How Do You Write Songs?

           Songwriters have different methods for writing.  Some like to start with a chord progression or melodic idea.  Others start with a lyrical idea.  What is your method?  I don't think that any particular method is better than another, but I do think it is good to have a method.  

           Songwriting can be hard work.  Like any other hard thing, it takes motivation to keep at it and maintain diligence.  Methods help us to maintain diligence by giving us a familiar structure to work in.  Instead of being lost, we know where to start and where to go from there.  

My Method

How Do I Start

          I like to start with a hook.  Ask ten different people and you may get ten different definitions for the term hook.  I define it as the main thematic idea of the song.  This idea can be lyrical, instrumental or a combination of both.  

           Most of my hooks tend to be lyrical.  In this case, they are usually the title of the song.  People debate over whether the title should be the first or last line of the chorus.  I don't think there are any absolutes here, because every song is different (although not so much today - don't get me started).  Most titles seem to be the last line, although some songs manage to use it as the first and last line. 

           The main factor is whether or not a stranger can listen to the chorus and clearly determine what the title of the song is.  That level of clarity is developed by more than just the placement of the line.  Every other part of the songs should be pointing to this main idea or hook.  Every other lyric should be explaining or expounding on it.  The rhythms and melodies should be helping to express it.  That is why I like to start with the hook.  I usually weave my other song components out of it.  

Instrumental Hooks

          Sometimes I will get an idea for an instrumental hook.  These usually take the form of a memorable solo melody.  Lead guitar is the typical instrument to receive such a part, although not as much in my songs since I don't play guitar.  For me these lines usually are assigned to the piano or saxophone.  I have also written melodic hooks for cello, bass guitar and human whistling.

          Instrumental hooks can also take the form of chord progressions or drum beats.  The piano chord progression to Sara Bareilles' Love Song and the guitar chord progression to Smoke on the Water are examples of progressions that instantly cause you to think of the song.  The same is true for the beats to songs like We Will Rock You or Come Together.    

What's Next

          After discovering a hook I usually develop the rest of the song around it.  If the hook is the lyrical title, I expound outward to develop the rest of the chorus.  I use to write lyrics and music separately, but now they seem to come out at the same time.  Lyrics cause me to hear rhythms, chord progressions and melodies.  In the same way some instrumental ideas cause me to hear lyrics. 

          Usually I develop the verse or verses after the chorus is done.  Sometimes an idea for the verse will jump into my head while working on the chorus.  If so, I just skip to that part of the song and work out the idea while it is flowing.

           Finally, I take a few days (or weeks) to think and pray about revisions.  I continually examine the flow, expression, ease of interpretation and other aspects of the song.  This is the final polishing stage that ensures that I have expressed myself clearly and effectively. 

          Of course this method is just a guide for me.  Not every song I write follows this order of construction.  I have had moments where God imparted complete songs to me in a dream.  Other times I have stored and unfinished songs away for a while and come back to it later.  However, I have found that most of my songs come out of the method that I described above.

   

          Now this post did not get into the technical musical aspects of writing a song.  I mentioned that words, melodies, chords and rhythms seem to flow simultaneously for me.  Several years of private instruction, song writing clinics, college studies and writing/performance experience have brought me to that point musically.  Next week, I will discuss the musical ingredients that form a well written song and the ways to combine those ingredients.

What’s Your Niche?

               I’ve spent a great deal of time trying to improve my singing, piano playing, sax playing, song writing, and recording skills.  I’ve read articles, watched videos and done plenty of research.  Through all of this I have tried to emulate many different styles and approaches.  Through all of this I have learned that when I try to emulate someone else I am never quite as good as that person.  However, I am the best Ray Melograne that is out there.

                Nobody makes a better me than me.  Once I realized this I had to answer a difficult question.  Who am I?  It seems like that question should be easy to answer, but often it isn’t.  Our judgment can easily be clouded by what we want to be, blocking us from seeing what we are.  I’ve mentioned the Batman Begins  quote before, “It’s not who I am underneath, but what I do that defines me.”  As a Christian music artist/minister, one of the best ways to discover you’re who you are is to examine what you have done and what results those actions yielded.

                In my case, I have written several songs, lead worship and sung at special events (coffee houses, church dinners, outreaches, etc.).  I have examined and reviewed these past events for the purpose of improving.  I have notice things about my stage presence, set order, vocal delivery, etc. that I have tried to improve over the years.  However, I also noticed certain elements that stuck out as my particular niche.  Most of my original songs tend to deal with the topic of having a closer personal relationship with God.  In addition, the most memorable moments after events were the times when people would express how the lyrics of a particular song ministered to them personally.  Even while leading worship, some of the most enjoyable and memorable time occurred during the alter call (intimate times of worship).    

                I will always strive to improve as a musician, singer, and performer; however I have come to realize that those elements are not my specific niche.  I am a musical encourager.  I love to combine the message of intimacy with God with music and testimonies that creates an atmosphere of intimacy.  I am less comfortable in situations where I am expected to just entertain.  I am not saying that Christian entertainment is bad, just that it is not my specific niche.  I am a good entertainer, but it will be difficult for me to stand out as the best in that area.  However, place me in a room full of hungry, hurting or searching individuals and I can provide an atmosphere where God can impact their lives.  That is the type of situation where I feel most in my element.

