Composition, Arrangement, and Form
The composition was often based on group arrangements of previously composed material, usually in the form of rhythmic chord progressions and sometimes melodies. This foundational idea often came from a group member who primarily played the keyboard or guitar. A musical idea developed collectively within the group or various musical pieces that the musicians put together were the working methods. “A collective creation with much dispute and joy” (From Grendel magazine, No. 1, 1984, interview by Graf with Hans Lundin in Kaipa). T. Sundström’s interview in Miklagård describes how foundational ideas were developed within the group: “Individual musical moments that were put together…” “…the songs became a collage of various ideas.” This is also described in a review in MM No. 8, 1974, of Trettioåriga Kriget’s first LP. “…the songs are often built from short loops that tie together.”
Another composition method was to work in the exact opposite way, with musical pieces entirely composed and arranged by a group member before rehearsing with the band. A member would provide harmonies, melodies, and arrangements that were then rehearsed by the other musicians.
Arrangements of classical music for art-rock groups were also done by some groups, such as Blåkulla with Roman’s Drottningholsmusiken, and the group Extra did something similar with Marche Militaire in D by F. Schubert. English art-rock groups had done this earlier; for example, ELP with Pictures at an Exhibition by M. Mussorgsky.
During the 70s, the trend was to emphasize group composition in interviews and information. It was the era’s trend for everyone to participate and be involved in the creative process or in the work they were doing. This stemmed from the Music Movement’s idea that everyone could create music themselves and the democratic spirit of the 70s.
Music was sometimes composed in a programmatic form with themes related to human or societal relationships, and problems with a social pathos. The form was sometimes intended as a suite, which means that several musical moments with thematic connections were put together to form a whole. “The way of weaving together a program… it becomes like a musical theater where things happen. The music goes up and down, and there are long sections… like a full symphony, but with many songs… It is all connected somehow.” (Interview with M. Glenngård in Kebnekajse). “We had planned to release two of these suites, in a way, and it would be a ‘greeting’ between them…” (Quote from Ö. Strandberg in Dice, describing the music as suites.) One of these is called “Apocalypsens Fyra Ryttare” and consists of four parts named War, Disease, Greed, Death. These musical segments are based on the names of the four riders from the copperplate (cover image of the CD) that the music is based on. It’s a “suite” with four parts that are linked by their thematic content about the apocalypse (end of times); this is art-rock in programmatic form.
The musical form in art-rock compositions ranges from simple pop forms with verses, choruses, and bridges (A, B, A, B, C, A, B) to more complex forms. This simpler form consists of main parts similar to verses, choruses, and bridges, sometimes with transitional sections and/or deviations between and from these. For instance, Moder Svea with “Björns Trädgård,” Kaipa with “Skenet Bedrar,” Alter Ego with “Daffodils,” and Harem with “Badvisa.”
Complex forms consist of contrasting or complementary parts that alternate with each other, similar to the editing technique in films. These modules can repeat with or without variation and should propel the musical experience forward. Musicians allow themselves to have different structures in the music than in ordinary pop and rock music. “The songs were built more like classical music pieces than just verse, bridge, chorus.” (B. Lundquist, ‘Delirium’). “…squeezed four songs into one,” “classical structure.” (Interview with M. Jonstam in Dimmornas Bro). “Difficult music…” “with sudden shifts and changing time signatures.” “…the songs are often built from short loops that tie together…” (Review in MM No. 8, 1974, of Kriget’s first LP). “It can have incredibly powerful parts, but they can be interrupted by quick or rhythmic ones, and then the rhythmic part can disappear, and it becomes lyrical.” (T. Sundström, Miklagård).
The musical texture could include different voices on the instruments, held together by a steady rhythmic foundation from the drums. However, the texture in art-rock often resembles that of rock and pop. The melody is carried by the vocals, guitar, and keyboard adding rhythmic chord progressions and figures. The bass provides the harmonic foundation and serves as a connecting link to the drums.
The part of art-rock that was primarily instrumental was inspired by composers like Philip Glass, Terry Riley, Mike Oldfield, and groups like Tangerine Dream and Third Ear Band. This music originated in Sweden from groups that were formed in the early 70s, such as Älgarnas Trädgård and Anna Själv Tredje. The composition method was experimentation and improvisation with sound and instruments within the group. An information sheet from the alternative record label Silence in 1977 about the group Anna Själv Tredje describes how the music was compiled. “Meditative programs have been composed where static soundscapes consisting of a mixture of loops, sound clusters, and concrete sounds formed the foundation.” “…Mikael and Ingemar started experimenting with sounds, ideas that form the basis of Anna Själv Tredje’s music today.” The musical form often involves a theme that initiates the composition and is developed with the addition of sounds/instruments, sometimes transitioning into an improvised crescendo-like finale.
The group Ragnarök is interviewed in MM by J. Härstedt (No. 3, 1976, p. 20). They had a similar composition approach to the development of pre-existing musical material. “Stretching the old standard themes and harmonies and bringing forth something of their own and innovative from the music.” “Rhythms are broken and built up again.” This creative process was also reliant on musicians’ improvisation, to be able to develop and build upon a theme. The acoustic guitar-based music created by Ragnarök is distinct from Älgarna and Anna due to more refined arrangements with less improvisation and sound experimentation. The musical form often resembles that of folk, rock, and pop music, with delimited sections like introduction A B A B A B C A (A=verse B=chorus C=bridge). These parts can be varied in transitions between sections and occasionally jump into improvised segments.
The floating and slowly flowing music that these groups performed is audible in the fact that they experimented with different sounds/instruments but from similar musical materials to create a new musical fabric. This gives a meditative and slowly developing form of music.
In the release of information about Bo Hansson’s first LP from 1973, a similar description of the music is attempted. “The songs are compositions that build on the emotions and moods that tones, melodies, and instrumentation evoke.” It should be noted that both groups were on the same record label, Silence, which may have influenced how the music was described in the text. A quote from MM No. 2, 1974, page 4, in an article by Lars Stahre illustrates how the music for “The Lord of the Rings” was written: “There we were, reading ‘The Lord of the Rings,’ and then we just recorded it. It was all improvisation.” The music was like a fabric where different sections were woven together and merged into soundscapes that sometimes drifted into improvisational sections.