Songwriting Tips, News & More

Songwriting Tip: Secrets for Writing the Best Songs for Sync Licensing

Posted by Jessica Brandon on Mon, Jan 11, 2016 @07:00 AM

Secrets for Writing the Best Songs for Sync Licensing

by Dave Kusek

The Best Songs for Sync Licensing

In the past three years, all the top winning songs of the USA Songwriting Competition were placed in Box Office Hit Movies. The current winning song was also featured on the first episode of the hit TV show "American Idol" last Wednesday (January 6th). Music industry expert Dave Kusek talks about the secrets behind the lucrative sync licensing.

As a songwriter, you’re totally ahead of the pack when it comes to scoring sync license opportunities. You know how to create emotion with your melodies, how to convey a story with your lyrics, and how to set the mood with a few notes. But, because the music in TV and film is used to support the action rather than be the main event, you need to think about the songs you submit for sync opportunities a little differently.

To help you out, I created a free video lesson going through the easiest way for indie artists to break into the world of licensing. But first, check out these 4 tips that will help you start figuring out what songs you should focus your efforts on when it comes to licensing.  

Keep in mind that even weird or niche songs that don’t fit with these guidelines can get licensed given the right opportunity. But it will definitely take a little more research on your part to find productions that are looking for music off the mainstream path.

Also, you shouldn’t feel like you need to change your art to adapt to licensing situations. These tips and guidelines are to help you choose the songs to focus your sync licensing efforts on, not an instruction manual to songwriting for film and TV.

 

1. Vague Lyrics Work Best

As a songwriter, you probably use specific lyrics to help the listeners visualize and connect with a song. But this can sometimes backfire with sync licensing. In film and TV, the music is there to reinforce and support the scene. And that means your lyrics need to be relevant to what’s going on.

Think about it like this. If you write a song about a man named Francis who feels lost in life and packs up to move to Tokyo Japan only to find the love of his life in Harajuku station, it can only be used in a scene where the character feels lost, moves to Japan and finds their soul mate in a train station. And the chance that a movie with that exact scenario comes along is slim to none.

On the other hand, a song about feeling lost, self-exploration, and finding love in unexpected places would definitely fit in a ton of movies or TV shows. As you can see, the vagueness can make a song more adaptable and more licensable.

 

2. Stick with Common Themes

Take a minute to think about all the movies and shows you see on TV. More likely than not, they’re all based on a few common themes. Love, heartbreak, break ups, triumph over a struggle, suspense, and revenge are all plot lines you see popping up over and over again.

Filmmakers and TV producers always come back to these themes, because they work. It may seem cliché, but there will always be a market for music that supports these themes, so break out your cheesiest break up song and get it out there!

 

3. Stay Away from Explicit Content

As you surely know, film and TV have to stick to pretty strict age ratings. So what does that mean for you? Well if your song has too much swearing or explicit content, you’ve just seriously cut down your options to just R rated movies.

For sure, more adult themes can be a very important part of your art and the message you’re trying to get across, and you should have to compromise on that with your fans. But if you’re serious about going after sync, you could create clean versions of your songs and submit those PG versions to sync opportunities.

Explicit content aside, if you’re going after opportunities with companies like Disney, definitely take the time to also submit written out lyrics. Supervisors have to be very careful about the music they choose when working on content for a younger audience, and helping them out like this will definitely make you stand out from the crowd.

 

4. Don’t Forget Your Back Catalog

Most of the mainstream music industry is ruled by the newest and latest releases. But the world of sync licensing knows no time period. It’s not really about finding songs that are popular. Music supervisors are looking for the best song to support the scene, and this means you can and should submit songs from your back catalog.


If you want to learn more about music licensing, check out this short free video lesson. If you watch the whole lesson, you’ll get a secret free ebook with even more insider information on what music supervisors look for in music they license.

 

Dave Kusek is a digital strategist, consultant, entrepreneur, digital music pioneer, author, speaker, educator and Senior Partner and Chief Digital Officer at Digital Cowboys. Dave was Vice President at Berklee College of Music in Boston and the founder and CEO of Berkleemusic.com. Prior to that, Kusek helped develop the Musical Instrument Digital Interface (MIDI), was co-inventor of the first electronic drums “Synare”, and co-founder of Passport Designs, the first music software company. In 2005 he co-authored the best selling music business book “The Future of Music: Manifesto for the Digital Music Revolution”.

Kusek is a founding faculty member at Berkleemusic and has been featured in the New York Times, Boston Globe, Billboard, Wired, Christian Science Monitor, Huffington Post, Associated Press, Boston Business Journal, MTV, CNBC, SF Chronicle, Forbes, NBC-TV, Nightly Business Report, NPR, Financial Times, Guardian, Midem, Music Hack Day, Digital Music Forum, NAMM, AES, IEBA, MacWorld, Comdex, SXSW and Digital Hollywood.

