Q: I'm new to writing and have a couple of questions.
#1: Can you rhyme every line in a verse like a four line verse that ends in words like pain, rain, vain, train.
#2: Writing choruses. I write my verses and then struggle to find a chorus.
A: If you are new to songwriting, there is a great book I'd recommend you read, by Jason Blume, called "6 Steps to Songwriting Success". I think you will find it very helpful.
Question one - should you rhyme every line of a verse? Well, IMO, it would be better not to. Further than that, I would recommend thinking outside the 4 line box. I see many many lyrics by new writers that have 4-line verses with a 4-line chorus and a 4-line bridge. Experiment. (e.g. Have a 5-line verse that rhymes lines 3 and 5, married to a 4-line or 6-line chorus, and a 2-line bridge that rhymes both lines.) You could, have a chorus that rhymed every line - if the rhymes absolutely work for the song.
The reason I suggest you read Jason's book is you will learn about imperfect rhyme, alliteration, internal rhymes, etc. You need to know these things, otherwise you will find your writing hemmed in by the need to make perfect rhymes.
In addition, I suggested, say, a 5-line verse and a 6-line chorus because CONTRAST is extremely important in songwriting. I try to write the contrast into my lyrics so that they support the need for the music to have contrast.
Question two - how to write a chorus. Some people will tell you to write from a title. So if your title is "I lost you today" everything in the song needs to point to that title. The verses tell the story, and lead to the punchline of "I lost you today".
The KEY is to make sure that your chorus is the "conclusion" or the "payoff" or the "punchline" of the verses. Remember too, that a chorus can be simple and punchy. Sometimes they even repeat the same lines.
let's do an example, just off the top of my head... trying to be unique with your idea of the rhymes
V
pain, hammers my head
rain, soakin my hair
vain, that's what you are
train, goin' nowhere
C
you stopped me in my tracks
I didn't cop to that
til too late
you stopped me in my tracks
I couldn't walk away
til too late-
ev'ry time I took you back
you stopped me in my tracks
Might not be a hit song, but hope that example helps you to see what I mean by 'think outside the box' with structure and rhyme.
Monday, May 19, 2008
Monday, March 03, 2008
Stage Fright
Q: I taught myself to play guitar a little, and my friends say I sing okay. I've performed a couple of times but the stage fright was so bad I never did it again. But I'd like to.
A: You are not alone, suffering with stage fright. Everyone does. Even those who look really comfortable up there. Take some lessons to be more secure with your instrument(s), including voice; practice every day, and get experience by going to small friendly open mics or seniors homes where the audiences are very appreciative of every effort. There’s also a great book called “Feel the Fear and Do It Anyway”, I recommend it.
A: You are not alone, suffering with stage fright. Everyone does. Even those who look really comfortable up there. Take some lessons to be more secure with your instrument(s), including voice; practice every day, and get experience by going to small friendly open mics or seniors homes where the audiences are very appreciative of every effort. There’s also a great book called “Feel the Fear and Do It Anyway”, I recommend it.
Wednesday, February 27, 2008
Q: When paying for a demo, should you pay for live music only? How much does it cost? I've heard $600 a song or even more. What do I look for?
A: Yes, it costs that much or more. You have to really know that your songs have a shot before spending this kind of money. And you have to really know that the place you are going to creates demos that are acceptable to the ears of the industry.
I spent between $600 and $900 per song, demoing 7 songs 3 or 4 years ago. What's that, about $4000? None of those songs have ever got a deal.
I thought they were good, my producer thought they were good, etc etc. But I didn't know, I didn't understand, what 'commercial' meant. If I'd spent $100 someone like John Braheny or Jason Blume could have critiqued my songs. It would have been hard to take, to hear that what I thought was good was poor. And it would have been even harder to understand that even anything good isn't good enough. Nothing less than great will even get a look.
Secondly, those costly demos... were a mix of live and midi. Nothing wrong with midi... if it's worked with so it is indistinguishable from the real thing. Nothing wrong with EZdrummer if it's worked with properly. But the midi on my demos is obvious to the experienced ear, and the virtual instruments used to give sound to that midi are not of good quality. I hear that now, but then I was so excited about my songs coming alive... and I didn't even know that would be an issue.
In addition, I did not have the experience to even know what to ask for. I should have, for example, taken in a couple of recordings of hit songs in the genre I was shooting for, and talked to the producer about having that kind of arrangement/setting for my song. And finding the right singer. Someone who sounds something like the "a la" artists I intended to pitch the song for.
IMO I foolishly hired someone who didn't have the necessary experience to take my songs from worktape to effective, pitchable demo. I don't blame them, I blame me. I didn't know what I was doing. Buyer beware. In the end it didn't really matter because the songs themselves were not worthy of the money spent upon them. An expensive lesson.
I recommend that you take what you feel are your top 3 best, killer songs - and have them critiqued by professionals. NSIA, SongU, John or Jason, Harriet Schock, Pat & Pete Luboff. In all cases the feedback is the opinion of the person writing the critique, but this will give you a fairly good idea if what you think is great, is commercially viable. If the results of this exercise are good, then start shopping for a producer who produces songs that sound as close as you can get to the hit songs in the genre you are going to be pitching in. Make sure the singer used on the demo is excellent. The singer sells the song.
A: Yes, it costs that much or more. You have to really know that your songs have a shot before spending this kind of money. And you have to really know that the place you are going to creates demos that are acceptable to the ears of the industry.
I spent between $600 and $900 per song, demoing 7 songs 3 or 4 years ago. What's that, about $4000? None of those songs have ever got a deal.
I thought they were good, my producer thought they were good, etc etc. But I didn't know, I didn't understand, what 'commercial' meant. If I'd spent $100 someone like John Braheny or Jason Blume could have critiqued my songs. It would have been hard to take, to hear that what I thought was good was poor. And it would have been even harder to understand that even anything good isn't good enough. Nothing less than great will even get a look.
Secondly, those costly demos... were a mix of live and midi. Nothing wrong with midi... if it's worked with so it is indistinguishable from the real thing. Nothing wrong with EZdrummer if it's worked with properly. But the midi on my demos is obvious to the experienced ear, and the virtual instruments used to give sound to that midi are not of good quality. I hear that now, but then I was so excited about my songs coming alive... and I didn't even know that would be an issue.
In addition, I did not have the experience to even know what to ask for. I should have, for example, taken in a couple of recordings of hit songs in the genre I was shooting for, and talked to the producer about having that kind of arrangement/setting for my song. And finding the right singer. Someone who sounds something like the "a la" artists I intended to pitch the song for.
IMO I foolishly hired someone who didn't have the necessary experience to take my songs from worktape to effective, pitchable demo. I don't blame them, I blame me. I didn't know what I was doing. Buyer beware. In the end it didn't really matter because the songs themselves were not worthy of the money spent upon them. An expensive lesson.
