Kismana Music Songwriting Tips

The following is an excerpt from: WRITING BETTER LYRICS by Pat Pattison
© 1995 Writer's Digest Books Cincinnati, Ohio (Reproduced with permission from Pat Pattison)

Chapter 4 (Pages 32 - 33) Clichés: The Sleeping Puppy (A Case Study)

..."Clichés have been worn smooth by overuse. They no longer
mean what they used to. Strong as a bull, eats like a horse, their ship
came in, no longer evoke vivid images of bulls, horses and ships.
Overuse has made them generic. They suffer from the same malady
that infects all generic language: they don't show - they can only tell.
How ya doin'? What's up? How's it goin'? are interchangeable. So are Break my heart. Cut me deep. Hurt me bad. Your job as a writer isn't to point to a generic territory where images
could be, but to go there, get one, and show it to your listeners. Clichés
don't pump gasoline anymore.

Songs should be universal, but don't mistake universal for generic.
Sense-bound is universal. When you stimulate your listeners' senses, they
pick pictures from their own personal sense files. When you use generic
language, they fall asleep. There's a difference between this,

1.
Noise and confusion, there's no peace
In the hustle and bustle of city streets
It's time to get away from it all
Deep inside I hear nature's call

and this from Yeats:

2.
I will arise and go now
I hear lake water lapping with low sounds by the shore
While I stand on the roadway, or the pavements gray,
I hear it in the deep heart's core.

Both express roughly the same sentiment, but the first, cliché and generic
as it is, can only point to territories of meaning. Yeats takes you there.

Clichés are prefabricated. You can string them together as easily as a
guitarist strings his favorite licks into a solo. (two Claptons ± one Hendrix ± three Pages ± one Stevie Ray ... etc.) The problem is, it isn't his solo. Using other peoples' licks is an excellent way to learn, but there is a next step - finding your own way of saying it. Clichés are other peoples' licks. They don't come from your emotions."...

Pat Pattison is a professor of music and songwriting at Berklee College of Music in Boston. His books are available from NSAI bookstore or directly from him through his Web Site.

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TOPIC: THE POWER OF IMAGES

The following is an excerpt from :

HOW TO MAKE A GOOD SONG A HIT SONG by Molly-Ann Leikin

(Reproduced with permission from the author)

CHAPTER FIVE: The Impact of Images Pages 31 - 32

"The best lyrics, and the ones that are easiest to remember, are the ones expressing feelings through clear and fresh images. Now that you've seen how important it is to begin a lyric with strong opening lines, let's explore how the use of vivid imagery can keep this high level of writing consistent throughout your song.

Take Tracy Chapman's first album as an example. Her lyrics graphically and colorfully described the experience of being a street person and living in shelters. She wasn't simply saying, like everyone else was, that something should be done about the homeless in America. Listening to her album, I saw all her images clearly: a young woman working as a cashier, her dreams of riding off in a fast car, the neighbors' screams, and the ambulances wailing every night. I "lived" the life she described, and got much more involved in it than if she'd simply written "life's tough." I could see the tired checker's blue polyester smock and name tag. I could see the crowded, dismal shelter, with acres of cots. And I could see the neighbors in a tenement pounding on the ceiling, as the ambulance's flashing red light pulled up. It was devastating. It was terrific. It was startlingly visual.

Each picture word you use suggests many other images that the listener automatically associates with the first image. If you use the word "zoo" in a lyric, for example, we might imagine lions, tigers, bears, elephants, and so on, even though the only word actually used in the song was "zoo." Isn't it interesting how a three-letter, one-syllable word can create so many visual pictures?

In the hit "Twenty Years Ago" written by Christopher Spriggs, Wood Newton, Daniel Tyler, and Michael Noble, Kenny Rogers sang a visually rich lyric about going back to his home town. He discovers that the old movie theater where he and his childhood buddies went every Friday night has been closed. This image creates the picture of a crumbling cinema on Main Street, all boarded up. We can feel the sadness and share the loss through this image.

As the lyric continues, the singer passes Mr. Johnson's hardware store - not just any hardware store - but Mr. Johnson's hardware store. This specificity makes the image much more personal, and suggests that the singer had a relationship with the man. That relationship is personalized further when Rogers sings about Joe Johnson, an old buddy whom no one realized wouldn't make it back from "the war in '64"�Vietnam. Think of how that phrase evokes an onslaught of war images from that divisive time. Every visual word in the lyric stimulates another emotional response, bringing us deeper into the song and holding us there. As unusual as it may be, this is a love song� between the singer and his irretrievable past.

I know many of this country's best songwriters and hear a lot of great tunes, but the ones that dazzle me are those with memorable, unpredictable melodies, accompanied by lyrics that surprise me because they use vocabulary and imagery that's never been used in a song.�"

Molly-Ann Leikin is a songwriting consultant and a multi-award winning songwriter. Her two books, 'How to Write a Hit Song' and 'How to Make a Good Song a Hit Song' are availble directly through her at;

Songwriting Consultants Ltd 2118 Wilshire Blvd. #882, Santa Monica, CA 90403.

or through Amazon.com. She has also produced three audio books that you can purchase direct from her at the above address. The cassette titles are:

Success Strategies for Songwriters

The Songwriters' Success Series

How to write a Hit Song and Live to Hear it on The Air

Molly-Ann also writes regular columns that are well worth reading. You can find them at; ..............................Creative Control and Success Strategies for Songwritiers

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TOPIC: MUSIC CHECKLIST

Reproduced with kind permission from the author, GLEN KING.

Glen King is a multi award winning songwriter winning the 1985 International Songwriting contest sponsored by the Songwriters Hall of Fame, in N.Y. and many American Song Festival awards. He has been in the business for 30 years and has worked with well-known composers including; Gary Wright ("Dream Weavers') and Academy Award nominee, Allan Rich ('I Don't Have The Heart'). He has also had songs in TV and Cable programs.

Currently, He has two songs on a CD by Alan Boivin titled "A Man Like Me" which is on Imprint Records. He is a member of music organizations such as the Songwriters Guild of America, Gospel Music Association, Nashville Songwriters Association Int'l., and The National Music Publishers Association.

SILVER KAT MUSIC CHECKLIST

The following items represent a comprehensive listing of song characteristics. They may not apply to all forms of music. However, the majority will apply to most country, pop/rock and adult type songs. Feel free to download this list for future reference. You should check at least 80% of the notes to have a marketplace contender.

