Songwriting Challenges
Stuck in a rut? Need some ideas? Want a prompt?
Take a
Songwriting Challenge!
The Beginning and Advanced Songwriting Challenges below are suggestions from
NSAI San Diego Chapter Meeting Guest Speakers and
NSAI Pro Teachers such as
Jason Blume, Ralph Murphy, Allen Shamblin, Marty Panzer
and many more
NSAI Nashville HQ implemented these Challenges after NSAI San Diego Chapter Coordinators
Tracey & Vance Marino gave a presentation for the March 2015 Tin Pan South Songwriting Seminar
Take a
Songwriting Challenge!
The Beginning and Advanced Songwriting Challenges below are suggestions from
NSAI San Diego Chapter Meeting Guest Speakers and
NSAI Pro Teachers such as
Jason Blume, Ralph Murphy, Allen Shamblin, Marty Panzer
and many more
NSAI Nashville HQ implemented these Challenges after NSAI San Diego Chapter Coordinators
Tracey & Vance Marino gave a presentation for the March 2015 Tin Pan South Songwriting Seminar
Challenge: Just Write
This challenge is for those who just can't seem to find any time to write (we're all in that position sometimes). Life gets in the way, so it's helpful to have an obligation like a co-writing session, or promise yourself you'll have at least one good, solid hour each week (four hours a month) to create a song. It can happen!
The point is to carve out specific time so you're on a consistent schedule to get into the habit of writing songs, or at least thinking about songwriting. This "Do Not Disturb--It's My Songwriting Time" does not have to be about the actual "writing." It can be for gathering ideas, titles, and concepts or thinking about melodies or chord patterns.
For inspiration, listen to songwriting audio books, interviews, podcasts; watch a TV show or a movie; listen to music, especially other genres and current music; keep a journal or write memos on your phone; learn how to analyze your favorite songs and study how they're constructed. Then, don't over-think everything. Just write.
SONGWRITING CHALLENGE:
- Find a quiet, safe place, whether it's in your studio, your parked car in the garage, or under a tree at a local park. Select ONE hour, ONE day a week for your "Do Not Disturb--It's My Songwriting Time." Maybe this will be during your Monday lunch hour. Or before bed every Tuesday. Or early Wednesday morning. Or while on a treadmill at the gym. Or on the weekend. This is YOUR time. Keep it clear. Keep it sacred. If an unpreventable emergency gets in the way, reschedule your one-hour, weekly songwriting session for the next day or as soon as possible.
- If you absolutely can't find ONE hour, ONE day a week, then write for 7-10 minutes daily. It's not impossible to find 8-10 minutes to jot down a title or concept or part of a Chorus or Verse. Set the timer on your phone or buy a cheap kitchen timer. These 7-10 minutes a day will add up to one hour a week.
- After you're in the habit of writing one hour a week, increase your "DND--IMST" to two hours a week (or 14 to 20 minutes a day), and so forth.
ADVANCED SONGWRITING CHALLENGE:
- Write a song each month, then get feedback on your song at a songwriting meeting.
- Schedule a monthly one-hour co-writing session with a collaborator. Be ready to bring ideas and concepts.
- NOTE: Many full-time, professional Nashville songwriters schedule two or three co-writing sessions (lasting two to four hours each), three to five days a week. That's 20 to 45 hours a week of actual songwriting.
The point is to carve out specific time so you're on a consistent schedule to get into the habit of writing songs, or at least thinking about songwriting. This "Do Not Disturb--It's My Songwriting Time" does not have to be about the actual "writing." It can be for gathering ideas, titles, and concepts or thinking about melodies or chord patterns.
For inspiration, listen to songwriting audio books, interviews, podcasts; watch a TV show or a movie; listen to music, especially other genres and current music; keep a journal or write memos on your phone; learn how to analyze your favorite songs and study how they're constructed. Then, don't over-think everything. Just write.
SONGWRITING CHALLENGE:
- Find a quiet, safe place, whether it's in your studio, your parked car in the garage, or under a tree at a local park. Select ONE hour, ONE day a week for your "Do Not Disturb--It's My Songwriting Time." Maybe this will be during your Monday lunch hour. Or before bed every Tuesday. Or early Wednesday morning. Or while on a treadmill at the gym. Or on the weekend. This is YOUR time. Keep it clear. Keep it sacred. If an unpreventable emergency gets in the way, reschedule your one-hour, weekly songwriting session for the next day or as soon as possible.
- If you absolutely can't find ONE hour, ONE day a week, then write for 7-10 minutes daily. It's not impossible to find 8-10 minutes to jot down a title or concept or part of a Chorus or Verse. Set the timer on your phone or buy a cheap kitchen timer. These 7-10 minutes a day will add up to one hour a week.
