Let’s Talk Lyrics

Some songs are melodic based, some groove based and then some songs are lyric based. When it comes to lyrics, they are king in Nashville. But you can find great lyrics in all styles of music. I generally like to think of a great lyric as the story that captures a listener’s heart, funny bone, sorrow etc…through relatable stories. There have been entire books on lyric writing, so in this blog we’ll only be touching the surface of lyric writing.

So what makes a great lyric? Well that varies from one person to the next. But one thing to keep in mind is if you like to write in vague poetic metaphors, you may want to be the artist performing the completed song or an established songwriter with some clout. For all new, undiscovered and established lyricists the best bet is to follow the rules at least to some extent.

So what are the rules? I would suggest they are somewhat unwritten, but there are some tried and true rules that assist in the process of quality lyric writing. These lyrical rules differentiate amateurs from professional lyricists. Let’s take a look at a few lyrical skills to add some character to your lyric writing.

1. The first thing that comes to my mind is an identifiable theme, something listeners can relate to. Develop a catchy hook and title that catches the listener’s ears.
2. Grammatical “person” – it’s important to understand from whose point of view a story is being told and to be consistent throughout the song. I can count the times I’ve worked with songwriters who change the grammatical person in the middle of the song, which can be very confusing to the listener.

• First person indicates the singer is the character in the story (they are the “I” in the song). Therefore keep in mind, most singers will want to be placed in a good light if the lyric is first person (the hero or person people can relate to or understand their point of view).
• Second person refers to the person addressed by the language of the lyric (think “you”). You are communicating with the character in the song.
• Finally, in the third person the singer is telling a story. They are simply the narrator of the story.

3. Consistent language – Stay true to the language and color of the character. If the character is a well educated scholar or a hillbilly, you may find they say things differently and have different values, hobbies, likes and dislikes etc…
4. Colorful tangible language – Is used to keep interest and create pictures in your lyrical lines. Think pictures and look deep. You can say “she was on a plane” or you could say “she was on Delta flight 309”…I think you get the point even if that might be a lame attempt. 
5. Form – Is simply the way a song is structured. One mistake I see made often is unmatched verses. I would suggest matching your verses, in other words if you rhyme lines 1 & 3 in the first verse, do it in the second as well, but be unique with your rhymes. Use the same amount of lines in all verses. Additionally, words have rhythm, so keep the rhythm consistent from verse line to verse line. Some of the more prominent forms are…

•  AAA – This indicates the song is made up of all verses.
•  AABA – This format could be looked at as a verse with the hook, verse with the hook, bridge (contrast) and verse with the hook.
• Verse/Chorus – Which can entail several variations that may or may not include bridge or pre-chorus, also known as a lift (pc) some common variations are: ABAB, or BABA, ABABCB or ApcBApcB as well as many other combinations.

6. Rhyme – The technique of rhyming is important to a lyric as it assists in making a lyric sing-able and to some extent memorable. The key to rhyming is not forcing them, making them sound natural and also using fresh rhymes, rather than the tried and true worn out stale rhyme’s.
7. Alliteration – Is a device used to cleverly utilize the consonant sounds of words to hook a listener’s ears; such as (“Little Lonely Lucy”)
8. Antonyms – Used often in country music, but not necessarily exclusive to country lyrics, use the ear popping combination of opposites such as (She’s so sweet when she’s sour”)
9. Tense – Keep track of whether you’re in the past, present or future and make sure they are setup appropriately.
10. Keep it conversational – This is specifically true for country lyricists, but would be a good rule for any lyricist that wants to clearly convey their message. To be conversational means to say as you would speak it. Many new lyric writers tend to try and be clever and state things backwards to fit a rhyme or for some other reason…don’t force it…say it.

Well as I stated earlier, there have been many books written on this subject, so this is just the tip of the iceberg.  Feel free to pick up a copy of my highly recommended reading "The Craft Of Lyric Writing" by Shelia Davis.  It's well worth the read.  Additionally reading can get the creative juices flowing from writers block.

