Songwriting Tips, News & More

Songwriting Tips: Your Best Friend Melody

Songwriting Tips: Your Best Friend Melody

by Ralph Murphy

Ah melody! A songwriters best friend, your beacon in the night, an integral part of only great songs that makes your compositions shine, the signpost that points the way to a hit.

 
Yes, melody is all that and more. Perhaps too much more. As I deal with the affect of melody extensively in "The Book" and USA Songwriting Competition has asked me to be brief...I will be.

 
Unless you are dealing with an audience ready to dance and you are looking at 110 to 135 Beats Per Minute (BPM) at midnight, even then, what probably lures listener to you song is melody. However, what keeps them there is lyric, a simple story well told. I have friends tell me that they love this song or that song but they say they don't know the words. When I play "that song" for them surprisingly they know the lyric! What invites the listener into the song is melody, what keeps them there for a long time is lyric.

 
It is an interesting characteristic of the human animal that we are not very good at auditory multi-functioning.......hearing more than one moving part simultaneously. When that happens, given our preference we always defer to melody. So, where you tell your story and you want the audience to listen, remain linear otherwise you don't lead the listener to the lyric.

To quote my old pal Harlan Howard "Don't change your chord 'till you change your thought"!

 

However, on the other side of the coin, as a "creator of works" if you are called on to write for an artist with a huge vocal range and the ability to soar musically is part of their musical "persona" then you respond accordingly. One syllable words, open vowel sounds, minimal story and a huge melody are your best friends.

Always remember, you the writer must fulfill not only the listeners expectation but also the artists perception of the image they wish to project. When that happens it is a wonderful thing, everyone high fives and celebrates. When it doesn't happen the songwriter gets the blame!

Ralph Murphy is a producer and songwriter. He wrote huge hit songs such as Crystal Gayle "Talking in Your Sleep" and "Half the Way". Murphy has served as President of The Nashville Chapter of the Recording Academy and has been a NARAS National Trustee. Add to that the platinum records as a producer, the widely acclaimed Murphy’s Laws of Songwriting articles used as part of curriculum at colleges, universities, and by songwriter organizations, 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. For more information on USA Songwriting Competition, please go to: http://www.songwriting.net

Songwriting Tips: The Easy Way to Write Hit Melodies

The Easy Way to Write Hit Melodies

By Molly-Ann Leikin, Song Marketing Consultant

www.songmd.com

 

To write stronger, memorable, singalongable tunes, here’s the process I use.  It has worked for 88% of my clients.  The 12% who didn’t have success, just plain didn’t do it.

My way isn’t the only way to write a melody, but if you are having issues with this part of your songs, here are six quick steps that work. 

When my songwriter clients send me their songs for consultation, and there is a problem with their tunes, it’s usually because these writers are playing chords, expecting them to do the melody’s job.  They can’t.  But when the notes come first, voila. 

The entire second chapter of the fifth edition of my book, “How To Write a Hit Song”, is about writing stronger melodies.  All of chapter eleven in “How To Be a Hit Songwriter” focuses exclusively on advanced melody construction. 

In both books, I define a melody as a series of single notes, with rhythm – something we hum or whistle.

Here’s how I write a melody.  There are 532 songs that are now on or have been on the charts because the writers tried this process:   

l. Put your guitar aside for now.  I know that sounds blasphemous, but when you change the process, you can change the result. C’mon.  Try it. 

2. At a keyboard, keep your left hand behind your back, while you choose individual notes with one finger on your right hand. Don’t play chords.  Just choose notes.  I’m watching…

3. Record everything.  Listen back, tweak what you’ve got, record, listen, tweak, record again, listen again, tweak, record.  Repeat this for a week.  Save all takes.  Then, at the end of that week, listen to everything.  

4. Assuming you like what you’ve written and rewritten, use those notes – no chords – just those notes – as your chorus melody.

5. Repeat the process for the verse melody, then the bridge, making sure the rhythm and melody of each section are completely different from the other two, and from anybody else’s song.

