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markhamil94
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markhamil94
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Okay, so I’ve been writing songs and poems on and off since I was just a little kid. I think I wrote my first proper song when I was 7 years old. Of course it was really bad, but it was a song none the less, so here is my advice on writing lyrics. I wouldn’t plan out what you’re writing about because that puts pressure on you, and you never want forced lyrics. The beauty of music is that it is a great expression form, so whatever needs to come out of you will seep into your music. Just let it flow. If you’re having trouble then brainstorming can help. If you write about whatever you’re feeling, then you can potentially turn that into music. I’m not that great at producing, but if you have good lyrics then people will listen and I can guarantee you that. So good luck songwriters! If you need any help, let me know 
Last edited by Andrew - PG Music; 03/02/21 06:44 AM.
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I wouldn’t plan out what you’re writing about… …and no one is forcing you. You are certainly entitled to your opinion but some of us have written hundreds of songs by planning the form first, then writing to it. The discipline of knowing what has to go where gives us the freedom to express ourselves.
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I wouldn’t plan out what you’re writing about… …and no one is forcing you. You are certainly entitled to your opinion but some of us have written hundreds of songs by planning the form first, then writing to it. The discipline of knowing what has to go where gives us the freedom to express ourselves. I couldn't agree more with Mike Halloran on this one. Writing to song form does indeed give you discipline and forces you to be more succinct with your lyrics. It also forces you to focus on writing a "good" hook. I see so many lyrics where they are just rambling and have no connection to an actual melody. Writing music to poetry. The "worst" is when someone wants you to put music to their lyrics. They tend to write way too much, the lyrics are too wordy and can never be sung by an actual singer, they use a lot of simple rhymes at the end of their versus (cat hat, bat, etc....) versus words that can be sung with a rhyming tone (ex: ya telling your girl on the phone; that Marvin says let's get it on; your mama says lord help me please; cause I ain't home yet and it's quarter to three). This snippet written doesn't sound close to rhyming but sung it comes across totally different. Also I differ that if you have good lyrics people will listen. I can only tell you how many songs people sing along with but ONLY KNOW THE HOOK !! Most of them have no idea what the underlying lyrics are saying. Especially dance music. Good lyrics against a crappy melody will not resonate.
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Well, this just goes to show that there are as many ways to write as there are writers. I totally get the let if flow and don't force it train of thought. On the flip side, there is also the pick a topic and write about it side of things. If you are going to be serious about being a writer, you have to work on things even when they are not flowing and not coming naturally. I have a number of what I think are good songs that were written that very way. Someone gave me a title, someone gave me a story line to write too, or for some reason, the muse just wasn't in the right cosmic position that day but I pushed through it, forcing it if you would, and was determined to write something that day and I did. In fact, if I sit around waiting for the muse to strike and inspiration to fall from the stars..... I'd never write anything. For me, it mostly doesn't work that way. I have to sit down with the intention to write something. It's at that point that the muse does kick in and I start to write. Sometimes it's decent enough to keep, and other times it's not. As Ringo said... It don't come easy. Here's a good example that I recall.... https://soundclick.com/share.cfm?id=11198785The story is.... I got a tip that a song was needed for a film ending. They gave the story line of the movie and the job was write and record something that would sum up the movie as the leading character stood staring out the window into the rain while his son was playing on the floor behind him as it faded to black..... Oh.... and the finished song has to be submitted in less than 3 days from now. This is the song I did based on that listing and well within the deadline. The song screener commented that there's no way this was already written since it was way to close to the listing description and that I had to have written it specifically for the listing. Bingo! Rest of the story.... leading character was working at a pharma company on a drug that can selectively remove certain memories that are traumatic, to help soldiers returning from the war with PTSD. It has some side effects in that it doesn't always work correctly. His wife and oldest son are killed in an auto accident and he decides to use this untested drug...... he's left with the feeling that there's something else.... something that he's missing but it's right on the edge of his memory but he can't seem to shake that feeling....
