Songwriting Tips, News & More

Songwriters Showcase During SXSW (Videos & Pictures)

Posted by Jessica Brandon on Tue, Mar 20, 2012 @10:00 AM

Songwriters Showcase During SXSW

(Pictures by Mike Abb)

USA Songwriting Competition hosted a songwriters showcase last Friday (3/16/2012) at a beautiful scenic venue at the banks of the lake in Austin's Mozart's Coffee Roasters, with over 200 people in attendance. See Videos:

Alexander Cardinale (1st Prize Winner - Pop, 16th Annual USA Songwriting Competition & Overall 2nd Prize):

 

 Video of Ed Romanoff (1st Prize Winner - Lyrics, 16th Annual USA Songwriting Competition):

 

Video of: Orly (2011 USA Songwriting Competition, First Prize Winner, Folk):

 

Video of: Patrick Joseph Trio:

 

Pictured as follows:

Alexander Cardinale (1st Prize Winner - Pop, 16th Annual USA Songwriting Competition)

Alexander Cardinale (1st Prize Winner - Pop, 16th Annual USA Songwriting Competition & Overall 2nd Prize)

 

Ed Romanoff, First Prize (Lyrics), 2011 Winner, Singer-Songwriter

Ed Romanoff (1st Prize Winner - Lyrics, 16th Annual USA Songwriting Competition)

 

Orly, Folk singer-songwriter

Orly (2011 USA Songwriting Competition, First Prize Winner, Folk)

 

Patrick Joseph, singer-songwriter

Patrick Joseph, performing as a trio. 

 

Watch out in the space for more pictures and videos. Thank you for all that performed and came to the showcase. For more information on the 17th Annual USA Songwriting Competition, please go to: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, USA Songwriting Competition, Alexander Cardinale, sxsw, 2012, Orly & Yagel, Patrick Joseph, South By South West

Songwriting Tips: Your Best Friend Melody

Posted by Jessica Brandon on Wed, Mar 14, 2012 @12:00 PM

Songwriting Tips: Your Best Friend Melody

by Ralph Murphy

Ralph Murphy, Songwriter

Ah melody! A songwriters best friend, your beacon in the night, an integral part of only great songs that makes your compositions shine, the signpost that points the way to a hit.

 
Yes, melody is all that and more. Perhaps too much more. As I deal with the affect of melody extensively in "The Book" and USA Songwriting Competition has asked me to be brief...I will be.

 
Unless you are dealing with an audience ready to dance and you are looking at 110 to 135 Beats Per Minute (BPM) at midnight, even then, what probably lures listener to you song is melody. However, what keeps them there is lyric, a simple story well told. I have friends tell me that they love this song or that song but they say they don't know the words. When I play "that song" for them surprisingly they know the lyric! What invites the listener into the song is melody, what keeps them there for a long time is lyric.

 
It is an interesting characteristic of the human animal that we are not very good at auditory multi-functioning.......hearing more than one moving part simultaneously. When that happens, given our preference we always defer to melody. So, where you tell your story and you want the audience to listen, remain linear otherwise you don't lead the listener to the lyric.


To quote my old pal Harlan Howard "Don't change your chord 'till you change your thought"!

 

However, on the other side of the coin, as a "creator of works" if you are called on to write for an artist with a huge vocal range and the ability to soar musically is part of their musical "persona" then you respond accordingly. One syllable words, open vowel sounds, minimal story and a huge melody are your best friends.


Always remember, you the writer must fulfill not only the listeners expectation but also the artists perception of the image they wish to project. When that happens it is a wonderful thing, everyone high fives and celebrates. When it doesn't happen the songwriter gets the blame!


Ralph Murphy is a producer and songwriter. He wrote huge hit songs such as Crystal Gayle "Talking in Your Sleep" and "Half the Way". Murphy has served as President of The Nashville Chapter of the Recording Academy and has been a NARAS National Trustee. Add to that the platinum records as a producer, the widely acclaimed Murphy’s Laws of Songwriting articles used as part of curriculum at colleges, universities, and by songwriter organizations, his success as the publisher and co-owner of the extremely successful Picalic Group of Companies and you see a pattern of achievement based on more than luck. For more information on USA Songwriting Competition, please go to: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, Melody, Ralph Murphy, Crystal Gayle, Songwriting Tips, Harlan Howard, Talking in Your Sleep, Half the Way

YES, YOU CAN BE A SUCCESSFUL SONGWRITER

Posted by Jessica Brandon on Mon, Mar 12, 2012 @12:00 PM

YES, YOU CAN BE A SUCCESSFUL SONGWRITER by Danny Arena

Danny Arena, Songwriter

Yes, we all know it’s tough to break into the music business these days. But the news is not all gloom and doom. The truth is there are more opportunities for writers and artists today to make a living than ever before. You can be well on the road to becoming a successful songwriter or songwriter/artist if you follow some simple proven strategies:

  • MAKE SURE YOUR SONGS ARE THE BEST THEY CAN BE 
    The number one reason songs don’t make an impact on an audience or get recorded by outside artists is because they simply aren’t strong enough. Sadly, many writers waste thousands of dollars recording or demoing songs that aren’t ready to be recorded or pitched. And some waste more money hiring independent song pluggers and buying tip sheets to pitch those same songs. The music business is hard enough to break into with a killer song, much less a song that isn’t competitive. Instead of spending all that money on demos, recording studios and tip sheets -- buy a book on songwriting. Take a class. Attend a songwriter workshop or seminar. Aside from the networking opportunities you’ll encounter, you’ll probably learn a trick or two. Even if you already know the basic craft, you can still enhance your unique voice as a writer and strengthen your writing skills by incorporating new techniques into your lyrics and music. As Henry Ford said, "Anyone who stops learning is old, whether at twenty or eighty."
  • GGET FEEDBACK.
    Play your songs for an audience and see if that humorous line in the second verse really makes them laugh or if the bridge has the emotional impact you think it should. And by all means, have some professionals in the industry evaluate your song before you spend money on that demo or recording. A few professional insights on the song might save you a lot of money and heartache.
  • CCO-WRITE WITH OTHERS 
    Some feel that co-writing might compromise their integrity as a writer. But like a good marriage, there are also a lot of advantages to a good collaboration. A collaborator can bring a new perspective into a song that you never would have thought of on your own, or bring strengths to an area where you might not be as strong (e.g., music, playing, singing, etc.). As well as the obvious creative collaboration on the song, a co-writer also brings his or her entire network of friends and business contacts to the table. For that reason, we regularly hook-up cowriters at SongU.com in various songwriting challenges (the current challenge is the “blind date” challenge in which we’ve paired up over 100 writers who have never met to write long distance together). Last year, one of our members from Canada who was paired up with a writer from Hawaii collaborated on a Blues song. The Canadian writer then pitched the song to the director of a Blues Festival that happened to be in town that week. The pair ended up with their first co-write together getting recorded on a blues compilation CD alongside several well known Blues artists like John Lee Hooker. Together they accomplished what neither could have alone.
  • CHOOSE THE RIGHT DEMO
    When you do get around to demoing that great song, choose the right demo. Not every song needs a full blow-out demo. Every song has its own life and the best vehicle to showcase the songs really depends on the song. One of our SongU.com instructors, Cole Wright, a top Nashville songplugger, does a monthly feature in our e-Auditorium called “What’s Cole Pitching?” in which he plays and discusses several of the demos he’s pitched during the month. You’d be surprised how many guitar/vocal or piano/vocals he pitches and gets cut. So before you demo the song, give some thought to how to best let the song convey its message. Regardless of whether you do a full band demo or a simple piano or guitar/vocal demo, it needs to be a professional quality (i.e., the vocalist sounds like they should have a record deal and the guitar player is flawless).
  • JOIN THE DIGITAL AGE
    If you’re still recording your songs on that cassette or 8-track player and don’t know how to put them into MP3 format, you’re behind the times and are going to miss out on a lot of pitch opportunities. For example, when my wife, Sara Light, and I were writing for the Broadway show Urban Cowboy we got a call on a Friday afternoon from the director of the show that they needed us to write a new song for the close of the first act by Monday morning’s rehearsal – they needed lead sheet and worktape in hand at rehearsal. However, they were in New York City and we were in Nashville. With two days to write the song and get them a lead sheet and recording, there simply wasn’t a lot of time. If I didn’t have the skills to do the lead sheet on the computer and create/record the MP3 to email them at rehearsal, we would’ve missed a golden opportunity.
  • LOOK BEYOND THE OBVIOUS WHEN YOU PITCH 
    As the wise monkey, Rafiki, from the movie The Lion King says, “You must look beyond what you see”. Too many writers make the mistake of trying to only pitch their song to the top selling artists. You might as well buy a ticket to the lottery too because you’ve got just as much a chance of coming out ahead there. Your song is competing against the songs and networking power of every other hit writer and every other professional songwriter and publishing company around. Heck, that artist is probably writing songs for the album too and their producer probably runs a publishing company and has a vested interest in getting songs from his or her publishing company on the project. Even if your song is as good as all those other songs, it would be tough to compete against the established relationships and networking power of those other individuals. Instead of playing the lottery, play the odds. Today’s market is vastly different from what it was ten years ago. There are many more non-traditional opportunities available that weren’t available to writers before if you just look for them. For example, we have a regular pitching opportunity at SongU.com for a company in California that licenses songs for wedding slideshows, graduation slideshows and more. Some of our members make several hundred dollars a year from their songs being licensed in this way. The fact that online organizations like CDBaby.com give indie artists an opportunity to market and sell their projects means they can generate an income (and pay out royalties) without a big record label behind them. There are thousands of independent artists on MySpace - many of whom look to outside material when it comes time to record their album (and have devoted fan bases that buy those albums). With the help of the Internet, you may find surprising sources.
  • EXPOSE YOURSELF (well, at least your songs)
    Something definitely happens when you don't put your songs out there in the world for others -- they don't get cut! So take advantage of every outlet, every possibility, ever opportunity. You never know which will be the one that pays off. One of our members received a contract offer from MTV for use of some of her songs in one of their TV shows because they stumbled onto her songs on her website. If people can’t hear your song or find it, they can’t fall in love with it and want to license it or record it.
  • CHANGE YOUR PERSPECTIVE
    Finally, remember that success is an ongoing journey, not a destination. As soon as you get your first single song contract, you want a staff deal. You land your first cut and then you hope for a single. You get a single and then you set your sights on having that #1 hit. You score a #1 hit and then they tell you that no one takes you seriously in the business until you have at least three #1 hits. In other words, this road has no end in sight. So enjoy and celebrate your achievements along the way.