I recommend that you take what you feel are your top 3 best, killer songs - and have them critiqued by professionals. NSIA, SongU, John or Jason, Harriet Schock, Pat & Pete Luboff. In all cases the feedback is the opinion of the person writing the critique, but this will give you a fairly good idea if what you think is great, is commercially viable. If the results of this exercise are good, then start shopping for a producer who produces songs that sound as close as you can get to the hit songs in the genre you are going to be pitching in. Make sure the singer used on the demo is excellent. The singer sells the song.
Tuesday, February 26, 2008
my voice cracks when I sing
Q: I try so hard to get my voice back the way it used to be, when it really worked. But it cracks and it hurts when I sing, and sometimes I cough. What am I doing wrong?
A: The most important thing you need to do is to stop trying to make your voice be something else. People try to imitate the stars they love, or they try to make their voice do something they imagine is good. And all they do is strangle their voices. You see this on American Idol auditions all the time.
Your voice is like a dog you are trying to get to jump through the hoop. You can't make the dog jump through the hoop, it has to jump on its own. Even if you lift up the dog, you can't make it jump. You simply hold out the hoop and invite the dog to jump through it. You have to invite your voice to be with you.
Your voice is cracked and strained because you are trying to make it 'be' something. You need to accept it for exactly what it is. Even if you plan to work or train, you must always work with what you have, and trust that it will progress.
Voice is a funny thing. the harder you try to make it 'be', the further away you push it.
Sing music that suits your voice in keys that fit your range. Don't imitate other people. In addition - this is very important - always look for quality, not quantity. Sing songs you like, but sing them as yourself. That's all we really have anyway.
A: The most important thing you need to do is to stop trying to make your voice be something else. People try to imitate the stars they love, or they try to make their voice do something they imagine is good. And all they do is strangle their voices. You see this on American Idol auditions all the time.
Your voice is like a dog you are trying to get to jump through the hoop. You can't make the dog jump through the hoop, it has to jump on its own. Even if you lift up the dog, you can't make it jump. You simply hold out the hoop and invite the dog to jump through it. You have to invite your voice to be with you.
Your voice is cracked and strained because you are trying to make it 'be' something. You need to accept it for exactly what it is. Even if you plan to work or train, you must always work with what you have, and trust that it will progress.
Voice is a funny thing. the harder you try to make it 'be', the further away you push it.
Sing music that suits your voice in keys that fit your range. Don't imitate other people. In addition - this is very important - always look for quality, not quantity. Sing songs you like, but sing them as yourself. That's all we really have anyway.
Monday, February 25, 2008
offering lyrics "for free"
Q: You can use my lyrics for free as long as you give me credit on your CD. You will not own the lyrics and can't say you wrote them.
A: Unfortunately it’s not true that someone setting your words to music can do so “freely” and then not own the result.
The truth is that both of you would own the resulting song, meaning that it is a co-written piece of music. They could do very little with the song without your input. In other words, they couldn’t pitch it to an artist, they couldn’t pitch it to film/tv.
So using your lyrics would preclude them doing anything but recording it themselves on their CD. And in that case, you can, in writing, waive your share of the mechanical licencing fee for that song, however, you will still be owed your share of the songwriting royalties if the song is played on radio or in PRO registered venues. And I have had some legal advice on the subject of co-writing, and it is recommended that you always get a co-writing agreement signed.
If there is clear separation between the contributions, you can agree on a reversion clause so that if the song is not published or placed within a certain period that property reverts back to you. In the absence of a co-writing agreement the law considers the song to belong to both of you equally, regardless of who contributed what.
If it were me, I would also expect my co-writer to at least participate in the process of the music development & give feedback on melody and setting. I would also expect them to share in the cost of demoing the song, if any.
One additional note - avoid any situation where the same lyrics may be used by different people for different songs. The legal entanglements get too complicated. One lyric, one song - at least until the revision clause clicks in.
Disclaimer - I am not a lawyer & the above should not be misconstrued as legal advice.
A: Unfortunately it’s not true that someone setting your words to music can do so “freely” and then not own the result.
The truth is that both of you would own the resulting song, meaning that it is a co-written piece of music. They could do very little with the song without your input. In other words, they couldn’t pitch it to an artist, they couldn’t pitch it to film/tv.
So using your lyrics would preclude them doing anything but recording it themselves on their CD. And in that case, you can, in writing, waive your share of the mechanical licencing fee for that song, however, you will still be owed your share of the songwriting royalties if the song is played on radio or in PRO registered venues. And I have had some legal advice on the subject of co-writing, and it is recommended that you always get a co-writing agreement signed.
If there is clear separation between the contributions, you can agree on a reversion clause so that if the song is not published or placed within a certain period that property reverts back to you. In the absence of a co-writing agreement the law considers the song to belong to both of you equally, regardless of who contributed what.
If it were me, I would also expect my co-writer to at least participate in the process of the music development & give feedback on melody and setting. I would also expect them to share in the cost of demoing the song, if any.
One additional note - avoid any situation where the same lyrics may be used by different people for different songs. The legal entanglements get too complicated. One lyric, one song - at least until the revision clause clicks in.
Disclaimer - I am not a lawyer & the above should not be misconstrued as legal advice.
Thursday, December 20, 2007
songwriting notes from Road Rally 2007
This was my 3rd Rally (a music conference for songwriters/musicians/artists), and altho I had my notebook, I didn't write much down this time. I just kinda soaked it up.
But here are some of my scribbles:
RALPH MURPHY - re county music writing - especially lyrics:
-- humour, irony, detail; the woman is always right;
-- 4 to 7 repetitions of title, first use of title within 60 secs;
-- the singer is never a loser or over 30
FETT - re audio mastering
-- mastering means adding finesse, power, clarity, polish, cleaniness to a mix
-- it is NOT a fixing process
Steps of mastering:
1) - completion of the mix process - you get the stems (stereo sub mixes) as well as the final mix, the final mix is two tracks
2) a - tone shaping - looking for warmth, crispness - balance the tone & ensure frequencies are shared between low, med & high band -- this should be subtle 2) b - leveling - smoothing out the dynamics of the mix
3) - audio repair
If you are mastering an album you want to make the tone of each cut have the same tonal quality -- look for a tonal centre for the album. Also want to have a loudness centre for the album
TED LOWE - re film/tv
-- pitch music with updated sounds & great mixes
-- tempo matters - groove is more important than melody a lot of the time
-- be quirky or distinctive
FILM & TV PITCH PANEL
-- uptempo gets used more; start with meat & potatoes
-- know what you are pitching for - what would the music be used for, where do you hear it
-- if pitching with vocals -- they must be great
-- whatever you're doing, strive to do it better
A&R LISTENING PANEL #1
-- the listener should feel / have a visual interpretation of the music
-- there is a move back to music with heart & soul
-- emotion in lyric & voice -- more natural, less midi
-- makes a difference to have even one or two organic tracks if using virtual instruments
-- songs must have a really big payoff in the chorus
As noted above, one of the panelists at the Road Rally said, "whatever you're doing, strive to do it better". I seldom reach the bar, but when I do, it feels good, man. My vocal coach was the same. Encouraging, supportive, exacting. When he said it was good, I knew it was great.