Last edited by Guitarhacker; 02/23/21 09:33 AM.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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Successful artists tend to narrow down their options, which is another way of saying pick a style, pick a genre, know the intended audience, get familiar with what has been done before. Commercial success doesn't necessarily equate with artistic value. Neither does wide distribution. IMHO
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[quote=Guitarhacker]
"In fact, if I sit around waiting for the muse to strike and inspiration to fall from the stars..... I'd never write anything. For me, it mostly doesn't work that way. I have to sit down with the intention to write something. It's at that point that the muse does kick in and I start to write. Sometimes it's decent enough to keep, and other times it's not"
Good one Herb Hartley :-)
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While both methods can work, I fall firmly into the "writing with a plan & purpose" category. Inspiration is a fickle thing, and I can't afford to wait around for it to strike.
In my career I've approached songwriting the same way I would if I were writing a daily column for a newspaper. You aren't always inspired, you don't always have a great idea to write, but you write something anyway. Interestingly enough, and this is my experience only, I've found that the more often I make myself write, the more often that fickle inspiration thing does actually happen. I get more, and better, ideas from working through and around ideas that aren't as strong. Waiting for that great monumental idea has always been a recipe for writer's block in my experience.
The great thing about songwriting is, there isn't a one-size-fits-all model for it. Everyone has to follow their own path.
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Another approach which I use is to make a song by sound/chord experimentation/hacking around on keys or guitar. I come up with or make what is to me an interesting chord progression or musical piece and then the mood of the music helps me to inspire you with words appropriate to the music.
The two basic song writing methods are lyrics first then add music to match the lyrics the other is music first and add words to match the music. Both methods are valid and I am sure some songriters use both methods or even blend the methods.
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Another approach which I use is to make a song by sound/chord experimentation/hacking around on keys or guitar. I come up with or make what is to me an interesting chord progression or musical piece and then the mood of the music helps me to inspire you with words appropriate to the music.
The two basic song writing methods are lyrics first then add music to match the lyrics the other is music first and add words to match the music. Both methods are valid and I am sure some songriters use both methods or even blend the methods. That's my experience on all counts. I'd only add that there is a third major method, and that's to write the lyric as a musical component. When it all (except maybe the arrangement) happens at once, it's the most golden. The vocals and the lyrics they carry is the most important part of the music in a song. They carry the primary melody as well as being an integral part of the rhythm section. Where/when they are sung is even more important than the notes they hit. Just as the mood of the music may help inspire a lyric, the rhythm of the piece helps give a framework for how the lyrics can be written to fit. Conversely, the rhythm of the words can give a framework for how the music can be made to fit. And it's not just about time signature. It's about the groove itself.
Last edited by Tangmo; 02/23/21 02:38 PM.
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I found out by accident that I don't need a completed song to start playing it -- rough lyrics, a BIAB backing track, and a stab at a melody (NCH Crescendo is good for this - even free version) is enough for a lead sheet. I say "by accident" because I was wasting time trying to fit the melody to the chord changes. Without being enough of a theorist to know how that is done, I was finding my efforts "needed work," to put it politely. I started laying out the staffs in Crescendo, placing the chord letter above the treble staff, cramming the lyrics in between the two staffs, and entering landing notes. You'd be surprised how close you can nail the melody with the landing notes in place -- I mean, a one, three, four, five, or six minor. If I have any talent at all, it is in the area of improv, so this method works for me. This is probably old hat for many of you. The words and melodies kind of come to you.
To clarify, I mean that I now lay in the melody by following the BIAB track and picking out the notes on the guitar, writing them down on the staff as we go. Sounds old fashioned, doesn't it.
Last edited by edshaw; 02/25/21 10:49 AM.
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Songs come to me in many ways. In older songs I've written, normally songs that were inspired from music are in the keys of E, D or a minor key, Am Em or Dm. Songs that began lyrically are almost always in A. But it's my belief and I've learned that songs are deftly hidden like puzzles all around me in plain site. Church signs, billboards, Tv guides and commercials, bulletins, brochures, flyers, book titles and lists all have provided songwriters inspiration for song ideas or lyrics. John Lennon wrote songs from circus posters and newspaper articles. The Bee Gees in a documentary stated they normally wrote a song as if it were meant to be recorded by a specific famous artist.
I wrote a song from a list of song titles on a Forum members web page. I wrote a song from a girl telling me her close friends said she had "sweet eyes" and she wanted me to write a song verse on the spot based on sweet eyes, which I was able to come up with a verse and chorus in that moment. I've written songs as if a specific celebrity artist were intending to record it.