Ø The first line or two should hook the listener into wanting to hear what comes next.

Ø People will be able to hum the melody after hearing it a few times.

Ø The lyric is conversational. No forced rhymes, no convoluted phrases or sentences.

Ø Today, you do not need to have perfect (care, bear) type rhymes. Meaning is more important.

Ø The listener will know the title of the song once he/she has heard it through. This is the place where many songs fall down. I've seen songs where the title is never mentioned in the lyric, or it is a pick up phrase, rather than a strong line.

ØThe lyric and the melody belong together. It's called prosody. Happy lyrics! Happy melody.

ØThe words and music flow naturally. No forcing more lyrics into what sings easily, no stretching out lyrics to fill in lack of ideas.

Ø The song has a timeless feel about it. Try to avoid dating your material with references to events and people who may be obscure next year. Though, contemporary references do sometimes appear m country songs. How many of you know all the names and places in Billy Joel's, "We Didn't Start the Fire?"

Ø Songs should be built around a universal theme, idea or feeling. You want as many people as possible to relate to the material.

Ø The song should be self-contained. No explanation or mind reading is necessary to understand the story. If you have to say "What I mean by this, is then you need to rewrite the song.

Ø The song is an acceptable length for radio play. Probably, no more than 3 1/2 minutes. The demo should not contain musical breaks.ØThe lyrics are honest, believable and heartfelt.

Ø Ask yourself, would the singer want to be associated with the tone or message in these lyrics? If the male comes across as weak or the female as a victim, the artist will probably pass on the song. One big no-no is self-pity. I have also been told by other publishers they don't like to hear begging songs, though its' been done.

Ø Song lyrics aren't the same as poetry. Are your lyrics realistic in tone? Abstractions are hard for the public to grasp in the immediate sense, which is where the song is accepted or rejected.

Ø Strong lines. The lyric should get better as it progresses through the song. Many times, writers cop out on the second verse, and resort to clichés to get through it. This is where rewriting may be necessary.

Ø Does the song revolve around one main idea, or is the lyric scattered all over the place. It is usually okay to go somewhere else in the bridge, if it adds to the understanding with a different perspective on the same idea as the rest of the song.

Ø Does the song change time frames? Has the listener been prepared to go from the past to the present or, one locale to another? An abrupt shift will cause you to lose the listener.

Ø Controversial topics should be avoided, but, if you do choose debatable subjects, make sure they are presented tastefully. I don't think the listener would sit still for a blow by blow account of an abortion, for example.

Ø Does the song blame the listener for the singer's condition? No listener wants to associated with causing another's pain, or, be labeled as a s.o.b.

Ø Has the song been subjected to an objective view? If you can, play it for few people who do NOT know you are the writer. In fact tell them it's an acquaintance's song and they can be truthful.

Ø How many of these craft worthy details can you point to in the song?

Ø The title is up front, the first line of the chorus? It is repeated for memorability?

Ø The lyrics express a new way of presenting the familiar? They are cliché free?

Ø The lyrics paint vivid images with word pictures?

Ø The song/melody is short enough and simple enough to catch the listener's ear and be recognizable the first time it's heard? The song has a touch of suspense or mystery about it that pulls the listener in?

CLICK HERE ... To visit Glen's site and Silver Kat Music for more tips on publishing

CLICK HERE ... To visit Glen and hear his music at MP3.com

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TOPIC: CREATING MUSICAL CONTRAST

BACKGROUND:

Danny Arena and Sara Light are both professional songwriters with degrees from Rutgers University.

Individually, they have held several positions as lecturers in songwriting, including the the Nashville NSAI Workshop Pro-Teaching series. They are both staff writers for publishing companies.

Together, Danny and Sara teach their popular songwriting course The Writer's Group which focuses on both the music and lyrics in current chart topping country songs. They perform regularly as songwriters in Nashville at the Bluebird Cafe.

Please visit them at The Songwriting Education Resource for more information and invaluable songwriting resources.

CREATING MUSICAL CONTRAST:

"...Although writing music is an exciting, inspirational and creative process, understanding the songwriting craft can give you a solid foundation to fall back on when something doesn't quite work and you don't know why. Many people feel that the only way to make the verse stand out from the chorus in a song musically is by changing the melody. Although the melody is by far the most important musical element in a song, it is not the only one.

Musically speaking, a song consists of three distinct elements:

melody. The lead vocal line of the sonG

harmony. The chords that support the melody in the song

rhythm. The rhythmic pattern of the melody in the song

You can make the chorus of your song stand out in several ways:

A. Contrast the melody between sections. The most common approach is to make the melody higher in the chorus than in the verse of the song; although you can also create a contrast by making the melody lower.

B. Contrast the rhythm between sections. If the predominant rhythm of the melody in the verse of the song is eighth notes, make the predominant rhythm in the chorus sixteenth notes, or quarter notes.

As an example, think of the song; "Somewhere Over The Rainbow" (songwriter - Arlen/Harburg) and the big lofty half-note feel in the verses:

Example 1a:

Some - where / o-ver the rainbow
Way up / high

This song's bridge contrasts wonderfully to its verse by simply changing its rhythm pattern to eighth notes:

Example 1b:

Someday I'll wish u-pon a star and/ wake up where the clouds are far be-/

If you're solely a lyricist, rhythmic contrast is something you can build into your lyrics by simply paying particular attention to the rhythm of the words between sections of the song.

C. Contrast harmonically between sections. This can get pretty involved if we start talking about modulating to a new key. Generally speaking, a simple way to create harmonic contrast in a song is to start the chorus on a different chord than the verse.

In the grammy award winning song, "Wind Beneath My Wings" (songwriter - Henley/Silbar), the verses to the song start on a G major chord, while the chorus starts on an E minor chord.

So when you're looking for a way to create a distinctive chorus, remember that as a songwriter you have several options.

Hope to see you on the charts.

Danny "

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TOPIC - Tips from C Wyatt Bernan aka 'Wild Bill'

(Reprinted with kind permission)

Wild Bill's Songwriting Tips-Sheet

1.) Don't always wait for the inspirational slap in the face before you begin to write. Make yourself approach it analytically more than inspirationally. It's an art AND a profession, it's imperative that a songwriter learn how to write on-call.

2.) Set aside writing time in a comfortable space. Develop a routine in which your creativity can come forth readily without the need of the divine inspiration. Pretty soon you won't be able to walk across that space at that time of day without penning a few lines.

