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Jessica Brandon

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Songwriting Tip: Reading Between The Lines

Posted by Jessica Brandon on Fri, Oct 03, 2014 @08:14 AM

Reading Between The Lines

by Bronson Herrmuth

 Bronson Herrmuth, songwriter & producer
Whenever you sit down to write lyrics for your new song, be sure and say what you mean. Never assume that your listeners are going to be able to read “between” the lines because they won’t. Count on this because it’s not going to happen.       

Every song you write should have a very distinctive beginning, middle and end to the story you are telling. The simpler you can say it, the better. As songwriters, we all deal with this and how you handle it is going to make the difference between writing a great song, or just a good one. Great is the objective of course, because great songs have the ability to inspire great singers to want to sing them, no matter how many other singers have rendered their versions. This is why the greatest songs get covered over and over as the years go by. The song is so great it never ceases to inspire great vocalists to want to put it on their record too in their own distinctive style.   
  
You have to say exactly what you mean, with each and every word you commit to your lyric sheet. Don’t worry about this as you’re writing the original draft because doing so often means your song will never get written. The best songwriters have mastered the craft of rewriting. They have the ability to detach themselves emotionally from their creation and go back and rewrite it to make sure this is the outcome. This is easier said then done but it’s essential to learn the craft of rewriting and develop the ability to go back before you call your song finished and go over it with a fine tooth comb to make sure you’ve achieved your goal.    
 
   Try this. After you’ve written your song give it as long as you need for the initial excitement you feel wears off and it becomes just another song you’ve written. For some it’s a day or two, for others maybe a week or two or longer. We all have those songs we really like but we’ve never finished, and maybe that’s the one to try first. Every completed thought in your song - and usually that’s each line - pull it off to the side and then look back at your title. There should be no gray area, no doubt, that the line you’ve written relates directly to your title. To give you the idea, if your song title is “Snow Plow” and as you’re going through each line and you see the words – walking through the desert – this is a line that needs to be rewritten and quick! I refer to these lines as “burrs” and in many cases a potential song title to be pursued at a later date. You’ll find these burrs quickly if you go through your song line by line and each and every one needs to be rewritten before you call your lyric complete to your new song.   


Based in Nashville, Bronson Herrmuth has worked in music publishing and production for more than 30 years. He is president of Al Jolson Black and White Music, Jolie House of Music, and Iowa HomeGrown Music. Signed as a recording Artist with RCA Mexico from 1981-1985 with Iowa band, The Ozone Ramblers. He is a songwriter, band leader, a multi-instrumentalist, and he has toured 44 states and 18 countries as a performer. He's traveled the USA speaking at Music Conferences as a Panelist, a Mentor and Workshop Instructor. An associate writer for MusicDish.com, 5 Star Productions, Country Music News International, a contributing author to the Indie Bible, a columnist for MusesMuse.com, and the Nashville Music Guide. Bronson is the author of the book “100 Miles To A Record Deal”, and his soon to be released new book is called “Opening The Closed Door”.  He’s the Host of radio programs for Creative and Dreams Music Network, a founding member of acoustic duo Crowding 50, and a member of the Nashville Association of Talent Directors (NATD)For more information on USA Songwriting Competition, go to: http://www.songwriting.net

Tags: song write, Song writing, Songwriting, songwrite, A&R, songwriter song writer, Bronson Herrmuth

The Walter Mitty- Ness of Songwriting

Posted by Jessica Brandon on Tue, Aug 19, 2014 @08:22 PM

by Harriet Schock

 songwriting

The great thing about being a writer or an actor is that we get to live so many lives. I mean the ones you create. The ones you elaborate upon. The ones you fantasize. I'm in an amazing acting workshop for singers called the Musical Artists Workshop taught by Gary Imhoff. Sometimes in an improv, we’re given a situation and you simply have to think “what if…”  In fact, much acting is done from “what if.” What if I were in a whole different situation, a whole different life. What if I were different? A different kind of person entirely, or just a little different.

 

I remember as a child going around to my parents’ friends and asking them this philosophical question: If I had a different great-great-grandparent, would I be me only different? Or would I be a different person who’s a lot like me? Well, many years later I came to my own conclusion about that, but for songwriting, it works either way. If you’re a girl, you can pretend you’re a guy who does all those things guys do that drive you crazy.  Or you could pretend you’re unbelievably wealthy. Or maybe you’re having an affair with someone incredibly wealthy who is, of course, unhappy. (“Lyin’ Eyes” by Henley and Frey)

 

People who know my writing and/or my teaching know that I think the two most important elements in songwriting are truth and craft. They also know by “truth” I don’t mean facts.There is truth in many situations which you can find, even if you haven’t lived that particular factual situation. Some years ago I was asked to write a lyric (Misha Segal wrote the music) for a Motown film (“The Last Dragon”) in which the main character was a young African American man who was a virgin, practiced Kung Fu and fell in love for the first time. I went for the truth of it rather than the facts, none of which were helping me. We wrote a song that’s been covered by 30 people either live or on record. It wasn’t really a big “what if,” considering I’d fallen in love and I knew how that felt. That’s what I concentrated on. The songs is called “First Time on a Ferris Wheel.” Smokey Robinson sang it in the movie. Carl Anderson, my favorite singer of all time, recorded it and sang it live. It’s on my home page if you want to hear Carl sing it.

 

One of my newest songs is called “When I Write About It” and it discusses how we can change the way it really happened, whose fault it was, who left whom and basically every detail of life like we want it. And isn’t that being the creator of your own artistic universe?

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit for Helen Reddy, “Ain’t No Way To Treat A Lady” plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films as well as starring in “Just 45 Minutes from Broadway.“ Jaglom’s current film, “The M Word” features Harriet’s song, “Bein’ a Girl,” sung on camera. Harriet is in the process of writing the songs for “Last of the Bad Girls,” a musical with book by Diane Ladd. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. Harriet teaches songwriting privately, in classes and a popular online courses by private email. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. For her performance schedule, list of credits and samples of her work or information on her book (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes and consultation, go to: www.harrietschock.com.

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

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Harriet Schock, Grammy, Walter Mitty

Songwriting Tips: 10 Elements of a Song

Posted by Jessica Brandon on Mon, Aug 11, 2014 @01:34 PM

Songwriting Tips: 10 Elements of a Song
by Steve Cheeks

 songwriting

When studying songs and songwriting, there seem to always be common threads to the basic components of successful songs. Like most people, I am measuring a songs success by it's popularity more than any other factor, although it is not the only factor to consider. With that thought being set aside, lets look at the elements that make up songs in the Modern Contemporary Music era (the last fifty years of rock, pop, country and R&B). Please also note that these are not considered to be in any particular order.

