Songwriting Tips, News & More

Songwriting Tip: Polishing the Silver Bowl

Posted by Jessica Brandon on Thu, Jan 17, 2013 @02:56 PM

Polishing the Silver Bowl

By Pat Pattison

SilverBowl 

I found a silver punch bowl in my cellar. I vaguely remembered it being a gift (from one of my weddings). It was completely covered with tarnish (an interesting symbol), and, since I was Feng Shui-ing, the required move was to toss it. As I was about to, I was interrupted by the little Midwestern voice inside my head: “IT’S SILVER!! You can’t throw it away!”

I’ve gotten pretty good at ignoring that Midwestern voice, or at least sidestepping it. I tried, but as I was about to slip the bowl into the trash bag, it got louder, sounding a lot like my mom: “Nooooo! It’s SIIILVER!” “OK,” I bargained, “if I have any silver polish under the kitchen sink (where all that stuff languishes), I’ll shine up the bowl to see if it’s worth keeping.” Why would I have silver polish? I figured it was an easy escape from The Voice.

Who knew? To my surprise, I did have a jar of silver polish under the sink, (apparently another remnant from one of my weddings). Alas, let the cleaning begin.

I covered the bowl with the grey goop and, as per instruction, allowed it to dry. Wiping it off (with a clean cloth—another surprise under the sink), I discovered that, once the tarnish was rubbed away, the bowl was pretty snazzy. “I’m gonna keep this,” I said, as The Voice basked in the warm glow of its little victory.

Once I’d made the decision to keep it, I looked at the bowl more carefully, noticing the spots I’d missed. I applied more grey goop on the offending areas, waited, then rubbed it off—a bit harder this time. Ah, nice and shiny, both outside and in.

Um, except for the silver leafing all around the rim and on the four curved, leafed legs, still tarnished, with excess polish sticking in all those little crevasses. I tried rubbing with the cloth, but there was no way to get into all those places. I thought, “I’ll use my toothbrush. I can always rinse it off afterwards…”

More polish, and now the scrubbing took longer, not to mention the occasional spray from the toothbrush bristles, requiring goggles. (Silver polish stings the eyes.) The work was more localized and focused, taking longer to cover smaller areas. But finally, after rinsing with warm water, the rim and the legs were sparkling. “Good work,” I cooed to myself.

Oops. For the first time I noticed the thin etched lines swirling both on the interior and the exterior of the bowl. They were still tarnished, not an eyesore, but still not shining like they could. My impulse was to ignore them, but now The Voice reared up again. “Finish what you started. Quit being lazy.” Urrgh!

Q-tips. Again, the work was much more localized and painstaking. Following those swirls wasn’t easy, but after some close attention, a little bad language and a sore wrist, the silver bowl was finished. It glistened. Everything Midwestern in me shone with the glow of a job well done. I filled my gleaming silver bowl with apples and set it in the center of the coffee-table. Voilá!

The moral of this little tale?

It’s not like, when I found the bowl, I immediately saw that the leafing or the etchings were tarnished and needed work. I had plenty to do before I was able to notice those smaller details.

Move from bigger to smaller. Don’t sweat the small stuff until the big stuff is cleaned up.

Intent is the biggest: What’s your song about? Try to say it in one phrase.

Prosody is huge: Is this idea stable or unstable? All your decisions about structure will depend on how you answer this question.

Very, very big: The three questions every song must answer:

1. Who is talking?

2. To whom?

3. Why?

These three questions establish the Point of View of your song: 3rd Person Narrative (he, she, they), 1st Person Narrative (I, we, he, she, they), 2nd Person Narrative (you, he, she, it, they), or Direct Address (I, you). They also ask why you’re saying what you’re saying. What’s the point of the song?

Verse development is big: how can you develop your verse ideas so your chorus (or refrain, in an AABA form) gains more meaning, more emotional weight, each time we hear it.

Song form is middle-sized: Verse/Chorus or Verse/Refrain?

Deciding on things like rhyme scheme, line lengths, number of lines, is small.

Changing a line or a word is really small. Don’t spend too much time up front searching for the perfect word when you’re still working on the bigger decisions. Everything could change.

Don’t sweat the small stuff until the big stuff is cleaned up.

Gather tools. Obsessively. You’ll need them for all the different jobs you have to do. Keep them under your kitchen sink.

Happy polishing.

Pat Pattison, songwriting professor

Pat Pattison is a Professor at Berklee College of Music, where he teaches Lyric Writing and Poetry. In addition to his four books, Songwriting Without Boundaries, Writing Better Lyrics, The Essential Guide to Lyric Form and Structure, and The Essential Guide to Rhyming, Pat has developed three online lyric writing courses, one on poetry, and one on creative writing available through Berkleemusic.com. He has written over 50 articles for various magazines and blogs and has also filmed a free 6-week online songwriting course for coursera.org, available March 1st, 2012.  



