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Jessica Brandon

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Songwriting Tips: Burt Bacharach: How I Write

Posted by Jessica Brandon on Sun, May 19, 2013 @10:53 AM

Burt Bacharach: How I Write

by Noah Charney


Burt Bacharach, legendary songwriter

The great American legendary songwriter, responsible for 73 Top 40 hits on the U.S. charts (That's What Friends Are For, The Look of Love, etc), talks about how he writes a song, and the time Miles Davis complimented him. His new memoir, with Robert Greenfield, is "Anyone Who Had a Heart: My Life and Music". 


 

Walk me through the process of writing a song.

OK. It works different ways. You either work with a lyric first, and set it to music. Like the musical we just had that previewed at the old Globe. All the lyrics came first, and I set the music to it. Or a song like “Alfie,” the lyrics came first because it had to be about what the movie was about. For musicals, we have to move smoothly, seamlessly from dialogue into music, so you can see why it would not be advantageous to write music first in situations like that. But it can happen the other way, too. You can have a melodic refrain, a tune with no lyrics. Even when I’m writing with that, even if I haven’t started working with a collaborator [lyricist] on that particular song, I will begin with dummy lyrics. I’ll just make a lyric up in my head—whatever it may be. It means a lot to me to have words with me, when I’m sitting at the piano. The words should sound good with the notes that I’m singing—that helps me more than just hearing it on the piano. I need something to lead the way ... an instrument, let’s say.

 

How much do you usually write during one session?

I’m not a fast writer. Never have been. I may get the whole synthesis of something, or most of it, an initial impact. But you’re not going to get something every day. But it’s important that you visit your worksite every day, even if it’s just to improvise, touch the piano, play some chords. Be in touch with your music. I equate it with being a tennis player on the circuit. You don’t take three weeks off and expect to get by the first round at Wimbledon, you know?

 

If you feel yourself getting stuck during a recording session, what might you do for inspiration?

I just try to revisit it. I’ve been stuck. So much of the material I’ve done, I’ve made entirely myself—wrote the songs, orchestrated them. I’ve had a room full of musicians in a studio and I’ve gotten stuck on how that record should go down. That’s the key point, because for me the song lives or dies by what happens in the studio. That’s the life-or-death moment of truth. It will either succeed, which means you get as close to perfection from the vocal and orchestra ... you’ll never get 100 percent, but as close to it as possible. When I do get stuck, since I’m responsible for how that record is going down, if there is a moment that’s a bit of a train wreck, I’ll break the orchestra up and go into the men’s room. I’ll sit down inside a cubicle, on the toilet seat, totally away from the keyboard, and try to hear it all in my head. Where it’s faulting. Did the strings come in too early? I’ll hear it better in my head, and then go back into the control room and listen to the recording. It’s the fastest way. It’s worked for me.

 

Do you have any distinctive habit or affectations related to performing?

When I started to perform, I was very nervous. I grew up behind performers in the music business. It never was until I started performing live myself that I had to be in the foreground. Initially, I found it very uncomfortable, especially talking with the audience. I was kind of shy. It’s hard to talk to people! Well, it’s not hard anymore, I’ve been doing it for a long time. Some nights might be more difficult than others. When I used to play Vegas, as a headliner in those early years, I’d have a couple of Jack Daniel’s before going on stage. I wouldn’t think of doing anything like that now. That was just a short crutch at a certain time in my life.

 

Is there any song you just love and wish you had written?

There are any number I wish I’d written! “My Funny Valentine.” Two of my favorite pop songs of all time are “Ain’t No Mountain High Enough,” from Diana Ross’s record, and the other one would be Earth, Wind & Fire's “After the Love Has Gone.” Brilliant songs.

 

Among your own songs, do you have a favorite?

I would have to say that the importance of what “Alfie” says, its meaning. You can excerpt certain lines out of that song and think to yourself, “How meaningful is that?” In this time and place that we’re in now, “Are we meant to take more than we give, or are we there to be kind?” You know? Isn’t that true?

Absolutely. I’m curious for your thoughts on digital music composition, which is so popular these days, for instance with electronic dance music. Nowadays people can compose music just by sitting in front of their computer.

It’s just ... it works. It’s in the clouds. They’re not great pop songs, they’re not great melodies. There’s a feel to it, and excitement. It’s culture stuff.

 

Describe your morning routine.

A day at my home in L.A., I’d get up at 9:30 or 10. I work out every day, three days a week in a gym with a trainer, doing weights, two days a week in a pool with a pool trainer. When I’m out on the road like this, I stay in hotels with gyms, and I try to stay in shape. My breakfast just arrived! Wow! It’s been hours since I’ve been up today, and I haven’t eaten yet. Let’s put it this way ... I’m not in a normal routine right now.

 

What is guaranteed to make you laugh?

I try to see humor in everything. I try to see the lightness in everything. I try to instill that in my family life, with my kids. It’s a serious world out there, so let’s celebrate lightness and humor.

 

Do you have any superstitions?

Yeah, yeah, yeah. I had them with the birth of my daughter, going to the hospital every day, at a certain time, by myself. I don’t have phobias anymore. When I was a kid, I used to make sure the gas jets were turned off three times. Crazy stuff. Thank God we got rid of stuff like gas jets. Ain’t enough time for that in this world!

 

Was there a specific moment when you felt you had “made it” as a songwriter?

Maybe when Miles Davis said to me, “Hey man, ‘Alfie,’ that’s a very good song.” If Miles Davis said to me that I’d written a great song, maybe all was well in the world.

 

What would you like carved onto your tombstone?

“He tried to be a very good person.”

 

 

(This interview has been edited condensed and reprinted from The Daily Beast) 

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

 

Tags: Songwriting, songwriter song writer, Burt Bacharach, process

Recording & Songwriting Tip: How to record great vocals at home

Posted by Jessica Brandon on Thu, May 09, 2013 @02:23 PM

Songwriting Tips: How to record great vocals at home by Sven-Erik Seaholm

How to record great vocals at home

The human voice is easily the most recognizable of sounds, at least to other humans. Even before we are born, we listen for, recognize and respond to our own mother’s speech and inflections. In pop music, from Rock to Rap or Rhythm & Blues, we still find ourselves instinctively searching for that fundamental element. While the magic of music lies in its power to imply or inspire a wide array of feelings and emotions, when it comes to details and specifics, only words will do.

This places a great deal of importance on the quality of the vocals, both performance-wise and in a technical sense. No matter how great the song, groove and arrangement are, it can all be quickly undone by the entrance of a weak, pitchy, or poorly recorded vocal performance.

In the recording process, the only surprises we’re looking for are pleasant ones. A consistent approach helps to minimize unforeseen distractions that can eat up precious time and energy. There are many facets to this, including the recording environment, the choice of microphone, preamps, headphones, effects and the physical comfort and wellness of the singer himself/herself. While each voice is as unique as the individual that possesses it, there are measures you can take to minimize the negative aspects, while maximizing your listeners’ enjoyment.

 How to record great vocals at home

The space is the place

It all begins with where the singer will be performing. Most home studios don’t have an acoustically treated isolation booth available, or even a room besides the area we’ve set aside to record in. The first consideration, then, is determining what this available space sounds like and how it influences the sounds generated within it. (See Eric Ferguson’s “Recording Fundamentals” in this and several previous issues for detailed discussions of room acoustics.)

Reflections coming off walls and windows can affect things in drastic ways, multiplying some frequencies or canceling out others due to the sound bouncing off hard surfaces and arriving at the microphone slightly later. This is why iso booths are so ‘dead’ sounding: they’re essentially taking the influence of the room out of the equation.