It reminds me of something I read about high school students going out in the world to get jobs. They may have made it through school with a C+, but C+ doesn't cut it in most jobs. I don't want to be a C+ singer or a C+ songwriter. I want the industry to demand more of me; make me work harder than I've ever worked before; make me become more than I am; make me strive for excellence in all I do. I want to earn my "A+'s" and be proud I rose to the challenge.
But here are some of my scribbles:
RALPH MURPHY - re county music writing - especially lyrics:
-- humour, irony, detail; the woman is always right;
-- 4 to 7 repetitions of title, first use of title within 60 secs;
-- the singer is never a loser or over 30
FETT - re audio mastering
-- mastering means adding finesse, power, clarity, polish, cleaniness to a mix
-- it is NOT a fixing process
Steps of mastering:
1) - completion of the mix process - you get the stems (stereo sub mixes) as well as the final mix, the final mix is two tracks
2) a - tone shaping - looking for warmth, crispness - balance the tone & ensure frequencies are shared between low, med & high band -- this should be subtle 2) b - leveling - smoothing out the dynamics of the mix
3) - audio repair
If you are mastering an album you want to make the tone of each cut have the same tonal quality -- look for a tonal centre for the album. Also want to have a loudness centre for the album
TED LOWE - re film/tv
-- pitch music with updated sounds & great mixes
-- tempo matters - groove is more important than melody a lot of the time
-- be quirky or distinctive
FILM & TV PITCH PANEL
-- uptempo gets used more; start with meat & potatoes
-- know what you are pitching for - what would the music be used for, where do you hear it
-- if pitching with vocals -- they must be great
-- whatever you're doing, strive to do it better
A&R LISTENING PANEL #1
-- the listener should feel / have a visual interpretation of the music
-- there is a move back to music with heart & soul
-- emotion in lyric & voice -- more natural, less midi
-- makes a difference to have even one or two organic tracks if using virtual instruments
-- songs must have a really big payoff in the chorus
As noted above, one of the panelists at the Road Rally said, "whatever you're doing, strive to do it better". I seldom reach the bar, but when I do, it feels good, man. My vocal coach was the same. Encouraging, supportive, exacting. When he said it was good, I knew it was great.
It reminds me of something I read about high school students going out in the world to get jobs. They may have made it through school with a C+, but C+ doesn't cut it in most jobs. I don't want to be a C+ singer or a C+ songwriter. I want the industry to demand more of me; make me work harder than I've ever worked before; make me become more than I am; make me strive for excellence in all I do. I want to earn my "A+'s" and be proud I rose to the challenge.
Wednesday, May 23, 2007
do I need a licence to use music for my videos?
Q: I started a company that will make DVD slideshows and videos for families. I will use music on the DVDs that I have bought (thru Itunes or the actual album). Do I need a license to use these?
A: Yes. You may have purchased a CD or a download, but that is just for your personal listening pleasure. In order to use any song or music for DVD slideshows or videos, you need to obtain a licence.
Song copyrights are held by music publishers and/or artists, while sound recordings (the masters) are controlled by record companies and/or artists.
A synch license pays copyright owners when their music is used in combination with visual images such as music in films, TV, videos, computer programs, etc. The producer of the audiovisual production usually requests a synchronization license from the song publisher. These rights are administered and licensed by the publisher who accounts directly to the writer.
I suggest you contact NMPA and ask them to assist you in locating the person(s) you need to contact to licence each song you intend to use.
http://www.nmpa.org
The other option is to look for and use royalty-free music.
A: Yes. You may have purchased a CD or a download, but that is just for your personal listening pleasure. In order to use any song or music for DVD slideshows or videos, you need to obtain a licence.
Song copyrights are held by music publishers and/or artists, while sound recordings (the masters) are controlled by record companies and/or artists.
A synch license pays copyright owners when their music is used in combination with visual images such as music in films, TV, videos, computer programs, etc. The producer of the audiovisual production usually requests a synchronization license from the song publisher. These rights are administered and licensed by the publisher who accounts directly to the writer.
I suggest you contact NMPA and ask them to assist you in locating the person(s) you need to contact to licence each song you intend to use.
http://www.nmpa.org
The other option is to look for and use royalty-free music.
Sunday, May 07, 2006
non-musicians+non-singers+lyricists...beware
I was just making a comment on a songwriting board, about those scam demo companies that suck lyricists and non-musicians in... and take advantage of their dreams & lack of knowledge of the industry. I wanted to post my thoughts here because I think this is serious business. It's serious because folks with talent are getting ripped off and I don't think any of us can afford to get ripped off.
If you are an aspiring songwriter and you dont sing, play an instrument, and/or write music, youve got a tough hill to climb. But IMO *paying* someone to write music for your lyrics is a mistake. IMO *paying* someone to make a demo AND giving them a share in the royalties is a no-win for you, and a big win for them. They don't have to do anything-- they've already made their money off of you. And, the demos suck. Imagine what the other publishers, music supervisors, etc. think. In fact, when they see a demo from one of those scam companies they immediately file it... in the waste bin.
I believe you should find a local musican to co-write with. You should both invest in the songs, and you both take the risk of it not working oute.g., youve both made an equal investment in the song(s). Even better, you should take guitar lessons, learn how to read notation, and learn the skills of being a songwriter, over time. If the music is in you, all you need is the skills to bring it out. No one else can write for you what you could be inspired to write if you had the means.
I know we all think that we're the next best & brightest songwriters... but let's also be intelligent enough *not* to fall for the scams. And let's also be smart enough to understand life, and art, is a process, and that you grow over time into the artist you were meant to be. There are no shortcuts. Define success for yourself, set your goals, and work slowly and surely on achieving them.
I'm earnest about this cause 3 years ago I wasted $3,000 on making great demos of songs that sucked. I'm more sober now, and I won't spend a penny until I have a worktape that has passed muster with folks I trust.
I don't mean to be discouraging to the non-musicians among us. I'm only saying this cause I care.
Whew, I'm glad I got that off my chest.
If you are an aspiring songwriter and you dont sing, play an instrument, and/or write music, youve got a tough hill to climb. But IMO *paying* someone to write music for your lyrics is a mistake. IMO *paying* someone to make a demo AND giving them a share in the royalties is a no-win for you, and a big win for them. They don't have to do anything-- they've already made their money off of you. And, the demos suck. Imagine what the other publishers, music supervisors, etc. think. In fact, when they see a demo from one of those scam companies they immediately file it... in the waste bin.
I believe you should find a local musican to co-write with. You should both invest in the songs, and you both take the risk of it not working oute.g., youve both made an equal investment in the song(s). Even better, you should take guitar lessons, learn how to read notation, and learn the skills of being a songwriter, over time. If the music is in you, all you need is the skills to bring it out. No one else can write for you what you could be inspired to write if you had the means.
