CHANGE IS THE KEY!

Some songwriters put in a key change immediately after the intro so that the opening verse has a "lifting effect" thus creating immediate interest. You can, of course, use a key change on the first chorus. This often works well if you have a strong melody.

Others have the verse in a minor key then change into the major on the bridge or chorus. This helps to boost the hook and keep the listeners' attention. This is fine, sometimes, but be warned! If the verse runs on too long the listener may well lose interest altogether before the "big hook" arrives!

However you compose your song, always try to avoid the same chord pattern for both verse and chorus. To do so may well dilute the effect of the hooks in the links of the song.

The trick, then, is being able to keep the listener's interest throughout the whole song. Any changes must fall neatly into place without jarring or irritating the listener. The art of a good writer is to be able to put a song together with skill and dexterity so that, like a finely tuned engine, each part must fits perfectly complimenting and harmonizing with the next and compliment the next to make the engine purr!

In composing your song, the point of linkage cannot be over stressed.

The change of pattern between verse and chorus, is, as I have said earlier, crucial. This is the basis for having a "bridge".

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Masters Of Songwriting is dedicated to all those with a passion for creating songs, and a driving ambition to get to the top in the

world of commercial song writing.

If you possess these qualities, then this is the book you’ve been searching for. You’ll soon discover that it is not just another instruction guide on how to write songs. It will actually change the way you think about creating and marketing songs.

Whatever stage you have reached the methods and advice provided in this book will help you achieve any target you have set yourself as

a creator of music and lyrics. Each section is carefully laid out with cross references so that you can easily link each part to suit your own needs.

Whether you're an established composer, or lyricist, with two or a hundred published songs, or are just thinking about publishing your first work, Masters Of Songwriting will serve as your personal companion in one of the most lucrative and rewarding fields of the entertainment industry.

Songwriters - Can You Sight Read?

Can you actually read and write the notes of your songs?

Some of the most successful composers never could – and many today still can’t read a note of music.

So, is there a real disadvantage in not being able to read and write music?

The answer is yes. Let me say straight away, not being able to sight read will not disqualify you from being a successful songwriter – but it will present you with a handicap over those who can.

Firstly, writing music gives you an immediate advantage in being able to create a top line or lead sheet which you can use quickly to register the copyright in your song. Secondly, writing out the music will help you in ways you cannot imagine especially in the lay out of your song – rather like reading a road map - fields, signs timing and direction fall into place in a more convenient way. Yes I know you can buy software which will write out the music for you using midi on a keyboard or guitar, but think of the convenience of being able to write out a piece of music straight to manuscript as soon as an original melody runs through your head. At any moment a brilliant tune may come to you – and minutes later it may be lost forever.

Interestingly, understanding how to read music is not difficult at all – in fact it’s as simple as ABC. If you can read the alphabet, you can read music. Notes appear on five horizontal lines called a “stave” or “staff” Each note falls directly on one of the lines, or in the spaces. Starting with the simplest of keys - C major, the next note above C is D then E-F-G-A-B-C.  You’re simply following the alphabet. Once you get to “G” your next note above is “A” and so on. You see, in music the letters run from A to G only, that’s it. The only other notes are the “in betweens” sharps (#) or flats (b) which mostly appear in keys other than C major.   Sounds easy? It is. Familiarize yourself with all the notes and the keys and you’ll be reading music in no time.

Those who regularly read and write often begin to see amazing possibilities in other areas of music – such as arranging, harmony, chord structure, counterpoint and even orchestration. You see, if you have creative ability to begin with, chances are these are areas you were meant to move into. Once you start your mind working the possibilities in creative music are endless.

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