My Best,
Ray

A Need To Network

A Need To Network


Like any other business there’s a need to network. It’s the relationships that you build along the way that will help you obtain your goals. Developing relationships with co-writers, artists, publishers, record label associates (yes that includes the secretary) and other music industry contacts can help you on your journey.

In today’s music industry networking has never been easier. Of course that doesn’t mean the doors open immediately to embrace your song(s).


Here’s some idea’s to get you networking.

1. Co-writing is a great opportunity to network and “up” your game from a songwriting perspective. Co-writing can bring you outside your “musical box”. Your co-writer may also be the next artist to cut your song if they have the goods musically to bring your song to a performance level.
2. Here’s a no brainer, the internet. With the advent of so many social websites and songwriting websites, it’s a MUST to leverage the internet to move the dial on your musical network. Songramp, Facebook, MySpace Music, Just Plain Folks, ReverbNation, Soundclick are just a few examples.
3. Research publications to find out who’s who in the industry. Learning the name of an A&R contact at “XYZ Publishing” can help you start the relationship.
4. Never be TOO pushy (a nudge is OK), always be polite and be respectful of people’s time.
5. Become a part of a musical community. Songwriter organizations like Songramp.com, Nashville Songwriters Association International (NSAI), BMI, ASCAP, SESAC. Try your local community; I belong to my local songwriter’s group Rhode Island Songwriter’s Association (RISA). This affords me the benefits of membership, helps strengthen the songwriting posture in my local community and allows me to network with other songwriters.
6. Don’t burn bridges. I’ve severed several publishing contracts in the past via means of a reversion clause, but kept a healthy relationship with the people.
7. Pay attention to others and they just may pay attention to you. Let’s face it, we all want to be heard, but are you doing any listening lately? It’s important to take genuine interest in the contacts you establish. Nothing worse than hitting a small record label up with your songs, when you have no idea what their artists sound like…do your homework.

The key is networks are built on people first, your songs may just be the bridge. I’m confident there are ton’s of other ways to build your network. Feel free to share them here if you are so inclined.

My best,
Ray Fontenault (BMI)
DoRay Music Promotions
http://www.doraymusicpromotions.com
http://songramp.com/rayf/
http://www.myspace.com/rayfontenault
http://www.changinghearts.doraymusicpromotions.com
http://songwriterjourney.blogspot.com/

Time To Demo

Last month we discussed “When is a Song Done?“. Once you deem a song “done”, it’s time to decide if you should demo the song. The main factor that should be considered is, will you be pitching the song. If the answer is yes, then in my opinion you should demo it once the song is deemed ready. It’s really important to pay close attention to whether the song is truly ready to be demoed before you pitch or spend any money to demo the song appropriately. The best way to do that, is to seek feedback from musical friends who’s opinion you trust (not your momma), unless your momma has churned out hits like Diane Warren. Once you’ve had consistent positive feedback, you may be ready to demo.

Some songwriters have the production, instrumental mastery, tools and vocal quality to produce a complete “pitch worthy” demo. If you don’t have all of these proficiencies or you are a non-performing songwriter, you will need to have a solid demo produced by a studio that can provide the services you may not be able to produce.

If you are looking for a low risk approach to demoing a song because you’re not quite sure the song is ready, a simple (guitar / vocal) or (piano / vocal) demo may be all that is needed to get a better idea if the song merits a demo. There are no wrong or right answers to the demo process. I’ve heard arguments for simple demos (guitar/vocal, piano/vocal) and I heard arguments for full blown demos. My personal opinion is your competing to grab an artists attention, with that said, let the song dictate the demo. If you have a groove based song, you are better off obtaining a full demo (all the instruments needed to fill the sound and groove). If you have a strong lyrical song in the ballad genre, you may be able to trim the arrangement based on the merit of the lyric.

When you send your demo to a studio, you should follow their instructions as each studio has its own processes. One thing that I believe makes or breaks a demo is the lead vocal. This is the upmost IMPORTANCE; let me say that again, the vocal is the upmost IMPORTANCE. I have had awesome instrumentation on demos where the vocal simply destroyed the song. This is not to say instrumentation isn’t important but you need someone to convey the melody.

