Simple Complex Simple

Arranging music is a delight. Recently I’ve been working with lyricists in my local area putting music to their lyrics and/or their melodies. There are many approaches because each artist and arrangement is unique in itself. I’ve been working on solos, duets, acoustic, choir and jazz songs. Each song has it’s own signature to it…(sorry there are no original samples for you to hear as they are not released yet but will be in the near future J).

Music arranging is a subjective matter, so it will be pleasing to some hearers and possibly unpleasant to others. The thing is to capture and solidify the best moments whilst organising the parts. As I read the lyrics I try and envisage the essence/mood/feel of the song; that helps me come up with a melody or some kind of rhythm, or even a flow for the song. I generally would hum, la or even sing a tune using the lyrics. Another way I might work is play the piano to the lyrics and work out a melody that way or program a beat if that is what is required. If I’m given a melodic idea I listen to it over and over so that I can sing it while I form the harmonic or rhythmic arrangement. By then I can hear if the idea works; I may even alter the melody or lyric if need be just so that the song works for the vocalist as well as the instrument/s.

I do like to put my stamp on the arrangement I am working on but it is not necessary for me to do that if it is uncalled for. I do not want to change the given melody or lyrics if it does not need changing. The fact that I am arranging it will reflect a part of my musical vocabulary. I desire every musical arrangement to be the best it can be, so I tend to build the instrumentation and just use various sounds for colour or effect.

• John
• Tim
• Navin

“Nothing will work unless you do” 

Maya Angelou quote.

This is to composers, writers, lyricists and music producers who are doing too much thinking, contemplating, dreaming, over planning, and yes, too much talking. I realised this when I completed a musical project around 6 to 9 months later than I should of. The joy of completing a project brings a lot of pleasure and fulfilment, especially when it’s appreciated.

Remember, there’s no one to blame but you. Another thing we have to overcome is our ego. It can be detrimental to our present and future environment, aspirations, relationships and even the next generation (of people). Be emphatic from within and share what you have willfully with the intention to help and enhance someone else. After all, we need somebody to give us a helping hand every now and then.

Part 2. “Nothing will work unless you do.” If we don’t use what we got, how do we expect to progress? The days of blaming others for our lack are long gone because we live in an age now where responsibility, ownership and accountability is key to a fulfilled life.

Those of us who are old enough to be called adults, (I suppose children too :-) have made choices… some good and some not so good. When we choose not to work (in any instance) i.e. getting out of bed with purpose in mind to go to work, cleaning the house, yard or garage, composing, writing, editing, mixing/mastering, reading, exercising, cooking etc., then we fail to accomplish our assignment for that time. What we don’t do affects someone or something; the bigger picture so to speak – cause and effect.

Work with what you got with the intention of doing your best, in order to move to the next assignment. Life is about progression; nothing will work unless we do.

One of the situations you don't want to find yourself in is 'stuck for ideas, stuck for inspiration, stuck to compose or arrange something fresh, just stuck'.

What to do or when to do something can be tricky, musically speaking of course, when you're faced with these kind of dilemmas.

I'm coming from a composers point of view looking for a fresh sound, a new composition, not something that's been heard on tv, on the radio or whilst walking through the shopping centre. It's good to imitate and remix, reproduce even, but there are times when originality is called for.  

I'm not having a pop at anybody or company I simply want to encourage composers, arrangers, creative musicians/artists to do something different, something that shows depth, a little thought, a bit of time spent planning your new work.

There are many aspects to be covered here such as commissioned or hired to compose/arrange a piece or pieces, for a concert, recording or event, or even your own work. The latter is where I'm coming from. There are many that like to hear what they've been hearing over and over again and there are also many that like to hear something different, fresh, original once in a while; keep your mind open. Jot down, document, hum, play your ideas into a recording device and save it. Even write a note explaining the time & reason for your new motivic idea. It's a resource you can draw on in the future, especially if you get to a point where you might get stuck.

Pull yourself out of a 'writers block mentality' when you think you've run out of ideas…the great ideas you've had and are having are always their, you just need to tap into that source through thinking, if not, draw on your documented resources.

All the late nights, early mornings and research were well worth it when one attendee said, ‘’I was about to give up my second instrument, (the keyboards), but I thought I’d give it one more try by going to Peter Daley’s Masterclass. It was one of the best things I did this year because I was blown away by Peter’s ‘out of the box’ teaching”!

For me, hearing those comments confirmed the masterclass. It shows what I am doing; compiling musical training for serious musicians is providing results to needs out there. I have no idea who will sign up and attend my master classes; it’s like doing a session with unknown but reputable musicians for the first time. There is always excitement on my part preparing lessons. I like to give an alternative and not just stay within the confines of the status quo… whatever that is. Academia is great but if you don’t mix it with real life application and/or experience then it’ll be like giving a 7-month-old Groves Dictionary to read.

The day started out great, as setting up went smooth. The attendees helped me organize their seating area and we were good to go. I looked at music(ality) from plainchant right up to today, playing examples that challenged the musical minds that were there. The attendees showed discipline by being attentive to what was been taught even though some extracts might have been, ‘ok let’s get to the good part’; I was impressed because it was something I did at university. A good thing I found was relating knowledge that was probably not prevalent in the attendee’s musical vocabulary but they seemed to embrace it.

The masterclass was practical, almost tucking straight into the main course with a not so long appetizer. I wasn’t able to cover everything in the 50+ page manual I prepared, with references and examples because there was a need that I had to attend to. Being as the class was small I was able to personalize and home in on the demand right there and then – it benefited the others too. The attendees left with improved musical listening skills, they understood what they were playing a lot clearer and was able to apply some of what they learnt there and then in the masterclass.

Lunch was great at the masterclass. I must say we were blessed with Yaw Asiyama’s chicken curry with white rice and butter beans in a mango sauce. It was very tasty and lunch went from half hour to almost an hour because we had seconds, all of us J. Not to worry we made up the time and finished on time.

Sharing musical knowledge is something I like to do, that can even be chilling out with muso’s listening to a track or two and discussing the instrumentation, sounds, vocalist execution, the runs or licks, the harmony, what makes us go ‘ooh’ with love and ‘argh’ for distaste. Music is a vast subject and sharing knowledge by breaking it down can help the deliverer as well as the receiver. Stick in there with your composing, song writing, playing, singing, musicianship, whatever it may be that drives you or makes you think about music because you might just save, encourage or enhance someone’s career. Look out for another masterclass in 2011.

See ya, pd

Something Inside So Strong – Vocal Arrangement

It was my honour to have recently been commissioned by Black Voices to arrange an a cappella vocal arrangement of ‘Something Inside So Strong’. This was the song they started with and now commemorates their 21^st year in the music business. 

This video is Peter's arrangement of 'Something Inside So Strong'.