To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

   

   

Tags: songwriter, song writer, Song writing, Songwriting, Writing songs for film and TV, Writing Songs for Sync Licensing, Sync Licensing, Writing Music for Sync Licensing, Writing Music for film and TV

How To Write A Hit Song

Posted by Jessica Brandon on Fri, Jan 08, 2016 @09:48 AM

How To Write A Hit Song

by Mark Cawley

 songwriting

If chart success is your songwriting goal, then you need to pay attention to how today’s hits are actually written. MARK CAWLEY of iDoCoach.com shares some thoughts on breaking into a very competitive field..

Even as I sit down to write this, I can hear the groans. “Who is this guy? How can he claim to know how to write a hit? And if he knows, how come he hasn’t written a ton of them?”

So let me back up. No one can guarantee a hit. No label, no producer, no artist, and no songwriter. Max Martin misses, Diane Warren misses, Ryan Tedder misses. They all miss more often than they hit! There is no formula. But there are things you can do to up the odds of your song getting heard, cut, and (if all the stars align) becoming a hit.

 

Look Around You

Start by doing your homework. Listen to the hits and look for patterns. Are you hearing lots of songs about affirmation? Songs that say ‘I wanna see you be brave, stronger, beautiful, happy’? Songwriters have long understood that one of the quickest ways to a listener’s heart is to lift them up with your song. There’s a fancy term for this called ‘second person positive,’ which basically means writing lyrics that make someone else feel great about themselves. A classic example of this it would be the Joe Cocker standard, “You Are So Beautiful.”

I’m in Nashville and every publisher, artist and producer right now is asking for ‘uptempo positive’. The reason for this is the sheer volume of ballads and midtempo songs they get: for some reason, when a writer gets in the room with an acoustic guitar or a piano they turn into Ed Sheeran or James Taylor. It can be hard to create the energy required unless you plan for it, but again, your chances of getting that hit improve by giving the powers that be what they’re asking for.

One of the very best ways I know is to get in the habit of deconstructing recent hits. Go beyond just learning to play them: write down the structure, print out the lyric, make notes about the production. I’m always amazed at the songwriting clients I get who will say they want to write a huge song, but who pay absolutely no attention to the current hits. If you’re writing pop or even new country and still creating long intros, lots of verses, using only one hook, and aren’t familiar with terms like ‘post-chorus’, you might have a harder road.

Try going one step beyond deconstructing and create a playlist with a couple of hits along with a song of your own. Try to pick ones that might have a bit in common with yours, but the idea is to be objective. Does your song hold up to the two hits? If not, why? Go back to your notes. What’s different? The point is not to clone, just get this info into your subconscious so the next song you write is at least informed by structural ideas that are more current.

 

Do It Yourself

A bit of a disclaimer here. Even though you’re listening to the radio and learning the structural and lyrical as well as musical content, the songs you’re hearing were probably written and recorded as much as a year ago. If you set out to write something exactly like what you’re hearing, you’re likely already too late! So what can you do now?

Try and take it all in and then add yourself to the mix. What makes you different as a songwriter? Can you bring something fresh to your songwriting? You could argue there’s nothing new under the Sun, but I would disagree. Music goes in cycles, styles change, old becomes new every once in a while. Our job is to tap into a listener’s head and create something that a whole lot of people are gonna love at the same time.

It’s not easy, but the chances get better by not only honing your craft, but learning what came before (even if it’s only a month back). It all goes into your toolbox as a songwriter and gives you the best chance of writing a hit.

 

Team Up

Finally, I want to talk about the biggest obstacle to writing that hit on your own. This is something that comes up in my sessions all the time: people say to me, “I look at the writing credits on a Beyoncé song and see six writers! How can I hope to be heard, if I’m not part of one of these writing crews?” It’s a tough one. But keep in mind, not every song is a hit by committee!

 

There are two ways to go to access this route. One is to create your own team. If you’re a writer but have no aspirations to produce, find someone who’s interested in production and work with them. If you’re a writer but not the artist, look for local talent; find someone with star potential and hitch your wagon to them. Hit songwriter Liz Rose co-write with Taylor Swift when no one else really wanted to know, and that worked out rather well for her…

 

The other route is to join an existing team. I just read an interview with Dr Luke in which he talked about signing writers to his publishing company, usually for their unique talent. Anything from track-builders to vibe masters that know how to get the most out of co-writing with an artist. The point was they gained entry to the writing process, and some have moved from being the fourth writer on a song to producing artists and co-writing with them. I did this for a few years, working with Eliot Kennedy and his hit machine Steelworks in the UK. By getting access to the artists he was working with, I got cuts on many of them, including the No 1 single Day & Night by Billie Piper.

 

Again, there’s no magic bullet for writing a hit... but you can definitely educate yourself to get your best shot. Good luck!

 

[Reprinted by permission from Songwriter Magazine]

 

ABOUT MARK CAWLEY

Born in Syracuse, NEW YORK, Mark has LIVED in Nashville FOR the last 20 years. His songs have been recorded by Tina Turner, Joe Cocker, Chaka Khan, Diana Ross, The Spice Girls and many more. These days, he mentors WRITERS AND ARTISTS around the globe via iDoCoach.