Pat continues to present songwriting clinics across the US, Canada, Australia, New Zealand and the UK. Several of his students have won Grammys, including John Mayer and Gillian Welch.

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

Tags: songwriter, song writer, song write, Song writing, Chorus, Songwriting, Prosody, Berklee, Polishing songs, Narrative, Verse, compose

5 Beatles Secrets about Songwriting I wish I'd discovered decades sooner

Posted by Jessica Brandon on Mon, Sep 10, 2012 @11:35 AM

Five Beatles Songwriting Tricks

by Matt Blick

The Beatles, songwriting geniuses

The Beatles are known as the most successful music group in music history, selling over a billion records worldwide. The songwriting partnership between Lennon and McCartney is legendary. The Beatles collectively were also songwriting Ninjas, but they employed many tricks that anyone can add to their songwriting tool box. Here are 5 less obvious examples:

1. Mutate Your Chorus

As well as starting songs with the chorus, some of The Beatles’ greatest hits open with a chorus hybrid that previews the title and hooks.

The intro to Help has the same chord progression as the chorus but moves twice as fast and features the title 4 times (to the chorus’s 3).

Use this trick and by the time you reach your chorus the listener will be hooked by the reassuring feeling that they’ve heard your song somewhere before.

Also used on: She Loves You, Can’t Buy Me Love.

2. Bluesify Your Melody

We expect to hear blue notes like the b3, b5 and b7th in rockers like Back In The USSR but the Beatles often added these notes into more melodic material too.

In Blackbird the final phrase uses the b7 on inTO the LIGHT and the b3 on dark BLACK night.

Tricky to pull off if you’re not a confident singer — you might want to insert the blue note into your chord until you’ve learnt to pitch it correctly. Using it will add a soulful edge to your melodies.

Also used on: Ticket To Ride, From Me To You.

3. Delay The Root Chord

Starting a song on the tonic chord is a rut the Beatles managed to avoid a surprising number of times.

Eleanor Rigby starts on C major (the bVI of Em) before heading to the home chord. It’s one of the many things that gives the track such an immediate sense of tension. Using this trick will give your progressions more forward momentum.

Also used on: All My Loving, Hello Goodbye.

4. Utilise The Outside Chord

Many of us employ ‘out of key’ chords (whether we realise it or not!). But out of 186 Beatles compositions only 22 remain in key!

In Strawberry Fields Forever, Lennon pulls the rug from under the Bb major tonality by replacing the F major chord with an F minor .

Bb Let me take you down ‘cos I’m going Fm to…

It’s like the stomach drop you experience on the crest of a rollercoaster. Later he creates a disorientating momentary high by replacing the Gm with a G major.

Eb Nothing to get G hung about

Outside chords will surprise your listeners and freshen your melodies.

Also used on: I Am The Walrus, Fool On The Hill.

5. Restate Your Lyrics

The Beatles didn’t make their lyrics memorable just by repeating sections wholesale. They also repeated and adapted words, phrases and sentence structures.

Take A Day In The Life. 4 verses, a middle 8 and only one repeated line.
And yet it’s memorable (in part) because of lyrical links like these -

I read the news/saw a film today, oh boy
and though the news was rather sad/holes were rather small
found my way downstairs/coat/way upstairs
I just had to laugh/look

Using this subtle trick will make your lyrics sticky and give a sense of unity to a track.

 

Beatles Related Quotes:

"I don't work at being ordinary" ~ Paul McCartney
"Try to realize it's all within yourself no one else can make you change, and to see you're only very small and life flows on within you and without you" ~ George Harrison

 

(edited by Jessica Brandon)

Matt Blick is an Eclectic Electric Songwriter and Singer. He writes interesting articles relating towards songwriting and being an independent music artist. He can be reached at www.mattblick.com as his personal site and Beatles Songwriting Academy (www.beatlessongwriting.com)For more information on USA Songwriting Competition, go to: http://www.songwriting.net

 

 

 

Tags: songwriter, song writer, Song writing, Songwriting, The Beatles

Animating The Songwriting: Making Music That Moves

Posted by Jessica Brandon on Wed, Sep 05, 2012 @11:13 AM

Animating The Song: Making Music That Moves

by Melissa Axel

Songwriting

People often say music is "the soundtrack of our lives," but it wouldn't be much of a stretch to say that its chief role is to animate them. The nature of life is movement. The word animate means "bring to life" … "the appearance of movement" … "give inspiration, encouragement, or renewed vigor." For a host of reasons, only some of which we can begin to explain, music moves us.