1. Melody - The melody is the tune of the song that you sing or play. The best melodies are considered to be "catchy". This typically means that the melody is memorable, which should be the desired effect.

2. Chords (chord progression) - The chords accompany the melody of the song. This can also be, and is typically, part of the rhythm of the song. A chord progression is the order in which the chords are played.

3. Beat and Rhythm - The beat of a song is what "drives" the listener to "feel" the song (fast or slow). It is also referred to as the tempo (speed) of the song. Because music stirs our emotions, we often are drawn to a song because of the beat. The rhythm on the other hand, is the beat that the various instruments (drums, bass, guitar and keys) create.

4. Genre and Style - the genre of a song (rock, pop, country or r&b) is typically established by the beat and rhythm of the song. The style may vary once the song is constructed with the words and/or instruments. The style of the song branches out from the genre, such as, punk rock, alternative, hip hop, blue grass etc.

5. Concept (story) - All songs have a story line or theme. Typically the song title will convey the essence of that story idea and the words (lyric) will expound upon that idea or theme. The story concept and theme is typically stated in the title of the song.

6. "Hook"- Simply stated, the hook is the part of the song that you just can't get out of your head. It sort of "sticks" to your thought process, sometimes, even if you like it or not. All great (if not memorable) songs have great hooks. A song may also have sub hooks that are sections,words, phrases of music that will get inside your brain. The song title can typically be a "singable" hook or phrase as well.

7. Lyrics - What is being "said" in the song comes through the words called the lyrics. The lyric describes the concept, theme and/or title of the song. A lyric will typically rhyme in rhythmic phrases in the sections of music.

8. Song Sections - Songs are divided up into sections and have names, such as, intro, verse, chorus,bridge etc. Typically, the verse describes the concept of the title and hook that are typically in the chorus. Other sections such of music, such as the intro, bridge, lead breaks, etc., will function to support these main components of the song. Sections consist of measures (also called bars) that are typically four beats in length. Although they can be longer or shorter, sections are typically eight measures (bars) in length.

9. Arrangement - The arrangement is actually two-fold. First, the arrangement is the order in which the sections of music are placed, such as, intro-verse-chorus-verse-chorus and so on. Secondly, the organization of the instrumentation, vocals and/or other parts of music that make up the song, are considered to be the arrangement as well.

10. Length - The length of a song is always a consideration, depending on the use of the song. If a song is being written and arranged for radio airplay, songs today are typically three and a half to four minutes long. They can be shorter or longer, but this is the typical length in today's musical formats. It should be stated that you will find successful songs with less (or even more) of the ten elements that are listed here. That doesn't make the song right or wrong, just different.

There are always exceptions to every rule,and in music, you will find that to be the case more often than not. In searching songs, I believe you will find most "hit' songwriters will use proven formulas with the elements listed above, in some shape or form. I always remind songwriters and musicians alike, that there are no "have to be's" in music, just "probablies." That's the purpose of using the word "typically" so often. As always, go back and study some of the songs from your favorite genre to see how many of the elements you can detect. I'm sure you will find that the more successful the song, the more song elements that are in the song. This should give you a great overview for your study. Happy Hunting!

Steve Cheeks is a Producer, Arranger, Singer, Songwriter and Psalmist. As a teacher, Steve has taught many hundreds of students how to play, perform and compose music with many different instruments. Currently, Steve is on a mission to teach the world to play and sing. He resides in Evans, Ga.

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

Tags: songwriter, song writer, song write, Song writing, Chorus, Songwriting, Lyrics, songwrite, hook, song elements, Melody. create song, create melody, Chords, beat and rhythm, song structure

Songwriting Tip: The Most Important Thing Is Everything

Posted by Jessica Brandon on Thu, Jul 31, 2014 @03:41 PM

The Most Important Thing Is Everything

by Barbara Cloyd

Songwriting
If your goal is for your songs to be hits on Country radio there are a lot of factors to consider when you write. Does every line make sense? Do they all work together to support one main idea? Is the language conversational? Is there a solid rhyme scheme? Is the melody memorable? Is the chorus catchy?


That’s just a small sampling of what it takes for a song to be a hit. It can be overwhelming. Sometimes you find the perfect rhyme that says exactly the right thing, but maybe it’s not a word people say every day. Sometimes you find a wonderfully clever line but you have to cram a few too many syllables into the melody. You have to make compromises sometimes, right?


Wrong. You have to get it all exactly right.


Once at a workshop I heard a publisher say that the people he pitches songs to are “looking for any reason to say no.” As soon as they hear one thing they don’t like, they pass and go on to the next song. If that seems harsh, remember, they have no shortage of songs to choose from. There are more than a thousand new ones written every week just by the staff writers who are writing full time with the support of a publisher. Plus every hit writer has a large catalog of songs that haven’t been cut yet. That’s your competition,
It’s also important to realize that when artists cut a song that becomes a hit, they have to live with that song for their entire career. They don’t want to make that kind of commitment if there is any little thing that doesn’t feel right.


If you want to make money with your songs, don’t settle when you write. I was told early on, “If you think maybe there might possibly be something wrong with your song, it’s wrong.” Be honest with yourself. For example, did you use a tired cliché instead of finding a fresh way to say it? Are you leaving it to the demo singer to make lines work where the words don’t fit the melody quite right? Are you keeping lines that don’t further the idea of the song because you love them? If you left a weak line in place so you could finish the song, did you go back and improve it?


Once you’ve worked out all the bugs, it can be a good idea to put your song away for a while and come back to it with fresh ears. I always do that, and it’s amazing how many times I see problems with a song that sounded like a masterpiece when I finished it. After fixing every weakness I can find my next step is to play it for other people who will be honest with me, and their feedback often points out more things that need polishing.


If all this sounds like a lot of work, that’s because it is. But if you aren’t willing to do it, there are lots and lots of writers who are. Tom Shapiro, who has written seventeen #1 hits, says that the difference between a really good song and one that will make you a lot of money is the last five percent. Your family, friends and fans are rarely as critical as Music Row. It’s great to soak up their support but don’t let it keep you from acknowledging how high the bar is set and pushing yourself to reach it.

