When it comes to making rap music beats, I get a lot of questions about where to begin, what software and hardware to use, and how everything comes together. Below are 7 essential tips to consider when making a rap music beat:

1. Invest in a midi-compatible keyboard: Some producers try to program their beats using their only their mouse and keyboard. While this can work, you will find that it is much easier to use a midi-compatible keyboard when making rap music beats . Having a keyboard will enable you to test loaded sounds easier, play chord sequences, and program natural-sounding note sequences. Without it, everything must be done by tediously programming every single note in by hand.

2. Take time to learn your software program. Whether you use Fruity Loops, Reason, Logic, Cubase, or any other software program for beats, I cannot stress how important it is to thoroughly learn to use your music software. Read the manual, watch videos on Youtube, read articles, and perhaps most importantly experiment with the beat software hands-on. Once you learn the ins and outs of your software, you will eventually be able to translate any musical idea you have onto the screen and into your rap music beat.

3. Never underestimate good sounds. It is crucial that you steer yourself away from the factory preset sounds in your software and spend some money on good sounds for your rap music beats. You can buy sounds for just about any music software program, whether it be Reason, Fruity Loops, Cubase, etc. A lot of websites even have samples of their sounds, so you can hear them before you purchase.

4. Learn good mixing techniques. When making rap music beats, NEVER underestimate the importance of good mixing technique. Your mixing skills can make or break your beat. You could have laid down the greatest melody of all time, but if the beat is mixed poorly it will sound bad. As a producer, your job isn’t necessarily to make a “final” mix of the music beat, because the vocals will still need to be added and the studio engineer will still have to tweak a few things once the vocals are finished. You should however, do the best you can with your equipment to make a solid, presentable mix for your rap music beat.

5. Listen to many styles of music. In order to be a well-rounded producer, please do yourself a favor and listen to different kinds of music. Listening to music other than hip-hop will open your brain up to new kinds of note sequences, drum patterns, mixes, and overall song composition. This music will be embedded into your subconscious, and whether you realize it or not will have a positive effect on your ability to make rap music beats.

6. Make rap music beats because you WANT to! In today’s age, it is evident that a lot of producers make beats because it is now possible to make money selling them online. You will find that as soon as you drop the association of money with music, you will have a lot more fun making music beats. If you are talented and make music out of passion, the money will come!

Thanks for reading! I hope you use these rap beat making tips to excel in making rap music beats of your own!

Tim Adamek is a rap and r&b producer from New Jersey. Check out his music production website for free rap music beats and articles!

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By Guest Blogger Edward Droscher.

Starting a composition is a difficult task. Getting your inspirations, thinking creatively, applying your creative thoughts to your music and supplementing your ideas with additional composition are all difficult tasks to accomplish.

For starters, your current state of mind will greatly affect the music you right – whether you feel angry, joyful or sad chances are your musical composition will in some way reflect this mood.

Different times of day and different seasons affect your composing as well as current affairs and any stress’s you might have.

The variety of factors that can influence your composition periods are immense and hopefully these few pointers will demonstrate some methods of breaking out of the psychological restraints placed on you.

• Colours – If you are looking to compose a piece of music based around a certain mood find a relevant colour that matches for instance orange gives the impression of energy and drive. Eventually you will learn to bias your mood to suit the composition you are aiming for.

• Character – it is well known for actors to really get inside the character they are portraying through their acting. Understanding key emotions and various behaviours help the actors ‘live’ as their proposed character. If you are creating a theme for a character (think darth vaders theme tune) you need to be demonstrating and describing that character through sound. If you follow the same process as an actor would you will eventually unravel hidden details that will help refine your composition, make it more realist and detailed and allow for it to be much more creative and expressive.

• Nature – a lot of creativity and inspiration can be got by observing nature. From birds communicating through a song like speech to the rustle of leaves in a summer breeze. Trying to emulate nature is an excellent way to begin a sound-scope – or incorporating nature into a character theme for example to express an angelic quality, singing like the birds (fast trills on piccolo or glissandos on the violin).

• Memories – another great source to tap into is your memories. A lot of emotion will go into compositions that are personal in some way to yourself. Spend a few minutes reflecting on your past – try to imagine the memory in great detail – sounds, smells, colours the weather – anything that will give you a good image and story to compose about.

These are just a few sources for inspiration – use your imagination – it has never ending possibilities!

With so many possibilities to compose about and now that your creativity is running, the next area to discuss is music theory.
The last thing that you want to happen is to have all these wonderfully creative ideas for your composition but being held back by the lack of musical knowledge.

A rugby player could develop his passing techniques and his scrum techniques but if he doesn’t know the rules of the game he won’t be able to perform during a game.

Although music composition and as a whole is not bound by any rules you still need the knowledge of writing music – in the same way as a poet needs a knowledge of his language to write a poem.

Some of the key areas you should know about and be constantly revising are:

• The Staff, Bar Lines, Clefs, Time Signatures

• Note Values, Rests, Phrasing, Rhythm

• Articulation, Instrument Specific Techniques (pizz, con sord)

• Key Signatures, Circle of Fifths, Accidentals, Cadences

• Major, Minor, Diminished, Pentatonic, Diatonic Scales

• Modes

• Chords, Extensions, Inversions, Sequences, Arpeggios

• Instrument Ranges, Timbres of Each Instrument, Difficult Areas of an Instrument (The break on clarinet for instance or seventh position for trombones)

Of course it is not absolutely essential you know about all of this but it will mean that your creativity is weakened due to lack of a means to fully communicate.

