Songwriting Tips, News & More

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

Songwriter Story: The Life & Struggles of a Pro Songwriter

Posted by Jessica Brandon on Thu, Jun 05, 2014 @11:01 AM

STORIES FROM THE TRENCHES, LETTERS HOME FROM THE WARS. THE LIFE AND STRUGGLES OF A PRO SONGWRITER.

 by John Capek

John Capek, songwriter

It was the early nineties. Arriving in Los Angeles with Australian and Canadian hit song credits under my belt, I thought it would be a breeze to get into the scene. A year later and my life savings gone I couldn't get arrested as a songwriter, keyboard player or producer.

Somehow, I fell into the "B list" session scene as a keyboard player for songwriters who needed their songs demoed. I was a pretty good keyboard player, the pay was poor, but the work was consistent and the songwriters liked my playing.

David Gresham (a former business partner with Mutt Lang) was making annual trips to Los Angeles from South Africa promoting artists and writers from his label in Jo-berg. He needed some demos done and someone recommended me. I worked on his stuff and we became friends.

Some years later, after I had graduated into the "A - list" LA studio musician scene, David called me from South Africa quite excited about an artist he had signed. He asked me if I would try to work with him. A few weeks later, his new artist, Byron Duplessis arrived at my studio in North Hollywood.

Imagine Terence Trent Darby, Prince, Michael Jackson and Lenny Kravitz in a male model's physique with talent and a voice beyond anything that I had heard before. That was Byron.

We immediately fell into writing and recording a song and "LOVE HAS THE POWER" was born.

Without notice, Byron left, and I didn't hear back from him again for some months.

"LOVE HAS THE POWER" was pitched to all the labels. The response was great. But we consistently heard the same comment, "We can't sign an artist based on only one song"..

David called me again from South Africa asking what could be done. I had an idea. If I worked with Byron in LA, he would be just like any other R&B act. However if I went to South Africa to work with him, we might be able to come up with something interesting and unique. The idea was to combine contemporary pop with Byron's African roots.

So, I packed my bags and went off on safari. I was right. The music that we made was great and different. Back in LA, the labels jumped at it. We had record companies in a bidding war for Byron. I thought that I had it made.

One day, our combined demo/masters were being played in the offices of Columbia Records in New York, Coincidentally, the band, TOTO was next door wondering what they were going to do about a lead singer for their next recording and tour. Someone made the connection. In an instant I lost my artist.

Byron Duplessis became Jean-Michel Byron and the new lead singer for TOTO.

Almost immediately, They put a "best of" album together. "LOVE HAS THE POWER" made it to that album and is forever cast in stone, (or vinyl or whatever CDs are made of), on the TOTO album, "PAST TO PRESENT". These were the best musicians in the world at that time playing my song. There is a live Youtube performance of my song from one of the TOTO shows in Paris at http://www.youtube.com/watch?v=NyY5EBuHHiA

I was deeply disappointed with the loss of Byron as my songwriting partner and production client. I felt that he and our songs could have been "bigger than Jesus", to quote John Lennon. But, I did get some compensation in getting a TOTO cut.

I had a strong feeling that Byron had been badly miscast as a member of TOTO and this feeling turned out to be a truth with some unfortunate results for both Byron and the band. His amazing talent is still yet to be fully expressed.

After that, there was a certain lack of creative and artistic fulfillment for me. The music in South Africa had affected me so profoundly that I had to find my way back there and make more music - at any cost.

David Gresham and I stayed in touch, bemoaning our loss and plotted to find some way to recoup. As a result, I returned to the 'veldt' with David's help and set to recording my own album. Paul Simon's, "Graceland" had just come out. To me it was a revelation and an epiphany albeit a little too smooth for my taste. I wanted to get down to the root of the matter.

INDABA, my album, was recorded in Johannesburg exactly at the time that Nelson Mandela was released from prison. I have had the profound experience of being in South Africa during "the time off starvation", which is what apartheid was sometimes called, as well as afterwards when the system collapsed. Freedom reigned.

INDABA was a musical photograph of that moment in time.

One of the songs on INDABA ultimately created its own challenges, creatively. geographically, financially, legally, digitally and business-wise and with Joe Cocker... and much more.

I'll get into that with my next installment as well as more discussion about songwriting, its craft and its art.

 

 

John Capek has achieved international acclaim as a composer, songwriter, keyboard player, producer, arranger and scorer for feature films and television.

 

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 write, Song writing, Songwriting, songwrite, Recording, 4-track, A&R, Billboard Charts, Diana Ross, Billboard, musician, studio, Bonnie Raitt, Cher

Songwriting tip: Preparing yourself for a recording session

Posted by Jessica Brandon on Wed, Jun 04, 2014 @02:39 PM

 

Preparing yourself for a recording session and beyond or: If you fail to plan, you plan to fail!

 

By Stefan Held

Stefan Held, producer, audio engineer, musician

 

 

People tend to think that the recording process is all about the music. Unfortunately, in today’s industry, having a great song—even a brilliant song—is only one small step in a very long process. The reality is that it doesn't matter if you just started thinking about the first song you want to record or if you have 12 songs mapped out all the way to four-part harmonies in the chorus.

 

I’ve worked with thousands of musicians and helped guide them through every step of the process. The biggest piece of advice I can give is this: take a step back and DON’T jump right into the recording process.

 

There are many things to consider: figuring out how to fund raise enough money for the entire project; choosing the right song(s); deciding when to start a social media/marketing campaign; hiring or not hiring a producer; using your band or going solo; finding a studio; figuring out your style (i.e. does my hair look good??), etc. etc. Everyone will give you lots of advice. But, in my experience, here are the seven most important things to think about:

 

Fund raising

 

Okay, so you’re not a trust fund kid nor are you in line to inherit a small fortune from your Great Aunt Millie. Welcome to the club! Now, what are your options?

 

Think of this entire project as an investment in your music career. And by entire project, I mean everything: social media marketing, advertising campaigns, the recording process, album duplication, video production, album release show(s), merchandise production, the upcoming tour... And what about the next album?

 

We are constantly making choices about how we spend our money. Why pay thousands or hundreds of thousands of dollars on college tuition? Simple. It’s an investment in your future. Why buy a car? It’s an investment that helps get you to work, to school, to gigs and therefore, it’s an investment in your future. Why spend all that money on a suit for that job interview? Another investment in your future. Get the picture?

 

If you are serious about music and want to make it your profession, then you need to start thinking of yourself as a business and music as your product. Start a company (like an LLC). Go to your local bank and ask for a small business loan. That’s what I did when I started my music production & marketing company –StevenHeroProductions, LLC.

 

Most studios, producers, marketing companies, etc offer payment plans and they all accept credit cards- it might be time to get those airline miles!

 

I’m not saying that you shouldn’t ask family members, friends, long lost relatives for a contribution as well. But help them feel like they’re investing in something as well—call it a pre-order of the album or merchandise.

