Chris Gantry at the Pavilion Coffee House

Jeremy Dean at the Pavilion Coffee House.

"Riding Trains" by Ashlee K Thomas

"Back to the Desert" by Ashlee K Thomas

David Issacs Live at the Pavilion Coffee House

Dave Isaacs performing at the Pavilion Coffee House Nashville Tn.

Mike Cullison Pavilion Coffee House Nashville Tn

Jeremy Dean at the Pavilion Coffee House

"Double Dog Dare Ya" by Dave Isaacs

"Double Dog Dare Ya" by Dave Isaacs

“Opening The Closed Door”

If you are serious about writing songs you need to get this book “Opening The Closed Door” by Bronson Herrmuth.

I am so impressed with the wealth of knowledge in this book that I feel compelled to share this to help you songwriters. Bronson helps with plain talk the ability to understand the inside struggles by being a professional songwriter in Nashville. This wonderful book covers all the day to day subjects professional songwriters face in the cut throat world of creating and selling commercially viable songs in Nashville. From his personal experience of walking from studio to studio on Music Row to being a producer himself years later. This is a valuable road map for any songwriter to keep in their arsenal of tools to be a successful songwriter.

This excerpt  is from the book “Opening The Closed Door” by Bronson Herrmuth on Co-writing songs.

On The Subject Of Co-writing

If you look at the current issue of Billboard magazine and check out the radio play list charts closely, you
will quickly notice that the vast majority of the songs you see charted there were co-written by two, three or
more writers. There are many reasons for this, including the old saying “two heads are better than one” being
high up on the list. I have co-written with songwriters who write 10-15 songs a week on a regular basis, while
co-writing with a half dozen (or more) different songwriters. They write with one songwriting partner in the
morning, another one in the afternoon and a different one in the evening on a daily basis. They will actually go
on the road with famous artists and write with them while they are on tour. It is normal for these writers to
write hundreds of songs in any given year with most of those songs being co-written.
My first co-writing session was inspired by a trip to Nashville in 1983 and a meeting with a publisher who
had expressed interest in publishing one of my songs, but only if it was rewritten. He loved the melody but
was not sold on the lyrics, so he left it up to me. Rewrite and get a publishing contract, no rewrite, a pass. I
went back home and tried several times to rewrite my song, but I just couldn’t do it. I really did like it just the
way it was and I couldn’t come up with anything that I felt made it a better song. I was fortunate to know a
very successful songwriter named Johnny McCollum, who lived in my hometown in Iowa. I called him and
explained the situation, and he graciously agreed to cowrite with me. (Thank you, Johnny)
I was still very apprehensive about the thought of changing what I had written in any way and Johnny
realized this immediately. He gave me a wonderful lesson on how to cowrite that day and over the next few
days, as our co-writing relationship and friendship progressed. We both agreed to leave my song just like it was
and actually wrote a whole new song. We just rearranged the chord structure, using the same chords that the
publisher had shown an interest in. A different melody and brand new words, but in the same key, style, and
tempo of my other song. The publisher loved it and his company did end up publishing that song, and still
does. I have gone on to write many songs with Johnny, and one of our songs was recorded and released by the
group Mason Dixon in 1985. That song was called “Christmas Memories,” and was actually a 3-way write with
hit songwriter Dan Mitchell. Johnny and I wrote the lyrics and Dan wrote the music and sang the demo.
Another of our co-writes entitled “Outlaw On The Run” was recorded and released by Michael Mason in 1996
on his CD, Say You’re Gonna Stay.

Here are some of my thoughts on the subject of co-writing:

1. PITCHING:
When you write with other songwriters, you open up the door to your finished songs being heard and pitched
by more people. Your co-writer(s) and anyone working with them will now be pushing your finished cowrite,
too. It enables your song to be heard by a lot more people when you cowrite, which of course increases your
odds for success. This really comes into play if you are fortunate enough to write with already established
successful songwriters who have publishing deals or just lots more connections in the business than you do.