As the songwriter, it’s imperative you provide the studio with as much information as possible to obtain the sound you are looking to obtain…Provide them with an accurate lyric sheet, your thoughts on the song arrangement, instrumentation, and vocalist notes like…sounds like Trace Adkins etc…The more information you provide, the more likely they will capture what you heard in your head. A solid pre-demo goes along ways to assisting the studio as well.

Demo costs are all over the place. You’ll find simple demos in $100 range and full demos from around $200 up to $700 or $800, so it’s best to check out and research studios. If you are a pop writer a specific studio and demo may be very different than the studio requirements for a country song. Bottom line is, do your homework. Ask for samples of their productions. Check their websites. Listen to other songwriter demos online.

Below are a few quality studios I’ve used in the past with a link to songs they have produced for me. There are many other quality studios and price /quality should be factored in along with your budget.

I have no reservations recommending any of these studios.

The Gator Hole
Song Produced and co-written with owner Galen Breen: Tiny Angels

Panda Productions Nashville
Song Produced: Waiting On The World

The Song Cellar
Song Produced: Simply Love

Song Ocean Music
Song Produced: America, Red White & Blue

The Songwriter Studio
Song Produced: I’d Do It Right

My best,
Ray

When is a Song Done?

Ah, tough question for sure. Let’s take this from the angle that the songwriter wants to market their songs commercially. And generally, I think the answer resides in additional questions…

1. Does the lyric paint a picture of what you want to say? Anyone can tell a story, but not everyone can hold the listeners attention. The pictures you paint will be the vehicle that captures the listener’s attention.

2. Does your lyric have a hook? When you think of fishing, a hook is used to catch a fish, well in a song it’s used to catch the listener. The hook is generally draped in the chorus because it allows you to cast the line several times, the more times you cast the hook, the better chance you’re going to grab yourself a listener.

3. Is the lyric relatable? If you’re trying to write a commercial song, you want to reach many listeners, so the more someone can relate to the lyric, they will naturally be absorbed in the lyric.

4. Is their a rhythm to the lyric? Yes, I said rhythm. Words have a specific cadence that flow off the tongue. Specific syllables of a word may be stressed differently depending on how it needs to be said. Solid melodies long for a consistent way to utilize inflection when conveying a lyric, specifically in the verses.

5. How bout’ the rhyme scheme is it consistent? Is it forced? Most songs summon the use of rhyme. Rhyme is one of the ingredients in a song that makes it singable. If you used rhyme, it’s not enough to just make sure it matches up in each verse consistently. You have to ensure the words you use roll off the tongue honestly. It’s also very common to over use the same rhymes, see what you can do to find fresh convincing rhymes.

6. Does the melody invoke the emotion of the picture? It’s important in most cases that the melody marries the lyric and become one. This may sound a bit silly, but if you have a lyric that involves an abused child and your melody sings like a polka, it probably isn’t gonna work. It’s not to say that some lyrics may lend themselves to multiple styles. But generally, the way a story is conveyed may dictate how the melody unfolds or vice versa…depending on which comes first the melody or lyric. If you have a yee-haw type melody, you probably ain’t going to be using too many sophisticated words and likewise, if you have a lyric talkin’ about jukeboxes and saloons, you’re probably not gonna wrap the lyric in a pop ballad type melody.

Well I hope these steps help you gauge the completion of your song. Next month, we’ll discuss “Time To Demo”, a further look at the completed song.


My best,
Ray

New Year, New Start: Stepping Out Of The Comfort Zone

Hi all,

Welcome to the first edition of “A Songwriters Journey” for 2010. With the New Year upon us many of us think about resolutions to improve ourselves. As songwriters, we may want to incorporate new ways to create music by getting out of our comfort zones.

When I think of “comfort zones” what comes to mind is the same old - same old tried and true ways we’ve come accustomed to writing songs. For instance, most often I approach songwriting the same way, with a guitar, a base lyric and develop a melody around that lyric, finally I tweak and tighten. Additionally, my songs have been Country oriented for the most part. But, sometimes you have to step out of the comfort zone to push the envelope on your creativity.