Whether you are just learning to upload an MP3, a new open tuning on your guitar, or place in a songwriting contest – you are successful. Most of us did not choose this as a career. It chose us. We write songs simply because we can’t imagine life if we didn’t. So as long as you’re on this journey, you might as well buckle up and enjoy the scenery.

-Danny

About Danny Arena:
Danny Arena is a Tony Award nominated composer who has worked as a staff songwriter for Warner/Chappell Music and Curb Magnatone Music Publishing. He holds degrees from Rutgers University in both computer science and music composition. He is currently an Associate Professor at Volunteer State Community College in Nashville and has been a member of the faculty at Vanderbilt University as well as a guest lecturer at the Berklee College of Music and Belmont University. Together Danny and Sara collaborated on composing songs for the Broadway show "Urban Cowboy: The Musical" which was nominated for an Outer Critics Circle Award for Best Musical and a Tony Award for Best Original Score. He is also the co-founders of the online educational website www.SongU.com which provides multi-level songwriting courses developed and taught by award-winning songwriters, song feedback and mentoring, one-on-one song coaching, co-writing, unscreened pitching opportunities and more. For more information on USA Songwriting Competition, visit: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, Songwriting, Danny Arena, Tony Award, Successful, Warner/Chappell Music, Curb Magnatone Music Publishing

Songwriting Tip: A Demo A Day

Posted by Jessica Brandon on Tue, Mar 06, 2012 @12:00 PM

 

Songwriting Tip: A Demo A Day

 

A successful songwriter gets you creative in a hurry 

By Joe Bouchard

Songwriting Tip: A Demo A Day

 

When many of the great rock songs were written in the ’60s, writers would hack out a song in an hour or two. For example, “A Hard Day’s Night” was written by John Lennon overnight. The next morning it was done and ready to record in a few hours.

I’m very happy with the songs I’m doing these days. The biggest change to my working style in the last three years has been my “Demo in a Day” habit I’ve gotten into. It goes like this:

 

1. Start with a great hit song.

 

2. If you can’t find a hit song in your bag, use any song sketch that you’ve got. Or cover somebody else’s song. You’ll learn if you force yourself to dig, and be creative. Remember—even the great songwriters write a stinker sometimes, but keep pushing.

 

3. Get a good computer (Mac is my preference, but many successful writers make brilliant music on PCs too) and sequencer/DAW program. Learn the programs thoroughly. If you are having a problem with a program, look up a solution on YouTube. Chances are some geek has posted an answer, and can show you how things work without reading the manual.

 

You don’t need a lot of fancy hardware. I use only two mics for demos, an SM57 for guitars and a RØDE condenser for vocals. Most everything can be done with a direct box, or with plug-ins in the sequencer. My recording program is MOTU Digital Performer, I’ve been using it for years; occasionally I’ll use Pro Tools, and have started using Logic too.

 

4. Demo the song. Work quickly.

 

 

Morning

 

Get up early. Shut off all emails, Facebooks, don’t answer the phone—let the answering machine pick up all calls. Don’t watch the morning news, or check the weather. Make coffee.

 

First, record a Guide Demo to a click if you can—mono or stereo, it doesn’t matter— with just simple piano chords, or acoustic guitar chords. Don’t be fussy. Just throw an open mic in the room and wail away. Don’t fix any wrong notes or out-oftuneness, the cruder the better. This Guide Demo will force you to stay focused to get you to the finished “Demo in a Day”.

 

Put the Guide Demo in the top track of your sequencer. You will be turning this on and off as you work on your “Demo in a Day”.

 

Add markers at the top of your sequencer that mark the intro, verses, choruses, any bridge, and the ending.

 

Now do a rough drum track. I use Toontrack Superior Drummer; the sounds are very realistic and I have hundreds of MIDI drum files that give me any style I might want. I even bought other drum MIDI files from a company called Groove Monkee. They all work seamlessly with Digital Performer. Making drum parts is only a matter of drag and drop from the Groove section of the plugin to a MIDI track that is assigned to the Superior Drummer instrument.

 

Use markers to vary the drum parts as a real drummer would. Add fills either a bar or two bars before each new section. It’s easy to see on the screen when a new section is coming. Usually the drum feel is the hardest to nail, so try different parts until you are happy with the feel and how it expresses the feeling in the Guide Demo. Be patient, this could take up most of your morning.

 

Break for lunch when you’ve got the drum part programmed.

 

 

Noon

 

Right after lunch start recording rhythm guitars. The goal is to have a finished song by the end of the day, so you can’t get too fussy with sounds. I often use a Line 6 POD for guitar. It’s fast and it works. The sounds are very mixable. Even Pete Townshend admits to using one in a pinch. Next do piano parts or other coloration

 

parts. Percussion can help too. Bass parts you can do last, or first—it’s up to you. Don’t spend a lot of time on fixing little things. Loop a part if you stumble in the 2nd verse, or 2nd chorus.

