What is songwriting? What is composing? Do you really compose when you write songs or are you just copying?
If song writers make a living on their writing it will put a lot of pressure on them. Some song writers are constantly listening for what's popular and are trying to imitate hooks in songs.
I can see two ways to go as a song writer:
1. Listening to a lot of hit songs and trying to write similar songs. By listening to songs and reading a lot on what's up trying to feel what type of songs will be popular in the near future.
2. Trying to be yourself and just work on creating songs you like yourself in the hope that others will feel the same.
The last method is for me the most rewarding way to go as far as personal growth is concerned. I feel good and happy when I am creative as a song writer and feel that the process involves something about knowing myself better.
In the long run it might also create the best hit songs too. The song Yesterday is just one example of a different hit song.
Writing songs can be a very rewarding activity and the level of originality depends on how you write your music. You can help the creative parts of your brain to be activated or use the more calculating parts or a combination of both.
May I share a few tips from my own song writing experience:
1. Sit down with your guitar or at your piano singing or humming without expecting to create something brilliant. When you allow yourself to wander away a bit from your calculating parts of the brain and into the exciting forests of imagination and creativity you can come up with fantastic things.
2. Limitations can help your creativity. Give yourself some limitations by for example using a chord progression like G Em Am D7. Many songs use this progression but there will be room for more. You can of course use a more odd one like E C C#m G#m.
3. Record yourself playing around humming with your guitar or piano. Listening to what you have come up with a few days later can help you find interesting melodies or hooks to use in your songs.
Sometimes you can feel that you are not able to write songs like the song writers you like but they can't write songs that is you. A comforting thought, isn,t it!
Author: Peter Edvinsson
Friday, October 26, 2007
Avoid these Seven Songwriting Errors
Seven Basic Songwriting Errors
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.
The advice in this article comes from The Essential Secrets of Songwriting, a popular website and e-book.
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 AIMLESSLYSOLUTION: 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 The Essential Secrets of Songwriting. And start making your songs into winners!
Author: Gary Ewer
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.
The advice in this article comes from The Essential Secrets of Songwriting, a popular website and e-book.
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 AIMLESSLYSOLUTION: 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 The Essential Secrets of Songwriting. And start making your songs into winners!
Author: Gary Ewer
Lyric Writing 101: Part 1
Lyric writing is much like any other style of writing, the more time you spend working on it, the more you will grow as a writer. So what exactly are lyrics? Song lyrics can basically be thought of as singable poetry. The Oxford dictionary defines the word ‘lyric’ as 1) (of poetry) expressing the poet’s thoughts and feelings, usually briefly and in stanzas, songlike (a lyric poem) 2) (lyrics) the words of a song. By using this definition, we can assume that the process of writing lyrics draws from some of the same techniques used in poetry.
Why write lyrics? This may seem like an odd question, there are literary hundreds of answers to this, but it is something you will need to ask yourself before you start. Is it because you have a story to tell, because you want to express a particular emotion to your audience? Some write purely for themselves, like a kind of personal therapy. Or perhaps it’s simply because the human voice is an important part of the style of music they are written for.
What do you want to say? Most lyrics are written with a message or some kind of effect in mind. You will need to have a clear idea of what you want out of the lyrics or you will run the risk of creating weak lyrics. Weak lyrics tend to resort to clichéd, generic and boring phrases when they are written solely to ‘fit’ the tune. On the other hand, don’t be carried away with the message, make it a point for the lyrics to be somewhat cryptic. Do not ‘spoon feed’ your audience, plant the seed of your idea and let the audience come to their own conclusions.
As with all forms of creativity, lyrics are an expression of personal ideas, beliefs and themes. Lyric writing is just a matter of expressing these beliefs and feelings. As with most forms of writing, it is best to write about what you know. Because everybody has their own experiences, emotions and beliefs, it becomes hard to give an exact instruction on how to write, everyone has their own opinions on how it should be done. The most I can do in this series is give a guide about how to go about finding your own style by learning from the music that you listen to. This is a great way to learn, as many of the bands you listen to have learned, and draw influences, from other established artists.
There are several ways you can write lyrics:
* Create a melody & write lyrics to accompany it; or
* Write a set of lyrics & add the melody to it; or
* A combination of the above two examples, i.e. do both at the same time.
So, where do you actually start with the writing process? Well, there are countless possible ways (too many to mention here). It really is a matter of preference; every lyricist has his or her own style, much like any artist. A couple of simple ways that are an excellent way to begin are as follows:
1) Start with a possible hook line or chorus and work around it
An example of this can be taken from Coldplay’s hit “Yellow”. The song was derived from a first line that came about from where the band was on the night, as explained in October’s SOS: “‘Yellow’ was written at Rockfield when we where there. The studio we were in is called the Quadrangle Studio – the studio is along one side of an open courtyard, and we went out one night, and because there were so few lights, the stars were just amazing. Guy just came up with the line ‘Look at the stars.’”
2) Start with a title and work around it.
For example, using “Written in Sand” as your title, you can brain-storm around this idea: The phrase suggests that which can be washed away; it also brings the phrase ‘written in stone’ to mind; the word “sand” brings to mind the words like flowing & changing, which brings the words time & water. The word “written” suggests fate or destiny. So a possibility that the song will be about how you can change your destiny. Now there is a basic theme that you can work around.
Tools Of The Trade
What are the tools of a lyricist? One would obviously think a pen and paper (or a computer & word processor) plus the creative mind of the lyricist and the possible use of a musical instrument. There are other tools available for the lyricist to take advantage of, these may seem painfully obvious, but they are quite often overlooked by many people.
Dictionary – A dictionary is an essential tool for any writer, not only for spelling but word meanings. English is a dynamic language, words are constantly being added so it is important to keep an updated dictionary on hand, a 20-year-old dictionary may’ no longer contain the latest words and meanings. It is important not to be too abstruse for your audience but neither is there the need to overuse the same monosyllabic words. It may be of use to keep a couple of different dictionaries (i.e. Oxford & Macquarie) this is because some word meanings may differ slightly, and can be used to colour your lyrics.
Thesaurus - A good dictionary can be supplemented with a thesaurus. The use of a thesaurus is a great way to avoid over-using words and can even inspire your ideas leading them to new directions. This can be very usefully whilst brainstorming.
* -- * This is just a simple word-association game; that you can easily apply to any word. Look up the word ‘remains’ in your thesaurus, you are shown: debris, fragments, leavings, leftovers, remnants, and scraps. Now look up ‘debris’ and you will find it also has: flotsam, litter, pieces, refuse, rubbish, rubble, ruins, wreckage and waste to add to your word list. You can do this with as many of the words you like. Some of these extra words will have no use for what you are working on but there may be those one or two words that will fit perfectly.
Rhyming Dictionaries - These particular dictionaries are specifically generated for poets and lyricists. They do not define words as most dictionaries do; they merely list words that rhyme. Some scorn the use of this particular tool, sighting that it is all too easy to rely solely on the list of rhymes than to put a little thought into your rhyming structure. It is also true that many people waste a considerable amount of time listing the words they know to rhyme only to lose the train of thought they were on thus, killing the creative process. If used sensibly, like a thesaurus, a rhyming dictionary can be a very useful tool.
Other Dictionaries - There are other dictionaries available that may be of use to a lyricist. One that comes to mind is the ‘slang’ dictionary. I’ve only seen an “Australian Dictionary of Slang”. Most countries use their own form of slang so I would assume that there are others available. It really depends on what you are working on and who your target audience is, but they may help to put that finishing touch, or stamp of authenticity on a piece. Check your local bookshop for the range of other dictionaries available.
Other Means - What other tools are available? There are many other ways to help with the creative process. Listening to a wide range of music can be helpful, don’t just listen to your normal ‘style’ of music, there are thousands of different music styles around, explore these possibilities. Music has been inspiring people for thousands of years, so it seems logical to turn to it when it comes to your own musical venture.