I know we all think that we're the next best & brightest songwriters... but let's also be intelligent enough *not* to fall for the scams. And let's also be smart enough to understand life, and art, is a process, and that you grow over time into the artist you were meant to be. There are no shortcuts. Define success for yourself, set your goals, and work slowly and surely on achieving them.
I'm earnest about this cause 3 years ago I wasted $3,000 on making great demos of songs that sucked. I'm more sober now, and I won't spend a penny until I have a worktape that has passed muster with folks I trust.
I don't mean to be discouraging to the non-musicians among us. I'm only saying this cause I care.
Whew, I'm glad I got that off my chest.
Sunday, March 26, 2006
workin' out 'work for hire'
Q: I registered a song through the copyright office about a year ago, submitting a recording of me singing the melody along with the lyrics. Two weeks ago I hired someone to put music to the song. This was a work for hire and I have receipts. Now my question is when do you acknowledge a work for hire or do you? I mean if someone has paid upfront and outright for the services, then doesn't that person own the work? All parties knew up front and accepted payment understanding that this was a work for hire. I am just trying to forsee any potential problems before I promote the song to a few people.
A: The song totally belongs to you. Keep your receipts and all your notes. You can also get each person who works on the recording (musician(s), singer(s) and producer/engineer) to sign a ‘work for hire agreement’.
What you’ve done is fine, I would have
- registered, as you did, the lyrics & melody using the PA form and stating “Author of Words & Music”
- registered the suund recording using the SR form and stating “Author of Words, Music & Sound Recording’
A Work for Hire agreement states the person acknowledges they were paid for their performance on the ‘master’, and that they have not contributed to the ‘writing’ of the song, but to the extent that their contribution could be considered ‘writing’ they hereby waive all rights in perpetuity. Make sure you note the names of everyone who participated in the recording on your file, and that you have receipts/cancelled cheques from each of them.
I always give credit to the performers in my liner notes, etc
John Braheny’s “The Craft & The Business of Songwriting” is a good resource.
Songwriting Blog: http://theshysinger-songwriter.blogspot.com/
A: The song totally belongs to you. Keep your receipts and all your notes. You can also get each person who works on the recording (musician(s), singer(s) and producer/engineer) to sign a ‘work for hire agreement’.
What you’ve done is fine, I would have
- registered, as you did, the lyrics & melody using the PA form and stating “Author of Words & Music”
- registered the suund recording using the SR form and stating “Author of Words, Music & Sound Recording’
A Work for Hire agreement states the person acknowledges they were paid for their performance on the ‘master’, and that they have not contributed to the ‘writing’ of the song, but to the extent that their contribution could be considered ‘writing’ they hereby waive all rights in perpetuity. Make sure you note the names of everyone who participated in the recording on your file, and that you have receipts/cancelled cheques from each of them.
I always give credit to the performers in my liner notes, etc
John Braheny’s “The Craft & The Business of Songwriting” is a good resource.
Songwriting Blog: http://theshysinger-songwriter.blogspot.com/
Friday, March 24, 2006
Don't Fall for It
JPF is a great resource. Check out this thread on Scam tactics:
http://www.justplainfolks.org/ubb/Forum11/HTML/000648.html
http://www.justplainfolks.org/ubb/Forum11/HTML/000648.html
Indie CD?
Great article - 10 Things to Do Before You Release Your Album
http://www.justplainfolks.org/ubb/Forum2/HTML/005337.html
http://www.justplainfolks.org/ubb/Forum2/HTML/005337.html
web promo
Q: I am wondering what are some of the best sites on the internet, artists can use to promote their music..aside from myspace?
A: a great resource for this is Bob Baker... www.thebuzzfactor.com - he gives out many valuable tips on marketing, and has some great books on the topic as well. Other great resource is the Indie Bible - www.indiebible.com - which lists many places you can get your music listed/played/reviewed.
A: a great resource for this is Bob Baker... www.thebuzzfactor.com - he gives out many valuable tips on marketing, and has some great books on the topic as well. Other great resource is the Indie Bible - www.indiebible.com - which lists many places you can get your music listed/played/reviewed.
Wednesday, January 25, 2006
ugh, writer's block
Q: I've got writer's block. Everything I do seems ho-hum, and I can't think of anything to write about. How do I find ideas for songs? How do I get more creative?
A: I did the Artist's Way (Julia Cameron) with my girlfriend 4 years ago... and it wasn't always an easy thing to do, or stay motivated with, but I think it was one of the best things I've ever done. We did it as partners, so we could share the ups and downs... and we took 2 or 3 weeks to work through each chapter. I highly recommend morning pages even if you do nothing else in the book... it just gets the junk out and the flow going.
I aspire to live the most creative life possible, and I love what I do. The process that I experienced going through that book allowed to 'play' at painting. I started writing music again with a friend. I changed my priorities. I write music & play with music & teach music, now I'm experimenting with sonic textures and feels. I like to make new recipes with styles and genres and fusion... until I find something I feel expresses me. I think of my music like pictures... sensations... ideas... sonic poems. I feel like a kid with all the technology at my disposal!
My recommendation for a block is... do something really different. Find a Chinese pop percussion and a classical flute riff and an Indian Sitar and mix em up. Make up a song about lettuce in an Asian pop style. Make up a song about spaghetti in a seriously hip hop style. Just play for a bit, get away from form and structure and genre. Get excited about music again. 15 minutes of play a day and morning pages does wonders for the spirit.
I also listen to LOTS of indie music, signed and unsigned. I'll turn on muchmusic and listen to hiphop and rap, I'll turn on CBC and listen to opera and jazz, I'll turn on my local rock station and listen to that... I'll turn on CMT and listen to country. I have different music in every room of my house ....
There's that old saying... if you want things to change you need to do things differently, shake things up, open your mind to new possibilities. If you can't figure out what to write a song about, write a song about THAT. Just start!!! And don't stop until 5 minutes have gone by... no matter what!!
[...here I am writing my blog and typing away on my keyboard and I got to return that phone call and I gotta remember to ask my friend about dinner on Saturday... oh, if I connect those thoughts..... "Saturday, empty page, without you..."]
hey, now I have an idea for a song! LOL
A: I did the Artist's Way (Julia Cameron) with my girlfriend 4 years ago... and it wasn't always an easy thing to do, or stay motivated with, but I think it was one of the best things I've ever done. We did it as partners, so we could share the ups and downs... and we took 2 or 3 weeks to work through each chapter. I highly recommend morning pages even if you do nothing else in the book... it just gets the junk out and the flow going.
I aspire to live the most creative life possible, and I love what I do. The process that I experienced going through that book allowed to 'play' at painting. I started writing music again with a friend. I changed my priorities. I write music & play with music & teach music, now I'm experimenting with sonic textures and feels. I like to make new recipes with styles and genres and fusion... until I find something I feel expresses me. I think of my music like pictures... sensations... ideas... sonic poems. I feel like a kid with all the technology at my disposal!