 

Doubling parts will make it sound like a classic rock song. I don’t double with copy and paste and time shift, I prefer to actually play the same part twice and pan them L and R. It sounds like the way music was made in the late ’60s and early ’70s. [See this month’s Talkback for hints on creating doubled parts quickly—Ed.]

 

Sing a rough vocal. Add harmonies. Double the harmonies. Replace the rough vocal with a better vocal. I don’t like Auto- Tune, but I might use the tiniest amount on a rough spot.

 

All the time I am recording, I’m reaching for plug-ins that do my eq, compression, and reverb. If I need to automate part of the mix, I’m doing that as I’m recording.

 

 

And night

 

Break for dinner. After dinner, mix it down. It shouldn’t take too long to get something reasonable, since you’ve already set up eq and compression as you were recording. When you get a mix, load in onto your MP3 player. Take a short drive in your car and test the mix. I always do the “car test” for mixes. Remix until satisfied.

 

By now it’s about 10 PM. Do you know where your song is? It should be mixed and presentable to your friends, relatives and the rest of the band.

 

I’ve spent months working on certain song demos. In the end, with that style of recording the results are mixed at best. The “Demo in a Day” technique works better. By forcing yourself to work quickly it’s easier to keep zeroed in on the emotional focus of your song.

 

By the end of the day you will hear whether the song is going to be great or not. If it isn’t, don’t sweat it, you’ve only invested one day of your time; tomorrow you can go on to a new song. The perfect song is waiting around the corner.

 

Joe Bouchard is a singer, songwriter, and bass player who has worked with his brother Al in bands like Blue Öyster Cult— he was first interviewed in our October 2011 issue. To learn more about his music, visit www.bluecoupeband.com.

 

Excerpted from the March edition of Recording Magazine 2012.   ©2012 Music Maker Publications, Inc. Reprinted with permission. 5408 Idylwild Trail, Boulder, CO80301 Tel: (303) 516-9118 Fax: (303) 516-9119 For Subscription Information, call: 1-800-582-8326 or www.recordingmag.com  For more information on the 17th Annual USA Songwriting Competition, please go to: http://www.songwriting.net


Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, 4-track, Joe Bouchard, tip

Songwriting Tip: From Demo To Master

Posted by Jessica Brandon on Mon, Mar 05, 2012 @02:15 PM

From Demo To Master: Arranging, Recording, Mixing & Mastering by Melissa Axel

MelissaAxel, JustinPeacock conduscting string section

As with previous posts, we continue from the recording artist perspective (rather than pitching a song to a vocalist) where the last article, From Demo To Master, A Music Artist's Experience, left off. This post explores how the song "Golden Rule" was arranged, recorded, mixed, and mastered for release on the album LOVE . HUMANITY . METAMORPHOSIS …

With pre-production complete and crucial decisions made about song structure, lyric edits, and more, "Golden Rule" was finally ready for recording … or was it? Not quite yet. Before we could take the song into the studio, we still had to finalize the instrumentation and arrangement to build the overall vibe of the track.

We'd chosen a great drummer/percussionist for the album, and our producer arranged a meeting with him to go over the feel of the song. They each brought some great groove ideas to the table (our producer has a percussion background as well), and the drummer and I played together a bit to lock in the most natural tempo.

Hearing how the piano and drums fit together, we decided the song would feel great with an upright bass. We hired a terrific player versed in jazz and rock who brought various textures to the album, and for this track, a jazzier pop feel worked best. We talked through the song, played with some ideas, and then it was time to record the rhythm section. We tracked piano, drums and upright bass live in the studio with each instrument isolated in its own room, separated by glass windows for eye contact.

No matter how good your musicians are and or how much you've rehearsed, there's a special magic you're going for in the studio that only comes from letting go and playing until everything "gels" between the performers. Our session was no exception, and once I'd recorded a scratch vocal as our guide for the song, I was free to focus on the nuances of the piano part and how it connected with what the other musicians were doing. Once we had something down that we were all pleased with, I went back and recorded the rubato (out of time) intro and outro sections by myself on piano.

With the basics down, we turned our attention to the arrangement. In essence, "Golden Rule" is a song about empowerment, and we wanted a string section to bring out its emotional strength. It needed to sound both fresh and familiar—inspirational without being cheesy, moving without being "over the top." Violinist/composer Kailin Yong listened to our basic tracks and created an arrangement for violin, viola, and cello that built up to great intensity and also provided a sense of comfort and universal acceptance to the listener.

Once the arrangement was complete and we were all happy with a midi demo of the parts, we scheduled a recording session for the strings. Kailin played lead violin, joined by Tom Hagerman (DeVotchKa) on second violin, Mackenzie Gault (Flobots) on viola, and Beth Rosbach (Sphere Ensemble) on cello. Our producer took on the role of conductor, with an engineer who specializes in live recording at the board.

