SONGWRITING
MyCD.ca
SONGWRITING
MyCD.ca
|
Site Index Songwriting free complete info on How to write a song, Song Structure, Song-writing Tips, writing a Hit Song, Song Lyrics, Rhyming and a lot more --------------------------------------- RECORDING how to record your song, How to mic a guitar amp, how to mic drums, recording equipment, building a home studio, mixing, mastering, recording vocals, vocal techniques, CD duplication and more --------------------------------------- How to Release Your Songs Major Label vs. Indie Label vs. Self Release LIST OF RECORD LABELS --------------------------------------- |
Free Articles on how to write a song Songwriters Resource Articles List on this Page
1) - Creating the Perfect Structure for Your Song 2) -Every Song Tells a Story...But Does it Need to be an Abstract Novel? 3) - So, You Want To Collaborate? The Key to Success For Songwriters by Alex Forbes 4) - How To Write A Song 5) - Write Songs the Music Industry Wants to Hear! 6) - How to Get the Right Balance of Innovation and Predictability in Your Songs 7) - How to Develop a Good Ear 8) - Seven Basic Songwriting Errors - 9) - Adding Chords to a Melody 10) - Making Your Own Music: Song-writing Basics 11) - How to Write a Chorus 12) - Writer's Web Resources 13) - How to Overcome the Lyric Writing Hurdles that are Keeping You Behind.
|
------
----- |
|
RADIO PROMOTION
part I
radio stations, the charts, types of radio shows,
radio promoters, music, CD and case requirements, formats/genres, add dates, investors and more
--------------------------------------- RADIO PROMOTION part Il traditional Distribution, radio cost - sheets, BDS/ Mediabase/ Soundscan, commercial ratings, use videos for airplay, merchandise, Billboard Magazine, commercial -regular rotation, hiring your own record deal, press, gigs and retail,CD sales from radio --------------------------------------- RADIO PROMOTION part III distribution using radio, setting up radio interviews, radio -distro -tours- press, consultants, FMQB airplay tracking, performance royalties, how touring , press and radio work together, payola, station visits and more --------------------------------------- PROMOTION writing press releases, music promotion, how to add audio to your blog or website and more --------------------------------------- LIST of RADIO STATIONS LIST OF AM , FM , COLLEGE & OTHER BROADCAST STATIONS IN THE UNITED STATES ---------------------------------------PERFORMING controlling stage fright, Performance Contracts, How to Become a Successful Independent Artist and more --------------------------------------- ----------------------- MUSIC AWARD SHOWS & MUSIC CONFERENCES ----------------------- --------------------------------- ------------------
---------------
|
1)
CREATING THE PERFECT STRUCTURE FOR YOUR SONG by Ian Waugh You know what they say about rules? Actually they say lots of things about rules but here's two - rules were made to be broken, and you have to know what the rules are before you can break them. While Judge Dredd may not agree with the first, the second is certainly true and nevermore so than in writing a song. The song structure may not be the first thing you think about when you start writing. You probably work on the verse or chorus, or maybe you have a good riff that you want to expand into a song. So you get that down and then you start to think about the other parts - the intro, how many verses, middle eight, do you want an instrumental, the ending... Some song genres have a fairly rigid format, others are more flexible, and you need to know where you can bend the rules and why you may not want to do so in order to make your song stand out from the others. Let's look at the sections you'll find in most songs and the part they play in song construction. Song parts Intro. Yes, this leads you into the song. It may be two, four or eight bars long or longer. Some songs don't have any intro at all. A pop song intro will often be reminiscent of the chorus or the hook. In a club song, it's often a good idea to have eight bars of rhythm to help the DJ to mix match your song. They say that music publishers typically only listen to the first 20 seconds of a song before deciding whether to reject it so if you're sending material to a publisher, keep the intro short and get into the song as quickly as possible. Save the 5 minute intros for the CD version. Verse. This is the preamble to the chorus. It sets the scene, certainly lyrically, and as the verses progress they often tell a story or recount episodes from a situation although that's by no means essential. They are typically eight or sixteen bars long and melodically not usually as strong as the chorus although, again, that's by no means essential. However, it often seems as if the songwriter ran out of ideas when writing the verse. One of the strengths of The Beatles' songs is that verses and choruses are equally strong and most people could hum or sing their way through most Beatles hits. Not so with many songs where the verses are little more than fillers to get you to the chorus. Chorus. This the bit everyone remembers, whistles and sings along to. It should be the strongest part of the song and generally is or contains the hook. It's usually eight or sixteen bars long. Middle eight. As a song progresses, there's a danger of boredom setting for the listener. The middle eight offers them a break and typically comes after a couple of verses and choruses. Some people think of it as an alternative verse and that's one way to look at it. It often modulates to a different key or introduces a new chord progression and it usually doesn't include the song title. However, all too often it's simply an excuse for waffling on for a few bars. Although it's called the middle eight it could be four or sixteen bars long. Bridge. Many people use the terms 'middle eight' and 'bridge' synonymously and so popular is this usage that it would be churlish to disagree. However, among those who prefer to note the difference, a bridge is a short section used to bridge the gap between verse and chorus. It may only be two or four bars long and it's often used when the verse and chorus are so different from each other that a 'joining' phrase helps bring them together. Instrumental. This is part of the song without any vocals. Yeah, okay. It's often an instrumental version of the verse or chorus, it may be an improvised variation on one of these, or it may be an entirely different tune and set of chords altogether. Sometimes it fits into a song where a vocal middle eight would otherwise go. Breakdown/Break. This term has been high jacked from songs from the early 1900s when it was common to either to reduce the instrumentation or stop it altogether while a tap dancer would strut his stuff. The term 'break' is still sometimes used to indicate an instrumental section. 