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USA Songwriting Competition Partners with Rock n Roll Fantasy Camp

  
  
  
  
  
  

GINGER BAKER and DAVID CROSBY COMING TO ROCK AND ROLL FANTASY CAMP

 David Crosby, hit songwriterGinger Baker, legendary drummer from Cream

Rock and Roll Fantasy Camp returns to Los Angeles, Nov. 5-8, 2015

Campers to perform at WHISKY A GO GO

  

ATTN ALL SINGER-SONGWRITERS AND MUSICIANS:

THIS FANTASY CAMP IS FOR YOU!

Rock and Roll Fantasy Camp is proud and excited to announce our November 2015 camp featuring two world-renowned artists that shaped and influenced the world of rock and roll as we know it: GINGER BAKER of CREAM and DAVID CROSBY of CROSBY STILLS AND NASH! 

I'm looking forward to seeing you all in November folks! Don't forget; it's not how you play, but what you say!” says Ginger. 

How close have you come to your Rock and Roll Fantasy? Maybe you stood in line to get a record album signed or maybe you were close enough to the stage to reach out and just touch an artist’s fingers as he or she ran by.

But your REAL Rock and Roll Fantasy is jamming onstage, learning songwriting tips, etc with true legends in the world of rock music, isn’t it? Or sitting in the same room with a rock pioneer and asking the questions you’ve always wanted answered. Actually spending time with genuine rock stars that have inspired countless musicians for decades.

Our Rock and Roll Fantasy Camp in Los Angeles November 5-8, 2015, offers a once in a lifetime opportunity to jam and learn from with these two legendary artists.   This is face-to-face and standing on stage with music pioneers that have been part of some of rocks’ most incredible lineups and iconic concert events in history.

Rock and Roll Fantasy Camp offers a non-competitive environment that is open to all levels of musician and music enthusiasts” says producer David Fishof.

Legendary singer-songwriter and social justice activist David Crosby is a two-time Rock and Roll Hall of Famer, inducted as a member of both the widely innovative folk-rock band The Byrds — with whom he first rose to stardom — and the Woodstock era-defining group Crosby, Stills & Nash.

Crosby played at some of rock’s most culturally significant concerts, including the Monterey Pop Festival, Woodstock and the Altamont Free Concert. He is also one of rock’s most prolific collaborators, recording and playing with Bob Dylan, members of the Grateful Dead, Neil Young, Jackson Browne and others.

An immense talent and a true rock and roll survivor, Crosby has lived through more music history than most people even know.

Cream, Blind Faith, Airforce, Masters of Reality are just some of the influential bands put together by superstar percussionist, Ginger Baker. 

During his musical beginnings on the London Jazz scene of the late 1950s, Peter ‘Ginger’ Baker forged a name for himself for his unconventional drum setup and flamboyant style. In 1966, after seeing Eric Clapton play in London, he formed the power trio Cream with Clapton and bassist Jack Bruce. The rest is rock and roll history!

The recent documentary “Beware of Mr. Baker” paints a colorful picture of Ginger Baker, but this 1993 Rock and Roll Hall of Fame inductee known as “Rock’s first superstar drummer” is definitely excited to be part of November’s camp.

Alongside these musical pioneers, will be our rock star counselors hailing from some of the greatest rock bands of all time… Danny Seraphine (Chicago), Bruce Kulick (KISS), Rudy Sarzo (Quiet Riot, Whitesnake), Ty Dennis (Krieger-Manzarek Band), Kane Roberts (Alice Cooper), Frankie Banali (Quiet Riot) plus many more…

This amazing opportunity to spend time with two of rock’s most prolific and successful artists puts you amongst the best there has ever been!  Whether you’re a seasoned musician, a beginner, or have long held on to the dream of being in a rock band, Rock and Roll Fantasy Camp will bring your rock and roll dreams to reality…no experience necessary….

 

ABOUT ROCK AND ROLL FANTASY CAMP

For our campers, this is a life changing experience. Some of the campers play well and even gave up careers as musicians to become CEOs and lawyers. Some campers can’t play at all. What they all have in common is passion for rock music. At Rock ‘n’ Roll Fantasy Camp they all get to pursue their passion – and meet, and play with the artists who became the soundtrack of their lives. It has been a fantastic experience for all of us who have been able to witness it for the past nineteen years.

