Interview Questions for Chorus Writing

Writing a three-part vocal harmony involves crafting three distinct yet complementary melodic lines that work together to create a rich sonic texture. My process begins with establishing a strong root melody – often the lead vocal part. Then, I consider the overall mood and style of the song. For example, a joyful pop song might benefit from bright, major harmony lines, while a melancholic ballad could utilize minor harmonies with a closer proximity to the root.

Next, I create the second harmony part. This is often a third or fifth interval above or below the root, depending on the desired sound. I aim for a pleasing intervallic relationship, avoiding dissonances that clash. To make it interesting, I might add passing tones or suspensions to create a more fluid melody.

Finally, I craft the third harmony part. This part often complements the second, possibly filling in gaps or providing counterpoint. It could be a third above or below the second harmony, or even an octave away. I always prioritize smooth transitions between parts and avoid overly complex rhythms that could overwhelm the listener. The goal is balance and interplay – not a chaotic cacophony!

For instance, if my root melody starts on C, the second might start on E (a major third) and the third on G (a perfect fifth), creating a major chord progression. But I would then subtly alter these intervals throughout to avoid monotony and maintain melodic interest. The entire process requires careful consideration of the individual lines and how they interact, always listening critically to the overall sound.

My experience spans a range of vocal styles, each demanding a unique approach to harmony writing. In gospel music, for instance, I frequently use close harmonies with call-and-response elements, emphasizing rich, full textures and soaring, emotional peaks. This often involves using stacked thirds or sixths, creating a powerful and uplifting sound. I might incorporate gospel-specific techniques like blue notes or rhythmic embellishments to reflect the genre’s soulful nature.

Pop harmonies often lean towards simpler, more radio-friendly arrangements. Clean, clear voicings are crucial, minimizing dissonances and favoring consonant intervals. The harmonies frequently follow the melody closely, providing support and enhancement rather than creating complex counterpoint. Here, I might use layered thirds or sixths, but with a cleaner, brighter timbre than in gospel.

R&B harmonies often emphasize a smoother, more sensual feel. This frequently involves the use of seventh chords or extended harmonies, often with a syncopated rhythm. The vocal lines are frequently more independent, creating a richer, more interesting texture. I prioritize a soulful and emotionally resonant sound, sometimes incorporating vocal runs and melisma to further enhance the feeling.

Understanding the nuances of each genre allows me to write harmonies that authentically reflect the intended style and mood.

Seamless blending in vocal harmonies hinges on several key elements. Firstly, careful consideration of vocal ranges is paramount. I ensure the parts are written within the comfortable ranges of the intended vocalists. Forcing voices outside their range leads to strain and uneven sound.

Secondly, I prioritize consonant intervals. While occasional dissonances can add interest, overuse creates a muddled, unpleasant sound. Consonant intervals – like thirds, fifths, and octaves – provide a sense of stability and blend easily.

Thirdly, I meticulously consider the rhythm and phrasing. Harmonies should complement the rhythm of the melody, not compete with it. Consistent phrasing ensures a smooth flow between parts. Careful attention to dynamics and articulation also contributes to a refined, polished sound.

Finally, I often utilize voicing techniques to improve the blend. This involves strategic arrangement of the vocal parts to create a balanced and full sound. For example, I might alternate between close and open voicings to avoid monotony.

Ultimately, extensive listening is crucial. Throughout the process, I continuously listen back to ensure the harmonies create a unified and cohesive sonic whole.

My primary tools for creating and editing vocal arrangements are Digital Audio Workstations (DAWs). I primarily use Logic Pro X, which provides a powerful suite of tools for composing, arranging, and editing audio. Its MIDI editor allows me to create and manipulate vocal melodies with precision, while its audio editing capabilities enable me to fine-tune individual vocal tracks and ensure perfect timing and pitch.

Beyond the DAW, I utilize various virtual instruments (VSTs) that model the sound of different choirs and vocal ensembles. These provide a helpful starting point for arranging, allowing me to experiment with various voicings and harmonies before committing to final arrangements. I also use Melodyne, a sophisticated pitch correction software, to refine vocal performances and ensure tuning accuracy.

These tools, combined with careful listening and a strong understanding of musical theory and harmony, enable me to create highly polished and nuanced vocal arrangements.

