Rosy (Anatomy of A Song)

"A funny thing happened on the way to the circus." Everybody's got a system, everyone's got a plan. But, CREATE - ivity is full of surprises. It's a habit. We tend to venture in predetermined patterns and likely directions. We're programmed by rules and beliefs, with teachings like: "In order to reach your destination in a timely manner, effectively and efficiently. You gotta have a plan." I guess it would be like booking your flight in advance, before going to the airport, rather than just showing up and scrambling to get a last minute plane ticket. You kinda want the odds to be in your favour, right? Yes as far as productivity goes, it's probably wise to stick to the script, "never get out of the boat"... But have you ever had a crazy idea, that works? Something that's disrupts your present direction and optimal course of action, but in a good way? Say you've already committed and embarked on adventure, if you're truly a progressive person, eventually you'll arrive at the crossroads. What if you get a bold new idea? a radical plan? right then and there? mid - process? Do you break with tradition and resist the urge to stick with the tried and true? Do you Rebel? Do you Up Your Game? It's called Innovation! the bastard child of Imagination - that's the Wild Card baby. Hmmm... This Story is about how in music, art, or just about anything creative: one must be flexible, ever evolving, open to change. For instance: in order to write and or record a new song, at certain key points final decisions must be made, in order to accomplish anything. At the same time, if and when from out of nowhere a novel idea arrives, the artist eventually learns that in order to grow or progess in any meaningful way, or to simply just not get bored, one must dare to improvise, freestyle, be ready for a change of plans... Ok, let's try this another way... You got some ideas, or while jamming, come up with some cool killer riffs. Captivating rhythmic patterns, catchy hooks or melodic phrases, emotional and stirring harmonic movements. You know? the Main Ingredients. Usually I'll play, record, or sequence keyboard patterns first, or lay down the drum machine patterns on pads. Synch the synthesizer and the drum machine together, and then dump all the data into a computer program, etc... And so in order to get anything accomplished choices must be made, final decisions determined, vision set into stone. Alright Alright Alright! Now we got something that works, the parts compliment and support each other. I'm Hyped. But regardless of all the work you may have done in advance, despite all the planning and pre planning, it's not about you. At this stage of the game, by this phase you should be totally in synch, completely at one with the music. Even though in a real sense you may be unconscious of methods, techniques, or styles, after you have passed a certain point or reached a certain level, it talks to you, the spirit moves you. You're in tune with or connected to the essence of the entity you're creating and or working with, it's a living thing, and so far you've learned to trust this process. From now on, the music tells you what to do. You're in the zone now, you're on a roll, you can do no wrong... The point I'm trying to make is this: In order to be a game changer, one must make allowance for, leave room and make space for those random accidents, the things we can't control, the things that go wrong...

 One day many years ago, I decided to learn the Flash Gordon theme, by Queen, on piano. 

The song is epic, there's a certain majestic power in the music. It's all very dramatic but there was this one part I just had to learn, a small segment I was really feeling. It was during the slow ballad part, when Mercury sings: 

"No one but the pure in heart, can FIND THE GOLDEN GRAIL, Oh Flash, oh oh..."

It's a 4 Bar Pattern = 1 2 3 4, 1 2 3 4, (repeat & fade), (1) F Major (2), (3) C Major (4), (1) F Major (2) F# Minor 7 Flat 5, (3) G 11 (4). The chords were F Major to C Major with the 3rd (E) in the bass.

(F Major) "No one but the", (E /C major) "pure in heart."  Is a descending, chromatic bass line.

But "Find The Golden Grail", was the part that really grabbed me. It was triumphant, uplifting.

" FIND THE GOLDEN GRAIL" was F Major to F# / A Minor (F# Minor 7, Flat 5), to G / F Major (G 11). 

It's an ascending chromatic bass line, very powerful.

(I'ave recently discovered that the F# Minor 7 Flat 5 chord is actually a D 9 chord without the D root, which only goes to show you don't have to know what you're doing, to Just Do It.  

Anyway, this bluesy / gospel chord progression would serve as my foundation. Play the 4 Bar Pattern, layering a smooth distant strings pad mixed beneath classic electric piano, laying down that soulful sound over a funky beat. From there you embelish, add counterparts, combining groovy vibes until it feels good. You listen to the music over and over, picking the best parts, the most hypnotic riffs, the slickest hooks, the magic moments where holy accidents occur. I was launched, I was on my way, but I had no chorus? Funny thing, after I learned this chord progression, I stopped trying to learn the rest of the Flash Gordon Theme song.

Time would pass, I can't remember, it could be months, it could be years, sometimes it's just a blur...

One day while learning some Guns n Roses, probably from Guitar Player magazine or some other zine that transcribes or lifted guitar parts.  

I found four classic rock chords: G Major to D Major, F Major to C Major. That's all I needed. I was inspired and would figure out the rest. The Hook I composed for the Chorus piano theme has a very strong classical influence / feel, but what's even more important is that it's melodic, it's natural, it sings.

Usually the drums came first, but this time it was created last.

The beat should be the foundation, everything else is always built on top.

/p>

I was in the studio now, putting it down, layering tracks. 

Things was moving, the song would be ready soon.

In the studio, you can add parts forever, and layer unto infinity. 

But one too many parts and the mood is ruined, the song gets muddy and or too heavy.

Space was and is indeed the most crucial factor.

One day the voice in my head said, "turn off the drums and listen." Check to see if everything works ok, if the seperate parts can stand on their own, or compliment each other.

  It was orchestral, like a symphony.

It was something new. Unlike anything I'ave ever done before or since.

I grabbed my favourite axe motivated to flip everything upside down. Instead of piano, rhythm and blues guitar would be the new new. Rearranging this song lead to a major breakthrough, I consider the resuts a masterpiece. It changed my way of thinking. Where I started off going towards, and where I actually ended up are world's apart, yet it works perfectly?

The concept of no drums was the last thing I expected, previously the drums and bass was my comfort zone. By going against the grain I was forced to innovate, creating a new style I hope to further explore...

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