The string players were charged with bringing more to life than just notes on the page: each musician would also fill the music with the emotions of his or her own experiences from childhood. Though I knew some of them well, I had just met others for the first time that day, so we connected for a bit and exchanged a few brief stories before tracking began. As we layered several takes of the string section, a mini string orchestra evolved before our ears, and I heard the incredible difference it makes to record live musicians.

After the strings were finished, it was time to lay down the final vocal. Every singer needs to feel supported by the music, and I realized how much easier it is to deliver a solid, heartfelt performance with a strong, grooving rhythm section and beautiful string arrangement backing me up. We spent some time listening back to the takes and comping the best phrases into a cohesive track that reflected the message and openness of the song.

But capturing great performances with great sound is not enough: the complete picture of a song is brought to light by an exceptional mix, and we were fortunate to be working with a producer whose specialty is mixing. He had a vision for each song—and the entire record—from the beginning, as well as a strong understanding of my own sonic preferences. We left him to his own creative devices and returned to find the unique sound and placement of each instrument perfectly treated in a stunning mix that drew the listener in and highlighted all of the most special moments of the song.

The final mix of "Golden Rule" (and eleven other songs) then went to our mastering engineer, who processed or "sweetened" the audio to maximize sound quality for both CD/digital and vinyl/analog formats. Since the sound of this music was intimate, sweeping, and highly organic, we chose to master the album for high dynamic range. Unlike many "wall of sound" tracks released since the compact disc began to dominate the industry, compression was used sparingly to keep the quiet parts quiet and the big orchestral parts loud and powerful by contrast. The result is a listening experience of greater sonic depth (and an absence of ear fatigue).

"Golden Rule" had completed its evolution from demo to master. From pre-production to arranging, to recording, mixing and mastering, the process was a detailed, lengthy, and enriching one that not only prepared us well for future recording projects but provided a fulfilling creative journey in and of itself.

 

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: http://www.songwriting.net

Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, From Demo, Master, Arranging, Recording, Mixing, Mastering

Songwriting Tip: The Prosody of Mystery in Mystery Train

Posted by Jessica Brandon on Fri, Feb 17, 2012 @01:00 PM

The Prosody of Mystery in Mystery Train

By Pat Pattison, songwriting professor

 Pat Pattison, songwriting professor

Ok, so who still cares about the young Elvis and his Sun Records recordings? Simple stuff, right? Sure. Scotty Moore and Bill Black are just rock-a-billy hicks thumping away the best they can, them good ol’ southern boys.

 

So why does Elvis’ Mystery Train still feel like a mystery to be unraveled, fresh on every listening? Have you heard it recently? C’mon, download it and check it out. Then come back.

 

So? Did you try to count it out? Go back and simply tap out the downbeats. See how you do. I’ll wait.

 

It can be a little confusing. Simplify it a bit. Forget the intro and start counting downbeats one beat before Elvis comes in with “train arrive.” It’s a pretty brisk tempo.

 

How many bars do you count before he starts line 2?

 

Right. Ten bars:

 

1 2 3 4 5 6 7 8 9 10

| / / / / | / / / / | / / / /| / / / / | / / / / | / / / / | / / / / | / / / / | / / / / | / / / / |

 

Train ar-ri--------------ive sixteen coaches long

 

Then another ten bars:

 

1 2 3 4 5 6 7 8 9 10

| / / / / | / / / / | / / / /| / / / / | / / / / | / / / / | / / / / | / / / / | / / / / | / / / / |

 

Train ar-ri--------------ive sixteen coaches long

 

Pretty neat. It throws you off balance, both the ambiguous entry (did you expect it there?) and the unusual ten bar phrase. Maybe, um, mysterious, eh?

 

But made even more mysterious because of the introduction. Now count it. I’ll wait.

 

Yup, six bars, but with a wrinkle. The first downbeat is pretty foggy, with the guitar starting in the half bar and playing its figure on & 3 &, making it even harder to find the downbeat. So it’s an unusual six-bar intro.

 

Then the vocal starts back-heavy (after the downbeat) in bar seven – the actual first bar of the ten-bar verse. Even more mysterious.

 

Only when you get to the “chorus,” the conclusion of the sequence, do you get to a stable 8-bar section, where he slams the door, letting you know what the mystery train has done to him:

 

Well that long black train got my baby and gone

 

Note, however, that the front-heavy (starting on the downbeat) “chorus” picks up in the tenth (weak) bar of the verse “Well that…,” making even the stable 8-bar sequence a tad ambiguous. Then the long/gone rhyme puts the finishing touches on the section.

 

There’s prosody galore in this treatment. The verse is unstable and mysterious – even spooky – while the “chorus” leaves no hope for our hero. It’s a nifty use of a third level of phrasing – how many you have bars in a section.

 

Either Scotty and crew had no idea what they were doing, or they really did. I’d opt for the latter explanation. Even if they didn’t think of it in terms of prosody, you can. And you can use it in your songwriting.

 

Go get ‘em.

