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Songwriting Tips: From Demo To Master, A Music Artist's Experience

Posted by Jessica Brandon on Wed, Feb 01, 2012 @01:55 PM

From Demo To Master, A Music Artist's Experience

by Melissa Axel

Songwriting & Editing by Melissa Axel

After my last article Demo vs. Master Recordings, I was asked to share how one of my own songs moved through the demo stage to completion. That and this post are both written from the recording artist perspective (rather than songwriter pitching songs for other singers to record). This is the evolution of "Golden Rule," from my album LOVE . HUMANITY . METAMORPHOSIS …

"THIS IS IT!" The rush of adrenaline, hard work rewarded, that magical feeling of inspiration successfully translated into a complete, singable tune … You know the feeling you get when you've just finished writing a new song. Eureka, you've done it! But, you're not done with it.

At least, I wasn't done when I shouted from our piano in mid-afternoon triumph for all the neighborhood cats to hear. Even after the editing stage, "Golden Rule" went through several major revisions—the kind best made by sitting down with a trusted musical advisor (in this case, our producer) to carefully analyze a basic recording of the song. The changes made in this pre-production stage turned a pleasant but complex tune into an engaging song with a clear message of love and self-acceptance.

One thing we noticed in the first piano/vocal demo was that there seemed to be two different pre-choruses in the song—and each one appeared twice. This took power away from the composition by creating several different build-ups that never fully paid off. It felt great to play and sing those sections, but as a listener, even I got lost when I heard my initial recording. Where was the peak of the song?

Another issue was how the perspective of the song progressed. It began in third person about a struggling little girl, shifted to the girl's voice questioning her situation, and then to mine, empathizing with everyone who'd gone through the same thing. It seemed like an interesting story arc at the time, but I had admittedly come up with a narrative that was too confusing to clearly deliver its point. What was the punchline … and whose line was it, anyway?

After a hard look at each section of the song, we decided to stick with the first pre-chorus. I let go of lyrics I was originally attached to when I saw how much more powerful the song became without them. We also cut down the instrumental parts, keeping just a short vocal vamp and a quick instrumental build-up to the "bookend" outro. With so many lyrics on the cutting room floor, we no longer needed to give the listener as much musical "buffer" to process what was being said.

Still, I adored that other section, whatever it was. Those chords just felt like they belonged, and the statement "but everyone is special, everybody's unique / that's what they say, and I'd like to believe it" was only the key point of the whole song. A-ha—that was no second pre-chorus, it was the end of the bridge—the climax! Those words now mark the shift from third to first person as we continue into the chorus, "so I sing, soft but strong, 'there is nothing wrong with you.'" Sure enough, these few lines had also functioned as a pre-chorus, because the chords lead back up to the final chorus, only even stronger this time.

For me, transforming our demo in pre-production was the most crucial part of the recording process. Between tightening the form, upping the tempo, and putting unnecessary bits on the chopping block, we cut over two minutes from the song, clarified its structure, and made its core message crystal clear. Having settled on these essentials, we gave a revised piano/vocal demo to the string arranger and other musicians as we prepared to take "Golden Rule" into the studio.

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 and went on to earn her master's degree in Interdisciplinary Arts from Nova Southeastern University. Axel's new 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:

Tags: songwriter, song writer, song write, Song writing, Songwriting, Berklee, demo, writing songs, songwrite, Master Recordings, singer songwriter, Regina Spektor, editing, Norah Jones, Tori Amos

Songwriting Tip: 6 Traits of A Badly Written Song

Posted by Jessica Brandon on Tue, Jan 10, 2012 @12:00 AM

6 Traits of A Badly Written Song

(source: Music Connection magazine)

By Bobby Owsinski


Although we’ve all heard the stories about a great song that was written in 10 minutes, most well-written songs are actually finally crafted by many rounds of re-writes. Many inexperienced songwriters don’t take enough time to hone a song, and as a result, their songs may display a number of undesirable traits. Keep in mind that regardless of the genre of music, from rock to country to goth to rockabilly to alien space music, there are common elements that keep a song interesting to your particular audience, and also characteristics that rear their head when a song doesn’t hold the listener’s attention as well.
Here are 6 traits commonly found in badly written songs that were culled from two of my books, The Music Producer’s Handbook and How To Make Your Band Sound Great. My apologies for using song examples that might seem a little dated, but I wanted to chose ones that most people are familiar with after years of airplay.

