The song I’m currently working on is called ‘Falling for Me’ and it’s proving to quite a little bugger.

This is the song specifically for which I bought the MOTU software. If there were such a thing as a school of Jellyfish/The Zombies-style songwriting, this would be my senior recital. I don’t usually write songs to emulate any certain band or style but this song is definitely an exception. My friend Jeff Lehman was here last weekend and I played him the song and he said “It sounds like Jellyfish”. Perfect! Precisely the reaction I was hoping for. I hope people see it as a tribute and not a rip-off but either way will be fine by me.

I’ve got almost everything tracked that I intend to put in there with the exception of the electric guitar. I’m sort of mixing as I go along and the thought that I keep having is “What on earth am I going to do with all this stuff?”

The ending of the song uses one of those tricks where you recapitulate every previous musical theme, except you actually just lay them right on top of one another. This would be a simple task if each section of the song had the same tonal center but, alas, nay. The verse is in E flat, the pre-chorus is sort of in E, and the chorus is sort of in A flat with a minor four chord. Even someone with a remedial knowledge of music theory could see that you can’t get there from here.

I’ve learned that to make this work would be an easier task for a graduate-level mathematician than a music major (cough! dropout!) such as myself. A grand idea such as this is better fleshed out with a calculator than a guitar. But it is always interesting to me when purely intellectual means yield such artistic results. The whole thing does actually work. And it does actually sound rather awesome. Who’d have thunk it?

Check this out. My MOTU software is out of tune. I’m having to go in a pitch-correct many, many of the horn parts. And it’s not that the whole thing is out, it’s just certain notes. It sounds like – for instance – they set up their recording equipment and it went something like this:

Producer: (to the oboist) OK play a C.

Oboist: Seeeeeee.

Producer: (to audio engineer) Did you get that?

Engineer: Whatever.

Producer: Fine. (to oboist) OK now play a C# or somethin’.

Then they never went back to check if the oboist actually played a C that was in tune. Maybe it was. Maybe it wasn’t. Well it wasn’t! Maybe the C# was perfect but the C was notably less than.

With my pitch-correction software you can’t just tell it to go in and fix everything either. You have to go in note by note and nudge the pitch up or down depending on the lazy oboist’s mood. D minuses for all y’all. Boo!