February 2019
Guild Tidings
The official publication of
The International Songwriters Guild
Volume 24, No. 2
The International Songwriter’s Guild meets at 5 PM on the first Sunday of every
month at the Central Florida Musician’s Union building, 3020 East Robinson St.,
Orlando, FL 32803 (at the extreme east end of Robinson, near Orlando Executive
Airport)
Songwriters, composers, performers, publishers, and the curious are encouraged to
join us. Non-members are invited to attend a meeting or two to get a feel for our
group and what we do. If you wish to join, there is an annual fee of only $5. For
more information, visit our website at www.tinyurl.com/isgsongs
The meetings will be structured as follows: 5:00 to 5:30, business, networking and
introductions. 5:30 to 6:00, presentation by a guest speaker (when scheduled),
or a short workshop/exercise. 5:30 or 6:00 to 8:00, song critiques.
Please bring a CD or I-phone or mp3 player or perform your song live, and bring 10
or more lyric sheets. If we have at least 5 songs by members who wish to be scored,
and 6 members scoring, then we will have them entered in the Monthly competition.
Everyone is encouraged to write constructive comments on the lyric sheets.
Any Details not in this newsletter are at:
If you wish to join our Facebook group, please check us out at
https://www.facebook.com/groups/831814850193553/
Web Chatter
by Cybertoad
Here's a blog from Cliff Goldmacher about handling critiques from other ISG members.
http://www.cliffgoldmacher.com/how-to-handle-a-songwriting-critique-from-a-group-of-your-peers/
Mistakes (Part 2)
By Jeff Mason
This article is a continuation of last month’s article “Mistakes.” I had reviewed a video discussion between song coach Robin Frederick and
TAXI president Michael Laskow. It took place on December 10, 2018 and the topic was “10 Mistakes Songwriters Make.”
https://www.youtube.com/watch?v=b7e40GkgzH8
Mistake Number Four; Writing Melodies That Need More Shape.
This is a common mistake. Robin says she used the word contrast to define the song’s sections but now prefers the word shape.
If you don’t use different shapes of melodies for the verse, chorus and pre-chorus you lose the listener. “Put yourself in the listener’s shoes.”
You need to provide a map and method for your audience. Robin says the song
“Stronger (What Doesn’t Kill You)” by Kelly Clarkson is a master class in melody writing.
https://www.youtube.com/watch?v=Q4Y-FbeCX14
Here are some of the lyrics, so you may see the different sections and line lengths.
“You know the bed feels warmer
Sleeping here alone
You know I dream in color
And do the things I want
You think you got the best of me
Think you had the last laugh
Bet you think that everything good is gone
Think you left me broken down
Think that I'd come running back
Baby you don't know me, 'cause you're dead wrong
What doesn't kill you makes you stronger
Stand a little taller
Doesn't mean I'm lonely when I'm alone
What doesn't kill you makes a fighter
Footsteps even lighter
Doesn't mean I'm over 'cause you're gone”
Robin does an analysis of this song’s melodic sections and I recommend reviewing this song’s lyrics to better understand her analysis. You can add
rhythm to your melodies, change the phrase lengths in different sections, add syncopation and when you hit the chorus stretch out the high note.
Each section should have it’s own identity. If you are writing songs in a particular genre take a look at some recent hits and view the lyrics. You will
see the different line lengths for each song. Today’s hit songs are different and influenced by R and B which in turn is influenced by Rap.
The Kelly Clarkson song is a few years old and has a huge anthemic chorus which isn’t so prevalent in today’s hits.
Another song which Robin breaks down is “New Rules” by Dua Lipa. https://www.youtube.com/watch?v=ZEyAEMA6ojY This is more modern
and is another master class in melody writing. The verses are conversational with lots of words. When you get to the pre-chorus she changes to long,
smooth notes and the chorus has more heavy, rhythmic patterns. Here are some of the lyrics, so you may see the different sections and line lengths.
“Talkin' in my sleep at night, makin' myself crazy
Out of my mind, out of my mind
Wrote it down and read it out, hopin' it would save me
Too many times, too many times
My love, he makes me feel like nobody else, nobody else
But my love, he doesn't love me, so I tell myself, I tell myself
One: Don't pick up the phone
You know he's only callin' 'cause he's drunk and alone
Two: Don't let him in
You'll have to kick him out again
Three: Don't be his friend
You know you're gonna wake up in his bed in the morning
And if you're under him, you ain't gettin' over him
I got new rules, I count 'em
I got new rules, I count 'em
I got new rules, I count ‘em"
Robin suggests listening to Selena Gomez and Charlie Puth and checking out the melodic patterns in their songs.This will give you insight on
contemporary pop music. Like fashion, music is always evolving and reinventing itself.