There are many ways to write songs and I have tried several in the past. The one common thing I have discovered by attacking songwriting from different angles is I generally come up with something out of pocket for me. Have you ever tried writing a new song with just a drum groove to get started? I have, the outcome was a Christian Rock tune, written awhile back. I enjoyed the experience so much I wrote another Christian Rock song using a similar approach. Besides getting a couple of songs out of the deal, the experience was a load of fun and took me somewhere else musically.

Here are some tips for moving the dial on your songwriting this year that I have utilized in the past…and will use in the coming year.

1. Try writing with different instruments than you would generally use for songwriting. I have written songs using drums, guitar, piano and bass as the primary instruments.

2. Have you considered writing simply using your voice (Accapella), I have, it works pretty good and it doesn’t lock you into a perceived chordal arrangement.

3. Change the genre that you commonly write in (Country, Pop, Rock Alternative etc…)

4. Change directions. If you commonly write a lyric before the melody, try the melody before the lyric.

5. If you write lyrics you may find yourself writing things that relate to you. If you are content with life, love and family, your lyrics may depict just that. As a lyricist, try moving the dial by approaching a subject from another point of view (think movie). I wrote a Christmas song for the “Tiny Angels, Songs Of Christmas Joy” project called “A Christmas Recipe”, the producer needed another female song to round out the CD, so I wrote a song from a young girls perspective. Talk about changing directions…no I don’t long to be a little girl :-), but I placed the pictures in my head from the perspective of a music video.

6. Co-writing is one of the best ways to “change” your sound and thought process. Co-writers bring different skills and perspectives to the table that you may not have and vice versa.


Anyways, I hope this month’s blog takes you out of your “comfort zone” and helps provide you with some ways to move the creative dial. As always, feel free to add more ways to keep the creative process flowing.

My best in 2010,
Ray

Songwriters, Reaching Out Through Song

Since I’ve been writing songs, the one thing I’ve come to understand. Songwriters and artists have always been willing to “give back”. With the Christmas season upon us I thought it would be fitting to discuss just that “giving”. At the end of this blog I will point out a few artists and songwriters in action. Feel free to comment on my blog and introduce your own links to charities and causes you may support through songs.

There are so many ways a songwriter can “give”. The obvious way to accomplish this is through proceeds of a song they performed or wrote. Specifically, if the songwriter / artist is a “name brand”, they may have the opportunity to reach a large audience. Another common way to give back is simply through exposing a cause through song. Taking that very same concept to the next level would be to offer free downloads to showcase a particular cause. Some songwriters and artist team up to put an entire CD together with a specific charity in mind.

Whatever your charity or cause, the key here is that music can make a profound impact on society, whether it moves the dial financially or emotionally. Obviously the songwriter and artist needs to curb their attentions to some extent. But then again, you can always support other songwriters and artist from the listener perspective.

Here are some links to songwriters and artists in action. Stop by and see if these charities and causes interest you. If they do, perhaps you may want to think about supporting the charity. Please feel free to add your comments to this blog in an effort to provide us with other ways to utilize the gifts of song to “give back”. Feel free to add your own songwriter / artist charity links.


Christmas for the Kids This album can be downloaded for free, but they ask you to consider making a small donation to a Charity. They suggest UNICEF or your favorite charity.

Juliana's Smile Skip Ewing is one the the most gifted songwriters on the planet in my opinion. He teams with stellar artists like Bela Fleck and Dave Koz to name a few on this wonderful instrumental which can be purchased via download or CD and proceeds support Juliana and her family. This is a must stop by, so you can see the video on Skip's site.

The Melodical Hearts Foundation This is a great group of folks that I had the privilege of working with on their "Music That Matters: New England" CD. Spearheaded by artist Wayne Warner and Juanita Lee, they have produced several charity CDs that generally include name brand artists as well as independent artists and songwriters.