There are a number of ways home recordists can address this phenomenon. Moving the mic as far away from the walls as possible is a good idea. Treating those walls with sound-absorbing materials like blankets, carpet, foam and even eggshell cartons are equally time-honored solutions (although these tend to deaden highs and leave lows unaffected,and the non-foam solutions are fire hazards). Closets work great—provided there’s enough space to keep things from becoming too claustrophobic!—due to the sonic damping qualities of the clothing. If you’re looking for something that’s more ‘pro’ in looks, performance, and safety, check out solutions from Auralex, Primacoustic, Foam By Mail, and other vendors.

A more portable (and slightly easier to install) fix is a reflection filter, which surrounds just the microphone with acoustically absorbent materials; it’s essentially a tiny vocal booth that you can pick up with one hand and attach to a mic stand. Besides the smaller footprint, the added benefit is a reduced amount of ambient noise (computers, air conditioners, etc.) coming in as well. sE Electronics made and still sells the first Reflexion Filter which gave this type of product its name; many competing models are made by companies ranging from Primacoustic and Auralex to CAD (the Acousti-shield 32 is reviewed in this issue).

Mic check... 1, 2, 1, 2

Once you’ve got the actual vocal recording area established, it’s time to set up a microphone. There are several types to choose from and no one mic will be exactly right for every given situation. That said, large-diaphragm condenser types are generally the most suited to vocals, due to their extended frequency response and ability to capture subtle nuances. This can make them very versatile too, which is a consideration if you’ll need to be using it to record other instruments as well, i.e. acoustic guitar and small percussion instruments like shaker eggs and tambourines. They do however, require phantom power from a preamp or mixer to function. Tube condenser mics don’t, because they use their own power supply to power the tubes, which can impart a bit more warmth to recorded sources in the process.

Some condenser models also offer selectable polar patterns like omni and figure-8, which actually bring the room back in to the sound. Omni mics also minimize the proximity effect, the increased bass response that comes from getting closer to the mic in the standard cardioid pattern. There are many great condenser mic manufacturers to choose from, with AKG, Audio-Technica, Avantone, Blue, Earthworks, Lewitt, MXL, Neumann, sE Electronics, Sennheiser, Shure, Sontronics, and Telefunken among many fine choices.

A pop filter is a necessity as well, and its proper placement is key (see Figure 1). It should be set parallel to the mic’s diaphragm, at a distance that not only provides protection from plosives (‘P’s, ‘D’s ‘B’s ‘Fr’s and other blasts of air), but keeps your vocalist from “eating the mic” by standing too close to it.

Position the mic so that the diaphragm is pointing comfortably toward the singer’s lips. It should be high enough to keep the singer from slouching, but not so much that he or she is straining to reach it. I often tilt it slightly downward as well (see Figure 2), which picks up more chest tones and helps minimize plosives.

Dynamic mics like the Shure SM58 can make a fine choice when dealing with exceptionally “bright” voices or aggressive musical styles, such as Metal, Indie Rock or Rap. In fact, many successful singers like Bono and Björk often use them when recording, because they are familiar and stand up well to handling noise. This allows them to ‘perform’ in the studio much as they do in concert.

While it is certainly true that professional results can be obtained using “ordinary” microphones, the best advice is to purchase the best microphone and cable you can reasonably afford for this important task.

 

Preamps, eq and compression

The next link in the vocal recording chain is the preamplifier. Microphones typically have very low output levels. A preamplifier (or preamp) increases this signal to line-level, the signal strength required by effects and other devices in your signal chain.

For many of us, the only preamp available is the XLR mic input on our mixer or digital audio interface. There is generally an associated Trim or Gain knob for fine tuning just how much the signal is boosted. Most likely, there is a single red LED light that will illuminate when your signal is clipping, exceeding the recommended level and causing distortion. Having the singer go through some of the loudest passages during setup will help you to find this level, at which point you can turn it down slightly until the clipping disappears. The quality of your preamp can’t be overstated, because an inferior one can degrade the sound of even the best microphone.

EQ (or equalization) is the salt and pepper in your sonic pantry. Some microphones sound great right out of the can, while others could use a little more or less of certain frequencies. You might want to add a bit of ‘air’ around 12 kHz, for example, while de-emphasizing muddiness by pulling things down 2 or 3 dB at 250 Hz.

Less is definitely more when it comes to eq and if you can get by without it at this stage, all the better. Why? Because eq is yet another form of distortion. You are permanently altering the signal by moving these frequencies (and some of their neighboring ones) around and potentially creating other problems in the process. Too much salt or pepper can’t be easily undone, and putting off some eq decisions until after tracking helps us get the seasoning just right. It also provides a clear path “back to square one”, in case we wander too far away from the point at which we started mucking about in the first place.

Compression is another wonderful tool fraught with potentially damaging side effects. A compressor reduces the difference between the loudest and softest portions of your signal. One of the main benefits of using compression is that you can place your vocal much higher in the mix without having it jump out at the listener. The right amount just sounds “mo’ better”. but too much of this good thing can squeeze all of the life right out of a performance.

At first, using a compressor can feel about as intuitive as flying a helicopter! There are several parameters that need to be set and each of them affects the others: Input Gain brings your signal to the optimal level where the compressor can see it. Threshold is the point at which the compressor starts to do its work. Think of it like the height line at amusement-park attractions: everything above this line gets on the ride, everything below it remains unaffected.

Ratio controls how much you attenuate the signal, once it rises above the threshold. A ratio of 2:1 means that for every 2d B of volume increase above the threshold, the perceived volume increase is only 1 dB. A ratio of 4:1 signifies an even more drastic reduction in volume, because for every 4 dB jump in volume, it’s being heard as a 1 dB jump. Considering that 3 dB is essentially twice as loud as 1 dB, a ratio of 3:1 renders your peaks half as loud as they would be without compression. Compression ratios of 10:1 or more (up to infinity:1) are actually called limiting, creating a ceiling above which the signal never rises; this is usually used in mastering to prevent digital overloads that cause loud distortion, but has musical uses as well.

Attack is the time it takes for the compression to kick in. This controls the amount of transients you’re allowing to pass though before turning down (or attenuating) the signal. Slightly longer attacks allow the initial smack of a drum or pluck of a bass string to get through before the body of the note is compressed, giving a feeling of more “punch”, while shorter ones can smooth over plosives and spittiness in a vocal.

Release defines how quickly the compressor “lets go” of the signal, returning it to its normal state. You may have heard of compressors exhibiting “pumping” or “breathing”. This refers to the volume constantly rising up at the end of notes, as the compressor releases the signal. Slower release times make this anomaly less noticeable, but a fast release can be used at quicker tempos.

There are two basic types of compression knees, which are labeled simply enough “soft” and “hard”. Hard knees are easier to explain, in that they work pretty much as I’ve described to this point; everything above the threshold gets squashed by the amount you’ve set your ratio to. Unfortunately, this can be less “musical” sounding than a soft knee compression slope. Soft knee means that the dividing line between compression and no compression is rounded off, so that compression comes in at a lower ratio right near the threshold. This makes for a less noticeable effect upon the signal. Used on vocals, the net result might be described as more “natural” sounding.

Finally, Output (or Makeup) Gain simply takes your effected signal and turns it back up to an optimal level. Since compression lowers overall signal levels, makeup gain assures that your signal’s as loud, on average, coming out of the compressor as it was going in.