2. PERSPECTIVE:
When you write with other songwriters you have someone you can bounce ideas back and forth with. You get
stumped and they get inspired, which in turn helps you stay motivated. Your cowriter(s) can also give you
ideas and help you think about things from a different perspective than your own. This aspect really comes into
play if you write with someone of the opposite sex. As I am sure anyone reading this article can relate to the
premise that men and women tend to come at the same subject from completely different viewpoints.

3. MOTIVATION:
I know songwriters who get very motivated creatively by knowing they have a co-writing session coming up.
They find the meeting of the minds very inspiring and use this inspiration to fuel their solo writing. Cowriting
keeps them focused and pushes them to keep writing, it gives them a reason to write. When you agree
to cowrite with someone, it is very important to always have something new to contribute to the relationship.
If you don’t, chances are your cowriter won’t want to keep writing with you.

4. EXPLORATION:
When you write with other songwriters, you can explore musical styles or genres that you would never
approach yourself. It is very cool to listen to a song you wrote in a musical style you would never have been
able to create writing alone. As a professional songwriter, your value is determined by the size and commercial
strength of your personal song catalog, so the more great songs you have the better. Having songs you have
written in many different styles and tempos can again increase your odds of having success as a songwriter. If
an artist is looking for a blues song, you have one. Or a rock song, or a waltz, or a two-step or a big ballad,
you have one. You get the idea. Your odds for success go way up the more songs you have.

5. EXPANSION:
All of us are limited as songwriters by our ability to play our instrument, or our ability to sing, our range, our
musically knowledge and training. When you write with other songwriters, you can open up incredible paths
for your music that you would never explore alone. I know a very successful songwriter that wrote for 10 years,
writing with his guitar and writing alone, with no success. His publisher introduced him to a piano player who
was also a better singer than he was, and they started co-writing together. Hit after hit soon followed, and he
attributes it to his being able to focus on the lyrics and not having to create the music, too. And of course, his
cowriter’s ability to play piano and sing so well.

6. PREPARATION:
Preparation for a co-writing session is very important, as is punctuality. Don’t be late and show up prepared.
Have several of your in progress or unfinished song ideas ready and with you to bring to the table as a starting
point. When co-writing, you start by bouncing your ideas back and forth with your co-writer, and then you
both agree on the song you want to work on. Be prepared also to change what you have written. It does you no
good to write with someone if you intend to ignore their ideas and input. It can take some getting used to when
someone starts rewriting your “baby,” but keep an open mind and be ready for it because it will happen.
Probably a lot when you first start out, especially if you are writing with someone with more experience at
songwriting and co-writing than you have.

7. PROFESSIONALISM:
Co-writing is a great way to learn how to write songs professionally if you are a new songwriter. Writing with
more experienced songwriters teaches you quickly some of the do’s and don’ts that exist in the world of pro
songwriting. For my first gig on Music Row in Nashville, I was fortunate to be put right in the middle of a
staff of five very good songwriters, all of whom had previous commercial success with their songs. By cowriting
with them one by one, I learned a lot about songwriting quickly, the first thing being most pro
songwriters do not like to write with new songwriters. Pretty much the only way they will do it is if you can
show them you have really good song ideas, that you can write and that you are willing to defer to their
expertise when necessary.

8. COMMUNICATION:
Sometimes co-writing doesn’t work. You just don’t relate to the person you are attempting to write with and
nothing you can say or do will change that. If you find yourself in this situation, my advice is that you should
gracefully and politely find a way to call it a day, even if you just started. Co-writing tends to be a very
intimate relationship and for it to work, there has to be communication. If you don’t like your cowriter
personally, it is not easy to write with them and pretty much defeats the purpose of co-writing together. If you
cowrite with very many people, this will happen to you, so don’t be surprised when it does. Just find a way to
make a quick exit and don’t pursue the relationship again.