But why? What is it about melody and lyrics set against a grid of time that makes us cry, dance, sing, even scream along? There's some kind of magic in capturing our thoughts and emotions in words and music—something that casts a spell over us when it's done in a way that reaches all the way into the soul, grabs hold of the things that mean the most to us, and never lets go. It may not always be easy to determine exactly what that magic is, but we can explore using a wide variety of means to make our songs more vibrant and meaningful to the listener.

Here are 5 ways to help fully bring a song to life:

* Make your point. One point, and one point only. It's common to crowd a song with more than one key concept, message, or idea. Often, more than one strong element can take away the powerful draw of another (for example: love story vs. achieving your potential). Eliminate competing metaphors or side stories, choose the most compelling focal point of the song, and write every lyric in support of making that point.

* Set the scene. Immerse the listener in the "universe" of the song. If something is happening in the song, listeners want the scoop on where and when. In a poetic way, let us know what the setting is like for the narrator or lead characters in the song. For example, if the song is about the moment two people met, where did it happen? In a tiny city apartment? On a hillside? What time of day? What was the light like then? Sunset? Dawn? Middle of the night?

* Give us the details. They say a picture is worth a thousand words, but you can also paint quite a picture with words. Describe the key elements of whatever is happening or happened that inspired the song. Are there any objects that played a role in the situation? If there are people involved (as there often are), what were they wearing? Was there anything unusual about how they looked or acted during the "moment" of the song?

* Show us the inside. We're used to seeing, hearing, and talking about the outside of things—and people, but songs give us the rare opportunity to glimpse inside and explore the emotional dynamics below the surface of a situation. Use that opportunity to go deeper and eloquently bare the truth. What is the writer, narrator, or “lead character” of the song thinking or feeling that might not normally be shared with the listener?

* Allow us to feel. Rather than tell us how you feel with the typical clichés ("I love you, I miss you, I'm so lonely, I'm so angry"), share the truth as honestly and uniquely as you can … and let us experience catharsis through our own emotional reactions. It's a delicate balancing act—being authentic and preserving the "mystery." Challenge yourself to illustrate the things that move us all in creative new ways without spelling them out in the simplest, “tried and true” heartstring-pulling language.

These are just five of countless ways to bring a song to life. What other ways come to mind for you?

 

Melissa Axel is an Artist Relations representative of USA Songwriting Competition. At just eight years of age, she was writing songs about the bittersweet journey of life, love, struggle, and inspiration. The piano-driven singer/songwriter studied at Boston's renowned Berklee College of Music, went on to earn her master's degree in Interdisciplinary Arts from Nova Southeastern University. Axel's album LOVE . HUMANITY . METAMORPHOSIS is reminiscent of Regina Spektor, Norah Jones, and Tori Amos. For more information on the 17th Annual USA Songwriting Competition, go to: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, Bringing song to life, improving songwriting

Songwriter Shawn Colvin makes her life an open book

Posted by Jessica Brandon on Fri, Aug 03, 2012 @10:19 AM

Edited by Jessica Brandon

Shawn Colvin, songwriter

Shawn Colvin recently published memoir, “Diamond in the Rough.”  Colvin, 56, has struggled at various times with depression, alcoholism, eating disorders and failed relationships.

At the same time, she’s had a career as a singer-songwriter that has netted her three Grammy awards, including Song of the Year and Record of the Year for “Sunny Came Home” from the 1996 album “A Few Small Repairs.”

That controversial song told about a woman burning down her home – making “a few small repairs” to a presumably unsatisfactory life.

“It’s scary to write a book that’s personally revealing, so to get some positive feedback is very rewarding,” she said in a recent telephone interview from Cape Cod, MA.

The book raises questions about how she’s been able to have the long career she’s had, given the problems she has struggled to surmount.

“I think you can ask anyone else with a chronic illness and find that, between treatment that’s successful and other coping mechanisms, you do carry on for the most part,” she said. “There are periods you’re not able to do your best, but it’s like battling any other chronic disease. It’s very uncomfortable at times.

“It’s really just a question of dealing with your illness and doing your job,” she said. “Yeah, I’m on stage and I suppose that has its pressures. But it’s what I’m familiar with and able to do, even when not feeling my best.”

Colvin, who was born in South Dakota but grew up elsewhere, learned guitar early and moved to Texas in the late 1970s, where she absorbed folk, rock, country and other musical elements.

She came to New York in the 1980s and made a mark in Greenwich Village folk-rock circles, singing backup on Suzanne Vega’s “Luka.”