 

Since it began in 1986 Barbara Cloyd has been hosting the open mic at the Bluebird Café, where she has seen newcomers like Garth Brooks, Kenny Chesney and David Wilcox, as well as many of today’s top writers. After Lorrie Morgan took Barbara’s song “I Guess You Had To Be There” into the top 10 developing songwriters began asking Barbara for feedback and advice. This led to her career as a teacher, offering one-on-one consultations and hosting the popular “Play for Publishers” workshops. She’s also well know for her ability to spot talent and many now-successful writers and artists owe their start to introductions she made for them. For her dedication to helping writers the Nashville Songwriters Association’s gave her the Maggie Cavender Award for Exception Service to the Songwriting Community.

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

 

 

 

Tags: songwriter, song writer, song write, Song writing, Songwriting, Bluebird Cafe, songwrite, Barbara Cloyd

Songwriting Tip: Understanding the Most Common Song Structures

Posted by Jessica Brandon on Wed, Jul 30, 2014 @03:18 PM

Understanding the Most Common Song Structures

by Anthony Ceseri

Writing Songs With Guitar

When I first started writing songs, I went through a phase where I had no regard for song structure. I thought to myself “Everyone writes a verse then a chorus, then another verse and another chorus. That’s so bland. I want to be different!”


So I wrote a few songs that would start with one section, then go to new section, then a third new section, then a fourth and so on. You couldn’t even label these sections as verses or choruses because they’d show up once and be gone from the song after that.


What I didn’t realize at the time, was my songs were chaotic. And as a result no one wanted to hear them again after the first time. There was nothing to pull them in. There weren’t memorable.

Song structure is important because it organizes our songs. You don’t have to reinvent the wheel in order to be creative.


Think of the most common types of song structures as universally agreed upon roadmaps for your songs. They tell us where the song is going. We’ve heard the most common structures so many times that we’re practically trained to know what section is coming next. While that might seem like a bad thing, it’s not because it brings a familiarity to our music which makes people want to hear it. It does that from the very first time we hear a song with a common structure.

 


The Most Common Structures

With that in mind, let’s look at the most commonly used song structures in popular music.


Verse / Chorus / Verse / Chorus / Bridge / Chorus

This one’s also known as an ABABCB structure, where A is the verse, B is the chorus and C is the bridge. This one’s extremely popular. Radiohead’s “High and Dry” is a good example of this song structure.

 

Verse / Pre-Chorus / Chorus / Verse / Pre-Chorus / Chorus / Bridge / Chorus

This one’s a slight variation of the first structure we looked at. The only difference here is the addition of a pre-chorus which shows up before the choruses. A good example of this structure is Katy Perry’s “Firework.” The part that starts on the words “You just gotta ignite the light…” is the Pre-Chorus.

 

 

In both of these song structures it’s fairly common for the chorus to be repeated a second time at the very end of the song to really drive the hook of the song home to the listeners.



Verse / Verse / Bridge / Verse

This one’s a bit of a departure from the first two structures we looked at. It’s also known as an AABA structure. This time A denotes the verse, while B denotes the bridge. There’s no chorus is this type of structure. Instead, each verse usually ends (or begins) with a refrain. A refrain is a line or two that repeats throughout the song. Since it’s usually the title, the words of the refrain usually stay the same, while the rest of the verse lyrics change.


A lot of times this song structure will have a lot of variation in the verse melody, since the verses repeat often. It keeps their melody from getting boring during all the repetition.


The Beatles and Billy Joel have used this song structure a lot. The song “We Can Work it Out” by the Beatles uses this structure. If you listen to the song, you can hear that the title line “We Can Work it Out” is the refrain in the verses. The section starting on “Live is very short…” is the bridge.



Any of these structures can be modified as appropriate for your song. You may have noticed that in “We Can Work it Out” the bridge is repeated twice. This is a pretty common modification of the AABA format since a lot of times a simple verse, verse, bridge, verse structure often makes for a very short song.

 


Common Song Structures without Bridges

Those three song structures are the big ones. There are two others that are common as well, but they’re used less because they don’t have a bridge.


Verse / Chorus / Verse / Chorus

Also know as an ABAB structure, this one is a simplified version of the ABABCB structure, with the bridge omitted.


Verse / Verse / Verse

This one’s also know as an AAA structure. It’s not used often because it’s hard to keep things interesting if all you have is one section being repeated. Like the AABA structure, this one also makes use of a refrain in the verses, as the central focus. Bob Dylan uses this song form in “Tangled Up in Blue.” Take note of the variation in the melodies through a typical verse. It’s crucial in a song with this structure in order to keep the melody interesting.

 

 

A bridge helps to change up the sound of a song and keep it interesting. It prevents a song from simply being a repetition of one or two sections. That’s why these two song structures don’t show up as much as the first three we looked at. But you should know that they do exist in songwriting.

 


The Role of Each Section

Song structure is a bit more than arranging a song’s sections in a certain way. It’s also important to understand that each section typically has a role to fulfill. If you know the role of each section in your song, you’ll be better prepared to modify a song structure, as you see fit.


Verse

Lyrically, the verses of your song will move your story forward. The chorus or refrain is likely to have the same words each time, so the verse is your chance to keep your ideas moving along.


Chorus

Think of your chorus as the big idea for what your song’s all about. That’s partly why your title is most likely to show up in your chorus. Your title also sums up what the song’s about. Melodically, the chorus will be the catchiest part of your song. This is what people will have stuck in their head long after your song is over. That’s another reason it’s good to have your title in the chorus. When people get your chorus stuck in their head, they’ll easily know what your song is called and can find it later when they want to hear it again.


Pre-Chorus

The pre-chorus is an add-on before the chorus. It usually repeats the same lyrics each time, the same way a chorus does. Musically, a lot of times it creates a nice build up to what’s coming in the chorus. Katy Perry’s “Firework” was a good example of that.


Bridge

The bridge is a departure from what we’ve heard in a song, previously. This goes for both the lyrics and the music. Lyrically it’s an opportunity for a new perspective. Musically, it’s a chance to offer the listener something they haven’t heard before to keep the song interesting.


Refrain

In the AABA, or AAA structures, the refrain is the line that draws all the attention in your verses. It’s usually at the beginning or end of each verse and is often the title of the song.


