Songwriting Tips, News & More

How To Overcome The Fear Of Sharing Your Musical Creations

Posted by Jessica Brandon on Tue, May 31, 2016 @07:00 AM

How To Overcome The Fear Of Sharing Your Musical Creations
by Robert Menne
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Whether you are interested in writing songs as a hobby or want to turn it into a career, you will need to share your work with others. While this may seem daunting, using tricks that have worked for countless others provides a great foundation for facing your fear. Otherwise, your creations will sit tucked away in a drawer, silent.

Building confidence is essential if you are going to have success. Even if you have no desire nor intent to make a career from your songwriting, there are many avenues available to you for enjoying your tunes and sharing them with your friends, family and even people online. As an added bonus, learning to walk through your fears is a valuable tool that can be useful in virtually every aspect of your life.

Confidence-building exercises and workshops are a great method for strengthening your self-esteem. After all, even if a person does not like your song, it does not mean they don't like you or that you are unworthy in any way. Know, deep in your being, that your self-worth is not dependent on others and you will have the confidence you need to prevent negative remarks from ripping at your heart.

When introducing your songs to others, consider the source when they provide feedback. Ask listeners to be honest and to give you constructive criticism. Realize though that people closest to you may have a difficult time finding fault or things they don't like about a song.

One of the best ways to grow your songwriting skills and find others who can give you more accurate criticism is to join a songwriting group or workshop in your area. Interacting with others who enjoy the same craft can be a source of inspiration and you can learn more about the creative process behind professional songwriting.

Of course, confidence without the skill to back it up is not beneficial. You can learn some of the tools you need at your local musician's workshop, depending on what is offered in your community. However, the greater your understanding of the song creating process, the better your work will be, and you will generate confidence at the same time.

Learning music theory is a good start. Many songwriters also learn how to play the piano, which is quite useful when writing a song. Basic music theory is essential for many reasons. You will learn which keys are good for uplifting tunes and the ones you can use to create an emotional and sad song.

Additionally, a good theory course will teach you about melody, choruses and much more. You can take courses at your local community college to gain these skills. Alternatively, you can find a free or fee-based online class though you will need to research the quality and reputation of the site to ensure the lessons are accurate.

Everyone has a creative nature and you can express yours through music whether you want to focus on pop love ballads, heavy metal or techno tunes. When you ask other musicians for constructive feedback, pay attention to their comments. Rather than feeling defensive or tossing the piece, think about the validity of their response and whether or not you need to alter the song. Even professionals with years of experience edit their songs repeatedly before finalizing them. You can certainly do the same.

If you plan to perform the piece, either live or on video, make sure you know it well enough to recite in your sleep. The words and melody should roll naturally from your mouth, drawing listeners into the story your song tells. You will be more at ease and the music can shine for itself.

All artists have a fear of people negatively judging their works, you are not alone! However, if you learn the basics of songwriting and esteem building techniques, you can overcome the fear of sharing. The more you share your tunes and learn about your craft, the easier it will be. Eventually, the butterflies in your stomach will be just another part of sharing a new song and not the debilitating monsters they are now!

Robert Menne writes and plays music in his spare time. He runs a site freesongs.us that shares the latest tips and advice about guitars and guitar playing, as well as the best video guitar lessons to help you learn to play guitar.

  

To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, song demo, collaborations, Building confidence, Fear Of Sharing Your Music

5 Things I’ve Learned About Making Music For Film

Posted by Jessica Brandon on Tue, May 24, 2016 @07:00 AM

5 Things I’ve Learned About Making Music For Film
By Ed Gerrard

EdGerrard.jpg

A film music supervisor wears many hats. The job involves working with the director and producers to secure numerous legal music licenses needed for music placement. You’re also involved with picking and creating new songs for use in key moments of a film. Perhaps my favorite job as a music supervisor is working with the composer on the film score that, in many cases, can make or break a film’s success and enhance the audience’s experience. Here are five things I’ve learned about making music for film.