6. When you’re satisfied that the melody of each section is original and irresistibly singalongable, THEN add the chords. 

Let me know how you do.

 

Molly-Ann Leikin is an Emmy nominee.  The author of “How To Write A Hit Song” and “How To Be A Hit Songwriter”, she has written themes and songs for over five dozen TV shows and movies, including “Violet” that won an Oscar. Through marketing consultations with Molly, four of her clients have Grammy nominations, another won an Emmy, and so far, with her help, over 6000 of Molly’s lyricist and composer protégées have placed their work in TV shows, movies, on CD’s and in commercials.She’d be happy to set up a consultation with you:  www.songmd.com, songmd@songmd.com,  800-851-6588.

For more information on the 17^th Annual USA Songwriting Competition, go to: http://www.songwriting.net

Songwriting Tip: Keep a Book or Recorder of Melodic Or Lyric Ideas

I sent a tweet last week and received so many comments and ideas from songwriters on how they record any ideas of melody, chords and lyric ideas.

These spur of the moment ideas can develop into a hit song or developing parts of a song when you least expect it, run out of ideas or need to finish writing a song. 

Here are some quick and simple ideas:

1. Scrap Book Paper. Have a book by your desk, bed or car handy to record any ideas you may have.

2. Flash Cards. Misha Sakharoff, a songwriter that is a fan on USA Songwriting Competition's Facebook page said he uses flash cards together with flash compatible cell phones.  He also remember to make backups once in a while.

3. Recorder. Whether it is old-schooled cassette recorder like the sony walkman recorder, MP3 or WAV recorders, this can be a great tool to record your most spontanous melodic ideas. Even hit songwriter Diane Warren records on a small tape recorder gives proof that you do not need the most advanced tools all the time.

4. Music Manuscript Staff Paper. For composer and songwriters who think in terms of melody, a quick sketch of how you want the melody to go can be great especially if you have writers block. 

5. Cell Phone. Yes, with cell phones getting more advanced these days, songwriters record ideas on thier cell phone wherever they are. China Street, a fan of USA Songwriting Competition's facebook page said "I also record mine on my cellphone and along with my mini cassette player."

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

 

 

How Songwriters Can Create a Winning Song

~written by Ira Greenfield

Many songwriters have asked me what makes a winning song. As VP of development at USA Songwriting Competition for the past 14 years and I have heard winning years through the years, a winning song should be creative in both music composition aspect as well as the lyric composition. A good example is the top winning song of 2008 competition "Home" written by Jordan Zevon, Jordan Summers and Morty Coyle. Musically, it displays surprises in Chord changes and the lyrics about coming home are not the clichés of what you hear on radio. It didn't hurt the song that chorus is  catchy.

Another example is the winning song of the country category in 2007 "I Can Live Without You", written by Mary Danna and Troy Verges. One would think the song is about someone who doesn't want to live with another. However, there is a twist at the end of the sentence in the chorus "But I just don't want to". They have taken a love and heartache song and given a "surprising twist" in the end. Also, the bridge was short, surprising and also emotionally high (with the melody hitting a high note at the end of the melodic line) and yet sad. That song still remains a favorite at the USA Songwriting Competition.

I have heard submissions where songwriters try to write the derivative songs that were number one on the charts at one time and end up being awkward. One case was a songwriter who took the entire track of Jennifer Lopez song "If You Had My Love" and wrote a similar melody to the background music, even the melodic line's rhythm was so similar. The chorus even copied the melody of the original song. Our judges thought the song has been plagiarized, let alone not being creative as the judges left the room singing to Jennifer Lopez song instead. Needless to say, that song didn't win.

I realized an interesting fact that the top winning songs of the past two years have been a three-way collaboration. The winning song last year was written by three songwriters and so was the year before ("Where the Music Takes You", written by Ari Gold, Joe Hogue "JOJOHO" and Sean Petersen). That song also hit top 10 on the Billboard Charts after winning the competition. "Where the Music Takes You" was unique, it had no intro, the vocals start as soon as the music plays. The chorus was so catchy that the judges left the song singing to it.