3.) Develop a mental catalogue of cliche themes and lines. Not to steer clear of them, but to draw from them. You must know what has worked in the past.

4.) Get into the shoes of your protagonist. Develop that character. Know their favorite color, their upbringing, whether or not they finished eighth grade. It all matters in the three dimentionality
of your character. Beef them up and they'll stand on their own.

5.) As in #1. Do not wait for the urge to write. Make yourself work at it. Don't have anything to write about? Then take a familiar or cliche theme, change the identity and demeaner of the protagonist, and adjust the setting. That's not to say that you just change a few words in someone else's song, but create for yourself an original song from the point of view of the character you've created. After all, we can all name ten songs that say "I'm drinkin' at this bar 'cause she threw me out," but George Strait's "Unwound" is very different from Keith Whitley's "Tennessee Courage."

6.) Give your song a strong opening. You have only a few seconds to grab their attention so give them an opening that makes them WANT to hear more. You're saying something with meaning, right? You're not just creating background noise are you? Then you need to grab their attention early or they won't even realize your song has a chorus.

7.) Follow your theme through with a logical progression. If the story begins to surf around you've lost their interest. Events generally happen in some sort of order. Keep this progression simple and you'll have their ears till the end of the song.

8.) Buttress your hook. Most songs have a hook line, usually the title line found in the chorus. Make it grasping and memorable then use your chorus time to prop it up and drive it home.

9.) Take a step back and critique yourself in the third person. Make sure your protagonist isn't too flimsy. Make doubly sure that your lyrics do not open up any questions. Tie up all of those loose ends. You do not want to leave a listener wondering...

10.) Write, write, and write some more. As in anything, practice makes perfect.

Best of luck...And I'll be listening for you!

©1998 C.Wyatt Bernan

Wild Bill is a songwriter with a degree in English and Theatre from the University of New Hampshire.

Visit him at Wild Bill's Place

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TOPIC: MUSIC CHECKLIST

Reproduced with kind permission from the author, GLEN KING.

SILVER KAT SONG PRESENTATION TIPS

Part of the whole presentation relies on the packaging of the song(s), as well. Check the following list for tips on how to present your material to a music publisher. Neatness counts.

* The lyric sheet that accompanies a tape or CD (and there must be one) should be neatly typed and in a form that delineates the verses from the chorus and the bridge. Sometimes, double spacing will help to make it more easy to read depending on length.

* Always cue your tape up to the first song. Nothing is more frustrating than listening to dead air. I know of publishers who will shut it off if there's no song in the first five seconds of tape. Keep the space between songs, if there's more than one, to a minimum for the same reason.

* Erase any extraneous noises from the tape. That includes count downs, studio chatter, verbal intros, and heaven help me, an explanation of the song.

* The vocals must be upfront. This is another reason for a lyric sheet. Too many times songs are mixed with the music drowning out the singer. There's nothing worse than straining to hear words. It's a definite turnoff and could kill an otherwise good song. The publisher is probably going to listen on small, cheap speakers in his/her office. Most times, they are not listening in a studio with huge Jensens or Altecs. Mix down to small speakers.

* Label your cassette or CD clearly with anything that will help the publisher find you if they want to sign the song. Always have the title(s) , writer's name, phone # and address somewhere on it. Use a copyright symbol, even if the songs aren't.

* Unless specifically requested, it is never good form to send more than three songs to any one solicitation. And, if the publisher requests one and only one song, that's all you should send. Just make it the best you've got. It's going to be your only chance to impress, don't throw it away on a filler type song.

© Silver Kat Music

CLICK HERE ... To visit Glen's site and Silver Kat Music.

CLICK HERE ... To visit Glen and hear his music at MP3.com

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TOPIC: BREAKING OUT OF WRITER'S BLOCK

At one point or another in our songwriting, virtually all of us find ourselves suffering from writer's block or "uninspired music syndrome" (everything you write sounds the same). Here's some old tips along with a few of my personal favorites that might help you break through that songwriting block and get back to writing good songs again.

1. Use a different approach. Some songwriters write the melody first. Some prefer to come up with the chord progression first and then write the melody. And still others prefer to come up with a rhythm or groove first and then write the melody and chord progression. There is no one correct way to write a song. However, if you're someone who always writes the melody first, try coming up with a chord progression first. Or, see if you can get yourself into a different groove by programming a beat on your drum machine and writing to a rhythm.

2. Write a song in a different key. Try writing ia song n a key you don't normally write in. This is especially good if you compose on guitar. It will get your fingers into different positions, hitting chords that sound fresh to your ear. If you're a keyboardist, you might try using one of the other programmed sounds from your keyboard instead of the usual piano or DX-7 sound.

3. Learn some new chords. It may be time to expand your knowledge and add a few more tools to your songwriting toolbox. Learn some new fingerings on the guitar. Try some of those chord inversions or suspended chords you've been afraid to use. Take some chances - do something as a songwriter you wouldn't normally do.

4. Jumpstart your creativity. Maybe your songwriting battery's just a little weak and you need a jumpstart. Try opening your music book to a song you don't know and write out the chord progression on a piece of paper. Then, try and write a melody to that chord progression. You can do the same with rhythms. Write down two rhythm patterns from a song - one from a verse motif and one from a chorus motif and try to compose a melody/chord progression around those rhythm patterns. By choosing your patterns wisely, you'll also guarantee yourself of writing a song with strong rhythmic contrast.

5. Write somewhere else. Get away from the keyboard or guitar for a little while. Try writing a song in your head while you're working out at the exercise club or chopping vegetables in the kitchen. Try writing in a different room.

6. Take a few days off. Get together with some friends, go see a movie or read a good book. Look through your old high school yearbook. You may be emotionally spent and need to refuel. You can't drive a car forever without stopping to fill up the tank once in a while. The same goes for your songwriting.

7. Don't worry about it. Don't spend too much time being frustrated or worrying about that song you're still not finishing. The more you worry about it, the more you'll continue to block your creative energy. Know that it will pass. It always does.

Hope to see you on the charts.

Danny

BACKGROUND:

Danny Arena and Sara Light are both professional songwriters with degrees from Rutgers University.

Individually, they have held several positions as lecturers in songwriting, including the the Nashville NSAI Workshop Pro-Teaching series. They are both staff writers for publishing companies.

Together, Danny and Sara teach their popular songwriting course The Writer's Group which focuses on both the music and lyrics in current chart topping country songs. They perform regularly as songwriters in Nashville at the Bluebird Cafe.