1. Listen
Before you write a note of music, pay attention. A director will describe the feeling of the journey for the characters and the emotion of the film that they want the audience to experience. It’s the music’s job to take people there. Listen closely and take direction. That’s why they are called directors!

2. Know Your Audience
There are many different styles of films, from romantic comedies to super herofilled action epics. The audiences that these films are made for vary from middle-aged couples to teenagers and even young children. Each audience reacts differently and at different times to what they are seeing and hearing on the screen. Remember that the music must reflect this.

3. Create and Connect Themes
Several themes are required within any single movie, potentially including ones for love, hero, villain, chase, tension, and more. Sometimes you need to “sell” these themes in as little as 30 seconds or less. Linking themes together and making them connect is the key to an effective score.

4. More Is Less
The last thing a director wants is a score that competes with a film’s dialog. Whether a movie calls for a big orchestral score or a simple piano melody, the music must support the dialog and not overwhelm it. It must appear that the words are floating over the music, not drowning in it.

5. Enjoy the Process
Too many movies these days have sterile, boring scores. It often seems like composers are disinterested and simply going through the motions of making music for film. (And sometimes it is the movies themselves that are not very good)! Remember that music is the one thing that can make a horrible movie watchable. So create and have fun with the challenge of putting music to picture. Learning your craft is the first step toward winning that Oscar!

[Reprint permission by Keyboard Magazine]


In a career spanning more than a quarter century, Ed Gerrard has managed numerous Grammy winning artists and supervised the music for 20-plus films and television series, including the new Miles Davis biopic Miles Ahead, which stars Don Cheadle and features a score by Robert Glasper. Ed Gerrard is known for his music work in Scream (1996), Scream 2 (1997) and Scream 3 (2000). Find out more at
www.impactartist.com

 

To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, song demo, music supervisor, collaborations, Writing Music for film and TV, film scoring

How to Write A Hit Song

Posted by Jessica Brandon on Mon, May 16, 2016 @07:22 AM

How to Write a Hit Song

by Shelly Peiken
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I WISH I knew. If I had the answer I would have written a whole lot more. Anybody who tells you there’s a formula...like always have the title in the first line of the hook or always get to the chorus in thirty-seven seconds, is probably describing a winning scenario that works sometimes, but I assure you, no formula will work every time. As for me, as soon as I think I’ve found the perfect cocktail, somebody hides my vodka.
 Having said that...I have picked up some songwriting tips from partners and colleagues that have resonated with me over the years. Such as...

Stay True
—I was on a songwriting panel with Kara (“American Idol”) DioGuardi, and she said something that was quite matter-of-fact. Let me Karaphrase: “If it doesn’t feel inspired going in, it won’t feel inspired coming out.” Sometimes the simplest ideas go under-appreciated. How many times have I been complicit in finishing a song I wasn’t “feeling,” so as not to be the stick-in-the-mud or disappoint my co-writer? The answer is: a lot more than I’d like to admit. Even though sometimes those songs manage to get recorded, more often than not, they don’t, and then I fail with something I didn’t believe in in the first place.

  • Walk Away
—When you’re stuck...take a walk! This can be more visually stimulating in a city; however, there are other ways to clear your head. Here in L.A., we drive to a place where we can walk. Or we sit by a pool; there are so many pools. 


  • Separate
—Dan James, Leah Haywood and I had bits and pieces of a puzzle that we just couldn’t seem to put together. Dan left the studio for a coffee and a smoke and as soon as he came back in, he spewed a whole hook. Just like that—as effortless as a fart. After all that constipation, Leah and I looked at each other—WTF, Dan? And... did somebody get that? 
Songwriter Michelle Lewis excuses herself to “powder her nose.” She always comes back with a clever line; I know it has nothing to do with her nose. She just needs a little space. 


  • Double Down
—When I first worked with Albert Hammond, Sr., he suggested using the same exact line back to back. I said, “Albert...Umm...you just used that line.” And he said, “So what? Did it feel good?” It did. He said, “ Then don’t worry.” 