Columbia Records signed her and released “Steady On,” which won her fast attention as a singer-songwriter to watch for the title song, “Diamond in the Rough” and “Shotgun Down the Avalanche.” (All were written with John Leventhal.)

The title song, co-penned by longtime partner John Leventhal, has dark lyrics about the way “the best of ’em wind up sweepin’ dirt off the street,” but it also has the kind of slashing, high-spirited rock ’n’ roll guitar hooks more suitable for dancing than somber reflection.

“The title song, even if it’s about struggle, is pretty upbeat, a pretty fun song,” she said. “We came up with the title together first. But I didn’t know what really to say. But you just start chipping away; you get a line here and a line there, and it starts to lead you on.”

“Also, (songwriting) has a great deal to do with how it sings. I don’t just sit there with a piece of paper and hear music in my head and then write lyrics. You have to sing along and see what comes out. Sometimes you don’t plan it – words just come. It’s a strange process, but you know when it’s working.”

Colvin has a loyal following now, but acknowledges it isn’t what it was when “Sunny Came Home” rose into the Top 10 and “A Few Small Repairs” sold almost a million copies (according to www.allmusic.com). She was one of the headliners of the 1997 Lilith Fair, a tour featuring women singer-songwriters that itself became heralded as a concert-industry trendsetter.

But that high didn’t last. “I don’t want to diminish that time when I had a big song,” she said. “It was a lot of fun. It was a time when singer-songwriters, especially women, were very popular. For me it was the perfect storm of right place, right time, right person.

“I loved the song and I think it deserved the attention it got. But I don’t set out to have big hits. I’m happy with where I am and where I’ve always been. The fans with me are the fans who will always be with me. I just happened to have a great ride, a very interesting experience.”


Source: The Community Press & Recorder, Cincinnati

 

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

 

  

Tags: songwriter, song writer, song write, Song writing, Songwriting, Grammy Awards, Shawn Colvin, Sunny Came Home

State Of The Music Artist

Posted by Jessica Brandon on Fri, Jun 29, 2012 @01:17 PM

State Of The Music Artist


 by Mark Cawley

With my blogs and coaching I’m always hoping to inspire, share stories and always, always tell the truth at least as I know it.  The truth is a pretty valuable thing to hear in a business of dreams. So with a backward nod to Clint Eastwood here goes.

“The Ugly”

If you’re an artist or writer and you’re still working a plan based on an outdated model, you have to adapt or die. It’s the ugly truth. Somehow the artist in us wants to be above the businessman and let someone else deal with it. That time is long gone and time to embrace what IS working.  This is not breaking news to most people reading this but I still have lots of writers and artists coming into my coaching with unrealistic goals  like landing a major publishing deal with a big advance . There are a few exceptions but for the most part that hasn’t existed in Nashville or anywhere I know of for a long, long time. Same for a major label deal.

“The Bad”

There are so many really good writers and artists falling by the wayside because nurturing a “baby writer or artist” costs too much these days. It makes perfect sense though. If you’re a publisher or label and the pie has shrunk, you just don’t have the money to gamble with. If you give that big advance how are you going to make it back in an era of free fall music sales? This is why you’ve been reading about things like 360 deals for the past few years as well as seeing projects stay “in house” as much as possible. Reading Bob Lefsetz letter is a good way to stay up with the conversation. He’s read by most industry people as well as artists.

“The Good”

There’s help. Writers, artists, producers, industry pros  and publishers are making themselves available in unique ways these days though workshops, online seminars or, as in my case, coaching . There is some real crap out there, so do your homework, but if you dig you’ll find experts  who have actually done what you want to do and are willing to share.

I’ve  been reading a terrific book called Platform by Michael Hyatt recently and it’s perfect info for any songwriter or artist looking for ways to get noticed. Michael has been the head of Thomas Nelson Publishing here in Nashville dealing mainly in Christian books but has a music business background as well.

One of the things that struck me was a section about turning really good authors away because they weren’t willing to use social media. They want to write and be left alone. Let someone else promote. These writers in his world and in the music world are going unpublished. Michael wrote the book as sort of a “how to” to help them navigate the new model of self-promotion.

The point is there are resources to help you adapt to newer models. Facebook fan pages, blogging and tons of other ways to be heard and create and nurture a fan base. The Internet is your marketing person and you can do it… by yourself and …it works. It’s not near as romantic to think about tweeting and blogging to let people know what you’re creating but none of us wants our music to exist in a vacuum so… we promote and network. We ARE the business and that’s a great thing!

One last note..if you play live go out and do it, everywhere,everynight!!