Use music theory books – go through them and notate comments on the pages, take notes on to blank flash cards to memorize scales and extended chords, use past music theory exam papers to test and analyze your knowledge and then act on your weak areas, purchase a aural perception CD to recognize different cadences and the general sounds achieved from different combinations of notes and chords – there are many ways to learn all of this but find the way that you are comfortable with and stick to it.

Finally the last piece of advice in this article is to keep your composing active.

Aim to compose a short piece of music each day, maybe before you go to bed you can reflect on your day through a composition. Mix it up – compose for different orchestrations and different abilities.

Composing is challenging but by keeping active like this will greatly benefit you and your compositions – and you never know – you may accidentally stumble upon your masterpiece!

Edward Droscher is the founder of Real Music Production and works to develop music education systems privately and in schools. For more information or details on music instruction please visit http://www.realmusicproduction.com or email info@realmusicproduction.com

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By Guest Blogger Paul Freynet

A special occasion is coming up and you want to mark it. Your girlfriend said yes and you want to tell her what that means to you. You’re walking down the street on a sunny day and you’ll burst if you can’t express how good you feel.

Lie down in a quiet place and write your song. This one song is all you need or care about right now. Empty your mind and let it soar. That is your melody. To keep things simple and focused, we are writing a happy, upbeat song which goes best with a verse-chorus song structure.

There are two components to a song:

1) Melody
2) Lyrics

1) The Melody – A melody is a natural thing. It is everywhere. They are innumerable. Catch one. Let your imagination snare one and dance with it.

- Begin with a few notes that reflect how you feel. That moment of elation is what you want to capture. Don’t try to force a melody, release it. Those first few notes will naturally lead to a complete phrase which will lead to a complete chorus simply by repeating the phrase. Try some variations of it.

- Use a recording device and record the best variations. Hum the melody or sing la la la. You don’t have to be able to write music, but if you don’t keep a record, you’ll forget your melody like you do a dream.

- A musical phrase is very much like a phrase in speech, except that it demands to be repeated. Anyone who can talk can write a song. You don’t need music theory.

2) The Lyrics – A song’s structure is set by the lyrics. We are writing a verse-chorus song because it matches a happy mood, its the most popular and also the simplest form.

- Write the chorus first. That is the point of the song. The core of what you want to say. Keep it very simple, adding words to the melody and following its line and rhythm.

- The first word or words of the chorus is the title of the song. The chorus drives home the point of the lyric and it is repeated after each verse.

- The verses elaborate on the chorus in words and music. The melody of the verse complements the melody of the chorus and its the same for the lyric.

- A song lyric is not a poem. Focus on one idea in your lyric, keep it very simple and direct. Each verse elaborates a little more on the chorus. Whether or not it rhymes is up to you but it should follow the rhythm set by the melody.

- The words should follow the line of the music; a high note should have a key word, one that is important to what is being said, because that word is emphasized.

Study the Beatles song Oh Blah Dee, Oh Blah Dah. This is the story of Desmond and Molly. Nothing spectacular, just two people who meet in the market place, fall in love, get married, build a home, have kids.

The chorus says “oh blah dee, oh blah daa, la la la la life goes on”, twice. That’s it; a simple song, great in its simplicity, an everyday story of life and love. Study the structure and how the verses compliment the chorus, elaborating a little on the story, progressing through time with each verse.

Visit my site at: http://www.paulfreynet.com

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Feeling sad? See How to write a Sad Song

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By Seth Lutnick

Some songs make it big. They get endless radio and media-of-the-moment play. They top the Billboard charts. They launch great careers. One song, one hook, is often all it takes. And most songs – the ratio is probably too big to calculate – do not. A lot of it is simply “luck.”

And yet, there are specific elements that most breakout hit songs have in common. What are they, and how can you use them to write your own breakout hit?

The Best Way to Write a Song Is Not to Write a Song

You read that correctly.

It’s almost impossible to force a great song into the world. I don’t care what software you are running, it’s almost impossible to achieve brilliance without genuine inspiration. Let’s face it, music is an emotional language. You can’t intellectually or mathematically create an emotionally powerful piece of music.

If there is one rule that I work by, it is this: the best songs write themselves. Both the lyric and melodic hook will come instantaneously, will grab you by the lapel and scream “write me!”. THEN is the time to sit down and really get to work. Writing a great song is like making a sculpture. The stone is already there, you just need to bring the beauty out of it by careful craftsmanship.

Captain Hook

Think about the following phrases: “Yesterday”, “Uptown Girl”, “Maria”, “Jingle Bells”. Unless you just landed on the planet Earth, those words immediately got a melody going inside your head. A hook is where a simple phrase of a lyric and a simple turn of a melody come together and get stuck in your brain. It’s called a hook, because it catches you like a fish. I just produced the musical Man of La Mancha, and for many nights I could not sleep because of “The Impossible Dream”. Yes, because I couldn’t turn that song’s irresistible hook off in my head, dreaming was indeed “impossible”.