 

If the investment is high enough, offer them perks like a lifetime backstage pass or a private house concert for them and 50 of their closest friends. If the investment is smaller, offer other incentives like a signed album. I know this sounds like a Kickstarter campaign- and that’s basically exactly what it is.

 

I have seen amazingly successful online fundraising campaigns and some that crashed and burned. The basic issue: if you have 500 followers you can not expect everyone to pitch in $100 to raise the 50K you want to. You need massive amounts of real fans to achieve that, which brings me to my next topic:

 

 

 

Marketing

 

Most artists record first and market afterwards…if at all. Big mistake!

 

Unless you have a following as big as Beyonce, I strongly encourage you to start a solid social media and marketing campaign BEFORE writing the first words to your first single. Why? If you wait to market until after the single/album/demo is finished, you are wasting money on this recording. Or, if you think that you’ll simply release your new music to your existing fan base without trying to attract new followers, you are (once again) wasting money on this recording.

 

Releasing a song or an album without generating substantial buzz and without creating a strong following is useless. It’s wishful thinking. It’s akin to putting your song(s) on iTunes and hoping fans, who have no idea who you are, what you’ve done, will mysteriously find your new album and buy your tracks. But i digress.

 

Start a campaign to gain more REAL fans. Figure out if your social media campaign is in place? Branding? Are the sites synced up? Do the links work? (I know this sounds like a no-brainer- but I see this mistake literally every day). Is your content engaging? Are you interacting with your followers on a personal basis?

 

You’re probably thinking, but wait, this has nothing to do with music. But unfortunately, a huge fan base is essential to becoming a full-time musician. If you don’t sell downloads/albums/merchandise and your shows are not packed, you will never make a return on your investment--- ever!

 

What to do?

 

Start creating a team around you. Hire an intern, who you pay with a small stipend and the promise of letters of recommendation after the project is compete. Have that person spend hours every day looking for great content. Have that person interact with your fans, go to shows, meet people, etc. I hope i don't have to explain that organic followers (while important) are a slow way to go and will not bring the desired results besides close friends and family who will buy your record anyway. Don't get me wrong, a strong, solid foundation is great- just don't leave it at that.

 

You can also hire a professional company with a proven track record. Some companies offer quite reasonable rates. (Again, a lot of companies offer payment plans and all professional ones accept credit cards.)

 

Another reason to start your campaign early is to get behind the scenes video footage of you rehearsing with the band, struggling through writing sessions, fighting with band members, meeting with producers, crying and cursing out the music business and all of the over fun stages of the process. This is content gold. Fans want to be part of the entire process. The more they feel involved, the more of a “super fan” they will potentially become. These are the fans every artists loves! They buy your products, they run your fan clubs, they spread the word and they attend every show.

 

To demo or not to demo...

 

Okay, so now you started your campaign, what next? Demo or no demo…well, that depends. As a producer I always love to hear a rough version of a song. It's a great way to see if it’s in the right key for the artist, if the arrangement works or the bridge is too long or even in the right spot? How about the song’s tempo?

 

I can hear the potential of a song through a basic demo with your voice and guitar or piano accompaniment. I can get a sense of a song’s promise and its problem spots.

 

Garageband is also a great (and free) way to lay down your ideas. Did I mention it's free???

 

A word of warning: use these demos for pre-production BUT do not send them to major labels, publishers or anyone else who regularly receives tons of high quality submissions every day. If your song does not sound amazing and if it fails to grab them on every level from composition, to performance, to production, they will not listen past the first 20 seconds. The hard lesson in this business is that there is a lot of great music out there. They don’t need to spend time looking for "potential" and making "suggestions" as to how you can improve your song(s).

 

If you are lucky enough to get that song into the right hands, be sure it will TOTALLY BLOW THEM AWAY!

 

Enough said.

 

Next question:

 

Producer or not?

 

Guess what? Making demos on your laptop or recording your band's rehearsal does not necessarily make you a producer. There are professionals who have devoted their lives to producing music. They can be a tremendous asset. They provide a set of experienced ears and give you someone to call on when the studio decides not to tune the piano or provide the promised mics for your session. Besides, with a producer’s assistance, it most likely won’t even come to that. A good producer knows which studios sound great, which engineers are amazing and what studio musician show up ready to rock!

 

How to find the perfect producer?

 

Do your research, use the internet, find out what this person did for the last few years and not what they did 25 years ago!

 

Meet them in person and ask them questions. If a producer/engineer/studio owner, does not answer each and every question you have or if their answers don’t make sense - RUN!  

 

So, long story short, a great producer will most likely not only save you money by helping you making the right decisions in the first place (Yes, you heard that right- i said saving money!) but the finished product will sound highly professional and will make you stand out.

 

Now, you have raised the funds, have a solid social media strategy in place and hired the right producer- what’s next?

 

Pre-production.

 

What's that?

 

Pre-production means: sitting down with the producer and going over every song in great detail. No need to rent a $500/hr studio for that. Just meet at his/her place or a basic rehearsal studio (most producers have a studio of their own to work from)!

 

By the time you actually head into the recording studio, there should be no question about the key, the tempo, the arrangement, or any of the other basic details. It goes without saying, once the red light goes on, things may change a little. But before walking into the studio, make sure you’ve answered all of the basic questions.

 

midi or live instruments?

 

This depends a lot on your style of music- many times, it will be a combination of both. But if it’s done right, the results will be amazing and will save you some serious $$$.

 

If you want primarily live instruments, there are a couple of options:

 

Either use a full band to record live in the studio or, lay down vocal and guitar or piano scratch tracks first and then overdub one instrument at a time.

 

What you ultimately decide depends on a number of factors: Style of music? Do you have a super tight band that has a ton of studio experience? Is your pitch dead on? Are you comfortable with everyone recording at the same time? Does the guitar player deliver an amazing solo every time? Are the drummer and bassist super tight and locked in rhythmically? etc If so, a "live" recording might be the answer. Most of the larger studios have a handful of isolation booths, so you can still fix some things during overdubbing sessions.

 

If you are a solo artist and not sure what to do in terms of instrumentation, I highly recommend FIRST tracking you--and your instrument--to a click track (unless you are a hundred percent sure you do not want to add any other instruments, especially rhythmic ones afterwards) and adding layers one by one. That way the chances of overproduction are limited since you don’t pile everything on at first and then have to peel off what you don’t like later.

 

Again, every producer works differently, so make sure to pick one who works in a way that you feel comfortable with.

 

And, FINALLY!

 

The Recording

 

It’s finally time to lay down some magic!

 

If you’ve done all the work, the recording is not only going to be fun and exciting—it’s going to be quick and economical! Make sure your instrument(s) are in great shape, you have new strings/batteries, your voice is warmed up, and you are rested and ready.

 

If you followed my advice so far, you are not only on your way to amazing sounding tracks but you’ve also established a strong following with fans who are eagerly awaiting your upcoming release.

 

Next steps: planning mixing/mastering sessions, album duplication, online distribution, album release show(s), video shoot(s), booking a tour, getting your music licensed, interviews and tons more.

 

I wish you all the best on your journey and hope to hear your music soon!