                So what is your niche?  There is no such thing as a better or worse answer.  We should not try to outdo someone else’s niche.  The key is to find the area where you shine, the thing you were custom made for.  Once you identify and operate in that area, you will find that success is easier to attain.  We all need to learn to embrace the things that make us unique instead of wishing that we were like someone else.    

Sound Systems - Bigger Is Better

                Last week I mentioned the relationship between size and quality when selecting a sound system.  Unfortunately, the larger and heavier audio equipment tends to sound better.  This makes life difficult for singer/songwriters (especially solo acts).  We are usually hauling, setting-up and running our own equipment.  We want something that is small and easy to set-up, but we also want to create musical moments in our concerts.

                Why does the size of a system affect the sound?  Usually, larger systems allow for more separation.  Separation is the key to clarity.  The more frequencies a speaker tries to reproduce, the muddier the sound becomes.  The sound spectrum becomes cluttered with competing frequencies and the music loses intelligibility.  Better systems try to overcome this issue by sending bass, midrange and high frequencies to separate speakers.  This separation allows each speaker to focus on the frequencies that it was designed to recreate.

                Bass frequencies travel in long sound waves.  The larger a speaker is, the better it will be at reproducing bass frequencies.  This explains why a system with separate subwoofers usually sounds best.  The larger drivers in the subwoofers are more effectively reproducing the bass frequencies of the music.  Crossover devices are used to separate the sound into different frequency ranges and send it to the appropriate speaker.  Since the bass energy is being sent to the subwoofer, the midrange and high speakers are not getting cluttered with all that extra sound. 

                A small portable system (like a Fender Passport) can be a very attractive option due to its ease of use.  However, it will never be able to reproduce sound with the same quality of a larger system.  The speakers are too small to properly reproduce bass frequencies.  When bass frequencies are not properly separated and reproduced, they quickly turn into mud and clutter.  I witnessed this problem during my daughter’s dance recital.  The sound engineer was using the house system in a middle school auditorium.  It consisted of two 15 inch JBL speaker cabinets.  Even though these speakers are much larger than a Fender Passport, they still suffered from mud and clutter.  His remedy for lack of clarity seemed to be increasing the volume (instead of using a graphic eq or sonic maximizer).  This only resulted in greater amplification of the clutter and greater listener fatigue.  Often, when I take out my 18 inch subwoofer people worry that the music will be too loud.  This dance example shows that larger does not necessarily mean louder.  With greater clarity and separation, an audio engineer will be able to set lower levels and still have everything heard.

                These small portable systems will also lack options when it comes to mixing capability.  The equalization, auxiliary sends, compression and fader controls available on a real mixing console are far better than those offered on most portable systems.  All of these tools help to achieve a mix which contains clarity and rich musical tone.

                Finally, more wattage also results in a better sound.  This is another case where people often mistake bigger for louder.  People see a 1000W system and think it will be too loud.  However, a 1000W system played at a normal volume will sound better than a 30W system.  This is a result of increased headroom.  That 1000W system is not being pushed to its sonic limits.  It is being played at a normal volume and has the ability to go louder if needed.  This type of use produces a clear and intelligible sound.  When a 30W system is cranked to the limit in order to produce an adequate volume it becomes saturated with sound.  This will cause the system to lose clarity and even introduce distortion to the sound. 

                This dilemma raises questions that can only be answered by the individual artist.  What type/size equipment is he/she willing to carry?  What role does sound quality factor in to decision of equipment use?  How does ease of use and price affect and artist’s decision?  Life would be great if we could just perform at venues that have amazing sound systems and in house mixing engineers available, but it doesn’t usually work out that way.  In the meantime, we have to try to deal with reality as best as we can.

               

                  

The Burden of Playing Piano (as a singer/songwriter)

First of all I just have to say, guitar players have it easy.  They can sling a guitar on their back and go.  Acoustic guitar with no amplification sounds great in many settings.  When needed, an amplifier and a microphone can get the job done.  It is kind of difficult to sling a piano on your back.  We piano players are forced to use a keyboard when the venue does not have a piano.  Since keyboards are electronic instruments, we are also forced to bring some type of amplification (no such thing as an acoustic keyboard).    

Now it depends on what kind of piano parts you play in your songs.  Keyboard players in bands often play background synth and organ parts.  This type of playing can be accomplished on 61 key keyboards with unweighted keys.  However, singer/songwriters who sing from the piano are usually not playing parts like this.  We write our songs on the piano, so the instrument tends to take on a fundamental role in the song.  Whether we are performing with just piano and voice, adding background tracks to the mix or have a band to back us the piano/keyboard still is in the forefront.  The performance styles of Billy Joel, Sara Bareilles, Michael W. Smith and Mark Schultz all exhibit this (to name a few examples).

Artists like this do not sing and play from a 61 key, unweighted keyboard.  They usually perform from a grand piano.  When that is not available they play an 88 key, fully weighted, top of the line keyboard.  We piano playing singer/songwriters want to feel like we are playing an expressive instrument while we perform. 