Hook

The hook doesn’t necessarily refer to a specific section of a song, except to say it’s the catchiest part of a song. Most of the time, it will be your chorus, if your song has one. If your song doesn’t have a chorus your hook will most likely be your refrain. As hit songwriter, Clay Drayton, says “A fish knows the hook… Once it’s in you, it’s hard to get it out.”

 

Those are the basics of song structure. You can modify the common song structure to fit your song as you see fit, but it’s good to know what they are so you can use them as a starting point. Not only will they bring familiarity to your songs, but they’ll give you a good guide on how to lay out your music.


Anthony Ceseri is a songwriter and performer who has traveled the country in pursuit of the best songwriting advice and information available. From classes and workshops at Berklee College of Music in Boston, to Taxi’s Road Rally in Los Angeles, Anthony has learned from the most well-respected professional songwriters, producers and performers in the industry. For a lot more songwriting information, grab your FREE EBook here: http://successforyoursongs.com/freeoffer/

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

Tags: songwriter, song writer, song write, Song writing, Songwriting, Anthony Ceseri, songwrite, song structures

Songwriting Tip: Your Best Bet for a #1 Song (Revised)

Posted by Jessica Brandon on Wed, Jul 23, 2014 @01:48 PM

Your Best Bet for a #1 Song

by Ralph Murphy

Ralph Murphy, hit songwriter

For a small business owner such as a songwriter/publisher, knowing the market is vital. Budgeting for success means looking at income (when it decides to come in!) and making informed decisions about how to spend it most effectively. Up near the top of the list of expenditures (almost right next to eating) are demo costs. The financial outlay for demonstration recordings has risen to $750 - $1,000 per song. So, if you write 30 songs a year and only have $10,000 in your demo budget, you're going to have to make some hard choices.

The Truth About Dogs and Chickens

Let's say you've written this song about a Chicken. You love it! Your mom loves it! The special person in your life loves it! However . . Radio is only playing Dog songs. Fortunately, you've also written four Dog songs, which everybody loves. Your dilemma? You only have enough money to produce a three-song demo, but you have five songs (four Dog songs and one Chicken song). What do you do? Now, unfortunately, I have suitcases full of demoed Chicken songs, so I know what the songwriter side of me says; however, I noticed early on in life that food is a good thing and that eating makes me happy. So, while grumbling and complaining about how radio should be playing more Chicken songs, I demo three of my four Dog songs so I can continue to support my nasty food habit! In the frustrating war between art and commerce, commerce wins.

Let's be honest. Though it shouldn't, radio drives the "commercial" aspect of the songwriting process. (Did I already mention that I like to eat?) It affects just about every decision we make creatively. In the year of 2013, country radio did something seismic in nature, which impacted songwriters and publishers dramatically. As an experiment to maintain listenership, Country radio decided to slow the progress of records going up and down the charts in hopes of breeding the kind of familiarity that keeps listeners coming back for more - commercials, that is.

As a result, I became curious and decided to try an experiment of my own. I started by researching the Billboard Country chart for 2013 and found that a total of 11 songs reached #1. Taking a closer look, I began to wonder: what type of song is reaching the top in this brave new world of radio? A world in which, though yet another ripple effect of deregulation, big radio chains have been allowed to buy up and homogenize most of the "mom and pop" country stations resulting in:

#1 BILLBOARD HOT COUNTRY SONGS/COUNTRY AIRPLAY SONGS

BILLBOARD HOT COUNTRY SONGS
There were 11 that went to number 1 on this chart which uses a combination on sales and radio airplay to determine number 1

TEMPO
When you look at tempo you find that only 3 of them were above 100 BPMs (beats per minute) and the fastest was only 106 BPM. Of the 8 that were under 100 BPMs, They spent 39 weeks at #1. So, you can deduce that they were all aimed at radio.

Billboard Country Airplay Songs (Only airplay used)
By contrast, there were 30 #1s. Only 5 of them were above 100BPMs. Only 1 at 120 BPMs at dance speed. Of the 25 that were under 100 BPMs, they spent a total of 46 weeks at #1, the lion’s share.

GENDER
BILLBOARD HOT CONTRY SONGS
Women were only featured as artists on 3 records and there was only one female solo artist to go to #1.....and that was of course Taylor Swift.
Songwriters were 28 male and 4 female.

BILLBOARD COUNTRY AIRPLAY SONG
There was not one solo female artist to have a number one record the the Billboard Country Airplay Charts and the writers were disproportionate as well, with 8 females writing on a #1 and 55 males writing on a #1 (Rodney Clawson had 5, Ashley Gorley had 4 and Chris Tompkins had 4 as well)

ARTIST INVOLVEMENT
BILLBOARD HOT COUNTRY SONGS
The artists contributed to 50% of these records about 5 of the 11 Billboard Country Airplay Songs. 11 of the number one had the artist writing on it, about 1/3.

INTROS
BILLBOARD HOT COUNTRY SONGS
Intros......For 8 of the 11 There was an average 11 second intro. 3 records had zero start....not particularly radio friendly.

BILLBOARD COUNTRY AIRPLAY SONGS
There were no zero starts! The average was 15.9 seconds...The longest was "Boys Round Here" with 31 seconds. The shortest was "Drunk Last Night" with 6 seconds.

PRONOUNS
BILLBOARD HOT COUNTRY
First use of the pronoun "You". All used the pronoun ""You" and the average was 19.5 seconds

BILLBOARD COUNTRY AIRPLAY
4 recorded songs that reached #1 didn’t use the pronoun ""You"
“Round Here” by Florida/Georgia Line,
Caroline- Parmalee
Zac Brown Goodbye In Her Eyes
Little Bit Of Eeverything
And Keith Urban
So, 26 did use the pronoun ""You" and used it within 34 seconds..including the intro!

FIRST USE OF TITLE
BILLBOARD HOT COUNTRY
First use of title occurred by, on average, 53 seconds including the intro

BILLBOARD COUNTRY AIRPLAY
All got to first use of the title within an average of 60 seconds, including intro.

ENDINGS
BILLBOARD HOT COUNTRY
All were dead ended

BILLBOARD COUNTRY AIRPLAY
There were only two fades

BEST BETS!
So, best bets for writing a country #1 in either chart?
1. Keep it under 100 BPMs.
2. If possible hang out with the artist.
Have an intro
Use the pronoun “you” to invite the listener in
And...get me to the title in 60 seconds or less!!

 

WHAT WAS A POP #1 HIT ON BILLBOARD MAGAZINE IN 2013?

There were 11 # 1 records in 2013.