You may not like some particular styles of music, but you can get an idea from them that you can convert or merge to your chosen genre. If done correctly, it has the potential of being a powerful piece of music that is unique. This is why it is important to be open to all styles and ideas. Some of the most ‘controversial’ bands have reached the popularity they have, simply because they have a unique sound and the ‘message’ they want to convey is something that their fans can relate to.
Bands like Korn, Limp Bizkit, Staind, Linkin Park and Disturbed are given the music ‘title’ of nu-metal (or nu-music) simply because they utilize a wide range of musical sub-genres within the ‘rock’ genre. This can be seen in other more established merges such as ‘country-rock’, ‘pop-rock’ and the recent surfacing of ‘Latin-pop/rock’. If you look throughout music history (particularly that of ‘rock & roll’) you can see this trend more clearly. What do I mean by mixing the different genres? Below are some examples of what I mean.
* ‘Bohemian Rhapsody’ by Queen is a perfect example of genre mixing. The song has three distinct phase changes within it. It starts off similar to many ballads, then phase changes to a ‘light opera-ish’ stage, and phase changes to ‘rock’ before changing back to the ‘ballad’.
* Another trend that is starting up is adapting a song from one style of music and transforming it to another. An example of this can be taken from many of Staind’s songs. The album version of their song ‘Can’t Believe’ has a distinguished ‘rock’ sound. But if you listen to the MTV: Unplugged version, you will notice that (although the music has the same tune) it is acoustic and is sung in a more ballad-like tune.
* -- * In Australia, the radio station Triple M’s Breakfast Show has a ‘Musical Challenge’ in place where they put musicians (both local & international) “to the test”. The Challenge: give a song to a band which is the total opposite to their normal style and get them to ‘remake’ it. Triple M has released some of these songs on CD (proceeds going to charity) if your interested in listening. Some of the songs used: Radiohead’s “Creep” performed by country singer Gina Jeffreys (one of the stations most requested songs); Coolio’s “Gangsta’s Paradise” performed by rock musician Richard Clapton, Men At Work’s “Down Under” performed by The Russian Red Army Choir (now one of their most popular songs); Silverchair’s “Freak” performed by country singer Troy Cassar-Daley; the list goes on. It’s well worth the listen.
Apart from listening to these different forms, you could simply go to a site like http://www.getlyrics.com and just read the lyric form of different musical styles. You can easily use the above example and apply it to just the lyric process of some of these artists and merge it to your own music. There is a wealth of knowledge to be discovered from established artists, only if you are willing to look. It may not be ‘conventional’ but then, throughout history, music has been about breaking down pre-existing barriers .
As you can see, there is a lot more available to the lyricist besides the simple pen and paper. If used wisely these various tools can help to hone your skills as a lyricist, bringing the best out of your work. Naturally, there may be other tools available that haven’t been mentioned here that the lyricist can use. By all means, use whatever comes to mind. You are only limited by your imagination.
by: Chyna Dolores
Why write lyrics? This may seem like an odd question, there are literary hundreds of answers to this, but it is something you will need to ask yourself before you start. Is it because you have a story to tell, because you want to express a particular emotion to your audience? Some write purely for themselves, like a kind of personal therapy. Or perhaps it’s simply because the human voice is an important part of the style of music they are written for.
What do you want to say? Most lyrics are written with a message or some kind of effect in mind. You will need to have a clear idea of what you want out of the lyrics or you will run the risk of creating weak lyrics. Weak lyrics tend to resort to clichéd, generic and boring phrases when they are written solely to ‘fit’ the tune. On the other hand, don’t be carried away with the message, make it a point for the lyrics to be somewhat cryptic. Do not ‘spoon feed’ your audience, plant the seed of your idea and let the audience come to their own conclusions.
As with all forms of creativity, lyrics are an expression of personal ideas, beliefs and themes. Lyric writing is just a matter of expressing these beliefs and feelings. As with most forms of writing, it is best to write about what you know. Because everybody has their own experiences, emotions and beliefs, it becomes hard to give an exact instruction on how to write, everyone has their own opinions on how it should be done. The most I can do in this series is give a guide about how to go about finding your own style by learning from the music that you listen to. This is a great way to learn, as many of the bands you listen to have learned, and draw influences, from other established artists.
There are several ways you can write lyrics:
* Create a melody & write lyrics to accompany it; or
* Write a set of lyrics & add the melody to it; or
* A combination of the above two examples, i.e. do both at the same time.
So, where do you actually start with the writing process? Well, there are countless possible ways (too many to mention here). It really is a matter of preference; every lyricist has his or her own style, much like any artist. A couple of simple ways that are an excellent way to begin are as follows:
1) Start with a possible hook line or chorus and work around it
An example of this can be taken from Coldplay’s hit “Yellow”. The song was derived from a first line that came about from where the band was on the night, as explained in October’s SOS: “‘Yellow’ was written at Rockfield when we where there. The studio we were in is called the Quadrangle Studio – the studio is along one side of an open courtyard, and we went out one night, and because there were so few lights, the stars were just amazing. Guy just came up with the line ‘Look at the stars.’”
2) Start with a title and work around it.
For example, using “Written in Sand” as your title, you can brain-storm around this idea: The phrase suggests that which can be washed away; it also brings the phrase ‘written in stone’ to mind; the word “sand” brings to mind the words like flowing & changing, which brings the words time & water. The word “written” suggests fate or destiny. So a possibility that the song will be about how you can change your destiny. Now there is a basic theme that you can work around.
Tools Of The Trade
What are the tools of a lyricist? One would obviously think a pen and paper (or a computer & word processor) plus the creative mind of the lyricist and the possible use of a musical instrument. There are other tools available for the lyricist to take advantage of, these may seem painfully obvious, but they are quite often overlooked by many people.
Dictionary – A dictionary is an essential tool for any writer, not only for spelling but word meanings. English is a dynamic language, words are constantly being added so it is important to keep an updated dictionary on hand, a 20-year-old dictionary may’ no longer contain the latest words and meanings. It is important not to be too abstruse for your audience but neither is there the need to overuse the same monosyllabic words. It may be of use to keep a couple of different dictionaries (i.e. Oxford & Macquarie) this is because some word meanings may differ slightly, and can be used to colour your lyrics.
Thesaurus - A good dictionary can be supplemented with a thesaurus. The use of a thesaurus is a great way to avoid over-using words and can even inspire your ideas leading them to new directions. This can be very usefully whilst brainstorming.
* -- * This is just a simple word-association game; that you can easily apply to any word. Look up the word ‘remains’ in your thesaurus, you are shown: debris, fragments, leavings, leftovers, remnants, and scraps. Now look up ‘debris’ and you will find it also has: flotsam, litter, pieces, refuse, rubbish, rubble, ruins, wreckage and waste to add to your word list. You can do this with as many of the words you like. Some of these extra words will have no use for what you are working on but there may be those one or two words that will fit perfectly.
Rhyming Dictionaries - These particular dictionaries are specifically generated for poets and lyricists. They do not define words as most dictionaries do; they merely list words that rhyme. Some scorn the use of this particular tool, sighting that it is all too easy to rely solely on the list of rhymes than to put a little thought into your rhyming structure. It is also true that many people waste a considerable amount of time listing the words they know to rhyme only to lose the train of thought they were on thus, killing the creative process. If used sensibly, like a thesaurus, a rhyming dictionary can be a very useful tool.
Other Dictionaries - There are other dictionaries available that may be of use to a lyricist. One that comes to mind is the ‘slang’ dictionary. I’ve only seen an “Australian Dictionary of Slang”. Most countries use their own form of slang so I would assume that there are others available. It really depends on what you are working on and who your target audience is, but they may help to put that finishing touch, or stamp of authenticity on a piece. Check your local bookshop for the range of other dictionaries available.