'Breakdown' is now most commonly used in dance music for the section where the percussion breaks down or is reduced, and it may be the dance equivalent of the middle eight. Outro/Ending. Once upon a time, songs had definite endings but the mid 1950s heralded in the era of the fade-out and songwriters thought they would never have to write an ending again. However, fade-outs became such clichs to the extent that fade out meant cop out so songwriters started writing endings again. With that in mind, you can do as you wish, and considering that the endings of most songs get talked over or cut short by radio DJs and mixed over by club DJs, you have only your artistic integrity and your CD listeners to answer to. Some songs work extremely well with fade outs but listen to songs in your chosen genre to see how other writers approach endings. But whatever you do, avoid like the plague the three time tag ending. Hook. The hook is not a song part as such; rather it's the term used to describe the part of the song that people remember and sing. It's what they buy the record for. It's usually the chorus although it need not be the entire chorus, but simply a two- or four-bar phrase. It could be an instrumental riff as in Whiter Shade of Pale or Smoke on the Water, or a processed vocal as in Cher's Believe. All together now Having described the parts of a song, let's see how they are commonly arranged. The most popular arrangement by far is simply verse-chorus and repeat. Here are two variations on the theme: Intro Intro You get the picture. However, these are conventions rather than rules so you can adapt, change or ignore them as you see fit. But they have developed for a reason and that is simply to make the song as immediately appealing to the listener as possible. Listen to some of the Stock, Aitken and Waterman hits of the 80s (it's not compulsory if you really can't bear to) and you'll see that most follow the simplest format, guaranteed to brainwash the listener with as many repeats of the hook as possible. They tend to be:
Intro (similar to the chorus) Notice that the hook's there straight away in the intro, there's only one verse before the chorus so you get to it quicker, and the chorus tends to repeat at the end, just to imprint the hook firmly in your mind. There are obvious exceptions to these formats. Ambient, trance, chill-out music and the like, are obvious candidates. With these you can start at the beginning and work through to the end creating an evolving music form without any clear verse/chorus structure. Genres such as trance tend to build to a series of crescendos several times throughout the song. However, even these types of song often have a hook or two on which listeners can hang their hat. Build ups and downs Bearing in mind that the purpose of a song is to keep the listeners listening and not allow them to get bored, you need variety within the song. Simply strumming a guitar and singing verse/chorus/verse/chorus won't cut the mustard unless you're in a folk club. The usual method is to start with a simple arrangement and add to it as the song progresses. So, the first verse might consist of light drums, bass and rhythm guitar. As you move into the second verse you could add strings or a synth pad. A drum fill takes you into the chorus which would include busier drums, maybe some additional percussion, a fuller string arrangement and perhaps a lead line. When you dip back to the verse, you revert to the simpler arrangement. The middle eight is usually a lighter arrangement than the chorus and gives you the opportunity to use different instrumentation if you want to. When you hit the second chorus, add backing vocals and a lead riff. The final chorus is the culmination the song and you can add more backing vocals, more percussion and additional lead lines. Listen to songs in the style you are writing and analyse their formats to see how far other exponents have stuck to or departed from the traditional formats. when you're familiar with the rules or conventions that they use, then you can experiment by breaking them. Theres lots more about making music plus a free book to download at....www.making-music.com
His output numbers over 2,000 articles, features and reviews and he has written several books and albums. He is author of the "Quick Guide to..." series which includes the Quick Guide to Dance Music, Digital Audio Recording, MP3 and Digital Music, and Analogue Synthesis. |
-----------
----------- |
| 2)
Every Song Tells A Story... But Does It Need To Be An Abstract Novel? by Sheena Metal For a musician, your songs are your art. They are the physical embodiment of your creative gifts. Every bit of anger, happiness, angst, joy, pain, elation, knowledge or humor goes into the story known as your song. You write and re-write it, scouring over each note and word...perfecting it for recording and live performance. But when you play it for others, you're not getting the reaction you expected. Your friends, fans and family seem less than enthusiastic as they dully respond, "Yeah. That was...um...good." How could this be? You poured your soul into this piece. This was your "Stairway To Heaven"! This was your "Smells Like Team Spirit"! It's a lyrically amazing ode about the persecution of pagan midwives in grass hut tribes! It flows, it breathes, and it's seven and a half minutes of pure musical perfection! Whoa. Stop right there, Mozart. You wrote a seven and a half minute song about the persecution of pagan midwives in grass hut tribes and you're wondering why you're thirteen year-old cousin fell asleep in the middle of the fourth verse? You wrote a seven and a half minute song about the persecution of pagan midwives in grass hut tribes and you're confused as to why your drummer's girlfriend began calling her friends on her cell phone before the song had reached its bridge? It may be hard to believe when you're penning an opus such as this, but the normal human brain is wired a little differently than an accomplished musician's, like yourself. And although music is art, it's also popular culture and the goal should be for others to enjoy your creative efforts as much as you do. So, how can you make sure that your writing experience is as positive as your audience's listening experience? What can you, as musicians do, to eliminate aspects of your songs that may alienate, confuse or just plain bore your fans? The following are a few tips that may add success to your songwriting experience: 1.) After Four Minutes, It Becomes Background Music---Music aficionado's aside, the average person has roughly the attention span of a young adult hummingbird. As a songwriter, you need to grab your audience's attention and hold it until the end of the song before they flit off to something else more interesting to them. Although four minutes (or less) may seem like the blink of an eye when a songwriter is storytelling, it's a very long time to expect your run-of-the-mill club-goer or web-surfer to stay fixated on your music. 