David Fishof is the founder and creator of the famed Rock and Roll Fantasy Camp where rock dreams become reality. The idea came to him after years of producing rock tours throughout the word. He's been honored to work with veteran rockers, Roger Daltrey, Ringo Starr, Levon Helm, Joe Walsh, Roger Hodgson, Todd Rundgren, Jack Bruce, Dr. John, Joe Perry, and so many more. He feels fortunate to have seen their talent first hand. David's desire to share this experience with you, gave him the inspiration to produce the one-of- a-kind, Rock and Roll Fantasy Camp.

Past rock star camp headliners have included Jeff Beck, Brian Wilson (Beach Boys), Roger Daltrey (The Who), Def Leppard, Alice Cooper, Sammy Hagar, Gene Simmons (KISS), Warren Haynes (Allman Brothers, Gov’t Mule), Dave Davies (The Kinks), Bill Wyman (The Rolling Stones), Slash, Bret Michaels (Poison), Cheap Trick, Dr. John, George Thorogood, Jack Bruce (Cream), Joe Satriani, Joe Walsh, Meatloaf, Vince Neil (Motley Crue), Duff McKagan , (Guns N’ Roses, Velvet Revolver), Michael Anthony (Van Halen), among others.  Go to www.rockcamp.com or call 888-762-BAND to sign up or for more information.

Radio Podcast, featuring USA Songwriting Competition 2014 Winners

  
  
  
  
  
  

Radio Podcast, featuring USA Songwriting Competition Winners such as: Justine & Kerris Dorsey, Luz Rios, Lawson Rollins and a few surprises... Click below to listen to the Radio Podcast...

 

 **For more information on the 20th Annual USA Songwriting Competition, go: http://www.songwriting.net/enter

Songwriting Tip : Where's The Chorus

  
  
  
  
  
  

WHERE’S THE CHORUS?

by Harriet Schock

 songwriting

As a panelist at a songwriting conference recently, I wandered into a nearby panel after mine was over. I heard an absolutely gorgeous song with the hook at the end of each verse. The panelist interrogated the writer harshly, “Where’s the chorus?!” I desperately wanted to scream at her that not all songs have choruses and despite our culture’s wide-spread short term memory loss, some stories are better told without them. Even though we’re dealing with a society whose art is often dictated by Nielsen ratings and whose attention span is a nanosecond, sometimes a repeated chorus is not only undesirable—it’s unnecessary.

Let’s review a little history, even though there are conflicting stories about how choruses emerged. Back in the day of the “standards,” “The American Songbook,” these songs were ALL pretty much AABA. Verse, verse, bridge, verse with the title in the first line of each verse or the last line. “Somewhere Over the Rainbow,” for instance, would not have been improved by a repeating chorus starting with the title. Think about it for a minute. And even into the time of the Beatles, would “Yesterday” have been a better song if McCartney and Lennon and created a big sing-along chorus with the same words each time that started with “Yesterday”?

So historically the title was frequently in the last line of the verse. I believe it sort of grew into a two-line refrain and split off like a pseudopod into a chorus around the late fifties or early sixties. This is actually conjecture but it makes sense to me that it could have happened this way. I mean the central idea of the song was contained in the one line, then in the refrain, then it grew into too many lines to be a refrain at the end of a section so it split off and became a chorus. And for most chorus songs, this works well. But some songs are much better with the title coming in by itself at the end of each verse. Country radio is full of these songs even today. And Billy Joel’s “I Love You Just the Way You Are” would not have been better, in fact it would have been made weaker by a repeating chorus. In many story songs—songs that follow one story all the way through—a repeating chorus is simply “wasted real estate” as I call it…wasting space in the song, that could have given us more story, for the sake of lyric repetition. Of course, it’s becoming more conventional than it used to be to change some of the lyrics in the chorus to advance the story a bit or give the listener some variation, while keeping part of the chorus lyrics the same, usually the first and last line at least. But when we’re following a story as we are in Bill Berry’s “Piano Tuner with the Lazy Eye” (https://www.youtube.com/watch?v=6ixrOEXezXw), the last thing we want is to be interrupted by a repeating chorus.

I realize that the “hit formula” is to have a chorus that drives the title home and the beats the melodic hook into the listener’s brain so that by the second time he hears it, it “sounds” like a hit because it’s so incredibly familiar to him. And far be it from me to kick an ear worm out of bed. I’ve made a living off of them for over 30 years. But there have been plenty of hits without choruses. Once we realize that we can write a big melodic hook chorus song whenever we want, then we move on to what is best for the song we’re writing. And sometimes the song just cries out to be AABA. Yes, even in 2015.

