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Great Songs With One Chord

November 9, 2010
by The Brehms Blogger

So you want to write a song with only one or two chords?  Is it possible?  The answer is definitely “Yes “- but it is not so easy as you might think.  You might think it would be easier to have fewer chords to deal with in a song, but therein lies the challenge.  The one-or two-chord song always runs the risk of harmonic monotony.  The ear of John Q. Public quickly grows weary of static material unless the song has a theme that mirrors such an impression, and then it might work.  The Beatles’ ‘Tomorrow Never Knows’ is essentially a one-chord song that wants you to experience psychedelic timelessness.  By Comparison, Sade’s “Paradise” is a two-chord song that works because of the hypnotic beat and sensual emotions evoked by the lyric.  The success of one- and two-chord songs depends a good deal on how they are performed, arranged, and recorded.

You are a musician, and you know chords in a song support and colour the melody (and the lyrics).  You also know when you play chords on various instruments, you generate harmony.  So now is a good time to decide what kind of song you want to write.  This may seem like a strange question to ask, but after all you are the songwriter, do you have a good idea of what kind of song you want to write?  Here are a few more questions, are you writing to please yourself, your band, or possibly your record label?  Unless your name is The Edge or Bono, you might take a moment to figure out answers to these questions and how they will affect the song about to be written.

I will expound on some tricks I know per the one- or two-chord song in the next installment.  Have your answers ready so we can get right to work.  As always you can contact me at:

-The Brehms Blogger
staffwriter@bluelogicentertainment.com

: Technique
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Lend Me Your Ears

October 28, 2010
by The Brehms Blogger

Van Gogh is famous for at least one of them.  Shakespeare wrote asking to borrow them.  A lot of musicians will tell you it is the most important piece of equipment they carry.

For most of us, our ears come with a lifetime contract, but becoming a professional musician means at some point you must focus on ear training.

University of North Texas Jazz educator Dan Haerle often said, “In order to judge relative pitch (and eventually perfect pitch) you must train your ear to learn and recognize different intervals and harmony.”

Dan would further say that, “difficult as it seems, even small amounts of time spent on ear training will prove beneficial.  No matter your instrument, you will be able to learn songs, write songs, and eventually transcribe songs, increasing (the) opportunity for a more profitable future.”

To further Dan’s point, and as a serious modern day musician, you might consider the following exercise of interval recognition:  Compile a list of all the interval names from Minor 2nd all the way to an octave.  Then look up examples of those intervals in popular pieces of music.  For example the Minor 2nd interval is the same as the famous theme from the film Jaws.  Now randomly choose different intervals and sing or hum the two notes that make up the interval.  This will train your ear to recognize the interval.

Chord recognition is another great exercise.  Once again, write out various chords you’d like to recognize.  For example Major, Minor, 7th and sus4 chords.  Then play them in random order.  Can you tell how they sound differently?  When listening to some of your favorite music, see if you can recognize any of the chords being used.

If you want to make the most of these exercises then record yourself playing random intervals and chords.  Write down the correct pitch for each.  Challenge yourself to an ear test.  You might also schedule regular practices with a friend so you can challenge each other.

If you are interested in learning more about ear training and would like to see a list of recommended software packages please contact me at Blue Logic Entertainment.

-The Brehms Blogger
staffwriter@bluelogicentertainment.com

: health, Inspiration, Technique
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Songwriting

October 20, 2010
by The Brehms Blogger

Experimental songwriter David Brehm -  husband & co-writer to the effervescent Stephanie Young Brehm - is ambitious to say the least.  The new album only just arrived last month yet The Brehms are fast at work writing songs for their next album.  “Stephanie and I plan to record an album a year for the next ten years,” says the mercurial guitarist.  “We believe we can achieve this goal provided we stay focused on what’s important.  The music.”

The Brehms self-titled debut features an array of sounds you haven’t heard in some time, if ever.

For an interestingly catchy “surfer-rock” song (featuring some wild Moog soloing) take your iPod to the beach and crank up  “Let It Go.” The track is built to make you move:  earthy, riff based, with impressive snare work by session ace (and Johnny Reno rhythmist) Alan Pollard, an instant all-American crowd pleaser.

Centered around Stephanie Brehm’s evocative vocals, the album as a whole gracefully moves from classy bossa nova numbers like “Cool You Down,” to the sexy groove based “Lover Come Down,” to the startlingly epic “She’s Not Asking.”

This a fantastic, unexpected, and spirit filled debut that showcases The Brehms unique songwriting talent and should appeal to Indie fans and contemporary jazz listeners alike.