Hooks can be simple or complicated, but they must be clear. Beethoven, in his fifth Symphony, has a four note hook. In some songs, the hook is the whole song, repeating in a manner almost hypnotic. In others, it is something that you wait for and happens only two or three times in the course of the song. Marry the melodic hook to an evocative and clear lyric hook, such as “don’t kill me again” or something like that, and you are on your way.

Oh, I Know What You Mean

TV shows like Seinfeld were amazingly successful because so many people related to the characters. Everybody feels like George at some time. Every couple has “their song” that they relate to.

Listeners will connect to your song much more if they can relate to what is being said. You can write about situations that many people find themselves in, such as a new relationship or a changing phase of one’s life. People turn to music when they are dealing with life’s moments, so consider writing music to talk to them about those moments.

Who Done It?

People love a good mystery. They love having something unknown to look forward to. And they love it even more when you surprise them with more than they expected.

That’s a great rule for songwriting. If I start out with a lyric such as “I’ll let you live until Sunday”, I have created suspense. Who am I going to kill on Sunday, and why? Then you can tell a great story. This keeps people listening. If you then deliver a zinger of a surprise, you’ve written a great song. A song is indeed a story. It doesn’t have to be narrated, but it should make promises and reveal new surprises with each verse.

The Arc of Triumph

Have you ever listened to Ravel’s Bolero? It is a Spanish dance with one basic A-B phrase that repeats endlessly. And yet, for some reason, it is immensely popular and deeply satisfying to listen to. Why is that?

It is because Ravel build an arc. With each repetition, the instruments change, the orchestral depth changes, and eventually the piece builds to a full orchestral climax. Ravel masterfully draws the listener in through his arc of energy.

You can do the same thing in your songs. If you start off at full steam, you have nowhere to go. If you start simply, and let the song grow, you can enchant the listener, bringing him with you on your musical journey. Just when you reach a climax, you can write a bridge that completely changes the energy. After the bridge, you come back to the refrain, and then the listener has a feeling of having come back home again. Awesome.

Consider how your song will have an arc of energy to it, and make it dynamic and dramatic. Don’t hold back!

What Was That About?

If there is one thing that really bothers me about a lot of songs, it is this: I don’t know what the heck the song is about! If it takes me more than two listens to figure out what the song is saying, something’s wrong. “Abstract” songs that only mean something to the writer or require accompanying notes are simply self-indulgent. If you want that, fine. But don’t expect it to be a hit (unless you follow its publication with a high profile murder, which I don’t recommend. Think of the families!) You are writing to say something, so say it! Don’t talk around it.

That does not mean that every song has to be simplistic. Songs can and should have layers of meaning. What I am saying is that by listening to the song once, I should clearly grasp the surface meaning. Then, each time I listen, I gain new insight and see the deeper levels. What is greater than a song that provides continuous discoveries?

Shoot the Messenger

Performance is important. Recording quality is important. Being able to sing on key, with emotion and expression, and with clear enunciation are absolutely essential. If you can’t sing well, get someone else who can. You don’t need to be Barbra Streisand, but you don’t want somebody listening and saying “that person cannot sing to save themselves” either. If you believe in the song, give it the best possible presentation.

Same goes for recording. If you know what you are doing in a home recording studio, by all means do your demo there. If not, I urge you to have it professionally done. This will do two things: 1) you will think twice about your material and make sure it is ready before putting down money to record it, and 2) you will get a recording to be proud of. Your goal is to write a hit song, so don’t torpedo your fantastic work with a bad recording.

Nobody can guarantee that the song you write is going to make you the next Big Thing. In life, there are things that we control and things that we only influence. We control the song that we write, but we only can influence how successful it will be. It’s best to focus on what we control and to write a compelling, moving, unforgettable song. Then, we will do the best we can to record it to excellence, and promote it to success.

Seth Lutnick is a musical theater composer, performer, and producer. He has recorded two CDs of Hebrew music, and has written and composed the musical “Rewrite the World”. Check out his Songwriter Power Tools at his site, The Music Zone.com.

Article Source: http://EzineArticles.com/

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By Alex Forbes

The main ingredient that distinguishes a perfectly respectable “album cut” from a hit song is the presence of a killer hook. But if hooks like that were so easy to create, we’d all be millionaires! How can you enhance the impact of your songs’ hooks to appeal to both audiences and the People Behind Desks? Read on!

To make this article more useful, gather up your 3 strongest or most recent titles, hooks or choruses, so that you can apply what we’re discussing to the “real world” of your material.

Tap Into Your Personal Experiences For “Nuggets of Truth”

It’s my firm belief that the old adage, “write what you know” is applicable to songwriting as well as prose. Although some of us prefer to believe we can write about anyone and anything, our most meaningful and successful songs usually spring from “real life” experiences, and our responses to, and interpretations of, those experiences. Each day we spend on the planet, observed through the prism of songwriting, offers innumerable creative possibilities. The seeds of brilliant songs often lie just beneath the surface, but the writer must be willing to nurture their growth.

