July 2004
Guild Tidings
The official publication of
The International Songwriters Guild
Volume 9, No. 7
NEXT MEETING - 5:00pm Sunday, July 4th 2004
President's Letter
Dear Members,
Happy 4th, that’s the same day as our meeting.
Several have asked if we’re really going to have
the meeting on the 4th of July, and I’ve said why
not? I remember several years ago that date came up, and we had a great meeting. We meet early (5:00) and it’s daylight until 8:00 anyway. Before when we had the meeting, several of us went to Lake Eola afterwards to watch the fireworks. It’s only five minutes away, so maybe some of us can do that again.
I’ve been contacted about something new that sounds interesting. It’s called Radio Revolution Live 365.com. It’s an on-line music library. We can promote our songs to thousands of broadcasters on the world’s largest internet radio. They claim 5000+ internet radio broadcasters will hear the songs. And they can be screened and picked up for Live 365’s on-line music library. You can visit the live music library yourself at www.live365.com . You can even start your own “radio station”. Check it out. We’ll talk about it at Sunday’s meeting.
Last meeting was great! We had many new songs to critique. We have some great new members. A nice surprise was long-time member Bill Frank, who drove from Indian Harbor Beach. He has a government position and travels world-wide. He has always been one of our better writers and we’ve missed him. It was really good to see him again. Also, Wally Zober was back and picked more new ISG songs to publish. Wally says he’s elated with our recent guild members.
Long-time member Bob Konecnik just called to tell me his father died. Bob has been taking care of his father and has been unable to come to our meetings from Sarasota in some time. We’d like to offer our condolences, and look forward to
seeing Bob again soon.
Looking forward to seeing you all Sunday.
Russ Robinson
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Musical Variation
By Matt Griffin
You hear this sort of comment all the time at our ISG critique sessions, something like “the music got monotonous after awhile” or “the bridge/chorus music sounds just like the verse music”. For some reason, a song just doesn’t sound right if the same musical idea just keeps getting repeated. The listener tends to lose interest, and of course that’s a bad thing.
The repetition itself isn’t the problem; in fact, some repetition is absolutely necessary for the listener to remember your song (and hopefully sing it later!). But every song needs some kind of musical departure to keep it fresh all the way to the end. Consider the case of the simple AABA (verse-verse-bridge-verse) song form. The three verses are usually virtually identical musically. So the musical break will normally be provided by the bridge. And if the bridge is sufficiently different from the verses, something wonderful happens: when the song returns for the third verse, it sounds better to the listener’s ear than the first two verses did! I think it’s a combination of the variation of the bridge and the familiarity of the verse that gives you that extra kick to finish the song.
The AABA song makes for an easy example, but in truth you can and should add musical variation to all song forms. And there are lots of ways to do it. If you listen closely to the songs you love, you’ll find all kinds of variation.
Here are a few ideas (some more obvious than others) for adding variation in your songs:
Modulate (change the key). A subtle key change can provide an almost hypnotic effect, and a dramatic key change can really wake up a listener. And if it’s done well, more can be better!
Change the rhythm. A rhythm change can provide a welcome break for the ear; this works especially well for a verse-to-chorus transition. You can even try changing the time signature! Listen to the Beatles’ “Lucy in the Sky With Diamonds” and you’ll find that the verses are in 3/4 time and the chorus is in 4/4.
Use non-diatonic chords. Sprinkle your bridge or chorus or refrain or lift with chords outside of the primary key. This technique can lift a pop ballad to something out of the ordinary.
Change the number of chords per measure. This innocent-sounding variation can be put in almost anywhere. An entire song constructed with a single chord per measure sounds plodding after awhile; break it up with multiple-chord measures, or hold a chord for several measures.
Add a musical bridge or interlude. Yes, the lyricists among us may complain. But an inventive instrumental bridge or interlude can add real sparkle to your song.
Send the melody somewhere new. This obvious-seeming technique is nonetheless often overlooked. Let your chorus melody do something different, and go to new notes (preferably higher) not found in the verses.
Try something non-musical. A rap bridge? Give it a shot! A spoken section can also add interest (be sure not to overdo it). Sound effects? Drum solo? People screaming? Use your imagination and go for it.
Additional variation can also be furnished by the arrangement, of course (in fact, some of the above ideas straddle the line between song and arrangement). But the song itself ought to provide enough to keep the listener interested right to the very end.
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June 2004 Top 5
(1) God Must Have Led Me to You Lloyd Marcus
(2) tie Courtney’s Jumpy Carlos Colon
(2) tie Mister, Play That Song Again For Me Darrell Monroe
(4) Thinking Out Loud James Gavin
(5) tie One Tough Story Dan Cook
(5) tie The Distance Michael Barry
© 2004 ISG