Songwriting Tips, News & More

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

Posted by Jessica Brandon on Mon, Mar 16, 2015 @12:20 PM

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

Tags: songwriter, song writer, song write, Song writing, Songwriting, lyric, Melody, writing songs, songwrite, chord progression, Cliff Goldmacher, title idea, melodic idea, lyrical concept, lyrical hook

Songwriting Tip: The Lover and the Beloved in Your Song

Posted by Jessica Brandon on Mon, Mar 09, 2015 @07:38 PM

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

Tags: songwriter, song writer, Song writing, Songwriting, Helen Reddy, Lyrics, Harriet Schock, Grammy Award, love song