What we call writer’s block has many possible causes, but most of them related to fear, and in particular a fear of failure. But fear is not often the first step in a creative block. For many songwriters, it’s creative exhaustion. Chapter 5 of “The Essential Secrets of Songwriting” shows how melody and lyric need to work […]
I have a theory as to why so many songwriters like to start with chords: it’s because chords give you: a mood; a musical landscape; the start of a musical form. In very short order, you can easily come up with 8 bars of music when you’ve got 3 chords, even if you don’t have […]
I’m a fan of any songwriting process that requires concentrating on the melody first. The main reason I like melody-first writing is that you’re concentrating on the part of a song that’s the most hummable, and the easiest for someone to remember. If there is one criticism I have of melody first processes, it’s that […]
It’s tricky, writing music that pleases your target audience. They want every song to sound unique and fresh. But at the same time, they want to hear the kind of music that attracted them to you in the first place. So you try to write something that goes in a refreshingly new direction, and they give […]
“Nights in White Satin” (1967) is one of The Moody Blues’ biggest hits. Most people know it in its “single” version — a bit over 4 minutes in length. But its full-length version, complete with orchestral introduction and interlude by the London Festival Orchestra, is a multi-sectional work of more than 9 minutes – a […]
People who don’t write songs (or choreograph ballets, or write plays, novels, poetry…) can be forgiven for not understanding how the word courage has anything to do with the creative arts. For any songwriter who composes truly original music, who has more of an interest in being themselves than simply giving the public what they want, knows that courage is […]