The most successful song of my songwriting career was the incentive of another of my most successful originals. I had just written "I saw her cry", a sad ballad, and was auditioning it to a few friends. One, girl, Linda, who had recently broken up with her boyfriend, commented this new song and the others I had played that day were good songs but they were all sad, heartbroken songs. She asked "Why don't you write a happy song for me?" "Linda" was the result and lyrically, the first verse began with "I tried to write a happy song for you Linda... and the verse ended with " But you spoiled it all, with your broken heart"...
Because of the way our brains uses association to create mental images, pairing three random nouns will always create a vivid mental image that were one to write down that mental image on paper, they can easily write 3/4 or more of a page and also quickly develop a song storyline. It's easily demonstrated - picture in your mind- tree, river, girl -or- book, tree, dress -- somewhat similar but also quite different images appear in your mind. Write a song about the story behind that image in your mind.
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Charlie:
When you talk about picking up ideas from billboards, TV spots, posters, etc., you are making reference to some advertising principles that quickly become quite deep;
especially in areas of big ticket sales and political persuasion. Why should composers be left out?
It is one thing to complain about the barrage of images, media and otherwise, such as robo-calls, as nearly all of us do, and another thing to take the analytical approach based on the idea that the public perception of reality is molded by what we see and hear every day. Trying to think of a bold example, such as, if we are at war with a country, you wouldn't want to write a song about what a beautiful place it is.
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It would be hard to conjure up a more contextual discussion IMO; i.e, what is your objective? Are you writing on demand? Do you have to produce a song within a given time frame? I would suggest that if so then all of the discipline approaches here would assuredly facilitate those needs. And then there are folks like us who have no formal or informal music training and write for no reason other than fun. Caveat: I am not suggesting more disciplined approaches are not fun! I just grow weary of reading on some discussions here (not this one) that our lives are incomplete because we don’t know music theory A lyric notion most often comes to me when hiking or biking or reading. The ideas go into Apple Notes and when relaxed and in the mood I try to work them into a lyric with a genre in mind. Once the rhymes and a semblance of meter are in place I pass it on to Janice. I’ll suggest the genre and often an artist to her. We share a love of multiple genres. She will then get her old Martin box and work up some ideas. She has melodies running through her head all the time. I will on occasion make some suggestions regarding the chord progression. And our admittedly basic progressions spring from our decades of playing bluegrass, trad country and some blues. Well, we are a bit beyond “three chords and the truth.” Most often I never have much of an idea where she’s taken it until recording time. Pardon the ole guy ramble ... just wanted to mention our approach with zero suggestions that it is the best or the right way - just seems to work for us. Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos are here on our website.
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<< When you talk about picking up ideas from billboards, TV spots, posters, etc., you are making reference to some advertising principles that quickly become quite deep;
especially in areas of big ticket sales and political persuasion. Why should composers be left out? >>
The principles behind a billboard or poster or other media I referenced may or may not influence a song or lyrical idea of a songwriter. I'm not sure what you mean by composers being "left out" because in the example you give that "if we are at war with a country, you wouldn't want to write a song about what a beautiful place it is.", were I perhaps a left leaning anti war activist songwriter, I may actually would use the beauty of that country as a platform for anti war protest in a song...
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<< Caveat: I am not suggesting more disciplined approaches are not fun! I just grow weary of reading on some discussions here (not this one) that our lives are incomplete because we don’t know music theory >> I spent the "requisite" 12 years studying theory and sight-reading. Once I got into the real world of traditional and public domain music, I found myself returning to where I was before that exercise started; namely, to the simplified approach. If the song is in GMaj, perfectly acceptable melodies and accompaniment lines can be played never leaving the GMaj scale. After all, isn't this the basis of rock, blues, and country? Keith Richards is one of the "all time great" guitarists. Looking carefully and knowing he is tuned to open chord, note he rarely leaves the big three notes of the scale. He doesn't have to look at the neck, or a lead sheet. Finally, I give you the current obsession with the minor pentatonic scale. <<The principles behind a billboard or poster or other media I referenced may or may not influence a song or lyrical idea of a songwriter. I'm not sure what you mean by composers being "left out" because in the example you give that "if we are at war with a country, you wouldn't want to write a song about what a beautiful place it is.", were I perhaps a left leaning anti war activist songwriter, I may actually would use the beauty of that country as a platform for anti war protest in a song. >> As I say, it can get deep real quick. I pulled an example that I thought no one would refute OK, so my point is the population walks around in a state of belief that their thoughts and opinions are entirely of their own making. This has been demonstrated to be untrue, as most salesmen can attest. My point is the commercial songwriter looking to his or her own heart for inspiration might also consider asking, "What is it they want, really want? By "left out," I mean, "Why should ad men and propagandists have all the fun?"