To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 

Tags: songwriter, song writer, Song writing, Songwriting, hit song, Lyrics, Writing Music, writing lyrics, Song writers, writing hit melodies

Songwriting Tip: Defaulting to the Nearest Cliché

Posted by Jessica Brandon on Wed, Nov 25, 2015 @03:12 PM

Defaulting to the Nearest Cliché

by Harriet Schock

 CLICHE2

Computer language is replete with analogies. For instance, I think metaphors are like icons which can be dragged across the screen containing loads of information under them. And I think when we give in to using cliches, it’s like we’re using a default setting in our creative psyches.

Clichés can be musical or lyrical. They can be patterns created by our predecessors or patterns we have set, ourselves. I had a student recently who had written the phrase “tenderly kiss” and I asked him why he needed the “tenderly.” He said he’d heard it in about 30 songs and thought it should be in his. Eventually he saw that as the reason why it should not be in his. But like the old pair of shoes that’s ruining our feet, cliches are so comfortable. They slide on so easily. But they generally look worn-out.

Leaving the play, Julius Caesar, I overheard an audience member complain that Shakespeare was riddled with cliches. I had to laugh. I suppose it never occurred to this person that the lines became famous after he wrote them. We could all hope for that. But for the most part, the cliches in songwriting are just things we default to when we’re lazy or temporarily forgetful. It takes constant vigilance to avoid them.

What’s so bad about clichés? The world is full of them, right? In my opinion, the danger of cliches is that they allow the listener to escape. As long as you’re communicating with impact, the listener will be there, interested. But have you ever said a word over and over and over and suddenly it has no meaning? As a child, did you ever say “January, January, January, January…” until you started laughing because it sounded so odd? It no longer communicated “January.” I often marvel that 80-year-old Roman Catholic Priests can have said the same service every week for over half a century and still understand what the words mean. Overuse often robs individual words and word groups of their meaning. So what do we do to avoid them?

One way around clichés is to be as specific as possible. The pictures you pull out to tell your story with are the real tools of your lyric writing. And the more specific those pictures are, the more unique to your experience, the less likely they are to be cliches. No one else has had the exact experience you have, so if you describe it in detail, it will be uniquely yours. These details can be visual, aural, tactile and olfactory; I just use the word “picture” to cover all the senses.

So far we’ve been talking about lyrical clichés, and those which were created by our predecessors, but what about musical ones and ones we create, ourselves? Often we create our own musical clichés by defaulting to comfortable chord changes and melodic patterns. It’s good to have a recognizable style, but not to the point that all your songs sound alike. One way to get away from this type of cliché is to write away from the instrument you usually write on. Your ear may not go to those patterns your hands are slaves to. So if you write as long as you can, away from the instrument, you can sometimes break through those musical default cliches. Another way to avoid them is by playing in a key that’s unfamiliar. Sometimes you’ll hit a chord, not knowing what you’re playing and it’ll be great. It’s like the old joke: What does a jazzer do when he plays a wrong note? He plays it again. Carlos Olmeda wrote a song called “Dear Ana” which I love. There’s one particular chord I wait for with great anticipation. One night I asked him how he got that chord and he admitted it was a mistake that he loved when he heard it so he kept it. It’s so unsuspected. It’s thrilling when it happens that way.

Decades ago, in 1988, once Bobby Brown had used that unexpected diminished chord in “My Prerogative,” it seemed like everyone was using it.  It’s delightful to find something original, musically, because the pull to default to the nearest cliché in chord progressions is as strong as gravity. Melody also falls victim to it as people color within the lines by avoiding those non-chordal tones which can create such nice tension and interest.

Stephen King talks about writing to one imaginary reader. The next time you write a song, maybe you could write it for an imaginary listener. And when you do, and you feel like defaulting to the nearest cliché, ask yourself if your imaginary listener would still be listening. If not, then try one of the solutions I’ve mentioned above. Or make up one of your own! And if it works, let me know what it is.

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "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 and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. 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 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), and her new up coming book, her songwriting classes, online courses and consultation, go to: www.harrietschock.com

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

Tags: songwriter, song writer, Songwriting, Helen Reddy, lyric writing, cliche

Songwriting Tip: Get Away from It

Posted by Jessica Brandon on Tue, Sep 08, 2015 @06:25 PM

Songwriting Tip: Get Away from It

by Harriet Schock

TakeAWalk

Can you see the box better from inside the box or outside the box? Well, you see it two different ways, I guess. But if you’re looking for objectivity and perspective, you might try getting outside.

 

I think the same may be true of songs. I believe most of the writing needs to be done INSIDE the experience. As Natalie Goldberg talks about in Writing Down The Bones, write as much as possible from “First Thoughts.” It’s good to get as much written as you can from that moment of being truly immersed in the original inspiration and desire to communicate. It’s also good to get away from it for a while. Go do something else. It’s going to gnaw at you like a hungry child anyway, so you aren’t going to be in danger of forgetting it entirely.