Let’s say you’re starting with a blank slate: germ of an idea brewing, recording device turned on, and instrument, voice or blank page ready and waiting. How do you go about extracting the proverbial Killer Hook from your precious “nuggets of truth”:

• First, ask: what is true, real, intensely felt RIGHT NOW in your life? Be attentive to those flickers of realization, your “aha! moments.”

• What experiences do you have a burning yearning to share?

• What contribution do you want to make to the world?

• What makes your angle on life unique, compelling, interesting?

• In the movie “Walk The Line,” Sam Phillips asks Johnny Cash what song he’d sing if he was dying in a ditch on the side of the road and only had 3 minutes left. What hook would you sing in that situation?

• How can you arrange words and/or musical notes to get your “soul” down in song?

• Get crazy, be bold, bare your deepest truth or your silliest notion.

• Your job as a songwriter is to express what others can’t express. Go overboard!

Now take a few minutes and blurt out what comes up for you. Really dig in there and fearlessly sing, write or play something, anything, as long as it rings true. This is a great exercise to try any time you have 10 minutes to spare.

Next, start to put that spark of inspiration into song form. Stay connected with the essence of your personal experience as you begin to experiment with lyrics and music.

Ways to Enhance the Impact of Your Song’s Hook(s)

In the Verse/Chorus song form — the most common form these days — the chorus, and especially the hook, is where you “deliver the goods.” It’s the equivalent to the summation to the jury, the punch line of the joke, the revelation on the mountaintop. Every verse, every pre-chorus, every bridge, every line and every note leads up to this ultimate payoff. A great hook (and chorus) is packed full of meaning, fun, passionate intensity… or all three! It can’t be overemphasized that your hook has to really Rock Their World. But first, it has to rock YOURS. It has to ring true to you.

• Boil your Big Idea down into the smallest possible expression of its essence: your hook.

• Stay simple-yet-elegant. Less is usually more.

• Don’t pussyfoot around. Be bold and risky. Always take a strong point of view!

• A great line bears repetition. If it’s worth saying, it’s usually worth saying again.

• Make your song move rhythmically. People want to be SWAYED in more than one way by your song.

• Think of it this way: your hook is the hub of the wheel, and the other song elements are the spokes.

• Marry your melody to your lyric so that each intensifies and deepens the other.

• If you are thrilled by your hook, “they” probably will be too. And if you’re holding back, they probably will too!

• Show off your “money” note, your slammin’-est groove, your cleverest line, your most unusual concept in your hook. Aim for the bleachers, emotionally and creatively.

Give Your Hooks Mass Appeal

Singles are distinguished from album cuts by their catchiness, accessibility and freshness. And the hook is the key to that mass appeal. Most listeners and People Behind Desks couldn’t sing all of a song’s verses back to you if they tried. But most CAN remember a killer hook or chorus. For those of you who are driven by thoughts of financial gain, singles are also where the money is. (But remember: selling doesn’t mean selling out!) When you get to your main hook, hit us with fresh language, chords and melodic movement to wake us up physically, emotionally and spiritually. The might mean:

• An impassioned title or lyrical line: a twist of phrase, an unforgettable image, or an emotional outpouring that rings true

• A peak moment for the vocalist. This could be a high note, a long note, a rhythmically cool pulse or movement, a fresh interval, a repeated pattern or melodic sequence, etc.

• A catchy-as-hell instrumental riff or chordal pattern

• An underlying rhythm or groove that sweeps up all in its path

• Enough repetition to be catchy without becoming boring

• A striking contrast to whatever comes before and after (verses, pre-choruses, bridge), so that your hook stands out in an obvious way

Remember, more Hooks-Per-Square-Inch is better! In this day and age of sensory overload, listeners thrive on intense songs that cut through the clutter. We WANT to be moved on all levels. We’re hungry for depth, for truth, for emotion, for humor. Strive to discover the universal within the personal, the specifics of real life. Make your song paint a picture or create an environment people can live in.

By following these guidelines, and learning from songs that are hits in your chosen genres, you can make your songs more accessible, satisfying and commercially viable.

Happy songwriting!

Copyright 2006 Alex Forbes

Award-winning hit songwriter and songwriting coach Alex Forbes is the founder of http://CreativeSongwriter.com She has had over 65 songs released and has placed numerous songs in feature films and on TV. For more free articles, one-on-one coaching, song critiques and more, visit Alex online at: http://CreativeSongwriter.com Alex is also the author of “The Songwriter’s PlayBook: 10 Weeks to Better Songs.”

Article Source: http://EzineArticles.com/

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By Guest Blogger Del Boland

I think we’ve all heard that we should enjoy the journey. This may be applied to many things including life itself. However, this adage is particularly true in the process of songwriting.

Songwriting has been an enjoyable avocation for me. Of course, there are ultimate goals that I would like to achieve, but there is also the everyday enjoyment that comes from learning and creating something new. Besides, we all have a choice. We can rush through the songwriting process to make millions of dollars, or we can enjoy every step along the way with better probabilities for retaining what we learn. Taking the process one step at a time allows us to truly appreciate songwriting as an art and it teaches us the more important reasons for writing songs in the first place. That is, we can find fulfillment from songwriting even when the songs do not produce income. It is a wonderful form of expression, but there are many examples of great songs that never received the attention they deserved so there are no guarantees. It makes a lot of sense to me that we, as songwriters, should sit back and enjoy the process and build on the elements of songwriting. In the process of learning, you can build musical collateral for the future.