2.) Tell Your Story As Directly As Possible---We all love allusions, allegories, vague references, and subtle metaphors but use them sparingly or become a beat poet. A little abstractness goes a long way when writing a popular song. Song lyrics fly into people's minds as quickly as the bassist plucks out quarter notes. If you make your lyrics too complicated, then your audience may still be trying to figure out the verse when you're already playing the chorus. This could prompt the average listener to tune out your masterpiece, order another beer and switch on their Ipod. 3.) If English Is Your First Language, Use It In Your Song---It's great that you're an educated, cultured, artistic intellectual sponge. But remember that most people who hear your music are not book worms or art whores. Big, involved words make for memorable song lyrics but use them occasionaly. It's good for your fans to ponder the meaning of a particular lyric but give them too many to ponder and they'll get so caught up in the words that they may forget your song. 4.) Obscure Musicality Can Be Confusing Too---Lyrics aren't the only way to confuse the average listener. Obscure time signatures, discordant instrumentation and avant guard drum lines may seem like genius to your fellow musicians, but if your listeners can't tap and/or hum along, you may find yourself only invited to perform in underground opium bars where the audience members have all had one too many hash brownie. If you're not sure where to begin, start simple. Write a short, but sweet, song that packs an emotional punch in a universal way. Write about something everyone is familiar with: love, politics, lifestyle issues or the sociology of being a human being on the planet. Once people have fallen in love with your music, it will be easier to get them to give the extra listen to your more complicated, artistic pieces. Remember that just because a song is popular or easily understood, doesn't mean that
it's not good creativity. Art is subjective, and truly in the eye of the beholder. Your
least favorite song could be someone else's favorite. You never have to stop being
creative or artistic, just acknowledge that there's an audience out there that wants to
hear what you have to say...but they'll need to be able to comprehend it first. Sheena Metal is a radio host, producer, promoter, music supervisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on over 700 affiliates to more than 126 million listeners. Her musicians' assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area, where she resides. For more info...www.sheena-metal.com
|
|
|
|
Site Index Songwriting free complete info on How to write a song, Song Structure, Song-writing Tips, writing a Hit Song, Song Lyrics, Rhyming and a lot more --------------------------------------- RECORDING how to record your song, How to mic a guitar amp, how to mic drums, recording equipment, building a home studio, mixing, mastering, recording vocals, vocal techniques, CD duplication and more --------------------------------------- How to Release Your Songs Major Label vs. Indie Label vs. Self Release LIST OF RECORD LABELS --------------------------------------- RADIO PROMOTION part I radio stations, the charts, types of radio shows, radio promoters, music, CD and case requirements, formats/genres, add dates, investors and more --------------------------------------- |
3) So, You Want To Collaborate? The Key to Success For Songwriters
by Alex Forbes A few days of research can provide you with a wealth of opportunities. Here are some paths
that have produced results for me, and I've collaborated with at least a hundred other
writers since 1983: * Post a free ad on Craigslist.com. * Participate to the hilt, creating relationships with a variety of potential partners.
|
|
|
RADIO PROMOTION part Il traditional Distribution, radio cost - sheets, BDS/ Mediabase/
Soundscan, commercial ratings, use videos for airplay, merchandise, Billboard
Magazine, commercial -regular rotation, hiring your own record deal, press, gigs and retail,CD sales from radio --------------------------------------- RADIO PROMOTION part III distribution using radio, setting up radio interviews, radio -distro -tours- press, consultants, FMQB airplay tracking, performance royalties, how touring , press and radio work together, payola, station visits and more --------------------------------------- PROMOTION writing press releases, music promotion, how to add audio to your blog or website and more --------------------------------------- LIST of RADIO STATIONS LIST OF AM , FM , COLLEGE & OTHER BROADCAST STATIONS IN THE UNITED STATES --------------------------------------- PERFORMING controlling stage fright, Performance Contracts, How to Become a Successful Independent Artist and more --------------------------------------- ----------------------- MUSIC AWARD SHOWS & MUSIC CONFERENCES -----------------------
|
4) How To Write A Song by Michael Russell Did you ever wish that it was your song playing on the radio? It could be. It is not that hard once you know the formula. With a little creativity, a little knowledge, a little luck and a good formula to follow, your song could be one of the next biggest hits. Songwriting comes easy for some, and is very difficult for others. I have actually written songs in my sleep, and immediately upon awaking, written it as quickly as I could get the words on down on paper. What I want to discuss here is popular songwriting, like the songs you hear on the radio. A good pop song, whether rock, country, middle of the road, is composed of two things: a catchy tune and some good lyrics. There is a formula that most great songwriters use to write great songs. It regards the structure used to write a song. Granted, it is music and it is art, so the rules are not hard and fast. But if you want to increase your chances of getting your song on the radio, it is a good starting point. Here is the formula. Verse, chorus, verse, chorus, bridge, chorus. Write that down on paper leaving plenty of space between each word and this will be your script. Verse The verse is the part of the song that tells the story, the part that leads to the chorus. Each verse is usually different, telling a different part of, or adding to, the story. It usually explains how you got to the things you are singing about in the chorus. Chorus. The chorus is the part of the song that is repeated after each verse. The lyrics are usually the same each time the chorus comes around. The verse usually leads to the chorus, and the chorus is usually the pay off for listening to the verse. Does that make sense? Here is a lame example (you did not think I would give you my best work, did you?): (verse) My dog is sick, he's got a tick He's my best friend, don't let it end (chorus) (verse) (chorus) Now, if you would kindly stop laughing at my lame song for a minute, I want you to think about whether or not you understand my point. Songwriting is story telling. The verse tells the problems, the chorus expresses the results or the emotions. All right, now that you have that mastered, let's tackle the bridge. Ah, yeah, there is more to the song than the pain and the release. We need the diversion. That is what the bridge is; it is the diversion from the verse and the chorus. The bridge may have a slightly different melody to it, or it could even have a different rhythm or a different tempo (Elvis' "Suspicious Minds" did a great job on this technique). Let's go back to the lame song and add a bridge: (verse) (chorus) (verse) (chorus) (bridge) (chorus) The bridge offers a solution to the problems I was having. You don't want to leave your listener on the edge of suicide, you want to give them hope. Notice, I also changed up the wording of the chorus. This was done to reflect my new found joy. One more thing on formula. It can be anyway you want, but most verses and chorus come in lines of 4. So, instead of this: (verse) (verse) it would be: Oh, woe is me, can't you see The same goes for the chorus. Again, if you are creative, do it however you want. But for a new songwriter, this gives you some guidelines to scratch out and start carving out your new creation. One more thing, do not make the notes to the melody so high that your fans cannot sing along. We are certainly all not Stevie Wonder. About the Author Michael Russell
