Introduction:
The Intercultural Music project required me to research different musical traditions and apply the knowledge I learned to the composition of a 6-minute original composition. My focus was on combining Latin and Reggae styles, with influence from gospel melodic writing. Overtime, my understanding of intercultural music shifted from combining different styles to thinking more carefully about how musical elements interact and blend together.
This essay shows my learning process, focusing on how research into Latin, Reggae and Gospel-informed melodic approaches influenced my composition. It also explains how I faced challenges in terms of structure, repetition, and stylistic balance, plus how these were resolved in the final piece.
Initial Approach and Development of the Idea:
Before the beginning of the composition, I spent some time researching and looking into a range of artists, recordings, and musical traditions connected to Latin, reggae, and Gospel music. This helped me develop a clearer understanding of the rhythmic, melodic, and structural features associated with each style. Some of my main artist influences I explored included The Buena Vista Social Club, Bob Marley, Damian Marley, Ziggy Marley, Newen Afrobeat, Fela Kuti, Ezra Collective, Stevie Wonder and Michael Jackson.
What I gained from locking into these artists, particularly from The Buena Vista Social Club, Ezra Collective, and Bob Marley, was melody ideas and melodic phrasing. The Buena Vista Social Club and Bob Marley had longer phrases that entwined with each other, becoming very story-like over the song, whereas the likes of Ezra Collective had primarily short and often staccato melodies, which were statement-like and very powerful. I used both in my piece to create a more intercultural sound.
With artists like Fela Kuti, Newen Afrobeat and Damian Marley, I gained a lot of inspiration from the grooves of their songs and their signature feel. With the afrobeat songs, I found their grooves to be very long (vamp-like), which on paper would come across as boring and tiring, yet when listening to the song, the groove is so locked in and tight that it then becomes interesting as there is so much going on and to appreciate.
Looking into the reggae tradition for my reggae section, I researched Bob Marley and his lineage with the likes of Damian and Ziggy. I found their music to be very sparse, yet the groove was so tight. I also took inspiration from this, i.e. not adding a lot of rhythmical information, but what was written was solid.
Initially, I wanted my guitar part to have comping rhythms of the likes of Michael Jackson and Stevie Wonder songs. However, I made the choice of not implementing this as I came to the conclusion that it would make the piece too complex when I was after a simple yet effective backing groove.
So at the beginning of my project, my initial idea was based on a Latin-Gospel concept. However, I found it difficult to clearly combine both Latin and Gospel as they sound very similar to each other, and there have been countless pre-existing tunes that use this approach, which confirms that they sound similar. As a result, I shifted towards a Latin-Reggae approach. Although this made my overall direction clearer, I still wanted the original Gospel idea, but with a more melody-influenced feel.
In the early drafts, I structured the piece in clearly defined sections, with Latin material followed by reggae. While this made each style recognisable, it created a lack of cohesion. The piece felt divided, as if it were moving between two separate “songs” rather than a developed intercultural piece.
This showed a limitation in my initial approach. I was focusing more on stylistic contrast rather than intercultural. Through listening back to my piece and further listening to pre-existing songs, I began to understand that intercultural music involves blending musical ideas in ways that allow them to coexist, rather than simply placing them side by side.
Research into Latin Music:
A significant part of my learning came from researching Afro-Cuban musical traditions. One of the most important concepts I engaged with was the clave. I found that the clave is not just a rhythmic pattern but a structural framework that influences phrasing, timing, and the interaction between parts.
In my song, I implemented a 3-2 clave feel, particularly in the drums. I put the clave into the snare rim-shots with support from the kick drum, helping to establish a consistent rhythmic foundation. This definitely influenced how other parts were written, even when they were not directly playing the clave rhythm.
I also explored the use of the montuno patterns on the piano. These repeating figures provided a rhythmic and harmonic foundation for the Latin sections. I then went further, adding smaller variations in rhythm, articulation and voicing, which helped to keep the texture active and not dull.
Horn writing was another key area. In one section of the piece, a call-and-response is used between trumpet and saxophone. This began with shorter motifs and developed into longer phrases, creating a sense of interaction and progression. I went along with this approach because it reflects common practices in Afro-Cuban and wider Afro-diasporic music, where musical ideas are shared between parts rather than presented on their own.
However, the Latin section created an initial structural issue. The level of intensity was quite high early in the piece, meaning that I reached a peak sooner than intended, even with a repeat of the whole Latin section. So it required me to rethink how the following sections would function.
Research into Reggae Music:
In contrast to the density and complexity of Latin music, a reggae-feel section introduced a different approach based on groove, space, and repetition. The spatial rhythm of the drums and the laid-back feel created a more relaxed and grounded feel in comparison to the previous Latin section.
In this section, I wanted to use a spatial drum groove rhythm along with offbeat chord (skanking) stabs on the piano. The bassline became more prominent, using longer, sustained notes to support the groove. This contrasted with the more rhythmically active basslines in the Latin section.