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Sadly, many folk aren't really interested in lyrics...much of popular music uses common/popular/fashionable sounds/words to carry a melody.
Some genres have narrative themes that are specific to them.
Personally I love lyrics and NEED to read them to feel I've found my way into a song.
I suspect songwriters like lyrics too - the ones in the User Showcase certainly like to have lyrics posted with a song.
The rule is that there there are no rules...well, not ones that should be followed by all writers all of the time at least.
Writing creatively is like brushing your teeth: some skills need to be learnt, applied and then a personal process develops over time...no two people brush the same, nor pass wind the same.
Just as grammar has a set of rules that are followed but ignored at need, (such as beginning a communication with "Okay, so..." which are, normally, used in a response or as a conjunction to an early part of a piece),so does any creative pursuit, craft, task or art.
Personally I would be disinclined to ask the O.P. for assistance until, at the very least, I had evidence of the O.P.'s proficiency and creativity at the task and had suspicions of click bait erased by time due to a developed online rapport with them.
FlyBys are a common thing around this site of late.
Last edited by rayc; 02/27/21 12:28 AM.
Cheers
rayc
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.............................................
FlyBys are a common thing around this site of late.
Especially one named Mark Hamil (maybe like Star Wars Mark Hamill) that includes a file sharing site URL!
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In my experience, people who say an unsolicited "if you need any help..." are trying to sell you something....but then again, I'm a natural born cynic.
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I just grow weary of reading on some discussions here (not this one) that our lives are incomplete because we don’t know music theory Bud Couldn't agree more !!!!!
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Ah, Bud. But you DO know music theory.
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Check out all the 202 New RealTracks (in sets 456-467)
And, if you are looking for more, the 2025 49-PAK (for $49) includes an additional 20 RealTracks with exciting new sounds and genre-spanning styles. Enjoy RealTracks firsts like Chinese instruments (guzheng & dizi), the bandoneon in an authentic Argentine tango trio, and the classic “tic-tac” baritone guitar for vintage country.
You’ll also get slick ’80s metal guitar from Andy Wood, modern metal with guitarist Nico Santora, bass player Nick Schendzielos, and drummer Aaron Stechauner, more praise & worship, indie-folk, modern/bro country with Brent Mason, and “Songwriter Americana” with Johnny Hiland.
Plus, enjoy user-requested styles like Soul Jazz RealDrums, fast Celtic Strathspey guitar, and Chill Hop piano & drums!
The 2025 49-PAK is loaded with other great new add-ons as well. Learn more about the 2025 49-PAK!
Bonus PAKs for Band-in-a-Box 2025 for Mac!
With your version 2025 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Or upgrade to the 2025 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
- The 2025 RealCombos Booster PAK:
-For Pro customers, this includes 33 new RealTracks and 65+ new RealStyles.
-For MegaPAK customers, this includes 29 new RealTracks and 45+ new RealStyles.
-For UltraPAK customers, this includes 20 new RealStyles.
- Look Ma! More MIDI 13: Country & Americana
- Instrumental Studies Set 22: 2-Hand Piano Soloing - Rhythm Changes
- MIDI SuperTracks Set 44: Jazz Piano
- Artist Performance Set 17: Songs with Vocals 7
- Playable RealTracks Set 4
- RealDrums Stems Set 7: Jazz with Mike Clark
- SynthMaster Sounds and Styles (with audio demos)
- 128 GM MIDI Patch Audio Demos.
Looking for more great add-ons, then upgrade to the 2025 49-PAK for just $49 and you'll get:
- 20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyles,
- FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
- Look Ma! More MIDI 14: SynthMaster,
- Instrumental Studies Set 23: More '80s Hard Rock Soloing,
- MIDI SuperTracks Set 45: More SynthMaster
- Artist Performance Set 18: Songs with Vocals 8
- RealDrums Stems Set 8: Pop, Funk & More with Jerry Roe
Learn more about the Bonus PAKs for Band-in-a-Box® 2025 for Mac®!
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Mac!
Xtra Styles PAK 20 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Mac!
We've just released XPro Styles PAK 9 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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