ISG Song Evaluation Form and Guidelines

Here is an example of the form used to critique songs.

Members in good standing are asked to fill these out at the meetings.

Non-members can submit songs, but they will not be scored on these forms.

The lyric sheets will be used for anyone to write constructive comments.

Scoring will be done if we have at least 5 members submitting songs, and at least 6 members scoring.

At the end of the year, certificates will be awarded to First place winners.

The following is Information from Dan Jones Web Site:

Our Goals Are To;

• • Have a place where songwriters can meet to have their original songs played and evaluated by other songwriters.  The purpose being a guide, to help develop songwriting skills through constructive criticism.  Here you get a fair sampling from your peers.  (Mom, and your friends will, of course, love your song(s), but this might not be a realistic enough of an evaluation when it comes time to present your song to a publisher.) Evaluations from such a diverse group of songwriters from little or no experience, to those of us who have either had songs published, recorded, receiving royalties and "know how & what" the publishers are looking for in form and presentation, are invaluable.  Also, evaluations from those of us who have had songs rejected and/or have been turned away by publishers, coming back with experience and the "know why" to help you from making the same mistake, through constructive criticism, is also most valuable.  Even if you do not have a song to be evaluated, evaluating others will help you lock into key elements, learn do's and don't s, as well as obtain motivation to write or team up with another writer to collaborate in writing a song together.

  • Provide a tabulated result of scores w/comments of your song evaluation/presentation, at the next ISG meeting.  (And list those songwriters who scored in the top five form our monthly evaluation session, in The Guild Tidings).

  • Discuss what is new in the songwriting world. (i.e. New Publishers or Artists looking for songs-- ideas of how to get your song out there-- songwriting contests-- songwriting sites on the Internet-- copyright laws-- etc.)

  • Provide a monthly newsletter--  The Guild Tidings

  • Provide a suggested list of Reading Material for Songwriters

"Note: On Evaluations"

• • First think of -what is right or wrong, where & why something is good/or where & why a category needs improvement, and then how you think it might be improved (if needed). PLEASE WRITE LEGIBLY!!(all illegible comments will be edited, and the writer will not receive those comments.) Fill in all of the scores (in all 5 categories) as explained in the instructions. (Or the scores may never get recorded.)

Making the "TOP FIVE", in The Guild Tidings, is a privilege earned through hard work, for a well finished product from the labor of love for songwriting, Not through a popularity contest.  Each song should be judged for the song itself, and not the person writing it. Remember: When you receive your Evaluation Result Form, the comments and scores were given to you by your fellow songwriters. Some of who are in the know and have had experiences that can help you, some who may not know, but know what they hear and what they like or dislike, and by some who think they know it all.

This is a good gauge to be able to know how you can grow to become a better writer, or how and where you might want to rework your song from something you didn't see, before submitting it to a publisher/artist.

Categories Guide &

Scoring Instruction

Guidelines for ISG Song Evaluations

Followed by suggestions of what to consider while evaluating- (using the ISG Evaluation Form). 

Please Note: These suggestions are neither inclusive nor are they exclusive.  Depending upon genre, suggestions listed will not apply to every song, yet most of the suggestions should satisfy what Publishers look for when they evaluate your song.

• 1. Melody-flow, phrasing, melody stands alone without lyrics, pattern, mood (rhythm & tempo), memorable melody (repeated motifs/themes/variations of), in verse/chorus song: difference (melodic/rhythmic) between verse, bridge & (really big payoff)chorus, build using tension or rise in melody leading into chorus, other forms: follow their own formula.

  2. Lyrics-strong opening line hooks listener i.e.(question, greeting, situation,  time frame, provocative statement, setting, suggestion/request, visual image, or occupation), establishes who, what, when & where immediately, other devices- i.e.(antonyms, alliteration, concrete words as specific places/people/things, consistent tone/language throughout, paragrams/ twists/opposites, power of repetition, clues/questions/intrigue leading to powerful points, etc.), listener can easily recognize title (all lyrics lead to the title), concise (makes every word count), says a lot with a little, honest/believable/heartfelt/conversational/contemporary words, universal (one emotion) theme idea/ feeling, avoids clichés, strong hook, 2nd verse different (more info.) from 1st, revolves around one main idea (new angle/goes elsewhere only in bridge), interesting/unpredictable(no -moon/June, true/blue, rain/pain)rhymes, words needing stress are rhymed, viewpoint/clarity (doesn't change 1st, 2nd, or 3rd person without introducing/explaining new person), puts singer in favorable light, a lyric-not a poem, doesn't preach, fresh with familiar surprises, story plot has -beginning/middle/end.

  3. Craft-prosody (melody and lyrics are natural/belong together), happy melody/happy lyrics - sad melody/sad lyrics, style fits song, universal/timeless feel, simple (doesn't confuse listener musically or lyrically), material not dated, proper use of form -AAA, AABA, Blues, Verse/Chorus, etc., rise & fall of emotion/action coincide with melody movement, consistent pattern of stresses/pauses i.e.-(same from verse to verse), meter stresses/pauses of music/lyrics feel natural, words sung- are stressed the way they are spoken, music emphasis matches lyrical meaning (words fall on proper accents), spaces for breath, open vowel at end of phrase-rather than harsh closed consonants (b, p, k, t), not too many "s" sounds in a row.

  4. Commercialism-catchy idea which would move people to request/purchase your song, marketable in its genre, easy to hum/sing along with, makes you want to hear it again.

  5. Presentation (in the eyes of the Publisher)-neatly typed lyric sheet, in proper form (also on tape) using: title/writer's name(s)/phone no. -or- address/copyright symbol/year. The song should grab you from the moment you hit play (tape cued &ready to go), "very" short or no intro, "very" short or no solos. Vocal: out front, on top of music, easy to hear and understand lyrics, fills dynamic & emotional character of song, voice is "on pitch". Background music: clean/crisp/in-tune & "in-the-background". The vocal and production values should match the genre and context/mood of the lyric-i.e.(simple piano or guitar is suitable for ballad, where an up-tempo song may require a little more background, yet not overproduced). (The above should be the only evaluation on production-please! Our goal with evaluations should be How Well the Song is Written & ready for Publisher Play (Presentation), opposed to Radio Play.)

EVALUATION- Constructively and tactfully make suggestions for adjustments and/or rewrites, helping one another improve their craft and become better songwriters without the use of distasteful or hurtful remarks. But even more, first to comment, praise, and applaud those positive aspects of the songwriter.                -Dan Jones former Sr. VP- ISG