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 […]
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 […]
There is an important aspect of a good song melody that the average listener is not much aware of: shape. Good melodies need an engaging shape — something that is memorable, enticing, and (at least relatively) easy to sing. In fact, song melodies need even more. They need to partner with a lyric so that […]
I’m a believer in song analysis as a way of improving songwriting technique. For any writer of music, basic curiosity should make us want to know why something sounds so good, so that we might be able to incorporate at least some of those ideas into our own music. (Or why something sounds so bad, so […]