De-Essing is a related form of this effect; it’s a form of sidechain compression, which affects only a narrow frequency band. De-essers are usually set between 4–9 kHz to combat excessive sibilance (‘S’, ‘Sh’, and ‘T’ sounds). As useful as this is, it’s also advisable to skip this step during tracking, as it is very easy to overdo it and end up giving your vocalist an unwanted lisp. I generally wait until mixing to employ this effect. A great ‘old-school’ solution is to attach a pencil to the front of the mic with a rubber band, at the center of the diaphragm (see Figure 3). This can work wonders on taming those pesky ‘hot spots’, while retaining the sonic character of your mic.

Many manufacturers include preamps, eq and compressors housed within a single unit. These are commonly called recording channels. This all-in-one approach streamlines and simplifies the vocal chain, reducing the amount of time spent patching cables and tweaking parameters. Great examples of these are the PreSonus Eureka and Studio Channel, Universal Audio’s 6176 and the Joemeek oneQ2.

 

Let’s get physical—advice for the vocalist

It can’t be overstated that singing and/or rapping is a mental, spiritual and physical endeavor. Just as an athlete needs to train, practice and rest for a big game, so too does a vocalist. Some folks seem to only sing at the gig or in the studio, even though their ‘instrument’ is always at hand!

My advice to them is always, “Sing!” Sing in the shower, sing in the car, spit rhymes while you’re walking or working alone. You need to have an intimate knowledge of your voice and everything it can do. Solo a cappella singing helps us to define our pitch relationships and at the same time, strengthens muscles and builds confidence. Practice supporting your breathing from your diaphragm. Try holding out notes at low volumes, focusing on keeping the pitch steady. Try them with vibrato and without. Try to explore horn-like sonorities and other timbres to find your own unique set of tones and textures. Most of all, sing the songs you’re going to record. The vocalists who come in and get those magic takes most quickly are rarely the most talented ones; they’re simply the most prepared.

Pre-session concerns extend to diet and other activities as well. Avoid greasy foods, sugars and especially dairy products prior to a session, as these all contribute to phlegm and mucous issues, as does smoking. Drinking alcohol may well make a vocalist less inhibited, but that usually comes at the price of fatigue and poor intonation. No one’s asking you to become an angel overnight, but when it’s time to sing in the studio, it’s time to set some vices aside.

Lots and lots of water should always be on hand, and don’t be shy about suggesting a sip between takes. This not only helps prevent fatigue, but keeps vocal chords clean and lubricated. It also improves one’s energy and mental acuity. Some vocalists prefer to have hot tea or coffee, but these can dehydrate as well. Hot water alone can really do the trick in some cases.

 

Can you hear me?

Once you’ve got everything in place, including a music stand for lyric sheets and the right amount of light, it’s time to don the headphones. If your vocalist is in the same room as you, you’ll both need to be wearing them in order to keep the backing tracks from bleeding into your vocal takes. Most mixers and recording interfaces have one or two headphone outputs, which (in addition to a headphone extension cable) may be all you need. Those needing a few more headphone outputs may need to turn to a headphone distribution amplifier, like the Aphex HeadPod, ART HeadAmp, or the PreSonus HP60.

The vocalist should be able to hear himself/herself clearly in relation to the track. Some even prefer to take off one earcup for monitoring. If they do this, be sure to have the singer close off the unused earcup against their skull or neck, so that the ‘phones don’t bleed or cause feedback. You can also pan all audio to the side in use, so the other earcup gets no audio. Also be aware of “crunchy” sounds coming from the headphones themselves, as all that plastic and faux-leather can be as noisy as your grandma’s vinyl-covered couch!

Adding some (non-recorded) reverb on the vocals can inspire confidence and make your vocalist less self-conscious, but try to use as little as possible; I personally find people sing much more in-tune without it.

Vibe is king

Let’s roll! The best advice to give your vocalists at the start of the session is... nothing. Let them settle in and get used to the situation. Even if they come in at the wrong place, or start with the wrong lyrics... whatever. Just let it slide for right now.

Why? Because instructions bring the thought process into what should ideally be a ‘feel’ process. As soon as someone begins to actually think about what they’re doing, it can come at the cost of some of the more creative and intuitive aspects, like emotion and improvisation. This is why some of the first takes are the ‘magic’ ones. Once singers begin to analyze their performance, they’ll keep score of all the negative things that happen as much as the positive.

Your job, aside from making sure to record even warm-ups and run-throughs, is to encourage them. Everything you tell your vocalists will take on added significance once they feel they are under the proverbial microscope. Choose your words carefully and render them with empathy. Let them feel that you are in this together, which in fact you are. As frustration levels climb, tempers can flare and sessions can end abruptly. It’s imperative that you keep things running as smoothly as possible. Be of service to them, so that they may be of service to the song.

Begin by running takes from beginning to end, so that you record full performances in each pass. For one, you’ll be able to see where the vocals are supposed to come in, where the verses and choruses are, etc. You will also be getting vocal takes that are emotionally in context. Just as a story develops as it unfolds, so does a song. As a result, your third chorus may differ significantly from the first one, as the tune progresses.

Once you’ve recorded two or three takes, you can then go through and address problem areas. Maybe you’ll go over the hook a couple more times, or punch in to fix that one line in the bridge, etc., until you’re sure that you’ve got all the material you’ll need to edit together a solid, cohesive performance.

 

Slicing & dicing

This process of stitching all the best bits from multiple takes into one master vocal track is often referred to as comping. “Wait, that’s cheating,” I occasionally hear people say. To them I say this: If my job is to capture you and your sound, I want to be sure I’m representing you on your very best day.

“But we only do one take when we play live,” is often the response. Yes, but your audience only hears it that one time at a show. Conversely, a recording is meant to be enjoyed over and over again, which can magnify even the smallest flaws and detract from the overall listening experience.

This first thing to do is listen through the takes and find the one that sounds best overall. This will be the foundation of your master take and you’ll be bringing in pieces from the other takes to replace sections, lines, words and even syllables. See Figure 4 for a sample section of a vocal comp in PreSonus Studio One. The process is actually simple, if not always easy, and it can be a bit time-consuming as well. Break it down into multiple passes, to remain focused and retain perspective.

During the first pass, listen to the overall performance and flow. You may hear a line and wonder if there’s a better version of it in another take. Audition them until you find one you’re satisfied with, cut and paste it into place. Go back a few measures before that section and play it so you can hear the edit in context. If it sounds good, continue on. Repeat this process until you’ve gone through the entire song, and then play the whole song back, making notes of edits that maybe don’t work as well and find suitable alternatives to put in their place.

On the next run-through, we focus on the details. Solo the vocal track and listen for clicks, bumps, crackles and less-than-perfect edits. Remove the audio gremlins. Delete or mute areas where there are no vocals, taking care to tame or even eliminate breaths. Great care should be taken not to suck the life out of the performance by editing things too tightly; ideally, you’ll take out what’s distracting while leaving the positive human elements in place. All edits should be as smooth and natural sounding as possible. If you run into one you just can’t get 100% right, take the track out of solo mode and listen to it in context. You may discover that it sounds just fine. If not, try a different take or have the vocalist re-sing it.