Other Means - What other tools are available? There are many other ways to help with the creative process. Listening to a wide range of music can be helpful, don’t just listen to your normal ‘style’ of music, there are thousands of different music styles around, explore these possibilities. Music has been inspiring people for thousands of years, so it seems logical to turn to it when it comes to your own musical venture.
You may not like some particular styles of music, but you can get an idea from them that you can convert or merge to your chosen genre. If done correctly, it has the potential of being a powerful piece of music that is unique. This is why it is important to be open to all styles and ideas. Some of the most ‘controversial’ bands have reached the popularity they have, simply because they have a unique sound and the ‘message’ they want to convey is something that their fans can relate to.
Bands like Korn, Limp Bizkit, Staind, Linkin Park and Disturbed are given the music ‘title’ of nu-metal (or nu-music) simply because they utilize a wide range of musical sub-genres within the ‘rock’ genre. This can be seen in other more established merges such as ‘country-rock’, ‘pop-rock’ and the recent surfacing of ‘Latin-pop/rock’. If you look throughout music history (particularly that of ‘rock & roll’) you can see this trend more clearly. What do I mean by mixing the different genres? Below are some examples of what I mean.
* ‘Bohemian Rhapsody’ by Queen is a perfect example of genre mixing. The song has three distinct phase changes within it. It starts off similar to many ballads, then phase changes to a ‘light opera-ish’ stage, and phase changes to ‘rock’ before changing back to the ‘ballad’.
* Another trend that is starting up is adapting a song from one style of music and transforming it to another. An example of this can be taken from many of Staind’s songs. The album version of their song ‘Can’t Believe’ has a distinguished ‘rock’ sound. But if you listen to the MTV: Unplugged version, you will notice that (although the music has the same tune) it is acoustic and is sung in a more ballad-like tune.
* -- * In Australia, the radio station Triple M’s Breakfast Show has a ‘Musical Challenge’ in place where they put musicians (both local & international) “to the test”. The Challenge: give a song to a band which is the total opposite to their normal style and get them to ‘remake’ it. Triple M has released some of these songs on CD (proceeds going to charity) if your interested in listening. Some of the songs used: Radiohead’s “Creep” performed by country singer Gina Jeffreys (one of the stations most requested songs); Coolio’s “Gangsta’s Paradise” performed by rock musician Richard Clapton, Men At Work’s “Down Under” performed by The Russian Red Army Choir (now one of their most popular songs); Silverchair’s “Freak” performed by country singer Troy Cassar-Daley; the list goes on. It’s well worth the listen.
Apart from listening to these different forms, you could simply go to a site like http://www.getlyrics.com and just read the lyric form of different musical styles. You can easily use the above example and apply it to just the lyric process of some of these artists and merge it to your own music. There is a wealth of knowledge to be discovered from established artists, only if you are willing to look. It may not be ‘conventional’ but then, throughout history, music has been about breaking down pre-existing barriers .
As you can see, there is a lot more available to the lyricist besides the simple pen and paper. If used wisely these various tools can help to hone your skills as a lyricist, bringing the best out of your work. Naturally, there may be other tools available that haven’t been mentioned here that the lyricist can use. By all means, use whatever comes to mind. You are only limited by your imagination.
by: Chyna Dolores
Lyric Writing 101: Part Two
This is Part two of my Lyric Writing guide. Here you will learn how to accompany words by writing alternate lyrics.
It is important not to mistake alternate lyrics with cover songs. There are many ways to cover a song, you can alter the lyrics slightly to modernize it like in the Disturbed cover of Tears For Fear’s “Shout”. You can also alter the tune slightly as seen in Madonna’s version of Don MacLean’s “American Pie” or Sheryl Crow’s cover of Guns n Rose’s “Sweet Child o’ Mine” [also altered to change the voice from male to female]. You notice that the song in essence stays the same, both lyrically and melodically. For more examples of cover songs, see the reference to ‘Triple M’s Musical Challenge’ in Part 1 of this guide.
What are they?
Alternate lyrics use both the melodic and lyric arrangement of a pre-existing song. The ‘new’ lyrics are sung to the same melody, and in the same manner as the original song. This process is not only used by novices, there are a number of established artists that use this practice.
Why write alternate lyrics?
Many novices use this practice as a tool to help the learning process of combining words with music. As for established artists, well there are several reasons why - some possible reasons are as follows.
* One of the most common forms of alternate lyrics are parodies. Check out any of Weird Al Yankovic’s work. Some of his titles include ‘Amish Paradise’ (“Gangsta’s Paradise” by Coolio); ‘It’s all about the Pentiums’ (“It’s all about the Benjamin’s” by Sean Combs, Notorious B.I.G, Sean Jacobs, et al); ‘Constipated’ (“Complicated” by Avril Lavinge).
* Alternate lyrics can be used to add a little ‘flair’ to a live performance, or break the monotony of playing the ‘same’ song every night whilst on tour. This can be seen in the Guns n Roses track “Don’t Cry” [both versions can be found on the ‘Use Your Illusions’ albums].
* Perhaps too much was written in the original song draft and the writer adapted the excess to make a ‘new’ track. Or possibly the writer was unable to decide on a particular angle on the song, and continued to alter the song until they found something they were happy with. This can be seen in the Staind song "Outside", you can find one of the original versions of this song through a simple search on the ‘net.
Getting Started
It is probably best when you first attempt to write alternate lyrics, to choose a song that you are familiar with. When choosing a song, try to pick a melody you know well. To start with, examine the lyrics, making note of patterns such as rhyme schemes and syllable count. What do I mean by this? Look for which line ends rhyme together and whether there is a pattern to it. Count the number of syllables in each line and see if there is any intentional design to them (note not all will have this, but it is important to take note of what is there).
* -- * Make sure you know the song well, listen to it 100 times if need be. You need to be able to not only call the melody to mind but also how the lyrics are placed and sung.
What are you going to write about? You will need to have a clear idea of what you are going to write about. If you are going to write a parody, what topic are you going to use? Jot down any ideas and thoughts you could cover in the song, use something like the word association exercises in Part 1 of this series. If you decide to do a more serious song, jot down some ideas/words, etc that come to mind - this can help you when it comes to the writing of the lyrics.
Now I can’t tell you exactly how to go about the actual writing process. Everyone has their own style and methods, to be honest, I’m not exactly sure how I write, it just comes to me. I can however, give you some pointers to keep in mind when it comes to writing alternate lyrics.
Hints and Tips
# I mentioned earlier to take note of the syllable count. By keeping this count in mind you will be able to keep pace with the original song. Keep a copy of the lyrics close by for easy reference if it makes it easier for you. I’ve noticed a couple of examples in my travels have disregarded this, ending disastrously for the song. The reason this happens is because the ‘beat’ [or syllable count] for the lyrics has been disrupted, throwing out the flow of the song. For example, if the original lyrics go: 7/8/7/7 and your alternate lyrics go 5/6/5/7; you can tell straight away that there is going to be some problems in the flow of the ‘new’ song. This may take a little more time and planning in the writing of the lyrics, but if you stick with the ‘format’ of the original song your lyrics will thank you for it.
There is an exception to every rule, and there is one to this. You can sometimes get away with being one syllable out either side of the actual count. Though you need to be careful when doing this because it has a chance of not working. This will not work for all songs, so you will need to be careful when applying it. This technique can help give you a little more freedom to work with, however, I strongly suggest leaving this technique until you are more familiar with lyric writing.
# If a lyric has a specific rhyme scheme, try and stick with it. Just like poetry there are different styles that are used. If a piece uses freestyle rhyme, you may be able to get away with using free verse for your lyrics.