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. Harriet teaches songwriting privately, in classes and a popular online course by private email. For her performance schedule, list of credits and samples of her work or information on her book (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes, online courses and consultation, go to: www.harrietschock.com

For more information on the 20th Annual USA Songwriting Competition, go: http://www.songwriting.net

Show—Don’t Tell: 3 Steps to Writing Better Lyrics

  
  
  
  
  
  

Show—Don’t Tell: 3 Steps to Writing Better Lyrics

by Jason Blume      

 Songwriting

 

Our goal, when we share a song, is to evoke emotion in our listeners—to have them not only know what the singer is feeling, but to empathize—to feel the emotion. One of the most effective ways to achieve this is by bringing your audience inside the world of your song—showing them a scene unfolding—instead of simply telling them how the singer feels.

Writing lyrics that “show—don’t tell” is one of the basics of songwriting, and is one of the first things taught in almost every songwriting class. But for many songwriters, it’s easier to write lyrics that state how the singer feels. For example: “My heart is filled with happiness”; or, “I’m lonely and my heart is broken.” But while these statements clearly express what the singer is feeling, these types of statements don’t typically evoke emotion in the listener.

By incorporating three elements—action, imagery, and detail—into your verse lyrics, you can write lyrics that tell a story. Note that this tool is primarily intended for verse lyrics. In songs containing choruses, the chorus lyrics tend to be more general. Their function is to be a summation of the concept and to hammer home the title. Telling the story is the domain of the verses.

A: Action

You might recall from elementary school that verbs are figures of speech that convey action or doing. By incorporating action words you ensure that you are avoiding simply stating feelings.

An easy way to include action is to identify the emotion you are hoping to evoke then ask yourself, “What would a person do if he or she were feeling this?”

Instead of saying, “I’m missing you and my heart is broken,” you might write lines that show what missing someone and being heartbroken looks like.

For example:

  • I hug the pillow where you used to lay your head
  • I clutch a tear-stained picture of you
  • I drove to the club where we used to hang, but I couldn’t walk through that door
  • I wipe the tears that keep running down my face

Note the action words—the verbs in the examples above: “hug,” “clutch,” “drove,” “walk,” and “wipe.”

Similarly, instead of saying, “I’m in love,” show what a person in love does by writing lyrics such as:

  • I wrote your name and mine inside a heart
  • I keep singing your name like a favorite song
  • I read your text that said “I love you” at least a hundred times

The action words—the verbs in this example are: “wrote,” “singing,” and “read.”

Note that the first lyric examples never actually stated, “I miss you,” or “My heart is broken.” Nor did the second examples say, “I’m in love,” or “I’m happy.” They didn’t need to—because by “seeing” what the person in the song is doing the listeners are able to surmise how he or she feels.

To master the tool of incorporating action it can help to imagine you’re writing the script for a video, and the actors’ actions will be based solely on the words of your lyric. If you write, “my heart is breaking,” you have not told the actress what she is supposed to do to show this.

A listener cannot “see” what it looks like when a heart breaks. But if you write, “She fell to her knees as he packed his bag, and tears ran down her face”—this is something a listener can visualize. The actress knows that she is supposed to fall to her knees and cry.

I: Imagery

Imagery refers to things that be can seen. Words that convey images are nouns. Note that some nouns—such as “heartache,” “sadness,” “happiness,” and “joy”—do not represent things that are tangible. They are descriptions of emotional states. Effective use of imagery entails including words that describe things that can be seen or touched.

While you cannot see “heartbroken,” you can see the images and actions that convey that a person is heartbroken. For instance:

  • He falls to his knees and lays flowers on her grave
  • She sits in his chair and wipes her tears with a tissue
  • He kisses her photo

The images in the examples above include: “knees,” flowers,” and “grave”; “tears” and “tissue”; “photo” and “lips.”

The inclusion of these images help to show that the character in the song is heartbroken. The listeners are better able to empathize with the character’s emotional state because the lyric allows them to envision the character and the items around them, as well as the action taking place.

By including tangible items in your lyrics—things such as: furniture, clothing, a car, a house, a specific place, food, and other concrete nouns, you enable your audience to enter your song.

D: DETAIL:

Detail is the third component that will help you to show what is occurring—instead of telling how the singer or character in the song feels. By including adjectives and adverbs—or adjectival and adverbial phrases—you further describe the scene, allowing your listener to visualize it more clearly. The inclusion of detail also contributes to making your lyric unique and distinctive.