The final vocal editing pass concentrates on intonation—making sure the vocal is in tune. If there’s a note that’s a little off key, I prefer to open it in Celemony Melodyne, or tune the note “by hand” by slicing the clip at each end and transposing it up or down by a very small percentage until it sounds right. Melodyne, Antares Auto-Tune, or similar products can be used over the whole track if you want, but getting it close first minimizes the Cher or T-Pain effect (unless of course that’s what you want) that comes as a result of making the tuner work too hard. Online audio examples 1 and 2 illustrate what a vocal sounds like before and after this process, you’ll find them at: http://www.recordingmag.com/ resources/resourceDetail/396.html

 

The Sugar

Finally, we sweeten the vocal, polishing it with a little eq, maybe a touch more compression or limiting, some subtle de-essing and subsequently adding some reverb and/or delay to add a sense of space and dimension. We want the vocal to sit prominently in the mix, but we need it to blend with the other tracks as well. Too much vocal level can make it sound disconnected or even obscure other crucial elements in your arrangement. Too little can diminish its power or leave listeners scrambling to find a lyric sheet.

When mixing, it’s always important to remember that the elements within your mix are not merely placed between the left and right of your stereo field, but front to back as well. Reverb can help us to further establish this sense of depth.

Faster tempos and dense arrangements will generally require smaller spaces and shorter decay times, while ballads and lower track counts can afford us a little more sonic “elbow room”. This is where presets can come in handy, as there are invariably several that carry names like “Vocal Room”, “Vocal Plate”, “Lead Vocal Hall” and so on. This gives you a good place to start from, and many times, the only other consideration is how much reverb to use.

You can add the reverb directly to the track’s insert and bring its Mix setting down to around 30% to start with, or you can set up an effects bus to which you can send more than one track, i.e. lead and backing vocals and a little of the snare drum. This helps to give your instruments a common space to exist in, helping to glue things together more in the process.

Predelay is another parameter to explore, as it gives you several milliseconds before the onset of the reverb. This can be used to help clear up some of the cloudiness that reverb can cause, enabling your vocals to be significantly more intelligible. A slapback delay, a single echo of the vocal, can be a good choice for similar reasons, especially if synced to your groove’s tempo. Longer delay or echo settings can be used subtly in conjunction with reverb for a more modern and polished sound. With every song, it’s best to explore the gamut between Tom Petty (dry) and Fleet Foxes (wet) with the effect’s balance, as each song has its own character and therefore it own set of needs.

 

Take ’em for a ride!

Once you’ve got your vocal sounding great, it’s time to listen to it in the context of the song one last time. Listen for sections where the vocal may be sticking out a little or denser passages that may be drowning the vocals a bit. Lowering or raising the voice to offset this is commonly referred to as “riding the vocal”, and can go a long way toward making things sound more professional overall.

If all of these tools and concepts seem a bit daunting (not to mention expensive), take heart. Several software manufacturers have developed all-in-one solutions that include some or all of the previously mentioned effects. Again, starting with the supplied presets will familiarize you with the program more quickly, saving you several wasted hours of head scratching. iZotope, The Plugin Alliance, Waves and Antares all present great choices in this regard.

Whether your tuneful adventures involve crooning love songs or spitting fiery rhymes, the connection that is made between your music and your listeners hinges on how engaging your vocals are. Keeping these concepts in mind throughout the vocal recording process will help ensure that bond is a strong and lasting one.

 

(This article is reprinted  with permission from Recording Magazine) 

Sven-Erik Seaholm is an award-winning independent record producer, singer and songwriter. His latest release is Seaholm Mackintosh’s Monarchs. Check out his website at www.kaspro.com.

For more information on the 18th Annual USA Songwriting Competition, go to: http://www.songwriting.net

 

 

 

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Recording, record vocals, Sven-Erik Seaholm

Radio Podcast, featuring USA Songwriting Competition 2012 Winners

Posted by Jessica Brandon on Tue, Apr 09, 2013 @01:46 PM

2013 Radio Podcast, featuring USA Songwriting Competition 2012 Winners

Mike Schmid, songwriter. USA Songwriting Competition Grand Prize Winner

(Pictured: Mike Schmid, 17th Annual USA Songwriting Competition, Overall Grand Prize Winner)

This radio podcast features songs of USA Songwriting Competition winners: Darrell Scott, Mike Schmid, Jonathan Ferreri, Charlotte Sometimes, Mark Spiro, DaniElle DeLaite, Murray Atkinson, Sally Nyolo and more.

 

*Or Click here to download Podcast >>

 For more information on the 18th Annual USA Songwriting Competition, please go to: http://www.songwriting.net  

 


 

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, winners, Darrell Scott, radio, podcast. USA Songwriting Competition, Mike Schmid, Jonathan Ferreri, Charlotte Sometimes, Mark Spiro, DaniElle DeLaite, Murray Atkinson, Sally Nyolo

Songwriting Tip: Writing The Bridge

Posted by Jessica Brandon on Mon, Apr 08, 2013 @09:30 AM

The Bridge, the Whole Bridge and Nothing But the Bridge

By Molly-Ann Leikin, Music Business Mastery Coach

Molly-Ann Leikin, hit songwriter

There is no songwriter I ever knew who doesn’t have problems writing a bridge now and then.  And there is no singer/songwriter/producer among my clients who doesn’t try to negotiate his/her way out of a creating that section altogether. 

“I don’t need one, right?”

NOT.      

The third section of any song is as almost as important as the chorus.  So let’s talk about this.

For review:  contemporary songs usually have at least three sections – the verse, the chorus and the bridge.  Ideally, for each section, the melody line, the chords, the rhythm and the words are different from each other.  Whatever you’ve done in the verse, don’t do in the chorus or the bridge, and whatever you do in the chorus, don’t do in the verse or the bridge.  If you find you overlap or borrow from earlier parts of your song, revise the bridge so you don’t.  This isn’t just a chord change.  I mean melody, rhythm and the words. 

To me, song structure is like a simple, wooden, kid’s puzzle.  The verse is a triangle, the chorus is a square and the bridge is a circle.  That isn’t a square, a circle and another circle hoping to be a triangle when it grows up.  A triangle is a triangle.

As there are three different shapes in a song, each shape is a different color.  Let’s say the square is red, the circle is green and the triangle is blue, or ciel d’Albuquerque, if that’s how you roll.   

Listening to the top forty for twenty minutes will convince you that bridges in contemporary songs are often longer and more rhythmic than they ever used to be.  Although a decade ago the bridge was a pretty standard eight bars or two lines that rhymed, now a bridge is often an irregular number of seconds long, and sometimes, ‘way past 30.  Listen and you’ll hear that in a hit song, the bridge can include several rhythmic hooks and doesn’t have to rhyme anywhere.   

Many songwriters/producers who consult with me - even some of my Grammy winners - are so relieved to have finished their verses and choruses, and have such great tracks, they convince themselves that their bridges should be instrumentals. 

NOT.

I try to tell them gently but firmly that an instrumental break is often the excuse for someone to pop out a CD or delete an mp3.   We are, after all, in the original Shark Tank.     

Let’s be practical.  Suppose someone wants to use your song/track in a movie, but the scene is3:20and your song doesn’t have a bridge and is only 2:44.  It’s much easier for the music editor to shorten a track than for you to create a bridge in the middle of the night - months or years after you wrote the song – only to find that the music supervisor faced a deadline and had to choose another track that fit the scene.    

You worked hard to get that music supervisor’s ear.  Don’t go flopsy now.

The bridge is a good place for a surprise and a twist – where something unexpected happens musically and lyrically that spins the song in an OMG direction.  I don’t mean a weird chord.  I’m talkin’ new melody and rhythm for an uneven number of bars, plus a story twist in the lyric, like the crisis at the end of the second act in a good movie or play.       