9. PERCENTAGES:
Never hesitate to discuss writer share percentages with a cowriter. Have a clear-cut agreement when you cowrite
with someone relating to how you are going to divide the rights to the song you are writing together. Industry
standard is if you sit down with someone to create something brand new, no matter who had the original song
idea, the split would be 50/50. If there are three writers, you split three ways, four writers, four ways, and so
on. Depending on the situation and the amount of contribution by each cowriter to the song, the split might be
60/40 or 40/20/40 or 90/10. Whatever you decide with your cowriter(s) that the percentages of writer share
should be, you have to discuss and agree on this before you start writing together. The same thing applies to
the publishing percentage shares of your co-written song, if you don’t have a publisher.

10. RESPECT:
Be sure and bring a pad or two of paper and plenty of pencils or pens to any co-writing session. Have the song
ideas you are bringing typed out and have several copies of each idea with you. Never forget to show respect to
your cowriter(s). If you don’t have respect for what they have to say, don’t write with them. Listen to their
ideas with an open mind. If you don’t like the direction your song is taking as you work on it with your
cowriter, tell them so and maybe even move on to another song and leave that one the way it is.
Communication is essential, so say what’s on your mind. Bring plenty of ideas and be ready to switch gears
often, with a good attitude.

It can be a lot of fun and very productive when you find the right co-writing partners. Successfully cowriting
with someone is a very rewarding experience and usually leads to long lasting creative and personal
relationships. Just like the one I have with my long time amigo and writing partner, Johnny McCollum. Cowriting,
I recommend it highly.

Maddie and Jeff Anderson performing "Losing You" at the Pavilion Coffee House in Nashville Tn.

I'm Believing by Steven Whitson

Grandmas Boy performed by Steven Whitson in Nashville Tennessee.

40 Minutes with Kurt Fortmeyer About Songwriting in Nashville

Here is a veteran songwriter who was kind enough to sit with me and explain how songwriting really works in Nashville.
His story is of packing his things and coming to Nashville to write songs. Kurt has an earthy down home goodness to his soul.

I believe when he co-writes with another songwriter he is teaching as much as writing. Kurt's songs are some of the best I could find in the current songwriting community.

He was selected as the 2014 "Best of the Best" songwriter by the Nashville Ear. His songs are loved by all the real songwriters who understand good lyrics and great stories told in verse.

This interview was conducted at the County Q studios in Nashville in conjunction with a TV show entitled "The Road to Music City"

Here is about 40 min of songwriting wisdom.



http://nashvilleear.com/node/123

5 Tips to Turn Good Songs into HIT Songs

Here's my latest article for BMI MusicWorld magazine:

5 Tips to Turn Good Songs into HIT Songs

by Jason Blume

I recently hosted one of my monthly BMI Nashville Songwriter Workshops where each of the fifty attendees had an opportunity to pitch one song to a successful publisher. As is typically the case at these workshops, with few exceptions, every song played was perfectly crafted. The writers have mastered the use of current song structures; the lyrics made sense and were well written; rhymes were where my ear expected them to be; and the melodies worked well with the chords—avoiding any dissonance. Yet the publisher took copies of only five songs—ten percent of those that were pitched.

It was a good reminder that “perfectly crafted” is a starting point—but it isn’t enough. In order to rise above the competition our songs need to go beyond the expected, pushing the creative envelope, and differentiating themselves from the hundreds—if not thousands—of other well-written songs that are all vying for a coveted slot on a major label artist’s recording.

I once had a publisher tell me that when he plays songs at meetings with record label executives, he needs his songs to “slap them out of their A&R trance.” The same holds true when pitching songs to record producers and recording artists. The publisher went on to explain that these industry pros are bombarded with songs—most of which were written by published songwriters with track records—so all of the songs under consideration are “good.” But only those songs that have that “extra” something jump out of the pile and demand attention.

Similarly, writers who play their songs for publishers, in the hopes of securing a publishing deal, need to take into account that the publisher probably already has an extensive catalog of songs, and possibly staff writers, for which he or she is responsible. There have to be compelling reasons for a publisher to choose your song over the competition—elements that instantly announce that this song is unique and exceptional; that it is destined to become the smash hit that will elevate an artist’s career to a next level.
Imagine that every song needs to score a minimum of 100 points to become a hit. Some of those points will typically be earned by the lyric; some will be awarded because of the melody; while others might come from the musical backing track.