# Try to stay away from the lines or phrases used in the original song especially if you are doing something drastic like converting rock influenced lyrics into that of say Christian lyrics. That in itself could be a very effective song [genre mixing is very popular these days] but only if it is done correctly. Remember what you are writing about, I recently saw a piece that tried to convert a piece about street racing into a Christian based song. This would have been very effective if they didn’t use the same phrases that were in the original song that conflicted with what the author was trying to say.
# You can, if you like, use a prompt from the original song if you are writing about a similar topic. As in the first examples given on types of alternate lyrics, both the Guns n Roses and Staind songs mentioned, the chorus’ stay the same and ties the two sets of lyrics together. You can use a line or two if you like to ‘tie’ your piece to the original song and to compliment to your ‘new’ song.
* * * * * * * * * *
By using alternate lyrics you are able to teach yourself how to accompany words with music. Once you feel comfortable with the accompanying of words and music in this form, you can take a go at a little harder technique found in the next Part 3 of this series, Sampling and Ghost Songs.
by: Chyna Dolores
It is important not to mistake alternate lyrics with cover songs. There are many ways to cover a song, you can alter the lyrics slightly to modernize it like in the Disturbed cover of Tears For Fear’s “Shout”. You can also alter the tune slightly as seen in Madonna’s version of Don MacLean’s “American Pie” or Sheryl Crow’s cover of Guns n Rose’s “Sweet Child o’ Mine” [also altered to change the voice from male to female]. You notice that the song in essence stays the same, both lyrically and melodically. For more examples of cover songs, see the reference to ‘Triple M’s Musical Challenge’ in Part 1 of this guide.
What are they?
Alternate lyrics use both the melodic and lyric arrangement of a pre-existing song. The ‘new’ lyrics are sung to the same melody, and in the same manner as the original song. This process is not only used by novices, there are a number of established artists that use this practice.
Why write alternate lyrics?
Many novices use this practice as a tool to help the learning process of combining words with music. As for established artists, well there are several reasons why - some possible reasons are as follows.
* One of the most common forms of alternate lyrics are parodies. Check out any of Weird Al Yankovic’s work. Some of his titles include ‘Amish Paradise’ (“Gangsta’s Paradise” by Coolio); ‘It’s all about the Pentiums’ (“It’s all about the Benjamin’s” by Sean Combs, Notorious B.I.G, Sean Jacobs, et al); ‘Constipated’ (“Complicated” by Avril Lavinge).
* Alternate lyrics can be used to add a little ‘flair’ to a live performance, or break the monotony of playing the ‘same’ song every night whilst on tour. This can be seen in the Guns n Roses track “Don’t Cry” [both versions can be found on the ‘Use Your Illusions’ albums].
* Perhaps too much was written in the original song draft and the writer adapted the excess to make a ‘new’ track. Or possibly the writer was unable to decide on a particular angle on the song, and continued to alter the song until they found something they were happy with. This can be seen in the Staind song "Outside", you can find one of the original versions of this song through a simple search on the ‘net.
Getting Started
It is probably best when you first attempt to write alternate lyrics, to choose a song that you are familiar with. When choosing a song, try to pick a melody you know well. To start with, examine the lyrics, making note of patterns such as rhyme schemes and syllable count. What do I mean by this? Look for which line ends rhyme together and whether there is a pattern to it. Count the number of syllables in each line and see if there is any intentional design to them (note not all will have this, but it is important to take note of what is there).
* -- * Make sure you know the song well, listen to it 100 times if need be. You need to be able to not only call the melody to mind but also how the lyrics are placed and sung.
What are you going to write about? You will need to have a clear idea of what you are going to write about. If you are going to write a parody, what topic are you going to use? Jot down any ideas and thoughts you could cover in the song, use something like the word association exercises in Part 1 of this series. If you decide to do a more serious song, jot down some ideas/words, etc that come to mind - this can help you when it comes to the writing of the lyrics.
Now I can’t tell you exactly how to go about the actual writing process. Everyone has their own style and methods, to be honest, I’m not exactly sure how I write, it just comes to me. I can however, give you some pointers to keep in mind when it comes to writing alternate lyrics.
Hints and Tips
# I mentioned earlier to take note of the syllable count. By keeping this count in mind you will be able to keep pace with the original song. Keep a copy of the lyrics close by for easy reference if it makes it easier for you. I’ve noticed a couple of examples in my travels have disregarded this, ending disastrously for the song. The reason this happens is because the ‘beat’ [or syllable count] for the lyrics has been disrupted, throwing out the flow of the song. For example, if the original lyrics go: 7/8/7/7 and your alternate lyrics go 5/6/5/7; you can tell straight away that there is going to be some problems in the flow of the ‘new’ song. This may take a little more time and planning in the writing of the lyrics, but if you stick with the ‘format’ of the original song your lyrics will thank you for it.
There is an exception to every rule, and there is one to this. You can sometimes get away with being one syllable out either side of the actual count. Though you need to be careful when doing this because it has a chance of not working. This will not work for all songs, so you will need to be careful when applying it. This technique can help give you a little more freedom to work with, however, I strongly suggest leaving this technique until you are more familiar with lyric writing.
# If a lyric has a specific rhyme scheme, try and stick with it. Just like poetry there are different styles that are used. If a piece uses freestyle rhyme, you may be able to get away with using free verse for your lyrics.
# Try to stay away from the lines or phrases used in the original song especially if you are doing something drastic like converting rock influenced lyrics into that of say Christian lyrics. That in itself could be a very effective song [genre mixing is very popular these days] but only if it is done correctly. Remember what you are writing about, I recently saw a piece that tried to convert a piece about street racing into a Christian based song. This would have been very effective if they didn’t use the same phrases that were in the original song that conflicted with what the author was trying to say.
# You can, if you like, use a prompt from the original song if you are writing about a similar topic. As in the first examples given on types of alternate lyrics, both the Guns n Roses and Staind songs mentioned, the chorus’ stay the same and ties the two sets of lyrics together. You can use a line or two if you like to ‘tie’ your piece to the original song and to compliment to your ‘new’ song.
* * * * * * * * * *
By using alternate lyrics you are able to teach yourself how to accompany words with music. Once you feel comfortable with the accompanying of words and music in this form, you can take a go at a little harder technique found in the next Part 3 of this series, Sampling and Ghost Songs.
by: Chyna Dolores
Lyric Writing 101: Part Three
This is Part three of my Lyric Writing guide. Here you will learn how to accompany words by using samples and ghost songs.
AUTHORS NOTE: I don't personally use this method of song writing. I don't write rap music and don't listen to enough of this form to have a deeper understanding of the writing process. I do, however, use a slightly different technique that I will try to explain in the Hints and Tips section of this article. What you will find below is my observations of this form of writing. If you do find any errors in my explanation please let me know and I'll edit accordingly.
What is it?
Sampling refers to the taking of a portion of an already established track and using it as the framework for a new song. This is generally used to serve as the foundation for a rap vocal.
There are actually two styles of sampling:
1) The most popular form of sampling takes a part of a track, hence the name ‘sample'. It usually takes a specific beat from a song [most common samples are taken from drum or bass tracks], though you can use a ‘vocal' sample for your “new” song.
* For an example of sampling just listen to any rap, dance or rave song, they all make use of samples.
* For an example of vocal sampling, take a look at Eminem's song “Stan”. It uses a vocal sample from Dido's song “Thank-you”.
2) The second kind of sampling is not as commonly used. It generally takes the entire melodic track of a pre-existing song and creates a completely new lyric for the song. This form of sampling is also known as a ghost song/track. This form of song writing should not be mistaken for alternate lyrics, as you need to totally disregard the lyrical arrangement of the song and focus on the remaining melody.