 

 

 

Stefan Held is the owner of StevenHeroProductions, LLC, a music production & marketing company based in New York City. He has done music productions for MTV, MTV2, BRAVO, TLC, NBC, FOX, Discovery, VH1, Sundance, Travel channel, etc. And he has worked for USA Songwriting Competition Top Winner & Billboard Top 10 Hit Artist Ari Gold, American Idol’s Diana DeGarmo and Tony Award winner Melba Moore, etc. www.StevenHeroProductions.com

 

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

 

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Recording

Songwriting Tip: The Demo Is Dead

Posted by Jessica Brandon on Tue, May 27, 2014 @08:03 AM

THE DEMO IS DEAD

by John Capek 
Demo Tape for songwriters
Why I don't do demos.

Arif Mardin, Mutt Lange,Trevor Horn, Berry Gordy, Phil Spector, Brian Wilson,
George Martin and Quincy Jones are gentlemen who have shared a common philosophy regarding recording contemporary popular music.

That philosophy is - a respect for spontaneity however, not making it their deity.
More than being record producers, these guys have been consummate ARRANGERS and editors of recorded music.

Much of the iconic recorded music that we recognize as our score to the twentieth and twenty-first century has been recorded, ARRANGED edited and 'produced' by this group of musical royalty.

In researching the content of anthemic hit records that stand the test of time, I have found one common factor. That factor, for me has been an epiphany, a revelation and a secret unfolded.

Consider the bass line of the Beatles song "Lady Madonna". That line is never sung, is not part of the melody, has no specific connection to the lyric and would not appear on a lead sheet. Yet without that bass line, the song is unrecognizable in its familiar context.

British courts recently awarded a partial ownership of the song "Whiter Shade of Pale" to the keyboard player who came up with the intro to that recording.

Similarly, consider Michael Jackson's "Beat It" without the bass figure or just about any Motown hit song such as Marvin Gaye's "Grapevine" without the intro figure or the Beach Boy's "Good Vibrations" without its signature instrumental line.

Who is the decider on how, when and where these musical hooks get incorporated into the records that have become our anthems? Who decided that the flute part in "Men at Work's" "Land Down Under" should become such a recognizable and controversial signature?

What does it take to make these records our mileposts, our familiar touchstones and our connections?

Some of Mutt Lange's albums have taken a year to make and millions of dollars in budget. Is the secret about time and money?

George Martin, Arif Mardin and Quincy Jones had rigorous formal training in composition, harmony and orchestral arranging. Brian Wilson and Phil Spector were focused "out of this world" visionary geniuses who invented sonic and harmonic atmospheres probably never to be replicated by anyone else.

We now land in the second decade of the twenty-first century with the recorded music industry decimated and its economic base essentially collapsed. Positions in social media can be bought and paid for, attendance at live shows is financially beyond the reach of most fans and records have become fleeting sound clips that have no lasting social, cultural or economic value. I love the 'wrecking ball', it's...........spherical.

What does it take to create an anthemic, iconic lasting piece of recorded music that has similar qualities to those great works created by Quincy, Arif, Phil and Brian?

We don't have the time, we don't have the resources and we certainly don't have the budgets. The chances of coming up with a timeless 'anthemic hit'  even in the most ideal circumstance, based on an assembly of the greatest studio musicians with the best engineers in the most aesthetic environment recording our demo in a limited time/budget scenario, is I believe an absolute zero.

There is an answer and I believe that I have access to that answer, can and have fulfilled that answer and am in business to supply that answer.

I don't do demos.

As a songwriter, I write the "record" not just the song. There is a reason that Diana Ross, Chicago, Olivia Newton John and Bonnie Raitt have picked up my recorded song demo/masters and made them a part of their albums. There is a reason that musicians as great as Toto have cloned my demo/masters and recorded my bass lines note for note.

My mode is to prioritize the concept of arrangement without incurring the extraordinary budgets and unlimited time for 'trial and error' experimentation that the greats have had.

I am a consummate pop music arranger who spent years working as a double scale studio musician in Los Angeles, in demand precisely for my ability to compose, design and conceive of those musical signatures and hooks that define a record and give it that lasting iconic quality.

Today, this ARRANGING process occurs in my own studio, in my own time, utilizing my encyclopedic musical vocabulary. This process does not incur the added expense of outside musicians, outside studios, arrangers engineers or added personnel.

Once an ARRANGEMENT is designed, agreed upon and is in place, then a project can be taken to a formal studio where live musicians replicate the parts that I have designed and the rest of a recording is completed, mixed and mastered.

Often parts that have been recorded in my pre-production ARRANGING process do not change and are retained as part of the master resulting in additional time and cost saving.


It takes me about 100 hours per song. Some examples of the results can be heard on the 'Songs' page of www.johncapek.com

As a keyboard player, arranger, producer and songwriter, I am likely to be heard on about one hundred million recordings, one of which is playing on some public media somewhere at any instant in time.

I am occasionally available to turn your concept into a hit record within realistic budgets. Contact me for an evaluation and an estimate.

John Capek has achieved international acclaim as a composer, songwriter, keyboard player, producer, arranger and scorer for feature films and television.
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 write, Song writing, Songwriting, demo, songwrite, Recording, song demo, music demo

Songwriting Tip: The Rhythm of the Melody

Posted by Jessica Brandon on Wed, May 07, 2014 @11:46 AM

The Rhythm of the Melody—more important than ever for “top line” writers

By Harriet Schock 

 Harriet Schock, Hit Songwriter

In my book, Becoming Remarkable for Songwriters and Those who Love Songs, I have a chapter devoted to the rhythm of the melody. It’s often overlooked by the beginning songwriter who pays lots of attention to the shape of the melody, the chords under the melody and whether the melody proceeds in steps or leaps. But the rhythm of the melody is equally important, and these days with “top line” writers, it’s vital.

“Top line” writers, as they’re often called, are writers who write melody or lyrics-- or melody andlyrics—over a track provided by the track writer, who’s often the producer, the DJ, whoever is providing it. I won’t get into the disputes that often come up over ownership and who wrote what. The subject I’m tackling is how hard it is to write a melody over a chord progression that never changes. Of course, some tracks have different chords in different sections of the song but many of them have the same chord progression in the verses as in the choruses, etc. So if you’re not paying attention to the rhythm of the melody, you can have trouble getting the melody over the verses to sound different from the chorus melody. Often, the melody that the top line writer comes up with has such rhythmic variation and melody shape, you don’t even notice the chords are the same. And, of course, the track builds. But in traditional songwriting, one of the goals is to have as much difference as possible between the verse and the chorus. And with the same chords, it can really be a challenge.

As I said in the chapter of my book mentioned earlier:

It’s an interesting exercise to spend a week listening only to rhythm of melody. Whenever the radio is on, or a CD, home in on that one facet. See where the melody starts in relation to the count of “one.” See if it’s relatively on the beat or on an “and” or an “oh” as in “3-oh-and-uh”—in other words, syncopated. See if the verse differs from the chorus in this regard. Never mind the shape of the melody or its interaction with the chords right now, we’re just listening for the rhythm of the notes that are sung.

