How To Compose Music For Children – Part 2: Lennon, Presley, and Beethoven

One of the most effective devices, and for children, one of the most important, is repetition. Did you write a first line you like? Why not repeat it? Let’s look at John Lennon’s “Imagine.”

“Imagine there’s no heaven.” These seven notes – or slight variations – are repeated three times; we hear the opening idea four times, a perfect example of repetition. This is the central musical idea of the song. These notes together are called a motif – pronounced moTEEF. Here are the first four lines of Elvis Presley’s “Hound Dog:”

“You ain’t nothin’ but a hound dog
Cryin’ all the time
You ain’t nothin but a hound dog
Cryin’ all the time.”

Note that the first line of words and music is immediately repeated. Presley, who never studied music formally, instinctively knew the value of repetition.

Another technique, very similar to repetition, is sequence. A sequence occurs when a musical idea is repeated at a different pitch. One of the most famous and effective uses of sequence comes at the start of Beethoven’s Fifth Symphony. Go to YouTube and listen to the first minute of it. (Of course you might want to listen to much more; this is one of the great works of classical music). The first 43 seconds of this masterpiece are made up of repetitions or sequences of the first four notes:

G-G-G-Eb. By the time you have heard the first 43 seconds this motif will stick in your mind forever.

It is clear that Beethoven, Presley, and Lennon had a lot in common!

Do you play piano or guitar? It’s easy to play the first four notes of of this piece. The Gs are located four white notes above middle C. Listen to the first ten seconds of the piece on YouTube. Sing the first four notes. On your instrument, when you get to the fourth note, play a Cminor chord. You have just played the central motif of Beethoven’s Fifth Symphony.

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Free to Be – Part 2: We Move Forward

I went to Marlo’s apartment for a meeting attended by some of the best writers and playwrights in the business. We all introduced ourselves and I felt somewhat awed by the company I was in. Marlo and Carole spoke about the themes that would underlie all the material on the album. We started brainstorming and ideas flew around the room, one triggering another. The enthusiasm and excitement were palpable. Eventually the meeting ended and most of the participants expressed their interest in being part of this endeavor. A few weeks later I met with Carole and Marlo. They had decided that they want a title song for the album. It would say what the record is about and the music would be cheerful and memorable. Carole suggested that I compose the music and that Bruce write the lyrics and Marlo agreed. Bruce had written the lyrics for the Sesame Street opening song and I looked forward to seeing what he came up with. In a couple of days he phoned and asked if I like the title “Free To Be…You And Me,” and I said “it’s great, charge ahead.” He completed the lyrics quickly and I was eager to get started on the music. As sometimes happens, I got an idea right away and completed the song in one day. Before I decided it was among my best work, I recorded it and listened to it the next morning. As I had hoped, I was very happy with it. I thought people would like it and be able to sing it after hearing it once or twice.

I called Bruce and said I have something I like. I didn’t say I have something that’s perfect. I don’t like to create high expectations when I play and sing a new song for a collaborator. I’d rather let them decide if it’s perfect rather than telling them. Bruce said come on over. He and Carole lived about a block away and I was there in ten minutes. I went to their piano and played and sang “Free to Be….You And Me.” They loved it. Carole asked me to play it again. She phoned Marlo and we set up a meeting for me to play it for her. She loved it too so I was home free.

We talked about who would sing the song. I had had The New Seekers in mind when I composed it. The lead singer, Eve Graham, had a perfect voice for the song, a gentle mid-range sound with an occasional touch of brass. The other singers were a perfect complement for it. I knew their sound because a jingle they sang, “I’d like To Buy The World a Coke,” had gotten a great deal of airplay. They soon recorded a new version of it called “I’d Like To Teach The World To Sing,” which was a big hit for them. I spoke to Ms. Graham and set a key for our song and thought about the next step.

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Free to Be – Part 1: I Meet Marlo

The late lyricist Bruce Hart and I had written many songs together and were experiencing the satisfaction and excitement of hearing some of them broadcast on major radio stations. Bruce was married to writer-producer Carole Hart and they worked together on many television projects. They were members of the original writing staff for Sesame Street. In 1971 Carole received a call from Scott Shukat, who was the Harts’ agent and mine. Scott told her Marlo Thomas was looking for a producer to work with her on a record for children that would be about gender stereotypes, the joy of having friends, and the importance of feeling and expressing emotions. They met, discussed the idea, and decided to proceed. They determined that the record would contain original songs, sketches, and stories and feature well known performers. They knew they needed a Music Director and Carole suggested me. Marlo and Carole and I got together and I found Marlo to be smart, funny, and very enthusiastic about her idea. She asked me to meet her vocal coach, Colin Romoff, who knew her singing range and had worked with her extensively developing her voice to its full potential. Colin had to approve of me and after our meeting, he did, and so I was onboard.

 

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How To Compose Music For Children – Part 1: Introduction

red-riding-hoodThis blog will help beginning songwriters and those more experienced to develop the tools they need to produce satisfying work. You may be composing songs and feel that there is something missing. Pehaps you have an idea for the beginning and then don’t know how to develop it. The techniques and devices found here will help you when inspiration strikes and then strikes out. Over a period of hundreds of years, certain general observations have been made about what makes the most lasting music. These observations led to the development of what we call “music theory.” I know this sounds very academic, something that is taught in music conservatories. Of course it is taught to music students but with a much more in-depth approach. What you can learn here is some basic solutions to everyday problems that work for composers at all skill levels.

How many times have you heard a song online or on television and said “I can do better than that”? Well, the truth is, very often you can. If you write poems or lyrics you may often have a musical idea in your head but don’t know how to take it further. Suppose you have no musical training. Would you be surprised to learn that many succesful songwriters cannot read a note of music. One was Irving Berlin who wrote one hit after another. And there are countless others like him.

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Free To Be…You And Me, Making The Music For A Classic

free-to-beLGWhat do Marlo Thomas, Diana Ross, Michael Jackson, Roberta Flack, Dionne Warwick, Mel Brooks, Rosey Grier, and Harry Belafonte have in common? They all performed on the million selling record and/or Emmy winning special, “Free To Be…You And Me.” I was the Music Director and composed the title song and four others for the landmark project and I am going to tell you, from the beginning, how we created the music.

Continue on to PART 1 – I MEET MARLO

Or view the table of contents for the series Free to Be

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