 

Steve Wagner, a former student and wonderful songwriter, recognizes the wisdom in taking a break. He feels it allows him to come back to the song with the original enthusiasm and vision he once had for it. He wrote me once, “I had to get away from this for a while and I was successful at extricating myself, withdrawing from it so that I am excited to dive back in.” Kahlil Gibran’s advice to lovers would be well taken by songwriters for their songs: “Let there be spaces in your togetherness.” In that space, we might actually gain the understanding we are seeking for what the song needs.

 

That said, I must confess I usually write a song in a few consecutive sittings. I can’t leave it alone. I’ll think that’s all I’m going to do and I turn the keyboard off, leave the room and try to do something else, and I’m right back there like a boomerang within minutes. But with one of my songs, a song I was writing for my sister, I took a four or five month break. I didn’t consider it a break. I thought I wasn’t getting anywhere with the song and I refused to give my only sister a song that was lame, so I put it away. Six months later, I woke up one day and in the twilight between snooze alarms, I got the end of the chorus. The whole song builds to that and the title sits right in the last line of that section. I probably couldn’t have gotten that six months earlier. So if I’d kept after it, I may have gotten something inferior. As often happens in my experience, this little personal song I wrote to my sister to express something to one person, something I felt deeply, has become one of the songs everyone asks for when I perform. I suppose other people have big sisters or brothers also.

 

Then there are the writers who won’t leave a song alone until they ruin it. I have students I want to hog tie to keep their hands off their songs after the songs have reached a certain point.

 

There’s a famous joke about the screenwriter who’s on the desert with a film producer and they’ve been dying of thirst for days until they finally find a pool of water and it turns out not to be a mirage, but the real thing. The writer starts to drink and the producer stops him and starts peeing into the pool. When the writer asks him what he’s doing, the producer replies, “I’m just improving it a little.” Although this joke is more a reflection of how script writers feel about the creative intervention of producers, I tell it to my writers who can’t stop “improving” their songs even after they’re already great. They compulsively rewrite until they are divorced from the original surge of creative power that inspired them in the first place. They’ve perfected the songs right out of all emotional impact.

 

Rather than continue working on something that was first finished weeks earlier, taking a break from the song can help you see it again with new, appreciative eyes. A rather odd example of this last point happened to me recently. I was reading some new reviews of my work on Allmusic.com and my eyes drifted down to the discography section and I found there was a recording of one of my songs I never knew about. It was published by Jobete and they apparently pitched the song and secured the record, never mentioning it to me. When I heard the cover, it was as if the song were someone else’s. I wrote it more than 20 years ago, and the time away from it gave me perspective. It was quite a different experience from hearing the demo I had done right after I wrote it. And fortunately I was impressed with the song.

 

So the next time you’re compulsively rewriting the life out of your song or looking for that key to solve a song’s problem, take a break. Take a walk. Take a vacation. One way or another, get away from it. You’ll benefit from it. And so will the song.

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "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 and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. 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 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), and her new up coming book, her songwriting classes, online courses and consultation, go to: www.harrietschock.com

 

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

Tags: songwriter, Songwriting, Songwriting Tip, lyric writing

The 9-Minute Songwriter Workout

Posted by Jessica Brandon on Thu, Aug 20, 2015 @04:07 PM

The 9-Minute Songwriter Workout

by Clay Mills

IMG_1041-2

These three songwriting exercises are designed to get you into the flow of writing without thinking. Your best ideas come from your subconscious—and, you can tap into this with regular practice. Remember to do these exercises quickly, spending three minutes on each in rapid fire succession. I set the timer on my iPhone. Don’t judge or question ANYTHING you write down. This isn’t a test! The sole purpose is to train your creative thinking to respond on command. I find it helps to write with pen and paper, instead of typing. A lot of studies show that your brain responds differently when writing, as opposed to typing.

 

Pen and paper? Timer set? Okay, let’s go!

 

1.Write down every song title that comes to mind without censoring yourself. Work fast. Spit out titles. No judgement. Go wherever your thoughts take you. Note: These are your own original titles, not pre-existing song titles!

 

2.Choose one of your titles to play word association. Write down every word or phrase that relates to your title. Don’t think! Just work as quickly as possible. This will free up your subconscious. Here’s an example of how I free associated with one of my Darius Rucker #1 hits:

 

Title: ”Don't Think I Don't Think About It"

 

Associations: regrets, missing you, could've been, should've been, wrong choices,

mistakes, do I cross your mind?, looking back, rear view mirror, where are you today?

 

3.Choose a word in your title and play poor man’s rhyming dictionary. Write down as many rhymes as you can. Example: My title is “Don't Think I Don't Think About It,” rhyming the word, “it.” Work your way through the alphabet and add consonants to the beginning of the word. B-it, F-it, Gr-it, H-it, S-it, W-it, etc. Not all letters will work, so move quickly to the next. Today, there is less emphasis on perfect rhymes, so don't be afraid to cast a wider net: D-itch, W-itch, S-witch. In the example song, I chose to use the word "regret" as a rhyme with “it.” The meaning of the word, coupled with Darius's delivery, made it work beautifully. This exercise will strengthen your rhyming skills, so that it becomes second nature. Your goal is to spend less time “thinking" of rhymes while writing. 