|
|
|
RADIO PROMOTION part Il traditional Distribution, radio cost - sheets, BDS/ Mediabase/
Soundscan, commercial ratings, use videos for airplay, merchandise, Billboard
Magazine, commercial -regular rotation, hiring your own record deal, press, gigs and retail,CD sales from radio --------------------------------------- RADIO PROMOTION part III distribution using radio, setting up radio interviews, radio -distro -tours- press, consultants, FMQB airplay tracking, performance royalties, how touring , press and radio work together, payola, station visits and more --------------------------------------- PROMOTION writing press releases, music promotion, how to add audio to your blog or website and more --------------------------------------- LIST of RADIO STATIONS LIST OF AM , FM , COLLEGE & OTHER BROADCAST STATIONS IN THE UNITED STATES --------------------------------------- PERFORMING controlling stage fright, Performance Contracts, How to Become a Successful Independent Artist and more --------------------------------------- ----------------------- MUSIC AWARD SHOWS & MUSIC CONFERENCES -----------------------
|
5) Write Songs the Music Industry Wants to Hear!by Alex Forbes Sure, "art for art's sake" is cool... but what if you're pursuing a career as a songwriter? This article is full of suggestions for how you can tailor your songs to suit the requirements of music business professionals. Many of us bemoan the state of commercial music today, but what are you doing to improve things in your own microcosmic corner of the universe? Are you working to create the next wave of great material -- songs that have a lifespan of more than a few weeks or months? How can you use your talents to actually make a powerful contribution... and make a living while you're at it? The first step is to take a good look inside and explore what you as a unique individual have to say, lyrically and musically. What do you think about, believe in, stand for? What makes you tick? These precious truths that bubble up from the soul provide the driving force behind great songwriting. These sparks of inspiration, these "aha! moments," are what listeners crave when they play a song. They're also what People Behind Desks are desparate to find. Do you have the courage to lay bare your personal truth in public? I firmly believe that's what it takes to achieve success with your songs. The cynical among us will say, "no, you just need the right equipment, a catchy hook and a whole lot of money behind you." Sure, those things help, but if you're trying to break into the business, your song has to simultaneously grab people by the guts, tickle their ears, and slam them over the head like a 2-by-4. Strive to write songs that take risks, tap into the universal via the personal, and motivate people to laugh, cry, feel, dance or take action. Make an effort to innovate, not imitate what's already out there. In other words, write your passion. Songs miraculously translate to listeners the exact emotion you felt while you were writing them. Do your best to work that magic! Another quality that professionals look for in a song is strong dynamic flow. Skillful use of the many conventions of songwriting can manipulate listeners in the most enjoyable way. Don't be afraid to push those emotional buttons! Here are some ways to go about it: * Suck listeners in with lyrical, melodic and chordal tension. Once you have piqued people's interest, crank up their involvement using all the techniques in your lyrical toolbox, i.e. rhyme, meter, imagery, metaphor, alliteration... you name it. Avoid clichés like the plague, or turn them on their heads somehow. Experiment until you find the melody lines that best show off your lyrics, and vice versa. Salt your song with enough repetition to make it memorable, but not so much that it becomes predictable. Use chord progressions that are fresh, stimulating the ear rather than lulling it into complacency. When it comes time for the ultimate payoff, your Hook, don't settle! This is your Money Shot, and most music biz pros will hit the "eject" button if they don't hear a strong hook in one listen. One listen! Here are a few ways to enhance your hook: * Construct your song so that all roads, lyrically and melodically, lead to your hook. Finally, People Behind Desks really appreciate it if you know your marketplace. Don't submit a country ballad when their artist is a heavy metal guitar-shredder. And if you're the performer, have at least 3 crowd-pleasing, radio-ready songs in hand before you shop a deal. Make a detailed study of the hits in your chosen genres, and incorporate those lessons into your work. The Internet has made it incredibly easy to educate yourself about what's selling these days, so there's no excuse for ignorance. Look at the world for a moment from the perspective of a music industry pro: They'll respond positively if they think your song will save their job. By bringing them dynamic, single-worthy, heartfelt material you'll be well on your way to doing just that, and creating a career for yourself as well. Happy songwriting! © 2006 by Alex Forbes About the Author Hit songwriter and songwriting coach Alex Forbes..http://creativesongwriter.com has seen over 65 of her songs released, many of them landing on the Billboard charts, on TV and in feature films. Her chart hits include "Don't Rush Me," (#2 Pop), "Too Turned On," (#6) and "Nothin' My Love Can't Fix" (#19). Her song, "You Are Water" is featured on the hit album by Hayley Westenra. |
|
|