- After you're in the habit of writing one hour a week, increase your "DND--IMST" to two hours a week (or 14 to 20 minutes a day), and so forth.
ADVANCED SONGWRITING CHALLENGE:
- Write a song each month, then get feedback on your song at a songwriting meeting.
- Schedule a monthly one-hour co-writing session with a collaborator. Be ready to bring ideas and concepts.
- NOTE: Many full-time, professional Nashville songwriters schedule two or three co-writing sessions (lasting two to four hours each), three to five days a week. That's 20 to 45 hours a week of actual songwriting.
Challenge: Write A Song With A One-Word Title
Writing a one-word title is a common writing exercise, and it's a good one, especially if you're stuck and need ideas. Here are examples of both new and old familiar songs for inspiration. Some of these songs have the same title but they are completely different songs done by various artists. Read through the list and see if you can hum or sing the song. Sometimes, a title is so effective that just looking at it brings back memories. This should demonstrate how powerful a title can be!
Billboard noticed a popular trend going on with one-word titles. In fact, according to the Billboard statistics, one-word titles make up nearly one-third of the Billboard Hot 100 each week! Who knows? Maybe you'll write the next #1 hit song.
To read the Billboard article about "The Top 50 One-Word Wonders," click HERE
Billboard noticed a popular trend going on with one-word titles. In fact, according to the Billboard statistics, one-word titles make up nearly one-third of the Billboard Hot 100 each week! Who knows? Maybe you'll write the next #1 hit song.
To read the Billboard article about "The Top 50 One-Word Wonders," click HERE
SONGWRITING CHALLENGE:
- Write a song based on a one-word title. That's it! Below are several examples of famous one-word title songs to get you started.
ADVANCED SONGWRITING CHALLENGE:
- Create your own original, made-up, or mashed-up word (portmanteau) or think of an unusual word that's never had the honor of being a hit song on the Billboard charts like "Pontoon" (Little Big Town). Or, "stylize" a title such as "Since U Been Gone" (Kelly Clarkson) or "DONE." (Band Perry) or "L-O-V-E" (Nat King Cole).
- Write a song based on a one-word title. That's it! Below are several examples of famous one-word title songs to get you started.
ADVANCED SONGWRITING CHALLENGE:
- Create your own original, made-up, or mashed-up word (portmanteau) or think of an unusual word that's never had the honor of being a hit song on the Billboard charts like "Pontoon" (Little Big Town). Or, "stylize" a title such as "Since U Been Gone" (Kelly Clarkson) or "DONE." (Band Perry) or "L-O-V-E" (Nat King Cole).
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SONGS WITH UNUSUAL OR MADE-UP TITLES
"Firework" (Katy Perry) "Beachin'" (Jake Owen) "Pontoon" (Little Big Town) "Desperado" (Eagles, Linda Ronstadt) "Cantaloop" (Us3 & Herbie Hancock) "Boombastic" (Shaggy) "Wannabe" (Spice Girls) _____________________________ POP HIT SONGS "Happy" (Pharrell Williams) "Problem" (Ariana Grande) "Rude" (Magic!) "Royals" (Lorde) "Brave" (Sara Bareilles) "Radioactive" (Imagine Dragons) "Believer" (American Authors) _____________________________ COUNTRY HIT SONGS "Bones" (Imagine Dragons) "Rewind" (Rascal Flatts) "Automatic" (Miranda Lambert) "Yeah" (Joe Nichols) "Bartender" (Lady Antebellum) "Chainsaw" (The Band Perry) |
CLASSIC POP & ROCK
"Heartbreaker" (Various Artists & Songs) "Angel" (Sarah MacLachlan) "Thriller" (Michael Jackson) "Bad" (Michael Jackson) "Faith" (George Michael) "Celebration" (Kool & The Gang) "Vogue" (Madonna) "Tequila" (The Champs) "Landslide" (Stevie Nicks / The Dixie Chicks) "Superstition" (Stevie Wonder) "Birthday" (The Beatles) "Help!" (The Beatles) "Revolution" (The Beatles) "Something" (George Harrison) "Memories" (Elvis Presley; Various Artists) "Desperado" (The Eagles; Linda Ronstadt) _____________________________ CLASSIC COUNTRY SONGS "Amazed" (Lonestar) "Blue" LeAnn Rimes "Crazy" (Patsy Cline) "Lady" (Kenny Rogers) "Snowbird" (Anne Murray) "Twang" (George Strait) "Wrapped" (George Strait) |
Challenge: Write A Song For...You? Her? Him? Them? All Of Us?