1. The Song Is Too Long
Many songs have sections that are way too long. Two-minute intros, three-minute guitar solos and five-minute outros are almost always boring. You are always better off to have a section too short rather than too long. The only exception is if you can actually make a long section interesting, which usually takes a lot of arranging skill and even then still might not keep the audience’s attention. One really long outro that does work, for example, is on Lynyrd Skynyrd’s classic “Free Bird” (don’t laugh––it’s one of the most played songs ever), where slight arrangement changes, kicks and accents every 16 bars really holds the listener’s attention.

2. The Song Has No Focus
Beginner songwriters often have no focus to their songs, which means that the song meanders from chord to chord without a clear distinction between sections. This is usually the result of not honing the song enough and thinking it’s finished way before it’s time. Sometimes there’s really a song in there if you peel it back a bit, but usually the only way to fix it is to go back to the drawing board for a major rewrite.

3. The Song Has A Weak Chorus
Sometimes it’s hard to tell when the verse stops and the chorus starts because they’re basically the same. An interesting chorus usually has something different about it from the verse. It may be just a little different, like adding background vocals or another instrument, or an accent or anticipation to the same chord changes and melody (like Stevie Ray Vaughn’s “Crossfire” with the horn hits and guitar fill). Or it can be a lot different with different set of chord changes or melody combined with the arrangement changes like “Vertigo” by U2, “This Kiss” by Faith Hill or the Eagles’ classic “Hotel California.” Either way, something has to change in the chorus to lift the energy and keep the song memorable.

4. The Song Has No Bridge
Another common songwriting mistake is no bridge. A bridge is an interlude that connects two parts of that song, building a harmonic connection between those parts. Normally you should have heard the verse at least twice. The bridge may then replace the third verse or precede it. In the latter case, it delays an expected chorus. The chorus after the bridge is usually the last one and is often repeated in order to stress that it is final. If and when you expect a verse or a chorus and you get something that is musically and lyrically different from both verse and chorus, it is most likely the bridge.
A bridge is sometimes the peak of the song where it’s at its loudest and most intense (check out the bridge of the Police’s “Every Breath You Take”), or it could be its quietest and least intense point (the Who’s “Baba O’Riley” where Pete Townsend sings “...It’s only teenage wasteland,” or the Doobie Brothers’ “Black Water”).
Almost every great song has a bridge, but there are the occasional exceptions. Songs that are based on the straight 12-bar blues frequently don’t have bridges but might use dynamics or arrangement to provide the tension and release. An example would be the ZZ Top classic “Tush.” There’s no bridge in the song, but the snare fill by itself––after the last verse into the outro guitar solo––supplies the release. Another would be the Guess Who/Lenny Kravitz song “American Woman” where there are just four bars of a different guitar and bass rhythm and a stop that performs that same function as a bridge.

5. The Song Suffers From A Poor Arrangement
Even with great songwriters, this is the most common mistake. Usually this means that the guitar or keyboard will play the same lick, chords or rhythm throughout the entire song. This can work perfectly well and might even be a great arrangement choice if another instrument plays a counter-line or rhythm, but usually it just means that the arrangement will be boring. You’ve got to make sure that the song stays interesting, and that means the addition of lines and fills. An example where a structure like this does work is “American Woman” again.

6. The Song Has No Intro/Outro Hook
If we’re talking about modern popular music (not jazz or classical), most of the songs have an instrumental line (or hook) that you’ll hear at the beginning of the song, maybe again in the chorus, and any time the intro repeats in the song. A great example would be the opening guitar riff to the Rolling Stone’s “Satisfaction” or the piano in Coldplay’s “Clocks.” If you want to make your producer happy, develop your hooks before you do your demos or hit the studio.

• BONUS Tip: They’re not “Originals”
A sure sign of an amateur writer who doesn’t take writing songs seriously is to refer to one’s songs as “originals.” A tape that says “originals” really has “club band” written all over it. Nothing against club bands, but no one is going to take your writing seriously when you refer to your songs using that word. It’s much better to say, “Here are some songs that we wrote” or “Here’s one of our songs.” You will be taken a lot more seriously by the very people that you want listening.

Now take a long, hard listen to your songs. Do any of them have any of the above traits? If so, it’s time for at least one more rewrite.

This article is used by permission from Music Connection magazine's November 2011 issue. Bobby Owsinski is a producer, author and music consultant who has written 15 books on music, recording and the music business. Read some excerpts at or read his popular production blog at or his music business blog at

For more information on the 17th Annual USA Songwriting Competition, visit:

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