I think that with work and using this video as a guide you will begin to understand the subtle changes that have taken place in contemporary,
popular music. The third line, octave jump is no longer as common as it used to be. What Robin refers to as “the money note.” It’s still around
and an example would be “Stitches” by Shawn Mendez. It’s just not as prevalent.
https://www.youtube.com/watch?v=4iNC0NXKyNE
Don’t let your melody meander because it is a no-no
Mistake Number Five; You Need To Engage The Listener.
I think that this may be the most important mistake that we as songwriters make. It’s also one of the deepest conversations about songwriting
that I have heard. We need to express what we want to say and engage the listener immediately. Robin says, “We need to get inside the
listener’s head.” Michael says that it’s like a benign “manipulation.”
This is one of the tricks of storytelling. “A good story teller will start at the beginning and take you chronologically to the end. A great
storyteller will drop you in the middle of the action.” “Start the song at the peak moment, the moment when the most interesting stuff is taking
place.” She talks about “Treat You Better” by Shawn Mendez which starts with these lines, “ I won’t lie to you, I know he’s just not right for you.”
https://www.youtube.com/watch?v=UKia3wmPrvM
The song starts with a conflicting situation. Right away the listener is drawn into this drama. In the following verses you can fill in the back story
but not too much. Robin says that if you need to go back in time keep it to about 10% of the song. Also, keep the song in the present tense.
This goes back to the second verse working better as the beginning verse. It’s the meaty part of the dish.
Another song that Robin uses as an example is “Style” by Taylor Swift. It starts with these provocative lines.
“Midnight, you come and pick me up, no headlights
Long drive, could end in burning flames or paradise
Fade into view, oh,”
Right away you are involved in a drama that could end up being good or bad. The “no headlights” alludes to something clandestine.
https://www.youtube.com/watch?v=XbT0i07CiyM
“The peak moment is #1 When the singer makes a decision. #2 When the singer takes an action or #3 realizes something."
The last example of a song engaging the listener is “Slow Dancing In A Burning Room” by John Mayer.
https://www.youtube.com/watch?v=UCpwMfqXxgw
The song opens with these lines.
“It's not a silly little moment
It's not the storm before the calm
This is the deep and dyin' breath of
This love we've been workin' on”
Robin explains it like this. It makes the listener “a fly on the wall.” Of special interest is the fipped cliché, “the storm before the calm.”
Finally, Robin says we must write for others and learn how to appeal to others. Start with your own heart and stay in touch with your emotions.
That’s it for this month. There’s a lot to work on here. Happy songwriting and I’ll see you next month.
ISG Bulletin Board
Meeting space graciously provided by Central Florida Musicians Association,
Local 389. You are invited to join the largest union in the world, representing the
interests of the professional musician. Visit their website at afm389.org for more
information. You may reach them by phone at: 407-894-8666.
Why isn't your gig announced here? Members in good standing
call SusieCool with your appearance schedule! 407-760-2153
If you are interested in open mics in the Central Florida area, SusieCool has compiled a list.
https://sites.google.com/site/susiecoolsongs/Home/open-mic-directory-central-florida
If you want to join us at the Central Florida Folk song circle, please show up at
Bikes, Beans and Bordeaux at 3022 Corrine Drive on the last Wednesday of each month
from 6 to 8:30/9pm. The BBB has many delicious items on their menu, and also some vegetarian stuff.
They also serve beer and wine. They have a Facebook page:
https://www.facebook.com/Central-Florida-Folk-Song-Circle-139385302761066/
On February 20th we have a playing circle with the Fingerstyle Guitar Group
in the Community room of the winter Park Library.460 E. New England Ave. Winter Park,
FL 32789. 6 to 8:30pm. The event usually takes place on 3rd Wednesdays, but sometimes
2nd Wednesdays. Songwriters are welcome, but we do try to play our fingerstyle
songs and not use picks. There is more info on the facebook group page.
https://www.facebook.com/groups/228147620559285/?fref=nf
SusieCool is the admin for a Facebook group called "Orlando Creative Music Network"
where we give out info on songwriter meetings, playing circles, open mics, workshops and concerts.
We have a Facebook page for this group if you want to join.
https://www.facebook.com/groups/274152179716552/
Current members please send us your website info if you would like your site to be
listed in the ISG members page.
https://sites.google.com/site/isgsusiecool/home/links-and-recommended-reading/member-websites
No Critique contest for January
New members always welcome!
© 2019 ISG