The Effect Of Using "You" Versus Other Pronouns
This challenge is by the late, great Ralph Murphy, Hit Songwriter, Teacher, Song Analyzer, and Author of Murphy's Laws Of Songwriting: The Book.
Ralph would often talk about the importance of using the 2nd Person pronoun "You" in your songs. In his book he writes "I want you to remember back...back to when you were a consumer rather than a provider of songs. Every song you fell in love to, out of love to, drove your car to, danced to, and so on, was about you or a situation you strongly identified with. The writers of those songs gave you 'You.' They did their job. In the process of doing their job, they demonstrated that they had learned how to get their dysfunctional selves out of the way during the creation of the work and, through the writing process, to give you, you."
Listen to your favorite songs. Is the pronoun "you" used? If so, can you relate to the "you"? Obviously, many major hit songs still use "you" to this day. It's very powerful, to say the least.
Not every song has to be the singer communicating with "you." Experiment using the different pronouns below in your song and hear how it might completely change the perspective and meaning of your song. Does the pronoun you select need to stay the same throughout your song?
SONGWRITING CHALLENGE:
Select a pronoun from the list below. The singer will be directing the song to this person, place, thing, or other:
- 1st Person, Singular: I, me ("I'll be there...")
- 1st Person, Plural: We, us ("We can do this...")
- 2nd Person, Singular: You ("You are my one and only...")
- 2nd Person, Plural: You all (or in the South, Y'all!) ("You all are the best..." or "Gather 'round, everyone...")
- 3rd Person, Singular: He, she, it (rare), and they (non-binary) ("He/She/It can make a difference in this world...")
- 3rd Person, Plural: They, as in a group of people ("They say life is a..." or "They all warned me about you...")
EXAMPLES of interesting lyrics from a different perspective. Listen to each song below and think about:
- Who is the singer? Who is the singer singing to? Is the singer singing to you?
- Which song do you relate to the most and why?
- What effect do you think this song might have on the listener?
- How do YOU interpret these songs?
SONGS:
"The House That Built Me" (Miranda Lambert) The singer is speaking with a woman who lives in her former home
"I Am A Town" (Mary Chapin Carpenter) The "singer" is a small, old Southern town struggling to stay relevant
"He Stopped Loving Her Today" (George Jones) The singer is telling a story in 3rd person (he / she)
"Luck Be A Lady" (Frank Sinatra) The singer is speaking to a fictional woman ("Lady Luck") to help him gamble
"City Of New Orleans" (Arlo Guthrie) The "singer" is a train describing its journey from morning until night
"Killing Me Softly (With His Song)" (Roberta Flack / Fugees) The singer is singing about a singer singing
"I Drive Your Truck" (Lee Brice) The singer is talking to his dead older brother, a soldier in the U.S. Army
"I Believe In You" (Frank Sinatra) The singer is looking in a mirror and singing the song to himself
"You Are The Sunshine Of My Life" (Stevie Wonder) The singer is passionately expressing his deep appreciation and eternal love for his wife, even though the relationship in real life was going to end soon. This #1 hit song would've had an entirely different meaning if the lyrics had been "She Is The Sunshine Of My Life..." or "She Was The Sunshine Of My Life..." (NOTE: Never let the truth get in the way of a great song).
"Golden Hour" (JVKE) The singer drifts in and out from 2nd person to 3rd person but somehow makes it work
Ralph would often talk about the importance of using the 2nd Person pronoun "You" in your songs. In his book he writes "I want you to remember back...back to when you were a consumer rather than a provider of songs. Every song you fell in love to, out of love to, drove your car to, danced to, and so on, was about you or a situation you strongly identified with. The writers of those songs gave you 'You.' They did their job. In the process of doing their job, they demonstrated that they had learned how to get their dysfunctional selves out of the way during the creation of the work and, through the writing process, to give you, you."
Listen to your favorite songs. Is the pronoun "you" used? If so, can you relate to the "you"? Obviously, many major hit songs still use "you" to this day. It's very powerful, to say the least.
Not every song has to be the singer communicating with "you." Experiment using the different pronouns below in your song and hear how it might completely change the perspective and meaning of your song. Does the pronoun you select need to stay the same throughout your song?
SONGWRITING CHALLENGE:
Select a pronoun from the list below. The singer will be directing the song to this person, place, thing, or other:
- 1st Person, Singular: I, me ("I'll be there...")
- 1st Person, Plural: We, us ("We can do this...")
- 2nd Person, Singular: You ("You are my one and only...")
