a guitar solo a bridge section. And then some Mega huge fireworks choruses at the end finally closing things off with the intro riff again. So to me, this is just an expanded version of the cookie cutter format of Verse Chorus Verse. Score Ascend and I do not shy away from that format. I don't think it's it's healthy to shy away from things that work really. Well. That is a great recipe for a great sounding rock song and I have no shame and writing a song that follows that format. I didn't go in and tending to write that format. It just happened to be that way because I was intending to emulate all the songs that made it to the charts in the 1980s.
Now, let's talk about the most important part of any song the chorus in this case. I ended up having the rhythmic hook for the chorus early on one scary sent me that text that said Going to get what's coming to you. What was going through my head was you're gonna get what's coming to ya you're gonna get what's coming to you. I heard that is like a crowd chant and the way I heard the rhythmic structure in my head is I imagined it starting early and then kind of the one beat coming in halfway through that phrase like this. I heard you gonna get what's Comin right? So if you look at the Rhythm there it the word coming to you really starts on the One Beat and everything else happens before the One Beat. Eat so it's kind of weird to have your chorus hook start early, but it still works. It's a big crowd chanting chorus and it fits in perfectly over those chords. There's also an element of rhythmic hook in here. I really wanted to have this that little one two, three and four and that and and those two hits. I wanted to be almost a rhythmic component of the chorus. I didn't want to just to be Melodies. I wanted something that people could boom boom, you know punch their fists to and rhythms great way to do that. So you'll hear throughout those course. Those little accents become more and more important throughout the song they become more and more accented and they become an essential part of the course just as much as the singing is now throughout the recording process. We slightly revised that Rhythm from you're gonna get what's coming to ya into this rhythm of you're gonna get what's coming to ya so a little bit more syncopation there and I really like the way it flows over it. So once again, it was one of those things that I initially wrote a certain way, but once I started collaborating with Carrie and I started hearing how the singing was going. I ended up changing things over. To that style instead that Rhythm Cadence and stuff that gonna get what's coming with this minor third versus major third thing again here. You can hear my melody is you're gonna get what's coming to you and if I play that as a pure major third every time it's just too happy you You're gonna get what's coming to you.
It's just too bright and you know and likewise if I use the minor 3rd every time it's just too dark you gonna get what's coming to you.
I'm gonna get what's coming to you.
So here it was really important for me to balance. Where does the major third come in? And where do we start blending in that minor third with that major third. So when it ends up being is you gonna get but scum and that Word on the word come we have the major third the F sharp, but then when we return to yeah, it doesn't quite make it there on the word. Yeah, it kind of gets into that neutral third territory in between a minor third and a major 3rd and kind of swoops up there. I know this is subtle but I couldn't stand it in the other directions.
I really had to have it right there because my ear was telling me at that way. So these are things you put into your production because you want to you know show off your knowledge of the neutral third you do it because something rubs you the wrong. Way and you think how can I fix that? And to me, you know, it was really a matter of getting that feel just just right. You gotta get what's coming to ya and if you have it too flat, it sounds weird if you have it naturally in the major third, it sounds too. Happy somewhere in between there happens to be the right answer and I just think that's kind of fascinating. I'm gonna get what's coming.
All right, we can take a break here because we've done quite a bit of work. We have an intro. We have a verse we have a pre-course. We have a chorus. We're just going to repeat all that stuff again. Then we'll bring back in our intro again. But this time we'll have our base just plow away Italo denote instead of a higher denote and it'll do a little bit more interesting stuff with that walk down stuff. I showed you earlier.
Bringing in our second verse we pepper in a few harmonies to make things interesting and now for our second pre-chorus.
We're really going to take things into 80s Town. Bye. Like some giant woes ultra-high screams that just hurt your ears and that are drenched in Reverb.
And what I did is arrange these woes to be kind of a call-and-response thing. We have the woes and then we have our Melody and then we have our woes and then we have our Melody works out really well to keep things interesting and it's different from our first pre-chorus. So even though the chords are the same, you know, there's a little variation here. And once again, we're removing that extra measure that way it just punches us straight into our second floors.