- The Brehms Blogger
staffwriter@bluelogicentertainment.com

: Technique
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Renown Team Colaborates

October 18, 2010
by The Brehms Blogger

Renowned educator and mastering engineer David Rosenblad recently wrapped on the latest sonic collective by jazz-pop songwriting duo The Brehms – the latest full-length album featuring the singles, “Red Dress” & “You & Me” - crafted in 4 days at David’s DRM studios in Dallas, Texas.  “Red Dress” – a sultry, slinky jam with a swinging Julie London style vibe – required Rosenblad to be careful in how he left his mark.
“The Brehms like their mixes a lot and wanted it hot.” Offers Rosenblad of his primary directive from the self-producing artists and producers, David & Stephanie Brehm.  “Having worked with David & Stephanie on film scores such as “A Noble Way,” I knew how important music is to them.  We discussed what I believed to be the appropriate enhancements and worked our way toward their ultimate mastering goal.”
The subdued frequencies on the top end of the track could have led some mastering engineers down the wrong path.  “Upon first hearing it, my first impulse was to lift the highs and brighten a bit,” explains Rosenblad.  “In the end it turned that the correct approach was in direct service of the vocal.”
For limiting, Rosenblad looked at his arsenal of compression tools and picked what he knew would be best for the job…but he likes to keep trade secrets just what they are, secrets.  “There are many look-ahead limiters,” he explains.  “They all sound different and they are all not created equal.”  These various compressors are properly instigated with only certain types of songs.  That is the biggest secret to mastering: knowing and understanding the sound of each tool in the box.  You hear what you need and apply it appropriately…mastering isn’t just making it loud.  It is finding that sweet spot between ‘competitively loud’ and the most crafty and satisfactory result for the client.  In this case, the artists were very clear per their material, particularly the songs “Red Dress,” “No Turning Back,” and “You & Me.”

- The Brehms Blogger
staffwriter@bluelogicentertainment.com

: Gear, Inspiration, Technique
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Music With A Purpose

October 15, 2010
by The Brehms Blogger

It’s mid-October, the location is AMS Pictures and the The Brehms just walked in and started conversing with Cliff, the AMS sound technician.

This American Diabetes Association event is being held in a classy, converted studio space typically used for Television and Film.  Stephanie moves quickly across the aisles in her pretty blue dress, set list in hand, hunting for the lighting technician.  All at once she pauses, looks back towards David and smiles while he sound checks with an original instrumental song.  Judging by her reaction there may be bigger plans for this song in the near future.

With a positive outlook and a shared heart for charity, The Brehms are visibly thrilled to be the featured act at this event.  “We love the atmosphere at charity events, visitors from all walks of life come together for an inspired purpose,” says David Brehm.  “As soon as we know our availability we immediately respond to humanitarian causes, but this particular event is especially important to us as we both have family members who struggle with Diabetes.”

”I was so excited this event was going to happen,” says Stephanie Brehm.  “So many people coming together with giving on their mind.  It is inspiring.”

It is 7 o’ clock, the crowd has arrived and The Brehms are moving into position for their first set.  David strums a saucy little arpeggiated intro and Stephanie steps up to the microphone.  A beautiful acoustic rendition of their original tune “Red Dress” comes to life.  This is music with a purpose.

Gear Head note:   The Brehms as a pair do share and affinity for stripped-down rigs – David plugs both his Martin guitar and his Nylon Stringed Godin through a Boss Loop Station, then he and Stephanie both plug into a Bose L1.  That signal is directed into a Mackie board where it is run out through two JBL main speakers, then the stereo signal is sent to the studio’s overheard PA.

- The Brehms Blogger
staffwriter@bluelogicentertainment.com

: Gear, health, Inspiration
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Inspiration

October 13, 2010
by The Brehms Blogger

Sitting in a classroom at the University of North Texas, freshman David Brehm was suffering the scorn of his music teacher and fellow students for mentioning Carlos Santana among his favorite jazz influences.  Brehm, who at that time was barely aware of the rules of music much less jazz, was not one to take such a rebuke sitting down.  He told the class:  “Have you ever heard Samba Pa Ti, or Europa?”  Pulling forth his guitar, Brehm proceeded to play his own acoustic arrangement of Santana’s legendary ballad “Europa.” As the story goes, when Brehm finished playing the class burst into applause.

So much for the rules.  David (and wife Stephanie) Brehm make their own music.  But they do it with a benevolence that is seldom seen in the world today.  During a recent interview, Stephanie got a phone call from the promoters of “Jazz by the Boulevard,” inviting the band to perform at the Fort Worth Jazz festival alongside Stanley Clarke and Trombone Shorty.  Stephanie returned from the call gushing like a schoolgirl who’d just gotten an A.

Barely married a year, The Brehms wrote and produced their first album, released earlier this summer.  The first single “Red Dress” went on to become a finalist in the International Songwriting Competition. Next came a television performance on the “Good Morning Texas” show. Spurred by the confidence gained in these early victories, The Brehms have learned to believe in themselves yet still maintain the awe for all their fellow musicians.  And maybe that is the secret ingredient.

- The Brehms Blogger
staffwriter@bluelogicentertainment.com

: Inspiration
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