- 2nd Person, Plural: You all (or in the South, Y'all!) ("You all are the best..." or "Gather 'round, everyone...")
- 3rd Person, Singular: He, she, it (rare), and they (non-binary) ("He/She/It can make a difference in this world...")
- 3rd Person, Plural: They, as in a group of people ("They say life is a..." or "They all warned me about you...")
EXAMPLES of interesting lyrics from a different perspective. Listen to each song below and think about:
- Who is the singer? Who is the singer singing to? Is the singer singing to you?
- Which song do you relate to the most and why?
- What effect do you think this song might have on the listener?
- How do YOU interpret these songs?
SONGS:
"The House That Built Me" (Miranda Lambert) The singer is speaking with a woman who lives in her former home
"I Am A Town" (Mary Chapin Carpenter) The "singer" is a small, old Southern town struggling to stay relevant
"He Stopped Loving Her Today" (George Jones) The singer is telling a story in 3rd person (he / she)
"Luck Be A Lady" (Frank Sinatra) The singer is speaking to a fictional woman ("Lady Luck") to help him gamble
"City Of New Orleans" (Arlo Guthrie) The "singer" is a train describing its journey from morning until night
"Killing Me Softly (With His Song)" (Roberta Flack / Fugees) The singer is singing about a singer singing
"I Drive Your Truck" (Lee Brice) The singer is talking to his dead older brother, a soldier in the U.S. Army
"I Believe In You" (Frank Sinatra) The singer is looking in a mirror and singing the song to himself
"You Are The Sunshine Of My Life" (Stevie Wonder) The singer is passionately expressing his deep appreciation and eternal love for his wife, even though the relationship in real life was going to end soon. This #1 hit song would've had an entirely different meaning if the lyrics had been "She Is The Sunshine Of My Life..." or "She Was The Sunshine Of My Life..." (NOTE: Never let the truth get in the way of a great song).
"Golden Hour" (JVKE) The singer drifts in and out from 2nd person to 3rd person but somehow makes it work
Challenge: Here Comes The... Prosody
The Marriage Of Music & Melody...And More
This challenge is by Jai Josefs, former UCLA Extension Instructor and long-time Songwriting Coach, Mentor, and Author of Writing Music For Hit Songs. In his book, Jai describes "prosody" ("PRAH-suh-dee") as the "marriage of music and lyrics in emotional tone." Prosody includes the way harmony and rhythm/tempo are used, too. In the sync music world, it can also include matching the key, chords, groove/tempo/rhythm, vibe, instrumentation, arrangement, singer/artist, musicians, production, and even how the the song has been mixed. Everything has to work together to create the appropriate mood or feeling. That's a lot to consider. In other words, prosody is important!
When hit Songwriters Allen Shamblin and Mike Reid penned their song "I Can't Make You Love Me," it was an up-tempo (bluegrass style) song, not the heartfelt, tear-jerking ballad that Bonnie Raitt immortalized. The almost painfully slow tempo is a big part of the prosody of this now-iconic song.
Study cover songs and their original versions. How is the prosody used, not just with music and lyrics, but the overall vibe of the song? What makes the song work or not work? For example, the song "Mad World" by Roland Orzabal of Tears for Fears was expertly covered by Gary Jules. Gary's version is almost unrecognizable from the original but it captures the raw emotion. That's probably why it's been licensed over and over in films like "Donnie Darko" and countless TV shows.
SONGWRITING CHALLENGE:
Here are some very basic things to consider, depending on the mood and vibe of the song you're intending to write.
- If you're writing a sad song: Are the chords in a minor key? Are the lyrics using metaphors and adjectives that feel sad? Is the groove slow?
- If you're writing a happy song: Is the melody uplifting? Does the message make the listener feel good? Is the singer excited? Do the lyrics express the right message? Is the instrumentation conveying a positive sound? Is the groove fast or upbeat?
When hit Songwriters Allen Shamblin and Mike Reid penned their song "I Can't Make You Love Me," it was an up-tempo (bluegrass style) song, not the heartfelt, tear-jerking ballad that Bonnie Raitt immortalized. The almost painfully slow tempo is a big part of the prosody of this now-iconic song.
Study cover songs and their original versions. How is the prosody used, not just with music and lyrics, but the overall vibe of the song? What makes the song work or not work? For example, the song "Mad World" by Roland Orzabal of Tears for Fears was expertly covered by Gary Jules. Gary's version is almost unrecognizable from the original but it captures the raw emotion. That's probably why it's been licensed over and over in films like "Donnie Darko" and countless TV shows.
SONGWRITING CHALLENGE:
Here are some very basic things to consider, depending on the mood and vibe of the song you're intending to write.
