Earth, Wind & Fire's "September" even shows up at fictional weddings, as in the opening of the 1997 movie Soul Food. It's made its way into TV shows, commercials, sporting events and video games. HBO named a movie after the song. In 2008, it played at both the Republican and Democratic national conventions. Taylor Swift recorded a lightly countrified cover in 2018.
"As I open the door, they had just written the intro to 'September.' And I just thought, 'Dear God, let this be what they want me to write!' Cause it was obviously the happiest-sounding song in the world," Willis says.
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Using a progression composed by Earth, Wind & Fire guitarist Al McKay, White and Willis wrote the song over the course of a month, conjuring images of clear skies and dancing under the stars. Willis says she likes songs that tell stories, and that at a certain point, she feared the lyrics to "September" were starting to sound simplistic. One nonsense phrase bugged her in particular.
"The, kind of, go-to phrase that Maurice used in every song he wrote was 'ba-dee-ya,' " she says. "So right from the beginning he was singing, 'Ba-dee-ya, say, do you remember / Ba-dee-ya, dancing in September.' And I said, 'We are going to change 'ba-dee-ya' to real words, right?' "
"And finally, when it was so obvious that he was not going to do it, I just said, 'What the f*** does 'ba-dee-ya' mean?' And he essentially said, 'Who the f*** cares?'" she says. "I learned my greatest lesson ever in songwriting from him, which was never let the lyric get in the way of the groove."
I asked Jeffrey Peretz, a professor of music theory at New York University's Clive Davis Institute, what makes that groove so powerful. He says a lot of it has to do with how the music unfolds. The song's very structure is an endless cycle that keeps us dancing and wanting more.
"We went through all the dates: 'Do you remember the first, the second, the third, the fourth ... ' and the one that just felt the best was the 21st," Willis explains. "I constantly have people coming up to me and they get so excited to know what the significance was. And there is no significance beyond it just sang better than any of the other dates. So ... sorry!"
That's OK, Allee. Maurice was right. It doesn't matter what it means. When we hear it, it's September 21st, and we are dancing again with our family, in a song that never really ends.
On the other hand, if like me you enjoy knitwear, coats and woollen accessories, or indeed if you manufacture and sell these items, I imagine you are quite happy that autumn is now upon us. I do have a large collection of polo neck jumpers and although I can wear some of the sleeveless and cottony ones during the summer months, my signature black polos have had to sit unworn for quite a few months now. Looking forward in a way to reacquainting myself with the rest of my wardrobe.
Try to remember the kind of September when life was slow and oh, so mellow
Try to remember the kind of September when grass was green and grain was yellow
Try to remember the kind of September when you were a tender and callow fellow
Try to remember and if you remember then follow
Try to remember when life was so tender that no one wept except the willow
Try to remember when life was so tender that dreams were kept beside your pillow
Try to remember when life was so tender that love was an ember about to billow
Try to remember and if you remember then follow
Some people assume that the only effective melodies were written three hundred years ago. Others think that the best melodies have been written in the last ten years. Both groups are right. Both groups are wrong.
So the question we need to ask today is this: if the teaching in our church was limited to the songs that we sing, how well taught would we be? How well would we know God? We should make it our aim not only to preach the whole counsel of God but to sing it, as well.
Having said that, God is still worthy of our highest, purest, strongest emotions. Singing helps express and ignite them. Passionless singing is an oxymoron. John Wesley said it this way in an introduction to a hymnal:
Sing lustily and with good courage. Beware of singing as if you were half-dead, or half asleep; but lift up your voice with strength. Be no more afraid of your voice now, nor more ashamed of its being heard, than when you sung the songs of Satan. (John Wesley, Preface to Select Hymns [1761])
There should be a common musical style that speaks to most of the individuals in our church while occasionally introducing new songs and styles, so that we might appreciate the glory of God expressed in music in new ways. But the most important unifying musical center should be the sound of the people themselves.