6) How to Get the Right Balance of Innovationand Predictability in Your Songs by Gary Ewer Everyone's looking for innovation when it comes to writing songs. Obviously, you don't want your songs to just sound like every other song out there. You want yours to stand out. Making a song stand out from the rest requires innovation - a new approach. But here's the danger: if your songs are too innovative, you'll find that listeners can get confused, or even bored. Songs need to have something predictable about them. In other words, if your song is too innovative, it can drive your audience away. Through my websites...www.secretsofsongwriting.com and......www.easymusictheory.com, I deal with this issue of innovation versus predictability a lot. Many of my online and "real life" students are songwriters. And getting the balance right is very important. Innovation is not a bad thing, and many great bands and singers have spent years building up an audience for their material by being innovative. But for the most innovative performers out there, the building of that audience will require a long time, and lots of patience. This article is for those of you who want to build audiences quickly. It's one thing to be satisfied with taking years to build a listenership. But I know that many of you are wanting to get a loyal following sooner than that. You can do that by concentrating more on predictability at first rather than innovation. So if you want to build an audience for your music quickly, you'll need to think about presenting your material in a fresh, innovative way that does not abandon tradition. The Beatles are probably the greatest example of this. Their early music was modeled after some very successful singers: Buddy Holly, Elvis Presley, Chuck Berry and others. Presented in a fresh way, their early music relied on standard song forms, with rather traditional chord changes and melodic structures. "All My Lovin'", "I Want to Hold Your Hand," "She Loves You," etc. Great songs, strongly steeped in tradition, with a hint of innovation. Once the Beatles got that audience, they began to experiment more with innovative compositional and recording techniques. So having built up a loyal audience, they were able to present songs like "I Am the Walrus," "Strawberry Fields Forever," and so on. And that loyal audience, generally speaking, hung in there with them. So here are some tips to consider for balancing innovation with tradition: 1) Be sure that at least one element of your songs - either chord progressions, melody, lyric or basic form, is traditional, and somewhat predictable. This will help those looking for something "safe", and will give you a solid basis to present something innovative. 2) For the element of your song that you might consider innovative, remember that the "further out there" it is, the stronger the possibility that you will scare away listeners. This is not necessarily a bad thing, because you may pick up listeners that you wouldn't have otherwise had. Just remember that the more innovation you use, the slower you'll build that audience. 3) Don't be afraid to clothe complex lyrics or melody with a traditional ABABCB type of form. Simple forms are great ways to make sure that a listener doesn't feel lost. And always remember to be yourself. Being innovative simply because you want to try to sound different will not succeed. You need to always be presenting your material in a way that is true to the musician inside you. Being weird for weird's sake will come across as pretentious. Gary Ewer is the author of The Essential Secrets of Songwriting and Gary Ewer's Easy Music Theory. He is currently an instructor in the Dept. of Music, Dalhousie University, Halifax, Nova Scotia. |
|
|
|
Site Index Songwriting free complete info on How to write a song, Song Structure, Song-writing Tips, writing a Hit Song, Song Lyrics, Rhyming and a lot more --------------------------------- RECORDING how to record your song, How to mic a guitar amp, how to mic drums, recording equipment, building a home studio, mixing, mastering, recording vocals, vocal techniques, CD duplication and more --------------------------------- |
7) How to Develop a Good Earby Gary Ewer What do we mean when we say that someone "has a good ear?" Actually, the term can mean several things. When someone has a good ear, they can accomplish at least one of the following: 1) they can identify, usually by note name, the various pitches that they hear, and sing those pitches in tune; 2) they can identify chords by name; and/or 3) they can identify instruments or combinations of instruments within a musical work. Having a good ear is something that most musicians strive for. Having a bad ear means that you can't recognize or label the music you are hearing - an important skill for performers and composers. I run a songwriting website...www.secretsofsongwriting.com, and I know how important a good ear is. If you are a songwriter, having a good ear is vital because the best way to improve your songwriting craft is to listen to the music of the professionals. But if you can't really identify what you are hearing, you're missing out on opportunities to improve. Throughout my years as a music teacher, I have observed something interesting and very important. The marks that my students make in music theory studies are usually very close to the marks they receive in ear training. And more than that, I can usually gauge how a student is going to do in one course by looking at their progress in the other. For example, students who do well in theory but poorly in ear training will usually see their ear training marks rise over time. And students who have great ears but weak theory skills will generally experience better marks in theory over time. In other words, music theory and ear training go hand in hand. The first and most important thing you can do to improve your ear is to improve your theory skills. Why? When you understand how music is structured, your ears have a reason for what they are hearing. Here's one good example. In any key, there are three or four certain chords that work well to reinforce that key, and are more likely to occur than any other chords. Knowledge of theory helps you know and identify those chords. So when you are listening to music and trying to identify the chords you are hearing, you can focus in the most likely choices. Besides improving your theory skills, here are some other pieces of advice for you: 1) Try some of the ear training websites that are out there. Just do a search for "online ear training" and you'll find lots of resources that can help. 2) Try purchasing some ear training software. These days, most university aural perception programs incorporate computerized training into their curriculum. 3) Try writing down the melodies that you hear being played. Transcribing music in this manner actually does not require strong music reading skills, and you will find that what skills you do possess will improve greatly and quickly. Take a simple song, and play it on your CD player a bit at a time, writing down whatever notes you hear. Even if you aren't sure of the rhythms, write whatever pitches you can. If you're stuck on a note, find it on your guitar or piano, and then write it down. This is the best ear training exercise there is! Practicing your instrument is crucial to becoming a better musician. But be certain that you don't neglect your ear! |
|
|
How to Release Your Songs Major Label vs. Indie Label vs. Self Release LIST OF RECORD LABELS ------------------------------