 

Congratulations, you did it! Repeat daily!

Write On!  

 

Clay Mills is a 11-time ASCAP hit songwriter, producer, and performer. His songs have been recorded by such artist as Lady Antebellum, Darius Rucker, Babyface, Reba McEntire, and Kimberly Locke. He has 2 Grammy nominations for “Beautiful Mess” by Diamond Rio and “Heaven Heartache” by Trisha Yearwood. Follow him here: www.songtown.com, at www.claymills.com, and at www.facebook.com/claymillsii

 

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

TellUsWhatYouThink

Tags: songwriter, Song writing, Songwriting, Songwriting Tip, Clay Mills

Songwriting Tips: Oysters and Muses

Posted by Jessica Brandon on Fri, Aug 14, 2015 @03:33 PM

Songwriting Tips: Oysters and Muses

By Harriet Schock

Oysters And Muses

An oyster makes a pearl when some foreign piece of matter, like a grain of sand, has entered the oyster and he covers it with layers of nacre (mother of pearl). Basically, he’s sort of spitting at it because it’s an annoyance. I think songwriters are like that. If something is stuck in our craw, so to speak, we spit at it until we get a song. Or if we are longing for someone, unbearably, we write a song to give an outlet for all the feeling we can’t express to the missing or oblivious person. There’s usually an element of “reaching for” or “unfulfilled” or “discontent” before a pearl of a song comes out.

 

This doesn’t mean all songs are going to express anger or longing. Sometimes, there’s a longing to express gratitude or abiding devotion. But there’s a longing there, nevertheless. It’s hard to express these things in day-to-day existence. I just got an assignment from one of my correspondence course students which is going to lead to a very positive song for his wife. I dare say it will have some lovely pearls she has never heard, even over the most romantic dinner. Art has a way of condensing and purging deeper emotions that mere conversation isn’t capable of expressing.

 

So where do we get the piece of sand? I’m sure there are a few things bugging you at the moment, but they would not all be great songs. In looking for a dry and boring subject to illustrate this point, my first thought was that the IRS would not necessarily inspire a good song, but then I remembered Alfred Johnson’s song “W2” and realized that in the hands of a skillful songwriter there are no bad subjects. But is there a rule of thumb? What might work better than what?

 

I’ve been interested for a long time in what brings inspiration. It seems that having a certain distance from that which is inspiring us is essential, even if you have to find a way to get that distance on purpose. It’s no accident that there’s an expression, “Never marry the muse.” A muse is worth its weight in plutonium. I’ve known people who have stayed in totally bogus relationships only because of the songs that person inspired, when in fact, there was no real relationship in the first place. But it was the equivalent of the eggs that Woody Allen mentioned at the end of “Annie Hall.” He did it for the eggs. We do it for the songs. And for some reason, doing anything that will close that distance changes the person from being a muse to being someone too close to serve that purpose.

 

I recently read a poem by Wislawa Szymborska, a Nobel prize winner and one of my favorite poets. It’s called “I am too close,” and one of lines, and the recurring theme, is: “I am too close for him to dream of me.” She writes about having her arm under her lover’s head as he is dreaming of an usherette he saw once. She nails this concept better than I’ve ever heard it discussed. We frequently write (and dream) about fantasies and longings, much more than we dream of those closest to us.

 

On the other hand, those of us who want to have it all try to find a way to long for what we have. Goldie Hawn once said in an interview that she fantasizes about Kurt Russell, her long-term partner. This keeps the dream alive and is something I consider very good advice. There is a rampant viewpoint that the thrill of the chase is the only thrill there is. After the “prize” is “won,” the game is over. This is patently an unevolved viewpoint, but it’s so ingrained and reinforced by films and novels and songs, that we sometimes forget we have a choice. The reason I mention this in a songwriting article is that it affects the way we write. It’s not just ruining our love lives; it’s ruining our songs. It’s also helpful to know the difference between something you’re writing about and something you want to curl up with for a lifetime.

 

Some people try to harness the muse and get it to go in an “appropriate” direction. The catch-22 of this is that only when you know yourself very well can you get this to work. And most people who know themselves very well have given up trying to steer the muse. They just let it be where it is.

 

I have lots of students who are happily married who write about some old relationship they never quite felt complete about. That’s where the juices are. They don’t want to be back there in that relationship. But that’s where the muse is perched. So that’s where they go for the characters and the songs. I think this is fine. I once asked my producer, Nik Venet, why a particular couple (both very creative, great songwriters) couldn’t make it together in life when they were obviously so much in love and they wrote such powerful songs about each other. He answered with a succinct wisdom he was known for: “Fire needs more than fire. It needs wood.”

 

So back to our oyster analogy. It used to require a search of over 1000 oysters to find one pearl. Now, cultured pearls are made by putting a bead in an oyster and putting him back into the water. Then the pearls are collected. The cultured pearls are made the same way as naturally occurring pearls, except that some enterprising person decided to help nature irritate more oysters into making pearls. I realized while thinking this through that I do that on a daily basis with songwriters. I don’t have to insert the grain of sand like the person making a cultured pearl does. The songwriter already has one. They just don’t know where to look until I direct them. Once they get the knack of it, they’re off and writing.

