Songwriting - Producer

Showing the World You’re Different

Are you afraid of having others hearing your songs? Do you lack artistic confidence? Writing songs means striking a balance between predictability and innovation. Every song is at least somewhat predictable. That’s partly how we have genres in the first place. And every song is at least somewhat innovative, or we hope so. If there’s […]

Singer - Songwriter

Locking Lyrics Into the Basic Beat of Your Song

When lyrics sound stiff or rhythmically awkward, it’s usually the case that the basic pulse and accents of the words and phrases aren’t being honoured by the pulse and feel of the music. One easy way to deal with this is to read your lyric aloud, getting a sense of the natural pulse of the […]

Guitarist - Songwriter

Turning Fear Around

Words and music need to act as partners in a song, but how do you make sure your melody is helping your lyric? That’s what Chapter 5 of “The Essential Secrets of Songwriting” deals with. Get it as part of the 10-eBook Bundle, or purchase it separately. Being a songwriter takes a lot of courage. […]

Adele

The Structure of Good Verse Melodies

It’s hard to think about song melodies without also thinking about the chords that we put underneath them. They go hand in hand. Historically (as in hundreds of years ago) music was all about the melody. Eventually (in the early 1600s) it was melody and bass line, with chords starting to fill in the middle. […]

Oscar Peterson Trio

Fixing Songwriting Errors Before Recording

If you ever listen to an old 1950s-era recording of jazz pianist Oscar Peterson, you’re probably hearing him with his trio which included Herb Ellis on guitar and Ray Brown on bass. No drummer at that time, but the three of them played with such a powerful sense of beat and rhythm that you don’t […]

Outline of a guitar

The True Nature of Contrast in Songwriting

We tend to over-simplify what we mean by contrast in a good song, and thereby misunderstand its power. Contrast, in musical terms, means considering musical opposites: loud versus soft, high versus low, and so on. When we over-simplify contrast, we simply think that the contrast principle requires us to mix loud and soft sounds, high and […]