Writing Music New Age Style

My “New Age Music” Style My new age music is a little different from the majority of music in the genre. Many times I have glanced at the description of a new age album cover, tantalised by the evocative descriptions of the music's character, such as “gentle”, “flowing”, “calming”. On listening to the music, however, it sounds more like “elevator musak”; it is so shallow it washes over one's head. Music for accompanying meditation, Qigong and similar activities should flow through you not over you. It should go deep inside and pass into the chakras / maridian channels. New age and healing music is like food; we eat not because it tastes nice but because it nourishes the whole body. Similarly, truly healing music must be good for the whole body, not just sound nice on the ears. Philosophical influences I have been a Tai Chi Chuan practitioner for most of my adult life. Taoism and Eastern energy systems in particular interest me. I also have a keen interest in the general esoteric nature of music, including Hermetic and metaphysical systems and the teachings of Plato and Pythagoras on music. Musical Influences Welsh chapel hymns; my grandfather was a choirmaster and composer of hymns so from from an early age I was engrossed with the particular melancholy charm of four-part harmony. This gave me an appreciation of the emotional depth of music. New age electronica. Landscape electronic pads providing feeling of depth and distance, otherworldliness, expansion of consciousness and other-worldliness. Minimalism; the circular nature of patterns (like the Chinese Wand Qigong exercises) where the energy from the music does not dissipate but is re-circuited round the body. My new age music has a quality difficult to define in words; it is a sense of uplifting heroism, an aural greatness; an unfolding drama seems to be in progress; an expression of the “wider picture”; the greater universe beyond our human world; the “broad canvas” or “big idea”. Yet is also provides the listener with deeply emotional and psychological “gates” to uplift the spirit, opening a window to look beyond the physical world.

The three distinctive characteristics of my new age music are: 1. A prevalence for spine-tingling, gorgeous chord progressions. 2. Warm and sonorous (major or minor) circular chords sequences. 3. Simple, plaintive non-obvious melodic lines. The dramatic and emotional effects of simple melodic lines against static chords or slowly-moving basic progressions hold a particular fascination for me. A simple musical sequences can be dramatically transformed and made more evocative if played by an instrument with a unique and haunting timbre and tone. This is the basis of my new age music; to present simple themes and chord progressions as textural soundscapes. The listener is invited to languish over chords and melodies and savour the sonority and `tone colour' of the piece. Psychological effects of new age music on the listener and feelings that certain techniques may arouse:Static chords or slow moving chord progressions - - stability, security, peace Major / minor chord progressions - - - - - - - - - - - - uplifting, movement into another space and change for the better "wide" pads, distant strings & word-less choirs - - - - distance, opening other dimensions Drones and deep chords of 4th & 5th intervals - - - - -grounding, security and protection I find that with new age music in general “moves” too much; there is too much going on; too many chord changes and modulations. Also, the frequent use of percussion is particularly unwieldy and unnecessary. My advice to new age music composers is do not be frightened to stay still, to be the centre of the universe; do not rush, do not use too complex forms or patterns. “Busy” and “clever” music may be academic but has little soul or heart. I believe that we must return to simplicity to experience the true beauty of music.

© 2009 by Michael Davies