I used to have a friend who would tap out rhythms on my arm and see if I could guess the melody. Sometimes, it would be so distinctive, I could. Try tapping out the melody to “As Time Goes By,” on someone’s arm and see if he/she can guess it. Or “America” from West Side Story. If your friends give up, hum it for them without words and they’ll hit their heads like someone in a V-8 commercial. The truth is, in both of these old songs, the rhythm is very distinctive. But it’s also true of most songs that the rhythm of the melody is as important to its personality as facial features are to a person’s appearance. It just seems to be the part of melody that gets discussed the least.”

 

The rhythm of the melody has always been important but today for the top line writer, an analogy comes to mind. If an artist is told he can only paint vertically on the canvas—no horizontal lines---he’d better have a complete palette of colors at his disposal. With the same chords over and over, for it not to sound like Chinese water torture, he’d better be well versed in the rhythmic variations to the melody.

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 two other Jaglom films and starred in “Just 45 Minutes from Broadway.“ Jaglom’s current release is “The M Word” for which Harriet wrote the featured song.  Harriet has written 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. Her catalogue musical, “Split” for which she wrote book and songs is currently in production. Harriet teaches songwriting privately, in classes and through a popular online course 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 he rbook (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes and consultation, go to: www.harrietschock.com

For more information on the 19th Annual 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

Songwriting Tip: A Three-Stage Rocket to Lyric Writing

Posted by Jessica Brandon on Thu, May 01, 2014 @10:37 AM

A Three-Stage Rocket to Lyric Writing

When NASA blasted a rocket into orbit, they did it in stages: The big lift-off, a second stage to get the payload into orbit and a third to fine tune the direction. So, what’s this got to do with writing lyrics? You can think of the lyric writing process in three stages:

  •  1. Getting started. (Lift off)
  •  2. Developing your idea. (Getting into orbit)
  •  3. Rewriting (Fine tune it)

=> STAGE ONE: GETTING STARTED
Beginning the lyric writing process with a title can give you a central beacon that will keep your song lyric focused – very important if you want to keep listeners involved. Any short phrase you find emotionally intriguing – or simply an honest statement of how you feel – can work as a title. Make it something you want to write about.

Then make a list of questions the phrase suggests. These are the questions you’re going to answer in your song. Try questions like: What does this mean? Why do I need to say it? How does it feel? How did it happen?  What do I think the consequences will be? Every phrase suggests different questions. And every songwriter will find different ones to ask. 

OR… you can start writing the first line of your song and work from that. Let’s say you overhear a line in conversation that sounds interesting or a line occurs to you that triggers a whole string of thoughts. Write everything down, then go back and look it over. Do you know what this song is about? Can you put the lines in some kind of order that develops an overall idea? By the time you write the second line of your first verse, you should have an idea where your song is headed.

=> STAGE TWO: DEVELOP YOUR IDEA
Decide on your song structure. For most songs, it’s a good idea to write in a form that has a chorus section, such as…
VERSE / CHORUS
VERSE / CHORUS
BRIDGE / CHORUS. (Read more about song structure.)

Feature your title in your chorus section; make it the first line or last line, or use it in both places. It will provide an anchor for your listeners, a focal point, so a little repetition is a good thing.  Surround your title with lines that support it. For example, you might choose to answer the question you feel is the most important. Or describe the emotions that are going on.

Remember, the chorus sums up the heart of your song. Be sure to keep it focused on a peak emotional moment. Don’t try to explain too many specific ideas in the chorus. Save that for the verses.

Lay out your verses around the chorus. Choose at least one of the questions from your list to answer in each verse and the bridge. By laying out your song instead of just writing whatever comes to you, you’ll stay focused on a single idea in each verse and you won’t wonder what you’re going to write about when you get to the bridge!

FILM & TV SONG TIP: If you’re writing songs for the film & TV market, keep the focus solely on a peak emotional moment and try to avoid a specific storyline. The script will take care of the story details. Also, for film & TV, the VRS / VRS / BRIDGE / VRS song form can work well. Try using your title in the last line of each verse. If you repeat that last line each time the verse comes around, it will add weight and create a chorus-like feel.

Find out more about writing songs for Film and TV.

=> STAGE THREE: REWRITE AND POLISH
Fill in more lines around the ones you’ve written. Simple, conversational phrases are fine but you might want to mix these with images, comparisons, and physical expressions of emotion to make your listeners really feel it! Don’t just tell them what you experienced; make them experience it, too.

Replace a cliché with a fresh idea. If you’ve written a line that listeners have heard a thousand times, try adding a twist, end the phrase in a different way than we expect.

Punch up your language. If you wrote “I need…” try “I hunger…” or “I crave…” Make your action words work harder, too. Instead of “you walked away,” use “you slipped away” or “you  danced away.” These words tell us more about the emotions that accompanied the action.

Go through your lyric and make certain you’ve answered the important questions about the situation. Did you say something in your lyric that raised more questions or hinted at something else? You’ve got to deal with that—either answer the question or change that line. You don’t want to leave the listener feeling unfulfilled.

This is the time to “encourage” some rhymes. Don’t force them; never change the natural word order of speech to accommodate a rhyme – you’re likely to lose the  believability of the lyric. Look for a rhyme that feels easy and natural. if you use “vowel rhymes” you have a huge selection to choose from. Like the name implies “vowel rhymes” merely rhyme the vowel sound.  Fine/time, now/house, love/stuff are all vowel rhymes. Check out www.B-Rhymes.com for lists of near rhymes. (Read more about rhyming.)

ONE LAST THOUGHT…
At times during this process, there’s likely to be a strong line that “just occurs to you,” a line you reeeeally want to use. If you laid out your song as a rough sketch first, take a look to see where the line might belong and put it there. If it doesn’t seem to belong to any section, then it might provide the germ of a new song. Write it on a separate sheet of paper and put it to one side. You can come back to it later to see where it leads. In songwriting, no good line is wasted – you just have to find the right place for it.

by Robin Frederick

Robin Frederick has written more than 500 songs for television, records, theater, and audio products. She is a former Director of A&R for Rhino Records, Executive Producer of 60 albums, and the author of “Shortcuts to Hit Songwriting” and “Shortcuts to Songwriting for Film & TV” available at Amazon.com. Visit Robin's websites for more songwriting tips and inspiration: www.RobinFrederick.com  and www.MySongCoach.com.

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

Tags: songwriter, song writer, song write, Song writing, Chorus, Songwriting, Polishing songs, Verse, compose, songwrite, lyric writing, Robin Frederick

Tools For The Songwriter: Audio In The Land Of The Free

Posted by Jessica Brandon on Wed, Apr 23, 2014 @12:26 PM

Tools For The Songwriter: Audio In The Land Of The Free

By Eleanor Goldfield

 Songwriting Tools

 

Get your songwriting rig started for nothing

 

There may be no such thing as a free lunch, but believe it or not, there is such a thing as free audio software. For those of you looking to get into demoing, writing, or simply laying down ideas in your own studio setup, this land of the free has some cool tools to get you going.