Please visit them at The Songwriting Education Resource for more information, tips and invaluable songwriting resources.

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TOPIC: THE COMPONENTS OF A SONG

The following is an excerpt from the book: Write 'Hit' Songs by Stetson G. Bailey

Write 'Hit' Songs has evolved from a powerful songwriting seminar that Stetson G Bailey conducts in Nashville. The purpose of the book and seminar is twofold...directing the creative process and ensuring the commerciality of songs.


	The Components of a Song Think for a moment about building a house. You have a good idea of what a house is. It's bigger than a table, especially 'my table', and somewhat smaller than the property it's on. Could you build a house? Only if you knew what the components, materials, functions and purpose was. Above all, you would have to know certain terms in order to build it. The construction industry is pretty clear on what it calls various parts of a house. For example, if you see the term WC on a blueprint, you know of course that it's a toilet. The initials WC come from the term Water Closet. If you didn't know that, you might think there was a very small Walk-in Closet in the bathroom. The terminology for the parts of a song is not so clear or standardized. Hence a lot of confusion and vagueness in songwriting. With a clarity of definition, we can identify the parts that make up a song and how each part works in relation with the other parts. Then you can make sure that the parts of your song work and function together. The parts of a song are: Core Idea Vehicle Hooks Star Lines Payoffs Melody The Core Idea Every communication has a core idea or concept, no matter how it is delivered. Most songs are love songs. Let's look at the core ideas for love songs. I love you.... I don't love you�. I love you and you're with him�. I love her but I'm with you� I love you and you're here... I don't love you and you're here... I love you and you aren't here... I love you and you love me.... I love you and you don't love me.... true love wins in the end.... true love doesn't win in the end.... etc. You now have about half of the core ideas for love songs. This is so elementary that I feel embarrassed to discuss it, yet many writers seem to lose track of the core idea as they write their song. I once received a song from a writer who managed to convey these ideas in a little over three minutes of mind rape I love you, I don't love you, I miss you, I'm glad you're gone, I can't make it without you, and I'm better off now that you've left. No, It wasn't a comedy song. If it was, the core idea would have been 'I'm all screwed up' or 'I'm so confused'. The core Idea is not necessarily ever mentioned in the song. The ship does not arrive at the star it steers by. The core idea is the star that keeps your song on course and on target. The Vehicle The vehicle used to communicate the core Idea has many names but the purpose is always the same. Plot, script, theme, scenario, and story line are just a few of them. They are the vehicle that delivers your communication, the core idea. This is where you get to be unique, devious, clever, insightful and a raving genius. Coming up with 'brand new' ways to deliver the oldest messages in the universe is where it's at, and discovering new ways to say it is what keeps the customers buying the same idea over and over. The idea of the song and the means of delivering the idea are not the same. Many erroneously say they have this great idea for a song, when what they mean to say is that they have a great plot or story line to deliver an idea. Don't get them confused or your song will lose its focus and impact. By the way, the word 'discover' means to uncover. In order for you to uncover something, it must already exist, have being. The word 'reveal' (as in revelations) means to bring to light again. In order for you to bring it to light again, the presupposition is that it must have been in light before. The term 'in light' means visible, having being. All poems, songs, etc. were written before the beginning of time. You, the songwriter, take part in the process of bringing them to light again, discovering them again, revealing them again. There is nothing new under the sun. I rest my case. What is a HOOK? We're going to modify the use of a confusing term from advertising and songwriting, and give it clear use. The term is 'hook'. It is especially abused in songwriting wherein no two people can ever seem to agree on what it is and what it does. I have a friend who is a pretty good songwriter. He took an award winning song to a publisher. The publisher listened to about thirty seconds of the song, which very charitable nowadays, and then turned it off. My friend told him he should have listened to the rest of it because the hook was at the end. The publisher told him if he had hooked him he would have heard the end of the song. What my friend had in his song was what we will be calling a Payoff. More about that in a few words. You've got about fifteen seconds to snag the listener with your song. Don't try to tell me that your song is for the public, that they would love it if you could just get the publisher to publish it, the producer to produce it, and singer to sing it. They're people too. The industry pushes stop buttons on the tape recorder while the public hits a button to switch stations. The public only gives you about fifteen seconds. If you're going to 'hook' them into listening to all of your song, then you've got to 'hook' them in that first few seconds. To borrow a phrase from a cigarette commercial from years ago, "It's what's up front that counts. If it hasn't got it there, it hasn't got it." When we use the word 'hook', let's have it mean INVOLVE, to attract, catch the attention of. Once you have the person INVOLVED in what you are saying, you have them 'hooked'. No, use the same technique to keep them hooked, INVOLVED. Now that we have a working definition and concept of the word, we can come up with ways that 'hook' people into what we are saying, get their attention, and hopefully keep them INVOLVED in, taking part in our song. If you want the fish in the frying pan, you'd better keep him hooked until he's in the boat. You can hook a fish for a few seconds and then lose him. Same result as if you had never hooked him in the first place. The following are a partial listing of 'hooks' or 'involvers' that get people INVOLVED in what you are doing with your song, especially in the early stages. The primary hooks are the ones that involve people's senses of; sight, sound, motion, taste and smell. Images... visual, pictures, colors, sights Kinesis� motion, emotion, feeling, touch, temperature Olfactory.... smells, fragrance Auditory... sounds, noise Gustatory... taste Nostalgia... remembering Identification� familiarity Topic.... sex, outer space, Nonsense Word/s Imagination... fantasy Surprise� shock, Mystery.... intrigue, suspense Strong Statements... Question.... Roles.... our gang, group Curiosity Humor Conflict, stress Melody Musical Figure or Signature Singer... Voice Rhythm Tempo Arrangement / Production In the seminar, I let the participants come up with various examples of these 'involvers' from their own listening experience. Since you are a seminar of one, I'll let you come up with them rather than give you examples that you may not be familiar with. Fill in the above with titles of song that are examples of each 'hook' for you. It may take you a while but once you have the examples you will have your ears tuned and be one step closer to using them in your writing. These are a few of the 'things' that interest and involve people. A good song uses at least three verbal hooks in the opening line, plus music and production hooks. Great writing loads every line with these people involvers. You will have a chance to use and learn the use of these in the song Study Section a few pages from now. This is heavy stuff. Let's rush on to something light and fun. Payoffs A payoff is the 'feel good' or feel rewarded part of a song. It can be a twist at the end, like in The Green Green Grass Of Home. It can be an image for the listener, such as 'I Am Woman' by Helen Reddy and Ray Burton. One of the strongest Payoffs you can have in a song having written it so someone can sing along with it the first or second time they hear it. I have a pet philosophy that you can write a song that children sing along with you have a monster on your hands. Barney, the Purple Dinosaur sings songs that children can join in on. How about when Billy Ray Cyrus put out a Don Van Tress song called Achy Breaky Heart? Kids went 'bonkers' over it. Star Lines A Star Line, in and of itself can be a Payoff. Some Star Lines are Payoffs, but not all Payoffs are Star Lines. A star line is quote, a real play on words, or a totally unique a quotable way of saying something. Often times the Star Line is the Title of the song. A catchy title never hurt a song. It can even help. A whole lot more about titles later...
TOP HOME DIRECTORY ABOUT US PRODUCTS FEATURE CD SERVICES SONGWRITING TIPS SONG CATALOG DEMO SONG SONGWRITING TIPS - ARCHIVES ORDER PROCEDURE ORDER FORM LINKS EMAIL KIS'N TEL PHOTOS .


