The Essence of Songwriting

Begin with the basic feel.

  • Sing it to yourself. Listen to the rhythm. Feel the rhythm. Does it drive? Does it pulse? Does it draw you forward? Compare the flow to something else you like - something else that inspires you. Dumb down the words. Hum it. Feel the rhythmic inflections open and close. Consider it sound manipulation - like a DJ playing with a synth’s VCF.

Now, explicitly consider & integrate the rhythm, melody, words and harmony to create movement.

  • Rhythm like ‘breathing’, the song has to breathe. In and out, tension and release. Just like sentences - can’t be forced. It needs a natural beginning and a natural end.
  • The melody is like inflections in your talking voice - natural ups and downs consistent with what you’re saying.
  • Harmony puts a little zing in it, makes it musical.
  • The words reinforce what you are implying - often emphasizing the rhythm, but more than anything else, they just need to stay out of the way,

More on each of these later.

Good luck.

[Flash 9 is required to listen to audio.] 0 Plays

A popular songwriting exercise is to create Sound-A-Likes. Here’s a snippet of what I’m working on.

I’ve got the music bug again.

It started with piano lessons in 2nd grade. I began playing keyboards in bands in the 8th grade and I finished my first CD in high school. I went on to complete an undergrad in Music Management, interned at Smith-Lee and in 1992, got my first job managing a roller skating rink! Nice. My last major music production effort went into designing the keyboard and recording setup for a small studio we housed in the skating center where Nelly and the Lunatics could be found working daily before they hit the big time. That was 20 years ago - I’m still not signed today.

When I see the Max Martins, Dr. Lukes and Pharrells of today, I begin to wonder what would have happened if I had stuck with it - so I’m going to try again. Taking a few classes at Berklee Online and guitar lessons for the new year! “It’s good to be back!”

My daily writing routine consists of Ableton Live, a few keyboards, a couple of guitars and lots of melodic ideas - and if not the first thing, the melody is darn near the top of the list when I sit down to write. I’m not used to it but I’m forcing myself to drive absolutely everything from the melody (boy do I sound awful). But it will be good for me. My older writing considered the melody as an afterthought and as you may read later, this fundamental flaw led to my ultimate demise.

My monthly objective is to pick one of my weekly ideas and build it into a complete song - thereby working on lyrics.

I also have 3 dictaphones to capture melodic ideas when they hit me in the car, the house or anywhere in between. After each of them reach roughly 100 ideas, I bounce the files to a computer and clear them out for more ideas.

I will update this blog to romanticize about the future, track my progress and capture some lessons learned along the way. Hopefully some of you will find it inspiring and educational.

I’ve got the music bug again.

It started with piano lessons in 2nd grade. I began playing keyboards in bands in the 8th grade and I finished my first CD in high school. I went on to complete an undergrad in Music Management, interned at Smith-Lee and in 1992, got my first job managing a roller skating rink! Nice. My last major music production effort went into designing the keyboard and recording setup for a small studio we housed in the skating center where Nelly and the Lunatics could be found working daily before they hit the big time. That was 20 years ago - I’m still not signed today.

When I see the Max Martins, Dr. Lukes and Pharrells of today, I begin to wonder what would have happened if I had stuck with it - so I’m going to try again. Taking a few classes at Berklee Online and guitar lessons for the new year! “It’s good to be back!”

My daily writing routine consists of Ableton Live, a few keyboards, a couple of guitars and lots of melodic ideas - and if not the first thing, the melody is darn near the top of the list when I sit down to write. I’m not used to it but I’m forcing myself to drive absolutely everything from the melody (boy do I sound awful). But it will be good for me. My older writing considered the melody as an afterthought and as you may read later, this fundamental flaw led to my ultimate demise.

My monthly objective is to pick one of my weekly ideas and build it into a complete song - thereby working on lyrics.

I also have 3 dictaphones to capture melodic ideas when they hit me in the car, the house or anywhere in between. After each of them reach roughly 100 ideas, I bounce the files to a computer and clear them out for more ideas.

I will update this blog to romanticize about the future, track my progress and capture some lessons learned along the way. Hopefully some of you will find it inspiring and educational.

Why DJs Make Good Music Producers

Just a theory, but think about it. Dr. Dre, Dr. Luke, David Guetta, Max Martin … all were DJs at some point in their career before becoming famous record producers.

I took piano lessons for 10 years. How much closer did this training bring me to writing Katy Perry’s next hit? I remember practicing the left hand, then the right hand, then sight reading - then more complicated phrases and gestures, so on and so on …

In contrast, what sort of training does a DJ undergo? By definition, a DJ has to listen and analyze music before combining it in interesting ways to create sounds that crowds go crazy over. And what’s moreso, he does this from the very beginning of his career! A DJ is always concerned about how something sounds and if it will move the crowd. A DJ is not intimidated by or concerned about how hard something is or was to play - that is what a sampler is for. I suggest that DJ training, while maybe more indirect, is much more related to music production than say, learning to play the piano. I’m not saying it replaces instrument training - it doesn’t - but I am saying it is much more relevant to record production. A DJ is paid to manipulate people with music. He needs no teacher - the lessons are inherent in the practice itself. How many times can you hear yourself telling the fledgling singer/songwriter “mmm, nice but that just isn’t interesting.” It takes a while to understand that … making hit records isn’t necessarily about how well you can play a complicated passage.

