FORGERY LEAGUE

Tuesday 8 July 2008

Making arrangements

Over the past couple of weeks J and I have spent another few days in the studio, without playing a note. Yes, it’s session-player time. In particular, we’ve now got:

• electric guitar (a Dano 12-string jangle on “Invincible” and some sweet swell-pedal action on “Still Life”) courtesy of Dominic;
• more drums and percussion by our engineer/producer Don
• violin on “To The Nines” by Andrea and more on the way for “Aphrodite”;
• crazy undersea bowed-string noises and vocalizing on “Siren” from Rami
• organ, piano and harpsichord, courtesy of Richie; and
• a suitably over-the-top trumpet section on “Mute” all played by Stefan.

Who knew just sitting and listening could be so much work? We’ve learned a lot about listening, and coming up with musical ideas on the fly, not to mention guiding other people into realizing those ideas. It’s a fun challenge, communicating musical concepts to other people through words, singing, vocal noises, and occasionally, actually writing things down.

Julian had always had a trumpet melody in mind for the bridge on “Mute”, and wanted big, bold chords for the ending. I added a harmony to the bridge, and started fleshing out the “chords” idea with a swingy rhythmic motif… and then realized I was going to have to write the thing out. I’d composed the part in Logic, and couldn’t get the program’s “Score” view to output anything that made any sense. So I summoned up every last bit of music theory I’d ever taken, and wrote the whole thing out. Took a couple of late nights, and I worried that it was illegible, but our players approved.

Here’s the bridge from the demo version, with lovely synthesized trumpets: Mute (trumpet demo, 880k)

Not everything we did could be scored, of course, but regardless, we found it really, really helps at least to have a clear idea of what you’re after before you start. When Rami came by to play, bringing with her an Iner Souster creation called “Fat Bob”, we didn’t have parts written out - Bob, having one string and no fingerboard, isn’t particularly suited to playing melodies, anyway - but I think we had a strong idea of the texture and atmosphere we were after. J quickly joined in, offering images of a ship breaking apart at sea, the creaking of the rigging, the cracking of the timbers and the crashing of the waves. I’m really looking forward to sifting through the resulting noises and building them up into a soundscape.

Lots more to go: more drums, keyboards, backing vocals, violin and percussion - not to mention mixing and mastering. But it’s all starting to come together nicely.