 

© 2012 Pat Pattison 

Pat Pattison is a Professor at the prestigious Berklee College of Music in Songwriting. For more information on the 17th Annual USA Songwriting Competition, go to: http://www.songwriting.net

 

Tags: songwriter, song writer, Song writing, Prosody, Songwriting Tip, lyric writing, expert

Songwriting Tip: Writing Words to Music

Posted by Jessica Brandon on Thu, Feb 16, 2012 @12:06 PM

Writing Words to Music

by Harriet Schock, hit songwriter, teacher

Harriet Schock, hit songwriter

I write music and lyrics, but when I write with a composer who doesn’t write lyrics, I frequently let him/her write the music first. Some people have asked me how I actually put words to music that already exists. Even when I write the lyric first, I generally write a verse and chorus before I set it to a melody. So the second verse is always written to a melody, no matter how I start the song, with melody or with lyric. I find it amusing that songwriters who write words and music simultaneously sometimes say they could never write to a melody, and yet they write the second and third verses to a melody routinely.

If I’m given a melody with no lyrics at all and no title, I think it’s easiest for me to start with finding the title in the melody. Determine where that is and come up with a title and concept you really love. Then, find where the sections of the song are and find where the music is rhyming. By that I mean, find out which notes are in a repeated sequence, rhythmically, although they may be on different actual notes (Like “yesterday” and “far away” in the first line of the song “Yesterday”) This will determine your rhyme scheme, although it won’t be etched in stone.

Now, before you start pouring the lyric into the melody, be sure you’ve spent some time in your viewpoint and either know WHAT you’re going to say or where you’re coming from as the person who’s speaking. Otherwise, you’ll always sound like you’re “outside” the song and you’ll end up writing lyrics that sound like “lyrics” and draw the attention of the listener away like bad acting draws people out of the movie.

Of course, you also have to make sure the words sing well—that’s probably the most important thing of all. Make sure the syllables that are accented in the music are what would be accented in speaking. You can’t distract the listener with words that don’t flow well with the music. This means that if you’re writing up-tempo songs with lots of 16th notes, you’d better keep the consonants down to a minimum. Find combinations of words that roll off the tongue really easily and naturally with not a lot of stops. We’re not lucky enough to write in a Romance language like Spanish or French. English is a Germanic language and lots of things stop the flow of air. Maybe the reason why lines like “All I really wanna know” appear so often in dance tunes, is that they flow without stops on the air current. On the other side of the coin, “Would he make me stop and ask” in the same melody would give both singer and the listener a nervous tick.

Maybe that’s why we hear that “Ham and Eggs” was the original dummy lyric to “Yesterday.” Working with nonsense syllables can sometimes just get words that sing well into the spaces and break the silence barrier. From there, you can start writing the real lyric. At this point, all the principles of good writing should be applied. I cannot stress enough knowing what you want to say BEFORE you start filling in the melody notes with syllables.

I see songwriting as similar to parenting. No one’s really experienced in or prepared for it when we start. And we all just find our way. By the time we master it, the children are grown and the songs that embarrassed us early in our careers have, hopefully, been replaced by our newer work.

© 2012 Harriet Schock

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 will star in the upcoming movie “Just 45 Minutes from Broadway,“ currently in post-production. Harriet is in the process of writing the songs for “Last of the Bad Girls,” a musical with book by Diane Ladd. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. Harriet teaches songwriting privately, in classes and online. In 2007, L.A. Women In Music honored Harriet a Career Achievement and Industry Contribution award. For her performance schedule, list of credits and samples of her work or information on book or (Becoming Remarkable, for Songwriters and Those Who Love Songs), her songwriting classes and consultation, go to www.harrietschock.com.

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

Tags: songwriter, song writer, Song writing, Songwriting, Helen Reddy, Harriet Schock, Writing Words to Music, Ain't No Way To Treat A Lady

Songwriting Tip: The Money Hello

Posted by Jessica Brandon on Wed, Feb 15, 2012 @01:00 PM

The Money Hello By Molly-Ann Leikin, Co-writer, Song Marketing Consultant

 

Molly-Ann Leikin, hit songwriter

Your new project is finally finished. Time to switch into marketing mode.

But you don’t know anybody. Sleezeballs, maybe, but no one legit.

First, lose the sleezeballs.

Then, compose a snappy introduction. Use it at every industry function, and in all contact mail.

I call it the money hello. You’ve only got a few seconds to convince busy strangers that taking the time to read or hear your pitch, let alone listen to your work, will lead them to an instant eighteen-wheeler full of unmarked hundreds.

Try something like this:

I’m Jalapeño Pincus. I write and sing New Country, there are ten hit singles on my new CD,

Word is there’s nobody better than you at what you do, so I want us to meet before I sign with someone else.”

The letter you don’t want to write is: “kno job kno fud wiffe run offf w truk n trukker gotta sail mi songs t mak bayl..” Nobody wants to hear your sad story. Or deal with your give-me-strength spelling. So re-read what you write before sending it. And rewrite it, too. Just as if it were a song.

A powerful, short intro is essential to capturing someone’s attention. It’s like getting to the hook quickly in a song. While composing your message, be sure to ask how, and in which format, to submit your work, to whose attention, at which address, the anticipated turn-around time, and how to mark the message/package so it won’t be mistaken for spam.

 

Let me know how you do.