It’s the (wo)man, not the machine...

It’s tempting to spend big money on audio gear; much of it is expensive, and money can seem insignificant when you’re passionate about something like audio. It’s not like having a passion for collecting seashells.

That being said, the amount of expensive gear you have is not indicative of your abilities. This point was made starkly clear to me one day when I asked Ed Cherney (Rolling Stones, Bonnie Raitt, Iggy and the Stooges, etc.) what his thoughts were on home studios. He spun around in his Aeron chair, a Neve 8048 console behind him and an iPhone in his hand. “Got one of these?” he asked, pointing to his phone. I nodded. “Give it to me and I’ll make you a hit record. It’s who’s behind the tools, not the tools,” he said with his contagious grin.

Not all great gear is expensive, some of it is even free (read on!), and you can build your rig one piece at a time. I can’t tell you how many great producers and engineers I’ve spoken to that started their stories with “All I had was...”

What follows—the breakdown

I’m breaking this up into two sections. The first section is for those of you who already have a DAW such as Pro Tools, and a MIDI controller. This section will focus on how to make sounds from within those programs, with tools other than what you use to simply record your own voice or instrument through a mic.

The second section is for those of you who don’t have a studio setup. There I focus on software programs for simple recording and for some synth use, as well as tools other than a DAW and MIDI controller, tools that will still allow you to create and demo.

Pro Tools pre-loaded

This is about free stuff, so I won’t tell anyone to go buy Pro Tools. But if you have Pro Tools or an equivalent DAW, then you can make use of many free plug-ins and add-ons, and we’ll mention some right here. I’ll stick to virtual instruments and simulators—compressors, delays and such processors can wait for another day.

All the major DAWs come with numerous synth sounds and virtual instruments; you should explore yours exhaustively before you spend money on add-ons and third-party libraries. I won’t go to the length of listing all those DAWs with their included sounds—but I do encourage you to get to know whatever is waiting to be discovered in your own DAW.

As I work primarily in Pro Tools, an industry standard, I’ll start by mentioning the virtual instrument plug-ins that you get for free when you first install and open the program. Many of you are likely to purchase it sooner or later, and as with any new purchase, it’s nice to know the full range.

Xpand, now Xpand 2, is one package that I’ve used a lot, not only on demos but in finished recordings. From soft, hard and action pads to ambience, percussive and polysynths, Xpand allows for an infinite amount of experimenting and layering. There are four separate MIDI inputs, each instance housing 4 channels, to be used discretely or blended; for example, setting all four to channel 1 will layer all four sounds together. Alternatively, you can choose to turn on and off different inputs, switching between sounds. Each input has two effects sends, level controls and timbre adjustment parameters such as envelope depth, cutoff, release, arpeggiation and modulation.

The ethereal sounds in Xpand are my favorites. I consider the simulations of real instruments to fall short, but they can be interesting pieces in a more abstract synth ensemble. For a large part of a score I did for an alternative psychological thriller, I pulled eerie and freaky sounds from Xpand.

Structure Free is another one that I’ve had fun experimenting with. It’s a sample player that allows you to import your own samples and effect them. As you can imagine, there is a paid version of Structure that allows for even more creative depth, but as a jumping-off point, the free version can really set the mind spinning with all sorts of possibilities. As in Xpand, you can have up to four instruments or patches at one time, from your own library or from Structure’s built-in library. There are two edit windows in which to effect your patches, including filters, filter envelope, velocity, pitch, key range and more.

Vacuum looks really really cool in its “post-apocalyptic” graphic design. This monophonic tube synth has only a single sound, but lots of parameters to play with. Spending some time with the knobs and switches can give you a really interesting layered piece.

Boom, a drum machine and sequencer, works great as a quick and easy way to set up some sequencing ideas that you can later replace with either real drums or with a more advanced, true-to-life drum program.

DB-33 is a tonewheel organ with a rotating speaker, as in B3 and Leslie. Simple and straightforward in design, no bells, no whistles. And Mini Grand is an acoustic grand piano, no explanation needed there.

Eleven is an amp simulator. Pro Tools comes with a free version of Eleven. [If the name Eleven doesn’t ring a bell, then we suggest you watch This Is Spinal Tap—Ed.] Like Boom, this can serve as a jumping-off point, a way to lay down ideas that will then be augmented by another program—or, in my case, the full version of Eleven. Two cabs and two heads may sound like an overly stripped-down version, but it’s about a million times better than attempting electric guitar direct without a simulator.

Third-party freebies

In addition to what Pro Tools includes already, there are companies that offer free demo versions of their plug-ins—not as advanced or in-depth as the full versions, but still allowing for experimentation, demoing and recording.

Some demo versions will cut out or make irritating sounds as you use them. Since I have the patience of a 2-year old on caffeine, particularly when creating, I steer clear of these. Also, I’m sure there are many more than what I’m covering here [kvraudio.com is a good place to start looking—Ed.], but here is a glimpse into the wonderful world of free third-party plugs.

Native Instruments offers some of the best free virtual instruments that I’ve used. For free, you can download Reaktor 5 Player, Guitar Rig 5 Player and Kontakt 5 Player, which include libraries of more than 300 sounds and effects. Here, the sound quality is really the highlight. These free players offer a sprinkling of the company’s acclaimed and varied sounds, from drums to synths to keys. Supported formats include stand-alone, VST, RTAS (Pro Tools 9 and 10), AAX Native, 64-bit AAX, and Audio Units. They’ll run on Windows 7/8 and Mac OS 10.7+ and require 3 GB of disc space.

SampleTank FREE by IK Multimedia is another expandable version of the full SampleTank. It comes with 58 sample-based sounds and 146 preset sounds, ranging from modular Moog to female choirs and acoustic guitar. Supported formats are standalone, Audio Units, RTAS and VST, on Windows XP/Vista/7/8 or Mac OS X 10.5+.

Symptohm Melohman PE (Performer Edition) by Ohm Force comes with more than 1200 presets, and lets you throw in your own samples, toggle between 7 different MIDI controller modes, and augment and bend the sound with built-in parameters. It offers two different graphical skins: a clear classic layout, and one that “embodies the true spirit of Ohm Force” (see the screenshot and rejoice). It’s available for Mac and Windows in VST, Audio Units, and RTAS (some bugs have been reported when used in Pro Tools 10).

Addictive Drums (XLN Audio), BFD (FXpansion) and DrumCore (Sonoma Wire Works) can be had in free, stripped-down versions of their full drum programs.

Addictive Drums is a fully functional demo with kick drum, snare, hi-hat and cymbal. Windows 7/8 and Mac 10.6+ in VST, Audio Units, RTAS, AAX and stand-alone.

BFD2 demo will only run as a standalone on Windows XP/Vista/7/8 or Mac. It won’t let you import any samples, you just use the 9-piece kit that comes with it. You can’t save or export anything but the demo will run forever and has no expiration date.