* The Puff Daddy song “Come With Me” from the Godzilla soundtrack is a sample, or ghost song, of Led Zepplin's “Kashmir”. You will notice that the lyrical arrangement of the original song has been completely abandoned in this ‘new' track, which is the main difference between a ghost song and alternate lyrics.
* The Limp Bizkit song “Take A Look Around” is a slightly different style of a ghost song. It takes its sample from a melodic piece, the most well known part of the Mission Impossible theme. If I remember correctly they were actually commissioned to ‘write' this song. This serves as a reminder that any kind of melody can be adapted to use for a song.
Why use ghost songs
We all know that sampling is mainly used in rap, dance and techno music. Reasons for this vary, and I'm not entirely sure as to the exact reasoning for it. I don't generally listen to these styles of music, I don't write it, so I can't honestly comment on that aspect of sampling. I can, however, tell you about the use of these techniques.
Many inexperienced songwriters make the mistake of trying to write lyrics without music. I can't stress enough how important it is to work with a tune when writing lyrics. If you don't work with a tune, it will show. The inability to play a musical instrument is no excuse, that is what ghost songs are for.
Getting Started
This section will deal solely with ghost songs as I've stated before, I don't know enough about this form of song writing to comment effectively on it.
First you will need to find a song, choose one that you are comfortable with and preferably one in a genre you are familiar with. Try to pick a song whose lyrics you don't know by heart, it will make it easier to ignore the lyric arrangement. Play this song until you are familiar with the melody and can hum it to yourself.
Remember: You need to ignore the lyrical portion of this song, if possible get a copy of just the melodic arrangement. If you don't think that you can ignore the lyrics make a recording of the music yourself, if you don't play an instrument see if a friend can do it for you.
What are you going to write about? It is important that you have a clear idea of what you want to say in your song. What do you want to say? What message do you want to leave the listener to leave with? Jot down any ideas or thoughts that occur. Try using the word association exercises found in Part 1 of this series to help extend on your ideas.
Start to feel the music, add some lyrics to places you feel comfortable doing so. If need be just sing “la la la” [or something similar] where you feel lyrics need to go, you can always add the actual lyrics at a later point in date. What you are doing here is starting the lyrical arrangement, play around with it see what fits, what doesn't. Don't expect it to be perfect the first time, there is nothing wrong with trial and error. Don't forget to keep the tune in your head or play it often to ensure that your lyrics follow the basic beat of the track.
As with I've stated before, I can't give you the exact formula to writing lyrics. It is a personal thing, everyone is different in how they write. Everyone has their own unique styles and methods. If you have attempted to write alternate lyrics you will have an understanding of how to combine your words with a melody. You will need to apply this knowledge to your ghost song. Read over the Alternate Lyrics article to refresh your memory and keep some of these pointers in mind.
Hints and Tips
# Try to match what you what to say [i.e. your lyrics] with the music. For example if you are writing a happy, upbeat song, you will need to find music that has a faster tempo [speed/beat] than that of a sad song or a ballad.
# You don't need to keep the ghost song exactly as is. If there is a specific part you would like to keep over the rest of the song, change an instrument or make the melody sound ‘heavier' or ‘softer' – then by all means do it. Play around with the drums and bass, if the ghost song ends up becoming a normal sample or disappears completely, that's okay - there is nothing wrong with that. All it shows is your greater understanding and advancement in song writing.
* -- * For example the Guns n' Roses song “Sweet Child of Mine” underwent a drastic change when it was covered by Sheryl Crow [from rock to acoustic]. This example is not a ghost song but a cover. It is, however, an example of how you can go about altering a melody. Other examples of this can be found in Part 1 of the series.
# Your sample does not have to come from a well know or successful track. Any song you feel is right to work with is a possibility, whether it comes from an obscure b-side track by a relatively unheard of band or even a sample of one of your own existing songs
# Want to try something different? There are many software programs available that are capable of generating melody and rhythm tracks for you. Many of these programs are either downloadable from the ‘net or have free demos available for you to use.
* -- * Ejay is a program specifically designed for rap, dance and rave music, though it can easily be applied to the basics of other musical genres to give you a feel for the melody or beat of a song in order to get the lyrics started. You are also able to download a variety of new samples from the website to expand on the existing choices [visit http://www.ejay.com to take a look at the program]. This is only one program; there are others out there if you are willing to look for them.
# As I stated at the beginning of this article, I don't exactly use ghost songs. What I use is a similar process but it doesn't have an actual track or beat for you to listen and follow. It is a harder technique and probably shouldn't be attempted unless you have a deeper understanding of how music is put together or are able to create a tune in your own head. I'm not entirely sure if I can explain it correctly or coherently but I'll try my best [let me know if you don't understand it]
How does it work? Say, for example, I want to write a song in the vein of a Korn song. Instead of finding a song by this artist I could use as a ghost track [or even sample their work] I call to mind how their songs sound while I write the lyrics for my song. This can really only work properly if you are able to create and hold a tune in your head while working and applying it to the draft to your lyric.
This form of song writing gives you a little more freedom then samples or ghost tracks when it comes time to create/add the instrumental background to your song. By using this technique you allow yourself the freedom to mix different genres together or change the basic sound of the song with minimal effort. Even though I started with the basic sound of a Korn track, I have the freedom to expand on the idea. The final result may have more of a Linkin Park sound or more of a Marilyn Manson sound to it, possibly even a mixed of all these artists. This song writing technique allows you to explore and find your own voice. Sometimes the lyric portion of the song will need some altering, other times not, it all really depends on how the music alters from the original idea.
* -- * For example, my piece Forsaken
[http://www2.writing.com/main/view_item/item_id/716277] was written using this technique. Although it started [and has thus far remained] heavily influenced by Disturbed and Korn, there is the possibility that it may change slightly from this form. I have been told by some people that they felt it may have been more in the vein of Creed or possibly a mixture of the two styles, which is a drastic change from the original idea/style of the song. Personally, I don't see that connection but it shows how genre swapping can occur.
* * * * * * * * * *
The inability to play an instrument should not affect you song writing abilities. By using a ghost song or sample you are able to create a basic framework for your song. This track does not necessarily mean that it is the final draft of your song, it may simply be a rough draft, or a guide for how the lyric portion should sound. The final ‘draft' of the song may not occur until much later when you collaborate with your band or another artist who you are working with. As with any sort of writing, re-writes are inevitable. Don't expect your work to be ‘perfect' first time round.
As with alternate lyrics, the use of sampling and ghost songs can be an excellent tool for learning the techniques of song writing. By utilizing these two forms of song writing, you should be able to see how to accompany words with music. When you feel comfortable enough with these two forms of song writing try using my form of a ghost track or even try your hand at writing your own music [or collaborate with a friend].
by: Chyna Dolores
AUTHORS NOTE: I don't personally use this method of song writing. I don't write rap music and don't listen to enough of this form to have a deeper understanding of the writing process. I do, however, use a slightly different technique that I will try to explain in the Hints and Tips section of this article. What you will find below is my observations of this form of writing. If you do find any errors in my explanation please let me know and I'll edit accordingly.
What is it?
Sampling refers to the taking of a portion of an already established track and using it as the framework for a new song. This is generally used to serve as the foundation for a rap vocal.
There are actually two styles of sampling:
1) The most popular form of sampling takes a part of a track, hence the name ‘sample'. It usually takes a specific beat from a song [most common samples are taken from drum or bass tracks], though you can use a ‘vocal' sample for your “new” song.
* For an example of sampling just listen to any rap, dance or rave song, they all make use of samples.
* For an example of vocal sampling, take a look at Eminem's song “Stan”. It uses a vocal sample from Dido's song “Thank-you”.