By adding detail to the examples above we can further engage listeners.

  • He falls to his knees and lays flowers on her grave – or – He falls to his knees on the cold, muddy ground and lays white lilies from her garden on her grave
  • She sits in his chair and wipes her tears with a tissue – or – She sits in his old rocking chair and wipes bitter tears with a wet, crumpled Kleenex
  • He kisses her photo – or – He kisses the photo he took of her laughing that weekend they went camping at Reelfoot Lake

Instead of using words like “pretty” or “beautiful,” provide a description. What interests you more?

She could turn every head when she walked in the room
She was the prettiest girl I’d ever seen
More beautiful than any words could ever say Like she’d stepped right out of my wildest dream

or

She had a jet-black ponytail
That curled around a butterfly tattoo
Black stilletto heels, white string bikini top And eyes that could make a sky turn blue

Incorporating Brand Names

Incorporating brand names (i.e., Ray-Ban,Levis, Calvin Klein) and the names of businesses (i.e., McDonald’s, Walmart, Dairy Queen) can be an excellent way to infuse details into your lyrics. For example, countless songs have mentioned brands of cars such as Chevy, Ford, Mercury, Cadillac, and Mercedes-Benz——but is it legal? No—but you won’t be sued as long as you present the product or business in a positive light. Your song essentially becomes a free commercial.

Additional Hot Tips: Establish a Time and Location

Specifying a time when the action is taking place can help you to tell a story—instead of telling how the singer feels. A line of lyric such as, “It was3 AMon a rainy winter night” almost demands that you continue the story—to describe what happened next.

A time doesn’t have to be exact. It could be:

  • The hottest day of summer
  • The September sun was right above my head
  • It was the middle of the longest night of my life

Placing the character in a specific location is an additional tool that can help you to tell a story. Knowing where the action is taking place can also make it easier to include detail. Is the character in his or her bed? On a roller coaster? In a supermarket? At a nightclub? In an airport? At a restaurant? In a cabin in the woods?

Examples:

  • I was sitting in my truck
    Underneath a streetlight
    Outside the house that used to be ours
  • The sun peeked above the ocean
    As I woke up on a beach inWaikiki

To view some lyrics that include exceptional use of details check out:

  • I Drive Your Truck (recorded by Lee Brice; written by Jimmy Yeary, Connie Harrington, and Jessi Alexander)
  • Last Friday Night (recorded by Katy Perry; written by Max Martin/Dr. Luke/Bonnie McKee/Katy Perry)
  • Terms of My Surrender (recorded and written by John Hiatt)
  • Irreplaceable (recorded by Beyoncé; written by Amund Bjoerklund/Mikkel Eriksen/Tor Hermansen/Beyoncé Knowles/ Espen Lind/Shaffer Smith)
  • Night Changes (recorded by One Direction; written by Niall Horan, Zayn Malik, Harry Styles, Liam Payne and Louis Tomlinson, along with Jamie Scott, Julian Bunetta and John Ryan)

There are no rules in songwriting, and I’m not implying that you should never tell how you feel in a lyric. Countless songs have become hits without the benefit of this tool. But it’s an important tool to have in your proverbial toolbox.

Detailed stories filled with “pictures” are the cornerstone of the lyrics ofNashville’s current hits—but as you can see from the lyrics referenced above, this tool can help set your songs apart in every genre. Infusing your lyrics with A: action, I: imagery, and D: detail can be the ticket to deliver your lyrics to your listeners’ hearts—and your career to the next level.


Jason Blume is the author of This Business of Songwriting and 6 Steps to Songwriting Success (Billboard Books). His songs are on three Grammy-nominated albums and have sold more than 50,000,000 copies. One of only a few writers to ever have singles on the pop, country, and R&B charts, all at the same time—his songs have been recorded by artists including Britney Spears, the Backstreet Boys, the Gipsy Kings, Jesse McCartney, and country stars including Collin Raye (6 cuts), the Oak Ridge Boys, Steve Azar, and John Berry (“Change My Mind,” a top 5 single that earned a BMI “Million-Aire” Award for garnering more than one million airplays). In the past eighteen months he’s had three top-10 singles and a “Gold” record in Europe by Dutch star, BYentl, including a #1 on the Dutch R&B iTunes chart. He was also a former winner of the USA Songwriting Competition. After twelve years as a staff-writer for Zomba Music, Blume now runs Moondream Music Group. For additional information about Jason’s latest books, instructional audio CDs, and workshops visit www.jasonblume.com

For more information on the 20th Annual USA Songwriting Competition, go to: http://www.songwriting.net

 

Songwriting Tip: Julianne Moore is Right

  
  
  
  
  
  

by Harriet Schock

Songwriting

A long-time student of mine, Michelle Krell, brought me a quote from Julianne Moore, winner of the Oscar this year for best actress:

“I’m looking for the truth. The audience doesn’t come to see you, they come to see themselves.”

