Music Terminology

 © I.Woloshen

If you don’t play an instrument, or only play by ear…OR you’re new to this whole songwriting thing…here are a few terms you may hear and what they mean. These are just a few musical terms, for songwriting terms, see below.

• Bar – A piece of music or a song is broken down into sections called bars. If you’ve ever looked at sheet music, the bars are defined by dark vertical lines (hence the term “bars”) and between each bar is a set number of notes. You’ve probably heard the term “4 beats to the bar”. Bars help to define how long chords or notes are played (i.e. two bars of G).
• Time Signature – This defines how many beats there are to a bar, and the value of each one. 3/4 time is recognizable as a waltz-type feel (ONE, two, three, ONE, two, three). The most common time is 4/4…in fact, it’s even CALLED Common Time!
• Lead Sheet – This is a very basic kind of sheet music. Most lead sheets have only the bars written out and the chords within the bars and some simple notes. This is often used when you go into the record, and is used by each musician to follow along. Lead sheets don’t necessarily have lyrics written on them, although some do.
• Sharp/Flat – You’ve probably heard the reference to singing “flat”…this means that you’re singing just a little lower than the note should be. Singing sharp means it’s a little too high. I won’t go into the theory of sharps and flats, but it helps to be able to identify which is which!
• Octave – a standard scale has 7 notes (not including all of the sharps and flats) before it reaches the same note higher up…think of Doe Re Mi Fa So La Ti Doe…both “Doe” ‘s are the same note, but the second one is an OCTAVE higher than the first.
• Vocal – the voice! There are “lead” vocals which is basically the singer singing the melody, and there are background vocals, singing harmony, etc.
• Lead or instrumental – Sometimes in a song there is a section where an instrument plays for a few bars before the vocal starts again…this is called a lead or an instrumental section.
• Fills – These are little bits of music that are often played by a lead instrument to “fill” in a space on a recording or performance. When you ask a guitar player to play some fills, he/she will usually weave some notes in and around the melody or vocal, just to add a little flavour.

IJ

Songwriting As Storytelling

 

Pete Seeger

© I.Woloshen

Most people don’t equate songwriting with telling stories unless it’s in the form of a folk song. Folk songs often have what is called an AAA structure, with “A” representing the verses and no chorus, therefore lending themselves easily to a story format. Bob Dylan and Pete Seeger and many of the 60’s folk artists wrote in this style, which is in fact one of the oldest songwriting formats around.

A lot of pop songs on the charts these days don’t rely very heavily on storytelling or even good lyric writing! I’m sure you can think of popular songs where you have no idea what it’s really about, but you can relate to parts of it and it has a great musical hook, so it’s on your list of favourites. Does that mean you can get away with writing nonsense lyrics? Nonsense!

As far as stories go, any good one will draw you in from the first sentence, hold your attention all the way through and satisfy you with a great ending…maybe even leave you wanting more! When you write a song, even if it isn’t in the folk or storytelling format, you need to remember to have the same elements…a beginning, a middle, and an end. But what if there isn’t a “story” in your song? How do you accomplish this task?

These days when I sit down to write lyrics, I often start with the first line before even knowing what the song is going to be about! As I add each line, an idea starts to unfold, and once I have a first draft I more or less know what the song is about. But not everyone approaches their lyric writing this way, and some songwriters find that their end product is lacking some kind of cohesion. There are several things to look for that may be contributing to this:

1. THE ‘HEAR’ AND NOW: Is your lyric taking place in the present, past, future, or a mixture of all of these? A listener can get confused pretty quickly if you jump from one to the other for no obvious reason. The most POWERFUL tense is the present, but as you know, many of us long for the past or hope for the future, and all tenses can all be used with equal impact if you know what you’re doing. A lyric that moves from past to future can also give a sense of continuity to your song. Look over your lyrics and clear up any inconsistencies in this area.

2. DRAWING A PICTURE: Some writers, when getting ideas for their lyrics, first sit down and actually write a paragraph or two about what they want to say. Having the full picture in front of you can help you to build the song lyric in a clear, intelligible way, and maybe even give you a better idea as to how to structure it. Think about grade school when you were learning how to construct a story. Remember the “5 W’s” (who, what, when, where, why)? This is a very useful tool when putting together your lyric. Who is this about? What is happening? When and where is it taking place? Why is it happening?

3. PURPOSEFUL SONG PARTS: Each part of a song has a job. The chorus is a summation of the song, the central theme or idea. The job of the verses is to flesh out this idea a little further, going into more detail and carrying the song forward. If there is a bridge, its purpose is to take a fresh look at the whole subject. Normally the music in the bridge goes into a different progression or melody from the rest of the song, and the lyric does the same. It’s a kind of “break” from the repetitiveness of the rest of the song. Use your song parts correctly and the rest of the song will fall into place. Don’t be afraid to change the parts around either. Maybe what you call your first verse is REALLY better as a chorus!