So … what elements can you add to your songs to provide those “extra” points that compel artists, publishers, and record label executives to choose your songs over the competition—and then carry them to the top of the charts? The more components we include, the more “points” we rack up—and the better chance for success. Let’s look at some ways to separate songs from the pack—and transform them from “good” to “WOW!”

Include Unique Melodic Elements

and Unexpected Melodic Intervals

A memorable melody is essential—but only those melodies that feel fresh and original will rise above the competition. There are several ways to ensure your melodies grab attention. The tools described below can take a song to the next level.

Listen to the intervals used in Kris Kristofferson’s classic, “Help Me Make it Through the Night.” The note choices in the first line are anything but predictable. Similarly, listen to Neil’s Young’s “The Needle and the Damage Done,” and note the unexpected note and chord choices. More recently, Pink’s hit “Try” (written by Busbee and Ben West) incorporated unexpected melodic intervals that allowed the artist to soar vocally while matching the intense emotion of the lyric.

Stock melodies won’t contribute to a listener choosing your song over the competition.

Add Instrumental Hooks

By adding instrumental hooks—catchy instrumental melodic phrases—you give your listeners another reason to latch onto—and connect to—your song. For example, the distinctive tenor saxophone line sampled from Balkan Beat Box’s "Hermetico" provides some of the most memorable moments in Jason DeRulo’s smash hit, “Talk Dirty.”
It accomplishes this both by incorporating an instantly recognizable lick—and introducing a sound that’s fresh, attention grabbing, and not typically heard in hip-hop. The baritone sax part heard in the verses contributes yet another special element. Similarly, the catchy tenor sax line woven through Macklemore and Ryan Lewis’ “Thrift Shop” was one of the most distinctive elements of that #1 hit.

I’m not implying that using saxophones is the magic answer. Hit songs have included instrumental melodic hooks that were played on keyboards, banjos, electric and acoustic guitars, accordions, fiddle, bass guitar, harmonica, and countless other instruments. It’s interesting to note that in Phillip Phillips’ “Home,” the added melodic hook that helped propel this song to the top of the charts was performed by a combination of instruments and vocals—without lyrics.

Including unique, memorable instrumental motifs, and instruments and/or sounds that go beyond the expected can take your songs to the next level.

Incorporate Fresh Rhythms

There’s been a recent trend of infusing hip-hop rhythms into contemporary country songs. This can be found in hits such as Blake Shelton’s “Boys Round Here” (featuring Pistol Annies), Florida Georgia Line’s “Cruise,” and Luke Bryan’s “That’s My Kinda Night.”
But regardless of musical genre, one of the most effective ways to separate your songs from the pack is to craft melodies that give the vocalists interesting rhythms to sing. This is often accomplished by incorporating syncopation.

There are countless examples of hits that use this technique. Some exceptional ones to study include Taylor Swift’s “We Are Never Getting Back Together,” Katy Perry’s “Teenage Dreams,” Miranda Lambert’s “Mama’s Broken Heart,” Eli Young Band’s “Drunk Last Night,” and Lorde’s “Royals.”

Melodies that go beyond stock, predictable rhythms differentiate themselves from the competition.

A Fresh Lyric Concept & Title

It’s obvious that building your song on a foundation of a strong lyric concept—an idea that millions of listeners can relate to—is important. But to elevate your song from “good” to “exceptional,” explore a new angle in your lyric; a fresh approach; a novel way to express your concept. This can be done in both the title and the individual lines of lyric.

Notice how intriguing the titles and corresponding concepts are in classic songs such as “Billy Jean,” “Hotel California,” “Georgia On My Mind,” “Stairway to Heaven,” “Bridge Over Troubled Waters,” “Walkin’ After Midnight,” “Take This Job and Shove It,” and “Proud Mary.”

There are also countless examples of contemporary hits that have unique titles and lyric angles, such as “Royals,” “Roar,” “I Hope You Dance,” “(What Doesn’t Kill You Makes You) Stronger,” “From a Distance,” “Alien,” “I Kissed a Girl,” “The House That Built Me,” and “I Drive Your Truck.”