This is certainly true of acting, but it’s also true of writing. The truth will hold up a mirror to the listener. This idea may be hard to sell in a business and a world that is rampantly narcissistic, but maybe it will appeal to people’s ambition. It simply works.

When you’re writing a song about yourself which is no doubt infinitely interesting to you, look for the pictures in the lyric that will draw the listeners into the story and help them see their own lives. And look for the universality of the truth. And I don’t mean vagueness. Some writers try to be general and not specific because they think more people will relate to it. That never works, unless it’s a special piece for a film where it can’t be specific. But if you start singing vague generalities in a show or an open mic, watch the audience start talking among themselves. Make sure the melody also communicates the message in a compelling way. See if it makes your own hair stand on end and play it for friends and strangers before you demo it to see if it does the same to others.
I have a chapter in my book called “Truth vs. Fact in Songwriting.” We should feel free to change the facts to tell the truth. That’s one of the best things about being a songwriter. We can change ALL the facts. And we’ve probably tried to change the truth a few times too. But that simply doesn’t work as well… not if it’s a real truth we’ve got in our sights.

I’ve come to the conclusion that excellent creative work on a subject people are not interested in can go pretty much unnoticed whereas bad work on a subject people ARE interested in can become quite well known. Just go to the movies sometime. But back to songwriting, that’s why there are so many songs (spanning the whole spectrum between excellent and mediocre) about people falling in love or people nursing a heartache. But if you want to write a song about an interesting character like “Mr. Bojangles” or “Fancy,” you had better put the listener at the movies, filling the lyric with visuals. “Try,” written by Colbie Caillat, Babyface and Jason Reeves, pulls off the difficult task of attempting to change behavior. But it does so with a lot of visuals, a universal theme, a melody with more hooks than a tackle box and a light touch on the preaching. (The video didn’t hurt either.) So if you want to write something about a subject that isn’t going to attract only teenagers in love or broken-hearted drunk people, then you’re going to have to try harder. You’re going to need to put some extra craft into it, some visuals that draw the listener into their own lives. Give them some indisputable truth that will give the listener an “aha!” moment, because even though you may be the one up there singing and their eyes are on you, it’s themselves they’re thinking of. It’s their lives they’re trying to understand better. And aren’t we lucky that we get to help them do that?

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. Harriet teaches songwriting privately, in classes and a popular online course by private email. For her performance schedule, list of credits and samples of her work or information on her book (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes, online courses and consultation, go to: www.harrietschock.com

For more information on the 20th Annual USA Songwriting Competition: http://www.songwriting.net  

 

Songwriting Tip: 4 Dos and Don’ts When Writing Songs

  
  
  
  
  
  

4 Dos and Don’ts When Writing Songs

by Cliff Goldmacher

Songwriting, writing songs
Go with your inspiration, but don’t neglect these other elements that will make your song the best it can be..


“Which do you write first, the music or the words?” This is the classic question that all songwriters get asked. In my experience, there’s no easy - or correct - answer to this one. Sometimes it’s the music, sometimes it’s the lyrics, and, often, it’s some mystical, organic combination of the two. More importantly, there is no one way to write a song. Some of the best - and worst - songs ever written were created using the same techniques. To that end, I’m going to cover four different ways to approach writing a song and some of the “dos” and “don’ts” you’ll want to keep in mind as you go through each one.

1. Writing based on a title idea/lyrical hook

Coming up with a really catchy title or lyrical hook is an art in and of itself. If you’ve got one, congratulations. Now that you’ve got it, here are a few things to keep in mind.

Do remember to make sure that everything in your lyric points to and supports your lyrical hook. Having a catchy hook only works if you build a foundation around it so that when the hook arrives, there’s a sense of drama and release.

Don’t forget to give the song real emotional content. It’s possible to be so focused on the hook and setting it up that you forget to be sincere. While the average listener might not be able to tell you why, the song won’t move them in the way that a song with genuine emotional content would.