One of the most important things I learned from working with reggae was the importance of space. At first, I found it difficult not to fill every gap with the additional parts. However, I realised that leaving space allows the groove to feel more defined and gives each instrument a clearer role.
This forced me to change how I approach arranging. Instead of constantly adding layers, I began to think more about balance and clarity, and how different elements could work together without overcrowding the texture.
Use of Gospel Melodic Ideas:
Although I moved away from the original Latin gospel concept, elements of gospel melody still influenced my approach to writing melodic material. Gospel music often focuses on strong, memorable phrases that can be repeated and developed, and this idea became important in shaping my motifs.
In my composition, I created melodic ideas that could be reused across different sections. These were not always presented in the same way, but the overall shape remained recognisable. This helped to create a sense of continuity across the piece so that it still sounds like one song.
Another aspect of gospel melodies are its expressive qualities. This includes features such as repetition, variation, and a sense of direction in phrases. In some of my horn writing, particularly in the more developed sections, the phrasing reflects the gospel influence. The lines often feel vocal in character, even when played on horns, contributing to the Gospel stereotype.
There are also moments where the melodic writing suggests a call-and-response approach within a single line, where one phrase is answered by another. This links not only to the gospel traditions but also to the call-and-response structures found in Latin traditions, creating a link between the different influences.
In addition, the use of repetition within melodies allowed certain ideas to become more prominent. By returning to similar phrases, I was able to reinforce musical ideas without needing to introduce new material. This is shown in the trumpet and sax parts bellow:
Developing Melodic Ideas:
As well as using gospel-inspired phrasing and melodies, I also tried to develop my melodic ideas instead of constantly inventing new ones and having no continuity. So in my mind, it meant taking a small motif and changing it slightly depending on which section it was in and being correct to the tradition.
For example, the melody that worked in the Latin section did not work or feel right in the reggae section, so I kept the same overall arc of it, but I changed the groove and feel that is typical of reggae.
I also experimented with extending or cutting down ideas. Sometimes I turned a short phrase into a longer one, and other times I tried taking part of a phrase and cut it down or reused it.
This approach helped me in this assignment and others because I realised that you don’t always need lots of different ideas – just developing a few properly is way more effective. Below shows an initial original motif:
Below here is the same motif in the horns but in variation:
Structural Development:
Structure was one of the challenging aspects of the project because some sections reached a high level of intensity early on. I needed to find ways to maintain interest without continuously increasing energy.
To address this particular issue, I introduced contrast through changes in texture and density. After more complex sections (the Latin sections), I reduced the number of active parts, creating space before introducing new material in the reggae section. This definitely assisted in shaping the overall form more clearly and prevented the piece from becoming too. heavy.
The transition into the reggae section was particularly important. It needed to feel like a clear shift/change but not completely disconnected from what came before. By adjusting the texture and simplifying the rhythmical content, I was able to create a sense of contrast while still maintaining some flow and continuity.
The process of this made me more aware of how important pacing is in a longer (6-minute) piece of music. Rather than thinking only about individual sections, I began to consider how each part contributes to the overall arc shape.
Repetition and Variation:
Repetition is a central feature of both Latin and Reggae music, but I initially struggled with how to use it effectively. Some sections of my piece began to feel too repetitive in a negative way, particularly when ideas were repeated without change.
Through the process, I learned that repetition needs to be combined with variation. Instead of copy-and-pasting sections, I began to introduce small changes. These included:
- Adding or removing instruments
- Changing dynamics
- Slight rhythmic or melodic adjustments
For example, a repeated groove might remain the same in terms of rhythm and harmony, but the instrumentation could change, like the guitar could drop out of a section entirely.
I learnt from this how different layers interact. Even very small changes can have a noticeable effect on the overall texture.
Intercultural Integration:
One of the most important aspects of the project was developing a more intercultural approach to combine the different styles. Initially, the Latin and Reggae elements were clearly separated, which made the piece feel divided.
To improve this feature, I began to combine elements from both styles within each of the sections. For example, I had the bass play a full montuno rhythm and notes under the reggae section/groove and in the Latin section, I had the guitar play a skank groove throughout it, playing on beats 2 and 4, creating that iconic reggae comping sound.
Another way I explored intercultural integration was through musical references to existing songs from both Latin (Cuban in particular) and Reggae traditions. In the section ‘G’ of the score, before the solo section, I introduced a call-and-response idea between the sax and trumpet that referenced both reggae and Latin music.
In the saxophone part, I referenced melodic material from ‘Could You Be Loved’ by Bob Marley. Rather than directly copying the melody, I adapted the rhythm and phrasing so it fit more naturally within the groove and structure of my composition. This allowed the reference to feel connected to the arrangement instead of sounding separate from it.
The trumpet response referenced ‘Viente Años’ by the Buena Vista Social Club. Once again, I adjusted aspects of the phrase to fit the harmonic and rhythmic context of the section. Although the original songs came from different traditions, combining these references within the same call-and-response passage helped reinforce the intercultural idea behind the piece.