--BEATS PER MINUTE (BPM):
Last year, only 5, less than 50% were over 100 B.P.M.
The previous year, 2012, 2/3 were over 100 B.P.M. which showed a bias toward Dance/EDM, as the record reflects the heart rate of the consumer. And...the heart rate is increasing. Three records were 140BPM's or more showing a gradual increase in the last decade in consumers’ heart rate.

So, this year the listener, as opposed to the dancer is accommodated. 6 #1s were under 100 BPMs and Miley Cyrus with her infamous song "Wrecking Ball" was actually "at rest", or around 60 BPM! .......coming to a radio near you!

GENDER:
--Women artists showed prominently in Pop as 5 records had solo (3) or had women Artists featured (2) out of the 11 number ones.

WRITERS:
However of the writers of the 2013 #1s, were again disproportionately male.
Male writers were represented 32 times on #1 songs. 5 women writers contributed to # 1 pop songs on the Billboard Hot 100 Charts.

~Artist/writers were present on 10 of the 11 number ones.

~When we look at intros, we find, as has been the case in Pop, the intros seem to be disposable.
7 of the 11 #1s had zero start and of the remaining 4 that had intros, they averaged 9 seconds. That’s very minimal, which means that they really weren’t designed for radio.

FIRST USE OF THE PRONOUN "YOU"
4 of the number ones were about "issues" or "stuff"
"Thrift Shop" by Macklemore and Ryan Lewis (also the #1 Hit of the entire year of 2013), was about....Guess What?
"Harlem Shake" was a instrumental dance track (140 BPM)
"Can't Hold Us" again, by Macklemore and Ryan Lewis, although they invite you in....literally, with "Good to see you, Come on in..." The Track really is not about the listener.
And of course there was a hit "The Monster" by Eminem, featuring Rihanna
The rest of the records (7) invited the listener in by using the pronoun "you" on average, around the 23 second mark.

Also, the first use of title occurred in 6 of the 11 before the 1 minute mark, which is within the listener’s expectation.

FADE
There was only one record that faded in 2013 and that was "Blurred Lines". The others "deadended". That means that they were designed specifically to be "singles".

THE 2 MINUTE WALL
5 of the #1s got to either a bridge or a call and response or something significantly different before the 2.30 second mark.

Song length really was fairly limited to 3-4 minute area. The shortest was “Royals” by Lorde at 3.08 minutes and longest was "Blurred Lines" at 4.20 minutes, the rest fell in between the 3-4 minute region.

6 number ones used the 4th form. That structure seems to be structure "du jour". That structure took up 37 weeks. Of number one time, and the songs are more songs than just dance tracks like “Harlem Shake".

If you look at songs like “Royals”, ‘When I was Your Man”, “Wrecking Ball” and “Roar”, they are more identifiable with story songs than dance tracks.

Third form showed that it was alive and well as it posted "Locked out of Heaven" and "Thrift Shop". Third form really resonates with audiences and really works well with radio.

The only second form was "The Monster" by Eminem, featuring Rihanna.

WHAT TO LOOK AT
So if you are dealing in the hit pop "sticky song" market, you are looking at writing that song with the artist or adding their name to it afterward.
If it is a dance project, it’s going to be 140 BPMs or more (Happy 160)
If it is a regular number one, it’s under 100 BPMs to accommodate the listener.
The songs all reached the first use of the title within 60 seconds.

The bulk of them, all of the songs used the pronoun “you” on average 23 seconds from the start of the song. ….And, it’s probably going to be written in 4th form. Again, fulfilling listener’s expectations.

Your best shot

So, you have Dog songs and you have Chicken songs. Where do you spend your demo dollar?

Your best shot for getting a #1 record is to write:

mid- to up-tempo
romantic/humorous or sad/heartfelt theme
4/4 time
contemporary pop/country style
story or conversation
1st person or 2nd person
3rd form
linear melody with a story to a soaring chorus
13 second intro
So much for Chicken songs!

I would like to acknowledge the invaluable assistance of Phil Goldberg and Chad Green indulging my "need to know" in helping research the above information. Most importantly, thank you, Mark Ford, for massaging and editing my lunatic fringe ramblings into a coherent form.

 (Revised and written by Ralph Murphy)

Ralph Murphy, hit songwriter and expert, has been successful for five decades. He wrote huge hit songs such as Crystal Gayle's "Talking in Your Sleep" and "Half the Way". Consistently charting songs in an ever-changing musical environment makes him a member of that very small group of professionals who make a living ding what they love to do. Add to that the platinum records as a producer, his success as the publisher and co-owner of the extremely successful Picalic Group of Companies and you see a pattern of achievement based on more than luck. Achieving "hit writer" status has always been a formidable goal for any songwriter. Never more so however than in the 21st century. Catching the ear of the monumentally distracted, fragmented listener has never been more difficult. Getting their attention, inviting them in to your song and keeping them there for long enough for your song to become "their song" requires more than being just a "good" songwriter.

*His new book Murphy's Laws of Songwriting "The Book" arms the songwriter for success by demystifying the process and opening the door to serious professional songwriting. Hall of fame songwriter Paul Williams said in his review of the book "If there was a hit songwriters secret handshake "Da Murphy" would probably have included it." To get the book, enter 3 or more songs at the 20th Annual USA Songwriting Competition and receive this exclusive book » 

Tags: songwriter, song writer, song write, Song writing, Songwriting, hit songwriter, songwrite, Ralph Murphy, Crystal Gayle, Sell Songs

Songwriting Tip: We Don't Care What Really Happened

Posted by Jessica Brandon on Wed, Jul 16, 2014 @10:00 AM

 

WE DON’T CARE WHAT REALLY HAPPENED

by Harriet Schock

 Harriet Schock, hit songwriter

I have a chapter in my book Becoming Remarkable called “Reality: the Training Wheels” which points out how helpful it is to a songwriter to write something real because the pictures are there in his memory to access for the story. That does not mean, however, that what actually happened needs to be the story line of your song. I also have a chapter called “Truth vs. Facts.” For my full view on both of those points, I can refer you to those chapters. The point I’d like to make here is that sometimes writers get hung up on what actually occurred and fail to see the “truth” of the situation. If the truth of your song is that you miss someone like mad, and he happens to be a few miles up the street, you don’t have to say that. Putting him in another continent can tell your story just fine. Many people know that “Midnight Train to Georgia,” by Jim Weatherly was originally “Midnight Plane to Houston.”