My recommendation for a block is... do something really different. Find a Chinese pop percussion and a classical flute riff and an Indian Sitar and mix em up. Make up a song about lettuce in an Asian pop style. Make up a song about spaghetti in a seriously hip hop style. Just play for a bit, get away from form and structure and genre. Get excited about music again. 15 minutes of play a day and morning pages does wonders for the spirit.
I also listen to LOTS of indie music, signed and unsigned. I'll turn on muchmusic and listen to hiphop and rap, I'll turn on CBC and listen to opera and jazz, I'll turn on my local rock station and listen to that... I'll turn on CMT and listen to country. I have different music in every room of my house ....
There's that old saying... if you want things to change you need to do things differently, shake things up, open your mind to new possibilities. If you can't figure out what to write a song about, write a song about THAT. Just start!!! And don't stop until 5 minutes have gone by... no matter what!!
[...here I am writing my blog and typing away on my keyboard and I got to return that phone call and I gotta remember to ask my friend about dinner on Saturday... oh, if I connect those thoughts..... "Saturday, empty page, without you..."]
hey, now I have an idea for a song! LOL
Sunday, January 22, 2006
basic rules for songwriting ? :o)
When I was a budding songwriter with dreams of glory I thought I could make the music industry listen to me.... but what I learned - from all the songwriting boards I frequent, and all the wonderful folks I've worked with - is that.... wait for it... I don't need the "commercial music industry" (read: record labels) to do music, or make money in music.
I think the basic rules for any songwriter should be:
a) be true to yourself (but open your mind),
b) study musical forms & songwriting structure,
c) network and collaborate with like-minded people,
d) yes! take lessons to better your skills,
e) wake up every day excited that you get to work on music,
f) copyright your work,
g) understand the biz but don't let it get you down,
h) experiment... think outside the box...
i) have a sense of humour & a sense of fun
j) always keep your word, be professional in attitude and deed
k) get out and listen to live music, from coffee shops to opera houses. Open your mind to the world of music... which extends far beyond North America.
I think the basic rules for any songwriter should be:
a) be true to yourself (but open your mind),
b) study musical forms & songwriting structure,
c) network and collaborate with like-minded people,
d) yes! take lessons to better your skills,
e) wake up every day excited that you get to work on music,
f) copyright your work,
g) understand the biz but don't let it get you down,
h) experiment... think outside the box...
i) have a sense of humour & a sense of fun
j) always keep your word, be professional in attitude and deed
k) get out and listen to live music, from coffee shops to opera houses. Open your mind to the world of music... which extends far beyond North America.
songwriting contests - Yes or No?
No. Winning a songwriting contest will not help you get further in the music industry. Save your money.
Monday, January 02, 2006
the process of writing lyrics...
Q: "I've been writing music for awhile, and would like to write lyrics too. Does anyone know a hard and fast rule, that I could recite to myself that would encapsulate the process of writing?"
A: It's helpful to write every day, journal writing is a good creative 'starter'. Carry a notebook and jot down bits of ideas & phrases & conversations.
When writing:
- think of an image or a feeling or a story
- brainstorm it in a visual way without worrying about structure of any kind
- come up with a 'catch phrase' - 3 to 5 words, that captures the idea you want the song to express... as you write, continue to focus on this one idea
- tell the story of the song as visually as possible,
- avoid 'yoda speak'
- make your lines conversational
- check your grammer
think of a song like a story... we need a setting, characters, 'forward motion', things to 'happen'... try to answer the questions 'who, what, where, when, why'.
when re-writing:
-recognize cliches
- work to develop a consistent rhyme scheme & rythmatic meter in the verses, have a DIFFERENT rhyme scheme and meter in the chorus
- any lyric line should be able to 'stand on its own'
- everything in the song should lead to the 'conclusion' of the hook
Personally, I used to write by sitting down with the guitar and improvising over chord progressions and writing down what felt good. That's okay, but my songs lacked structure. So nowadays I tend to write the lyrics first, and, once they have a solid form/structure, then I start foolin' with music.
Also, know that ALL writers right LOTS of not-so-good stuff and then RE-WRITE... or put it in a drawer (I have a couple stuffed full) LOL
no matter what, keep writing!
A: It's helpful to write every day, journal writing is a good creative 'starter'. Carry a notebook and jot down bits of ideas & phrases & conversations.
When writing:
- think of an image or a feeling or a story
- brainstorm it in a visual way without worrying about structure of any kind
- come up with a 'catch phrase' - 3 to 5 words, that captures the idea you want the song to express... as you write, continue to focus on this one idea
- tell the story of the song as visually as possible,
- avoid 'yoda speak'
- make your lines conversational
- check your grammer
think of a song like a story... we need a setting, characters, 'forward motion', things to 'happen'... try to answer the questions 'who, what, where, when, why'.
when re-writing:
-recognize cliches
- work to develop a consistent rhyme scheme & rythmatic meter in the verses, have a DIFFERENT rhyme scheme and meter in the chorus
- any lyric line should be able to 'stand on its own'
- everything in the song should lead to the 'conclusion' of the hook
Personally, I used to write by sitting down with the guitar and improvising over chord progressions and writing down what felt good. That's okay, but my songs lacked structure. So nowadays I tend to write the lyrics first, and, once they have a solid form/structure, then I start foolin' with music.
Also, know that ALL writers right LOTS of not-so-good stuff and then RE-WRITE... or put it in a drawer (I have a couple stuffed full) LOL
no matter what, keep writing!
Friday, December 23, 2005
'work for hire' agreements
Q - Why have a 'work for hire' signed? You will, through experience, learn who you can trust. A handshake is enough.
A - I disagree -- assuming, of course, that your song actually makes some money... having a 'work for hire' agreement is essential.
It's really not that complicated, it is part of the business of songwriting to make sure you have the paperwork to support your claim that your song, and the master recording of it, wholly belong to you/the writers.
Whenever hiring musicians, singers, producer, studio engineer to create a demo of your song, you should have each person who participates sign a work for hire. This is standard. If, for example, you hire a demo service to demo your song, and don't have a work for hire signed... if that master recording gets in a film (i.e., starts making money)... the folks that worked on it could easy come after you for a share. You paid them, sure - but you have nothing in writing. This is also extremely important if you, for example, create the back-up music but hire a singer to sing the demo/master.
I always, when starting to talk to someone else about working with them, advise them I expect an agreement to be signed, whether it's a work for hire or a co-write.
Here's a sample Work for Hire (you'd have to tweak it for musicians & producer):
Work For Hire Acknowledgment
Dated as of…
SINGER’S NAME & ADDRESS
This work-for-hire acknowledgment by SINGER (I, me, my) is in connection with that certain recording project involving the production of musical composition “SONG” (the Project), featuring the work of COMPOSER (the Master). It is hereby acknowledged that I performed services as a Vocalist for the Project.
1. Ownership of the Master(s): I, for good and valuable consideration in the amount of $0.00 DOLLARS, (receipt of which is hereby acknowledged), certify and agree that all of the results and proceeds of the services of every kind heretofore rendered by me in connection with the Master created for COMPOSER is and shall be deemed a work "made-for-hire" in that it is prepared within the scope of my employment hereunder.