The sound that unites the church should be the sound of voices, not a particular music style. When people are focused on that sound and the fact that Jesus has made it possible, style becomes secondary.
Finally, we must be clear that it is the gospel and not music that unites us. An increasing number of churches have adopted the practice of offering different services for different musical tastes. While that decision can be well intentioned, I believe the long-term effect is to separate families and generations and to imply that we gather together around our musical preferences, not Jesus Christ.
Instead, God has told us what the focus of our songs should be: worthy is the Lamb who is slain. The Lamb must always be central to our corporate singing. Why? Because Jesus is the One who has made it possible.
So, what are we doing in our local churches to promote, encourage, and participate in the kind of corporate singing we see in Revelation? What are we doing to discourage it? Leaders should be faithful to model and instruct the church in the purpose of singing, because we live in a musically addicted culture.
If we even begin to comprehend the risen Christ in all his glory, or faintly hear the heavenly choirs that surround the throne with their anthems of praise, or imagine what life in the presence of the Lord will be like, then we can never again be satisfied with worship as usual. We will always be striving to make our worship fit for glory; and we will always be aware that our efforts, no matter how good and noble, are still of this world and not yet of that one. (Ross, Recalling the Hope of Glory [Kregel, 2006], 474)
The Savior has rescued us that we might sing the song of the redeemed. May we sing it well. May we sing it constantly. May we sing it passionately. May we sing it for his glory and the advancing of his gospel until the time comes when our songs will never end.
The simple way around this is to give you very specific exercises which only require specific decisions to be made. For instance, how to write a melody over a chord progression that you already have. Once you can do that, you learn to write chord progressions alone. And then you combine the two skills.
Once you can read and write in music notation, and you know the basics of theory, such as scales, and triads, the next step is to learn how these combine to create small scale, simple music. That is in fact exactly what my free course. The Vocabulary of Composition teaches.
This series of articles was written for the beginner composer in mind. Where do you begin to learn music composition? What kinds of stuff do you need to have? Do you need a computer, a piano, or a pad of sheet music?
Really great practical advice for music composition. Love how you went through the unique challenges (aka excuses) for not doing it. From my perspective, learning music theory and composition gives you a set of tools to work with. It allows you to unlock deeper possibilities with songwriting in general because you have this vast fabric of theory to work with and draw from.
So, instead of just hearing the songs in your head and wanting to create them, you have the building blocks and the process of creation becomes a matter of putting them together with your own form of expression.
Hey Jon, I just wanted to say thanks for putting all this stuff together. After a long time of avoiding pursuing my musical talents (I went the finance/MBA/corporate grind 60-80 hour week route instead), I recently restarted my journey by enrolling at Berklee.
Hi, Thanks for this demonstration, I was hoping you would give an example for a vocal voice as well, you know like just plain vocal-rhythm,body,lyricss etc. I would like you to try giving me an example. Thank You!
Hi! Thanks for the content. I play guitar and started writing lyrics on my own for a someone I love and can sing them A-Capella but soon I wanted to accompany music too. So just tryna learn all music theory I can and learning about composing
I started composing after my retirement 6 years ago. Even though I have no musical training but a considerable passion for classical music, I started with my iPhone and garageband and just went for it. I tried to go the Theme and Variations route and found my self fully committed and passionately involved with making music. I also read your guidance and found it to be very helpful in getting the major technical aspects of composing. To my surprise, I found my self to be very prodigious and continued to improve the more I was composing. I got so involved that after five years I decided to learn how to play the piano. If you are interested in listening to my latest work see: paulcaracristi.bandcamp.com
I am not too familiar with programs like that. My recommendation would be to look for specific people to study with instead of just picking an institution by name. With music, your mentors are critical and someone who understands your goals and is able to help you guide your career choices will be very important.
Sometimes with denser passages, you need to work slowly at the keyboard, playing through the examples one note at a time until there is a clear understanding of the elements involved. This is actually a critical part of the process, at any stage. 152ee80cbc
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