The chorus is still the most important section of the song, and the verse has to be strong enough to hold our attention for 25 seconds, more or less, until the hook.  But once we’ve heard two verses and two choruses, we, as the audience, need to hear something new.  And that’s where your bridge goes to work bringing your song home.

© 2013 Molly-Ann Leikin

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.

After lyric, song and instrumental marketing consultations with Molly, six of her clients have won Grammys, nine more have Grammy nominations, and so far, 6238 of Molly’s protégées have placed their work in TV shows, movies, on CD’s, in commercials, and their songs/tracks have been downloaded all over the web.  It starts with a consultation – in a private meeting or phone call with Molly or in one of her small, personal classes.  www.songmd.com and songmd@songmd.com

 For more information on the 18th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

 

 

Tags: songwriter, song writer, Song writing, Songwriting, Molly-Ann Leikin, bridge

Songwriting Tip: The Money Angle

Posted by Jessica Brandon on Fri, Apr 05, 2013 @11:30 AM

Songwriting—The Money Angle

MoneyStack

A pro songwriter points the way toward profitable projects

By Eric Alexandrakis

Songwriting—it has such a nice ring to it. You know what would sound even better? Making money from it. How in the world does one even begin to start that process? Following up on my article in our last Songwriters’ Issue (March 2012), here are some more ideas and talking points for the songwriter with serious ambitions.

There are hundreds of success stories about one-hit wonders and flavors-of-the-month, and they all have one thing in common: Somebody was in the right place at the right time. But to get ready to make the most of that right moment requires patience, organization, and, of course, talent! Meanwhile there is one avenue to making money from your music that has become much more accessible than it used to be—licensing. We’ll focus on that. But first, let’s talk about another kind of focus—yours.

Where is your focus?

Will you be a professional songwriter, writing for a job, or are you going to write what you want, and damn people’s opinions/agendas? If it’s the latter, keep your day job—forever.

Make a decision and stick to it. What are you going to shoot for? Have you considered writing for television, or for advertising, or movies? While it’s not realistic to absolutely want to decide this early on, somehow you already know whether you gravitate towards The Beatles, or John Williams, or both.

No matter what music genre and media outlet you have in mind, songwriting comes down to one thing, and that’s a hook and a theme. If you try to go pro with the widest appeal, Pop music owns that market. There are so many Pop writers and writer wannabes. How does one stand out?

Pop—what Pop?

These days Pop music encompasses everything from Hip-Hop to Country, to Rock, etc. One of the biggest mistakes inexperienced artists/writers make very early on is that when they’re asked what their genre is, they say something like “Well it’s a little Pop, with a little Country, and some Metal, and Progressive Rock, etc.” Do you know what that tells me? It tells me that you have no idea what the heck you’re doing. No focus!

If you suddenly decide that you’re going to write Pop songs, and your favorite band is Metallica or some stoner band, you’ll never get it. If you didn’t gravitate towards Pop early on, chances are you never will. If you really want to study the great Pop writers, I highly recommend learning the entire Beatles and Monkees catalogues. Pop songs in the ‘60s were so simple, yet really hooky, and many are great examples of the lyrical and musical simplicity needed to grab hold of the average radio zombie listener. How does the listener relate to the lyrics? Is the hook stuck in their head for the rest of the week? A writer can’t go wrong with universal themes, but deliver them in a clever way. This sets one apart.

Show and tell

Once you’ve gotten your focus together and produced some decent tunes, make some decent demos. Presentation is everything. If your music is rendered professionally, you’ll be perceived as professional right off.

While it’s not vital to do so, many committed pro songwriters find that to get where they want to be, they have to move to where the business is. Try Nashville, Los Angeles, etc. When you get there, seek out publishing houses, jingle houses, and the like. Make a professional presentation. Assume everyone will say “no”, but keep pushing and writing. If you want to be a jingle writer, make up jingles for various products already on the market.

For songwriting I suggested to focus on one style, but in the case of jingles, no matter what music style, it is also true that the focus is the hook and its clever delivery. That’s the universal factor in jingles. So try making everything from a 1940s vibe to modern ad music.

Network and collaborate. Go to every networking event you can. Make note of the major names, seek them out at functions. Network with other aspiring writers as well, and collaborate with them. You never know, one of them could be the next John Lennon, and if they get a hit, it could rub off on you. Just make sure you know how much of the song you retain before you leave that night.

Be quick. When someone asks you for something, get it to them quickly and perfectly. No half-assed work, as that first request could end up being your last.

Life’s a learning lab

Study everything. Understand that there is always something to learn, and that you must be open to anything. I have friends who are some of the top players in the universe, have been in the top bands, and still strive to learn new things. I also know some guys who are 40 years old, still talk about a garage band they were in at age 20, haven’t done anything since, and think they play as well as Alan White of Yes. That type of mentality/ego has no future. You can never peak at your skills, you can only evolve. The moment you think you’ve done it all is the moment you should quit.

Have you heard of Jingle Punks? Check out some of the shows they provide music for. If you’re determined to try as many avenues as possible, watch the shows they work with, study the music they use, and make loads and loads of tracks just like the ones they broadcast. Seek out the music supervisors/editors, and try to get noticed somehow.

Learn the business inside out. Make sure you learn how licensing deals, songwriting deals and fees all work. There are plenty of resources available, and it is essential that you understand it all. It’s not enough to write a great tune, you have to learn how not to get screwed when you sell it.

The three Ps

These are somewhat general and idealistic concepts, but they will get you there:

~ Pray. Religious or not, you’ll need all the help you can get. It’s free, and couldn’t hurt even if it does or doesn’t work.

~ Perfect your craft. I’ve seen so many artists who do not have the capacity to understand how crappy they are!

~ Persevere. Those who have great skill and are determined always rise. Some kind of niche and opportunity will present itself as long as you do not quit.

Put these concepts into practice, and you’ll be on the road to success in a very difficult business. But if nothing else, they may help you to realize that you really did want to become an architect, like Mother suggested.

 

Eric Alexandrakis (alexandrakis@recordingmag.com) is a highly successful songwriter, producer, and recording musician. He was a pioneer in digital copyright protection, producing the first-ever digitally watermarked CD while in graduate school, and has had several top-40 hits on the Adult Contemporary charts. Learn more at www.ericalexandrakis.com.

This article is printed with permission from Recording magazine. For more information on recording magazine, go to: http://www.recordingmagazine.com

For more information on the 18th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, Songwriting, producer, money, profitable projects, Eric Alexandrakis

Songwriting Tip: Write Not Just Any Song, But A HIT Song!

Posted by Jessica Brandon on Thu, Apr 04, 2013 @01:56 PM

Write Not Just Any Song, But A HIT Song!

Q & A With Songwriter Robin Frederick

Robin Frederick, songwriter

Interview by Lorenz Rychner

 

Robin Frederick is a former Director of A&R for Rhino Records, executive producer of more than 60 albums, and an in-demand lecturer on the music industry. She has written and produced hundreds of songs for television, records, theater, and audio products. In her two books, Shortcuts to HIT Songwriting and Shortcuts to Songwriting for Film & TV, both of which we reviewed in this magazine, we found a treasure trove of good advice of the kind that can only come from someone who knows whereof they speak. Ms. Frederick has that kind of track record.

In this issue of Recording we focus on the recording songwriter, and we asked Ms. Frederick to address the kinds of questions that we trust will be on many readers’ minds.—LzR

Q: I want to make some money—how do I know what songs to write to make that happen?