Accordingly, I further acknowledge, certify and agree that COMPOSER is and shall be deemed the author and/or exclusive owner of all of the foregoing for all purposes and the exclusive owner throughout the world of all the rights of any kind comprised in the copyright thereof (expressly including the copyrights in and to the Master and any renewal or extension rights in connection therewith), and of any and all other rights thereto, and that COMPOSER shall have the right to exploit any or all of the foregoing in any and all media, now known or hereafter devised, throughout the universe, in perpetuity, in all configurations as COMPOSER determines.
I hereby irrevocably and unconditionally waive any and all moral and like rights that I may have in the Master and the performances and/or the musical composition embodied therein and I hereby agree not to make any claim against COMPOSER or any party authorized by COMPOSER to exploit the Master based on such moral or like rights.
To the extent that I may be deemed the "author" of the Master, I hereby grant and assign to COMPOSER all rights of every kind and nature whether now or hereafter known or created throughout the universe in perpetuity.
In connection therewith, I hereby grant to COMPOSER the exclusive worldwide right in perpetuity to manufacture, sell, reproduce, adapt, distribute, transmit, communicate and otherwise use the Master in any form and by any method now or hereafter known, including, without limitation, via cable transmission, satellite transmission, electronic transmission, transmission via the Internet (including any promotional or commercial downloads), and advertise phonograph records or other reproductions (visual and non-visual) embodying the Master, to lease, license, convey or otherwise use or dispose of the Master by any method now or hereafter known, in any field of use, to release phonograph records or other reproductions embodying the Master under any trademarks, trade names, or labels, to perform such phonograph records or other reproductions publicly, and to permit the public performance thereof by means of radio or television broadcast, cable transmission, satellite transmission, electronic transmission, or any other method now or hereafter known, all upon such terms and conditions as COMPOSER may approve, and to permit any other person, firm, or corporation to do any or all of the foregoing or may refrain from doing any and all of the foregoing.
2. Name and likeness: I hereby grant to COMPOSER the right to issue and authorize publicity concerning me and to use my name, voice, performance and approved likeness and approved biographical data in connection with the distribution, exhibition, advertising, and exploitation of the Master produced during the Project. I shall exercise approvals hereunder reasonably and within five (5) days after request by me, or such approvals shall be deemed given.
3. Ownership of Musical Composition: The services rendered by me shall be deemed not to be a contribution to the writing of any music or any lyrics embodied in the underlying musical compositions contained on the Master, and I hereby waive any and all rights with respect to the copyright of any underlying musical compositions embodied on the Master. Accordingly, I agree not to make any copyright claim for authorship or any portion thereof, including any claim for authorship of the lyrics, the music or both.
Executed as of date:
AGREED AND ACCEPTED: _________________________________________
SINGER / MUSICIAN / PRODUCER
A - I disagree -- assuming, of course, that your song actually makes some money... having a 'work for hire' agreement is essential.
It's really not that complicated, it is part of the business of songwriting to make sure you have the paperwork to support your claim that your song, and the master recording of it, wholly belong to you/the writers.
Whenever hiring musicians, singers, producer, studio engineer to create a demo of your song, you should have each person who participates sign a work for hire. This is standard. If, for example, you hire a demo service to demo your song, and don't have a work for hire signed... if that master recording gets in a film (i.e., starts making money)... the folks that worked on it could easy come after you for a share. You paid them, sure - but you have nothing in writing. This is also extremely important if you, for example, create the back-up music but hire a singer to sing the demo/master.
I always, when starting to talk to someone else about working with them, advise them I expect an agreement to be signed, whether it's a work for hire or a co-write.
Here's a sample Work for Hire (you'd have to tweak it for musicians & producer):
Work For Hire Acknowledgment
Dated as of…
SINGER’S NAME & ADDRESS
This work-for-hire acknowledgment by SINGER (I, me, my) is in connection with that certain recording project involving the production of musical composition “SONG” (the Project), featuring the work of COMPOSER (the Master). It is hereby acknowledged that I performed services as a Vocalist for the Project.
1. Ownership of the Master(s): I, for good and valuable consideration in the amount of $0.00 DOLLARS, (receipt of which is hereby acknowledged), certify and agree that all of the results and proceeds of the services of every kind heretofore rendered by me in connection with the Master created for COMPOSER is and shall be deemed a work "made-for-hire" in that it is prepared within the scope of my employment hereunder.
Accordingly, I further acknowledge, certify and agree that COMPOSER is and shall be deemed the author and/or exclusive owner of all of the foregoing for all purposes and the exclusive owner throughout the world of all the rights of any kind comprised in the copyright thereof (expressly including the copyrights in and to the Master and any renewal or extension rights in connection therewith), and of any and all other rights thereto, and that COMPOSER shall have the right to exploit any or all of the foregoing in any and all media, now known or hereafter devised, throughout the universe, in perpetuity, in all configurations as COMPOSER determines.
I hereby irrevocably and unconditionally waive any and all moral and like rights that I may have in the Master and the performances and/or the musical composition embodied therein and I hereby agree not to make any claim against COMPOSER or any party authorized by COMPOSER to exploit the Master based on such moral or like rights.
To the extent that I may be deemed the "author" of the Master, I hereby grant and assign to COMPOSER all rights of every kind and nature whether now or hereafter known or created throughout the universe in perpetuity.
In connection therewith, I hereby grant to COMPOSER the exclusive worldwide right in perpetuity to manufacture, sell, reproduce, adapt, distribute, transmit, communicate and otherwise use the Master in any form and by any method now or hereafter known, including, without limitation, via cable transmission, satellite transmission, electronic transmission, transmission via the Internet (including any promotional or commercial downloads), and advertise phonograph records or other reproductions (visual and non-visual) embodying the Master, to lease, license, convey or otherwise use or dispose of the Master by any method now or hereafter known, in any field of use, to release phonograph records or other reproductions embodying the Master under any trademarks, trade names, or labels, to perform such phonograph records or other reproductions publicly, and to permit the public performance thereof by means of radio or television broadcast, cable transmission, satellite transmission, electronic transmission, or any other method now or hereafter known, all upon such terms and conditions as COMPOSER may approve, and to permit any other person, firm, or corporation to do any or all of the foregoing or may refrain from doing any and all of the foregoing.
2. Name and likeness: I hereby grant to COMPOSER the right to issue and authorize publicity concerning me and to use my name, voice, performance and approved likeness and approved biographical data in connection with the distribution, exhibition, advertising, and exploitation of the Master produced during the Project. I shall exercise approvals hereunder reasonably and within five (5) days after request by me, or such approvals shall be deemed given.