Now the second course is a double course were basically going to instead of doing it two times. We're going to do it four times but instead of actually finishing that fourth time we're going to end things early. We don't actually get the last two measures. We just throw you straight into the guitar solo section and to really make things new and refreshing and kind of chaotic because this is where you're supposed to get what's coming to you here's where it actually comes to you and it's got to be kind of Wild I didn't want to I wanted to leave mixolydian behind we gotta we gotta lay mixolydian to rest because it's not weird enough for the chaos that's inevitably going to ensue for the person we're talking about here in the song So from D mixolydian, I ended up just moving down 1/5 to the tonality of a rock a metal a Metallica.
It's just a conglomeration of notes based around the A Minor triad. We have an a power chord, but we've got a sea of the Ade flavio's of a g a g show So it's certainly not a major and I'm hesitant to call it a minor. I just think of it as kind of an A blues feel it is related to d mixolydian as it could be like the relative Dorian you could think we changed to a Dory and all of a sudden but I'm not really thinking of it that way even though you'll hear my lead uses a lot of natural six.
So I'm just thinking of it as a blues rock thing. And the soloing that I did all is in a blues scale with a little bit of that minor. Third two major third bending. Of course, I got to do that stuff and a lot of the natural sixth as well. So I just kind of think of this as a mess of minor tonality bluesy grunge stuff and we've discussed this kind of thing before in my video on the Metallica scale. So if that concept is kind of weird to you check out my video on the Metallica scale to see what I mean about Minor in Guitar solo out of the way, we can now approach the bridge section. And for this we need the entire crowd active. There's nothing like a song that gets the entire crowd up on their feet. That's what makes hit singles. That's what makes you know, everybody enjoy the show is when they're participating in it and to have a bridge section that just encourages your fans to clap and a sing-along that's like taking candy from a baby. It's like the oldest trick in the book why not use it. I've never used that in a song before and I thought it'd be a fun opportunity to do it. So we Here is take that hook you're gonna get what's coming to ya and I sang it as many characters as I could. I had my friend sing it in their voices and I had Kerri singing a few different voices. We made this mob of vocal the angry mob coming towards you as this bridge section continues and the instrumentation here is very sparse. You can hear that the bass guitar and the drums are just hammering away on the back the the two and the four and once again, we're using that call and response to kind of vocals where the mob says their thing and then our lead vocalist says his thing and then the mob chance and then the lead vocals come in just a matter of time until you pay for your crime jail.
Look in your eyes. I can see the surprise baby.
So our energy level is down here. We used to be way up here and we've brought the energy level way down here. We're going to ramp it up a little bit just by adding in a nice Tom groove on the floor tom, which is a great suggestion by beard stay we really do to explode into this final course that's coming up and a great way to do that is to just suck all the energy Reggie out of the room here really quick before that chorus actually hits to do that. We just had the drums cut out. We have the base cut out. We have pretty much everything disappear except one little vocal tract. So all of the spotlight is on our vocals and that helps us kind of build up into the final ending as the vocals go into their fireworks and we have just guitars rocking out. We have our mob vocals. We have our guitars the Rhythm guitars. We have the accents playing pretty much everything all together at once for this Fanfare firework ending.
And there ain't no way to escape.
Now to close things out. I actually for the first time brought in a real clear reference to our dominant chord A major.
So a major isn't in the key of D mixolydian, but you know dominant chords are thing you should be thinking about I don't care where you're at. You should always be keeping in mind that hey if I go up a fifth and play a major chord or 7th chord, it's going to give me a great device to get back to where I'm at. So it doesn't matter what key you're in the dominant chord is a great tool to use. So since we've been avoiding it, you know, we've been using a minor a lot. We haven't seen a major.
Here's an instance of an Major to help us finally launch back to what's coming to you finally back to D major for our intro riff to close things out.
The only rip I haven't described here is this little thing that pops up at the end of the intro riffs here. It's this D power cord and then A/C power cord and then a g over B power chord, that's a stretched-out power cord that you might recognize from my video on power chords and then an a power cord and that a power cord could be parsed as a dominant chord, but I don't give you enough information to know if it's minor or major. That's one of the few instances where I really see it as just an A5.
This is just an a power cord. I don't want to think of it as a Or a minor because in this song we have a minors and a majors in this case. It's intentionally left neutral and your brain will fill in whatever your brain fills in there. But that's that little thing that kicks off the end of the intro and it's the very very last thing in the entire song great way to end it.