Writing a chorus for a song with a specific lyrical theme necessitates a close connection between the music and lyrics. I begin by thoroughly understanding the song’s message and emotional arc. The chorus, as the song’s emotional core, must amplify and reinforce the theme.

Next, I choose a melodic structure that complements the emotional intent. A hopeful theme might warrant a bright, major-key melody, while a sorrowful theme might utilize a minor key and slower tempo. The melodic contour should convey the sentiment. A soaring melody could amplify joy, while a descending melody might deepen sadness.

I then craft lyrics for the chorus that resonate with the overall message, making sure they are concise, memorable, and emotionally impactful. The lyrics should also function well melodically, fitting naturally within the musical structure.

I ensure the harmony lines support the lyrical theme, too. For instance, closely spaced harmonies might enhance intimacy, while wider harmonies could amplify a sense of grandeur. The rhythmic structure plays a crucial role, as well – a driving rhythm can reinforce excitement, while a more subdued rhythm might convey introspection. The whole process is highly iterative, with constant adjustments to achieve the desired effect.

Working with vocalists during recording sessions is a collaborative process. I begin by establishing a clear communication channel. It’s essential to understand their vocal range and individual strengths, tailoring the arrangement to highlight those assets. I encourage open communication about any challenges they may face with specific parts.

I typically offer constructive feedback, focusing on both technical aspects (intonation, rhythm, and phrasing) and expressive elements (emotional delivery and interpretation). I demonstrate desired vocalizations, giving visual cues if needed. I aim for a supportive and encouraging environment to foster creativity and performance.

For instance, if a vocalist is struggling with a specific note, I’d explore different approaches, perhaps suggesting slight adjustments to their vocal technique or adjusting the harmony line to mitigate the problem. Effective collaboration during sessions yields optimal results. Building a positive relationship with the artists is crucial for a successful recording session.

Identifying and correcting vocal tuning issues in a chorus requires a combination of skilled listening and technological tools. I begin with a careful listen to the entire chorus section, paying close attention to individual vocal parts and their interaction. Obvious tuning problems usually stand out fairly quickly.

For more subtle issues, I employ tools like Melodyne or Auto-Tune. These pitch correction programs visually display pitch discrepancies, helping identify notes that are slightly off-key. I avoid overly aggressive pitch correction; a little imperfection often adds character. Overly corrected vocals can sound artificial and lifeless.

Once tuning issues are pinpointed, I have several options. Minor discrepancies can often be corrected subtly using the pitch correction software. More significant problems may require re-recording or utilizing techniques like comping (combining the best takes of each vocal line). The goal is to maintain a natural sound while ensuring overall tonal accuracy in the chorus. Effective problem-solving here requires a delicate balance between technical precision and artistic integrity.

Understanding vocal ranges is fundamental to effective chorus writing. Each voice type – soprano, alto, tenor, bass – possesses a unique range of comfortable notes. Sopranos typically have the highest range, followed by altos, tenors, and basses. I use this knowledge to create parts that are both musically satisfying and vocally achievable. For instance, I wouldn’t assign a high C to a bass singer; that would be uncomfortable and potentially damaging. Instead, I’ll carefully consider each voice part and build the harmony within their natural range, possibly using techniques like octave doubling or close harmony to create a full sound without pushing anyone beyond their capabilities.

In my arrangements, I often start by sketching out a basic melody in a comfortable mid-range. Then, I build harmonies around this melody, carefully considering the tessitura (the most comfortable range of notes) for each voice part. This ensures that the chorus is not only pleasing to hear, but also singable and enjoyable for the performers. Sometimes, I’ll use a slightly wider range for certain sections to add excitement or drama, but I always make sure to return to the more comfortable range to prevent vocal strain.

Creating a memorable and impactful chorus involves a blend of musical and lyrical elements. A strong melody is essential – it should be catchy, singable, and easily retained by the listener. Think of the chorus of ‘Bohemian Rhapsody’ – its simple melody is what makes it so instantly recognizable. The lyrics should be concise, impactful, and convey the essence of the song’s message. Clear articulation and phrasing are vital. It’s helpful to employ repetition, which reinforces the message and makes it easier for the listener to remember the chorus. I often use dynamic variations within the chorus; a quiet, intimate beginning that builds to a powerful, climactic end can create a truly unforgettable moment.