In my foray into songwriting, I developed a better understanding of the music business environment. I think it is very important to understand the roles of publishers, A&R professionals, labels, producers, agents, managers, song-pluggers, and recording engineers. In addition, I continue to learn about the various types of songwriting contracts as well as better understand the various organizations that support songwriters such as ASCAP, BMI, SESAC, and The Harry Fox Agency.

I believe success is part inspiration, preparation, perspiration, and opportunity, but it is also somewhat dependent on the order. We sometimes take our preparation for granted when it is in the context of growing up, but, as kids, we are in preparation for our respective careers from the day that we are born. In essence, a true opportunity cannot exist unless we are ready, willing, and able to take full advantage of it. For example, an executive interview with a Fortune 500 company would provide no particular value to a toddler. Additionally, some events can be characterized by our state of readiness at the time that it occurs. If I had met Paul Simon when I was 10 years old, for instance, it would most likely fall into the inspiration category. If I met Paul Simon today, I would like to think it might fall into the opportunity category.

This leads very nicely into the element of developing relationships. We should learn the importance of developing relationships along the way. You never know when you might be talking to someone that can help you get your big break, so it makes a lot of sense to treat everyone you meet with respect. It is difficult to see clearly through the haze of uncertainty during these times, but it pays to give consideration to every aspect of the music business and not develop harsh opinions too quickly. Unfortunately, there are a lot of negative opinions about recording labels today. While there is greed and excess found in all industries, the recording labels are taking a beating as some artists have found success outside the influence and control of the labels. It still makes sense to maintain all options and to consider any opportunities that might be presented without harboring ill feelings or preconceived notions. While the labels are certainly struggling, they still have strong relationships in the areas of mass media, marketing, and distribution.

Some folks believe that the new music paradigm is a road to success for ALL independents, and it is simply not true. This problem has not changed over the past 50 years. The problem is getting mass media exposure. The Internet is great, but it is vast and still somewhat random in nature. Stated differently, if everyone knew your name or the name of one of your songs, they would be able to find you. However, if everyone knew your name or the name of one of your songs, you would have already achieved your goal. It remains necessary for independent artists to be discovered and then promoted in a mass media setting. Word of mouth is certainly a viable alternative, but you must have a product that grabs the attention of a large audience which is not so different than the more traditional forms of media exposure when you think about it.

So far, I have concentrated on the surrounding elements, but it is also possible to experience more direct personal gains. For example, as a self taught musician, I find myself frequently searching for new techniques and opportunities for development. I was surprised to find songwriting as an opportunity for improving as a guitarist.

In short, I have learned a lot from the necessity for producing the very same sounds with my guitar that I can sometimes hear in my mind. It has proven beneficial beyond any other traditional forms of learning such as guitar lessons, articles, methods, video tapes, or techniques. For me it was a wonderful discovery to find this particular benefit as an extra bonus while continuing to learn about songwriting. Learning more about the guitar is only one example of my particular songwriting journey. Obviously, each learning opportunity will be different for each individual.

Songwriting has opened doors for me in other areas as well. Before I began my journey into songwriting, I found it very difficult to express myself lyrically and musically. It was like a barrier existed between me and the ability to write songs. The songs were very fuzzy to me and not particularly well defined during that time. I knew the songs were there, but I did not know how to tap into this creative yet seemingly elusive resource. After reading books and taking some courses, I managed to find some valuable resources and I am now in the process of “finding my voice”. In the meantime, I am finding new doors to open and new areas to explore.

One of the benefits I discovered in this process of learning was building confidence in my ability to write songs. After writing a few songs, I found it easier to write even more songs. The more I write, the more I write. I am now taking a little more time to address specific elements, so I haven’t been quite as prolific, but I know what I am able to accomplish.

Perhaps the greatest single benefit that I’ve discovered is the ability to express myself without fear. Yes, it does get me in trouble from time to time, but it is also important to know when NOT to express our innermost thoughts. For an aspiring songwriter, this ability to express oneself is a desirable trait. That is, a songwriter must be comfortable enough to express many thoughts and emotions that we as humans have learned to suppress. However, an additional word of caution may be necessary. Similar to our relationships with people, our songwriting success is dependent on our ability to provide a point of view with which many others may be able to relate. Alternatively, as a form of art, we may be at liberty to create points of view that are difficult to understand but we are also at risk of not finding an audience when we fail to appeal to the general public. Such songs exist, but many of these songs may be categorized as “lost art”, as it is unlikely that a lot of people will hear songs that do not speak universally to their unique sets of circumstances. For the pure songwriter, it is almost impossible to get an “artsy” song published or recorded.

Of course, singer songwriters have the distinct advantage of playing their own songs, which allows them to jump over the barriers that exist for pure songwriters. That is, performing artists and producers, set apart from singer-songwriters, are very selective in the songs (written by others) they include as part of their CD or compilation. This brings up yet another possible benefit of the songwriting process. That is, folks who feel very strongly about their art might be less likely to adjust to the rather narrow market for songs. This creates the necessity to develop as a singer songwriter. It makes sense for the singer-songwriter to also find opportunities to perform in front of an audience. Of course, becoming a singer songwriter may satisfy one condition for this particular group, but it also makes it twice as unlikely to breakout. In particular, the artist must now write songs that connect with a significant portion of the listening public and have a sound, as an artist, that is appealing as well. Playing in front of an audience provides feedback that can be very useful for “developing a voice” for this group of songwriters.