2. Writing based on a general idea/lyrical concept

Sometimes you’ve been through an experience or have an idea for a song that feels important enough to write about. That’s as good a place as any to start.

Do capture the feeling and emotion of your concept. You obviously felt strongly enough to want to write about this idea, so immerse yourself in it and really tell the story.

Don’t be too vague. Because you haven’t started with an actual lyrical hook, you’ll need to remember to bring your overall concept to a very sharp point by summarizing it with a phrase or hook line. This hook is something you’ll hopefully come to as you’re developing your lyric around your idea. A story without a summarizing point or hook risks being too unfocused to keep your listeners’ attention.

3. Writing from a melodic idea

If you’re a melodic writer, then you’ve got a different set of challenges. Beautiful, catchy melodies are a rare commodity and should be treated with the appropriate respect.

Do honor your melody and build your song around it. Remember, people will learn your melody long before they learn your lyric, so having a good one is not to be taken lightly.

Don’t let the melody box you into awkward words or watered-down phrases. While a beautiful melody is one part of a song, it’s not the only part. Cramming in words or compromising on your lyrical integrity isn’t an acceptable approach when writing from a melody. Remember, it’s the give and take of a catchy melody and a natural, conversational lyric that makes for a great song.

4. Writing from a chord progression/groove

When you pick up your guitar or sit down at the piano, often it’s a chord progression or groove that comes first. Great!

Do dig in and develop the groove and feel. This can really set the mood of a song and inspire all kinds of interesting melodic and lyrical ideas. Also, a good groove is the very first thing the average listener will notice when they hear your song.

Don’t rely on a chord progression or groove at the expense of your melody and lyric. This is no time to get lazy. A chord progression and groove in and of itself is only - in most genres - an arrangement idea, which doesn’t really constitute a song. Without a strong melody and lyric, it’s entirely possible to have a great sounding track, and, unfortunately, a mediocre song.

As I stated at the top of this article, there isn’t one “right” way to write a song. I’d highly recommend trying every possible songwriting approach you can. Often, as songwriters, we find ourselves in a rut where we go back to the same approach over and over. While this may be comforting and even result in increased productivity, in the long run, it might not provide you with the most inspired or unique songs you’re capable of writing. Why not leave your comfort zone and try a couple of different ways of writing? You never know what you’ll get.

Good luck!


Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter including monthly online webinars. 

For more information on the 20th Annual USA Songwriting Competition, go to: http://www.songwriting.net

Songwriting Tip: The Lover and the Beloved in Your Song

  
  
  
  
  
  

The Lover and the Beloved in Your Song

 by Harriet Schock

Songwriting

Songwriters can’t escape writing a love song at one time or another. But there’s one problem I see over and over in this type of song.

In life, as in songwriting, it’s better to be interested than interesting. If you’re interested in someone, that person will find you infinitely fascinating. If you’re trying to be fascinating, he/she will rarely even be interested.

Similarly, in songwriting, if you try to dazzle the person you’re talking to in the song, or the listener, with your own wonderfulness, you may have the audience talking among themselves. Consider the song “I Love the Way You Love Me” by John Michael Montgomery. Yes, he talks how her eyes roll when he sings off key but most of it is simply about her.

He likes the way her eyes dance when she laughs and the innocent way she cries at sappy old movies she’s seen hundreds of times….how she enjoys a 2-hour bath. We get a picture of the girl he’s singing to, which gives us a better idea of how he feels than if he was just trying to dazzle us with how much better off HE is with her.

Sometimes a songwriter will show me a love song written to someone and there isn’t one single thing in it about the beloved except, perhaps, how the beloved makes the singer feel. We can’t see the person he/she is singing about and we know nothing about that person.

Maybe this phenomenon is explained by what Carson McCullers says in “Ballad of the Sad Café,”

Often the beloved is only a stimulus for all the stored-up love which had lain quiet within the lover for a long time hitherto.

This is so true that maybe it can be used in defense of the songwriter who fails to describe the beloved. It’s possible he doesn’t really see her at all. She is merely a catalyst. But unlike what we learned in chemistry class, the catalyst rarely emerges unchanged. So we might as well write about her in a way that will seem like it’s actually the beloved whom he loves and not just a place for the stored-up love to land.