 

Mark Cawleys’ 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 and around the world. He has had #1 records in the UK and throughout Europe as well as cut’s 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 new one on one co-active coaching service. Visit www.idocoach.com for details. 

For more details on the 17th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, music artist, Mark Cawley

Songwriting News: Universal Music reaches deal with publishers

Posted by Jessica Brandon on Wed, Jun 20, 2012 @10:55 AM

Universal Music reaches groundbreaking deal with publishers

 Universal Music Group

The National Music Publishers' Association has negotiated a far-reaching licensing deal with Universal Music Group on music videos, the group announced on Tuesday.

 

It is the first major-label deal to pay royalties to songwriters and music publishers for videos.

The pact also could end up providing additional royalties for songwriters and music publishers in emerging platforms like ringtones.

 

It comes as many musicians have grown more frustrated about the lack of financial compensation they receive for use of their work in new media services like Vevo and YouTube.

 

As a sign of how tense the relationship has become, last February in TheWrap, Matt Pincus, founder and CEO of Songs Music Publishing, slammed Vevo for earning $150 million in revenue without cutting independent publishers in on the money.

 

"Are record companies to blame for relying on shoddy language to withhold royalties, or is it Vevo's responsibility to insure that the songwriters that helped it pull in $150 million this year share in their success?" Pincus wrote. "Whatever the case, this issue of fairness must be addressed."

 

Vevo is a joint venture music video website operated by Universal Music Group, Sony Music Entertainment and Abu Dhabi Media, making Universal's participation key.

 

"The agreement announced today is an important first step in resolving industry-wide music video issues," David Israelite, NMPA president and CEO, said in a statement. "UMG deserves credit for being the first record label to partner with the entire songwriting and music publishing community through this model licensing deal."

 

Under this license deal, music publishers will grant the rights necessary for the synchronization of their musical works with music videos, and, in return, receive royalties from these videos based on a percentage of Universal's receipts.

 

The agreement also enables songwriters and music publishers to receive retroactive compensation for past use of their musical works in UMG's music videos. In addition to music videos, the agreement provides songwriters and music publishers compensation for additional UMG product offerings including ringtones, dual disc, multi-session audio and locked content products.

 

[Source: TheWrap.com]

 

For more information on the 17th Annual USA Songwriting Competition, go to: http://www.songwriting.net

  


 

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Universal Music Group, publishers

Songwriting Tip: Composing For Film and TV

Posted by Jessica Brandon on Thu, Jun 14, 2012 @12:54 PM

 

Songwriting Tip: Composing For Film & TV

By Brian Tarquin

Brian Tarquin, songwriter
There is more to composing than just buying a computer and a handful of plug-ins! After 20 years composing for television and films, with three Emmys and seven nominations, I’ve come to rely on instincts and input from producers and music editors around me. It’s a team effort, and the sooner you learn this lesson, the better.

1. Get the Vibe. Remember you are composing music for the show, which will be heard by its fans. Understand the viewers and what works between score and picture. In Ken Burns’ Civil War series, what worked was that beautiful solo violin melody, not blazing metal guitar. Proper background score is a key to a successful series.

2. Understand exactly what the producer or music supervisor wants.This can be a very tricky thing. It can change from day to day and from moment to moment. I found that it could become confusing if more than one person gives you directions. The best thing to do is ask for musical references from the main person giving the instructions. For example, if they are requesting a vibe like Led Zeppelin-meets-Metallica, then make sure you get your project’s creative team to specify what elements of each band they like and how they want them combined. Ask as many questions as possible to nailing the exact vibe they want.

3. Don’t rush it, take time and get it right. This really pertains to composing for new clients. Even if you are juggling many projects, as we all seem to do, give it the time it deserves. Clients can sense when you are rushing and not giving it the proper attention. Remember the kids in school who had six weeks to do their final paper, but waited until the night before to do it? By showing the client that you care about their project, it will almost ensure you a continued relationship for future projects.

4. Use real instruments when you can, don’t rely on plug-ins and sample CDs. As a guitarist and recording artist for many years, it is annoying to me that there are so many electronic composers today who take the shortcut and substitute talent for computer plug-ins and samples. Instead of getting a real drummer they use some drum “extraordinaire” plug-in and samples from CDs of horns and bass. It makes no sense––just hire real musicians to make it sound as authentic as possible. Back in the day, I remember laboring through sessions getting musicians to nail the right sound before the digital era and plug-ins; it actually was a great challenge to see if you could achieve the sound for the project and a real feeling of reward when you did.