- If you're writing a sad song: Are the chords in a minor key? Are the lyrics using metaphors and adjectives that feel sad? Is the groove slow?
- If you're writing a happy song: Is the melody uplifting? Does the message make the listener feel good? Is the singer excited? Do the lyrics express the right message? Is the instrumentation conveying a positive sound? Is the groove fast or upbeat?
Challenge: Write. Then Rewrite. Rewrite Again (If Necessary)
This challenge is a challenge because most of us songwriters really don't want to make any changes! Is it pride? Is it laziness? Is it because the song makes perfect sense to us and we think it's as good as it can be? Sometimes we need to step away for a period of time and revisit the song later so we can more objectively listen to it and rewrite some parts if necessary.
These tips are from various interviews with Hit Songwriter Ashley Gorley. His favorite advice? "Not to settle and not be afraid to rewrite are two things I always tell writers." (Read the SongwriterUniverse interview by Bill Conger HERE). Ashley is legendary for not only checking, rewriting, and improving every single line of a lyric, but every single word in in the song as well. Maybe that's why, according to his Wikipedia page, Ashley has had 60 number 1 songs and has over 300 songs recorded by artists including Luke Bryan, Jason Aldean, Florida Georgia Line, Carrie Underwood, Blake Shelton, Bon Jovi, Thomas Rhett, Jason Derulo, Kelsea Ballerini, Morgan Wallen and Dan + Shay.
SONGWRITING CHALLENGE:
- Make sure the title and concept of your song is strong.
- Now, go through every line in your Chorus. Make sure it "sings" well. This is usually the most important part of a hit song, so it has to be... Memorable. Hooky. Catchy. Singable.
- Next, go through every line in each Verse and the other sections of your song. How can these lines be stronger? Do the Verses point to the Chorus? Are there metaphors you can be using? Is the feeling there? Are you saying things in an unusual way? Can the meaning be deeper, more thought-provoking (known as "digging deeper")? Are there worn-out cliches and can they be twisted or replaced? Are the lines rhyming and are you using different rhyme schemes? How's the rhythm, groove, and vibe of the song? Is there contrast throughout the song? Are there enough hooks or too many hooks? Are there "surprises" happening that keep the listener engaged?
- Then, go through every word in each line. Does any word stand out or doesn't mean what you want to say?
- Take a look at the song structure to see if it's the best it can be. Is the song too short? Too long?
- Last, you'll need "fresh ears" for this step. This is where outside knowledgeable feedback (sorry, Mom!) can help songwriters get valuable opinions about what's working and what may be holding the song back from getting to the next level. Now, you're ready to rewrite! As Jason Blume says, "It's not songwriting. It's song rewriting!"
These tips are from various interviews with Hit Songwriter Ashley Gorley. His favorite advice? "Not to settle and not be afraid to rewrite are two things I always tell writers." (Read the SongwriterUniverse interview by Bill Conger HERE). Ashley is legendary for not only checking, rewriting, and improving every single line of a lyric, but every single word in in the song as well. Maybe that's why, according to his Wikipedia page, Ashley has had 60 number 1 songs and has over 300 songs recorded by artists including Luke Bryan, Jason Aldean, Florida Georgia Line, Carrie Underwood, Blake Shelton, Bon Jovi, Thomas Rhett, Jason Derulo, Kelsea Ballerini, Morgan Wallen and Dan + Shay.
SONGWRITING CHALLENGE:
- Make sure the title and concept of your song is strong.
- Now, go through every line in your Chorus. Make sure it "sings" well. This is usually the most important part of a hit song, so it has to be... Memorable. Hooky. Catchy. Singable.
- Next, go through every line in each Verse and the other sections of your song. How can these lines be stronger? Do the Verses point to the Chorus? Are there metaphors you can be using? Is the feeling there? Are you saying things in an unusual way? Can the meaning be deeper, more thought-provoking (known as "digging deeper")? Are there worn-out cliches and can they be twisted or replaced? Are the lines rhyming and are you using different rhyme schemes? How's the rhythm, groove, and vibe of the song? Is there contrast throughout the song? Are there enough hooks or too many hooks? Are there "surprises" happening that keep the listener engaged?
- Then, go through every word in each line. Does any word stand out or doesn't mean what you want to say?
- Take a look at the song structure to see if it's the best it can be. Is the song too short? Too long?
- Last, you'll need "fresh ears" for this step. This is where outside knowledgeable feedback (sorry, Mom!) can help songwriters get valuable opinions about what's working and what may be holding the song back from getting to the next level. Now, you're ready to rewrite! As Jason Blume says, "It's not songwriting. It's song rewriting!"
