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Songwriters: How to Demo Your Songs for Maximum Effect

Posted by Jessica Brandon on Wed, Jun 24, 2015 @09:24 PM

 

Expert Advice: Songwriters: How to Demo Your Songs for Maximum Effect

 

By Holly Knight

 

 Holly Knight, songwriter

 

There are many things that come into play when deciding what kind of demo you want to make. You will need to:

 

 

 

Decide who you want to pitch the song to.
• Determine what kind of sound you’re going for i.e. production.
• Figure out your budget (what you want and what you can afford aren’t always the same, but this is one of the biggest factors).
• Decide who plays on your demo: Is it you, or a combination of you and a hired vocalist? If you don’t play at all, you’ll need to hire musicians. If you’re not a great singer, hire one. Trust me, getting a good singer to sell your song is very important.

 

 

 

These days it is remarkably cheaper and much more convenient to record out of your own place, even your bedroom. If you’re serious about songwriting, you should have, at the very least, a simple, inexpensive program such as Logic, or GarageBand, both now a part of the Apple startup package. There are countless free tutorials on YouTube to learn them and they are pretty user-friendly.

 

 

 

1. If you are not already set up to record at home, then do so! Set yourself up with a digital home recording system. I use Pro Tools, the industry standard, used by almost every music producer. It’s more expensive, but there are different versions with a startup one being more affordable.

 

 

 

2. Learn how to program and engineer on a basic level. Engineering yourself saves money and time. Another advantage is that any time you feel inspired, you can work on your demo. You have the freedom to keep trying lots of different things without looking at the clock and worrying about emptying your bank account. I can’t tell you the number of times I’ve gone in my studio at 2:00 a.m. in just my underwear and Ugg Boots and recorded something really cool, without having to worry about dealing with someone else.

 

 

 

3. Use a male vocalist for a demo if you’re going to pitch it to a female rock singer (or any kind of edgy female singer like P!nk). Usually those kinds of female singers are a bit tomboyish, and they want to sing like a guy, so it’s easier for them to imagine singing it.

 

 

 

4. Do not make the mistake of getting a singer to sing like the artist you’re pitching to. Obviously, stylistically you want them to sell the song, but you don’t want to be off-putting to the artist either. I never gave a demo to Pat Benatar or Tina Turner where the vocalist sounded just like them. Sometimes they even feel like they’re being parodied. Not a good thing.

 

 

 

5. There are two kinds of demos these days. Either highly polished and practically a master unto themselves, or a very simple and real sounding demo, something like a piano and vocal, or an acoustic/vocal version. One of the advantages of submitting a high-end demo is that sometimes, if the producer loves your tracks—especially if it’s programmed synths and drum beats—they’ll want to use them on the master they’re recording with the artist. If this happens, you can negotiate a credit for either coproduction or programming.

 

You should also work out payment, which is usually in the form of points (a percentage). Sometimes, but very rarely, they will use the entire session or even hire you to produce the master with the artist. This almost only happens when you are known as a producer, and probably is not applicable to this article.

 

 

 

The disadvantage to putting too much into a well-produced demo is that often a producer, A&R guy or the artist can’t hear enough of the song on its own merits, and you haven’t left enough room for their imaginations. Sometimes that turns people off.

 

Another disadvantage is it can cost a lot more money once you’ve hired an engineer, and various musicians.

 

 

 

6. In my personal experience, a truly good song often sells itself better when it’s a simpler demo. If it sounds great in a simple form, then an artist can imagine how they would do it and “make it their own.” A great production of a weak song will get you nada, but a great song, even with a simple demo will stand a better chance of getting cut.

 

 

 

7. Make sure the vocals are loud. You’re not making your own record. You want the listener to hear the words.

 

 

 

8. Make sure you can understand the words when the vocalist sings, so that A&R peeps never need to look at a lyric sheet. Don’t overdo the effects, like delay and reverb, to the point that the singer sounds far away and hard to understand.

 

 

 

9. Don’t go crazy with guitar or other instrumental solos if your objective is to get a song cut. No one CARES. Unless your demos are also intended to sell you as an artist, then you can throw in some dazzling musicianship; but even then, I would keep those moments minimal. No one CARES. They want to hear great songs they can market.