	*Write 'Hit' Songs* is well worth the investment of US$24.95.

			(Please also include US$3.00 for handling and $2.05 state tax for TN residents)

					Available from: *Genesis Books* Drawer 40247 Nashville TN 37204 USA Fax: +1 615 331 6904

		Stetson is also more than happy to talk with writers who sincerely wish to develop their craft and so if you require further details about his book or seminar, you can always phone him. Ph: + 1 615 331 7646

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TOPIC: CHARLES' SONGWRITING NOTES Charles Wolff has been writing songs since he was about sixteen - almost thirty years now. Currently, a lot of his writing is 'Praise and Worship' songs, most frequently based on Psalms or other scripture. Over the years, he has developed a file of notes about some of the tricks and techniques he's learned along the way. With his kind permission, excerpts from thoses notes have been reproduced here - hope they're helpful! GUIDING THE LISTENER The first few lines of a song are particularly important, because they tell the listener what the rest of the song is going to be about. If you misdirect them in these first few lines, they'll be confused all the way through the song. If the song is about a single mother, but you start out with several lines about the husband who walked out on her, the listener will think the song is about HIM. A good trick: type out the lyric, and then slide a piece of paper down the lyric, exposing one line at a time in the order the listener will hear them. Read the lyric this way, and keep asking yourself, "does the listener know everything they need to, at this point, to understand this line?" Generally, in every song, you are creating a "character" who is singing the song. That character may or may not be like the songwriter who created them, but the character needs to be consistent. The listener has to believe this character who is singing, even if they don't agree with what the character is saying. Starting with the chorus: usually, the chorus of a song is where you make it most clear what the song is about, what you're trying to say in the song. If you start with the chorus, then you're establishing right away, "here's the message." If you start with a verse which leads up to the chorus, you can establish some suspense, some mystery, first, and then resolving the listener's questions when the chorus hits. Obscure words and references: it's usually unsafe to assume that the listener is going to understand obscure words or references - you can't say "the seventh commandment" and assume they'll know that's the one about adultery. (One exception: when you're using these words just to establish an atmosphere, but understanding the specific meaning isn't critical to understanding the song - for example, I wrote a song called "The Long Words Passenger" where I referred to this guy talking about " sanctified, justified / trinity, divinity / sacraments and evidence / of scriptural inerrancy...." The listener doesn't need to know what any of those things are - just that this guy I'm singing about uses words like that.) Emphasis - De-emphasis. An important part of guiding the listener through a song lyric is giving them little clues as to which parts they should pay attention to, which they can, for the most part, ignore. Referring to a character in a song by their name will emphasize their importance; mentioning some unusual characteristic of that person will emphasize them. But sometimes you want to de-emphasize a character; for instance, in a song about a single mother, you don't want the listener to be too interested in the father who is out of the picture. Loaded words: there are certain words which trigger a lot of associations with the listener, some of them the wrong ones. For example, the word "free" gets tossed around a lot in relationship songs; someone will say "I want to be free," meaning "I want the feeling of 'flying free' that being in a relationship brings." But we're so used to "free" referring to "I want out of this relationship," that it can frequently misdirect the listener if it's not used carefully. SONG STRUCTURE The song needs to be ABOUT something specific. This tends to be a problem especially with Christian songwriting, where someone says "this is a Christian song" and then proceeds to string together a bunch of unrelated thoughts about God. Say something specific about God - write a song about God's "grace." I've also seen songs where the verse is about one thing, but the chorus is about some other topic entirely. Each part works ok on its own and is well written, but it feels like two separate songs have been forced together against their will. Frequently when I'm first writing a lyric, I will actually write out a few notes about the song structure - what I want the first verse to say, the second verse, etc. This can be helpful later when I'm revising - it lets me look at a lyric section and ask myself, "did I say what I meant to here?" Past, present, future: not always, but frequently, the structure of a song is expressed in terms of things that happened in the past, are happening now, or that we hope will happen. It's frequently worth a pass through your lyrics, looking at the tense of each line - when you're talking about that thing that's happening now, don't refer to it in past or future tense, even if it's happened before and will probably happen again. Song structure basically consists of understanding where a character is coming from, where they are now, and where they're going. And then arranging those different bits of information in a logical - not necessarily timeline - order. For instance: my wife just left me (present) I treated her bad (past) but I'm gonna get her back (future) I treated her bad (past) so she left me (present) but I'm gonna get her back (future) I'm gonna get her back (future) I treated her bad (past) but I'm gonna get her back (future) she just walked out (present) but I'm gonna get her back (future) I treated her bad (past) I'm gonna change my ways (future) but today, she's gone (present) When you have a song structure in mind, it makes it much easier to know which lines go where in the song - what information do you want to get across at each point? The four structures above take the same situation and present it in four different ways - and you can see how the different structures emphasize different parts of the whole idea. Another element of song structure and timing: every song has a point that it "turns" on, and if you introduce that point TOO early in the song, you leave yourself with nowhere to go. CLICK HERE to vist Charles' Home Page. OR Read the rest of Charles' notes by CLICKING HERE

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Survival Guide for Songwriters & Artists

The following is an excerpt from the book;

'Survival Guide for Songwriters & Artists � WARNING' by Stetson G. Bailey

Stetson writes�

"� Shark Proof Yourself. It takes skill to navigate the rocky shoals of the music industry. Be armed with all you need to know to survive and prosper from your trips to Music City USA.... to any recording situation in any city.