 

Take a look at your own life. See where your beads are, and I don’t mean the perspiration on your forehead when you’re trying to pull a song out of nothing. There are plenty of sources of inspiration. Get out your radar and find that muse. She may be perched on the question mark of an old relationship. She may be looking out from the eyes of your present beloved. Or she could be leaping from the pages of an editorial that gets you crazy. Muses love to hide. But you’re a songwriter. It’s your job to find them.

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "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 and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. 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 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), and her new up coming book, her songwriting classes, online courses and consultation, go to: www.harrietschock.com

 

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

 

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Tags: songwriter, song writer, Song writing, Songwriting, lyric, lyric writing, Songwriting Tips, Harriet Schock, lyrical concept, lyrical hook

Songwriting Tip : Songs Are Small Things

Posted by Jessica Brandon on Tue, Jul 07, 2015 @07:05 PM

by Harriet Schock

 Songwriting

I tell my songwriting students this often. I tell myself this often. Songs are small things. Unlike a play or screenplay, songs can’t have a large cast or a bunch of subplots. If the idea of the song is “You are so beautiful to me…” then you simply say that and very little else. In fact, you should check out the lyric to that song. It’s astonishingly concise. Of course, I’m not saying every song has to be that truncated, although if it has a melody that good and that much emotion in the lyric with a vocal by Joe Cocker or Ray Charles, who needs more?

 

One of my favorite songs is “The Song Remembers When” by Hugh Prestwood. He simply writes vignettes of what the “I” in the song is doing—standing at the counter, rolling through the Rockies—when a song comes on and makes him (or when Trisha Yearwood sings it “her”) remember the relationship because the song brings it back. Now he doesn’t go into a dissertation on the time space continuum, he merely states that no matter how long a time has transpired, and no matter that he doesn’t even remember what went wrong in the relationship, when he hears that song, he’s right back with her. And he gives examples of how it happens, as well as making philosophical observations that are eloquent with the ring of truth. Consider this phrase about looking back on the old relationship, “But that’s just a lot of water underneath a bridge I’ve burned.” I use this as an example of brilliant craft that once you’ve broken the code of what he’s doing there, you can do it too. And you’d better be brilliant and eloquent because you don’t have much time to tell your story. It has to be a whole love story, or a whole life, or a whole movie with a plot even if no subplots—and it has to all happen in around 3 ½ minutes. So we don’t have time for non sequiturs and flowery language that doesn’t communicate.

 

Speaking of language that communicates, I have my students read Charles Bukowski’s free verse poetry for 4 things:

1) He says a lot in a few words

2) He uses conversational language

3) He writes very visually and

4) He uses irony in just about every poem.

I find that irony can’t be taught but it can be caught, like a cold. Somehow Bukowski’s irony is simply more contagious than other poets’ irony.

 

Sometimes at an open mic when I’d swear I’m hearing the plot of “War and Peace” crammed into someone’s original song, I want to suggest to them, loudly, that songs are small things. But when they’re written really well, we remember that diamonds are small things too.

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "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 and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. 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 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, online courses 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 writing, Songwriting, Helen Reddy, demo, hit song, Harriet Schock, co-writing

Songwriters: How to Demo Your Songs for Maximum Effect

Posted by Jessica Brandon on Wed, Jun 24, 2015 @09:24 PM

 

Expert Advice: Songwriters: How to Demo Your Songs for Maximum Effect

 

By Holly Knight

 

 Holly Knight, songwriter

 

There are many things that come into play when deciding what kind of demo you want to make. You will need to:

 

 

 

Decide who you want to pitch the song to.
• Determine what kind of sound you’re going for i.e. production.
• Figure out your budget (what you want and what you can afford aren’t always the same, but this is one of the biggest factors).
• Decide who plays on your demo: Is it you, or a combination of you and a hired vocalist? If you don’t play at all, you’ll need to hire musicians. If you’re not a great singer, hire one. Trust me, getting a good singer to sell your song is very important.

 

 

 

These days it is remarkably cheaper and much more convenient to record out of your own place, even your bedroom. If you’re serious about songwriting, you should have, at the very least, a simple, inexpensive program such as Logic, or GarageBand, both now a part of the Apple startup package. There are countless free tutorials on YouTube to learn them and they are pretty user-friendly.

 

 

 

1. If you are not already set up to record at home, then do so! Set yourself up with a digital home recording system. I use Pro Tools, the industry standard, used by almost every music producer. It’s more expensive, but there are different versions with a startup one being more affordable.

 

 

 

2. Learn how to program and engineer on a basic level. Engineering yourself saves money and time. Another advantage is that any time you feel inspired, you can work on your demo. You have the freedom to keep trying lots of different things without looking at the clock and worrying about emptying your bank account. I can’t tell you the number of times I’ve gone in my studio at 2:00 a.m. in just my underwear and Ugg Boots and recorded something really cool, without having to worry about dealing with someone else.