Challenge: Improving Your Melodies
The melody exercises below were from the NSAI Pro video by Annie Mosher. Create memorable melody lines by setting up repeating patterns. Annie said this basic tool is also recommended by Hit Songwriter and Author / Educator Jason Blume. Song examples to study that meet these criteria include: "Wrecking Ball," "Shake It Off," "Stay With Me," "Cool Kids," "Sky Full Of Stars," "Dirt," "Neon Light," "Roller Coaster," "Girl In A Country Song."
BEGINNING SONGWRITING CHALLENGE:
Write a simple melody Chorus that can be sung acapella (alone, without any accompaniment).
- Repetition is the key, Jason Blume often says, so repeat the melody for the second line
- Now, for the third line, change the melody a little
- For the fourth line, repeat the original melody line
ADVANCED SONGWRITING CHALLENGE:
Using the three melody points Annie Mosher recommended:
- Write a melody that can be sung a cappella (alone, without any accompaniment); next,
- Make the melody in the CHORUS BIG and differentiate the melody in the VERSE, CHORUS and BRIDGE; next,
- Use repetition and repeat melodic lines or phrases in the VERSE and CHORUS (and the BRIDGE if applicable).
BEGINNING SONGWRITING CHALLENGE:
Write a simple melody Chorus that can be sung acapella (alone, without any accompaniment).
- Repetition is the key, Jason Blume often says, so repeat the melody for the second line
- Now, for the third line, change the melody a little
- For the fourth line, repeat the original melody line
ADVANCED SONGWRITING CHALLENGE:
Using the three melody points Annie Mosher recommended:
- Write a melody that can be sung a cappella (alone, without any accompaniment); next,
- Make the melody in the CHORUS BIG and differentiate the melody in the VERSE, CHORUS and BRIDGE; next,
- Use repetition and repeat melodic lines or phrases in the VERSE and CHORUS (and the BRIDGE if applicable).
Challenge: Write A Theme Song For A Film
Writing a theme song for a film is an exercise from Marty Panzer, a special guest at one of the NSAI San Diego meetings. Some of the greatest songs were used in iconic films, such as "Over The Rainbow" (from The Wizard Of Oz), "As Time Goes By" (from Casablanca), "The Windmills Of Your Mind" (from The Thomas Crown Affair), "Let It Go" (from Frozen), "Happy" (from Despicable Me 2), etc.
SONGWRITING CHALLENGE:
Music Supervisors are always looking for a great song for their film. Write a song that could be used as a theme song, a song for a pivotal scene, or an end credit song. This is a great exercise that Marty Panzer gives to the lyric writing class he teaches at UCLA Extension every Winter quarter.
- Make sure you're not "too on the nose" regarding the title and concept.
- Don't describe the scene or what's happening on the screen. Instead, describe the feelings of the character. This may take some research before starting.
- Use Google, IMDb (Internet Movie Database), etc., to find information about a film in pre-production or production.
ADVANCED SONGWRITING CHALLENGE:
Once your song is finished and professionally recorded, and you have the necessary clearances, such as the signed writer's agreement (with your co-writers, if any), politely contact the Music Supervisor of the film and pitch your song to him or her.
SONGWRITING CHALLENGE:
Music Supervisors are always looking for a great song for their film. Write a song that could be used as a theme song, a song for a pivotal scene, or an end credit song. This is a great exercise that Marty Panzer gives to the lyric writing class he teaches at UCLA Extension every Winter quarter.
- Make sure you're not "too on the nose" regarding the title and concept.
- Don't describe the scene or what's happening on the screen. Instead, describe the feelings of the character. This may take some research before starting.
- Use Google, IMDb (Internet Movie Database), etc., to find information about a film in pre-production or production.
ADVANCED SONGWRITING CHALLENGE:
Once your song is finished and professionally recorded, and you have the necessary clearances, such as the signed writer's agreement (with your co-writers, if any), politely contact the Music Supervisor of the film and pitch your song to him or her.
Challenge: Change Your "Camera" Angle
Changing your "camera" angle is an exercise from the Lance Carpenter NSAI Pro Teacher Video. Lance said to "change the camera angle from verse 1, verse 2" and even the bridge to give a different perspective. Lance's topic was "The Story Of A Song." He wrote "Love Me Like You Mean It" (Kelsea Ballerini).
SONGWRITING CHALLENGE:
When writing your song, consider adding an insight or the back story of the characters by "changing the camera angle." Lance said to think of this as shooting a video or movie about your song. You can "switch camera angles," or even "use a different imaginary camera" for a new perspective.