RADIO PROMOTION part I radio stations, the charts, types of radio shows, radio promoters, music, CD and case requirements, formats/genres, add dates, investors and more ------------------------------ RADIO PROMOTION part Il traditional Distribution, radio cost - sheets, BDS/ Mediabase/Soundscan, commercial ratings, use videos for airplay, merchandise, Billboard Magazine, commercial -regular rotation, hiring your own record deal, press, gigs and retail,CD sales from radio ------------------------------ RADIO PROMOTION part III distribution using radio, setting up radio interviews, radio -distro -tours- press, consultants, FMQB airplay tracking, performance royalties, how touring , press and radio work together, payola, station visits and more ------------------------------ PROMOTION writing press releases, music promotion, how to add audio to your blog or website and more ------------------------------ |
8) Seven Basic Songwriting Errorsby Gary Ewer Seven Basic Songwriting Errors The advice in this article comes from...www.secretsofsongwriting.com, a popular website and e-book. So are there only seven possible errors? In my experience as a teacher, the seven errors listed below represent the most common errors committed by students of songwriting. Addressing these shortcomings is essential to making your songs work. ERROR #1: THE FORM OF THE SONG IS CONFUSING. SOLUTION: Strengthen the form of your songs by carefully controlling the energy. Usually, an intro should have the same or more energy than a verse, not less. A chorus should have more energy than a verse. A bridge should have more energy than the chorus that came before it. This chart shows the general energy pattern that works for most songs: ERROR #2: THE MELODY LACKS SHAPE. SOLUTION: In a verse, the range of the melody should generally be higher immediately after the middle point, to help it gain momentum as it gets ready to connect to the chorus. The old standard, "Under the Boardwalk," by Resnick and Young, is a perfect example. ERROR #3: CHORDS SEEM TO WANDER AIMLESSLY SOLUTION: The chord that represents the key your song is in (i.e., the "tonic" chord) should be featured more in the chorus than in the verse. (And the actual tonic note should also be used more in a chorus than in a verse.) ERROR #4: STRONG AND FRAGILE CHORD PROGRESSIONS ARE USED HAPHAZARLY. SOLUTION: Chord progressions that feature chords four notes away from each other (i.e., in the key of C major we're talking about G7 to C, C to F, Dm to G, as examples) form a strong progression, and should be featured in a chorus. Other chord progressions (let's say Dm to Em, F to Dm, G to Am, for example) form what are called "fragile" progressions, and can be featured more in a verse. ERROR #5: LYRICS ARE NOT SUPPORTING THE FORM OF THE SONG. The kind of lyric determines the kind of chord progression you use. Strong, conclusive lyrics need many strong progressions; introspective lyrics work well with fragile progressions. And remember, writing a good lyric does not necessarily mean writing a good poem. Rather, it's better to write a working title for your song, then start brainstorming words and short phrases that relate to that title. For example, if you've written, "All I've Ever Wanted" as your working title, you might come up with these words as relating text: love, hand-in-hand, touch, satisfaction, emotion, my heart, for you, warm... etc. You will find that even though many of these words won't necessarily make it to your song, they get you thinking in the right direction, and start you formulating a working lyric. ERROR #6: YOU'RE RELYING ON A HOOK TO SAVE A BAD SONG. Adding a hook to a bad song gives you a bad song with a hook! Composing a song and then trying to find a hook that makes it really come alive is a really difficult thing to do. Try writing the hook first. Improvise on a couple of chords, or a few notes, or a rhythm - something short and attractive. Once you've got something that really catches your attention, try using it as an intro to your song, and something that keeps recurring between verses and choruses. A hook needs to draw an audience in, and keep them coming back to your song. ERROR #7: WAITING FOR INSPIRATION. I can say it no better than the musician/author Ernest Newman: "The great composer... does not set to work because he is inspired, but becomes inspired because he is working." Waiting for inspiration is, quite frankly, a waste of time! You need to be writing daily in order to make your songs better. If something isn't working.... don't throw it out. Just put it away, and start something new. Keep everything you try to write in a scrap book. You'd be surprised what will eventually make its way into a song. These are just a few examples of the kinds of things that will make your songs work better. If you want even more advice, you need to visit...www.secretsofsongwriting.com and start making your songs into winners! |
|
|
LIST of RADIO STATIONS LIST OF AM , FM , COLLEGE & OTHER BROADCAST STATIONS IN THE UNITED STATES ------------------------------ PERFORMING controlling stage fright, Performance Contracts, How to Become a Successful Independent Artist and more ------------------------------
---------------------- MUSIC AWARD SHOWS & MUSIC CONFERENCES ------------------------- |
9) Adding Chords to a Melody by Gary EwerYou've written a great melody, but you don't know what chords to use to accompany yourself when you play it. What do you do? Adding chords to melodies can be fun, if you know a bit about how chords work. Try the following steps: a. It's important to think about strong beats and weak beats with regard to your new melody. Sing your melody and try to get a sense of where the pulses happen. As you sing, you'll notice your toe automatically tapping... that's a good sign! For many melodies, you'll find that the first beat will feel like a strong pulse and the next one will be a bit weaker. It's on the strong beat that the chords will change. Let's take the melody, "Twinkle, Twinkle, Little Star" as a good example. Each syllable of each word alternates between strong and weak. You'll find that it feels most satisfying if the chords change on the strong beats, or even every second strong beat, or every fourth one. It's less pleasing to change chords on the weak beats, though it can happen occasionally. b. So... what chords do we use? The first chord should emphasize the key you're in, so if your melody is in C-major, then the C-major chord will probably work well. You'll find that in any major key, three chords will work quite nicely: chords based on the first note, the fourth note, and the fifth note. In C-major, the three chords that will be most useful to you are: C, F and G. So take the first strong beat note(s) and weak beat note(s). Those notes will likely belong to one of the three chords I mentioned. That will guide your choice. So the chords to Twinkle Twinkle would be: C C F C F C G C (where each chord happens on each strong beat. c. I've just used three chords as an example, but now the fun begins... try substituting some chords for other ones. As an example, the C chord works well in C major, because it reinforces the key. But try substituting one of the C chords with an A minor chord. A minor has a C in it, so it will work, and will give your music an interesting flavour. Keep in mind that simplicity is better than complexity, especially in the world of songwriting, when you want people to remember your melodies. So don't try to use too many chords. Four or five different ones are usually sufficient. Good luck! (The information in this article comes from Gary Ewer's downloadable e-book, "The Essential Secrets of Songwriting"....www.secretsofsongwriting.com |