Further, I believe in crafting a strong harmonic foundation. The chords progression should complement the melody, creating a sense of satisfaction and emotional resonance. Finally, I find that adding unexpected harmonies or melodic turns can elevate the chorus beyond simple repetition. It’s about finding the perfect balance between familiarity and surprise.

Balancing melody and harmony is crucial in chorus writing. The melody shouldn’t overshadow the harmony, and vice-versa; they should work together to create a unified and rich soundscape. I usually start with a strong melody, then build harmonies that complement and enhance it, without overpowering it. I often experiment with different voicings – close harmony, open harmony, parallel harmony – to find the best balance. Close harmony creates a tighter, more intimate feel, while open harmony provides a more spacious, expansive sound. The choice depends on the overall mood and style of the piece.

Consider a song with a simple, stepwise melody. I might choose close harmonies in the lower voices to create a solid foundation, while using more open harmonies in the higher voices to add airiness and brightness. It’s a constant process of refinement, listening critically to the interplay between the parts, and making adjustments until the balance feels just right. This often involves experimenting with different chord voicings, inversions, and even adding passing tones or suspensions to create more interest.

One common challenge is finding a balance between creating a memorable melody and ensuring the chorus is singable for all voice parts. Sometimes, a catchy melody might be too high or too low for certain voices, requiring careful adjustment. Another challenge is creating a chorus that feels both fresh and familiar. You want something memorable, but not repetitive to the point of being boring. Finally, crafting lyrics that convey the emotional core of the song in a succinct and impactful way can be difficult.

To overcome these, I brainstorm multiple melodic ideas, trying out variations in range and rhythm. I also test the melodies with singers to get feedback on their singability. For lyrical challenges, I often collaborate with lyricists to refine and polish the words until they capture the essence of the song effectively. Experimenting with different harmonic progressions and rhythmic variations can help inject fresh life into a chorus, keeping it dynamic and engaging.

Counter-melodies add depth and complexity to a vocal arrangement. They are independent melodic lines that are played or sung simultaneously with the main melody. They shouldn’t compete with the main melody but rather complement it, adding a layer of interest and texture. I often use counter-melodies to create a sense of movement or to emphasize certain harmonies. They can be simple or complex, depending on the overall style of the piece.

When writing counter-melodies, it’s important to consider the intervals between the counter-melody and the main melody. Dissonances can add drama and excitement, while consonances create a smoother, more unified sound. I carefully choose notes that enhance the harmonic progression without clashing with the main melody. The key is to find a balance between harmony and contrast, a point that often requires several iterations and critical listening.

Instrumental elements play a crucial role in enhancing the impact of a chorus. I often use instruments to support the harmonies, creating a richer, fuller sound. Instruments can also provide rhythmic drive and texture. For example, a driving bass line can add energy and excitement, while string pads can create a lush, emotional backdrop. The choice of instruments depends largely on the genre and the overall mood of the song.

In some arrangements, I might use instruments to create a counterpoint to the vocal melody, adding another layer of interest and complexity. I always consider the dynamic relationship between the instruments and the vocals; I might have the instruments play softly during quieter sections and build in intensity during the louder sections, creating a dynamic range that enhances the emotional impact of the chorus. The arrangement becomes a dialogue rather than a simple accompaniment.

Adapting my chorus writing style to different musical genres is essential for versatility. The rhythmic patterns, harmonic structures, and melodic characteristics vary significantly between genres. For example, a pop chorus might emphasize catchy melodies and simple harmonies, while a gospel chorus might use complex harmonies and call-and-response patterns. A jazz chorus might prioritize improvisation and sophisticated harmonies, while a classical chorus would often employ a more formal, structured approach.

My approach involves careful research and listening to examples from each genre. I analyze the characteristic features of each style, focusing on the rhythmic and melodic elements, the harmonic progressions, and the overall arrangement. This informs my approach – for instance, I might use a driving backbeat in a pop chorus, while employing extended harmonies or modal interchange in a jazz setting. Understanding the essence of each genre allows for the creation of choruses that are both authentic and effective within their specific context.

Creating compelling vocal layering in a chorus is all about building texture and emotional impact. My preferred methods involve a combination of techniques, starting with the foundation of strong, independent vocal lines. I avoid simply doubling the melody; instead, I aim for harmonies that complement and enrich the main vocal.