- Look at the first verse. Can this now be the 2nd verse? Lance said this is often the case! If so, write a new 1st verse with different information.
- Change the camera angle yet again for the bridge. Change the location. Or, maybe the character has a revelation, has a change of heart, has grown, is looking back on his/her life, etc. What do you want the listener to "see"?
SONGWRITING CHALLENGE:
When writing your song, consider adding an insight or the back story of the characters by "changing the camera angle." Lance said to think of this as shooting a video or movie about your song. You can "switch camera angles," or even "use a different imaginary camera" for a new perspective.
- Look at the first verse. Can this now be the 2nd verse? Lance said this is often the case! If so, write a new 1st verse with different information.
- Change the camera angle yet again for the bridge. Change the location. Or, maybe the character has a revelation, has a change of heart, has grown, is looking back on his/her life, etc. What do you want the listener to "see"?
Challenge: Shake It Up! Change Your Songwriting Process
This exercise was based on suggestions by Hit Songwriter Justin Weaver (Brantley Gilbert's hit "Bottom's Up"). Anyone can get into a songwriting rut when starting a song, so this will bring a new perspective to the process.
SONGWRITING CHALLENGE:
Generally, there are four important elements of a song:
1) Lyrics, 2) Melody, 3) Chords and 4) Groove (which includes drums, percussion, claps, beats, etc.), so start your song in a different way than you normally do.
Some examples, if you generally start with...
- lyrics, then start with chords
- a melody, then start with a groove
- the chorus, write the second verse, and THEN write the first verse (reverse engineer the verses!)
- chords, start with title, etc.
You don't have to play drums or have recording equipment -- just tap, clap, or snap out a beat.
SONGWRITING CHALLENGE:
Generally, there are four important elements of a song:
1) Lyrics, 2) Melody, 3) Chords and 4) Groove (which includes drums, percussion, claps, beats, etc.), so start your song in a different way than you normally do.
Some examples, if you generally start with...
- lyrics, then start with chords
- a melody, then start with a groove
- the chorus, write the second verse, and THEN write the first verse (reverse engineer the verses!)
- chords, start with title, etc.
You don't have to play drums or have recording equipment -- just tap, clap, or snap out a beat.
ADVANCED SONGWRITING CHALLENGE:
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If you start your song by...
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...then start by doing this instead...
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Challenge: Counting The Number Of Syllables In Your Verses (The "Flow")
This sounds easy, but it's very challenging, especially to make sense of what you're trying say and to fit the right words in the right place and make the phrase "flow." Pro rappers and hit songwriters really have a knack for this. Start with a very simple PD (public domain) song that you know. Here are two well-known nursery rhymes to give you some ideas.
SONGWRITING CHALLENGE:
- For this exercise, write TWO VERSES with the EXACT number of syllables. You don't count the number of WORDS in each line, you'll be counting the number of SYLLABLES in each line. Be sure to read your lyrics aloud when you're done.
- On your lyric sheet, put the number count of syllables in each line in parantheses () and bring it to the meeting. If you can make the syllable counts match EXACTLY (or within 1+ or 1- syllable) in each verse, that's great.
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Here are two nursery rhyme songs as examples. In each line of "Twinkle, Twinkle" the syllable count is exactly the same, which can get a little boring and predictable, especially in modern music. In "Old McDonald," the lengths of the lines are different, but the syllable counts match up exactly on each verse.
- For this exercise, write TWO VERSES with the EXACT number of syllables. You don't count the number of WORDS in each line, you'll be counting the number of SYLLABLES in each line. Be sure to read your lyrics aloud when you're done.
- On your lyric sheet, put the number count of syllables in each line in parantheses () and bring it to the meeting. If you can make the syllable counts match EXACTLY (or within 1+ or 1- syllable) in each verse, that's great.
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Here are two nursery rhyme songs as examples. In each line of "Twinkle, Twinkle" the syllable count is exactly the same, which can get a little boring and predictable, especially in modern music. In "Old McDonald," the lengths of the lines are different, but the syllable counts match up exactly on each verse.