2) The second kind of sampling is not as commonly used. It generally takes the entire melodic track of a pre-existing song and creates a completely new lyric for the song. This form of sampling is also known as a ghost song/track. This form of song writing should not be mistaken for alternate lyrics, as you need to totally disregard the lyrical arrangement of the song and focus on the remaining melody.
* The Puff Daddy song “Come With Me” from the Godzilla soundtrack is a sample, or ghost song, of Led Zepplin's “Kashmir”. You will notice that the lyrical arrangement of the original song has been completely abandoned in this ‘new' track, which is the main difference between a ghost song and alternate lyrics.
* The Limp Bizkit song “Take A Look Around” is a slightly different style of a ghost song. It takes its sample from a melodic piece, the most well known part of the Mission Impossible theme. If I remember correctly they were actually commissioned to ‘write' this song. This serves as a reminder that any kind of melody can be adapted to use for a song.
Why use ghost songs
We all know that sampling is mainly used in rap, dance and techno music. Reasons for this vary, and I'm not entirely sure as to the exact reasoning for it. I don't generally listen to these styles of music, I don't write it, so I can't honestly comment on that aspect of sampling. I can, however, tell you about the use of these techniques.
Many inexperienced songwriters make the mistake of trying to write lyrics without music. I can't stress enough how important it is to work with a tune when writing lyrics. If you don't work with a tune, it will show. The inability to play a musical instrument is no excuse, that is what ghost songs are for.
Getting Started
This section will deal solely with ghost songs as I've stated before, I don't know enough about this form of song writing to comment effectively on it.
First you will need to find a song, choose one that you are comfortable with and preferably one in a genre you are familiar with. Try to pick a song whose lyrics you don't know by heart, it will make it easier to ignore the lyric arrangement. Play this song until you are familiar with the melody and can hum it to yourself.
Remember: You need to ignore the lyrical portion of this song, if possible get a copy of just the melodic arrangement. If you don't think that you can ignore the lyrics make a recording of the music yourself, if you don't play an instrument see if a friend can do it for you.
What are you going to write about? It is important that you have a clear idea of what you want to say in your song. What do you want to say? What message do you want to leave the listener to leave with? Jot down any ideas or thoughts that occur. Try using the word association exercises found in Part 1 of this series to help extend on your ideas.
Start to feel the music, add some lyrics to places you feel comfortable doing so. If need be just sing “la la la” [or something similar] where you feel lyrics need to go, you can always add the actual lyrics at a later point in date. What you are doing here is starting the lyrical arrangement, play around with it see what fits, what doesn't. Don't expect it to be perfect the first time, there is nothing wrong with trial and error. Don't forget to keep the tune in your head or play it often to ensure that your lyrics follow the basic beat of the track.
As with I've stated before, I can't give you the exact formula to writing lyrics. It is a personal thing, everyone is different in how they write. Everyone has their own unique styles and methods. If you have attempted to write alternate lyrics you will have an understanding of how to combine your words with a melody. You will need to apply this knowledge to your ghost song. Read over the Alternate Lyrics article to refresh your memory and keep some of these pointers in mind.
Hints and Tips
# Try to match what you what to say [i.e. your lyrics] with the music. For example if you are writing a happy, upbeat song, you will need to find music that has a faster tempo [speed/beat] than that of a sad song or a ballad.
# You don't need to keep the ghost song exactly as is. If there is a specific part you would like to keep over the rest of the song, change an instrument or make the melody sound ‘heavier' or ‘softer' – then by all means do it. Play around with the drums and bass, if the ghost song ends up becoming a normal sample or disappears completely, that's okay - there is nothing wrong with that. All it shows is your greater understanding and advancement in song writing.
* -- * For example the Guns n' Roses song “Sweet Child of Mine” underwent a drastic change when it was covered by Sheryl Crow [from rock to acoustic]. This example is not a ghost song but a cover. It is, however, an example of how you can go about altering a melody. Other examples of this can be found in Part 1 of the series.
# Your sample does not have to come from a well know or successful track. Any song you feel is right to work with is a possibility, whether it comes from an obscure b-side track by a relatively unheard of band or even a sample of one of your own existing songs
# Want to try something different? There are many software programs available that are capable of generating melody and rhythm tracks for you. Many of these programs are either downloadable from the ‘net or have free demos available for you to use.
* -- * Ejay is a program specifically designed for rap, dance and rave music, though it can easily be applied to the basics of other musical genres to give you a feel for the melody or beat of a song in order to get the lyrics started. You are also able to download a variety of new samples from the website to expand on the existing choices [visit http://www.ejay.com to take a look at the program]. This is only one program; there are others out there if you are willing to look for them.
# As I stated at the beginning of this article, I don't exactly use ghost songs. What I use is a similar process but it doesn't have an actual track or beat for you to listen and follow. It is a harder technique and probably shouldn't be attempted unless you have a deeper understanding of how music is put together or are able to create a tune in your own head. I'm not entirely sure if I can explain it correctly or coherently but I'll try my best [let me know if you don't understand it]
How does it work? Say, for example, I want to write a song in the vein of a Korn song. Instead of finding a song by this artist I could use as a ghost track [or even sample their work] I call to mind how their songs sound while I write the lyrics for my song. This can really only work properly if you are able to create and hold a tune in your head while working and applying it to the draft to your lyric.
This form of song writing gives you a little more freedom then samples or ghost tracks when it comes time to create/add the instrumental background to your song. By using this technique you allow yourself the freedom to mix different genres together or change the basic sound of the song with minimal effort. Even though I started with the basic sound of a Korn track, I have the freedom to expand on the idea. The final result may have more of a Linkin Park sound or more of a Marilyn Manson sound to it, possibly even a mixed of all these artists. This song writing technique allows you to explore and find your own voice. Sometimes the lyric portion of the song will need some altering, other times not, it all really depends on how the music alters from the original idea.
* -- * For example, my piece Forsaken
[http://www2.writing.com/main/view_item/item_id/716277] was written using this technique. Although it started [and has thus far remained] heavily influenced by Disturbed and Korn, there is the possibility that it may change slightly from this form. I have been told by some people that they felt it may have been more in the vein of Creed or possibly a mixture of the two styles, which is a drastic change from the original idea/style of the song. Personally, I don't see that connection but it shows how genre swapping can occur.
* * * * * * * * * *
The inability to play an instrument should not affect you song writing abilities. By using a ghost song or sample you are able to create a basic framework for your song. This track does not necessarily mean that it is the final draft of your song, it may simply be a rough draft, or a guide for how the lyric portion should sound. The final ‘draft' of the song may not occur until much later when you collaborate with your band or another artist who you are working with. As with any sort of writing, re-writes are inevitable. Don't expect your work to be ‘perfect' first time round.
As with alternate lyrics, the use of sampling and ghost songs can be an excellent tool for learning the techniques of song writing. By utilizing these two forms of song writing, you should be able to see how to accompany words with music. When you feel comfortable enough with these two forms of song writing try using my form of a ghost track or even try your hand at writing your own music [or collaborate with a friend].
by: Chyna Dolores
Careers in Songwriting
Songwriting- a musical career! It's a powerful profession that requires creativity, dedication, enthusiasm and a clear understanding of human emotions. Songwriting allows the writer to capture the essence of life in lyrics. Just like life, it generally deals with one situation and emotion.
Skills Required
Some people are born skilled writers and rhythmic words come to them like breathing; however, this might not be the case with others. The skills of songwriting can be discussed, understood and implemented with the help of craftsmanship. Tangible skills are manipulated in order to take the listeners into whatever emotion songwriters want them to feel. Songwriters need to work hard almost all the time to get the proper words and melody. There is a certain kind of mystery to songwriting that gradually unfolds with tremendous satisfaction, after completion of a song.
A song is basically an abstract musical entity that serves as an umbrella to several renditions. It's an extension to one's mind and soul that leads to the fine blend of simplicity in creativity. The sole purpose of writing beautiful songs is to keep them alive forever. A good song conveys human sentiments or narrates a good story in an interesting and involving way.