• Harmonizing: I utilize thirds, fifths, and sevenths, experimenting with major and minor intervals to create a rich sonic tapestry. For example, a simple major third harmony above the melody can add brightness, while a minor third can bring a touch of melancholy.

• Call and Response: This technique involves a lead vocal line followed by a response from another voice or group of voices. It creates a dynamic interplay and keeps the listener engaged. Think of classic gospel choruses for a prime example.

• Canonic Textures: Introducing imitative counterpoint, where a melody is repeated by other voices with a slight delay, can add depth and complexity. The delay time can be experimented with to create different effects – short delays for a tight, unified sound, longer delays for a more spacious feel.

• Vocal Doubling (with a twist): While straightforward doubling can sound flat, adding subtle variations in timing, vibrato, or even a slightly different vocal tone to the doubled parts can prevent this. A touch of delay or reverb on one of the doubled parts also helps to create depth.

Ultimately, the best layering is both musically satisfying and emotionally resonant. I frequently experiment with different combinations of these techniques to find the perfect blend for each song.

The chorus should feel like a natural culmination of the verses and bridge, not a jarring interruption. I approach this in a few key ways:

• Melodic and Harmonic Connection: The melody of the chorus often incorporates elements from the verse or bridge melodies, providing a sense of continuity. Harmonically, I might use chords from the verse or bridge to create a smooth transition. A common technique is to use a chord progression from the verse as the foundation for the chorus, but then elevate the intensity through richer voicings or a different rhythmic feel.

• Dynamic Contrast: The chorus typically has a higher energy level than the verses and bridge, building anticipation and release. This can be achieved through increased tempo, louder dynamics, or a more complex arrangement.

• Lyrical Flow: The lyrics of the chorus should build upon the story told in the verses and bridge, providing a succinct summary or emotional climax. Think of the chorus as the most memorable and impactful part of the narrative.

• Instrumentation: The instrumentation in the chorus can expand on the sounds used in the verses and bridge, introducing new instruments or layering existing ones to add richness and fullness. However, it’s important to maintain a cohesive soundscape throughout the song.

For example, a song might have a quiet, introspective verse, a more emotional bridge, and then a powerful, anthemic chorus that draws all the threads together. The key is to create a feeling of organic growth and resolution.

Creative differences are inevitable in music production, and I embrace them as opportunities for growth. My approach is built on open communication, mutual respect, and a willingness to compromise. I believe the best results come from collaborative effort.

• Active Listening: I make sure I understand the producer’s and songwriter’s vision, asking clarifying questions and actively listening to their feedback. This shows respect and encourages further open dialogue.

• Presenting Options: Rather than presenting a single, finished product, I offer multiple versions of a chorus, each exploring different arrangements or stylistic approaches. This provides options and allows for informed decision-making.

• Data-Driven Decisions: Sometimes A/B testing different arrangements can help objectively assess which approach works best. This eliminates bias and focuses on what resonates most effectively with the listener.

• Compromise and Collaboration: Ultimately, a willingness to compromise is essential. If we can’t agree on a particular element, we look for creative solutions that incorporate elements from both perspectives, resulting in something better than either of us could have envisioned on our own.

I’ve found that maintaining a respectful and collaborative environment fosters trust, leading to innovative and satisfying results. Successful collaborations are about blending individual strengths into a cohesive whole.

My understanding of music theory is fundamental to my chorus writing. I utilize concepts such as:

• Harmony: A deep understanding of chord progressions, inversions, and voicings is crucial for creating interesting and effective harmonies. I understand how different chord qualities (major, minor, diminished, augmented) affect the emotional tone of a chorus. I frequently use secondary dominants and borrowed chords to add color and unexpected turns to the harmonic landscape.

• Melody: I analyze melodic contours, phrasing, and rhythmic patterns to ensure the chorus melody is memorable, singable, and emotionally resonant. I am proficient in crafting melodic lines that are both catchy and emotionally evocative.

• Rhythm and Meter: I experiment with various rhythmic patterns and meters to create dynamic and engaging choruses. The rhythmic structure significantly impacts the feel of the chorus, whether it’s driving and energetic or laid-back and soothing.

• Form and Structure: I’m well-versed in common song structures and how to use them effectively. Understanding how the chorus interacts with the verse and bridge is key to a well-structured song.