I rarely tell the story of how “Ain’t No Way to Treat A Lady” started out, and never in print, but here goes. The first verse starts “I guess it was yourself you were involved with…I would have sworn it was me.” The first actual words I wrote down were…”I guess it was myself I was involved with…I would have sworn it was you.” Well I knew that wasn’t going to fly (and yes, I was on a plane at the time). I immediately changed it. With the change, it led easily to the last two lines of the verse “I might have found out sooner if you’d only let me close enough to see.” Maybe in real life I had taken responsibility for the disaster of the relationship, but I sure wasn’t going to write the song that way. They say that everyone in a dream is the actual person dreaming. I happen to think that’s true of songs too. Everyone in our song is actually us. Now THAT’S a scary thought. But isn’t it also liberating? We can be the villain we’re vilifying. And ask any actor: Aren’t villains more fun to play?

So be the villain and write a song to yourself from the hero’s (heroine’s) viewpoint like Sting reportedly did in “Every Step You Take” written from his wife’s viewpoint.  No one will know who is who. And as long as it’s compelling, we won’t care at all if it “really happened that way.”

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit for Helen Reddy, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films as well as starring in “Just 45 Minutes from Broadway.“ Jaglom’s current film, “The M Word” features Harriet’s song, “Bein’ a Girl,” sung on camera. Harriet is in the process of writing the songs for “Last of the Bad Girls,” a musical with book by Diane Ladd. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. Harriet teaches songwriting privately, in classes and a popular online courses by private email. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. For her performance schedule, list of credits and samples of her work or information on her book (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes and consultation, go to: www.harrietschock.com

 

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

Tags: songwriter, song writer, song write, Song writing, Songwriting, Helen Reddy, songwrite, Ain't No Way To Treat A Lady

Songwriting Tip: The Missing Link

Posted by Jessica Brandon on Mon, Jun 23, 2014 @03:04 PM

THE MISSING LINK

by John Capek

 songwriting

Popular songs as we know them today perhaps found their shape and form with one of the seminal founders of American popular music, Stephen Foster. Stephen Foster is often credited as "America's First Composer" and widely regarded as one of the first who made professional songwriting profitable. Foster wrote songs that we often mistakenly think of as folk songs. His songs include:

“OH! SUSANNA”, “OLD FOLKS AT HOME” (SWANEERIVER)”, “MY OLD KENTUCKY HOME” “BEAUTIFUL DREAMER” “DE CAMTON RACES” (CAMPTOWN RACES, DOO DAH) and “JEANNIE WITH THE LIGHT BROWN HAIR”

 

The form and nature of these songs are significant in their connection to everything that followed. These songs were short, had verses and chorus’s or refrains, they were easy to learn and repeat and they tapped into the popular culture of their time. It is profoundly significant that we still know these songs now, about one hundred and fifty years after the time that they were written.

 

Stephen spent much of his life in Pittsburgh where he worked consistently at his songwriting,.  As a professional songwriter he had made it his business to listen to the various styles of music circulating in the immigrant populations of the newUnited States.  He used images and a musical vocabulary that would be widely understood by everyone.  Foster worked very hard at writing, sometimes taking several months to craft and polish the words, melody, and accompaniment of a song before sending it off to a publisher.  His sketchbook shows that he often labored over the smallest details, the right prepositions, even where to include or remove a comma from his lyrics.

 

It is also important and significant to know that Foster kept his own account books, documenting in detail how much his publishers paid him for each song, He also estimated his probable future earnings on each piece.  His contracts were written out in his own hand.  These contracts are the earliest written agreements that  we know of between American music publishers and individual songwriters.

 

Within twenty years of Foster’s death, the concept which he had a large part in creating, that of writing songs for publishers for money, developed into what came to be called Tin Pan Alley, named for a street in New York City (West 28th StreetbetweenBroadway and Sixth Avenuewhere all the music publishers had their offices.) By 1890, sheet music sales of popular songs was a thriving multimillion dollar business.

Had Stephen Foster survived for another twenty years, it is possible that his catalogue of songs would have been worth hundreds of million dollars.

 

The immediate successors to Stephen Foster’s legacy were numerous well known songwriters who’s work has survived them. Irving Berlin had his first significant hit with Alexander’s Ragtime band in 1911. Show Boat, with music by Jerome Kern and lyrics by Oscar Hammerstein, was the first hugely popular musical comedy in 1927.  "Ol'ManRiver" and "Can't Help Lovin' Dat Man" are songs that have become standards in the “great American songbook George Gershwin's folk opera Porgy and Bess premiered in 1935. Summertime is an all time standard song from that show

 

The electric guitar was first seen around 1936. Alan Freed invented the term Rock and Roll in 1951. Berry Gordy formed Motown records in 1959

The Beatles had their first major hit with I want to Hold Your Hand in 1964

Hip hop, a blend of rock, jazz, and soul with African drumming,  was born in theSouth Bronxin 1978 or perhaps in Kingston Jamaica with dub DJ’s earlier than that.

 

Tin Pan Alley, the center and focal point of American popular music can be directly linked to another New York institution and landmark. That landmark, the Brill Building at 1619 Broadway became the very definition of pop music in the 1950’s and 1960’s

 

By 1962 the Brill Building contained 165 music businesses: a musician could find a publisher and printer, cut a demo, promote the record, and cut a deal with radio promoters, all within this one building. Some of the better known songwriters associated with the Brill building include:

 

   * Jerry Lieber and Mike Stoller

   * Doc Pomus and Mort Shuman

   * Gerry Goffin and Carole King

   * Ellie Greenwich and Jeff Barry

   * Barry Mann and Cynthia Weil

   * Burt Bacharach and Hal David

   * Neil Sedaka and Howard Greenfield

   * Hugo & Luigi

   * Tommy Boyce and Bobby Hart

   * Paul Anka

   * Jim Croce

   * Bobby Darin

   * John Denver

   * Neil Diamond

   * David Gates

   * Billy Joel

   * Kris Kristofferson

   * Roger McGuinn

   * Joni Mitchell

   * Carly Simon

   * Paul Simon

   * Phil Spector

   * ChipTaylor

   * James Taylor

   * Gene Pitney

   * Artie Kornfeld

 

I believe that there are two seminal key ingredients that link the various stages of unfolding of popular music. The first is the dedication of the writer to his art and craft. The second is the economic factor.

 

In describing the writer’s dedication to his art and craft, I have discussed how meticulous Stephen Foster was in fine tuning and perfecting his tunes.

