Looking to interview intermediate guitarists that improvise/compose hmu on insta!

Sa.

Vampire killer. I don't know what that means. It's real to me. It makes me act in a certain way. You play the. The Exorcist theme song. The Exorcist theme song. If I heard it, maybe it's not. It's not like familiar enough for me to. To like play it. Play it off top. But I probably. I probably could if I heard it.

Sam.

Mustache had to go for the time. I mean, it could. It could come back. But I don't know. I haven't really thought about it. I don't think my. My lady likes.

Sa. Sam.

That's funny, dude. Oh yeah. I mean, I thought about releasing. I. I do got to get it in the stew, but you know, man, I actually. I met with an engineer the other day and he. He said that he liked the song previously. And I think that we're going to work on it together. What am I feeling? I'm not. I'm feeling. I'm feeling something like kind of tranquil. Feeling peaceful. I have a song for that. I have a song. I have a peace song. I think it's in the cutie flat.

Sa. Sa. Sam.

Evil wins once again. Yeah, let's play it. I've never actually played it on piano, so I'm just kind of like remembering how it sounds. Yeah, dude. No, I wanna. I wanna. I think it's a powerful song, actually. Thank you for the encouragement. You know, sometimes when you write stuff like that, you're not always so sure of like it's. It's worth in a way. So I appreciate that, you know, your kind words about it. You know, it's funny, I actually. I have a lot of songs written, but I like, like almost never play any of them on the piano. I should learn my own songs on the keys just because so many.

So many of them I wrote on guitar.

Your next song, the melody comes first on the guitar or do you. Or you write the lyrics on first and it's really first almost never. Are my songs lyrics first? I've been actually trying to experiment with that. Historically. I usually start with chords and then I lay a foundation and then I usually like, like sing on top of that. But more recently I've been trying to start with melody first. I think there's a really powerful thing about starting with the melody first is that like, you know, the melody really is the heart of the song. Without a melody, you don't really have a song. And after to put lyrics to it, oftentimes I'll write them at the same time. Some melody and lyrics together. But sometimes, I mean, it's really dependent. Just like when I. When I sit down to write with it again, you know, if I have something unfinished and I sit down, it's like, okay, like I need to write something. I need to have a chorus for this somehow. Then, you know, I can, I can just do it in that session.

Sam.

And for melody, you start off with the chorus. You just make the full song off the chord progression. When singing of the May, usually I write an order. So I'll start with the verse and then find a pre chorus and then find a chorus. I think, actually I would like to experiment more with trying to find the chorus, because finding the chorus for a song is unfortunately, usually thought one of the harder parts of the process for me versus, I feel like I can do pre choruses, you know, I feel pretty solid on. But the choruses, I have a little bit of trouble. I think it's, you know, symbols. That's the part where I want everybody to sing along. Playing song is good. Why am I. Why am I getting tripped out by this? It's e minor to a 7, Like, messing me up. Oh, wait, no, no, no, I'm good. I'm good. I'm just. I'm just tripping. When cooking a melody, how do you go about creating a bridge to the chord progression? Do you make it almost automatically after you've cooked up a melody or after a while and feel like it's short? Like, like, do I hear the chords underneath the melody, like, as I'm singing it? I'd say most of the time, yeah. There's multiple options, but, you know, if I'm thinking of. So I'm hearing it, But I'm kind of. I'm kind of hearing it in real time. Like, there. There could be a couple of different options to choose, but at. At a certain point, you just need to make some choices. And I've also, you know, as you start to just play more, certain patterns get into your playing. Like, you'll tend to go to certain places more than others, and that's kind of your. How you develop your style. Yeah. But once again, I don't run into that problem that much because I usually don't go melody first, but I'm trying to do more of it. I think it gives you just. Just a pure, Like a peace song.

Sam.

I see. I can make my own chord progression so far, but I'm having trouble finding the correct chords for a bridge. Oh. So the thing about two things. One, there's really no reason to be afraid of music theory. I think it really has a bad rap. To me, music theory is just like the system that you use to understand the language of music. And so does it magically come. I mean, kind of. Not really. I mean, you have to study certain things that. To me, a bridge is just defined as a. A part of the song that is, like, markedly different than the other, than the other, than another part of the song. Almost always I found that bridge. Not always, but often the bridge will have a change in chords. If the whole song was one set of chords, the bridge is now a new set of chords. Occasionally there's times where it's the same progression throughout the bridge. Basically only happens once, though. And so it's really hard to write a bridge if you have no idea what key you're in. So, like, you know, if I'm writing a song and say the first part of my song, it goes like this.

This.

So it goes. My. My chords are the one. I'm in C major. It's my one chord and my two chord. And this is. This is my. This is my. My. My verse. Repeat. You know, See, maybe I'll even sing a. You know, something like that. Okay, but now we're gonna go to the bridge, which is like, now the chords have to change. We have to just do something different. So I know that I'm on one to two right now. Well, maybe my bridge could then go to the three and the four chords. So it'd be like.

The purpose of.

Bridge is to eventually take you back. Home. I mean, there. I kind of went to the chorus where I also changed the chords. But basically, the key to writing a bridge is you have to know what key you're in. If you don't know a key you're in, then you. It's gonna. You're not. It's gonna be very difficult to write a bridge that makes sense. So when I say know a key you're in, it's like, the more important part is know where your chord lie in the tonal octave. It's like, okay, I'm playing a major seven chord, and then a minor seven chord. It's like, no. Where are those chords situated within the scale? Are you playing two to three? Are you playing three to four? And then from there. From there, you can make educated choices as to where you want to take it, because you're seeing the map as a whole.

Sam.

You know, man, honestly, the music theory thing, I really don't think it's probably as bad as you're thinking, like, it really can be extremely simple. It's just about looking at the material in the right way. And when I say the right way, I just mean, like, from, you know, taking it seriously, but, like from a place of play, you know, exploring it, not just acting like it's a piece of homework. It has to apply to what you're working on. On. It has to apply to what you're doing. It's. You can't just, like, you know, read about it. It's all about testing yourself. My pleasure, man. You stay safe too. Thirsty. I need some water. I need some water. You're gonna come up and get. Water.

It, Sam. For good old people. Ram. See you. No, not at all. I think I got it. I. Sa.

I think that's about it. Thank you.