|
|
10) Making Your Own Music:Songwriting Basics by Sintilia Miecevole Whether you are a teenager or are well into your golden years, it is never too late to explore your creative side, especially if you are interested in music. Songwriting is an excellent way to express your thoughts and feelings and to communicate them to your friends and family, even if you have no aspirations of musical fame or fortune. If you are interested in selling or performing your songs, however, you should be aware that it is a hard road and that very few songwriters achieve great fame or fortune, and especially not instantly. Nonetheless, if you have realistic expectations, you will find that writing music is a worthwhile experience whether it is a hobby or a profession. People write songs in many different ways. Some writers compose the music first, while others first write the words. For some, the words and the melody come to them at the same time, while others write the melodies first and write the words last. No matter what order you are comfortable with, you will eventually have to decide what the song is about. There are a variety of different types of songs ranging from songs that tell fictional stories to songs that communicate deep personal feelings. If you decide to write a story song, a good first exercise is to write about a news story or about something you've read in the newspaper. That way you can use your first song to hone your word choosing skills without the pressure of coming up with your own story. However, if you already have an idea for a story to tell, you can write it out in poem form and try to make appropriate rhymes and structures that help communicate what happens in the song. Because music is so expressive, many songwriters use their compositions to express how they feel, whether it be about a person or a situation or even geographic location. Writing these types of songs can be highly personal, so every person does it differently. When you have a strong feeling about something, write it down in a notebook and come back to it later. You might think of a good line that expresses an emotion really well, and if you remember it you might be able to build an entire song around it. Having quiet time to think is always helpful when you are trying to write a song. Writing the actual music for a song can be done in many different ways depending on your musical prowess and your focus. If you write mostly to communicate words, then a few well-chosen guitar chords might be all of the accompaniment you need. However, if you a instrumental virtuoso, your approach to writing music will be quite different. Many people think of a musical idea and play it over and over again until they think of a melody. Often times, songwriters will construct whole pieces, melody and all, without even knowing what the song is going to be about. Once the melody is complete, the writer will sit down and think about lyrics that fit the feeling behind the music and will go from there. Once you have put together your words and music, you might feel the need to perform your new song. It is always a good idea to play for friends and family first before trying to play to a crowd. When you feel comfortable enough playing your song, you should consider visiting an open mic night at a local coffeehouse or bar. At open mic nights, songwriters can play one or more of their songs to an appreciative and attentive audience. Performers can discuss their craft with other writers, making it a fun way to learn more about the writing process. About the Author Undoubtedly, Sintilia Miecevole has the site....www.fjpmusic.com to help you not only with your songwriting skills, but help with getting your writing to the decision makers in the music business...and you don't have to be able to write music either. To connect with songwriters all over the planet and for ideas visit.....www.fjpmusic.com |
||
|
Site Index Songwriting free complete info on How to write a song, Song Structure, Song-writing Tips, writing a Hit Song, Song Lyrics, Rhyming and a lot more --------------------------------------- RECORDING how to record your song, How to mic a guitar amp, how to mic drums, recording equipment, building a home studio, mixing, mastering, recording vocals, vocal techniques, CD duplication and more --------------------------------------- How to Release Your Songs Major Label vs. Indie Label vs. Self Release LIST OF RECORD LABELS --------------------------------------- RADIO PROMOTION part I radio stations, the charts, types of radio shows, radio promoters, music, CD and case requirements, formats/genres, add dates, investors and more --------------------------------------- |
11) How to Write a Chorus by Free Music Education Center TeamA song without a chorus can hardly be called a song. This rather bad statement is my
personal opinion so if you don't agree, that's okay. But I would like to start this lesson
with this statement, not only to wake you up, but rather because it's one of the
key-statements of this lesson. So if you don't like songs without a chorus and never
intend to write one, than probably you won't feel at home in this class this month. I must
say I never felt at home when I was at school but that's another story... But if you do
stick around, even if you don't like to write choruses, maybe you will change your mind
about them. Rule 1: a chorus should be catchy What makes a chorus catchy? The easiest answer (for me
at least) is: listen to all those golden oldies. Almost all the classics from the sixties
and the seventies have catchy choruses. Of course The Beatles were real masters at this,
but it seems all the bands that became famous in those days were able to write catchy
choruses which seem to stick in your mind forever. Who doesn't know the chorus of Honky
Tonk Women for example... Listening to examples is a great way to teach yourself, and that
counts for songwriting too! But there's something more to say about this issue too. Distinction To avoid the chorus and the climax of the song to interfere with each other,
you can try to make a very clear distinction between these two rivals. You can do so by
putting them apart from each other "physically" (give each of them their own
space in the song), or by making them sound as different as the song allows you to. The
clearer the difference, the less chance of interference. If you can't beat them... Another
aproach is to put the climax in the chorus itself. This works best when done in the final
chorus. This solution requires you to change that chorus, otherwise it won't work, as we
discussed earlier in this lesson. These changes can range from just changing the key,
adding additional instruments (like backing-vocals) to even changing the lead-vocal line.