5. Don’t reuse old cues. This is something we are all guilty of––yours truly as well! In all my experience I’ve found that trying to rework old cues to try to make them sound different for a new client is more time consuming than actually composing from scratch. And trying to pass off an old cue to a new client thinking it’s “close enough” is bad business, because nine out of 10 times the client will have so many changes that you will be doubling your work. I don’t know how many guys do this, but it’s a lot like trying to turn a polka song into an electronica tune and passing it off to the client. Believe me, they will know!

6. Watch the show and understand how the music is used. Believe it or not, there are composers out there who do not bother to watch the show they are composing for, which seems like a recipe for failure. Set your DVR to record a few episodes and see how the music is synced to picture and compose accordingly. Before I even start composing for a new show I always watch a number of episodes and then go back to the music director and ask what specifically worked for those shows in regards to the music. I also like to throw out ideas to the music director before I proceed, to see if I’m on track.

7. Make sure to send WAV samples (no MP3s) for approval. I’ve learned not to send MP3s to people, because no matter how many times you explain to them that it’s an MP3, they always get bothered about it sounding “too compressed and lacking bottom end.” Well, that’s because IT’S AN MP3 and you’re listening to it on COMPUTER SPEAKERS!!! Then of course they look at the file size and say, “Oh, okay then, never mind.” So there goes a half-hour of my life I won’t get back!

8. Never send a demo sample! Man, this is such a catch-22, you can’t believe! Clients always say, just send a demo so I can hear how it’s coming along. So you send a rough mix to them and the first thing they say is, “It Sounds Like A Demo!” Well DUH, it IS a demo! So if you are going to play something for anyone for the first time, it should be the final mix of the song. Back in the early days of being a recording artist I remember the record label would always tell me to just send demos or rough mixes of the songs “so we can get an idea of what you are working on.” These were the days before I had a nice recording studio; my setup was just a Tascam DA-88 and a cheap Carvin mixer. So off the rough mixes went and the label would come back with, “It sounds like a demo!” Well yeah, that’s because they are demos that you said were okay to send!

9. Keep in good communication with the producer or music supervisor. This is one of the most important things to do. Always check in with the client, especially if you have a long lead-time for the final deadline, because ideas can change. For example, that song they told you to emulate at the start of the project may have changed three times and the client might have have forgotten to tell you. Of all my advice to you, this is the most crucial! I’ve been involved in projects that started off as heavy metal, then midway became techno and then finally wound up as a punk song I had to compose from scratch. Yes, it’s a lot of work and chasing, but it’s all part of the gig.

10. Never say “That’s the best I can do!” Many of us have been at the end of our rope with certain clients, for one reason or another––you want to say “I’m done, you do it!” I certainly have been there with a few people, but the best thing to do is ask for an extension if the changes they request become too much. Step away from the project for a few days, if possible, then come back to it with fresh ears and appease the client.

 

 [This Article is reprinted with permission from June 2012 issue of Music Connection magazine]

The multi-Emmy-winning composer-guitarist Brian Tarquin has established himself as a top TV composer-recording artist and owner of Jungle Room Studios. Some of his accomplishments include writing the theme music for MTV’s Road Rules, as well as producing music for many other TV shows such as CSI, ABC’s Making The Band, Extra, Alias as well as the Keanu Reeves film, The Watcher, and many more. Visit Tarquin’s music catalog at http://bohemianproductions.net/musicsearch.html. To see his recording facility, Jungle Room Studios, visit http://youtu.be/P9QEUO1K0pw.

For more information on the 17th Annual USA Songwriting Competition, go to: http://www.songwriting.net

  

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Writing Music, Composing For TV and Film, music supervisor

Songwriting and the Premise of Creativity

Posted by Jessica Brandon on Wed, Jun 13, 2012 @05:04 PM

Songwriting and the Premise of Creativity

By Cris Zalles

 Cris Zalles, songwriter & producer

Some time ago I thought it would be interesting to learn more about what "creativity" really is. Where does it come from? How can I access it more often? What I didn't know is that this curiosity would lead me to radically improve my songwriting and as a consequence, my professional life. So, after reading some books on the matter and spending enough time analyzing the process, I got to some interesting conclusions.

Much like most songwriters I know, my writing was mainly dependent on the ideas (musical and lyrical) that I could come up with during the "session". Even if I had a good title or an idea to start from, my songs where born mostly from whatever came to mind during that time. Even in Nashville, a place I truly love and where I've learned from the best, I've seen the same "creative" approach. Not always, but it's a safe generalization.

So what if we change the premise of creativity? Do we really create anything? I though (wrong or right) that perhaps outside of feelings and emotions, everything in our reality has already been created. Even if it has not been discovered yet. So then, what we call "creativity" in reality must simply be our ability to CONNECT already existing ideas, concepts, things, elements, etc. in ways that are original, insightful and meaningful. If the final result triggers an emotional response on ourselves and others, then you have truly "created".