A: Like any business, you need to give the music industry something they can sell in today’s market. The best way to do that is to study current hit songs. If you have a genre in mind when you write, it will help a lot when you’re ready to approach the industry. To find a genre you’re comfortable with, check out the music charts online and in music industry magazines. Look for hit songs you like. (Don’t study the ones you don’t like!) If you’re not familiar with these songs, listen to them on iTunes or a stream-on-demand music site. Ask yourself what it is about the song that appeals to you. How does it make you feel? Is there a lyric or melody technique you could try in a song of your own?

Q: How can I “emulate” a song without stealing from it?

A: Studying hit songs is the quickest way to pick up new songwriting techniques. You’re not looking to write a new song based on the hit—it’s a way to learn and practice songwriting craft. Songwriting is a lot like learning to ride a bicycle. You’ve got to get a feel for it, find your balance, before you can really ride on your own. Emulating a hit song is a little like putting on training wheels. It will help keep you on track and heading in the right direction as you develop new skills.

To practice songwriting with a hit song as a guide, find an existing hit with a well-defined structure—easy to identify verse and chorus sections—and a good hook. The hook is usually the first or last line of the chorus. It should be memorable and sum up the overall feeling of the song. Learn to sing the hit song’s melody. Once you can do that, write a lyric line of your own that you can comfortably sing to the hook melody of the hit. (Again, the hook is probably the first or last line of the chorus. If you’re not sure which one, then just pick one to work with.) Wherever the hook appears in the original, repeat it in your “training” version.

To  get a feel for how your lyrics sound when sung to a contemporary hit, fill out your chorus. Write more lines that support your new hook, its meaning, its emotion. Be sure they fit comfortably into the hit song melody. You don’t have to stick to every note and syllable, just get close.

Now, write a lyric for the verse. It should lead to your chorus, supporting it with more information about what the singer is feeling or experiencing. Notice whether the hit song uses images to paint a picture. Try using images in your lyric. If the hit song features conversational phrases, then you do the same.

That’s really all you need to do for this exercise. Now you’ve got a feel for the way a hit song is structured, how the lyric expresses the theme, and how it feels to sing your lyrics to a contemporary hit melody. You’re starting to “ride the bicycle.” Just remember, the hit song is copyrighted. You can’t use any part of the melody or lyric in a song of your own. The best idea is to use this as an exercise. Study successful songs and you’ll be successful!

Q: I have trouble writing melodies to go with my lyrics. Any suggestions?

A: You can use the natural melody of speech to help you find the melody that lives in your lyric. Just speak your lyric out loud with a lot of emotion. The more emotion you put into it, the more melody you’ll hear! That’s because we use the melody of speech – the pace, rhythm, volume, and pitch—to express our feelings. Try it for yourself: Say the phrase “Oh, no” in a high, fast-paced tone. Now, say it again in a low, descending voice. The first expresses anxiety, the second sadness or resignation. The words didn’t change, just the melody of speech.

What’s the emotion you want to express in your lyric? Speak the lyrics with that emotion in mind and see where the melody takes you. Then preserve the pace, the pauses, and the overall up and down movement of the pitches. Try exaggerating them to create a basic melody. It’s a good idea to record this raw melody idea so you can come back to it later. You can add chords and a rhythm track to hear how your melody would sound in a song. Feel free to play with it, change notes, add a pause, start on different beats. If you get too far away from your original idea, just go back to your recording.

Q: My friends like my songs but people in the music industry tell me they’re not commercial, my lyrics are too hard to follow and I don’t write big choruses...

A: If you’re looking to pitch your songs to the mainstream, commercial radio market—either for yourself as an artist or for someone else to sing—then you really do need to keep your listener in mind at all times. Give them enough information to make them feel that they’re right there with you experiencing what you’re experiencing. For instance, if you’re using a lot of poetic imagery, you might want to alternate that with some straightforward, conversational lines to make sure the listener doesn’t get lost. Your friends know you, they know what happened to you and how you feel, but radio listeners are complete strangers. To evoke a response from them, you might need to strike a balance.

Big choruses are important because they grab and hold the listener’s attention. For radio airplay that’s a must-have. However, there is a market that doesn’t require big choruses: songs for film & TV. This fast-growing market often prefers a simple, strong refrain line to underscore the emotion in a scene, rather than a full-blown chorus which could distract the viewer.

Q: What’s the winning formula for a hit song?

A: There really isn’t a formula. But there are song craft techniques that have proven to connect with listeners, and these are essential if you want to reach a broad audience—song structure, melodic contrast, lyric imagery, are a few. That said, the first thing you (and every songwriter) should do is express what you feel with honesty. Do that first, then go back to see if you can broaden the appeal by adding more song craft to support your theme and give it more universal appeal. Adele is a great example of a hit songwriter who blends personal songwriting with craft in a way that’s compelling for listeners.

A successful song applies song craft in a creative way, so the song sounds fresh. For instance, I love what’s happening with melodic contrast and momentum in many current hit songs. These are two techniques that listeners really love, so you should be looking at them. But it’s how you use these within your song that will make it both original and commercial. Song craft is a challenge to your creativity; it’s not there to stifle it.

Q: I don’t know what to write about.

A: There are some themes that are universal. Most people have been in relationships, enjoyed times of celebration, and most have experienced loss. These emotions are universal, not the specifics of what actually happened. Try writing a song that evokes a feeling. How did you feel when a relationship broke up? What did you feel physically? What kinds of images paint a picture of those feelings?

You can also look outside yourself for song ideas. Watch a movie or TV drama. Choose a scene and write a song that expresses the feelings, the situation, or attitude of one of the characters.

Try a different angle on a familiar theme. There are lots of songs about how bad it feels to break up with someone. How about a song about the plus side? If you’re a shy person, try writing a song from the point of view of a confident, outgoing party animal!

Q: I have trouble with my hooks, they’re just not catchy enough.

A: A good rule of thumb: Keep your hook short to make it more memorable. You could use a simple, conversational phrase, just a few words. In my book I cite three that were successful hits: “You had a bad day” (“Bad Day” by Daniel Powter, Billboard #1 for 5 weeks in 2005); “Truth is I never got over you” (“Truth Is” recorded by Fantasia, #1 for 14 weeks on Billboard Adult R&B Airplay chart), “You’re gonna miss this” (“You’re Gonna Miss This” recorded by Trace Adkins, #1 on Hot Country Songs).

Once you have a short phrase, imagine what your listener will want to know when they hear that hook, what questions will they be wondering about? What kind of a bad day and why? Gonna miss what? This tells you what the rest of the lyrics should be about—filling in the rest of the story that the hook hints at. Think of your hook as a mini-version of your song.

Q: I have trouble making my verses and choruses different enough, they all sound the same.

A: For a radio hit, your chorus has to grab attention, to shout from the rooftop “Here I am!” No more explaining, no more background information—this is the heart and soul of your song. To make sure listeners notice the chorus, use one of the most effective song craft techniques—contrast. Contrast gets attention!

If your verse is fast-paced and wordy, consider smoothing out the pace of your chorus. Hold out the notes a little longer, give the melody a more fluid feel. If your verse is in a low note range, try putting the chorus in a higher note range. A sudden jump upwards of even a few notes will catch attention and raise the emotional intensity of the song.

In fact, you’ve probably noticed that hit song choruses are often in a higher note range than the verse. That’s because when we get emotional, our voices tend to rise. By putting the chorus in a higher note range, you make use of a natural response. Listeners automatically hear more emotion in a chorus that’s in a higher note range.

Q: I can’t seem to come up with a good melody that doesn’t already sound like a lot of existing songs.