DrumCore also doesn’t time out and supports VST, Audio Units and RTAS for Mac 10.4+ and Windows XP/Vista/7/8. It comes with two kits, as opposed to 100 in the full version, a basic grooves library, and no standalone capability.

Zero-dollars recording software

Let’s say that Pro Tools, Logic or another paid DAW isn’t in your studio setup but you want software on your computer to record demos and ideas. Well, fret not. There are free recording software programs out there. I have used a few of these myself and the others come suggested by students and friends. I’m sure a Google search could unearth even more.

GarageBand from Apple comes free on new Macs and has an incredibly user-friendly platform. Simple controls, simple navigation, all while delivering thousands of built-in synth sounds and virtual instruments as well as loops. A “Windows version” is supposedly out there, but I can’t speak for its legality or its stability—it’s not offered by Apple.

Audacity is a fairly well-known program that I’ve used primarily for editing and exporting OGG files. It has high-fidelity capabilities (up to 32-bit float) and is simple and streamlined. Although it only supports VST or coded (via LADSPA or Nyquist) versions of plug-ins, it has built-in EQ, compression, pitch shift, noise canceling, echo, reverb and fun little tricks like “voice cancellation” which removes center-panned audio through inversion. It is available for Mac OS 10.4+, Windows XP/Vista/7/8, and Linux.

Ardour offers pay-per-month software DAWs but also has a free version that simply doesn’t allow for plug-in settings to be saved. For me, this was never a big pain as I learned on analog gear where I had to handwrite all the settings for later recall anyway. Ardour is an incredibly versatile platform that allows for unlimited track count (CPU dependent), internal and external routing (to other software and hardware), AU plug-in use, Pro Tools-like transport recording, and access to any of your sample libraries without compatibility issues. You do have to download the Jack Audio Connection kit which essentially allows for Ardour to communicate with audio interfaces and connect various applications, such as Ardour, to external hardware. Ardour runs on Mac OS 10.4+ (not tested on 10.6+ however) and Linux.

Wavesurfer and Traverso DAW are two free programs that seem to be more for the computer-savvy and tech-interested. I have used neither. Traverso seems to have much of the functionality of the above software programs, including multi-track capabilities, importing, editing, effects, and automation. Both run on Mac OSX, Windows and Linux.

iFree

And finally, let’s talk about iOS apps. Even more so than plug-ins and DAWs, the number of apps available for the audio world is astronomical. I won’t list them all here, obviously, but again I will list those that I can vouch for, either personally or through human contacts (like my Editor). My list is mostly for the iPhone; be aware that iPads offer different and expanded possibilities.

If you’re like me, you don’t always get great ideas when you’re conveniently seated in front of your DAW. You get ideas in the car, on the bus, in the grocery store, at dinner, and so on. In these imperfect situations, you know you just have to hum that melody or lay down that riff idea or you’ll lose it and never write the most amazing song ever! I feel your pain.

But I’m not a fan of the iPhone’s voice memo recorder. I can’t label or organize notes besides an arbitrary date and time stamp, and it has a finite record time, but it won’t tell you what that is.

QuickVoice, however, is something that I use for everything from interviews to guitar-riff ideas and vocal melodies. You can record upwards of an hour of audio, title it and send up to 5 MB of information (around 3 minutes) as a CAF file or ringtone. It also offers different recording-quality settings, allowing you to choose smaller file size or higher-quality audio.

Tape from Focusrite is a cool little iPad recorder with good basic features and great organizational options for files.

Pocket Wavepad, another free app that allows you to record and then effect audio, lets you get a bit more in depth, even to start editing.

Hokusai Audio Editor is a free multi-track recording app, even more of a heavyweight, allowing for several audio tracks to run simultaneously, imported or recorded. You can then effect, edit and export your finished product as a WAV, MP4 or transfer to your computer via USB or Dropbox.

SampleTank, the aforementioned synth, also comes in app form. Much like the plug-in, the app has hundreds of instruments and patches for you to choose from, layer, and record. With a 4-track MIDI recorder and drum pads, you have access to over 120 user presets, more than 600 instruments and built in-insert effects.

Alchemy Synth Mobile Studio from Camel Audio is another free app that delivers a powerhouse of creativity in a user-friendly interface. It delivers high-quality audio in everything from guitars and basses to synths and drum kits. Much like SampleTank, it has a 4-track sequencer and drum pad window, with added fun and functional tidbits like tilt and inertia to physically control sounds.

Groovemaker is skewed towards the DJ realm but still a great tool for electronic creations. It comes with over 120 loops that you can mix, remix, edit and layer in real time to create a unique blend of your own style and ideas.

easyBeats LE is a free 808-style drum machine app. If drums are your forte, this app can combine your own generated rhythms with built-in samples to create a beat on the go—easily.

Guitar Free and Piano Free, as well as Real Guitar Free are apps that let you play the instrument on your phone, but not record. However, with features that allow hammer ons, strumming, and plucking, you can work that riff out on the go and make a note of the tab or arrangement until you get a chance to record it.

And finally

Clearly, whatever it is that you’re looking to create, there is no shortage of free software to assist you in your musical endeavors. I’ll just throw in one last audio geek musing: Take heed that there’s always a paid upgrade (or, on iOS, an in-app purchase) to be had; some are worth it, some aren’t. As with most things in life, this paid vs. free gear is a balance. Have fun in the land of the free!

 (Reprinted with permission by Recording Magazine

Eleanor Goldfield is a Los Angeles-based writer, musician and freelance tech and studio consultant. She is lead singer in the hard rock band, Rooftop Revolutionaries, and works with several studios and pro audio professionals in management and consulting capacities. For more info, check out eleanor-swede.com.

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

 

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Pro Tools, songwriting tools

Songwriting Tips: 25 Mistakes Music Artists Make

Posted by Jessica Brandon on Tue, Apr 22, 2014 @02:10 PM

25 Mistakes Music Artists Make

By Eric Alexandrakis

25 Mistakes Music Artists Make

A rogues’ gallery of slipups every recording songwriter should avoid!

They’re everywhere, like cheap wine in a crinkly brown Mini-mart bag. Some think they look cool walking around drinking out of it, but in the end, it shows no control... no discipline... no clue. Yes, you know what I’m talking about. Or do you?

I see them every day: those constant mistakes that artists make without thinking. Some are minute, some are grand, some are just so incredibly dumb—but all can be avoided with some simple logic, and restraint from laziness.

WARNING: The things you are about to read are real. They have been taken from real examples of bad promo campaigns and bad career decisions. If you happen to recognize yourself in any of these examples, I apologize, but... No I don’t. If you haven’t fixed what you’re reading about yet, here’s hoping you’re now embarrassed enough to do so!

1. I’m going to make a living from music and be rich and famous... and the best part is, I don’t have to do real work!

You know how you go to college to train, work toward a major in order to get a full-time job to support yourself, and work for years to build your profession to make a better living and to improve, blah blah blah? Yeah, guess what!