© 2012 Molly-Ann Leikin

 

Molly-Ann Leikin is an Emmy nominee. The author of “How to Write A Hit Song” and “How to Be A Hit Songwriter”, she has written themes and songs for over five dozen TV shows and movies, including “Violet” that won an Oscar. Through co-writing and song marketing consultations, four of Molly’s clients have Grammy nominations, another won an Emmy, and so far, with Molly’s help, over 6000 of her other lyricist and composer protégées have placed their work in TV shows, movies, on CD’s and in commercials. Molly would be happy to discuss a co-write or consultation with you: 800-851-6588 [email protected] www.songmd.com

 

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

Tags: songwriter, song writer, Song writing, Songwriting, Molly-Ann Leikin, Song Marketing Consultant, Co-writer, The Money Hello

On Being A Professional Songwriter

Posted by Jessica Brandon on Thu, Feb 09, 2012 @12:00 PM

On Being A Professional Songwriter by Danny Arena 

Almost Famous? Money For Nothing And Your Chicks For Free? I received an email this week from a songwriter who thought writing a hit song would lead them to financial independence. This is not the first time I have received such an email. In fact they come regularly, this was the second email on the topic I received this week (I'm staring at another one right now). I still had to shake my head and wonder. Is there really that much misinformation out there about the business of being a songwriter? If so, I really need to find out who's doing the PR for the entire songwriting profession and congratulate them on a job well done. 


Well, let's shed some light on this and talk about some of these reasons why you might consider becoming a songwriter:

  • Fame? Ummm, actually no. The songwriter usually remains unknown unless they are also the artist singing the song. How many non-songwriters out there know who Joe Leathers is? Did you know that Tim McGraw sang a song Joe co-wrote called, "Still" recently on the ACM Awards on national TV? How about Georgia Middleman? Keith Urban sang a song she co-wrote, "I'm In" , on the ACM Awards. Both songs are likely to be big hits, yet not many people will know the writers behind the songs. Dave Berg was ASCAP Songwriter of The Year a couple years ago. This is considered one of the highest awards a songwriter can receive...does his name ring any bells? Probably not unless you're in the music business. And those rare times when the songwriter is mentioned or acknowledged, it's not uncommon to find incomplete or missing relevant information. I read in the newspaper the day after the ACM's the following blurb: "For his latest single, Keith Urban looked toward one of his favorite writers, Radney Foster, for a rockin number called, "I'm In". The author of the article managed to leave out the name of Radney's co-writer on the song, Georgia Middleman (Radney is a former major label artist, hence the extra recognition he has). No, fame and glory are definitely not included in the benefits package for the professional songwriter. Sure, you might get a "that's cool" at your high-school reunion when they find out what you do for a living. But the truth is that even the most successful songwriters are only well-known in a relatively small circle.
  • Make Lots of Money? Yes, surely, you should consider becoming a songwriter if money's tight and you need to make a few bucks quickly. Uh, no. Do you know the difference between a large pizza and a songwriter? One of them can feed a family of four (the other delivers the pizza for a living). Know how to make a million dollars as a songwriter? Start with 1.2 million. There's a reason why jokes like this exist. It's because there's a grain of truth in them. Very, very few songwriters actually make a living from writing songs full time. Those that do usually have been working steadily at it for a very long time. It might take a good 7-15 years working at it full time before you actually start seeing any money from your hard work. And yes, if you are one of the few songwriters who catches lightning in a bottle and lands a big hit song, you might make $300,000 in one year (before taxes). But as any financial advisor would tell you, when you average that big windfall over the 10 years prior when you've made next to nothing, it turns out you would have done better financially working at the local Lowe's Hardware. Plus you'd get health benefits (something that's not part of the deal when you're a professional songwriter). So, if you're looking for a sound financial plan, landing a gig as a professional or hit songwriter probably isn't the best career path for you.
  • Job Stability? Sorry, no. The couple hundred songwriters who are lucky enough to land a steady gig writing songs usually sign a 1-5 year contract with a publishing company that has an option at the end of each year. That option is for the publishing company to decide whether or not they want to keep you around for another year. In other words, every year you're "on the bubble". So if you go a couple of years without some significant action on your songs, you're likely to be out on the streets looking for another writing deal. I might also add that the job itself is inherently fraught with highs and lows. Having lived this life now for a number of years, I most definitely would not call it a "smooth ride". One day you might get a call from the head of the record label on his airplane saying that they're going to cut one of your songs on a well-known group. But a month later, the group breaks up or declares bankruptcy. You might find out you have the next single on an established artist on a major label. But then out of nowhere, the record label shuts its doors and your single is dead in the water. You could attend opening night on Broadway and see your songs performed on stage but come back to the hotel to an email that informs you that your publishing company is closing so they can't pick up your option. Signing on for a career in songwriting is definitely signing up for a roller coaster ride [author's note: yes, as you've probably guessed, those are all real examples from the life of real songwriters, myself included]. 
    Ok, so why become a songwriter then if it's such an incredibly difficult, unstable and financially unwise lifestyle? Well, Well, every once in a while all the stars line up in the universe and it's magic. You hear your song on the radio or you watch Tim McGraw singing your song on TV or Raul Esparza belting your song on Broadway. And it's that one brief moment that you always dream about as a songwriter...it's the thing that keeps you going through the days when you're out of a job, or people criticize your work and tell you that it's impossible to make it as a songwriter. You work your butt off for 10-12 years to get that one brief second where you feel like it's all worth it. And when it happens, it's truly a magical moment. My wife, Sara Light and I, have been lucky enough during our years as songwriters to catch lightning in a bottle a few times. I was actually nominated for a Tony Award the same year as three of my childhood idols who I always wanted to be like -- Elton John, Billy Joel and Michel Legrand (you may not recognize this last name...see point #1 above about fame). It was an unbelievable dream come true for me.

