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Using rhyme effectively within your songs is something that you, as the songwriter, are likely to aiming for. In this article Songstuff author Anthony Ceseri explores the use of rhyme within a song. Using A song by Evanescence, Immortal, as an example Athony goes on to break down the basics of rhyme schemes and when you can break the rules. By Anthony Ceseri
Does it make a difference how well lyrical phrases line up with melodic phrases? Using an example song we can look at exactly why it matters and understand what we as songwriters can do to improve our own songs. By Anthony Ceseri
Songwriters can sometimes cause offense without intending to. By writing lyrics intended to have a broad appeal this is easy to do. This is further complicated by shifting trends in language. Jon looks at the topic in detail and explains what he finds. By Jon Hanover
Choice of a song title is more important than you may think. This article, by Songstuff author Anthony Ceseri. covers key factors in selecting a title and the impact that can have on the success of your song. By Anthony Ceseri
Position lyrical phrases within your music so that the message you are trying to get through to your audience is the message they get. By Anthony Ceseri

By John Moxey

Introduction

What makes the difference between your songs and the most popular songs in their style?

You might say an immense advertising campaign including radio and television airplay, and you'd more than likely be correct, or at least partly correct. Some success can be explained by the fact that someone saw money to be made by releasing a song by a known artist but lets face it, everyone had to start somewhere and that usually involves getting people to:

  1. Listen to your song
  2. Like your song
  3. Want to hear your song again

In the case of A&R men and record and publishing company executives they have to:

  1. Listen to your song
  2. See a market for your song
  3. See if other people like your song
  4. See if other people want to hear your song again
  5. Like your song

To be signed the A&R men and record and publishing company executives also have to, among others:

  1. Be interested in the target market
  2. Have resources, or expect to have resources, to devote to that market (short or long term)
  3. Match that with whether they see you as a short or long term investment
  4. Believe that other companies are or would be interested

This doesn't hold true for all cases but it does take care of a lot of them!

To improve your chances of success try writing and promoting yourself with the A&R men and record and publishing company executives in mind. To do this you will need to do a little groundwork to prepare the way. This should help to focus your efforts and clarify the direction you are going in as a songwriter.

In the beginning?

Writing songs is not an exact science. There are many rules and techniques we can apply, that may help give a song a broader appeal. However, if we stick rigidly to these rules the result can often sound clinical, predictable and lifeless. If we ignore these rules altogether the result is likely to be a chaotic, self-indulgent piece with a limited appeal.

Each song then becomes a balance between chaos and clarity. But how do you find the balance that suits you? That, unfortunately, is something only you can answer but hopefully we can provide a little guidance and help you through the process.

First steps

Before you race ahead to read up on the techniques themselves or decide to explore the depths of freeform improvisation take a moment to examine your motivation for writing a song. What is the purpose of your song writing? Who are your target audience? The answers to these questions are important and can help you to focus your song writing efforts.

The purpose of writing your song will vary according to your role in the music business. You may be trying to change the world by the power of song, you may be trying to create a landmark song in terms of the creative use of melody and rhythm, you might be trying to write a song that people will dance to or sing along with, or you might be trying to cash in on years of writing experience that so far hasn't generated enough to buy a new set of strings for your guitar. Fundamentally, for any of these scenarios to be successful, our chances are greatly improved by understanding why we are writing a song.

If you are contracted to write a song for a specific purpose, such as for an advertising company, a play, a band or record company, restrictions are placed on you by another body, namely the client. Restrictions are likely to be the length of a piece, the style of the piece and sometimes a budget for creating the piece, depending on your full role.

If, as is more likely, you are writing songs and are yet unpublished, unsigned, or you have a contract that allows a significant degree of creative freedom, then you need to set your initial focus yourself. This can be difficult because it forces you to try and categorise your music and identify your target market.

In both cases you need to know and understand the music and the production of music in your principle target market. Some features are easier to pinpoint than others:

  1. Instruments
  2. Rhythms
  3. Effects
  4. Melodies
  5. Harmonies
  6. Riffs
  7. Loops
  8. Lyrics

To help yourself pinpoint these features you need to develop your Decomposition skills. A long way to understanding why some songs work better than others is simply to understand the building blocks of songs and how they fit together.



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