Then, if the game is about connecting ideas within the realm of possibilities, logically, what I need to do in order to get better results is to have plenty of good content available to choose from when I sit down to write. This way I don't depend so much on the unreliable visiting hours of our good friend Miss Inspiration. In other words, I realized that the way most of us write songs is like trying to open a restaurant with whatever we have in the refrigerator at the time. Absurd, right? well, that's just how most songwriters do it. I say, GO GROCERY SHOPPING FIRST!

Sound engineers prep and then mix. Architects plan, prepare and then build. Lawyers, same thing. Even painters and other artists sketch and prepare, but for some unknown reason, songwriters like to start building before knowing what they want. Strange isn't it?. Yeah, "finding your path" as you go can sound very romantic but it's not very practical. Do ships sail out to sea without a destination or a nautical chart?

So, just like in most other professions, now I divide the process into two stages. Prep (musical and lyrical ideas) and the connecting stage. Both are essential to good songwriting.

The process that has worked for me is that I don't go for a musical instrument until I've defined what my objectives are and I know what I want to write about (lyrically). Then I ask the question, "what is everything I know (or not) about this subject"? I spend lots of time looking for great things to say about it. I find common and uncommon answers to the question as well as interesting or unexpected angles to make sure that what ever goes into the song is worthy of it's great potential. Not a line or a breath should be wasted.

Once I have lots of good stuff to say, I try to edit, separate and organize the best and most interesting bits of information into their most likely structural destination. This is easy since I know that a verse, a chorus and a bridge (if needed) have very different objectives within a song. I also look for possible rhymes to reverse engineer some payoff lines but still working within a basic "sketching" mode. It takes discipline but when you're ready, you'll know it. Your "creative" sparks will be uncontainable. Then and only then, I approach the instrument.

So let the writing begin…. Very soon I'm in the flow. With all the ideas jumping out of the prep page and fighting for attention, getting into it is now much easier. The ride is sort of an unconscious process where I get lost and do my thing in the infinite world of possibilities. Connecting ideas to music and searching for the natural rhythm and melody to the words I want to use. A magical ride where I lose all sense of time and self awareness while managing to stay true to my goals. I'm sure you can relate.

One last thing. Because to me music feels naturally flexible, and words (because of their syllables) feel more rigid, defining a melody before knowing what to say lyrically leaves you with "rigid against rigid". How many times have you had a melody that suggests a four syllable word, knowing that the perfect word to use has only two? That's when songwriting becomes this difficult musical crossword puzzle exercise that forces you to compromise. I don't like it! 

Waiting to write the melody until you know what to say and how to say it allows the music to embrace the words like warm liquid chocolate over fresh strawberries and this alternative "creative" process I've described here allows it to happen naturally.

Yes, it may take a little longer but I guarantee you that in the end, the quality of your songs will improve dramatically.

So, now I can say "good luck" or "good work". It's up to you.

 

Originally form Chile, Cris Zalles has lived in the US for 30 years, and over 20 of them working in the Music Industry. He has earned professional credits as a Songwriter, Producer, Artist, Vocalist, Arranger and Sound Engineer. A Warner/Chappell Music Publishing staff writer since 1996, Cris has over 80 songs released around the world, mostly in the latin Industry. They include artists such as: Ricky Martin, Chayanne, David Bisbal, Luis Fonsi, Nito Mestre, Gilberto Santa Rosa, Christian Castro, Marcos Llunas, Florent Pagni, Disney, and many others. His song "Cuidarte EL Alma", by Chayanne won the ASCAP Pop/Latin ballad of the year award in 2005. The song became a Billboard #1 hit and the most played in Latin Radio that year. Cris currently runs his own recording studio out of Miami where he writes, produces and teaches songwriting. In the last few years he served 3 terms as Governor on the Florida Chapter Board of the Recording Academy and has been a voting member since 2001. http://www.zallesmusic.com

 

For more information on the 17th Annual USA Songwriting Competition, go to: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, Songwriting, Cris Zalles

Youtube Reaches Songwriting Publishing Deals

Posted by Jessica Brandon on Mon, Jun 11, 2012 @09:33 AM

YouTube

YouTube has reached songwriting and publishing deals with BMG Rights Management, Christian Copyright Solutions, ABKCO Music, Inc., Songs Music Publishing, Words & Music, Copyright Administration, Music Services, Reservoir Media Management, and Songs of Virtual.