The Changing Hearts Project states as their mission that their goal is to raise awareness and touch hearts, through songs that relate to the plight of the unborn and young woman in need. Organizations are welcomed to use these songs as a vehicle to raise funds, that support the causes of the unborn and woman; through abortion alternatives, counseling, help after abortion and awareness and education. We want this to be a project founded on love and compassion. The songs are now offered freely for personal use, feel free to download and share the songs of the Changing Hearts Project.


My Best,
Ray

Christmas Songs, A Significant Songwriter Market

Welcome to this month’s edition of A Songwriters Journey. This month’s topic, well of course with Christmas coming up next month, I thought it might be worth discussing “Christmas” songs. Generally, I’m a bit of a “humbug” with the commercialization of Christmas, but I am a sucker for a great Christmas song and tend to enjoy the spiritual side of Christmas.

Christmas songs are packaged in many ways. Traditional classics, like “White Christmas” penned by the incomparable Irvin Berlin and originally made famous by Bing Crosby. The touching relatively new classic of Bob Carlisle’s “Christmas Shoes”, written by Leonard Ahlstrom and Eddie Carswell. Spiritual godsends, like “Mary, Did You Know” (Mark Lowry & Buddy Greene) and “It Wasn’t His Child” (Skip Ewing). There’s also plenty of room for colorful humorous songs like “Grandma Got Run Over By A Reindeer” (Randy Brooks) or lighthearted fare like the classic “Rudolph, the Red-Nosed Reindeer” (Johnny Marks).

As a songwriter, the one thing that stands out to me, is that these songs have been collectively recorded countless times, by a myriad of artists and are played religiously every year. Why is this important? Two words “residual income”. Residual income is income a songwriter continues to generate every time the song is cut and or played. With a Christmas hit, that means annually, a little more in the songwriters pocket. Additionally, Christmas hit songs tend to “snowball” in popularity as they hang around, becoming classics. So the song tends to have a life of its own.

I’ve got to say, as much as I like the classics, there’s nothing like a fresh, quality new Christmas song. I wish more artists would take the time to sprinkle more fresh material into their CD projects. I’ve heard many excellent undiscovered Christmas songs from various songwriters I’ve met along the ways. And, although some of these songs have been recorded countless times, as stated earlier, generally their is a specific artist that seems to “owns it”; such as, Bing Crosby “White Christmas”, Bob Carlisle “Christmas Shoes” and Gene Autry “Rudolph, the Red-Nosed Reindeer”. What artist wouldn’t want to be the “own it” artist for a Christmas classic? The best way for an artist to get there is to start fresh…Bing Crosby already owns “White Christmas”…time to move on. As an artist, find yourself an untapped fresh new classic, your own “White Christmas”.

This “humbug” has found some Christmas serenity in writing Christmas songs. I’ve put pen to paper on a few Christmas songs and waiting for that artist who will “own it” and turn it into a new Christmas classic. In the mean time, slow down and take some time to enjoy the spirit of Christmas and enjoy a few of these potential future Christmas classics from the songwriter website Songramp.com.


First Christmas Day
©2006 Gabriel Heiser and Donna Valentine

A Night Like This
©Denille Spears

Wait by the Window
© Copyright Matt Moran

Christmas For My Missus
© 2003 Blake Hill (BMI), Janice Messer (BMI) & Paul Buckles (BMI)

No Room
© Copyright 2008 Ray Fontenault (BMI), Pegasus Music New Zealand

O Holy Child
© Copyright Tammy Edwards

Sweet Child of Mine
© Copyright Peter Simensky

O Bethlehem
©Denille Spears

My Christmas Card to You
Copyright © Emstone Music Publishing (BMI)

This Christmas
© 2005 Danie Lee Starr

Santa Samba
Copyright © Ross Douglas SOCAN

Pop-Pop-Popcorn
© 2004(p)2007 Roka Records

Let's Keep Christ In Our Christmas
© 2008 Russ Pruitt; Ron Pruitt


Here’s a couple of Christmas CDs chock full of original material.
Bramsar Records, Tiny Angels - Songs Of Christmas Joy
Fun2Know Music, This Time Of Year