This approach solidified a stronger sense of cohesion. Instead of moving between styles, the piece began to feel like a single musical space where different influences could interact, even with a short break in the tune to introduce a new style.
The solo section was particularly important in this process. The underlying groove remained consistent, while other elements developed around it or were brought back like a recapitulation. This allowed different stylistic features to come more naturally together.
In the final section, multiple influences are present at the same time, combining rhythmic, melodic, and textural ideas from across the piece. This created a sense of resolution in a sort of final recapitulation and circles together the different elements explored throughout the project.
The Solo Section:
The solo section provided an opportunity to develop ideas within a more flexible structure. While the chord progression (Cm7 – Bb7) and groove remained consistent, the solo allowed for variation and expression.
One of the core aspects of this section was how it developed over time. The solo began in a more restrained way and then gradually became more active. This created a sense of progression without changing the underlying structure to create familiarity, yet a new twist to the melody and chordal movement.
At the same time, the backing parts evolved. Additional elements were introduced, and the band dynamics became fuller as the section continued. This helped to support the solo and contributed to the overall sense of a building arc.
The solo section highlighted the importance of interaction between parts. For example, the relationship between the soloists and the rest of the ensemble became an important factor in shaping the music.
Tempo and Groove Considerations:
Another important consideration was the tempo and any changes. The Latin and Reggae sections were at slightly different tempos because I attempted putting the whole song in one tempo, which was stereotypical to only one section/genre, but it did not work because using a reggae (slower) tempo over a Latin montuno section did not feel right, as I confirmed with my band when in premature rehearsals. This raised the question of how to handle this in the overall structure.
I decided to use a stereotypical tempo for each genre I used so that the tempo would do the material justice. The way I achieved this was quite simple. I did some research into listening to both genres, and something I came across was musical breaks in songs, which were particularly prominent in Gospel music. So what I implemented was a clear break at the end of the Latin section after a decrease of texture to relax the music and the listener. Then one bar of silence (typical of the Gospel music), a very typical reggae drum fill, which smoothly transitioned into the reggae section.
However, a problem appeared. It felt like the song had become a completely new song. So, to avoid this happening, I made sure to keep some continuity from the Latin section in the new Reggae section. I put in the 3-2 clave, which was in the drums before, now in the guitar comping rhythm to give the music and the listener an anchor of home and continuity from the previous section. This allowed the piece to build towards a conclusion without disrupting the overall flow.
Reflection on the Final Composition:
Looking at the final piece, some parts worked better than others. The later sections feel more integrated than the earlier ones, where the styles were more distinct.
However, there are still areas that could be improved. Some transitions could be smoother, and a few sections might rely too heavily on repetition. These things I became more aware of when I listened back to it.
Another thing to consider is how clearly the different influences came across. While the elements are there, it does fully depend on how the listener hears them and if they can put one-and-one together.
One honest critique of my final piece is the fact that I only used two chords throughout the whole composition (Cm7-Bb7). Now I did try to add more chords or a new section with a different chord progression, but whatever I tried did not seem to fit. So after a lot of listening back to my piece, I made the final decision to just use those two chords, which, to my advantage, is a core aspect of both Latin and Reggae traditions. I still had concerns about how this would sound and feel when we played it all together in a rehearsal, and to my advantage, it worked, plus the band liked it too.
Overall, the process involved a lot of adjusting and rethinking ideas. It wasn’t always straightforward, but it helped me understand how to improve the piece and even with my other original projects.
Conclusion:
This intercultural project pushed me to think about music in a way I had never before. In the beginning, I thought combining two styles just meant putting them next to each other in song form, but I very quickly realised there’s a lot more to it. Through researching Latin, Reggae and Gospel music and actually trying to write something that joined everything together, I learned a lot about rhythm, structure and how melodies can develop across a piece, particularly with multiple genres to play with.
It definitely wasn’t always straightforward in places. There were moments where I had to entirely scrap ideas or rethink how sections flowed into one another, especially around the tempo change and the transitions. But those were probably the most useful parts of the process because they forced me to problem-solve rather than just compose what felt easy.
Looking back, the piece is not perfect at all and there are things I’d do differently, however I feel like I came out of it with a much clearer idea of how to approach this kind of writing, both for intercultural music and for my own original projects going forward after university.
Bibliography:
Buena Vista Social Club (1997) Buena Vista Social Club. World Circuit/Nonesuch Records.
Ezra Collective (2022) ‘Victory Dance’. Where I’m Meant to Be. Partisan Records.
Jackson, M. (1979) ‘Don’t Stop ‘Til You Get Enough’. Off the Wall. Epic Records.
Jackson, M. (1982) ‘Human Nature’. Thriller. Epic Records.
Marley, B. and The Wailers (1977) ‘Jamming’. Exodus. Island Records.
Marley, B. and The Wailers (1980) ‘Could You Be Loved’. Uprising. Island Records.
Newen Afrobeat (2017) Newen Plays Fela [EP]. OfficeHome Records.