I have learned the importance of communicating thoughts very efficiently. Songwriting generally gives us about 3.5 minutes to convey a thought or an idea. This is the reason why you don’t hear songs that explain how to build the space shuttle. It is not possible to convey thoughts that are too complex in a limited amount of time, so decisions must be made. This process involves organizing my thoughts and making the best use of the time available, which requires me to select my words carefully.

I have learned how to work together with others in a creative environment. Collaborating can be very rewarding for songwriters as it provides an opportunity to learn from others. It also provides the opportunity to lend a particular strength to a collaborative effort that may have a greater chance for success. For example, a great lyricist can sometimes find a great composer. Perhaps the lyricist and composer may also find someone with a great voice to help capture the attention of an A&R professional. With the availability of inexpensive recording equipment and the ease with which files are transferred, this can now be done long distance via the Internet.

Finally, like the adage “a journey of a thousand miles begins with one step”, it is important to begin the process. I’m not an expert on psychology and building momentum, but it seems likely to me that the moment we commit ourselves to accomplish a goal, then the burden of the initial decision making process is usually set behind us. It also seems reasonable that our own acceptance of a desired goal is key to success. Taking the first step requires that we accept the task or project in which we have selected. This act alone can provide sufficient motivation to begin the process because we have convinced ourselves of the potential value for starting such a journey.

Article distributed by permission of Del Boland and Bluemusepublishing.com http://www.Bluemusepublishing.com is a free online community for songwriters, bands, and musicians.

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By Guest Blogger Kathy Unruh

Songwriting is one part inspiration and one part perspiration. It doesn’t matter whether you have a lot of ideas and catchy phrases floating around in your head. Unless you get them down on paper, they won’t do you any good at all. I suggest you buy yourself a small pocket notebook and keep it with you at all times. That way you can easily jot down any creative thoughts you have during the day. This should provide you with plenty of material when trying to write a new song.

Developing your listening and observational skills is another important aspect of songwriting. The gold nuggets are out there, sometimes you just need to dig a little deeper in order to find them. They are lurking in the conversations you hear, the road signs you pass, the T.V. commercials you watch, the newspapers and magazine articles you read. John Lennon wrote the Beatle’s song, “Happiness Is A Warm Gun” after seeing a gun
magazine sitting on a coffee table with that headline written on it’s cover. Likewise, The first lines of Roger Miller’s song, “King of the Road”, were written after seeing the words: “Rooms To Let 50 Cents” and “Trailers For Sale Or Rent” on two separate road signs and then reversing them.

As you have probably noticed, people love to tell stories and talk about themselves. As a songwriter, you can use these tendencies to your advantage. Try putting yourself in someone else’s shoes when they’re talking to you. Listen for any repetitive statements they make. Take mental notes. What stands out? What do you remember most about the person? What impression are you left with? Write it down. Fictionalize, exaggerate or minimize the information to suit your lyric.

Real life stories offer great material too. Consider Bob Dylan’s song “Hurricane” for instance. It’s woven around the true life story of a black prize fighter by the name of Hurricane Carter. Carter was falsely accused and then sentenced to life imprisonment for a murder he did not commit. This event sparked a protest movement involving some celebrities who made several unsuccessful attempts to secure his release. Years later, when a major motion picture staring Denzel Washington was created about the story, Bob Dylan’s song “Hurricane” became a natural choice for the background theme.

Words tend to create their own rhythmical pattern according to how they are placed within a sentence or phrase. So, after you’ve collected some good ideas in your songwriting notebook, try to use the material to create a “hook” for your song. Be willing to experiment with different ways of saying something. Listen to the melodic structure as you speak. Take note of where your voice rises and falls. Try singing what you hear. Sing the lyric high, low, fast, and slow. Try it with a country twang, or a bluesy feel. All these things can help spark the intuitive side of your brain.

Even after you’ve tried all these methods however, many songwriters will tell you their best songs come when they aren’t even trying! Now why do you suppose that is? I believe it has something to do with being relaxed and open enough to receive what your subconcious mind has to offer. All your past feelings and experiences are stored in there somewhere. But these resources are often blocked from your conscious mind as a result of tension and stress. And it is commonly understoodthat when a person’s songwriting efforts become strictly mechanical, the results will be generally poor.To prevent this from happening to you, go for a walk, listen to music, or do something else you enjoy for a while. Taking a break can work wonders to refresh your creative spirit!

Becoming a good songwriter will require time, dedication and effort on your part. Learning to listen to others, follow your intuition, and being open to trial and error are some of the things you can do to cultivate your skills. But many gifted songwriters give up as soon as they encounter difficulties. They become discouraged when they hit a mental road block and feel their creative juices have stopped flowing. While other, less talented individuals, go on to have successful songwritng careers simply because they learn to persevere. Do you see problems as stumbling blocks or stepping stones? How you respond to obstacles will make all the difference in becoming the songwriter you dream to be.