3. Ownership of Musical Composition: The services rendered by me shall be deemed not to be a contribution to the writing of any music or any lyrics embodied in the underlying musical compositions contained on the Master, and I hereby waive any and all rights with respect to the copyright of any underlying musical compositions embodied on the Master. Accordingly, I agree not to make any copyright claim for authorship or any portion thereof, including any claim for authorship of the lyrics, the music or both.
Executed as of date:
AGREED AND ACCEPTED: _________________________________________
SINGER / MUSICIAN / PRODUCER
Sunday, December 11, 2005
"Poor Man's Copyright" is NOT recommended
I can't tell you how many posts I see asking about copyright. It surprises me that something so fundamental to our work as artists is so misunderstood. It actually is very very easy to copyright your works. But you do have to take the time to fill out forms accurately, prepare your 'deposit material', and enclose the correct fee.
Fact #1 - as soon as you create something in tangible form (written, audio, etc) it is considered copyright - but you need to be able to prove that you created it on a specific date.
Fact #2 - sending your work to yourself as Registered Mail is NOT copyright protection. The "poor man's copyright' has not held up in a court of law, because there is no way to prove the 'evidence' was not tampered with - one could even perhaps have sent oneself an empty envelope & put the stuff in later.
Fact #3 - You need to have your works held by a 3rd party. And it isn't that hard, or that expensive.
I've actually found it more cost-effective to register my works as collections with the US Library of Congress for one $45US fee, either:
- form PA to register Words & Music only (most common)
OR
- Form SR as a 'author of music, words & sound recording'. That registers both the underlying work & the master sound recording under my name. I would only use form SR if you have a master recording that you intend to try to place in film/tv.
NOTE - form SR can also be used to register JUST the sound recording. If, for example, I recorded a COVER song (with appropriate licencing, of course), I could register my PERFORMANCE of it as a sound recording.
COMPLETING THE FORM FOR A 'COLLECTION'
-in Section 1, under 'Title of this work' put in a name for your collection, and then list the songs - "Collected Works of Miss Vikki, Jan to Mar 05: #1-Hi, #2-Bye, #3-Aloha", etc. [by the way, unless you are a music publisher your work is "unpublished" (it will be "published by the recording company or music publisher that purchases performance rights from you)]
NOTE - if one of the songs in the collection is picked up, you need to specify, in the contract, that you are only licensing the use of that particular song and not the entire collection.
NOTE - you'll need to remember which collection each song was registed in. I personally make a file folder for each song. On the inside front cover, I write down the date it was created, the date the copyright form was sent, and the name of the collection the song was a member of for the copyright. I keep all the lyric notes & copies of the forms I've sent, etc, in that file.
IT IS WORTH-WHILE
The great advantage to filing with the Library of Congress is that, not only is your work copyrighted, but if someone does steal something from you and you win your case, you will get all your court costs & lawyers fees covered AND $100,000 to $150,000 for EACH infringment of your copyright.
By the way, if you live outside the US, don't send your country's postal orders to the Library of Congress, they won't accept them. It has to be a bank draft.
Fact #1 - as soon as you create something in tangible form (written, audio, etc) it is considered copyright - but you need to be able to prove that you created it on a specific date.
Fact #2 - sending your work to yourself as Registered Mail is NOT copyright protection. The "poor man's copyright' has not held up in a court of law, because there is no way to prove the 'evidence' was not tampered with - one could even perhaps have sent oneself an empty envelope & put the stuff in later.
Fact #3 - You need to have your works held by a 3rd party. And it isn't that hard, or that expensive.
I've actually found it more cost-effective to register my works as collections with the US Library of Congress for one $45US fee, either:
- form PA to register Words & Music only (most common)
OR
- Form SR as a 'author of music, words & sound recording'. That registers both the underlying work & the master sound recording under my name. I would only use form SR if you have a master recording that you intend to try to place in film/tv.
NOTE - form SR can also be used to register JUST the sound recording. If, for example, I recorded a COVER song (with appropriate licencing, of course), I could register my PERFORMANCE of it as a sound recording.
COMPLETING THE FORM FOR A 'COLLECTION'
-in Section 1, under 'Title of this work' put in a name for your collection, and then list the songs - "Collected Works of Miss Vikki, Jan to Mar 05: #1-Hi, #2-Bye, #3-Aloha", etc. [by the way, unless you are a music publisher your work is "unpublished" (it will be "published by the recording company or music publisher that purchases performance rights from you)]
NOTE - if one of the songs in the collection is picked up, you need to specify, in the contract, that you are only licensing the use of that particular song and not the entire collection.
NOTE - you'll need to remember which collection each song was registed in. I personally make a file folder for each song. On the inside front cover, I write down the date it was created, the date the copyright form was sent, and the name of the collection the song was a member of for the copyright. I keep all the lyric notes & copies of the forms I've sent, etc, in that file.
IT IS WORTH-WHILE
The great advantage to filing with the Library of Congress is that, not only is your work copyrighted, but if someone does steal something from you and you win your case, you will get all your court costs & lawyers fees covered AND $100,000 to $150,000 for EACH infringment of your copyright.
By the way, if you live outside the US, don't send your country's postal orders to the Library of Congress, they won't accept them. It has to be a bank draft.
Sunday, December 04, 2005
mucus build-up is affecting my singing
Q: I have this ongoing and persistent problem wih mucus build up, and a constant need to clear my throat. It's especially prevelent my first 5 or 6 songs of the evening {I do all the things I should, like avoiding dairy, and doing vocal warm-ups}. It's more annoying than anything, although it sometimes presents itself at bad times, like when I'm reaching for a high note, I'll yak up a hair-ball! (Ohio)
A: Have you checked with your doctor to rule out any chronic things that might affect the voice... ear infection, sinus problem, etc?
In terms of singing technique it's hard to help without seeing you. It could be that the typical 'apprehension' we all feel when approaching a performance is manifesting itself physically in ways that you are so used to you aren't aware of it.
If you're singing with a mic, make sure the mic is located beneath you and reaches up to your lips, so you don't have to lift your head. Also, make sure you are not pushing the voice for volume... phrases should be initiated gently, on the moving breath.
Keep all your words within the frame of an open 'oh' vowel - try to avoid singing in shapes that are wide & flat, sing in shapes that are tall and round. Looking for a 'round' sound focuses the tone and has less affect on the vocal chords.
My doc told me singers need to drink 8 glass of water per day to thin the mucus. Also avoid coffee & some teas.
If possible, have a couple of sessions with an Alexander Technique practitioner. I'm of the opinion that, excluding medical conditions, your problem is caused by residual tension & (sorry) incorrect singing.
One thing you can do right now is sing the 5 or 6 songs you plan to start with -- all on 'boh, boh' boh', looking in the mirror to be sure your shoulders are down/relaxed, that your head is in a neutral position (chin not lifted), that you are pursing the lips slightly in a round 'o' shape. The 'b' helps move the voice forward, the shape helps focus the tone, your observation in the mirror helps you become more aware of your typical habits. In particular, do this on the phrases that go up to the high notes that you speak of -- I'll bet you dollars to donuts that you will see yourself stretching.