• Counterpoint: As discussed in the vocal layering section, I apply principles of counterpoint to create interesting and complex textures in choral arrangements.

Music theory is not merely a set of rules; it’s a toolbox that allows me to explore and express my creative ideas in a precise and powerful way. My theoretical knowledge allows for flexibility and creativity.

Writing choruses for different vocal groups requires adapting the arrangement to the specific capabilities and limitations of each group. My approach is highly adaptable:

• Duos: I often create close harmonies, emphasizing interplay and contrast between the two voices. The vocal range needs to be carefully considered, avoiding overly wide leaps or uncomfortable registers.

• Trios: This offers more harmonic possibilities, allowing for richer textures and counterpoint. I might assign different roles to each voice (e.g., lead, harmony 1, harmony 2) to create a balanced arrangement.

• Choirs: This allows for greater complexity and dynamic range. I use different vocal sections (soprano, alto, tenor, bass) to create rich and layered harmonies. The arrangement must take into account the unique vocal capabilities of each section.

In all cases, I prioritize creating arrangements that are both musically engaging and comfortable for the singers to perform. I also always consider the individual vocal ranges and capabilities when writing for any group, ensuring that the arrangements are achievable and expressive.

Dynamics and phrasing are essential to creating a memorable and emotionally resonant chorus. I approach this by:

• Building Intensity: I often start a chorus with a relatively quiet, intimate feel and then gradually build the intensity to a powerful climax. This creates a sense of anticipation and release.

• Strategic Crescendos and Diminuendos: I incorporate strategic crescendos and diminuendos to emphasize certain words or phrases, enhancing the emotional impact of the lyrics.

• Phrasing and Breathing: I carefully consider phrasing to ensure that the musical lines are both singable and expressive. I incorporate natural breathing points to create a sense of ease and fluidity.

• Use of rests: Strategic use of rests can enhance the impact of a melodic phrase. A brief pause before a powerful line can create tension and anticipation, drawing attention to specific words.

• Articulation and Ornamentation: I often employ techniques like staccato or legato articulations to add character and emotion to the vocal lines. Ornaments such as trills or mordents can also add a degree of sophistication and interest.

By carefully controlling dynamics and phrasing, I create a chorus that is not only powerful but also nuanced and emotionally expressive.

My understanding of vocal production techniques is crucial for ensuring the final product sounds polished and professional. I’m familiar with the use of:

• Compression: This helps to even out the dynamics of a vocal performance, controlling peaks and enhancing consistency. I use compression judiciously, avoiding overly squashed or unnatural results. Different compressor settings can dramatically change the feel of a vocal track.

• EQ (Equalization): This allows me to shape the frequency response of the vocal track, enhancing desirable frequencies and attenuating unwanted ones. I might boost the presence frequencies to make the vocals cut through the mix or cut muddiness in the low mids.

• Reverb: This simulates the acoustic environment of a space, adding depth and ambience to the vocals. I use reverb carefully to create a realistic and natural-sounding result, avoiding overly artificial or ‘wet’ sounds.

• Delay: This creates echoes, enhancing the rhythmic feel of the vocal track or adding depth. I frequently use subtle delays to add movement and interest to vocal harmonies.

• De-essing: This technique specifically addresses harsh sibilance (hissing ‘s’ sounds) in vocals. Careful de-essing helps to tame this high-frequency energy and create a smoother and more pleasing sound.

These techniques, when used appropriately, can significantly improve the clarity, presence, and overall impact of the vocal arrangements in the chorus. The goal is always to enhance, never to distort or damage the natural qualities of the voice.

Revising a chorus arrangement based on feedback is a crucial part of the creative process. It’s about refining the initial vision to create something truly impactful. For instance, I once wrote a chorus with a complex, layered vocal melody that, while beautiful to me, proved too difficult for the singers to execute consistently. The feedback highlighted this issue, specifically noting the challenges in the transitions between phrases. My solution involved simplifying some melodic intervals and re-harmonizing certain sections to create smoother vocal leaps. I also added clear breath marks to support the phrasing and ensure evenness throughout. The result was a chorus that retained much of its original beauty but was significantly more accessible and achievable for the performers, ultimately leading to a stronger final product.

This experience reinforced the importance of iterative improvement and collaborative teamwork in chorus writing. Taking constructive criticism not as a personal attack, but as an opportunity for growth, is paramount to successful arrangement and production.