The deals mean that artists such as Adele, Cee Lo Green, Foo Fighters, The Rolling Stones and Sam Cooke amongst others, will be able to share in more of the revenue that the YouTube community yields.

Using a Content ID system music publishers can now identify the works of songwriters whether the compositions appear in an original sound recording or in a cover version, using information provided to Youtube by the publishers.

In a blog post, the streaming site said: "We’re committed to making sure [artists] works can reach the widest audience, and that the singers and songwriters will continue to be appropriately compensated for these works that we all love so much."

These new deals, along with the licenses from the publishers who have opted in to last year’s deal with the NMPA / Harry Fox Agency, will allow YouTube to monetize nearly all of the user generated videos with music on YouTube.

[Source: Youtube]

 

 

For more information on the 17th Annual USA Songwriting Competition, go to: http://www.songwriting.net

 

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Youtube, BMG

Robin Gibb, Songwriter Remembered

Posted by Jessica Brandon on Fri, May 25, 2012 @01:38 PM

Robin Gibb, Songwriter Remembered

Robin Gibb, songwriter

Robin Gibb, a member of the group the Bee Gees, died Sunday at the age of 61. The musician was best known for his contributions, along with his brothers, to disco in the 1970s. The genre, both loved and hated, was in part defined by Gibb and the Bee Gees.

No one dominated disco more than the Bee Gees, whose soundtrack to “Saturday Night Fever” cemented their place in history and changed the defining sound of the era.

The Bee Gees had nine singles reach number one on the Hot 100 chart, which, according to Billboard magazine, puts them in third place for the most number ones in history, after the Beatles and the Supremes.

The Bee Gees has tremendous songwriting success, sold in excess of 200 million records worldwide.At one point in 1978, the Gibb brothers were responsible for writing and/or performing nine of the songs in the Billboard Hot 100. In all, the Gibbs placed 13 singles onto the Hot 100 in 1978, with 12 making the Top 40.

At least 2,500 artists have recorded their songs. Their most popular composition is "How Deep Is Your Love", with 400 versions by other artists in existence. Among the artists who have covered their songs are Ardijah, Michael Bolton, Boyzone, Eric Clapton, Billy Corgan, Destiny's Child, Faith No More, Feist, The Flaming Lips, Al Green, Jinusean, Elton John, Tom Jones, Janis Joplin, Lulu, Elvis Presley, Nina Simone, Percy Sledge, Robert Smith, Take That, and John Frusciante (who has covered "How Deep Is Your Love" duringRed Hot Chili Peppers concerts). The band's music has also been sampled by dozens of hip hop artists.

Songs written by the Gibbs, but largely better known through versions by other artists, include:

  • "Ain't Nothing Gonna Keep Me From You" by Teri DeSario

  • "Buried Treasure" by Kenny Rogers (backing vocals The Gatlin Brothers)

  • "Chain Reaction" by Diana Ross

  • "Come on Over" by Olivia Newton-John

  • "Emotion" by Samantha Sang

  • "Gilbert Green" by Gerry Marsden

  • "Grease" by Frankie Valli

  • "Guilty" and "Woman in Love" by Barbra Streisand

  • "Heartbreaker" & "All the Love in the World" by Dionne Warwick

  • "Hold On to My Love" by Jimmy Ruffin

  • "I Will Be There" by Tina Turner

  • "If I Can't Have You" by Yvonne Elliman

  • "Immortality" by Celine Dion

  • "Islands in the Stream" by Kenny Rogers and Dolly Parton

  • "Morning of My Life" by Abi and Esther Ofarim

  • "Only One Woman" by The Marbles

  • "Rest Your Love on Me" by Conway Twitty

  • "Sacred Trust" by One True Voice

  • "Warm Ride" by Graham Bonnet

Robin Gibb also had a solo career, was initially successful with a Number 2 UK hit, "Saved by the Bell", which sold over one million copies. However, Gibb's first solo album, Robin's Reign, was less successful and he soon found that being a solo artist was unsatisfying. Maurice played bass guitar on the song "Mother and Jack", but was subsequently removed from the project by producer Robert Stigwood. Despite having almost completed a second solo album, Sing Slowly Sisters, Gibb reunited with his brothers, who then revived the Bee Gees. The group came back on a high note, reaching No. 3 on the US charts with the song "Lonely Days" in 1970. In 1971, the Bee Gees had their first US No.1 hit, "How Can You Mend a Broken Heart". 

With Robin's death, Barry Gibb became the last surviving and oldest Gibb brother.

 

 (Edited by Jessica Brandon)

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

 

 

 

 

Tags: songwriter, song writer, Song writing, Songwriting, Robin Gibb, Bee Gees