A: You’re not alone; this happens to all songwriters! A melody that sounds like a lot of others, one that’s generic or clichéd, is often just the first melody you came up with. But successful songwriters don’t stop there. They treat it as raw material, a place to start, not the final melody of the song. In fact, you can rewrite a melody, just like you rewrite a lyric.

First, take a look at the individual lines of your melody. Are they all starting on the same beat? Try varying the start times of your phrases. Starting a line on the 3rd beat of the bar or an upbeat is a great way to add a fresh sound. (The “and” in “one-and-two-and-three-and-four-and” is an upbeat.)

Are all your lines a similar length? If so, here’s a quick fix that really works and will give you melody a contemporary edge: Add a couple of notes and words to the end of one line and run it into the next, creating a single long line. Or you can start a line earlier, eliminating the pause at the end of the line before. Varying the line lengths will add interest to your melody. Eliminating pauses will add momentum.

Rewriting is both fun and creative. Enjoy yourself and try new things. Remember, if you don’t like the direction your song is going, there’s an “Undo” button. Just push it and get back to where you started. Then try something else. There are endless possibilities!

For more about Robin Frederick, visit her website at www.robinfrederick.com. Her books are published by TAXI Music Books at www.songwritingbooks.com.

This article is printed with permission from Recording magazine. For more information on recording magazine, go to: http://www.recordingmagazine.com

For more information on the 18th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

 

Tags: songwriter, song writer, song write, Song writing, Songwriting, hit song, Melodies, Lyrics, songwrite, Robin Frederick, A&R, Rhino Records, hook, syllable

Songwriting Tip: Striking the Right Chord

Posted by Jessica Brandon on Tue, Apr 02, 2013 @09:00 AM

STRIKING THE RIGHT CHORD

 Danny Arena, songwriter

By Danny Arena

One kind of "creative rut" that songwriters can easily fall into is when the chorus section of all their songs starts to sound the same. Some songwriters get into the habit of using the same chord to begin the chorus of every song they write. In one of my SongU.com courses, we look at some of the many chords you can use to start your chorus as well as some of the successful songs that have used them in the past.

 

The I (ONE) CHORD

Contrary to popular belief, there's nothing wrong with starting the chorus to your song (or bridge in an AABA song) on the "I" chord. Be careful though, to make sure your chorus contrasts from the verse - either rhythmically or melodically. For example, both the chorus and verse to hit song "She Believes In Me" (songwriter - Gibb) begin on the I chord, but the melody soars high in the chorus in contrast to the melody in the verse. Similarly both the verse and bridge to song "Somewhere Over The Rainbow" (songwriter - Howard/Arlen) start on the I chord, but the 8th note rhythm of the bridge makes it stand out in contrast to the half note feel of the verse. The Bruno Mars hit, “Just The Way You Are” takes the opposite approach and the rhythm in the chorus contains longer notes than the verse even though both sections start on the I chord.

 

THE iim (TWO MINOR) CHORD

The iim chord is similar in structure to the IV chord, but, like the iiim and vim chord, it is a minor chord with a different sound quality than the IV chord. It is not used very frequently to begin a chorus, but is used more often as a starting chord of a bridge section in an AABA song as in the old standard "I'm In The Mood For Love" (songwriter - Fields/McHugh).

 

THE iiim (THREE MINOR) CHORD

Another chord which is similar in structure to the I chord is the iiim chord. It is not used as frequently to start a chorus as the vim chord but has a similar sound quality. The Beth Neilson Chapman adult contemporary hit, "All I Have" (songwriter - Chapman/Kaz) has a chorus which starts on the iiim chord, and the bridge of the Elvis Presley AABA classic, "Can't Help Falling In Love" (songwriter - Weiss/Peretti/Creatore) starts on a iiim.

 

THE IV (FOUR MAJOR) CHORD

Another common chord choice for starting the bridge or chorus of a song is the IV chord. Probably the reason it is such a popular choice among songwriters is because of it can be set-up easily. By ending a verse on the I chord, you automatically have set up the chorus to begin on the IV chord. This is because of the natural "pull" the I chord has toward the IV chord (technically speaking, the I chord acts as the dominant of the IV chord). Some of the many songs which use the IV chord to start the chorus (or bridge), include the Kenny Rogers classic: "Lucille" (songwriter - Bowling), the Christina Aguilera ballad, “Beautiful” and the Train hit, “Hey Soul Sister”.

 

THE V (FIVE MAJOR) CHORD

A common chord used to begin a chorus in a song is the V chord. The V chord is a naturally unstable chord and the I chord is a naturally stable chord. So when you end the verse on the I chord and start the chorus on the V chord, you create a contrast. The chorus in the Reba McEntire classic, "Rumor Has It" (songwriter - Burch/Dant/Shell) starts on the V chord.


THE viim (SIX MINOR) CHORD

The vim chord is a chord which is fairly close in structure to the I chord. In fact, two of the three notes that make up these two chords are the same. The one note difference between these two chords results in the vim chord having a more "somber" quality as opposed to the "brightness" of the I chord. Starting the bridge on the vim chord can result in a change of mood in a song as in, "Through The Eyes Of Love" (songwriter - Hamlisch/Sager) or "What I Did For Love" (songwriter - Hamlisch). The Grammy winning song, "Wind Beneath My Wings" (songwriter - Henley/Silbar) begins its soaring chorus on a vim chord as does the chorus in the Taylor Swift hit, “I Knew You Were Trouble.”

So that gives you six different approaches you can try the next time you're looking for a different sound for that chorus you're writing. Maybe one of them will spark something in you that will help you create a standout chorus.

Hope to see you on the charts.

 

About Danny Arena
Danny Arena is a Tony Award nominated composer and professional songwriter. He holds degrees from Rutgers University in both computer science and music composition, and serves as an Associate Professor at Volunteer State Community College in Nashville, and an adjunct member of the faculty at Vanderbilt University. In addition, he has been invited to teach songwriting workshops throughout the U.S. and abroad, and performs his original songs regularly in Nashville at venues like the Bluebird Café. As a staff songwriter for Curb Magnatone Music Publishing, he composed several songs for the musical "Urban Cowboy" which opened on Broadway in March 2003 and was nominated for an Outer Critics Circle Award for Best Musical and a Tony Award for Best Original Score. He is also the co-founder, CEO, and one of the main site developers of www.SongU.com, which provides over 100 multi-level courses developed by award-winning songwriters in addition to online coaching, co-writing, industry connections, and pitching opportunities.

For more information on the 18th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

 

Tags: songwriter, song writer, Song writing, Songwriting, Nashville, Bluebird Cafe, tip, Danny Arena, Tony Award, Chord

Legendary Music Producer Phil Ramone Dies

Posted by Jessica Brandon on Sat, Mar 30, 2013 @04:43 PM

 

Legendary Music Producer Phil Ramone Dies

(edited by Jessica Brandon)

 

Phil Ramone, legendary producer

Phil Ramone has worked with virtually every top music star including Bob Dylan, Frank Sinatra, Barbra Streisand, Ray Charles, Rod Stewart, Elton John, and Paul Simon, often as a producer, occasionally as a songwriter. He recorded Marilyn Monroe’s infamous performance of “Happy Birthday” to JFK. He’s the co-founder of A&R Recording, Inc. He had a key role in the release of the first ever album, Billy Joel’s 52nd Street.

A former violin prodigy and expert engineer, he worked with Dylan, Sinatra, McCartney, Bennett, Charles, Streisand, Simon, Joel and Bacharach and spent more than 50 years in the business.