The Dream You Save Could Be Your Own. Whether songwriter, artist or writer/artist, you deserve a chance to protect yourself from those who would line their pockets with your hard-earned money while you don't get what you paid for. Don't be victimized by the 'Legal Larceny' that lets the unscrupulous pick your pocket and rape your dream.

See how you stack up on being knowledgeable and informed about the workings of the modem music industry�find out..

Are You a 'SITTIN' DUCK'? (from page 84 -85)

Ø If you think radio plays the best songs, songs they like or think their listeners will like... you're an easy target and a sure sittin' duck.

Ø If you think radio plays the most talented artists, or wants to help an artist get known ditto.

Ø If you think that the major labels are hungry for a talented artist or new songs.... get ready for a big surprise.

Ø If you think everyone in the music industry is interested in your well being and future then you're a sure sittin' duck.

Ø If you think their future is linked with yours for very long... you're suffering the delusions of a sittin' duck.

Ø If you think that 'charting' a song will necessarily make you a lot of money or get you discovered... you're in a heap of trouble.

Ø If you think that record companies pay for recording and promotion costs.... you're in for the shock of your life.

Ø If you think that most major recording artists derive most of their income from record sales and radio play.... you have a lot to learn.

Ø If you think that talent is the number one factor in an artist's chance at the big time... you missed by a dozen reasons that are more important.

Ø If you think that the major source of income for the music industry is selling records and from radio or television play.... you missed it by a mile.

Ø If you think getting on a major label is your best chance of success in the music industry... you could miss the boat.

Ø If you think that getting on a major label means you're guaranteed to be 'on your way' to stardom and fame... you are misinformed.

Ø If you think major publishers are waiting for your great song you're going to get your feelings hurt real bad.

Ø If you think being a staff writer for a major publisher automatically gives you a golden chance to get your songs recorded and released... get ready for a sad disappointment.

Ø If your number one question is "Where can I get my tape listened to?" or "Who can I get to listen to my song?" � you've gotten off on the wrong foot.

Ø If you think you have a 'hit' song� get ready to get hit between the eyes with a hard reality.

Ø So long as you believe the lies, myths, misconceptions and fictions about the music industry, you are a sittin' duck at the hands of a skilled 'expert'. Expert at separating you from your money on a 'foolproof' deal. Expert at destroying your dream.

Ø So long as you believe the lies, myths, misconceptions and fictions about the music industry, you will spend your time and energy heading toward a place that doesn't exist by taking paths that lead nowhere..."

Be an Informed Insider

This book is jam packed with things you Just gotta know before you take another step in the music Industry, even if you never plan to go to a major recording center.

If you think the price of education is high, wait 'til you've paid the high cost of ignorance in the modern music machine. The information in this book has saved countless thousands of people millions of dollars. It does the same for you.

BACKGROUND: Stetson G Bailey conducts songwriting seminars in Nashville and is the author of two other books;

'Write 'Hit' Songs' and 'Turn Lead Into Gold'.

Available from:

Genesis Books Drawer 40247 Nashville TN 37204 USA

Fax: +1 615 331 6904

(Please also include US$3.00 for handling and $2.05 state tax for TN residents)

Stetson is also more than happy to talk with writers who sincerely wish to develop their craft and so if you require further details about his book or seminar, you can always phone him. Ph: + 1 615 331 7646

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TOPIC: Marrying Music To Lyrics by Jason Blume

Reprinted with kind permission.

From 6 STEPS TO SONGWRITING SUCCESS by Jason Blume. Copyright © 1999 by Jason Blume. Published by Billboard Books, an imprint of Watson-Guptill Publications, New York, NY. Available where books are sold.

From Page 100 - 101 MARRYING THE MUSIC TO THE LYRIC: PROSODY

To achieve prosody, the melody should sound as if it is happily married to the lyric it accompanies, and vice versa. A melody that makes the listener feel happy should accompany a lyric that has a positive, pleasant message. Likewise, a lyric that conveys sadness should be expressed melodically with notes, chords, and musical phrases that evoke a similar feeling of sadness. Minor chords typically contribute to a sad-sounding melody, while major chords can have the opposite effect.

Great melodies are simple, memorable, and enhance the mood and emotions set forth in the lyric.

George Teren (Writer of country hits, "Busy Man," "She's Sure Taking It Well," "Running Out Of Reasons To Run," and cuts with artists including Trisha Yearwood, John Michael Montgomery, McGraw, and Lorrie Morgan)

Tape recording your melody, without any lyric, can help you be sure that your melody and lyric work together. Either play your melody instrumentally (or have someone play it for you), or sing it a cappella using a nonsense syllable, like "La" or "Ooh." Listen back to the melody and ask yourself what feelings it evokes. If it's not consistent with the emotion of the lyric, it's definitely time for a rewrite.

According to Michael Hollandsworth, V.P./G.M. Zomba Music Group, "It's the total combination of lyric and melody that makes a song a hit." Although the lyric and melody may have been rewritten many times, the final version of your song should sound as though the words and music fit so perfectly together that the listener cannot imagine another melody accompanying that lyric, or another lyric working with that melody.

From Page 91 LYRIC CHECKLIST

Photocopy this checklist and keep it where you normally write. Each time you finish a draft of a song, check to be sure that it has successfully incorporated the tools and techniques that follow:

q Adheres to one of the most successful song structures

q Has an interesting title and idea

q Has a universal theme � not too personal for others to relate to

q Makes the singer look good

q Has verse lyrics that clearly lead to the title

q Contains one focused idea

q Evokes one emotion

q Maintains one consistent tense

q Uses correct pronouns

q Contains opening lines that "grab" the listener and set the emotional tone

q Maintains one consistent tone and style throughout

q Uses fresh imagery

q Sounds conversational

q Avoids clichés

q Is not redundant

q Second verse adds new information

q Doesn't preach

q Doesn't "tell" how the singer feels�the listener feels it

q Bridge (if applicable) adds a new angle

q Each line logically flows from the previous line and into the following line

q Employs rhymes in appropriate places

q Has a title that "pays off"