At the time I wrote this article, seven of the top 10 songs on Billboard’s Hot 100 chart had one-word titles, demonstrating their popularity. Hits with one-word titles have included: “Problem,” “Rude,” “Fancy,” “Cruise,” “Crazy,” “Wanted,” Stay,” and “Domino.”

Macklemore and Ryan Lewis’ Grammy-nominated hit “Same Love” blazed new territory with a lyric that tackled the topic of same-sex love and marriage—a concept that had not previously been heard in a mainstream hit. It’s interesting to note that the chorus of that song is sung from the first-person perspective. By avoiding “preaching” to the listeners, and not telling them what they “should” think or feel, the song evoked emotion by allowing its audience to empathize with the singer.

If you were a recording artist seeking material, would you choose a title and concept as interesting as one of those listed above—or a more mundane idea such as “Oh, Baby I Love You,” “You’re the One I Need,” “I Miss You.” A great title—and an equally strong concept can be the ticket to take your song to the top of the charts.

Incorporating Nonsense Syllables/Non-Lyric Vocal Hooks

A publisher at one of my workshops told the attendees, “When you add a ‘Na-Na-Na,” an ‘Oh, Oh, Oh,” “Hey, Hey, Hey,” or some other sounds the audience can sing along with, you increase your song’s chances of being recorded ten-thousand-fold. I’m guessing it might not help quite to that extent, but his point is an important one.

One of the catchiest and most memorable elements of the Carrie Underwood/Miranda Lambert #1 duet “Somethin’ Bad,” is the “Oh-Oh-Oh” sung during the intro and included throughout the song. Similarly, Bruno Mars featured a hook sung on the syllables “oh, yeah, yeah – oh, yeah, yeah, yeah, yeah” during the intro of his Grammy-nominated “Locked Out of Heaven.”

The use of non-lyric vocal hooks is not limited to any specific genres, and exceptional examples of these can be heard in Lady Antebellum’s “Compass,” Beyoncé’s “Single Ladies (Put a Ring On It),” Britney’s “Till the World Ends,” Feist’s “1-2-3-4,” and Keith Urban’s “Long Hot Summer.” While it won’t be right for every song, this tool is an important one that can help sear your song into listeners’ brains.

* * *
In summation, if you don’t give an artist, an A&R executive, record producer, music publisher—or your listeners—a compelling reason choose your song over the competition—they won’t. Think outside the box and give your songs those extra “points” that can turn them from “good” songs to “HIT” songs!

* * *

by Jason Blume
http://www.jasonblume.com/

20 Tips on Songwriting by Debbie Poyser

Every songwriter goes through times when the inspiration just seems to dry up, and the perspiration doesn't seem to be working. Debbie Poyser offers some guidance.

Songwriting is a skill that is rarely taught: musicians more often than not tend to write instinctively, absorbing their ideas about form and structure from the music that's around them, and relying on inspiration for their melodic and lyrical direction. For many this works perfectly well, but there's no harm at all in trying to make a good thing better. You can improve your craft as a songwriter relatively easily if you accept that your work isn't just the result of some mystical process over which you have no control: certainly you need some talent to begin with, but you can hone your songwriting skills just as you can work on your playing or mixing skills. Here are a handful of simple ideas to get you thinking about how you write, and, if you're stuck in a musical rut, perhaps to help get you out of it.

1. If you've already got a chord sequence you're happy with for part of a song but are struggling with where to go next, try reversing the chord order of the part you already have and using it for the new part. It often works, but if it doesn't, try reversing just a section of the chord sequence and repeating it. Also, try doubling the length of time for which each chord plays and see where that takes you. For a bit of variation, halving note values for a chorus creates the impression of an increase in tempo even if there isn't one.

2. If you always write with a keyboard, pick up a guitar for a change and see if that sets you off in a different direction. Get a capo and put it in a stupid place on the neck - really high up, for example - and see how different that makes chords sound. Even the most basic chords take on a new resonance and generate new harmonics which your ear can pick up, maybe giving you an idea for a melody. Conversely, if you always write with a guitar, make a point of sitting down at a keyboard with a piano sound and picking out interesting tunes that wouldn't normally occur to you. You could even consider writing the verse music at the keyboard and swapping to a guitar for the chorus.