When going 'up' to a note, you need to 'picture' it beneath you, not above you. Practice this by singing the phrase on 'boh boh boh' with a good shape and BEND YOUR KNEES as you travel up to the note. Also work on singing more 'legato' - with a sense that the PHRASE is fluid & the pitches are part of that fluidness (sing like you imagine a violin or cello would play the line), and the energy you sing it with never slows... a good way to practice that is to walk forward with purpose as you are singing up the scale. Too often we slow the energy by going up steps, closing the jaw, and stretching.
I hope that helps a little.
A: Have you checked with your doctor to rule out any chronic things that might affect the voice... ear infection, sinus problem, etc?
In terms of singing technique it's hard to help without seeing you. It could be that the typical 'apprehension' we all feel when approaching a performance is manifesting itself physically in ways that you are so used to you aren't aware of it.
If you're singing with a mic, make sure the mic is located beneath you and reaches up to your lips, so you don't have to lift your head. Also, make sure you are not pushing the voice for volume... phrases should be initiated gently, on the moving breath.
Keep all your words within the frame of an open 'oh' vowel - try to avoid singing in shapes that are wide & flat, sing in shapes that are tall and round. Looking for a 'round' sound focuses the tone and has less affect on the vocal chords.
My doc told me singers need to drink 8 glass of water per day to thin the mucus. Also avoid coffee & some teas.
If possible, have a couple of sessions with an Alexander Technique practitioner. I'm of the opinion that, excluding medical conditions, your problem is caused by residual tension & (sorry) incorrect singing.
One thing you can do right now is sing the 5 or 6 songs you plan to start with -- all on 'boh, boh' boh', looking in the mirror to be sure your shoulders are down/relaxed, that your head is in a neutral position (chin not lifted), that you are pursing the lips slightly in a round 'o' shape. The 'b' helps move the voice forward, the shape helps focus the tone, your observation in the mirror helps you become more aware of your typical habits. In particular, do this on the phrases that go up to the high notes that you speak of -- I'll bet you dollars to donuts that you will see yourself stretching.
When going 'up' to a note, you need to 'picture' it beneath you, not above you. Practice this by singing the phrase on 'boh boh boh' with a good shape and BEND YOUR KNEES as you travel up to the note. Also work on singing more 'legato' - with a sense that the PHRASE is fluid & the pitches are part of that fluidness (sing like you imagine a violin or cello would play the line), and the energy you sing it with never slows... a good way to practice that is to walk forward with purpose as you are singing up the scale. Too often we slow the energy by going up steps, closing the jaw, and stretching.
I hope that helps a little.
Wednesday, November 30, 2005
how do I improve my breathing?
Q - I need someone who can give me some breathing exercises cause I find it difficult to sing a note for a very long time without breathing. (Nigeria)
A - holding notes for longer is exactly much more complex than working with the breath. It's not really about the amount of air you take in, it's about how you release that air and use it effectively. Best way to work on this is:
when breathing in, make sure it's a natural breath, think of the breath as going low & do not lift the shoulders when you are breathing in... when releasing the breath for singing do not engage the diaphram to push it out, or try to manipulate the breath in any way... follow the natural function of the body, by experiencing the rib cage relaxing and the breath moving because of that relaxation... and use this natural body breath to create sound
always initiate the voice gently, as on a sigh -- in other words, float the voice on breath that is already moving naturally and easily from the body,
never push the voice; try to sound like someone else; or yell, scream, whisper; no smoking, minimal drinking; do drink 6 to 8 glasses of water a day; get good sleep
ensure that you are standing naturally, look at something that is at eye level, do not lift the chin or stretch the neck
work on singing lyrical phrases -- singing is all about phrasing... that means the individual notes are less important than the phrase... think of singing phrases like a violin or cello would play them... smoothly, connected ("legato")
work on shaping words effectively - most untrained singers sing with shapes that are wide and flat. Think of singing your words so that the vowels are tall and slim - this will focus the tone and use the breath more effectively
energy is important when singing... when holding a note you need to imagine a forward moving pulse in the tone.... best way to practice this is to walk forward with purpose as you are singing the note... you feel yourself staying underneath the voice more effectively
lastly, placement of the voice is important as well... say 'gah gah gah' now say 'bah bah bah' - can you feel the difference? We want to imagine that the voice begins at the lips... where the 'bah' is... imagine being the opperative word
try singing songs on vowel-based syllables -- boh boh boh, for example, to achieve some focussing of tone and effective placement
that's the best I can do without having you in my studio... these things take time, and experience, and the alert ear of an experienced teacher... in order to understand and practice effectively. Words simply aren't enough to expres the complex skills required to sing in a healthy, easy way.
If possible, take a few lessons with a qualified, experienced teacher of vocal technique... perferably the Italian method... but whatever the method, it should always work on you singing with your voice most effectively with minimal effort. Naturally. Healthily.
cheers
Hummin'bird
A - holding notes for longer is exactly much more complex than working with the breath. It's not really about the amount of air you take in, it's about how you release that air and use it effectively. Best way to work on this is:
when breathing in, make sure it's a natural breath, think of the breath as going low & do not lift the shoulders when you are breathing in... when releasing the breath for singing do not engage the diaphram to push it out, or try to manipulate the breath in any way... follow the natural function of the body, by experiencing the rib cage relaxing and the breath moving because of that relaxation... and use this natural body breath to create sound
always initiate the voice gently, as on a sigh -- in other words, float the voice on breath that is already moving naturally and easily from the body,
never push the voice; try to sound like someone else; or yell, scream, whisper; no smoking, minimal drinking; do drink 6 to 8 glasses of water a day; get good sleep
ensure that you are standing naturally, look at something that is at eye level, do not lift the chin or stretch the neck
work on singing lyrical phrases -- singing is all about phrasing... that means the individual notes are less important than the phrase... think of singing phrases like a violin or cello would play them... smoothly, connected ("legato")
work on shaping words effectively - most untrained singers sing with shapes that are wide and flat. Think of singing your words so that the vowels are tall and slim - this will focus the tone and use the breath more effectively
energy is important when singing... when holding a note you need to imagine a forward moving pulse in the tone.... best way to practice this is to walk forward with purpose as you are singing the note... you feel yourself staying underneath the voice more effectively
lastly, placement of the voice is important as well... say 'gah gah gah' now say 'bah bah bah' - can you feel the difference? We want to imagine that the voice begins at the lips... where the 'bah' is... imagine being the opperative word
try singing songs on vowel-based syllables -- boh boh boh, for example, to achieve some focussing of tone and effective placement
that's the best I can do without having you in my studio... these things take time, and experience, and the alert ear of an experienced teacher... in order to understand and practice effectively. Words simply aren't enough to expres the complex skills required to sing in a healthy, easy way.
If possible, take a few lessons with a qualified, experienced teacher of vocal technique... perferably the Italian method... but whatever the method, it should always work on you singing with your voice most effectively with minimal effort. Naturally. Healthily.
cheers
Hummin'bird
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