Speaking of catchy, the winning song in 2004 was written by five songwriters ("My Three Wishes", written by Patrice Pike, Wayne Sutton, Sean Phillips and Darrell Phillips). The opening hook in the chorus of the Alternative song "My Three Wishes" was accented in an off beat way that would draw the listener to want to hear more. You can tell that the song took extra effort and creativity.

A song may sound nice to listen to but please note that a lot of work is being done to the song: musically, lyrically, artistically and more. Cher's biggest hit "Believe" was written not by one but six songwriters! Paul Barry, Matt Gray, Brian Higgins, Stuart McLellan, Timothy Powell, and Steven Torch wrote that hit number one in 23 different countries. Where would Cher be without this great hit song like this? Could you be creative enough write a song better as good as this or even better? Write one and submit it to us in the USA Songwriting Competition.

Information:

http://www.songwriting.net/enter

Muscle Music Marketing For Your Songwriting

Muscle Music Marketing For Your Songwriting
By Molly-Ann Leikin

Most creative people are terrible at business. We're all very, very sensitive and take it personally when someone is abrupt or rude as we nervously try to promote our uncertain selves.

The guy who makes one more phone call, one more time, gets the meeting. The most persistent musicians are the ones with the deals.

We hate hearing that because we're all looking for fairy godmothers to rescue and discover us, but Toto, there is no fairy godmother. No matter how much we want or need one, it's on each of us to switch gears and become the cool-headed champions of our own art.

Nobody will ever love our work more than we do. Not our mothers, dads, wives, husbands, ex-husbands, ex-husbands twice removed, significant or insignificant others.

The good news is that in my book, "How To Be A Hit Songwriter", there are three whole chapters devoted to the creative marketing your music and lyrics. And in the Fifth Edition of "How To Write A Hit Song", just published, there are two.

One of the best recommendations I can make is to call, speak to and/or meet one new music person every day. Not just when you feel like it. Every day. Keep a list with phone numbers and email addresses. At the end of the year, you'll have 365 contacts. Sure, it's easier staying home under the bed, hoping hoping hoping to just mail it in, unsolicited, but you have to leave the comfort of your creative space and get out into the world where the people are you need to meet. The chances are good that the next Sony CEO won't knock on your door desperate to go potty, hoping for a diet Coke, with shaved Bavarian ice, in the bargain.

Don't you owe it to your music to learn to be as good at business as you are at writing, singing and performing? When you are, you'll have the whole package. Then nobody can stop you.

© 2009 Molly-Ann Leikin

Molly-Ann Leikin (rhymes with bacon) is a songwriting consultant in L.A. with a house full of gold and platinum records plus an Emmy nomination. She is also a Eurovision finalist (American Idol in Europe). Three of her clients have Grammy nominations, another won an Emmy and so far, 5041 others have placed their work, with Molly's help, in movies, TV, on CD's and in commercials.
The author of "How To Write A Hit Song" and "How To Be A Hit Songwriter", Molly's website is www.songmd.com and her toll-free number for the USA and Canada is 800-851-6588. You can also reach her at songmd@songmd.com

How Songwriters Can Write Hit Song Melodies, Part 3

HOW TO WRITE HIT MELODIES, Part 3, by Molly-Ann Leikin

When I write a song, I always write the melody first, one note at a time. While I have limited chops as a keyboard player, I do hear melodies in my head. I keep a recording device of some kind with me all the time - in my car, in my purse, next to the bed, even in the shower - so that whenever I get an idea for something, I just record it, la la la'ing. Sometimes I even call my voicemail, and sing to myself. I constantly revise the notes, going over and over and over them. You may work differently, but just remember that songwriting is a process, and what comes out in the first draft is just that - a first draft - and usually needs several more to reach the finish line. I'm lucky because I feel a little click in my gut when I know something I've written is finished. But I don't have anything to do with chords or programming until much later.