From Page 119 MELODY CHECKLIST

Make a photocopy of this checklist and keep it where you normally
write. Each time you finish a draft of a song, check to be sure that
you've incorporated the tools and techniques that follow:

q Easy to remember and sing

q Not too "wordy" to be melodic

q Obvious where the title goes (without a lyric)

q Rhythmic and/or melodic phrases repeat

q Melody and lyric seems to go together

q Rhythms are varied in verse, chorus and bridge

q Not too much range for singers to sing

q Phrases are short and catchy

q Melodic phrases are symmetrical

q Contains a "magic" moment (fresh, unexpected note or chord)

q Contains sequential, logical intervals

q There's no doubt where the chorus is

q Bridge (if applicable) adds a new musical dimension

q Melody holds up without the lyric

BACKGROUND

Formerly assitant to the director of A & R for RCA records, Jason Blume's material has been recorded by artists such as Back Street Boys, Britney Spears, Boyz n Girlz, Collin Raye, the Oak Ridge Boys and J'Son. His songs have appeared in Country, Pop and R & B charts all at the same time. Jason conducts songwriting seminars throughout the world and has developed workshops and lessons that are taught in BMI's Nashville Songwriters' Workshops and NSAI classes.

Visit Jason Blume for more information. Visit Watson-Guptill Publications.

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Topic: The Magic Of Melody

There is a lot of music out there that is not as melody-based, one extreme being rap, where elements such as rhythm, lyrics and production are relied upon to attract the listener. But in my case, I've always been attracted to a song with a powerful melody. Classical music was always playing in the house when I was growing up, and I believe that exposure to this kind of music gave me an ear and a preference for melodic songs.

So what makes a great melody? I think it's a relative thing, but for me a great melody is either one that can exist beautifully without any accompaniment, or dances in a unique way over top of a great chord progression. Although it's difficult to actually teach how to write a great melody, there are some things you can keep in mind in order to improve them.

One very common problem I find with melodies is that they stay very close to the "root" note of the chord. Let's take a little theory lesson...if you've already studied theory, you don't need this next section...but read through it anyway!

Chords are made up of three or more notes...I won't go into much depth here, but let's take a look at the "C" chord as an example:

A major "C" chord has three notes...C (called the 'root'), E (called the '3rd' because it's three notes up from 'C' in the C major scale), and G (called the '5th' because it's five notes up from 'C'). So we have three notes...C (root), E (3rd), G (5th). Here's a simple graphic:

Underneath are the notes of each string (the 6th or E string is not played, hence the "x"). You'll notice that the only notes contained in the chord of C are as I described above...C, E, G.

Play each of those strings alone and hum each note as you pluck it...you'll find that you are probably "attracted" to one of those notes more than the others...the root note of "C" may be the one that draws your ear. Chances are that you will almost unconsciously create your melody with that note in it more than any others. If your melodies feel hum-drum, this may be the reason. Now try strumming it and at the same time focus on singing notes that are not within that chord. Play with it a bit, until you get a sense of just how interesting your melody can get...everytime you write your melodies, no matter if you write lyrics first or whether you already have the chord progressions, just being conscious of not repeating the same note too often can help your writing.

Another common problem I hear in melodies is that they move all over the place, almost the opposite to the problem above. This is where simplicity is the order of the day. Here is an exercise that might help you overcome the temptation to write complicated melodies...try coming up with a chord progression of three or four chords and then continue playing those three or four chords in repetition. As an example, try playing D, Bm, A, and G. Over top of that progression, sing one note that sounds like it fits pretty much all of those chords. Just one note. You can hum it continuously, or you can break it up by humming it in a rhythmic fashion, but only one note. Notice how the chord changes actually change the feeling of that note...it's a subtle thing but very effective.

Very often, the rhythm of the melody is as important as the notes in it. As a guitar teacher, I've noticed that one of the hardest things for some of my students to do is to maintain a rhythm on the guitar while singing a melody that is syncopated. Syncopation is a rhythm that exists just before or just after the meter count. The dictionary defines syncopate as: "...change a regular rhythm by beginning a note on an unaccented beat and holding it into an accented one or beginning it midway through a beat and continuing it midway into the next one." Phew! Does this feel like math? Rarely are melodies sung continuously on the beat...songs would sound awfully funny if every note was sung on the beat. As an example of syncopation, take the example, Paul Simon's song "Me & Julio". I've placed the words underneath the meter of the music to show you how it would look:

|1..........2..........3..........4..........|1..........2.......... 3..........4..........|1..........2..........3..........4..........|
.Me and......Ju-......lio......Down.....by.........the...scho----ol..... ....yard

Notice how many of the words fall in between the beats. The word 'Me', 'school' and 'yard' are the only words that actually fall on the beat, on one of the numbers. Melodies are usually a combination of both. How do your melodies measure up? Get a metronome and just sing one of your melodies over top of it...notice where you place the notes. Do they sit too much on the beat, or do they always fall in between?

Melody and rhythm, are the simplest elements when it comes to writing a song, but a song is only as strong as it's weakest part. Of course, listening to strong melody-based music, anything written by the Beatles, for example, will give you a new respect for the magic of melody.

BACKGROUND:

An accomplished performer and songwriter from Canada, Irene Jackson is also well established as a guitar teacher on Vancouver Island and produces her own recordings through MOONSTONE PRODUCTIONS, her own company. In 1993 she released her first independent recording "Foolishly Fantasizing", and in 1997, she completed her first CD "Motor Scooter", which she is promoting at performances in Vancouver, Victoria, Vancouver Island and Seattle.

Irene has just released her latest CD...'undressed'!

This is essentially an acoustic solo album. It features the "best of" three releases, including songs from Foolishly Fantasizing, Motor Scooter and three acoustic versions of songs from the yet-to-be-released CD, Catnip. Visit Irene's CD page and have a look.

RECENT CAREER HIGHLIGHTS

Home Check theme and Get Up And Grow theme, airing all across Canada, Japan & Africa.

At Home With Herbs theme, airing on the Knowledge Network, WTN, in Japan and Australia.

Canadian Biker TV theme, airing all across North America on Speedvision.

Featured performer at Seattle's Northwest Folklife Festival, May 1997 & 1999.

Featured performer at the Steveston Salmon Festival, July 1997 & 1998.

Featured performer at Folkfest Victoria, July 1998.

Completed a new CD Motor Scooter in 1997, her second release.

California Tour with appearances in San Fransisco and Los Angeles, Summer 1999

For more background information about Irene and many more invaluable, educational songwriting tips. Visit Irene's site by CLICKING HERE

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The following is an excerpt (the Introduction and first part of Step One ) from the book by Pat & Pete Luboff;

12 Steps to Building Better Songs

They have found from their travels and workshops that many songwriters start writing a song, i.e. lyrics that rhyme and fit (or don't fit) a structure before they've thought about what it is they want to say.