3. Keep a list of prospective song titles on your wall. Whenever you hear a good word or an evocative phrase, add it to your list to use when you're trying to come up with new material.


4. Try a different time signature for a change. If you never use 3/4, for example, try and write a song in 3/4. To vary your rhythmic range, try strumming a guitar along to a selection of records, just trying to extract their rhythmic feel in a natural way.


5. Listen to as many of other peoples' songs as you can. Focus especially on those songwriters whose works are considered classics, and don't neglect the best of what's happening now. Always be thinking about what makes a classic song so good while you're listening to it. Try to pick up on arranging tricks and song structures, and remember them; even make a note of any you particularly like. This isn't stealing -- it's studying. Film makers have been doing it for years and make no secret of the fact.


6. Analyse your favourite songs and construct exercises around them -- writing a new set of lyrics for a favourite song, for example, or setting the existing lyrics to a new melody. Write a theme song for a film that doesn't have one, or an alternative theme for a film that does. Listen to a classic song in a genre you don't usually work in and try to write a song which copies its style (but not its content).


7. Always carry a notebook when you're out, so that you can jot down any song ideas that occur while you're going about your daily business.


8. If you usually write songs with a lot of chords in them, try restricting yourself to just three and see what you can squeeze out of a limited set of options. Conversely, if your songs never have more than three chords in them, try writing one with six.


9. Try 'free association' when you have something to write a song about but can't think how to start the lyrics: sit down with paper and pen (or a word processor) and write down every word and feeling that comes into your head about that subject: the process can give you a push in the right direction, and the resulting words are the ones that you'll need to work in if the song is to make a genuine impression on the listener.


10. Though some people find it hard to construct lyrics that rhyme, rhyming is important and is worth persevering with. As highly successful songwriter Janis Ian says in The Songwriters Workshop, "A rhyme scheme helps to hypnotise, to force its way into our listening selves." Others have observed that a good rhyme scheme gives the listener a pleasant feeling of resolution and security. Not every song has to rhyme, but so many of the good ones do that there must be something in it! Don't overdo it, though -- a bad or over-extended rhyme scheme can be irritating to the listener and can distract attention from what you're trying to say. If you have to make a line sound stupid in order for it to rhyme, throw it away and start again.


11. To help with the above, get a rhyming dictionary. This will save you from mentally running through the entire alphabet one letter at a time trying to find a rhyme for 'existential'. A thesaurus, which will give you a list of different words that mean the same thing, is also a good resource for a songwriter and could help you add more interest to your lyrics.


12. Add extra professionalism to a song with sophisticated background vocal ideas. Don't always slavishly imitate the lead vocal's phrasing and timing. Try extending the end of the odd line in a harmony, then pick up with the lead again when it feels natural and musical to do so. When your lead vocal is singing a long held note, look for something short and contrapuntal you can do with the harmony vocals -- with clever phrasing you can fit an entire line of a song as a harmony line under the last extended syllable of a lead melody. This is one area where arranging and songwriting are very closely linked.


13. Get some books to help you. There are several excellent ones around that will really make you think and tell you things you didn't know. Books I would certainly recommend include the following, which are all available from the SOS Bookshop (01954 789888): 88 Songwriting Wrongs and How to Right Them, by Pat & Pete Luboff (order code B254, £11.95); Beginning Songwriter's Answer Book, by Paul Zollo (B253, £10.95); The Songwriter's Workshop, edited by Harvey Rachlin and with an excellent chapter by Janis Ian and two cassettes (B260, £15.95); and if you really want an in-depth reading course on lyric-writing, leaning heavily on training your mind and knowing your own thinking patterns as a way to write more effective songs, check out The Songwriter's Idea Book, by Sheila Davis (B250, £12.99). If I was going to buy just one of the above, it would probably be 88 Songwriting Wrongs and How to Right Them, for its straightforward presentation and language. (All the above prices will need postage added to them, by the way -- check the SOS mail order pages on page 276 for details.)


