Craft of Songwriting

by Barbara McMillen
a Featured Column of Songwriters Notes

Sunday, January 10, 2010

GETTING STARTING

From the beginning of human interaction, songs have been the most powerful means of communication. We've all been moved by improvised stage performances that occur instantly and touch our souls, sending chills up our spine. It appears so spontaneously, yet, there are years of study and practice behind the scenes to be able to go on autopilot and reach that next level. The same principle applies to songwriting. It's takes hard work and preparation, to become a great songwriter. There are tricks and tools that will help you get started, but it will be up to you to exercise your songwriting muscle.


MAKING A SPACE & COLLECTING YOUR TOOLS - Find a corner or a room in your home that you can call your own for songwriting. Assemble your tools and keep them there when not in use. Gather your lucky pen, paper, three ring binder, reference books, your instrument, a a small portable recorder. You might want to designate a briefcase or something portable in which you can carry supplies to your co-writing appointments or the studio. If you use a laptop for writing and recording, that's even better.


SONGWRITING NOTEBOOK - You'll need a three ring binder in which to keep your work.

Here is a list of tabs for the notebook sections that I have suggested to my students.


  • Object Writing
  • Ideas
  • Titles
  • Works in Progress
  • Completed Songs
  • Assignments
  • Educational Articles
  • Quiz
  • Contacts
  • Pitch Opportunities
  • Agreements


You can arrange the above suggestions to fit your own needs. I'll talk more about each one of these points later.


REFERENCE BOOKS - You'll need to acquire and exercise your verbal skills to compete with hit songwriters. Play games that focus on vocabulary and language skills. Read to develop language skills and get ideas. Also, keep up with pop culture and developing expressions of slang. Here's a list for a start. Much of this list can be found online, as well.


  • New dictionary that includes slang terms
  • Rhyming dictionary - The Complete Rhyming Dictionary, editied by Clement Wood, Doubleday http://www.rhymezone.com
  • Thesaurus -Pat Pattison recommends the original Roget's Thesaurus http://www.thesaurus.reference.com
  • Book of popular quotations
  • encyclopedia
  • Newspapers & magazines



SET ASIDE TIME - You may have a space, but if you don't spend time in it, you'll never write that hit. You'll need to free yourself from distractions. The best way to do that is to schedule songwriting time on your calendar, and ask your family members not to distract you. Keep your date with yourself. This may be the hardest thing to do, but if you want to be in the business of songwriting, then you need to treat it like a buisiness and report to work. Turn off the phone, put a note on the door, and send the kids to a movie.


You also will want to network and find songwriters with which to co-write. When you've found someone compatible, you can set a regular work time each week. Nashville is full of active songwriters who are daily exercising their songwriting muscle as evidenced by a crowded co-write calendar.


Thursday, December 3, 2009

The Ultimate Song Evaluation Check List

You may have wondered how we critique songs in our 2nd Tuesday meetings. We hand out critique sheets to be scored by the judges and members present. Each of the six columns (hook, melody, lyric, structure, originality, and truth) are scored 1-10. with a total of 60 points per song.

Below is a guideline on what to look for in each of those song elements. This was a handout at the Nov. 2009 meeting. I hope this is helpful in evaluating you own songs.

Factors to Consider in Scoring a Song Evaluation

Hook / Title / Idea

  1. Does your title instantly grab a listener's attention because it is fresh and interesting?
  2. Is the hook free of cliche?
  3. Is the hook placed in a power position?
  4. Is your hook repeated?
  5. Does your hook sum up the story or feeling of your song?


Melody
  1. Does the melody employ repetition?
  2. Is the melody simple? 
  3. Is the melody interesting?
  4. Is the melody catchy and easy to remember and sing even without lyrics?
  5. Is the melody range within an octive and a third?
  6. Does the melody refrain from skipping around?
  7. Does the melody reach a climax with the story.
  8. Is there prosody between the melody and lyric? Does the feel of the melody and the tempo of the music match the meaning of the words?
  9. Does the melodic rhythm change in each part of the song structure? (Verse/chorus/bridge)
  10. Are the important words in the lyric placed in the power positions of the measure (beat 1 or 3) or on longer note durations?

Lyric
  1. Does the verse lyric lead the listener directly to the chorus or the hook?
  2. Is the lyric detailed and full of fresh imagery?
  3. Does the lyric employ metaphors or similes and carry the imagery through the song?
  4. Does the lyric sound natural and conversational?
  5. Does the lyric effectively employ rhymes? 
  6. Does the lyric draw the listener into the story, by showing instead of telling how the singer feels?
  7. Does the lyric have one focused idea?
  8. Is the lyric concise and not too wordy or have too many syllables to be melodic?
  9. Is the point of view consistent?
  10. Does the lyric make the singer look good and not cause him or her to look bad?
  11. Are the lyrics easily relatable and not too personal?
  12. Is the story completely told and does it make sense?

Structure
  1. Is the melody the same but the lyrics different on each verse?
  2. Is the rhyme structure consistent from verse to verse?
  3. Is the meter of the lyric consistent from verse to verse?
  4. Does meter of the lyric change from verse to chorus or bridge?
  5. Are the chord changes the same in each verse?
  6. Is the song form a standard popular song? 
  7. Does the verse lyric tell the story and advance the idea?

  8. Additional points to check depending on the song form:
1. Verse, Verse, Verse
  1. Is the title/hook in the first or last line (power positions) in each verse?
2. Verse, Verse, Bridge, Verse
  1. Is the title/hook in the first or last line (power positions) in each verse?
  2. Is the bridge a departure from the verse musically?
  3. Is the bridge a departure from the verse lyrically?
  4. Is the bridge a departure from the verse rhythmically?
  5. Are the chord changes different in the bridge?
3. Verse, Chorus, Verse Chorus
  1. Is the chorus the catchiest part of the song?
  2. Does the chorus contain the title/hook?
  3. Is the chorus the same musically and lyrically each time?
  4. Is the chorus a summation of the idea?
  5. Is the chorus a departure from the verse musically?
  6. Is the chorus a departure from the verse lyrically?
  7. Is the chorus a departure from the verse rhythmically?
  8. Are the chord changes different in the chorus?
  9. Does the rhyme structure change in the chorus?
4. Verse, Chorus, Verse Chorus, Bridge, Chorus
  1. Is the chorus the catchiest part of the song?
  2. Does the chorus contain the title/hook?
  3. Is the chorus the same musically and lyrically each time?
  4. Is the chorus a summation of the idea?
  5. Is the chorus and bridge a departure from the verse musically?
  6. Is the chorus and bridge a departure from the verse lyrically?
  7. Is the chorus and bridge a departure from the verse rhythmically?
  8. Are the chord changes different in the chorus and bridge?
  9. Does the rhyme structure change in the chorus and bridge?
  10. Is the bridge the climax of the song?

Originality
  1. Is the story original?
  2. Is the melody fresh and doesn't sound like another song?
  3. Is the hook or title fresh and does not sound cliche?

Truth
  1. Did the song make you laugh or cry?
  2. Is the story and are characters believable?
  3. Is there enough contrast between the sections to build to an emotional climax?
  4. Does the lyric allow the listener to empathize with the singer?
  5. Does the story move forward and come to a conclusion?
  6. Does the melody work to create the emotional impact that the lyric intends?
Factors that we comment on in critique, but do not score.

Demo production

Commerciality