Making music a profession requires the same attention to detail. It’s a full-time job which requires daily investment, generally until the day you die, or until you have enough niche success to sustain you so that you don’t have to work anymore. Don’t read past this line until you come to grips with this scary reality.

How cool, you kept the crinkly brown bag from the Mini-mart, I’m glad. Now keep breathing into it... that’s right... sloooowly... don’t pop it, because you’ll need it for the rest of your life. Or for the rest of your musical career. Or both.

2. Who needs a plan? I’m just getting started here, I can wing it...

Start with a two-year plan with monthly goals. Design it like a business plan. If you have to make a bar chart with pictures of girls stacked on top of each other for measurement, so be it. Without a plan, you’re spinning your wheels and I’m wasting my time writing this.

3. A bio? I can handle that, I just have to tell everyone I’m a genius!

No, you can’t write it yourself, and neither can your English major cousin Miri. Yes, yes, Auntie Grizelda is always raving at family get-togethers about Miri’s wonderful grades... as her department-head boyfriend 20 years her senior sits next to her looking posh in his bowtie, asking you to pass the yams.

Sorry, I got carried away... No I didn’t—get a proper bio written. Comparing yourself to every major rock star and hit album in a bio does not make you relevant. I see this all the time. “With a voice like Bono and a stage presence like Michael and a political awareness reminiscent of Lennon...” Yeah, and just a hint of cinnamon. You have to leave it up to the critics to call you the next Kevin Federline. (Assuming that’s what you want.)

If you need help with your bio and absolutely don’t know where to turn, I’ll let you in on someone I’ve personally worked with successfully. Have a look at the website for Katy Krassner, www.katykrassner.com, and if you like what you see, commission her to write you a bio. She writes bios and press releases for major artists, actors, brands, and indie labels.

4.  Website? You’re kidding, right? Everybody just uses Facebook!

I’m a bit of a hypocrite on this one, as for the last few years I’ve been using Facebook as my hub, but I am now constructing a proper site. FB has worked well with a lot of EDM artists and labels, for example, but ultimately it’s a trend. What if it went away tomorrow? Do you really want all of your content to live only on Facebook? It’s just best to be able to have your own separate hub, where you can control your content entirely, and not be subject to weird rules where suddenly a picture of you taking a bath is owned by some corporation and ends up on a billboard on I-95.

By a “proper” site, I don’t mean use a free template from some random business site or whatever. Hire a reputable company via word-of-mouth/research (yes, even this takes effort), and do it right. If you must use a service that offers template sites, at least use one like HostBaby, one that understands what musicians really need in their web content and won’t leave you with a site that doesn’t deliver.

5. The world will recognize the genius in my every note.

Just because you can make music, doesn’t mean it’s good. I know a guy (one of many, actually) who has all the right intentions, but his ego is out of control. He has money and thinks that just because he has the means, his music is good. It’s average, and worst of all, he can’t sing, but thinks he can sing and doesn’t take criticism.

Take the criticism, it’ll save you money in the long run, but don’t take it from Auntie Em. She’ll always love your singing. My Aunt Pauline loves my piano playing and tells everyone about it, but she’s never heard me play.

6. I’m on Internet Radio!

No one cares if some random internet radio station inIndianais playing you. Your mother might, but she already got her copy of the album for free. Focus on the greatest audience, with the most practical and realistic means.

7. We’re growing our brand organically!

Organic food rots faster because it lacks those evil preservatives. Remember that. Do it right.

8. My music’s available on iTunes!

Don’t sell your music on iTunes, unless you have a good cover or can get into the “New Releases” section. What’s the point of creating a middleman? Why invest in a publicist, radio promoter, etc. so that iTunes can prosper? Just direct everyone to your site and sell direct from there.

9. Singles are the new Albums!

Why are you selling singles? If you can’t write a decent album, you have no purpose. Don’t listen to this nonsense about the album being dead. Make a good one, and sell it as such. If you’re going to put marketing efforts and dollars into one song, sell an album as a whole and make $10 instead of 99 cents. Just don’t stop promoting it after two months. 10 songs = 10 months of promo possibilities. Duh!

10.  I’m looking for a label and manager...

How nice. Have you sold 20,000 copies on your own? Because if not, they aren’t looking for you. If you’re not willing to do the work, no one of value or credibility will either.

11.  On social networks, posting the same posts promoting the same songs over and over again will eventually get people to buy the music.

No, people will start deleting you, and you will look desperate and lame.

12. I can tell folks I’ve sold 2 million albums even though the RIAA says I haven’t. Who’ll know?

Don’t think people won’t check riaa.com. I always do.

13. I’m too cool to pay bills on time... or at all.

If you couldn’t afford it, you shouldn’t have ordered it. Don’t blame it on the fake accountant.

14. What do you mean, that’s not what the contract says? That’s not how I read it!

Read and understand your agreements, and blame yourself for not getting what you thought you were getting. If you paid for one month of promotion, don’t ask to Skype with the promoter every month for 4 months, after your month has expired.

15. My new producer had two Grammies and a platinum album... in 1985!

Just because a producer has some decent credits...from 20 years ago, doesn’t mean they are worth your hard-earned cash. I’ve seen some ridiculous deal points in my day. Everything from $10K/song production costs, to 3 points + 10% of all placement fees on top. Stay away from this nonsense. I’ll hook you up with a great and affordable mixer. Just ask.

16. There’s nothing wrong with my image!

Yes, well. We can tell you’re really 50 and not 25, Madame. Dude, about that beard—ZZ Top was cool 20 years ago. Even a poor musician can afford $3 for a razor and shaving cream. I don’t care if it’s part of your vibe, what would you say if your mother saw you?

Tattoos are overdone and usually done badly, and you can’t take them off if you decide you hate them. And unless you’re in the iTunes top 10, you shouldn’t be wearing leather pants.

17. Wait. Image? What’s that? Do I need one?

And please don’t dress like a bank teller and pose with a guitar looking vaguely dissatisfied. I’m mystified at how imageless some artists can be. Did you not have posters of your favorite musicians on your walls when you were younger? Like, ever?

18. Faking people out is edgy, folks like to be fooled.

Deception is not a marketing tool. If you lie, it will always come back to bite you. You don’t have to disclose your debit card PIN, just be realistic.

19. I’m too cool to have a budget!

Pretending you have money when you don’t is beyond idiotic. Have more confidence in yourself and write a good song.

20. I got straight to the secretary of this big guy inHollywood, piece of cake!

Good for you, bub. When’s the premiere?

21. Yeah, I post more pictures than songs, so what? It’s all about image, right?

We get it, you’re in love with yourself, but if you spend more time posing for pictures than writing and releasing music, people will notice just that.

22. Meh, who cares what I tweet, as long as I do it a lot?

It’s called “social” networking for a reason. Be social, entertaining, charming, interesting and most of all, engaging.

23. I’ve got 100,000 followers on Facebook and Twitter!

Yeah, but between 0 and 10 impressions per post. No sucker will believe you really have that many people interested in you with those numbers. Social networking is an art and a science, and it seems that brands are finally starting to realize its importance. A great example of how social networking is supposed to work is at facebook.com/DuranDuran. The aforementioned and wonderfully talented Ms. Katy Krassner runs it.