  • Be Ready
—Though your mobile device with its Voice Memo App is most likely by your side 24/7, sometimes it’s just nice to feel a pen glide around on paper. So keep a pad of Post-it notes on the piano, under your pillow, in your closet, in your sock drawer, in the spice cabinet, by your toothbrush, the kitchen sink, in your man-purse, the glove compartment, the bathroom, your gym locker—you get the idea— because you never know when an idea is going to tap you on the shoulder. You can swear you’ll remember it, but you won’t. 


  • Work It Out
—Get that blood closer to your brain. Good things happen when your heart beats faster. 


  • Leave Room to Pace—
Get out from behind the computer. Staring at a screen can hold you hostage. Release yourself. Your mind is freer when it’s not confined. 


  • Keep Going—even when you feel like you’re filling up pages with meaningless gibberish. Often the golden nugget turns up at the very end of the last page of the stuff you thought was nonsense. 


  • Be Disciplined
—Sit at the piano or with that guitar every morning and noodle... even if nothing comes. Eventually something will. 


  • Word Games
—Crossword puzzles let you practice fitting words into limited or specific spaces...twisting and turning concepts around until some- thing clicks—like writing lyrics. Sometimes, just when you’re certain you can go no further, the next day you’ll be crossing the street and voilà...23 Across (or that missing line) becomes obvious. Your brain is working, even when you’re not. 


  • Listen
—Keep your ears open for snippets of conversation that catch your attention—a slur from a drunk in the checkout line, a blurb about the weather on the news, a lament from a tired two-year-old. We hear things selectively for a reason. 


  • Rhyming—
Soft rhymes or sound-alikes are pleasing. They have texture. They are fresh. Exact rhymes can sound stale. A perfect rhyme that’s “ball- park” is not nearly as interesting as a scrappy one that tells the truth. 


  • The More the Merrier—
If you can’t sing, consider writing with someone who can, especially if you are aiming to pitch the song to an artist with a big voice. A singer with range can take you to melodic places you wouldn’t have ventured yourself, simply because...you can’t sing! 


  • Access Your Madness
—Even the most mentally healthy songwriter harbors a bit of emotional dysfunction. This is no time to be sensible. Unleash it. It will serve you well. 


  • Dream It
—When you’re searching for an elusive word or an alternative melodic shape, concentrate on it when you go to bed. What we fall asleep thinking about is often what we dream about. If it comes to you in your sleep, document it as soon as you wake up, because we forget 90% of our dreams within ten minutes of waking. It’s been said that the introduction to “Satisfaction” came to Keith Richards in a dream. Makes me want to take a nap. Yawn. 


  • Set the Mood
—If you want a song to have a certain melancholy feel, listen to another song that has a similar melancholy feel, while you’re working on the new song. I’m not suggesting you rip it off...but use it like Viagra, if you will, to get in the mood. (If you remain inspired for more than four hours, be sure to get medical help right away.) 


  • Keep Perspective—
I’m uncomfortable when a co-writer automatically defers to me. He might think I know better just because I once wrote a big hit. I don’t. Conversely, sometimes I’m writing with someone who just had a hit and I start thinking maybe she knows better. She doesn’t. 


  • Stay Clear
—A lot of great songs have been written under the influence, but be careful. While being high may open your mind and let you see things in a different light, sometimes that heady mist of open-mindedness makes it hard to tell whether you’re really brilliant or just imagining you are.

My apologies to everyone who saw the title of this chapter and thought by reading it they’d know how to write a hit song. It’s just not that simple. If I had to come up with one X factor that I could cite as a characteristic most hit songs have in common (and this excludes hit songs that are put forth by an already well-oiled machine...that is, a recording artist who has so much notoriety and momentum that just about anything he or she releases, as long as it’s “pretty good,” will have a decent shot at succeeding), I would say it would be:

A universal sentiment in a unique frame.