Kathy Unruh is a singer/songwriter and webmaster of ABC Learn Guitar. She has been writing songs and providing guitar lessons to students of all ages for over 20 years. For free guitar lessons, plus tips and resources on songwriting, recording and creating a music career, please visit: http://www.abclearnguitar.com

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By Guest Blogger Steven Wagenheim

In my last article, I gave a bit of an introduction to song structure. In this article, I’m going to tackle three common song structures and hopefully give you a decent idea of how to go about utilizing them.

I mentioned that a gentleman by the name of Phil Sims (again, no relationship to the football player) taught me about AAB form many years ago. Actually, it was 1984. Hard to believe 25 years have gone by. Anyway, AAB form is where you take a main musical idea for the first part of your song, repeat it for the second part and then for the third part, slip in a totally different idea musically. An example of an AAB song would be “Raindrops Keep Falling On My Head” written by Burt Bacharach.

The beginning of the song that begins, “Raindrops keep falling on my head…” is the first A section. The second part of the song that begins “So I just did me some talkin’ to the sun…” is the second A section. The reason it’s another A section is because it has the exact same melody as the first A section. The part of the song that begins “But there’s one thing I know…” is the B section. The reason it’s the B section is because the musical idea is different from the A section. The melody is different. If you listen to the song, you can clearly hear this.

AAB is used by most of the old timers of writing. It is the so called “correct” way of writing a song, according to many composers. I’m not so sure I totally agree with this theory, but I will say this much. If you can master the AAB form of writing, you can probably write just about any other song structure that there is.

Another popular song structure is verse, chorus. If you listen to a lot of rock and roll, you will find this structure all over the place. In many songs you will find verse, verse, chorus. Now, if this seems to be similar to AAB, it is, but there is a big difference between the two. With AAB the A section is the main part of the song. With verse, verse, chorus, the chorus is the main part of the song. So while the structures seem to be similar, the feel of the song is totally different for each.

An example of verse, chorus would be “Highway To Hell” by AC/DC. The verse starts out “Living easy living free.” The chorus, about nine lines later is simply a few lines “Highway To Hell” repeated. Yes, that’s the whole chorus. A chorus does not have to be complicated. This is a perfect example of one that is very simple. An example of verse, verse, chorus would be “Brother Louie” by Stories. The first verse begins “She was black as the night…” The second verse begins “Nothing bad, it was good…” The chorus is the section that begins “Louie Louie Louie, Louie…” It’s not my favorite song of all time but it’s a classic example of verse, verse, chorus. The verse, chorus form is commonly referred to as AB. However, I feel that verse, chorus more correctly identifies it.

Another song structure, though not as common, is AAA. This is very hard to write well. As I said in an earlier article, a lot of Bob Dylan songs are simply AAA. To pull these type of songs off, you need a really compelling story and set of lyrics. The reason is obvious. You don’t have a chorus or B section to break things up. So musically, AAA can get to be pretty monotonous. This is why you won’t find a lot of people writing in AAA unless they are either extremely talented or don’t know any better. I should know. I used to write some pretty crappy AAA tunes about 30 years ago.

Okay, here is what’s important that you take away from this article. It doesn’t really matter what song structure you use. What DOES matter is that you understand each one, how it works, what it sounds like and how to use it in a song.

The rest will come.

To YOUR Songwriting Success

Steven Wagenheim

Want to get more great FREE tips on songwriting? Visit my blog at http://songwriting-tips-online.blogspot.com/

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Most people know what melody means. Some people even equate it with harmony itself. However, in the strictest musical sense, these are two very different things with very different purposes. If you want to learn what the difference between melody and harmony is, then read on for a basic introduction to two of the most important elements of music theory.

Differentiation

A melody is basically the one which dominates the whole musical phrases or sections of a song, while the harmony of a song is the one that’s used to complement the melody. Think of it this way: A melody is like your tee-shirt, and the harmony is the print, design, and colors of your shirt. However, this doesn’t mean that a plain melody without the harmony is boring in itself. Just think of how many shirts are ruined because of bad designs and colors. This means that a melody can be pleasant with or without a harmony. On the other hand, harmony is used to heighten the effect of a musical phrase/section. Think of how many good shirts look even better because of their cool print designs.

Melody: The Basics

To further understand what the technical differences are between a melody and a harmony, you have to understand what each one is first. As cited in the previous paragraph, a melody is the main series of notes that basically stand out. For example: the melody of a Happy Birthday song is easily recognizable. Its melody is simply the one that you sing (the lyrics). To choose another example (and to be a bit more technical), imagine a song in the key of C in a 4/4 measure. With this, a common example of a melody would be a series of notes that’s made up of C, D, E, G, A, G, and back to C, in that order.

Using Scales for Melody

Most musicians will recognize the previously mentioned group of notes as a pentatonic scale, in the key of C. Pentatonic scales are the most common group of notes that are used as a melody for a song. A musician can basically reorder these notes (or add some more) to form variations of the melody as the whole song progresses. The pentatonic scale is just one example; there’re certainly other scales out there that you can use to create melodies from, such as the basic Major Scale. In the key of C, the group of notes in the Major Scale would be C-D-E-F-G-A-B.