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. Harriet teaches songwriting privately, in classes and a popular online course by private email. For her performance schedule, list of credits and samples of her work or information on her book (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes and consultation, go to: www.harrietschock.com

 

For Information on the 20th Annual USA Songwriting Competition, go to: http://www.songwriting.net

Songwriting Tip: Repetition, Repetition, Repetition

  
  
  
  
  
  

REPETITION, REPETITION, REPETITION

by Harriet Schock

songwriting
Edna St. Vincent Millay once said “Life is not one damned thing after another; it’s the same damned thing over and over.” In songwriting, it may seem as if the same damned thing over and over is not only permissible but called for these days. However when it gets to the point of torture, it might be best to change the melodic phrase. And maybe even the lyric—hey live dangerously.

Yes, there is a lot of persistent repetition in pop radio presently, but I think that it often sounds “trendy” rather than just current. It’s like fashions. Yes, you see them everywhere for a while—but they don’t stay in fashion. It may start at Neiman Marcus but by the time you see it at K Mart, it’s over. So if you’re writing songs you hope might be around for a while, I would suggest you avoid the same melodic and/or lyrical phrase repeated and repeated until 1) You FINALLY get the listeners’ ATTENTION or 2) You drive them so crazy, they change the station.

Some repetition is necessary, of course, such as a repeating chorus, or a melodic motif that you repeat the rhythm of and change the notes….even an interval that repeats. For instance, think of the bridge to “Somewhere Over the Rainbow.” The first and third lines “Someday I’ll wish upon a star” and “Where trouble melts like lemon drops” are melodically identical. But the second and fourth lines, (“And wake up where the clouds are far” and “High above the chimney tops”) even though they have the same rhythm are on different notes from lines 1 and 3 as well as from each other. Need I say this is not a trendy song. It’s been a standard for decades. It will sound just as good decades from now.

Songs that are simply well written about things people care about will stay around for a while. If you like repetition, use it until YOU get tired of the phrase. Don’t keep repeating it because you think that’s a current way to write. Tomorrow it might not be.


Harriet Schock wrote the words and music to the Grammy-nominated #1 hit for Helen Reddy, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. Harriet teaches songwriting privately, in classes and a popular online course by private email. For her performance schedule, list of credits and samples of her work or information on her book (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes and consultation, go to: www.harrietschock.com

 For information on the 20th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

 

 

 

Songwriting Tip: Dress Your Demos for Success

  
  
  
  
  
  

by Ralph Murphy

songwriting demo

Hit songwriter Ralph Murphy talks about songwriting in Nashville and what it takes to create a song demo for that market.

Every time a songwriter (or songwriters) finishes a song, the inevitable question comes up: How should this piece of work be demoed? Let's start by defining what we are taking about. Demo is short for "demonstration," which Webster's Dictionary tells us means "an explanation by example, a practical showing of how something works or is used."

So, step back from your song and take a long, hard look at it. What are its strong points, and what is the simplest, most eloquent way to show it off, i.e. to demo it?

Start Simply

Start with a simple guitar/vocal presentation and apply some logic. If you feel that simple will be enough, then fine. But make sure the guitar playing is excellent, the vocal is solid and well performed (by solid, I mean in tune and in character with the song), and the basic quality of the recording is good -- no pops or hiss or dropouts.

Embellish When Necessary

If the major part of the song is a big chorus, add a harmony part and perhaps a piano. If it's up-tempo and rhythmic, add an electric guitar and maybe some percussion. Now, there are songs that are great vehicles for records, but need a full demo to show them off. So, take out that second mortgage!

Look the Part

And finally, aside from clear labeling (the title, your name, telephone number, address, and the copyright notice) and a neatly typed lyric sheet (in upper-case letters), use a good quality CD (or mp3) when you pitch your song. Don't put a million dollar dream on a ten-cent recording.

Your song is copyrighted for your lifetime plus 50 years, so remember for at least 50 years, the demo you make today will be the only representation of how you really intended your song to be dressed. Make sure it's dressed for success.

 

Murphy's Laws of SongwritingRalph Murphy, hit songwriter

Ralph Murphy, hit songwriter and expert, has been successful for five decades. He wrote huge hit songs such as Crystal Gayle's "Talking in Your Sleep" and "Half the Way". Consistently charting songs in an ever-changing musical environment makes him a member of that very small group of professionals who make a living ding what they love to do. Add to that the platinum records as a producer, his success as the publisher and co-owner of the extremely successful Picalic Group of Companies and you see a pattern of achievement based on more than luck. Achieving "hit writer" status has always been a formidable goal for any songwriter. *His new book Murphy's Laws of Songwriting "The Book" arms the songwriter for success by demystifying the process and opening the door to serious professional songwriting. Hall of fame songwriter Paul Williams said in his review of the book "If there was a hit songwriters secret handshake "Da Murphy" would probably have included it. To buy his book, please click here: http://www.songwriting.net/ralph-murphy-book

 

To enter the 20th Annnual USA Songwriting Competition, click here: http://www.songwriting.net/enter

 

 

 

 

The 5 Minute Songwriting Class

  
  
  
  
  
  

The 5 Minute Songwriting Class

By Michael Anderson

 Songwriting

          If you have been reading this series of articles you know that I have been referencing film and screenwriting as another paradigm for creative use of technique in your songwriting.

