Composition - Repetition and Patterns

I remember years ago reading an article with Johnny Marr from "The Smiths" in a guitar magazine. The quote that always stuck with me was "...paint with a feather...". At the time he was describing how to be a guitar "anti-hero", which back in the 80s was a novel idea.

Fingerstyle guitarists often play unaccompanied and without many effects and gadgets. It's a bit like you're a lead-guitarist being granted a 45 minute guitar solo. That's a lot of license, and is really quite generous when you think about it. So I like this quote, as it reminds me to spare a thought for whoever decides to have a listen.

With this in mind, I always try to make sure a song has a beginning, middle and an end. Not always so literally, but at least to make sure that repetition has some purpose. Repetition is one of the most prominent features of folk music which depends heavily on it. While it's nice to include variations between repeated parts, there is no rule that says you have to. Too many variations can lead you down the wandering path where the ideas just blur into nothing. A typical song pattern might be ABABC. If A and B are distinct enough, there is less need to vary them the second time around. Particularly if the C part gives the song a sense of closure.

A song pattern I really like is ABAB-CDCD. The change from B to C usually comes with a timing change, something like 6:8 to 4:4. Or perhaps a subtle key change. Changing from D major to D minor isn't very subtle, take care with that one. Try fiddling about with the the 6th and 7th in the scale. For example a DADGAD tune might start in D major, then a key change to G major can be done subtly, as this is only changing one note in the scale (the C# becomes C). Minor scales also have interesting key changes based around the 6th in the scale.

This kind of song pattern can be varied, for example ABCABC-DEFDEF and so on. Occasionally a song lends itself to a string of connecting parts, one leading to the next with little repetition. These are my favorite tunes, and are quite difficult to pull off. Some reference back to the central theme can work very well in these tunes. The best example I know is Western by Alex De Grassi. The tune has a stunning central theme, which is never far away. Meanwhile the song explores an unusual tuning in intricate detail from part to part. But these parts never wander about aimlessly, using enough repetition to be familiar.

Another favorite song of mine is The Bricklayer's Beautiful Daughter by Will Ackerman. In contrast, the repetition in this tune is very clear. But why vary anything when the parts are so completely formed ? I love the way these two songs are completely different in their approach, and yet evoke such a similar response.

Most of the music that interests me is heavily based around melody. Without a strong melody, solo guitar to me runs a risk of just being "guitary" sound. Cool riffs are great to a point, but just bouncing them around can be a bit aimless. It is interesting to find great songs that are based around riffs that are more about leaving an impression than a particular melody for the listener. One such example is "Aerial Boundaries" by Michael Hedges. There is plenty of melody, but it's secondary to the driving rhythm in the repeated riffs. The melody is just a vague impression that emerges from the complex chords and bass notes. The fact that the song is unplayable says something about how difficult this is to achieve.

Try recording a new song and writing down why the song was organized in this way. Then listen back to it 30 times each day for a week and see what has become really annoying to you. Is some part a bit showy ? Or does it seem to stop the song dead, or maybe it just goes too long. Keep re-recording until it settles. It's a great way to watch how something changes over time and starts to make more sense.

Links to my favorite 5 guitar songs are up on the left of this page, take a listen !

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