Harmony: The Basics

A song can still sound beautiful even without a harmony. However, if you really want to heighten the effect of particular sections of a song, then your best option is to use harmonies. Harmony is basically the complementary notes that you hear alongside the melody. Think of an A Cappella group of four people wherein they sing in different pitches (soprano, alto, tenor, or bass). Or, think of a high-pitched voice of a woman, and a lower-pitched voice of a man. Imagine both of them singing a song and complementing each other’s vocal parts. Duets like this are usually sung with harmonies, and not with octaves (octaves are just higher/lower forms of the same note, like lower-C to higher-C).

Scale Numbering

To use harmony, you only need some knowledge of scales to guide you. As mentioned before, you can use basic Major/Pentatonic Scales. The numbering system is useful in this method. The Major scale is always the reference to the numbering system of the notes C-D-E-F-G-A-B. Translated, they would be numbered as 1st (C-note), 2nd (D-note), 3rd (E-note), and so on. In the key of C, the number 1 is the C-note, and its other contrapuntal (or harmonic) notes would be the 3rd and 5th-notes (E and G).

Counterpoint

Though it’s basically defined a little differently, counterpoint is actually related to harmony. Always remember that the most common starting note to use as a harmony is its contrapuntal notes of 3rds and 5ths. There are other counterpoint species you can use, but these are the most basic. On a guitar, when you see the chord C9, that means that you must add a 9th-note (or 2nd-note) to emphasize a harmony or counterpoint within that section of the song. The harmonizing 9th-note is the same as the 2nd-note, by the way (key of C, with a contrapuntal D-note on the C-chord).

To sum it all up in basic terms, a harmony defines a melody. But a harmony, by itself, becomes a melody.

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A chord progression is basically a group of chords that you use to create music. It is usually utilized with the intention of moving towards a definite goal in order to establish a basic tonality. Tonality is a form of musical system that’s centered on a tonic (or based around a root note of a Major scale). If you want to learn more about chord progressions, then this article will function as a basic overview.

A Technical Definition

As suggested in the introduction above, the basic definition of a chord progression is that it is a series of chords that’s founded on one Major Root note. However, to be more precise, chords which are organized to form a song is what’s called a progression and it basically follows a Major or Minor scale. For example: in the key of C, its Major scale is C-D-E-F-G-A-B and numbered in the classical tradition of 1-2-3-4-5-6-7.

The Numbering Method

Traditionalists basically use roman numerals instead of the one mentioned above (i.e., I-II-III-IV-V-VI-VII). However, this article will use a more modern approach. The first note (1) would be the C, which is also the root note. Following this, 2-3-4-5 would be D-E-F-G. In this numbering method, when a piece is asked to fill in a fifth chord in the key of C (or C Major Scale), that means that you have to provide the G chord. All chord progressions follow this basic number method as a guide on which chords you should pick when choosing a musical piece that’s centered on a Major scale tonality.

Rules & Patterns

In the chord progression of a Major scale, the numbering method is usually followed by some rules that you need to remember every time when creating a musical piece. A C Major scale of 1-2-3-4-5-6-7 is actually patterned as Major (1), Minor (2), Minor (3), Major (4), Major (5), Minor (6), and Minor (7). So that would mean that a C Major scale’s chord progression would be C Major, D Minor, E Minor, F Major, G Major, A Minor, and B Minor. Think of it in this way: 1M (capital letter M means Major), 2m (small letter m means Minor), 3m, 4M, 5M, 6m, and 7m. To better remember if the spacing of each number/note is either a whole step (in guitar, that means two frets higher) or a half step upwards (one fret higher in guitar terms), always put in mind that the numbers 1-2-3-5-6 are whole steps, while 4 and 7 are half steps (semitones).

About Transposition

In transposing a Major scale’s chord progression, it’s important to note that the same pattern applies to the numbering method. If a key is transposed from C to D, then you should consider D as the Major Root note (a whole step upwards). The 1-2-3-4-5-6-7 pattern is then translated as D-E-F#-G-A-B-C in this transposition. To be precise with the correct minor and major rules, the pattern would then be DM, Em, F#m, GM, AM, Bm, and C#m. In transposition, chord progressions can still follow the basic number method so long as you’re aware of how many whole/half steps you’re going to make to achieve the correct transposition.

Basic Progressions

Classical music is sometimes filled with many chord progressions. With modern music, it’s actually a lot simpler. You can basically get away with only 2 or 3 chords when creating a song. Some songs even incorporate a mere 1 chord. However, the most common chord progression nowadays is only about 3 chords. Using the numbering method, the pattern would look like 1M-4M-5M. Nowhere is this pattern more prominent than in today’s blues and rock music. The idea that only 2 or 3 chords could be used on a song seemed ridiculous before. But as with everything that concerns music, it’s all about enjoyment.

Evolution

People nowadays certainly lean more towards rhythmic patterns than complicated chord progressions. However, that doesn’t mean that 5 chords on a song are no longer applicable. It just means that music is an evolutionary process that has no specific destination. Who knows? Maybe in the future, people will lean more towards a legato trend than actual rhythmic/dynamic patterns or chord progressions. Nobody is entirely sure, but one thing’s for certain, things will work out fine and chord progressions will always be there.

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