 

 

 

3. Use a male vocalist for a demo if you’re going to pitch it to a female rock singer (or any kind of edgy female singer like P!nk). Usually those kinds of female singers are a bit tomboyish, and they want to sing like a guy, so it’s easier for them to imagine singing it.

 

 

 

4. Do not make the mistake of getting a singer to sing like the artist you’re pitching to. Obviously, stylistically you want them to sell the song, but you don’t want to be off-putting to the artist either. I never gave a demo to Pat Benatar or Tina Turner where the vocalist sounded just like them. Sometimes they even feel like they’re being parodied. Not a good thing.

 

 

 

5. There are two kinds of demos these days. Either highly polished and practically a master unto themselves, or a very simple and real sounding demo, something like a piano and vocal, or an acoustic/vocal version. One of the advantages of submitting a high-end demo is that sometimes, if the producer loves your tracks—especially if it’s programmed synths and drum beats—they’ll want to use them on the master they’re recording with the artist. If this happens, you can negotiate a credit for either coproduction or programming.

 

You should also work out payment, which is usually in the form of points (a percentage). Sometimes, but very rarely, they will use the entire session or even hire you to produce the master with the artist. This almost only happens when you are known as a producer, and probably is not applicable to this article.

 

 

 

The disadvantage to putting too much into a well-produced demo is that often a producer, A&R guy or the artist can’t hear enough of the song on its own merits, and you haven’t left enough room for their imaginations. Sometimes that turns people off.

 

Another disadvantage is it can cost a lot more money once you’ve hired an engineer, and various musicians.

 

 

 

6. In my personal experience, a truly good song often sells itself better when it’s a simpler demo. If it sounds great in a simple form, then an artist can imagine how they would do it and “make it their own.” A great production of a weak song will get you nada, but a great song, even with a simple demo will stand a better chance of getting cut.

 

 

 

7. Make sure the vocals are loud. You’re not making your own record. You want the listener to hear the words.

 

 

 

8. Make sure you can understand the words when the vocalist sings, so that A&R peeps never need to look at a lyric sheet. Don’t overdo the effects, like delay and reverb, to the point that the singer sounds far away and hard to understand.

 

 

 

9. Don’t go crazy with guitar or other instrumental solos if your objective is to get a song cut. No one CARES. Unless your demos are also intended to sell you as an artist, then you can throw in some dazzling musicianship; but even then, I would keep those moments minimal. No one CARES. They want to hear great songs they can market.

 

 

 

10. Back everything up, every few minutes that you’re working— you can set your program to do that automatically—and label your sessions clearly. I can’t tell you how many sessions I used to label as “Friday night, USE THIS ONE.”

 

 

 

11. Usually an MP3 will suffice. It’s easy to send around, and easy for the listener to open up and listen to. I’ve often gone to the trouble of sending a higher res file, such as Wave or AiFF via Dropbox, and no one seems to appreciate the difference. You want the demo to be as easy as possible for the listener to access. If they have to go to yet another site and download a song you’re submitting to them, sometimes they won’t even bother to listen.

 

 

 

Ah now, submitting your songs....that’s a whole ‘nother subject, y’all... I hope this has helped you! Rock on!

 

 (Reprinted by permission, Music Connection magazine) 

 

About the Author:

 

HOLLY KNIGHT is a three-time Grammy winner, the recipient of 13 ASCAP Awards and a 2013 inductee to The Songwriters Hall of Fame. For a complete discography of her work, and to learn about her intensive, limited-enrollment Master Songwriting Classes, go to hollyknight.com, Twitter: @HollyKnightlife

 

 

 

For for information on the 20th Annual USA Songwriting Competition, go to: http://www.songwriting.net/enter

 

 

 

 

 

 


Tags: songwriter, song writer, Song writing, Songwriting, Nashville, demo, hit song, co-writing

Songwriting Tip: Gotta Love That Wrong Note

Posted by Jessica Brandon on Wed, Jun 10, 2015 @10:59 AM

GOTTA LOVE THAT WRONG NOTE  
by Harriet Schock

 Gotta love that wrong note - songwriting
There’s a lot to say about “wrong notes” but I’m going to concentrate here on the good ones—the ones that you wait for in a song. They’re not really wrong, but they’re unexpected and give a color to the music that is rather magical. Some occur from simply non-chordal tones called appoggiatura, and we’ve all made lots of use of these. Otherwise, the melody is too diatonic, like coloring inside the lines.
 
But let’s talk about wrong notes as in “that note is not in the scale” sort of wrong notes. Those are the really fun ones. My current songwriting student, a wonderful composer/songwriter, Robert Intriligator turned me on to the phrase “The Rodgers patented wrong note,” which was coined by Deems Taylor, a biographer of Rodgers and Hammerstein. Richard Rodgers was arguably one of the greatest popular composers of all time. His body of work is vast and in a huge variety of styles. But there is a characteristic he became so known for, they coined a phrase for it. I asked Robert Intriligator to find a bunch of examples for me, and I went to the piano and noticed that these are some of my favorite places in his music. For example in “Something Good” from “The Sound of Music” that raised fourth on the word “childhood” is what we wait for. In “No Other Love” (from “Me and Juliet”) he uses a raised 2nd on the word “you” in the phrase “only my love for you.” In “Oh, What a Beautiful Mornin' ” the “morn” of “mornin'” is on a flat seventh of the scale or raised sixth, depending upon your viewpoint. In looking over most of his “wrong note” examples, though, Robert concluded that most of them are a raised second or fourth.
 