Phil Ramone, the instinctive music producer whose mixing mastery for Frank Sinatra, Barbra Streisand, Bob Dylan, Ray Charles, Paul Simon and Billy Joel helped fashion some of the most sumptuous and top-selling albums of his era, has died. He was 72. 

Ramone was married to Karen Ichiuji-Ramone (a.k.a. Karen Kamon, who had a top 100 hit in 1983 "Manhunt", featured in the hit movie and stage musical "Flashdance"), with whom he had three sons.

The 14-time Grammy winner and 33-time nominee once dubbed “The Pope of Pop” was hospitalized in late Feb. with an aortic aneurysm in New York and died Saturday morning at New York Presbyterian Hospital, according to Ramone's son Matt.

A native of South Africa who at age 10 performed as a violinist for Queen Elizabeth II, Ramone spent years working as a songwriter, engineer and acoustics expert in New York before charting a path that would make him a trusted studio partner in the eyes (and ears) of the industry’s biggest stars.

Among the albums on which he worked were Streisand’s 1967 live A Happening in Central Park; Paul & Linda McCartney’s Ram (1971), sandwiched between the Beatles and Wings eras; Dylan’s aching Blood on the Tracks (1975); Simon’s pop classic Still Crazy After All These Years (1975); Joel’s critical and commercial breakthrough The Stranger (1977); Sinatra’s last-gasp Duets (1993), a model of technical wizardry; and Charles’ final album, the mega-selling Genius Loves Company (2004).

Ramone served as a songwriter in New York’s famed Brill Building music factory and worked early on with Quincy Jones, Tom Dowd, Creed Taylor, Jerry Leiber & Mike Stoller and Burt Bacharach & Hal David, among others. In 1959, he launched the A&R Recording studios on Seventh Avenue in New York, where Blood on the Tracks and so many other classics were recorded.

“Players are like prodigies, thoroughbreds," he added. "You have to handle them with care.”
Born on Jan. 5, 1941, Ramone at age 3 began studying the piano and violin, and he attended the Juilliard School in New York as a teenager. Although he was an accomplished performer and composer, he was attracted to the technical side of music and became a wizard working with the dials.


Ramone was nominated for 33 Grammy awards, winning 14 awards and a technical Grammy for a lifetime of innovative contributions to the recording industry:
1965 – Best Engineered Recording (non classical), for Getz/Gilberto
1970 – Best Musical Show Album for producing Promises, Promises
1976 – Album of the Year for producing Still Crazy After All These Years
1979 – Record of the Year for producing "Just the Way You Are"
1980 – Album of the Year for producing 52nd Street
1981 – Producer of the Year (non classical)
1984 – Best Album Of Original Score Written For A Motion Picture Or A Television Special, for Flashdance
1995 – Best Musical Show Album for producing Passion
2003 – Best Traditional Pop Vocal Album, for producing "Playin' With My Friends: Bennett Sings The Blues"
2005 – Album of the Year and Best Surround Sound Album for producing Genius Loves Company
2006 – Best Traditional Pop Vocal Album for producing The Art of Romance
2007 – Best Traditional Pop Vocal Album for producing Duets: An American Classic
2012 – Best Traditional Pop Vocal Album for producing Duets II

 

For more information on the 18th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

Tags: songwriter, song writer, Songwriting, producer, Bob Dylan, Elton John, Barbra Streisand, Phil Ramone, Frank Sinatra, Ray Charles, Rod Stewart

Songwriters Showcase Pictures & Videos at SXSW

Posted by Jessica Brandon on Wed, Mar 27, 2013 @03:19 PM

USA Songwriting Competition presented a showcase at during world renowned "SXSW" in Austin, TX:

Danny Fastfingers, Austin, TX

 Danny Fast Fingers

 

Scott Fant, Austin, TX
 Scott Fant

 

Rachael Sage, USA Songwriting Competition winner
 Rachael Sage (Honorable Mention Winner)

Andrea England, USA Songwriting Competition
 Andrea England (Finalist, 12th Annual USA Songwriting Competition)

Berteal
 Berteal (Finalist, 17th Annual USA Songwriting Competition)

Michael Wesley Stinson, USA Songwriting Competition
 Michael Wesley Stinson

 

Watch videos:

 Michael Wesley Stinson

 Rachael Sage

Watch more videos here >> 

*Hosted by Mike Abb

For more information on the 18th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

Tags: songwriter, song writer, song write, Song writing, Songwriting, Songwriters Showcase, songwrite, sxsw

Songwriting Tip: When the Well Runs Dry

Posted by Jessica Brandon on Thu, Mar 07, 2013 @09:00 AM

When the Well Runs Dry

 Mark Cawley, songwriter

By Mark Cawley

I don’t believe in writers’ block so much. I do think you’re gonna have dry spells; periods of being uninspired from time to time. If it goes on long enough, self doubt can creep in until you wonder how you ever wrote a song in the first place. So how do you do your best to keep the well full?

You prepare. One definition of prepare is to “make ready beforehand for some purpose”. Nothing beats that moment of divine inspiration…but if you’re writing songs for a career you know you can’t conjure up these things every time. Sometimes it helps to have done some homework and stockpiled ideas for those days when you need something to get you going.

Keeping a list of ideas/titles has always been my favorite. I can’t tell you how many times these lines that I heard, read, or found have worked their way into a song on a day when I had nothing. I’m not the first to come up with things you can do to be creative when you’re not actually writing; there are some tried and true ways to use your time wisely: writing down bits of conversation, walking down the aisles of a bookstore and jotting down titles that catch your eye, watching movies and television with your paper and pen close by. You can highlight lines in newspapers, magazines, and books until all these things make their way onto a list of ideas for the future. Being intentional in your search for ideas can really pay off in the long run.

One of the secrets for me has been to make sure I get these lines all in one place. Doesn’t matter if they seem disconnected, I found them at all different times so there’s no thread anyway. Keeping them handy has been the key. Being able to throw out lines to a co-writer or just pore over the list while I’m playing guitar/keys or looking for a drum groove has gotten me unstuck more times than I can count. Some of these never turn into anything but can spark something else, some of them become titles, and lots of them find their way into verses or bridges.

If you write music, switching instruments is another lifesaver. Write on something you’re not familiar with and you’re bound to eventually come up with something different and inspiring.

Lastly, just taking a break can help. Give it a rest for awhile and do whatever lets you replenish your mind and body. I’ve taken breaks that range from just taking a quick walk to going weeks without touching an instrument.

Refresh, replenish, and refill the well... before it runs dry!

 

About Mark Cawley

Mark Cawley's songs have appeared on more than 15 million records. Over a career based in LA, London, and Nashville his songs have been recorded by an incredibly diverse range of artists. From Tina Turner, Joe Cocker, Wynonna, Diana Ross and Chaka Kahn to The Spice Girls, Tom Scott, Kathy Mattea, Paul Carrack, Will Downing and Pop Idol winners in the UK. He has had #1 records in the UK and throughout Europe as well as cuts in Country, Jazz & R & B. His groundbreaking website Song Journey created with Hall of Fame writer Kye Fleming was the first to mentor writers from around the world one-on-one online. He is currently writing and publishing as well as helping writers and artists in the US, UK, and Australia with a one-on-one co-active coaching service, iDoCoach. Check it out at www.idocoach.com

For more information on the 18th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, Songwriting, Mark Cawley, Tina Turner, Joe Cocker, Wynonna, Diana Ross, Chaka Kahn, writers block, Spice Girls