4. ‘THREADS’: Each part of a song should tie into the one before and the one after, in what I like to call “threads”. When you examine your verses, look for continuity of thought…are you carrying through on your central theme? To simplify the process, write out a one phrase description of each verse, the chorus, bridge and any other part of the song to see how each part works with the rest. Some people critique songs using this idea…they’ll map out each part of the song to see whether or not it flows.

5. RHYMING FOR NO REASON: Sometimes we get so caught up in finding a rhyme for a word, that we forget what the song is about…I KNOW that any of you who have tried to write a lyric have found yourself in this position before. In fact, I’ve seen complete lyrics that seem to be a series of unconnected rhymes, a play on words perhaps, but with no thought to anything else!

6. WASTED SPACE: I know you’ve done this too…filling in a line or a phrase with something that fits the meter, but has nothing to do with the song. I call these “throw away lines”, and I DO use them sometimes just to fill the space for the time being until I can come up with something better. When I’m in the polishing stage or the re-writing stage, is when I will pull these parts out and replace them. And when I do, I’m ALWAYS looking for threads.

7. TOO MANY COOKS: Another problem that can overwhelm a lyric is too many ideas! Don’t try to write seven songs in one lyric…take it apart and write about one element, or decide more clearly what that one element IS and then make the others work around it. Ever walked into a terribly messy room? Your eyes don’t know where to look first, and it can actually create stress in your body! The same thing can happen with a “busy” lyric…the ear doesn’t know WHAT to hang onto and a headache is just around the corner!

So there you have some ideas for making a story out of your song. And though even the most popular song lyrics out there don’t necessarily follow these “rules”, that only means there’s hope yet for all of us!

IJ

Does It Matter?

 

Beyoncé has had a very successful career, starting with the group Destiny’s Child which rose to fame in the late 90’s, and more recently on her own with several albums as a solo artist.

However, all through her solo career there have been rumours that the songwriting credits she receives (and awards, I might add) don’t really belong to her. She began receiving those credits with Destiny’s Child, and according to the Wikipedia site: “Knowles was recognized as a songwriter during the run of Destiny’s Child in the 1990s and early to mid-2000s. She won the Songwriter of the Year award at the 2001 American Society of Composers, Authors, and Publishers Pop Music Awards, becoming the first African-American female and second female songwriter of all time to accomplish the feat. Knowles received three songwriting credits in a single year for co-writing “Irreplaceable”, “Grillz” (“Soldier” was sampled on the song) and “Check on It”, the only woman to achieve since Carole King in 1971 and Mariah Carey in 1991. In terms of credits, she is tied with Diane Warren at third with nine number-one singles.”

That last sentence is the one that caught my eye. Tied with Diane Warren? If you are a serious songwriter, you know who Diane Warren is. If you don’t, she is probably the most prolific and successful songwriters around, receiving not just Grammy’s but also Academy and Golden Globe awards and nominations, and she has been ASCAP‘s Songwriter of the Year six times. She is not a performer, all she does is write. She is 53 years old.

Beyoncé is 28. I can appreciate that she may have shared bits and pieces of songwriting ideas with co-writers, but considering how hard she works, appearing not just in her own concerts but also on Broadway and in films, I cannot believe she has the time to write, let alone write these massive hits.

I recently found the link below, which further exacerbates the rumours. A recently-fired Sony Music (Beyoncé’s label) person apparently has confirmed that Beyoncé essentially just demands writing credits and sometimes pays the songwriters off in order to receive them. You can read the post and follow the link to the Sony letter yourself:

Lipstick Alley Link

At first I scoffed at the fact that this is a celebrity gossip site, so who can trust that? But after I read Beyoncé’s bio, I think there is probably some truth to it.

So here’s my question: does it matter? The general public won’t care too much who wrote the song. But as a songwriter, you should be concerned about this practice. This is what happened to a lot of blues artists a number of decades ago in the U.S.: the record labels would lay claim to all of their songs, and these artists who usually wrote their own songs often died in poverty while the labels made gobs of money. As a songwriter, if Beyoncé offered you a tidy sum of money for a song of yours, you’d probably be so flattered (and maybe even impressed at the amount offered!) that you would be tempted to take it. And that’s your choice.

But it’s a crappy practice. It’s dishonest and it takes advantage of those who are SO OFTEN taken advantage of by people in the music business. It’s your song, you should ALWAYS be given credit for it. It may be the last number one song you write, don’t kid yourself. Most of us aren’t Diane Warren’s who are set for life because of all of the hit songs with our names on them out there. Most of us will be lucky to see even a little success from one or two songs in our lifetime.

Demanding songwriting credits is a greedy and self-serving act, and any artist or songwriter who does it should be ashamed of themselves.

IJ