 

 

 

10. Back everything up, every few minutes that you’re working— you can set your program to do that automatically—and label your sessions clearly. I can’t tell you how many sessions I used to label as “Friday night, USE THIS ONE.”

 

 

 

11. Usually an MP3 will suffice. It’s easy to send around, and easy for the listener to open up and listen to. I’ve often gone to the trouble of sending a higher res file, such as Wave or AiFF via Dropbox, and no one seems to appreciate the difference. You want the demo to be as easy as possible for the listener to access. If they have to go to yet another site and download a song you’re submitting to them, sometimes they won’t even bother to listen.

 

 

 

Ah now, submitting your songs....that’s a whole ‘nother subject, y’all... I hope this has helped you! Rock on!

 

 (Reprinted by permission, Music Connection magazine) 

 

About the Author:

 

HOLLY KNIGHT is a three-time Grammy winner, the recipient of 13 ASCAP Awards and a 2013 inductee to The Songwriters Hall of Fame. For a complete discography of her work, and to learn about her intensive, limited-enrollment Master Songwriting Classes, go to hollyknight.com, Twitter: @HollyKnightlife

 

 

 

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

 

 

 

 

 

 


Tags: songwriter, song writer, Song writing, Songwriting, Nashville, demo, hit song, co-writing

Songwriting Tip: Gotta Love That Wrong Note

Posted by Jessica Brandon on Wed, Jun 10, 2015 @10:59 AM

GOTTA LOVE THAT WRONG NOTE  
by Harriet Schock

 Gotta love that wrong note - songwriting
There’s a lot to say about “wrong notes” but I’m going to concentrate here on the good ones—the ones that you wait for in a song. They’re not really wrong, but they’re unexpected and give a color to the music that is rather magical. Some occur from simply non-chordal tones called appoggiatura, and we’ve all made lots of use of these. Otherwise, the melody is too diatonic, like coloring inside the lines.
 
But let’s talk about wrong notes as in “that note is not in the scale” sort of wrong notes. Those are the really fun ones. My current songwriting student, a wonderful composer/songwriter, Robert Intriligator turned me on to the phrase “The Rodgers patented wrong note,” which was coined by Deems Taylor, a biographer of Rodgers and Hammerstein. Richard Rodgers was arguably one of the greatest popular composers of all time. His body of work is vast and in a huge variety of styles. But there is a characteristic he became so known for, they coined a phrase for it. I asked Robert Intriligator to find a bunch of examples for me, and I went to the piano and noticed that these are some of my favorite places in his music. For example in “Something Good” from “The Sound of Music” that raised fourth on the word “childhood” is what we wait for. In “No Other Love” (from “Me and Juliet”) he uses a raised 2nd on the word “you” in the phrase “only my love for you.” In “Oh, What a Beautiful Mornin' ” the “morn” of “mornin'” is on a flat seventh of the scale or raised sixth, depending upon your viewpoint. In looking over most of his “wrong note” examples, though, Robert concluded that most of them are a raised second or fourth.
 
Of course, in “Maria,” commonly known as “How Do You Solve a Problem Like Maria,” he uses a raised fourth as well as a raised second in the first line; but because they’re not held or accented, they simply seem like passing tones and aren’t as remarkable.
 
In order to create a bit of dissonance, the note has to stay there for a while. All consonance in a song is like a plot in a play or movie with no conflict. It’s just not interesting enough to hold our attention. I remember when I first heard “When We Dance” by Sting I waited for that note on the word “love” in the line “like I love you.” Yeah! Of course, these dissonances, wrong notes or whatever you want to call them are everywhere. They’re not just in Richard Rodgers and Sting. It might be fun for you to look for them in the music you listen to and pick out by ear what the composer is doing. Where is the “wrong note” and which scale degree did he/she augment or flat? Anyway, studying Richard Rodgers can only help a songwriter/composer since there’s so much to learn from his music.
 
There’s an old expression in jazz that goes something like “If you hit a wrong note, go back and hit it again in the same phrase. That way it will seem to have been done on purpose.” The trick is to find out when and where to do it on purpose the first time.
 

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

 

 

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