More often than not, a DJ learns to start with the end in mind. He’s intentionally slowing the crowd down or bringing them to their feet. He picks and mixes music that he knows will do the trick. He doesn’t have a job if his mixes aren’t exciting. Because a DJ mixes whole songs and because he obviously can’t play all those instruments, he is forced to hear things in his ‘minds’ ear; and if not, he is going to at least learn how to experiment … and experiment he will on a SONG level, not the guitar part level. How long does it take a fledgling singer/songwriter to think and write songs like that? A DJ immediately cares less about how an individual part sounds and more about how everything sounds together. Note that while Mozart may have been a genius - he wasn’t a virtuoso pianist or cellist. Watch the movie and you’ll see :) He hears finished pieces in his head and can’t write them down fast enough. Same goes for Beethoven. Vladimir Horowitz and Itzhak Perlman are great performers but Beethoven and Mozart were songwriters - the producers - of their day.

A DJ also gets constant feedback very early on in his career. He is in constant contact with people - he is always hearing what is good and bad and deals with constant requests for the same songs over and over again. He can’t help but be affected by that. Whether he likes the music or not is a different question - after years of this type of training, a good DJ should be able to pick hits before they ever hit the airwaves.

Obviously, it isn’t as simple as giving a DJ a studio and hoping for the best … Dr. Luke played guitar on SNL for 10 years before leaving to produce music full time; but you can imagine how potent the combination of a proficient guitarist/painist and DJ — and if they can sing too (Max Martin)? Its all over.

If you want to write and produce music and especially if you’ve had any type of classical instrument training - find some turntables and DJ in your spare time. At the very least, try your hand at making a few mix tapes. While it won’t replace your musical instrument talent, I can’t help but think it will improve your songwriting and production skills.

Everybody starts somewhere …

Everybody starts somewhere …

Perfection Can Be Detrimental

I have an undergraduate degree in music, I took theory and sight-singing classes and I played piano in several recitals … so when I decided to learn to play the guitar, I hoped that I could actually teach myself.

I began working through a few different books and committed myself to perfecting each song before moving on. I try to relax my hand and play comfortably … the same piece again and again. After several months of this slow nonsense I came across a teacher that suggested NOT perfecting each piece before moving on. He explained that pieces would soon start to reinforce each other and that I’d gradually start to play all of them better.

I took his advice and at the very least, practice is much more enjoyable now. It sounds reasonable. If I played in a band they’d be pushing for songs that I couldn’t play and I’m sure that’s how I’d get really good … so why not, let’s give it a try.

I’ll be sure and check back in a few months and let you know how things are progressing!

I always thought it odd that in our little practice room, the teacher would plug his guitar into a little Korg PX4D and then into an old AIWA boom box. One day I asked why he didn’t have a little practice amp or something guitarish in the room to play through.

He explained that today’s modeling technology sounds much better through a full range set of speakers as opposed to a guitar amp. Guitar amps add alot of personality and color to the sound of the guitar - so much so that they can actually ruin the sound coming out of these little modelers.

He also explained that in the classroom, he needed to keep the volume somewhat low. If you know much about guitar amps - you realize that you generally need to push them to get them to sound good. A tight bottom and edgy highs at a volume suitable for a guitar studio is next to impossible to do through a real guitar amp.

I got home and pulled an old set of Altec Lansing computer speakers (complete with a sub and digital input), plugged in the GT-6 and what’d’ya know - it sounds great! Much more enjoyable than practicing through my DSL-401. This was just the advice I needed to leverage the gear I already had!

I always thought it odd that in our little practice room, the teacher would plug his guitar into a little Korg PX4D and then into an old AIWA boom box. One day I asked why he didn’t have a little practice amp or something guitarish in the room to play through.

He explained that today’s modeling technology sounds much better through a full range set of speakers as opposed to a guitar amp. Guitar amps add alot of personality and color to the sound of the guitar - so much so that they can actually ruin the sound coming out of these little modelers.

He also explained that in the classroom, he needed to keep the volume somewhat low. If you know much about guitar amps - you realize that you generally need to push them to get them to sound good. A tight bottom and edgy highs at a volume suitable for a guitar studio is next to impossible to do through a real guitar amp.

I got home and pulled an old set of Altec Lansing computer speakers (complete with a sub and digital input), plugged in the GT-6 and what’d’ya know - it sounds great! Much more enjoyable than practicing through my DSL-401. This was just the advice I needed to leverage the gear I already had!

Rockabilly that predates Elvis and Chuck Berry.