          I have lately found a source of inspiration that has been quite a revelation to me in that I found someone preaching the same guerilla techniques for film that I have been preaching for songwriting.

          His name is Robert Rodriquez, and you may know his work from films such as “El Mariachi” and “Sin City”.

          Anyway, he also has a book about his experience in making his first feature length film, “El Mariachi”. The book is called “Rebel Without A Crew”, and the narrative has similarities with my experience in the music business – a good read if you are into seeing how other people have pulled it off.

          Part of his book is the “10 Minute Film School” – I thought I might vamp on that concept for songwriters:

 

“The 5 Minute Songwriting Class”

 

          Part I: The first thing is you need a good idea – I have lectured on that over and over here. Creativity is about process – the old “success is 10% inspiration and 90% perspiration” routine – but without that 10% inspiration the other 90% of your work is a waste of time. In fact, you can hire the “perspiration” part if you have the money – somebody will take your money and do all the necessary work for you if you know how to delegate and focus in that way.

          But if you are a struggling artist chances are you will end up doing most of the work yourself too because you can’t afford to hire somebody to be your “go fer”. That is OK, as Robert Rodriquez repeatedly points out, the only way to really be sure you are getting what you need is to do it yourself. That means learning all the little “processes” in the overall big picture process – learning your instrument, learning your tools for recording, learning your business procedure.

          But the initial spark is where it starts. Eddie DeGarmo told me that genius is defined by limitations – in other words, making what you have to work with work in your favor – do something on a low budget someone with all the resources in the world can’t do because they don’t have the focus for that. Find a creative way to solve a problem that no one could have come up with in any other way.

          To find that magic “idea” I recommend a few exercises that again, I am sure you have heard before.

 

          A: “Morning Pages” – direct from “The Artist Way” formula – you can do them in any way that works for you but the point is to get writing immediately in the morning while your brain is still connected to your creative subconscious and start flowing.

          Working without interruption starting first thing in the morning gets more creative work done than anything else I have ever found – a close second is late at night when it is quiet and you are tired – the same process – connecting to that part of your creative self that is a bit left of your reasonable, rational normal thought process.

 

          B: A similar process – the “Artist Date”  - again, straight from “The Artist Way”. Set aside time to goof off. Do nothing. Do what you want. Relax.

          I know, you don’t have time. Well, you can’t force creativity any more than you can make time go backwards – it is a flow and you need to find the rhythm of it – it is in another dimension, a parallel universe - and you need to find it  –  sync to it - it will not find you through your will. It may smack you upside the head at any moment, but you can’t control that. You have to be ready for it.

 

          Part II: Do it. Write it down and record it. Use what you have, when you have it. Don’t wait for the ideal guitar, perfect piano, latest software, newest recorder, machine, time, professional studio, whatever. Again, do it with what you have, when you have it. And do the very best you can do with what you have available. But also:

          A: Lower your expectations. Some people never do anything because they have such egotistic perfectionist tendencies that they can’t allow themselves to make a mistake. Get over that. Make mistakes. Fail. Learn. Do. Get better. Do it all again.

          B: Have a goal – what are you going to do with the demo? What are you going to do with the finished product? What do you need to do to get it to that point and how can you do that now?

 

          Part III: Mainly, enjoy the process of your work – enjoy the rush of the new idea. Enjoy the satisfaction of actually hearing a new part, a new line, a new creative way of doing something no one else has done – say the same thing in a fresh new way.

          Entertain yourself – make your melody, your lyric, your demo something you want to experience over and over again and show to people you trust who appreciate you.

          When you get there the other people will find you.

          Class dismissed. Go write a song.

 

You can contact Michael Anderson or purchase his “Little Black Book of Songwriting” at michaelanderson.com

For more information on USA Songwriting Competition, go to: http://www.songwriting.net

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