ConfessionsOfASerialSongwriter.jpg

Shelly Peiken is a Hit songwriter who is best known for writing #1 hits "What A Girl Wants" and "Come On Over Baby (All I Want Is You)" by Christina Aguilera, #1 hit "Bitch" by Meredith Brooks, and the Top 20 hit "Almost Doesn't Count" by Brandy. She has also written songs that were recorded by some of the biggest names in music: Celine Dion, Britney Spears, Gladys Knight, Cher, Gloria Gaynor, Samantha Fox, Taylor Dayne, Natalie Cole and many more. She wrote the book "Confessions of a Serial Songwriter” published by BackBeat Books, available on Amazon and at Bookstores near you.

 

To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, song demo, Britney Spears, How To Write A Hit Song, hit songwriting, Shelly Peiken, Christina Aguilera, Meredith Brooks

Songwriting Radio Podcast, featuring winners of 2015 USA Songwriting Competition

Posted by Jessica Brandon on Thu, May 12, 2016 @02:52 PM

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(Pictured: Distant Cousins, Top winner of the 2015 USA Songwriting Competition)

Songwriters Radio Program, featuring the best new songwriters of today: Distant Cousins, Akon, Brian McKnight, Willie Nelson, Faith Hill. American Authors, etc. Winners of the 2015 USA Songwriting Competition are featured on this podcast.  

To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net


 
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5 Simple Truths I Learned About Songwriting

Posted by Jessica Brandon on Tue, May 10, 2016 @07:00 AM

5 Simple Truths I Learned About Songwriting

by Jessica Brandon & Ron Van Dyke

 songwriter.jpg

I thought I knew a lot about songwriting when I first got involved with co-writing and writing with other songwriters and producers.

I was dead wrong.

I had a transformation of sorts. While helping to write this article together, I discovered the real truth about songwriting. I found out how to write a song without having to feel uncomfortable and feel like I was forcing the issue, plus a heck of a lot more.

Here are five simple truths I learned about songwriting, and myself, after being involved with writing songs with other co-writers.

 

  1. Nobody is a natural songwriter

When I started in songwriting I got three words of advice from my band member “Go get ‘em.” Most musicians and songwriters seem to think that you can go out there and just write. When that doesn’t work, and you come up short too many times, you start thinking you are no good at songwriting.

The simple truth is no one is a natural born songwriter. And songwriting is a learnable skill anyone can master given the right tools, strategies and learning. There are hit songwriters such as Harriet Schrock, Jason Blume, Ralph Murphy who are songwriting teachers that are helping budding songwriters.

 

  1. Rewriting Your Songs

The first draft of your song may not always be the best. Sure, you have heard hit songs written in just 5 minutes. However, rewriting lyrics and music can be a rewarding experience. Especially if you are not satisfied with your first draft, writing songs is like sculpting a sculpture, a piece of art.

Also, when you return to your song an hour or a week later, you’ll have partially forgotten its details—and assuming you documented the draft carefully, that’s a good thing!

 

  1. Don’t wing it, learn song structures

When I first started songwriting many years ago I had no form. I didn’t know what AABA form or verse, chorus, bridge was. I had no idea what a verse refrain structure was. There was no preparing in advance and no real order to what I would say or how the melody or chords would be. I knew what I wanted to say in the song well enough and could wing it. But since I didn’t have a set way to write, it was hard to learn the various structures for writing a song. I was leaving my songs to chance and letting the many songs go incomplete. Learning structures of various songs is important – it lets you control the songwriting process so you can steer your lyrics, melody, chord progression, and have a better chance of completing the song.

 

  1. Songwriting should come naturally

If you learn structures of songwriting, the momentum you build and the objections you eliminate will make your audience eager to hear your song, which makes the songwriting a pleasant and rewarding experience.

Also, listening to new songs on the radio can provide sources of inspiration. There were times where I had the dreaded “Songwriters Block” where no music or lyrics were coming from my head. I took a 15 minute break by turning on the radio and Voilà – I had a hook for the chorus! My ideas for the verse, pre-chorus and bridge came quickly and my song was completed within an hour.  