24. This is serious stuff, man! Don’t you dare laugh at me!

Martin Solveig is a really cool electronic artist fromFrance, and he has a really fun sense of humor and is willing to laugh at himself. Have a look at some of his videos on YouTube. It’s about music and entertainment, not about trying to show off the fake jewelry or Bugatti you borrowed for the shoot.

25. Play every day? Why?

That’s what you’re supposed to do, remember? And don’t just play. Be a music student, not a rockstar wannabe. Learn everything you can, because ultimately it will come down to how good the music is, not how much of a poser you can be.

 (Reprinted by permission from Recording Magazine

Eric Alexandrakis is a highly successful songwriter, producer, and recording musician. He has had several Top 40 hits on the Adult Contemporary charts, has licensed hundreds of songs for film and video, and recently completed a remix of Depeche Mode’s new single “Should Be Higher”. Learn more at www.ericalexandrakis.com. And he’s recommending Katy Krassner because he likes her work, and thinks you will too.

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

 

Tags: song writer, song write, Song writing, Songwriting, songwrite, A&R, Eric Alexandrakis, recording songwriter

Songwriting: It’s Like Riding a Bicycle

Posted by Jessica Brandon on Wed, Apr 02, 2014 @10:31 AM

Songwriting: It’s Like Riding a Bicycle

Bicycle in your mindRemember when you learned to ride your first bicycle? It wasn’t easy. You fell down a lot, but you kept trying. At first you needed someone to hold on, keeping you steady. Then you used training wheels to help you stay upright as you pedaled. Then, finally, you were able to ride on your own. You had found that complicated thing called balance. After that, it was a breeze! The process of writing songs is a lot like riding a bike. It’s all about finding a balance!

=> Balance Melody, Chords, Lyrics – Writing a song that listeners will love involves finding a good balance between melody, lyrics, and chords. If you have a busy lyric with a lot of words and images then writing a melody that’s easy for listeners to follow might make it easier for them to understand and remember the song. It gives your song a chance to make a greater impact. When there’s too much going on, listeners miss important moments and they may just tune out.

The Singer-Songwriter genre, for example, is often lyric heavy and you’ll notice that, while the melodies make use of interesting phrase lengths and phrase starts, there are plenty of repeated melody patterns — lines repeated in sets of two, three, or four, organizing the melody so listeners can take it in easily while focusing on the lyrics. An extreme example of balance between lyrics and melody can be heard in the Rap genre. Lyric content and lyric rhythm have taken over, while the melody notes have become almost a monotone. 

On the other hand, if you have a complicated melody with a lot of rhythmic interest and interval jumps, try keeping your lyric straightforward and easy to follow, maybe use more repetition in your chorus lyric than you normally would.

A good rule of thumb: As the attention-grabbing quality of one of your song elements goes up – lyrics, melody, or chords – think about lowering the others. This doesn’t mean the other elements should become simple and predictable. Instead, try organizing them in patterns or using more repetition so listeners can focus on the more complicated things.

=> Study the balance in your genre – Each genre has a balance of melody, lyrics, and chords giving it a characteristic sound. For instance, the Pop genre tends to have plenty of melodic interest while keeping lyrics focused on an emotion, asking listeners to FEEL the lyrics rather than think about them. The Country genre, on the other hand, relies on lyric stories with plenty of physical detail. Listeners need to pay attention to the lyric in order to get the full impact. As a result, melodies tend to be a little less complex than in the Pop field. This doesn’t mean you can write a boring melody! You’ll still need to keep your listeners interested. But you might want to use fewer melodic twists than you would in the Pop genre.

=> Balance craft and inspiration – Balance is also an essential part of your approach to songwriting as a whole. Finding a balance between inspiration and song craft can help you express your deepest thoughts and feelings and in a way that listeners can understand and respond to.

Inspiration is the heart of your songwriting. It’s what guides you, tells you what’s important, and delivers that brilliant line out of the blue. But inspiration can be a very personal thing and it may not always be there when you need it. Sometimes it can even deliver inspired lines for a different song! But, if you balance it with a good amount of song craft, you can get the most from your inspiration, communicating effectively and surrounding those inspired gems with lines that support them.

=> It takes time to find your balance – Just like riding a bicycle, it takes practice to learn what good songwriting balance feels like. When you learn a new melody or lyric writing technique, don’t expect to immediately fold it into your songs and smoothly ride off into the sunset. There’ll be some wobbles and falls. You might scrape your knees a few times. But, just like you did when you were a kid, get back up on your bike and try again. Once you get the feel, you’ll be flying down the sidewalk with the wind in your hair in no time!

=> Get some training wheels – The best songwriting “training wheels” are hit songs. These songs already have good balance, the kind that listeners are comfortable with. This week, learn how to play and sing one recent hit song that you like. (You can find the current radio charts at BDSradio.com.) Notice the balance between lyrics, melody, and chords. How is the melody organized? Which melody lines are repeated and how many times? When do the lyrics simply repeat and when do they demand attention? Try writing a song with a similar type of balance.

Best of all, like riding a bike, once you learn what balance feels like you never forget!

by Robin Frederick

Robin Frederick has written more than 500 songs for television, records, theater, and audio products. She is a former Director of A&R for Rhino Records, Executive Producer of 60 albums, and the author of “Shortcuts to Hit Songwriting” and “Shortcuts to Songwriting for Film & TV” available at Amazon.com. Visit Robin's websites for more songwriting tips and inspiration: www.RobinFrederick.com  and www.MySongCoach.com.

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

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Robin Frederick, inspiration

12th Annual Songwriters Showcase During SXSW

Posted by Jessica Brandon on Tue, Mar 18, 2014 @07:37 PM

 

 

USA Songwriting Competition hosted a Songwriters Showcase during SXSW in Austin, TX on March 14, 2014. It marks the 12th Annual Songwriters Showcase in which USA Songwriting Competition started way back in 2003 at then Borders Books and Music. The annual showcases has showcased up-and-coming songwriters. Notable past songwriters included: Kate Voegele (2005 USA Songwriting Competition 1st Prize winner, Billboard Top 10 Artist) who was signed to Interscope Records, Ari Gold (2007 Overall Grand Prize Winner), who hit Top 10 on the Billboard Charts after winning the Songwriting Competition and Jordan Zevon (2009 Overall Grand Prize Winner). 

Our 2014 edition included songwriters at Mozart's Coffee Roasters in Austin, Texas, such as:

Jackie Venson

Jackie Venson, songwriter

 

Andrea Pais

Andrea Pais, songwriter


Leni Stern (Honorable Mention Winner)

Leni Stern, songwriter

 

D.B. Rielly (Honorable Mention Winner)

D.B. Rielly, songwriter

 

Tony DeSare (First Prize Winner, Jazz)

Tony DeSare, songwriter


  

 

For more information on entering the 19th Annual USA Songwriting Competition, visit: 
http://www.songwriting.net/enter

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