So while watching the ACM Awards on TV the other night, the first thing I did when I saw Tim McGraw singing Joe Leathers song was to email Joe a note to congratulate him. Right after that, I phoned Georgia Middleman and did the same...because when you get down to it, here's the thing. Songwriting is a calling - not a career choice. Those who succeed as songwriters didn't pick it as a lifestyle. Songwriting picked them. If I could give this up and choose another career and be happy doing it, I'd do it in a heartbeat. But I can't. This is what I do. It's what I've always wanted to do. It's what fills my soul. And given the choice, I'd do it all over again. Every professional songwriter I know is the same way. We can't not write songs. That business stuff -- just comes along for the ride, good and bad...and if you're still reading this and I haven't managed to convince you to not become a songwriter by this point, then welcome to the hood. You're a songwriter.


Songwriter Danny Arena Danny Arena 
is a Tony-Award nominated songwriter and co-founder of www.SongU.com. SongU.com provides multi-level song writing courses developed by award-winning songwriters, song feedback, mentoring, one-on-one song coaching, co-writing, unscreened pitching opportunities and more. For more information on USA Songwriting Competition, visit: http://www.songwriting.net

Tags: songwriter, Songwriting Tips, Danny Arena, Tony Award, professional

Top 10 Best Songwriting Books

Posted by Jessica Brandon on Wed, Feb 08, 2012 @12:09 PM

Top 10 Best Songwriting Books by Jessica Brandon

 

We have been receiving questions "Can you recemmend us the best books on songwriting?", "Is this the best book ever on songwriting?". Here is our Top 10 list of the best songwriting books:

 

How to Be a Hit Songwriter: Polishing and Marketing Your Lyrics and Music by Molly-Ann Leikin
Molly-Ann Leikin is the award-winning songwriter and songwriting consultant who helps good songwriters all over the world become hit songwriters. Whether your work just needs a little rewriting, polishing or some strong connections, Leikin will guide you step by step to the top of the charts.

 

Tunesmith: Inside the Art of Songwriting by Jimmy Webb

Jimmy Webb, songwriter
Jimmy Webb is a legendary songwriter wrote household hit songs such as "MacArthur Park", "By the Time I Get to Phoenix", "Galveston". This book he write covers technical matters from basic chord theory and rhyme schemes to the protocol of pitching songs, Webb draws on a trove of personal anecdotes from a career spanning more than two decades.

 

How to Write a Hit Song by Molly-Ann Leiken. Molly-Ann Leiken presents an insider's look at the challenging and rapidly changing role of a professional songwriter. When someone with a house full of gold and platinum records sits down and says, "This is how I did it!" the rest of us are blessed to listen and learn.

 

Writing Better Lyrics - by Pat Pattison This book does exactly what it's name suggests, it will help you write better lyrics. It has so many exercises and ways to generate lyric ideas.

 

Melody in Songwriting: Tools and Techniques for Writing Hit Songs (Berklee Guide) -by Jack Perricone. This book examines hit songs and learning from them. This book will make you appreciate the value of this idea.

 

The Craft and Business of Songwriting by John Braheny. Examples from world class songwriters such as Paul McCartney, Lenny Kravitz and TLC. This book has been a bible for songwriters for a long time. 

Songwriters on Songwriting by Paul Zollo. I have learnt a lot from this book. Popular songwriters (songwriting giants) including Carole King, Paul Simon, Frank Zappa, Randy Newman, and Madonna discuss their songwriting methods and the way their classics came to be.

The Craft of Lyric Writing -by Sheila Davis. This is a good book with a strong focus on the lyrical side of songwriting. It is both educational and entertaining.

6 Steps To Songwriting Success: Comprehensive Guide To Writing And Marketing Hit Songs -by Jason Blume. Jason has had songs recorded by The Backstreet Boys, Britney Spears, and many others. He has also won the USA Songwriting Competition (First Prize) in the past. Learn from the pro himself!

The Songwriters Idea Book: 40 Strategies to Excite Your Imagination, Help You Design Distinctive Songs, and Keep Your Creative Flow by Sheila Davis. Everyone wants to be original, and this book can be a very helpful tool towards that end. It's great book to help break you out of your normal way of approaching lyric writing, not to mention aid when you are blocked.

 

This article is brought to you courtesy of USA Songwriting Competition. For more information on thew 17th Annual USA Songwriting Competition, go to: http://www.songwriting.net

 

Tags: songwriter, song writer, Song writing, Molly-Ann Leikin, Top 10 Books On Songwriting, Jimmy Webb, John Braheny, Jack Perricone, Sheila Davis, Jason Blume