 

  1. Co-writing credits can sometimes be misinterpreted

If you look at the Billboard charts you’ll notice that many of the songs have more than one writer credited. This may not always be as it 1st seems as some of the co-writer’s listed may not have written a single word or a note. In these cases it could be a producer, an A & R manager or an artist who worked a writing credit into the deal with the songwriter. The more famous or well known an artist or producer is, the greater the chance of having a hit song and, therefore, the more leverage they have in getting these kinds of "co-write" deals especially with hungry songwriters. A famous example of this was Elvis Presley who indicated that he wanted to cover Dolly Parton’s song “I Will Always Love You”. Parton was interested until she realized that Presley’s manager expected her to sign over half of the publishing rights. She declined and the rest is history.  The song went on to be one of the best selling hits of all time when it was covered by Whitney Houston with Parton keeping all of her royalties.

Many of the great songs out there have been written by more than one writer, which goes to show that co-writing can be a fruitful and wonderful thing. If you are looking for co-writing opportunities it’s important to know your strengths. Are you better at the music side of things or are you stronger with the lyrics? Knowing this can help you identify co-writers who have strengths that you may not have, therefore, making it a potentially better match and hopefully avoiding disappointments. If you are able to hook up with writers who are better and more experienced than you, even better. Collaborating with other songwriter’s is a cool thing and definitely worth trying. This is just one of the many fascinating topics that are covered in our past blogs posts.

 

Enter your songs in the 21st Annual USA Songwriting Competition, enter online or by mail. Enter now... But you must enter by midnight, May 27, 2016. Go to: http://www.songwriting.net/enter


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, song demo, song structures, collaborations, Co-Writing Songs, Music Publishing Deal, Music Publishing Contract, Record Contract, Rewriting

Songwriting Tip: Use Other Keys Than Major & Minor

Posted by Jessica Brandon on Tue, May 03, 2016 @07:00 AM

 

Songwriting Tip: Use Other Keys Than Major & Minor!

by Johan Wåhlander & Jan Sparby
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This book excerpt explores the opportunities for communicating differens emotions presented by the less used diatonic scales, and looks at what flavor their character tones bring in (each scale has one tone that stands out).

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Guest Post excerpted from the newly released e-book Songwriting: Get Your Black Belt In Music & Lyrics


Use Other Keys Than Major & Minor!

Try other flavors than the ones you get from the major keys or the natural minor keys (with variations). There are five additional diatonic scales that can be used for basing your songs on. Four of them can be used for making songs with chord sequences, and the fifth is great for songs without chord sequences (modal music). Here they are:

Dorian (white keys from the note d) sample song: Mad World by Roland Orzabal (Tears For Fears). The raised sixth scale degree makes it less gloomy than a Natural minor key.

Phrygian (white keys from the note e) sample song: Down With the Sickness by Disturbed. The lowered second degree brings in quite a lot of attitude.

Lydian (white keys from the note f) sample song: Dreams by Stevie Nicks (Fleatwood Mac). The raised fourth degree creates a dreamlike yet restless atmosphere.

Mixolydian (white keys from the note g) sample song: Belfast Child by Jim Kerr (Simple Minds). The lowered seventh degree makes it considerably less cheerful than a Major key. Also, as you can hear in this song, it blends well with the blues scale.

Locrian (white keys from the note b) sample song: The Evil Has Landed by Testament (deviates from the scale at 1:03). The locrian scale has the most potential for sadness/gloom when used in a low energy setting, and fury/rage when used together with fast a tempo and furious drumming. Due to its lowered fifth degree, The Locrian scale is a bit difficult to handle though. This you’ll notice as soon as you try using your regular chord sequences. If you stick with the first scale degree as the tonal center you’ll be fine! Make use of riffs, ostinatos, melodic lines and harmonies. Read more about this topic and how to apply various techniques in the e-book ”Songwriting: Get Your Black Belt In Music & Lyrics”.

  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
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