When done right you will end up with a super-chorus, which won't be forgotten easily! About the Author Free Music Education Center is a reputable site provideing free music lessons on all aspects of music and production |
 |
|
RADIO PROMOTION part Il traditional Distribution, radio cost - sheets, BDS/ Mediabase/
Soundscan, commercial ratings, use videos for airplay, merchandise, Billboard
Magazine, commercial -regular rotation, hiring your own record deal, press, gigs and retail,CD sales from radio --------------------------------------- RADIO PROMOTION part III distribution using radio, setting up radio interviews, radio -distro -tours- press, consultants, FMQB airplay tracking, performance royalties, how touring , press and radio work together, payola, station visits and more --------------------------------------- PROMOTION writing press releases, music promotion, how to add audio to your blog or website and more --------------------------------------- LIST of RADIO STATIONS LIST OF AM , FM , COLLEGE & OTHER BROADCAST STATIONS IN THE UNITED STATES --------------------------------------- PERFORMING controlling stage fright, Performance Contracts, How to Become a Successful Independent Artist and more --------------------------------------- ----------------------- MUSIC AWARD SHOWS & MUSIC CONFERENCES -----------------------
|
12) Writer's Web Resources by Janet IlacquaThe Internet has truly revolutionized the careers of writers worldwide. Now you can
work for publishers, corporations and a whole range of other clients on a truly global
scale. Whether you are in the heart of a big city, or in a remote mountain village, all
you need is an Internet connection to run your writing business. The opportunity is
fantastic, and so is the writer's life that you could enjoy. But where can you find the
jobs you need to establish a full-time writing career? One way to start is through working
the Internet job boards. Here aAlso included and listed separately are resources for
business and technical writers, editors, journalists, and translators. Writers'
Resources--General Absolute Write - freelance writing, screenwriting, playwriting, writing
novels, nonfiction, comic book writing, greeting cards, poetry, songwriting. One stop shop
Emily's Writing for the Web Emily A. Vander Veer gives professional writers the tools
needed to promote, publish, and sell work to the largest and fastest-growing market in the
world: the Web. Journalism International Federation of Journalists - The world's largest organization of journalists, representing around 450,000 members in more than 100 countries. News Jobs Network Journalisms resources and News jobs in US, Canada and Utah. UK Links 4 Journalists the most useful sites on the web. This is the journalist's section. Translation ProZ: Freelance translators, translation services, agencies, jobs and directory ... Writers' Federation of Nova Scotia Fostering creative writing and the profession of writing in Nova Scotia. Writerfind New Zealand Linking New Zealand writers with local and global markets. Playwriters writernetwork. We provide dramatic writers with the tools they need to build better careers and redefine the About the AuthorJanet K. Ilacqua is a freelance writer based in Tracy, California. For more information about her services, check her website at...www.writeupondemand.com |
|
|
RADIO PROMOTION part Il traditional Distribution, radio cost - sheets, BDS/ Mediabase/ Soundscan, commercial ratings, use videos for airplay, merchandise, Billboard Magazine, commercial -regular rotation, hiring your own record deal, press, gigs and retail,CD sales from radio --------------------------------------- RADIO PROMOTION part III distribution using radio, setting up radio interviews, radio -distro -tours- press, consultants, FMQB airplay tracking, performance royalties, how touring , press and radio work together, payola, station visits and more --------------------------------------- PROMOTION writing press releases, music promotion, how to add audio to your blog or website and more --------------------------------------- LIST of RADIO STATIONS LIST OF AM , FM , COLLEGE & OTHER BROADCAST STATIONS IN THE UNITED STATES --------------------------------------- PERFORMING controlling stage fright, Performance Contracts, How to Become a Successful Independent Artist and more --------------------------------------- ----------------------- MUSIC AWARD SHOWS & MUSIC CONFERENCES -----------------------
|
13) How to Overcome the Lyric Writing
Hurdles
that areKeeping You Behind. As far as I'm concerned, the importance of laying hold on good songwriting
"tools" should never be underestimated. Educate yourself as much as you can.
Make use of songwriting books, programs, courses, software, articles or whatever valuable
resources that you have at your disposal. (3) Here are three lyric writing suggestions. |
|
e mail: webmaster@absolutemusic.ca
copywright Absolute Music 2006, 2011, 2012 . All rights reserved BACK