In their 12 Step process, they do five very long steps before word or note number one (except for the title) is written.

".... Dear Songwriters,

There are many ways to start writing a song. The initial inspiration can be a feel, riff, concept, sound patch on your keyboard, anything. And you can finish the song by discovering where the inspiration takes you as you write. There is no one right way to go about writing a song.

It's not unusual to have great starts to a lot of unfinished songs, or finished songs that don't add up. This happens when the intention of a song, lyrically and musically, isn't clear in your head while you're writing it. You don't have to have this intention in your mind when you start; you can just follow wherever your inspiration takes you. But at some point, knowing the song's intention becomes crucial. What's the main emotional message of the song, expressed in a few sentences? How can you get all the elements (melody, lyric, arrangement, feel, etc.) working together to support that message?

12 Steps to Building Better Songs explains a method that evolved in one of our ongoing songwriting workshops as an experiment in group collaboration. In order to get 10 writers on the same page at the same time, we developed a system that takes the group step-by-step through the process of writing a song It's not only a great collaboration tool; it also works well in getting all the voices in your own head to agree. Working these steps will yield a good, if not great, song.

Why Bother?

Some creators believe that letting their audience interpret the work any way they want to makes the song more accessible; that this is how you really communicate and connect with people. These writers contend that ambiguity lets listeners make a song their own. But we don't think so. Listeners want to hear and relate to what you have to say. They feel uncomfortable and lose interest when they don't understand your message. Songs are more accessible when they express a writer's specific vision in detailed ways. That's what really makes the song's character unique. Unexpected connections in an understood environment communicate most effectively. Vagueness, abstractions and generality make it hard to understand what's going on. Most listeners won't even try.

We believe in communicating from the heart as clearly as possible. Each of us as individuals and creators wants our point of view to be understood; or at least have someone acknowledge that we were heard, even if s/he doesn't agree. No matter what was heard or understood, people will still interpret what we're trying to say in different ways. Any way our creative vision is interpreted, what makes it unique and accessible is our individual viewpoint. It's hard work to express this clearly, especially when we're not sure what it is we're feeling or trying to say. We pursue the impossible dream, that someone else will understand where we're coming from.

The Inner Game of Songwriting

The difficulty of expressing ourselves is why the challenge of songwriting is a choice of lifestyle. It's more than something we do, it's a way of life. We're always growing, pushing our limits, out in the unknown, uncomfortable, not knowing whether what we're doing is working or not. We're willing to grow personally and face things that others are reluctant to work through. But songwriting feels so good and necessary to do that we'll do it no matter what. It's guaranteed, the more we write songs, the better we get at expressing our vision of universal truths in simple, direct forms.

Failure and improvement is at the heart of learning to communicate better. If you're not failing, you're not trying. Open mindedness to experimentation is a key aspect to the 12 Step process. There's no one right way to do or say anything. There's always a different word or phrase, melody, feel, arrangement that might express our feelings more strongly. Trying new techniques and avenues of thought keeps the writing process fun and interesting.

Your Mission, Should You Decide to Write Songs

Writing with intention is not a cop out. It's not selling out to commercialism, or just regurgitating old concepts, or telling people what you think they want to hear. We see it as trying to share what you're saying as clearly as it is in your power to do.
This 12 Step process is one way to go about getting all the elements of a song working together to share your experience. Try writing a song from scratch using this method and let us know how it works for you. A feedback form is provided at the back of the book.

Write On!

Pete & Pat Luboff

STEP ONE: START WITH A STRONG TITLE

Why?

A strong title gives you the true North by which to steer your song. Can you imagine taking off in an airplane and not knowing where you intend to land? Would you fly around aimlessly? Land somewhere in the middle of nowhere? Crash and burn? Without a title to focus on, your song might do all of these things. When you have a strong title, you know your goal, the essence of what you want to say. And so, you know your job: to build a song that completely supports and embellishes the title.

The title is the hub of your song. All the lyric lines are like spokes that point to it and support it. All the music (melody, tempo, chords, arrangement) is the emotional expression of the sentiment of the title.
The style of the language of the title will influence your choices about musical feels. Certain title concepts will suggest song structures. The placement of the title determines the structure of the song. The title will sit on the focal point of the music; the part that stands out the most in the melody. The title is the first thing a professional listener knows about your song. Professional listeners are only human. They want to be amazed and amused and attracted to your song from the get-go. The title is the name your listeners will use when they call in to the request line at the radio station wanting to hear your song. These are not all of the reasons why to begin the songwriting process with a strong title. ..."

Excerpted from "12 Steps to Building Better Songs" by Pete & Pat Luboff, available only through their Web Site at http://www.writesongs.com.

To purchase from outside the USA, please send $16.50 in U.S. FUNDS (includes airmail postage). In the U.S., credit card facilities are available or send $12. to:

P.Luboff, P.O. Box 330537, Nashville, TN 37203-0537, USA.

Other services to songwriters include workshops and private consulations.

E-mail for more information: pluboff@writesongs.com

BACKGROUND - Who are Pat & Pete Luboff?

Pat & Pete are songwriters, music publishers and songwriting educators. For many years they were music business photojournalists and arts administrators.

As songwriters, they have had success with "Trust Me," the first single on Snoop Dogg's "Topp Dogg" album, "I Wish He Didn't Trust Me So Much," a No. 2 chart recording by Bobby Womack and currently on Calvin Richardson's "Country Boy" album, "Body Language" by Patti LaBelle (gold album) and the featured song in the John Travolta movie, "The Experts," among others.

They have been teaching songwriting workshops since 1979 and currently teach a unique collaboration workshop in which all the writers participate in writing a song together.
The collaboration workshop started out as an experiment and developed over four years into a process that produces amazingly strong songs.

12 Steps to Building Better Songs was written to pass on this process to other songwriters. It is not only a great collaboration tool, it also works well to get all the voices in your head to agree!

For almost 20 years, Pete conducted the Monday night workshops at the National Academy of Songwriters. Pete and Pat now conduct Monday night workshops at the Music School on Music Row in Nashville. Pete also taught advanced songwriting at UCLA for 13 years. They have traveled throughout the United States teaching songwriting and recently completed a cross-country tour during which they conducted workshops in every state from California to Tennessee.

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