"You can improve your craft as a songwriter relatively easily if you accept that your work isn't just the result of some mystical process over which you have no control."

14. Decide where you're going to keep your songwriting notes and keep them there. You don't want to blow a potential gem because you can't find the scrap of paper you wrote it down on. Use a notebook, which you always keep in the same place, or get a folder for loose notes. If you use a folder, keep a pen and some plain paper in it too, so you can always lay your hands on these as soon as inspiration strikes.

15. If you compose with a sequencer, always have it in record mode while you're doodling at your keyboard. Don't assume that you'll automatically remember anything good that comes up, because you won't. As it happens, the latest versions of many popular MIDI sequencing programs actually have a buffer that captures your ideas for you -- if you find that you've just played something that you wish you'd recorded, press a key combination (Option Record in Cubase) places the buffer's contents in a track (incidentally, the next update of Cubase will provide a menu item for this feature).


16. Every songwriter should know that a commercial song has to have a hook. But did you know that it should ideally have several hooks? As well as your main lyrical/musical hook, the high point of the song, try to work in secondary hooks to maintain listener interest -- short guitar, bass or piano riffs between lines of the song, a catchy extra chord change when nothing is happening with the lead vocal or to lead from the verse into the chorus, or perhaps a vocal ad-lib that will stay in the mind of the listener. If you think about these things while you're actually writing the song, when you come to demo it you'll find you've already got a head start for its arrangement.


17. Try to introduce plenty of dynamic and metric interest into your songs, so that they peak and subside rather than plodding along on one level. If a song's verse has lots of short words in a choppy rhythm, try using long, sustained notes for the chorus, for example. Try to make sure that the verse and chorus are not the same length -- vary short and long sections if you can, so that the song's structure does not become too predictable to the listener.


18. Make sure your songs are not all in the same key. It may sound obvious, but it's very easy to just stick with what's easiest for you to write or sing in, and if you don't keep an eye on this your songs could all end up sounding similar to each other.


19. Consider co-writing. Someone else's strengths can fill in for your weaknesses and they can bring unusual melodic or lyrical perspectives that would never have occurred to you.


20. If you've really run out of musical ideas, use technology. Those with computers can try an algorithmic composition or auto-accompaniment software package -- or even an arpeggiator! David Zicarelli's M, the king of interactive composition software, has just been re-released (for the Mac only) and can treat your musical input to predictable or totally weird transformations (www.cycling74.com/products/m.html). PG Systems' Band In A Box is available for various computer platforms, and lets you apply a wide variety of preset styles to whatever chord sequence you input, taking a lot of the strain out of song construction. Even Steinberg's sophisticated Cubase family of sequencing software has a so-called Style Tracks module, and similar facilities are found on many a sequencer-equipped synth.




20 Tips On Songwriting

Tips & Tricks

Published in SOS January 1999

Debbie Poyser

Nashville Ear Review

01/03/2015
CD by Dwayna Litz
"I'm The Girl I Used To Know Again"

If you have ever loved someone with all your being you should listen to this wonderful CD by the excellent vocalist  You will enjoy this heart felt collection of songs most of which are about being in love. Dwayna's songs are well written and create that stirring of emotion in your heart as you listen that makes her songs so special. Her vocal ability is sweet and strong at the same time. There is a down home coolness in her songs that speak to strong love as well as unrequited love.
Dwayna's fantastic vocal ability includes that upper range sweetness that Dolly Parton has proven to be a winning sound. I have really enjoyed listening to this new project of Dwayna Litz. I strongly suggest you check into Dwayna Litz soon.
Her CD is a wonderful collection of well written songs with excellent musical backup to support her strong vocal performance. You should be hearing good things from this artist in the future. She has done a great job on her CD "I'm The Girl I Used To Know Again".
Note:
My favorite songs were "I'm The Girl I Used To Know Again" & "I Forgive You".

More about Dwayna Litz  here:
http://www.dwaynalitzblog.com/dwayna-litz-bio/