Here’s an experiment you can try: take your favourite song and play the first 10 or 15 seconds of it, and then listen to the last 10 or 15 seconds and compare. What do you notice? For most songs, you’ll hear a strong similarity between the beginning and the end. Generally, the feel, key, tempo […]
You’d be in good company if you said that every time you sit down to write a new song, you’d like to know what you’re writing about. It doesn’t make sense to start the actual writing of a song without knowing something about what you’re trying to say. Or perhaps it does. You might think that […]
Not that long ago, most of the music you were likely going to hear was good music. I’m talking about before the internet made streaming easy and everywhere. If you were a child of any time before the later 90s, the music you heard was probably the music on the radio, and then the albums […]
What do you hate about the notion of a songwriting process? If you find that having a process stifles your creative flow, then you’re confusing the term with songwriting formula. In songwriting, a formula means “once I’ve done this in my song, I should probably do that…”, and that can stifle your sense of creativity. But that’s […]
Most pop songs, and all the related genres such as folk, country, etc., use simple, strong chord progressions. In fact, when you go back and look at complex prog rock tunes from the early to mid-seventies, you might be surprised to see that chord choice is not nearly as adventurous as you might think. Complex […]
Good songs are efficient communication devices. But not particularly of facts and figures: if you want to educate your audience about the history of your town, for example, a song is a poor choice for doing so. Unless your song lyric is 80,000 words long, a book will more efficiently convey facts and figures. But […]