Songwriting is a lucrative career, full of opportunities and immense job satisfaction. Songwriters develop their own material that includes writing a material, developing the concept, hiring musicians and engineers as well as recording and producing the material. So, they have the final say on the development of their material.
Career Options
Careers in songwriting would include composer, jingle writer- radio and television, lyricist, performing songwriter and song or music producer. Songwriters can work both, as staff and freelance.
COMPOSERS: A composer generally creates instrumental pieces that can stand alone or combined with lyrics. They may also work as film composers that score music to enhance videos or films.
JINGLE WRITER: A jingle writer can be a songwriter, composer or lyricist who specializes in writing music for radio as well as television commercials. They are responsible for portraying their client's product, musically. They must be strong arrangers, able to compose well and skilled in all techniques.
LYRICISTS: Lyricists are the individuals who can express themselves with words and can develop careers writing words to songs. A talented lyricist would only create the words and work as a team with a music composer.
PERFORMING SONGWRITERS: Performing songwriters create and perform their own music. They write both lyrics and music and are the masters as the performer of their material. They may work as a solo as well as leader of a group featuring their material.
MUSIC PRODUCERS: Music producer makes songwriting, does arrangement adjustments and is also in charge of the creative mix. They keep an eye on the overall project marketability.
Songwriting is certainly a fascinating career as it helps the writer grow both personally and professionally. One can reach the zenith of success by creating songs that appear larger than life, yet being relevant to everyone. A good songwriter often succeeds to move listeners by ideas, emotions, and honest situations, and thereby captures hearts and affect people's life in a meaningful way.
Author: Tony Jacowski
Skills Required
Some people are born skilled writers and rhythmic words come to them like breathing; however, this might not be the case with others. The skills of songwriting can be discussed, understood and implemented with the help of craftsmanship. Tangible skills are manipulated in order to take the listeners into whatever emotion songwriters want them to feel. Songwriters need to work hard almost all the time to get the proper words and melody. There is a certain kind of mystery to songwriting that gradually unfolds with tremendous satisfaction, after completion of a song.
A song is basically an abstract musical entity that serves as an umbrella to several renditions. It's an extension to one's mind and soul that leads to the fine blend of simplicity in creativity. The sole purpose of writing beautiful songs is to keep them alive forever. A good song conveys human sentiments or narrates a good story in an interesting and involving way.
Songwriting is a lucrative career, full of opportunities and immense job satisfaction. Songwriters develop their own material that includes writing a material, developing the concept, hiring musicians and engineers as well as recording and producing the material. So, they have the final say on the development of their material.
Career Options
Careers in songwriting would include composer, jingle writer- radio and television, lyricist, performing songwriter and song or music producer. Songwriters can work both, as staff and freelance.
COMPOSERS: A composer generally creates instrumental pieces that can stand alone or combined with lyrics. They may also work as film composers that score music to enhance videos or films.
JINGLE WRITER: A jingle writer can be a songwriter, composer or lyricist who specializes in writing music for radio as well as television commercials. They are responsible for portraying their client's product, musically. They must be strong arrangers, able to compose well and skilled in all techniques.
LYRICISTS: Lyricists are the individuals who can express themselves with words and can develop careers writing words to songs. A talented lyricist would only create the words and work as a team with a music composer.
PERFORMING SONGWRITERS: Performing songwriters create and perform their own music. They write both lyrics and music and are the masters as the performer of their material. They may work as a solo as well as leader of a group featuring their material.
MUSIC PRODUCERS: Music producer makes songwriting, does arrangement adjustments and is also in charge of the creative mix. They keep an eye on the overall project marketability.
Songwriting is certainly a fascinating career as it helps the writer grow both personally and professionally. One can reach the zenith of success by creating songs that appear larger than life, yet being relevant to everyone. A good songwriter often succeeds to move listeners by ideas, emotions, and honest situations, and thereby captures hearts and affect people's life in a meaningful way.
Author: Tony Jacowski
11 Practices to Improve your Songwriting Ability
Hi. My name is Joshua Thompson, and I have been writing music since the age of 4. My life goes through cycles, and some years I am more productive than others. I have been reflecting on what things I do that keep me creative and productive, and I came up with these 11 practices that help to juice up my creative ability. My hope is that you might benefit from these tips as well.
1. Listen to a variety of music. When I make time to listen to others’ music, it gives my creativity a jump start. It’s kind of like eating – I try to digest a variety of music to give me a balanced diet of inspiration. When I listen, my subconscious picks up nuances and riffs and tone, and later when I am writing my own music, I find myself writing much more fluently.
2. Practice singing harmony. One of the best abilities that you can develop as a songwriter is to be able to sing harmony on the fly. As you drive in your car, practice singing harmony to the music you’re listening to. Singing harmony on the fly is really an act of composition, and as you become more fluent, it will help your composition ability.
3. Keep a digital recorder with you. I make a habit to keep a digital recorder with me at all times. You never know when a great new melody might come to you, and I even find that I am more likely to come up with a melody if I have a recorder with me. I especially recommend having one by your bed; I find that I will often wake up with a song running through my head, and having a recorder near enables me to get the melody down.
4. Practice your instrument while watching a movie. This is one of my favorite new tricks. I practice jazz chords and scales while watching DVD’s, and I find that multitasking in this way helps to make my playing more fluent.
5. Make time to jam with others. Even if you’re not in a group, make time to jam with musician friends. I find that looking forward to a jam session helps me to be a bit more creative – I want to have a song to share, and I tend to write more under a little pressure.
6. Find encouragers. It’s really important to find a few people who like your music and can encourage you. Writing music is a very personal act, and it’s hard to produce when you don’t get any positive feedback. Having friends who really enjoy my music and who can give me encouragement helps to keep me motivated.
7. Read poems and short stories. In the same what that I try to digest a variety of music, I also make an effort to read poetry and short stories. I find that tuning in to others’ imagination through reading helps me to be more imaginative, which helps my lyric writing ability
8. Challenge yourself to write one poem each day. I have disciplined myself to write one poem as I ride the bus to work each day, and I find that this helps me be able to produce lyrics for my songs when I need them.
9. Take existing poems or bible verses and write melodies for them. I keep my melody-writing ability fine tuned by taking existing poems and writing melodies for them. So far I have written melodies for the Love Song of J. Alfred Prufrock, the book of James, and the book of Ephesians. Once again, the discipline of producing melodies helps me to be more creative.
10. Improvise Melodies while alternating between two chords of accompaniment. I have found this exercise to be an impetus to writing good melodies: with my left hand, I alternate between two chords, and with my right hand I improvise melodies. Again, practicing writing music on the fly helps to keep me creative.
11. Develop your ability to think in multiple lines of instrumentation. When music is going through your head, try to stretch your composition ability by thinking in multiple lines of music. It takes effort, but the more lines of instrumentation you are able to hold in your mind, the better you will be able to compose when it comes time to write.
By taking time to practice these disciplines, I hope that you will find your song-writing ability increasing.
by: Joshua Thompson
1. Listen to a variety of music. When I make time to listen to others’ music, it gives my creativity a jump start. It’s kind of like eating – I try to digest a variety of music to give me a balanced diet of inspiration. When I listen, my subconscious picks up nuances and riffs and tone, and later when I am writing my own music, I find myself writing much more fluently.
2. Practice singing harmony. One of the best abilities that you can develop as a songwriter is to be able to sing harmony on the fly. As you drive in your car, practice singing harmony to the music you’re listening to. Singing harmony on the fly is really an act of composition, and as you become more fluent, it will help your composition ability.