Balancing melodic interest and vocal accessibility in a chorus is a delicate dance. You want a melody that’s engaging and memorable, but it also needs to be singable and comfortable for the vocalists. My approach involves starting with a simple, strong melodic idea. Think of it like a sturdy foundation. Once that’s established, I carefully introduce melodic variations—perhaps a slight rhythmic shift, a subtle ornamentation, or a contrasting phrase – to add texture and intrigue. These variations must be thoughtfully planned, avoiding unnecessarily complex leaps or awkward phrasing.

For example, I might start with a stepwise melody in the chorus’s first line, and then introduce a small leap on a key word to create emphasis. The key is to anticipate potential vocal challenges – if a section proves difficult in rehearsal, it’s time to adjust! This is often done using stepwise movement, keeping the range within the comfortable capabilities of the singers and considering factors like tessitura (the most comfortable range of pitches for a voice).

Creating a catchy and memorable chorus relies on several key elements. First, a strong, memorable melodic contour is essential. Think of iconic choruses – they often feature a distinct shape that’s easy to recall. Second, repetition plays a crucial role. Repeating key phrases, or at least repeating melodic and rhythmic motifs, helps to imprint the chorus in the listener’s mind. This is often seen in pop music.

Third, consider the lyrical content. Powerful, relatable lyrics that evoke strong emotions tend to stick. Finally, rhythmic vitality is also important. A well-crafted rhythm that’s engaging but not overly complex enhances memorability. A good approach would be to create a simple, memorable melody in a major key, then repeat sections with slight variations in harmony and rhythmic instrumentation.

Vocal doublings and other effects can add significant texture and depth to a chorus. However, it’s crucial to use them judiciously. Overusing effects can muddy the sound and obscure the clarity of the melody. My approach is to use them strategically to enhance specific aspects of the arrangement. For example, I might use subtle vocal doublings at the unison or octave to create a richer, fuller sound, especially on powerful phrases.

Conversely, using more dramatic effects like delays or reverbs can be very effective on certain moments to create atmosphere, but are not suitable for the entire chorus. It all depends on the desired mood and style. The goal is always to enhance the chorus without overwhelming the listener’s ears. Over-processing can lead to a loss of definition and therefore impact. I often find that a good guideline is ‘less is more’ when it comes to vocal effects in chorus writing.

Copyright and intellectual property are paramount in vocal arrangements. Each element of a composition—melody, harmony, rhythm, and lyrics—is protectable. Simply recording a performance doesn’t automatically protect the arrangement; formal copyright registration is vital. This secures your exclusive rights to reproduce, distribute, and perform your work. It protects against unauthorized use and allows for legal recourse if necessary.

Understanding ‘fair use’ is also critical. While certain uses of copyrighted material may be permissible (e.g., for educational purposes), it’s crucial to operate within the legal framework and seek permission when necessary. This involves understanding the nuances of copyright law to navigate the world of music and to ensure respect for others’ work as well as protection of your own creative contributions.

Determining the key and tempo of a chorus is an intuitive and analytical process. I usually begin by considering the overall style and mood of the song. A major key often conveys a positive, uplifting feeling, while a minor key might suggest something more melancholic or introspective. The tempo should complement this feeling; a faster tempo might work well with an upbeat melody, whereas a slower tempo might suit a more lyrical, reflective one.

Next, I consider the vocal range of the singers. I’ll choose a key that allows the vocalists to comfortably sing the melody without straining. The existing instrumentation also plays a part, with the key and tempo needing to complement the overall sonic landscape. Ultimately, a balance between artistic expression and practical considerations drives my decision-making process.

Rhythmic variation is key to preventing monotony and maintaining interest in a choral arrangement. A simple approach is to introduce syncopation—placing accents on unexpected beats – to create rhythmic drive and energy. This can be done subtly, by slightly shifting the rhythm of a melody in specific sections, adding variety to an otherwise static rhythmic pattern.

Another technique is to use rhythmic interplay between different vocal parts. For example, one section could sing a steady, driving rhythm while another provides contrasting rhythmic figures. It’s important to maintain a sense of unity while still providing enough contrast to keep the arrangement dynamic and engaging. Remember that rhythmic variation needs to enhance, not distract, from the overall message and the song’s aesthetic.