Of course, in “Maria,” commonly known as “How Do You Solve a Problem Like Maria,” he uses a raised fourth as well as a raised second in the first line; but because they’re not held or accented, they simply seem like passing tones and aren’t as remarkable.
 
In order to create a bit of dissonance, the note has to stay there for a while. All consonance in a song is like a plot in a play or movie with no conflict. It’s just not interesting enough to hold our attention. I remember when I first heard “When We Dance” by Sting I waited for that note on the word “love” in the line “like I love you.” Yeah! Of course, these dissonances, wrong notes or whatever you want to call them are everywhere. They’re not just in Richard Rodgers and Sting. It might be fun for you to look for them in the music you listen to and pick out by ear what the composer is doing. Where is the “wrong note” and which scale degree did he/she augment or flat? Anyway, studying Richard Rodgers can only help a songwriter/composer since there’s so much to learn from his music.
 
There’s an old expression in jazz that goes something like “If you hit a wrong note, go back and hit it again in the same phrase. That way it will seem to have been done on purpose.” The trick is to find out when and where to do it on purpose the first time.
 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "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 and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. 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 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, online courses and consultation, go to: www.harrietschock.com

For more information on the 20th Annual USA Songwriting Competition, go: http://www.songwriting.net

 

 

Tags: songwriter, song writer, Song writing, Songwriting, Helen Reddy, Lyrics, Harriet Schock, Grammy Award, love song

Songwriting Tip : Where's The Chorus

Posted by Jessica Brandon on Mon, May 11, 2015 @05:41 PM

WHERE’S THE CHORUS?

by Harriet Schock

 songwriting

As a panelist at a songwriting conference recently, I wandered into a nearby panel after mine was over. I heard an absolutely gorgeous song with the hook at the end of each verse. The panelist interrogated the writer harshly, “Where’s the chorus?!” I desperately wanted to scream at her that not all songs have choruses and despite our culture’s wide-spread short term memory loss, some stories are better told without them. Even though we’re dealing with a society whose art is often dictated by Nielsen ratings and whose attention span is a nanosecond, sometimes a repeated chorus is not only undesirable—it’s unnecessary.

Let’s review a little history, even though there are conflicting stories about how choruses emerged. Back in the day of the “standards,” “The American Songbook,” these songs were ALL pretty much AABA. Verse, verse, bridge, verse with the title in the first line of each verse or the last line. “Somewhere Over the Rainbow,” for instance, would not have been improved by a repeating chorus starting with the title. Think about it for a minute. And even into the time of the Beatles, would “Yesterday” have been a better song if McCartney and Lennon and created a big sing-along chorus with the same words each time that started with “Yesterday”?

So historically the title was frequently in the last line of the verse. I believe it sort of grew into a two-line refrain and split off like a pseudopod into a chorus around the late fifties or early sixties. This is actually conjecture but it makes sense to me that it could have happened this way. I mean the central idea of the song was contained in the one line, then in the refrain, then it grew into too many lines to be a refrain at the end of a section so it split off and became a chorus. And for most chorus songs, this works well. But some songs are much better with the title coming in by itself at the end of each verse. Country radio is full of these songs even today. And Billy Joel’s “I Love You Just the Way You Are” would not have been better, in fact it would have been made weaker by a repeating chorus. In many story songs—songs that follow one story all the way through—a repeating chorus is simply “wasted real estate” as I call it…wasting space in the song, that could have given us more story, for the sake of lyric repetition. Of course, it’s becoming more conventional than it used to be to change some of the lyrics in the chorus to advance the story a bit or give the listener some variation, while keeping part of the chorus lyrics the same, usually the first and last line at least. But when we’re following a story as we are in Bill Berry’s “Piano Tuner with the Lazy Eye” (https://www.youtube.com/watch?v=6ixrOEXezXw), the last thing we want is to be interrupted by a repeating chorus.

I realize that the “hit formula” is to have a chorus that drives the title home and the beats the melodic hook into the listener’s brain so that by the second time he hears it, it “sounds” like a hit because it’s so incredibly familiar to him. And far be it from me to kick an ear worm out of bed. I’ve made a living off of them for over 30 years. But there have been plenty of hits without choruses. Once we realize that we can write a big melodic hook chorus song whenever we want, then we move on to what is best for the song we’re writing. And sometimes the song just cries out to be AABA. Yes, even in 2015.

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "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 and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. 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 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, online courses and consultation, go to: www.harrietschock.com

For more information on the 20th Annual USA Songwriting Competition, go: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, Chorus, Songwriting, Helen Reddy, Harriet Schock, Grammy