Writing for the Band

The idea

Two guitars: do not double, split.

• By register: guitar 1 plays low power chords, guitar 2 plays higher triads or arpeggios.
• By rhythm: one sustains, one chugs.
• By role: one plays rhythm, one plays the harmonized line or the hook.

Doubling the same part, tightly, on both sides is a valid choice for a big chorus. Make it a choice.

Bass: more than roots.

• The root on beat 1 is the job. Everything else is optional and should serve the groove.
• Add the 5th or the octave for movement, and approach notes: a step or a half step into the next root.
• Lock with the kick drum. A bass line that plays when the kick plays is what makes a groove sound produced.
• Give the bass a small counter-hook in the gaps of a verse.

Drums: write intentions, not fills.

Section	Typical drum approach
Verse	Closed hi-hat, tight and controlled
Pre-chorus	A build: toms, 16ths on the snare, opening the hi-hat
Chorus	Open hi-hat or ride, crashes on the chord changes
Breakdown	Half-time: the snare moves to beat 3. Instantly heavier.

Compare a verse feel, a chorus feel and a half-time breakdown at the same tempo:

Keys in a rock band: pads for glue, high sparkle lines, or unison with the bass for menace. Not full strummed-style chords in the middle register. That is the guitar’s job.

Voice leading between parts. When the harmony moves, at least one instrument should carry a stepwise line: the top of the guitar triads, or the right hand of the piano. This is what “expensive” arrangements have.

Harmonized leads. For a second guitar, play the same melody a 3rd higher inside the scale. Some of the 3rds will be major and some minor. That is correct. Do not move every note by the same number of frets.

On your instrument

• Play the bass part on guitar, on the two lowest strings. If the bass line you imagine is boring to play alone, improve it.
• Tap the kick pattern with your foot while you play the bass line. Where they disagree, change one of them.
• Harmonize on one guitar first. Play the melody and its harmony as two-note chords on adjacent strings. You will hear at once which 3rds need adjusting.

Worked example

A melody in E minor and its harmony a 3rd above, staying in the scale E F♯ G A B C D:

Melody	E	F♯	G	A	B	A	G
Harmony, a 3rd higher	G	A	B	C	D	C	B
Type of 3rd	minor	minor	major	minor	minor	minor	major

The harmony moves in the same shape as the melody, and the type of 3rd changes by itself because the scale decides it. This is exactly how twin-guitar leads work in Iron Maiden and Thin Lizzy.

If a spot sounds wrong, it is usually because the harmony note clashes with the chord underneath. Try a 4th or a 6th at that spot instead.

Exercises

1. Score 8 bars of Assignment Song 1 for drums (described in words), bass (tab), two guitars and piano. Every part must pass three questions: does it have a job, does it have its own register, does it leave space?
2. Harmonize the main melody of your song in parallel 3rds for a second instrument. Adjust by ear any spots that clash, usually to a 4th or a 6th.
3. Write a bass line for your chorus that hits the root on beat 1 of each bar and approaches every new root by a step or a half step.
4. Describe the drum approach of each section of your song in one sentence, using the table above as a model.

Common mistakes

• A bass line that copies the guitar riff all the time. Unison is powerful, so save it for the moments that need power.
• Keys and guitars in the same octave. One of them has to move.
• Parallel harmony by fret count. “Three frets higher” everywhere gives wrong notes. Harmonize inside the scale.