It's actually not the last thing in the song the way you're supposed to end your songs like this after about 4 seconds. You let your drummer do one of these.
So now that we figured out how all this stuff was written. Let's take a listen to what it actually sounds like as I proudly present to you. What's coming to you?
But look at you now gonna get what's coming to you.
Always come back.
Just a matter of time until you pay for your crime jail.
Look in your eyes. I can see the surprise baby build it all explodes for ya.
And there ain't no way to escape.
Now at the risk of sounding arrogant that to me is a song that if you don't even mildly like it, you have to check your pulse. It's got everything going for it to be a fun song to listen to and I wrote it with that intent. I want it to be a thing that Mom can rock out to the dad can rock out to the kids want to learn on their guitar that the entire crowd rocks out to I don't have any shame in saying hey, we're going to write this to be popular. We're going to write this to be likable.
That is a good goal. I think it's a good goal to say. Hey, I want people to like my music and I'm going to do things that are sounding like Of all I don't think it's the only reason you should be writing. I think it's a horrible misguided attempt to make that you're only thing in life is to make people like what you do, but you know, if you're trying to present your music in a way that is more palatable or that is more marketable or there's more commercially successful.
I think it's really helpful to think about like, hey, let's make this song Fun and enjoyable. I know a lot of 80's bands weren't thinking about mixolydian and neutral thirds when they were writing but you know what they were thinking about they were thinking hey this section is too long we should get to it earlier. So let's chop out. Out these four beats they were thinking things like we need to switch to a different note because man, we've been here for too long. You know, these are the concepts that we all use as good composers. I'm just trying to use the language of formal Theory to describe it but good bands do this. Even if they don't know what neutral thirds and mixolydian are there using the same concept of like does it feel good is the crowd gonna like this, you know, is it going to be enjoyable at least I think good composers, you know, at least take the listener in mind when they're creating things and this entire song is literally written as a treat. It is written as a Big apple pie that I'm baking and I want it to be as tasty and delicious to as many people as possible. It's just supposed to be Mass Appeal and I think that's a fun thing to pursue as a composer. I had a hell of a fun time making this and hopefully you had a hell of a fun time listening to it and seeing how it was all created now mad props to carry Divine. I cannot stress enough how successful this was because of his contributions collaborations work. Well when you're reinforcing the other person's weakness for me. I have a real problem coming. Up with big picture ideas. I didn't know what I wanted to write a song about. I just knew what it wanted to sound like and what it was going to feel like I had no lyrical concept at all. What I should actually do singing about and want scary game at simple suggestion of you're going to get what's coming to you. Boom. Everything came together. I met up with him for some brainstorming sessions and he and I just bounced words and Concepts ideas off of each other all lyrical things that really helped me crystallized.
What should my words be? What should my Melodies be and then once I gave him those words Actually had to sing a guide track and give him my versions of The Melodies and the lyrics which is horribly embarrassing when you're a singer like me.
I bet you think that you three and then he took that guy track and change some of the lyrics to his fitting and came back to me again, and we started kind of revising together. So it was a really good collaboration where I got to really take ownership of all of the things. I wanted to take ownership of and he got to take ownership of all the things that he excels at and that he Una to like the performance the actual singing, you know, I wasn't giving him too many production tips on. Oh, can you do this? Yeah, or can you rise up or can you do a whoa, he just knows what to do. He's a good vocalist. He didn't need me coaching him through every step of that song saying, uh, you know, should I swoop up here? How do you think this emotion sounds good? No, he's a great vocalist and he didn't need me holding his hand through all that kind of stuff. And that's what good collaborators do is they kind of work on their own thing in the presence of somebody else. It's working. Their own thing, but they're reinforcing each other's weak spots and kind of filling in those gaps. I think this is a really great example of that. So thank you to carry Divine if you think he's as impressive as I am, please check out his Rock Star Road Show and you can also see he's part of Van Halen to and Lava Rock So if you're in the Chicagoland area, you definitely want to be checking out those acts great live shows also huge. Thank you to my patreon supporters. It's been a very long time since I've gotten content out because this video has consumed so much of my time, but they are the ones who sponsor these videos because I I'm really not interested in putting ads in the middle of my videos. So thanks for watching and I hope to see you again next time.