 

On a similar note it is useful to read Rennold Wolf’s account of how he, Irving Berlin, Vincent Bryan, and Channing Pollock worked together on a show song inAtlantic City:

 

     “We assembled in Mr.Berlin's imposing suite of parlors, where there was a piano.... Seated at the instrument, he was not long in conceiving a melody, which immediately he began to pound out. All night, until dawn was breaking, he sat on the stool, playing that same melody over and over and over again, while two fagged and dejected lyric writers struggled and heaved to fit it with words.... One cigarette replaced another as he pegged away; a pitcher of beer, stationed at one end of the keyboard, was replenished frequently; and there he sat, trying patiently to suggest, to two minds that were completely worn out by long rehearsals and over-work, a lyric that would fit his melody. Mr. Pollock and I paced the floor; we sat, in turn, in every chair and on every divan in the rooms; we tore at our hair; we fumed, we spluttered, and probably we cursed”..

 

These examples of work ethic continue as the songwriters process to this day. I personally have spent six months fine tuning a song, where the first draft or sketch took a few minutes to unfold. My peers work in the same way.

 

In discussing the second important link, the economic factor, it is significant to know that most of the successful songwriters who’s work has transcended time and genre were also very aggressive entrepreneurs.

By the age of 15, George Gershwin had quit school and was a pianist and "song plugger" for a Tin Pan Alley publisher.

One of the first "popular" music publishers in Tin Pan Alley  was T.B. Harms. T.B. Harms started out as a songwriter. His company ultimately became George Gershwin’s publisher.

 

At the time, songwriters were also "songpluggers," a term that is still used today. Instead of waiting for the market to come to the publisher, the publisher would use songpluggers to take songs to the market. A songplugger's main job was to place songs with performers. Songpluggers were aggressive and influential, singing to passing crowds, going to department stores and sports events, and just about anywhere they could find an audience.

 

As I have suggested, I believe that the two major ingredients involved in success as a songwriter are:

 

1  Serious and meticulous attention to detail of craft.

2.. A dedicated investment of time and energy into the business of songwriting.

 

In recent months there has been a lot of hand wringing, whining and complaining about the state of the record industry. InCanada, there has been the biggest decline in CD sales in the history of the world. Similar situations are occurring everywhere. Industry think tanks are focussed on how to monetize the new paradigm.

 

No-one anywhere has suggested that perhaps the reason that CD sales are about to die is that the songs suck.

 

There was a time where singers and bands were not the writers of the songs that they performed. Songwriters and artists were two separate entities. In our current environment, artists write their own songs. This has repercussions. I believe that rather than blaming the intrusion of a new technology on the demise of the record industry, I would point to the fact that there are no great songs being written that will last for 150 years or more like the songs of Stephen Foster, Irving Berlin or Cole Porter.

 

Perhaps the cycle will bring back the art and the craft of songwriting when the attention to detail and art and craft become a priority again. At that point i believe that the audience, the market will respond and be willing to spend money for music of quality.

 

Rod Stewart leads the list of popular music icons who have recorded John Capek compositions. Others include Bonnie Raitt, Cher, Diana Ross, Joe Cocker, Toto, Chicago, Olivia Newton John, Little River Band, Heart, Manhattan Transfer, Isaac Hayes and Amanda Marshall. John Capek’s most performed award winning songs include : “Rhythm of My Heart”, ”This”, ”Soul on Soul” and “Carmelia”.  Capek’s most performed productions include Dan Hill’s Billboard hit duet with Vonda Sheppard, “Can’t We Try” as well as work with Ken Tobias, Gene McLellan, Good Brothers and Downchild. As a keyboard player, John has recorded with Diana Ross, Olivia Newton John, Ian Thomas, Marc Jordan, Dan Hill, Kermit, The Chipmunks, The Simpsons and countless other international performers. John’s songs are heard in the feature films, “A Perfect Storm”, “Cocktail”, “Blown Away” and many others. For more information go to www.johncapek.com

For more information on the 19th Annual USA Songwriting Competition, go to:http://www.songwriting.net

 

Tags: songwriter, song writer, Song writing, Chorus, Songwriting, Verse, tip, Stephen Foster, craft

Songwriting Tip: Beginnings

Posted by Jessica Brandon on Sun, Jun 15, 2014 @09:00 AM

Songwriting Tip: Beginnings

by John Capek

Songwriting

What comes first. lyrics or music?   That’s probably the most common question I am asked when I conduct workshops and seminars.

 

My answer is that the more variety that a songwriter can add to starting a song, the better.

I try to start each song that I write from a different point of view as my starting point.

 

The choices include:

 

1. Writing a full lyric first and then putting it to music.

2. Writing a full track without melody first.

3. Writing a full track of music with melody but no lyrics.

4. Writing based on a song title.

5. Writing based on a story concept

6. Writing based on a beat or drum loop.

7. Writing using a musical instrument that is not your primary instrument of writing. If you are a keyboard player try a guitar, or vice versa.

 

All of these are valid and commonly used, or of course a combination of any.

 

My latest writing technique has been to try to write a complete lyric draft first without even thinking about music. Apple Loops has revolutionized my song writing. Once I have a draft of a lyric, I’ll explore a bunch of possibilities in Apple Loops and choose a groove, usually a guitar lick that works for the first line of my lyric. The rest of the song usually unfolds like a jigsaw puzzle from that point on.

 

1. Writing a full lyric first and then putting it to music.

 

In order to write a lyric first, we need to have a starting point for that. Many of my song writing friends and peers always carry a notebook with them during the day and keep one close when they are sleeping. A particular person encountered during the day, a sign on the street, a line from a newspaper or from something on TV is usually a catalyst for a word or line or visual image that can be noted and used at a later point.

 

I find that in my case, I never think about or analyze my song structures. Usually that first line will dictate where the song is going to go structurally.  A teacher friend of mine has noted that 90% of all; songs follow a structure similar to the children's nursery rhyme

 

MARY HAD A LITTLE LAMB

IT’S FLEECE WAS WHITE AS SNOW

EVERYWHERE THAT MARY WENT

THE LAMB WAS SURE TO GO

 

Although that may be an oversimplification, I find that structural simplicity is a good thing to aspire to . In fact simplicity in general works best

 

2. Writing a full track without melody first.

 

Many producer/musician/songwriters work this way. If you have skills as a musician producer, many lyricist/melodists enjoy writing to tracks.   The majority of my song covers were written using this method.  When I have produced a track to submit to a lyricist/melodist, it is produced in a specific manner that I have found works very well.

