Meta patterns

All music patterns derive from a few "meta" patterns. The meta patterns themselves are because of a rule that multi #1 hit songwriter Steve Seskin calls the "rule of 2." Simply put, the rule states that if you do something more than 2 times it creates boredom in the listerner. It could be the "why" in the most common musical lyric forms.
A-B-A-B-C-B or Verse-Chorus-Verse-Chorus-Bridge-Chorus
A-B-A-B (solo) A-B or Verse-Chorus- Verse-Chorus-(solo)-Verse-Chorus

Understanding the why behind the patterns will allow your music to be logical but not predictable which is the end goal of any song.

Common meta melodic patterns are:

• A-B or call and response
• A-B-A-B'(C) -which is call-answer-call-a slightly different answer
• A-A-B- which is the most common blues form
• A-A-A-B- which is really a different way to express the above pattern
• A-B-B which is really a deceptive call response pattern

It is important that every pattern creates a "hole" pattern where the previous pattern breathes or rests. For example:

"Mary had a little lamb" (rest or hole)

"Little lamb" (rest or hole)

"Little lamb" (rest or hole)

"Mary had a little lamb whose fleece was white as snow"(small hole)

Each pattern creates a "figure ground" like some of the great artwork by M.C. Escher.

//to do Escher painting

Garage Band Smells

This article builds upon the concept of the three layers of a song. If you are not aware of this concept please read this article here first.

In programming, use of design patterns as best practices has led to the discovery of bad practices which are called "smells." The understanding of the three layers of a popular music song has led to a similar practice. These bad practices will be called "Garage Band Smells" because they keep the band down to a level of a garage band and not a professional one.

1. No instrument has the quant
2. No instruments play "changes" to tell the listener that a section change is imminent
3. Same instrumentation throughout
4. No silence in song
5. No counter instrumentation
6. No spectrum change
7. Break the 2 times meta rule without consequence

Layers of a song

Popular music songs, in their greatest form, has three separate layers that each function to provide the song some unique function. A song that does not include all three layers will leave the listener with a feeling that the song has a "lack of direction." First, I will state the layers and then go into the elements of each layer in particular.

1. Pulse-This layer has an instrument define the aural space into discrete rhythmic units.
2. Pattern- This hosts the melody, the harmony, and any riffs.
3. Density-This layer is a constantly changing form that helps the user to understand the logical sections of a song.

Pulse

 A requirement for a song is that one or more instruments provide the listener with the smallest meaningful unit of time. This will function like train tracks and allow the band to put on layers of harmony and melody on top. Without this foundation, the rest of the elements of the song will not sound cohesive. The commonly used instrument for this purpose is drum symbols. The drummer will keep a constant 8th note pulse on the hi-hat or ride cymbal. Other examples could be having the bass pounding out 8th notes or a guitarist picking an 8th note arpeggio.

Pattern

These are the places in the song where rhythm met pitch. The foremost pattern in any song is the melody but a melody by itself is empty. The melody in itself creates "holes" where the melody stops and allows for counter melodies or other patterned forms. Patterns in this layer include the following:

• Melody-the main theme of the song, the musical part of the lyrics, if applicable
• Counter Melody - a melody that plays when the melody is "resting"
• Riff - a melodic pattern that is not subservient to the melody of the song
• Complement - a pattern that puts emphasis on a certain section of another pattern
• Change- a pattern that tells the user that a section change is imminent
• Harmony- a pattern of notes that imply a harmony, call be arpeggio or simultaneous
• Holes- places where patterns rest. For example, the part in the melody where the singer takes a breath.

Density

This layer is constantly changing and helps the user understand the sectional nature of the piece. The different densities allow the band to puts the ideas in their proper context. The densities are:

1. Harmonic- the thickness of the chords being played or how many notes are actualized vs. implied
2. Note how many instruments are playing a given note
3. Attack-how fast the notes are being played. For example, 8th notes vs half notes
4. Instrument-how many instruments are being played
5. Spectrum-how much of the aural landscape is being used. For example, you might be using bass tones or treble tones or both.
6. Aural-whether or not the aural space is being covered. For example, a staccato eight note melody would not cover as much as a legato half note melody
7. Timbre-the types of tones being used

The use and understanding of these layers will be the difference between a garage band and a professional group.