3. Keep a digital recorder with you. I make a habit to keep a digital recorder with me at all times. You never know when a great new melody might come to you, and I even find that I am more likely to come up with a melody if I have a recorder with me. I especially recommend having one by your bed; I find that I will often wake up with a song running through my head, and having a recorder near enables me to get the melody down.
4. Practice your instrument while watching a movie. This is one of my favorite new tricks. I practice jazz chords and scales while watching DVD’s, and I find that multitasking in this way helps to make my playing more fluent.
5. Make time to jam with others. Even if you’re not in a group, make time to jam with musician friends. I find that looking forward to a jam session helps me to be a bit more creative – I want to have a song to share, and I tend to write more under a little pressure.
6. Find encouragers. It’s really important to find a few people who like your music and can encourage you. Writing music is a very personal act, and it’s hard to produce when you don’t get any positive feedback. Having friends who really enjoy my music and who can give me encouragement helps to keep me motivated.
7. Read poems and short stories. In the same what that I try to digest a variety of music, I also make an effort to read poetry and short stories. I find that tuning in to others’ imagination through reading helps me to be more imaginative, which helps my lyric writing ability
8. Challenge yourself to write one poem each day. I have disciplined myself to write one poem as I ride the bus to work each day, and I find that this helps me be able to produce lyrics for my songs when I need them.
9. Take existing poems or bible verses and write melodies for them. I keep my melody-writing ability fine tuned by taking existing poems and writing melodies for them. So far I have written melodies for the Love Song of J. Alfred Prufrock, the book of James, and the book of Ephesians. Once again, the discipline of producing melodies helps me to be more creative.
10. Improvise Melodies while alternating between two chords of accompaniment. I have found this exercise to be an impetus to writing good melodies: with my left hand, I alternate between two chords, and with my right hand I improvise melodies. Again, practicing writing music on the fly helps to keep me creative.
11. Develop your ability to think in multiple lines of instrumentation. When music is going through your head, try to stretch your composition ability by thinking in multiple lines of music. It takes effort, but the more lines of instrumentation you are able to hold in your mind, the better you will be able to compose when it comes time to write.
By taking time to practice these disciplines, I hope that you will find your song-writing ability increasing.
by: Joshua Thompson
The Songwriting Habits
Some songwriters just wait for inspiration, those are not likely to succeed. Inspiration comes as a result of work; to get inspired you have to work hard and practice. So, how can you practice songwriting?! The habit of sitting down to actually think about a subject, to look up words in rhyme dictionaries, to play the piano for just the right chord...etc. All this is just the habit of practicing.
As you practice more, HIT IDEAS will suddenly come to you out of the blue!! Writing hit songs is the inspiration that you worked hard to get. For example, you might spend a lot of nights wearing your brains out writing melodies (that is practicing, and organizing your songwriting thoughts), and then while shopping for shoes an amazing melody starts echoing in your head: That's your hit song.
This means that practicing doesn't get you hit songs or hit ideas, instead it trains your brain to function better musically and to become more aware of "songwriting potential" in things occurring in your environment. There are other habits, besides practicing, that are useful too. These habits are tools to help the songwriter collect the fruits of practicing. Here they are....
Habit One. Have a notebook with you at all times:
Any time a song idea hits you, a good verse, creative metaphor..etc. Write it down for review later.
Habit Two. Have a digital recorder with you at all times:
You can use any thing to record sound with...Your "hit" melodies will not be lost. (Sometimes I use the notebook to write the notes of the melody -like D B A G..etc.-, you can do that too and save yourself the trouble of having to sing in a supermarket ;).
Habit Three. Ask people what they think about your creations:
Showing them to friends is always a good idea. However, showing them to other songwriters means great advice and "professional" comments that would go beyond "Good work, where are we going to eat?" :).
Habit Four. Keep your hit ideas organized:
Now that you have kept every amazing melody and every interesting lyric that hit you on paper, It's time for you to put them together in a great song. But how are you going to keep track of every single melody, title, chord progression or lyric that you think of or write?!! The answer is to have them organized in a way that makes them easily searchable and accessible. You can still do your organizing the old way using paper put in folders besides the folder-sub folder organizing on your computer. There are softwares that might help, like "TrackNotes" from "Virtual Studio Systems".
Habit Five. Practice:
I have talked about this a lot. It's really important...You will not be musically inspired unless your brain gets used to music. Inspiration is HARD WORK!! Practice by reading for successful lyricists, by listening carefully to great songs, by struggling for days with one line to get the right word for meaning and rhyme, by experimenting with chord progressions...etc. There are lots of stuff you can do...PRACTICE, PRACTICE, PRACTICE!!
Now that I have let you in on the songwriter habits, there remains a warning: Not every idea that you get is an inspirational moment, you will get a lot of "junk ideas". Nevertheless, do not try to judge your ideas the same moment you get them; record every thing and keep track of every thing you think of. You can later review these ideas, save the good ones and throw away the bad ones (you can better keep them in a safe place too, every thing may come in handy!).
Finally, you don't have to go with all these habits. They are habits that I developed because they were comfortable to ME. You, also, can discover and develop your own useful habits. The only habit that is crucial is!?!! You guessed right: PRACTICING.
by: Mahmoud Ibrahim
As you practice more, HIT IDEAS will suddenly come to you out of the blue!! Writing hit songs is the inspiration that you worked hard to get. For example, you might spend a lot of nights wearing your brains out writing melodies (that is practicing, and organizing your songwriting thoughts), and then while shopping for shoes an amazing melody starts echoing in your head: That's your hit song.
This means that practicing doesn't get you hit songs or hit ideas, instead it trains your brain to function better musically and to become more aware of "songwriting potential" in things occurring in your environment. There are other habits, besides practicing, that are useful too. These habits are tools to help the songwriter collect the fruits of practicing. Here they are....
Habit One. Have a notebook with you at all times:
Any time a song idea hits you, a good verse, creative metaphor..etc. Write it down for review later.
Habit Two. Have a digital recorder with you at all times:
You can use any thing to record sound with...Your "hit" melodies will not be lost. (Sometimes I use the notebook to write the notes of the melody -like D B A G..etc.-, you can do that too and save yourself the trouble of having to sing in a supermarket ;).
Habit Three. Ask people what they think about your creations:
Showing them to friends is always a good idea. However, showing them to other songwriters means great advice and "professional" comments that would go beyond "Good work, where are we going to eat?" :).
Habit Four. Keep your hit ideas organized:
Now that you have kept every amazing melody and every interesting lyric that hit you on paper, It's time for you to put them together in a great song. But how are you going to keep track of every single melody, title, chord progression or lyric that you think of or write?!! The answer is to have them organized in a way that makes them easily searchable and accessible. You can still do your organizing the old way using paper put in folders besides the folder-sub folder organizing on your computer. There are softwares that might help, like "TrackNotes" from "Virtual Studio Systems".
Habit Five. Practice:
I have talked about this a lot. It's really important...You will not be musically inspired unless your brain gets used to music. Inspiration is HARD WORK!! Practice by reading for successful lyricists, by listening carefully to great songs, by struggling for days with one line to get the right word for meaning and rhyme, by experimenting with chord progressions...etc. There are lots of stuff you can do...PRACTICE, PRACTICE, PRACTICE!!
Now that I have let you in on the songwriter habits, there remains a warning: Not every idea that you get is an inspirational moment, you will get a lot of "junk ideas". Nevertheless, do not try to judge your ideas the same moment you get them; record every thing and keep track of every thing you think of. You can later review these ideas, save the good ones and throw away the bad ones (you can better keep them in a safe place too, every thing may come in handy!).
Finally, you don't have to go with all these habits. They are habits that I developed because they were comfortable to ME. You, also, can discover and develop your own useful habits. The only habit that is crucial is!?!! You guessed right: PRACTICING.
by: Mahmoud Ibrahim
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