You see music is all about expression and experience.  Musical performers are attempting to express emotions, feelings and ideas through their music.  The ideal situation occurs when the performer creates a musical experience that automatically shares these emotions, feelings and ideas with the audience.  To do so, we need an instrument at our fingers that does not inhibit our expression.

Guitar players can perform with the very instrument that they originally wrote the song with because it is portable.  Every feeling and expression that they experienced while writing the song is still at their fingers while performing.  People who write on their piano always have to perform on something else (unless they have the money to ship their piano to each performance).  I have never played a keyboard that exactly matches the experience of playing a real piano.  Sound resonating from the soundboard of a piano is an experience that speakers cannot replicate.  The vibration of the strings traveling through the keys is a sensation that no keyboard replicates.  The responsiveness to dynamics and expression found in a great piano cannot be replicated through the midi data expression range of 0 - 120 (although they try to come close).

The only solution is to try to use a keyboard with the best action and sound possible.  This solution is often offset by your budget and the strength of your back (plus size of your car).  These types of keyboard tend to be more expensive.  In addition these instruments tend to be larger and heavier than their less expressive counterparts.  Plus, a keyboard will only sound as good as the system that is amplifying it.  The connection between the size and weight of a sound system and the quality of sound it produces is a topic for another week (probably next week).  However, even with the information already discussed I think you will agree that guitar players have it easier when it comes to being a singer/songwriter.   

Does Ministry Mean Free?

               Should Christian singer/songwriters ask for money when they minister?  I am starting this post with a question because I would like to hear your responses.  This is a difficult question, and I do not claim to know the answer.  I do know several arguments for both sides and the situations that foster those arguments. 

                Many Christians divide ministry into the categories of fulltime and volunteer.  A head pastor of a church is the main example of a fulltime ministry that should be a paid position.  Usher, children’s church worker and worship team member are examples of volunteer ministries within the church.   These types of volunteer positions are a fundamental way for church members to connect with each other and give of themselves beyond the monetary form of what is placed in the offering basket.

                Christian singer/songwriters do not fit into these neat categories because they are normally guest ministers outside of their home church.  A question I have been ask several times is, “Do you minister full time, or do you have an outside job?”  This question is an attempt to superimpose the fulltime/volunteer church ministry classifications on an outside guest ministry.  Many people feel justified in not paying a guest singer/songwriter if he also possesses a full time job outside of his ministry. 

                In addition to this sentiment, some Christians feel that a singer/songwriter’s ministry falls under the great commission.  All Christians are called to, “Go therefore and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, teaching them to observe all that I have commanded you (Matthew 28:19-20a ESV).”   This is not something we should look to be paid to do.  It is part of our calling as ambassadors of Christ.  Therefore, if a church is organizing an outreach function and asks a guest musician to minister he should freely do so in fulfillment of the great commission.  Some people believe that this should extend even to church events that provide music for believers since the encouragement resulting from the music could be considered discipleship and teaching. 

                Many Christian singer/songwriters feel that they should be paid for their ministry even if they have a full time job in an outside field.  They quote 1 Timothy 5:18 which says, “For the Scripture says, ‘You shall not muzzle and ox when it treads out the grain’, and, ‘The laborer deserves his wages.’ (ESV).”  The context of this scripture is discussing elders who teach the Word in the church, so it is debatable whether or not it applies to guest musicians.  There are, however, expenses involved in having a music ministry.  Equipment needs to be purchased and maintained.  Time and money are invested in writing, practicing and recording music.  In addition there are the costs of travel expenses, mileage on vehicles and the labor of hauling equipment. 

                There are also singer/songwriters who do not care about being paid.  Some feel this way because of their personal beliefs about their ministry.  Others are just looking for as many opportunities as possible to minister, so they are willing to do so for free.  This has an effect on the musicians who are looking to be paid because it decreases the overall fair market value of the guest musician market.  Why should people pay for something that they can get for free?  The only way to compensate for this deflation of the value of guest music ministry is to set your ministry apart by providing a higher quality.  The rating of quality in music is relative (as discussed in a previous post), so it is difficult to set yourself apart.  Plus, churches of smaller size and financial means may not value quality over price. 

                A third option thrown into the mix is the love offering.  Many churches feel more comfortable collecting a love offering and giving the musician whatever is taken in.  On a practical side this ensures that the church will not suffer a financial loss for the evening.  On a spiritual side this could be seen as an attempt to allow God to determine the amount that a guest musician should be paid.  Often musicians who are willing to accept these terms, as opposed to a set price, are looked at as being more “spiritual” because they are willing to leave their financial needs in God’s hands.  We could start an additional debate on the topic of whether or not there are grounds for the spiritual implications of love offerings, but not today.

                As I mentioned earlier, I am not going to attempt to provide the answer to this debate.  I am simply laying out the arguments.  I do feel that this is a topic that every Christian singer/songwriter should think about.  We all need to settle on a personal decision in this matter before booking events with churches.  I am interested to read your comments on this topic, so please chime in!