In my case I try to make my tracks either very contemporary sounding or sometimes, in the case of a ballad, as timeless as possible.  The most important thing to do with tracks, is not to turn them into instrumental songs. They must leave space for the lyricist/melodist to add their part.

 

3. Writing a full track of music with melody but no lyrics.

 

One of my successful recordings was written using this method. I wrote a track and then added my own melody on top of the track. The lyricist then simply wrote the words to my melody and the song was completed. many famous tin pan alley songwriters wrote songs using this method. I have found that it works particularly well with ballads.  As a keyboard player I have been able to suggest melody ideas to the lyricist that are unique and unusual. This can lead to interesting places that may not have been thought of had the lyricist come up with a melody to a track

 

4. Writing based on a song title.

 

Often an event can happen in ones life or in the world that can inspire a song or story. Sometimes a persons name will do. When writing to a title, I often suggest to my students that they write a short prose story based on that title. That story then forms a data base of information that will feed the resulting song.

 

5. Writing based on a story concept

 

A much utilized song writing exercise used by a number of teachers is to write a prose story first. A common approach is to write a story based on a first love. In writing prose stories, we try to add as much detail as possible to give our own unique take to the story. I have found this to be a great starting point for songs. It is something like writing a small play or movies. in fact I believe songs are very similar to little plays or movies.

 

6. Writing based on a beat or drum loop.

 

In hip hop and rap, beats predominate. Again a simple starting point would be to go through the volumes of beats that are available and jam some words along with the beats. i find that it doesn’t matter at first if the words make sense or not. Ultimately as a a result of constant repetition a line will come through that makes sense and defines the meaning of the beat. A song lyric can then unfold based on a starting line.

 

7. Writing using a musical instrument that is not your primary instrument of writing. If you are a keyboard player try a guitar, or vice versa.

 

I am a good keyboard player. On guitar, I know three chords. However some years ago I produced and wrote an entire rock album written exclusively with my limited knowledge of guitar. This created a simplicity and rock feel that I could never have achieved had I used my normal writing instrument.

 

Song writing collaboration is a great way to extend ones vocabulary in writing songs. That vocabulary can be extended with different genre’s, styles age differences, geographical location and different specialization and skills.

 

 

Rod Stewart leads the list of popular music icons who have recorded Capek compositions. Others include Bonnie Raitt, Cher, Diana Ross, Joe Cocker, Toto, Chicago, Olivia Newton John, Little River Band, Heart, Manhattan Transfer, Isaac Hayes and Amanda Marshall. John Capek’s most performed award winning songs include : “Rhythm of My Heart”, ”This”, ”Soul on Soul” and “Carmelia”.  Capek’s most performed productions include Dan Hill’s Billboard hit duet with Vonda Sheppard, “Can’t We Try” as well as work with Ken Tobias, Gene McLellan, Good Brothers and Downchild. As a keyboard player, John has recorded with Diana Ross, Olivia Newton John, Ian Thomas, Marc Jordan, Dan Hill, Kermit, The Chipmunks, The Simpsons and countless other international performers. John’s songs are heard in the feature films, “A Perfect Storm”, “Cocktail”, “Blown Away” and many others. For more information go to www.johncapek.com

For more information on the 19th Annual USA Songwriting Competition, go to:http://www.songwriting.net

 

Tags: songwriter, song writer, Song writing, Songwriting, lyric writing, John Capek, composing music

Songwriting Tip: Rhyming

Posted by Jessica Brandon on Thu, Jun 12, 2014 @05:19 PM

Songwriting Tip: Rhyming

by Harriet Schock

 Harriet Schock, hit songwriter

When it comes to rhyming, the opinions are varied. I grew up on the music my parents introduced me to. Rogers and Hart, Cole Porter…I bet we had every album Ella Fitzgerald ever did featuring the great songwriters of the American songbook. In these songs, craft was obvious but never got in the way. The lines were sung the way one would speak, the rhymes were perfect. “Perfect rhymes” is not a value judgment—it’s a technical term. “Look and book,” “letter and better.” Not “look and pull,” “letter and her.”

 

Yes, years have passed, but still in musical theatre writing, the standard of the perfect rhyme is still upheld for the most part. I do remember hearing some wildly imperfect rhymes in some modern Broadway shows, which probably means that the rules are getting more lax. But I would not advise using near rhymes in a show any more than I would advise a person to be obscure in a lyric just because he can point to a hit song that wasn’t clear. There are many reasons why something becomes a hit or goes to Broadway, for that matter. I don’t think it’s a good idea to emulate the weaknesses of the genre you’re studying.

 

I recently met an interesting songwriter who was in a rock and roll band by day and came home and listened to Sondheim at night. He was in a band called “Christopher Cross.” Warner Brothers decided to give the lead singer/composer the name of the band but the writer I’m talking about – Rob Meurer - helped create the band with Christopher and currently writes lyrics to Christopher’s melodies. Rob also writes musical shows which are getting a lot of attention. You should simply Google him and read his lyrics. He’s got all the edge of today as well as the craft that is in danger of disappearing.

 

Why shouldn’t rhyming craft disappear, you might ask? Well, craft helps deliver emotional impact. In a song where you’re attempting to have an effect on people, if you decide that “run” and “up” rhyme because they both have the same vowel sound, you may never understand why you just didn’t connect with the listener quite enough. I know it’s becoming fashionable in pop not to rhyme at all for fear of its sounding too “legit,” “old school,” “commercial,” whatever. The problem is the music may be setting up a rhyme with a repeated rhythmic sequence in the melody. If the lyric doesn’t rhyme, it just leaves us feeling...less. And you don’t want your listeners to feel less, do you? They’re depending on songwriters to help them feel more.

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit for Helen Reddy, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films starred in “Just 45 Minutes from Broadway.“ Jaglom’s current film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film.  Harriet is in the process of writing the songs for “Last of the Bad Girls,” a musical with book by Diane Ladd. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. Harriet teaches songwriting privately, in classes and she teaches a popular online course by private email. For her performance schedule, list of credits and samples of her work or information on her book (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes and consultation, go to: www.harrietschock.com.

 

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

Tags: songwriter, song writer, song write, Song writing, Songwriting, Lyrics, songwrite, Harriet Schock, composing, love songs, compose music