After writing the single notes of the chorus, I work backwards to write the individual notes of the verse, again, one note at a time. When I am finally happy with both the verse and the chorus, I go looking for the chords to put around them. That way, I'm not inhibited by my lack of musicianship or intimidated by the technical aspects of programming. I just write the song. Once the melody's down pat and the lyric I write to the melody clicks and I have the chords that go around the notes, then I start thinking about "how do I hear this produced, what instruments do I feel, what record on the radio sounds like what I'm going for." But it all starts with the individual notes of the melody. I know from working with so many talented, developing writers that they start with too much ambition and too much technology and not enough bare simple note-by-note creativity. So if you find your melodies aren't as strong as you would like them to be, or that the marketplace requires, then I suggest you try some version of my way of writing songs and adapt it to your personality. When you change the process, you can change the result.
© 2009 Songwriting Consultants, Ltd.

~Molly-Ann Leikin (rhymes with bacon) is a song marketing consultant in California, who, for a modest professional fee, works one-on-one to help you find the right writing partner and then helps you market your finished work to all the right people. A Eurovision finalist (American Idol in Europe), Molly is the author of "How to Write A Hit Song, Fifth edition", (June, 2008) from which this article is excerpted, and "How to Be a Hit Songwriter", both published by Hal Leonard. She has a house full of gold and platinum records plus an Emmy nomination, has written themes and songs for over four dozen TV shows and movies, including "Eight is Enough" and "Violet" that won an Oscar. From the USA and Canada, you can reach Molly, toll-free, at 800-851-6588, or from anywhere in the world, at www.songmd.com. Please note: Molly does not accept unsolicited material. © 2009 Songwriting Consultants, Ltd. For more information on the USA Songwriting Competition, please go tp: http://www.songwriting.net 

How Songwriters Can Write Hit Song Melodies, Part 2

HOW TO WRITE HIT MELODIES, Part 2, by Molly-Ann Leikin

In writing a melody, it's critical to keep your audience surprised.  Since we speak English in iambic pentameter, it's natural to assume we can write in the same meter.  Unfortunately, it's deadly boring.  So I suggest you deliberately vary the lengths of your lines, and the number of notes in each, along with the number of lines or bars per section, to avoid your song sounding predictable.  After all, it's your job as an artist to tell your audience something they aren't expecting.    

The range of most contemporary singers is an octave and three - the interval from middle C, for example, to the E an octave above it.  If you write a tune with a range greater than that, you'll be hard-pressed to find a singer with the chops to handle it.  My song, "An American Hymn", which I wrote with Lee Holdridge, was only recorded once in twenty years until Lee figured out how to revise the bridge melody, reducing our octave and five to an octave and three.  Now the song is recorded at least once a month.    

Most hit "power" ballads, such as Daughtry's "Home," end their verses on notes lower than the ones on which the choruses start.  To create tension and drama in their melodies, I urge my clients, and you, to go up into the chorus, not sideways or down.  Doing the latter is like letting air out of a tire.  So go up and stay up.  And although some contemporary songs break the rising-into-the chorus rule, you can bet their rhythmic hooks at the beginning of and throughout the choruses are strong enough to overcome the melody's drop, and keep us listening.  

~Molly-Ann Leikin (rhymes with bacon) is a song marketing consultant in California, who, for a modest professional fee, works one-on-one to help you find the right writing partner and then helps you market your finished work to all the right people.  A Eurovision finalist (American Idol in Europe), Molly is the author of "How to Write A Hit Song, Fifth edition", (June, 2008) from which this article is excerpted, and "How to Be a Hit Songwriter", both published by Hal Leonard.  She has a house full of gold and platinum records plus an Emmy nomination, has written themes and songs for over four dozen TV shows and movies, including "Eight is Enough" and "Violet" that won an Oscar. From the USA and Canada, you can reach Molly, toll-free, at 800-851-6588, or from anywhere in the world, at www.songmd.com.  Please note:  Molly does not accept unsolicited material. © 2009 Songwriting Consultants, Ltd. For more information on the USA Songwriting Competition, please go tp: http://www.songwriting.net