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.
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