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Twinkle, Twinkle, Little Star
VERSE 1 Twinkle, twinkle, little star (7) How I wonder what you are! (7) Up above the world so high (7) Like a diamond in the sky (7) Twinkle, twinkle, little star (7) How I wonder what you are! (7) VERSE 2 When the blazing sun is gone (7) When he nothing shines upon (7) Then you show your little light (7) Twinkle, twinkle, all the night (7) Twinkle, twinkle, little star (7) How I wonder what you are! (7) _____________________________ |
Old McDonald Had A Farm
VERSE 1 Old McDonald Had A Farm (7) E-I-E-I-O (5) And on that farm he had a duck (8) E-I-E-I-O (5) With a quack, quack here (5) And a quack, quack there (5) Here a quack, there a quack (6) Everywhere a quack, quack (6) Old McDonald Had A Farm (7) E-I-E-I-O (5) VERSE 2 Old McDonald had a farm (7) E-I-E-I-O (5) And on that farm he had a pig (8) E-I-E-I-O (5) With an oink, oink here (5) And an oink, oink there (5) Here an oink, there an oink (6) Everywhere an oink, oink (6) Old McDonald Had A Farm (7) E-I-E-I-O (5) ___________________________________ |
Challenge: Song Modeling
Song modeling is used to analyze and capture the "essence" of a song. Just as painters and sculptors study classic works of art by the great artists before them, songwriters can also use this technique. In Brian White's NSAI Pro video, he mentioned modeling songs.
SONGWRITING CHALLENGE: Start with a very simple PD (public domain) familiar song that most people know such as "Mary Had A Little Lamb," "Twinkle, Twinkle Little Star," "Jingle Bells," etc. Re-write the lyrics, chords, and/or the melody to create your own song. Bring it to the next meeting to see if anyone can guess what the original song was.
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ADVANCED SONGWRITING CHALLENGE:
Change up the groove or the time signature or genre. Examples: ) If the song is in 4/4, try it in 3/4 (waltz) or 6/8 time. 2) Play it in a rock, country, jazz, show tune, pop, hip hop or folk style. 3) If the melody is a "straight," try playing around with syncopation, or off the beat. 4) Experiment by making notes shorter or longer. 5) Try entirely different chords. 6) Start the melodic phrases on different beats in different sections. For instance, start the verse melody on the first beat ("downbeat") and the chorus on the fourth beat ("pickup" or "anacrusis"), second, or third beat for contrast.
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ADVANCED SONGWRITING CHALLENGE:
Change up the groove or the time signature or genre. Examples: ) If the song is in 4/4, try it in 3/4 (waltz) or 6/8 time. 2) Play it in a rock, country, jazz, show tune, pop, hip hop or folk style. 3) If the melody is a "straight," try playing around with syncopation, or off the beat. 4) Experiment by making notes shorter or longer. 5) Try entirely different chords. 6) Start the melodic phrases on different beats in different sections. For instance, start the verse melody on the first beat ("downbeat") and the chorus on the fourth beat ("pickup" or "anacrusis"), second, or third beat for contrast.
Challenge: Use Only One Or Two Chords Throughout The Song
SONGWRITING CHALLENGE:
Write a song with only one or two chords throughout the song. It's tough! One way to keep the song interesting is to make sure your melody contrasts the verses from the chorus. Below are some hit pop and country song examples, but many folk/ethnic, blues, funk, rap, and hip hop songs use one or two chords.
ADVANCED SONGWRITING CHALLENGE:
Write two songs: one using only one chord and the other song using only two chords throughout the song. Which was easiest to write and why? What were some of the obstacles? How did you keep the songs interesting? Experiment with the many different two-chord patterns as discussed in the YouTube video below about songs with two chords, such as using chords I and IV, I and V, I and ii, etc.
SONG EXAMPLES:
- One chord (or mono chord) songs: "Music" (Madonna); "The Beat Goes On" (Sonny & Cher); "Coconut" (Harry Nilsson); "Neon Light" (Blake Shelton); "Chain Of Fools" (Aretha Franklin); "Party Started" (Pink); "Running Through The Jungle" (Creedence Clearwater Revival)
- Watch a YouTube video about songs with one chord along with some music theory by David Bennett HERE
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- Two chord songs: "Paperback Writer" (The Beatles); "Achy Breaky Heart" (Billy Ray Cyrus); "Blurred Lines" (Robin Thicke, ft. T.I., Pharrell Williams, Marvin Gaye); "Born In The USA" (Bruce Springsteen); "Everyday People" (Sly and The Family Stone); "Falling" (Alicia Keys); "Moves Like Jagger" (Maroon 5); "Uptown Funk" (Mark Ronson ft. Bruno Mars)
- Watch a YouTube video about songs with two chords along with some music theory by David Bennett HERE
Write a song with only one or two chords throughout the song. It's tough! One way to keep the song interesting is to make sure your melody contrasts the verses from the chorus. Below are some hit pop and country song examples, but many folk/ethnic, blues, funk, rap, and hip hop songs use one or two chords.
ADVANCED SONGWRITING CHALLENGE:
Write two songs: one using only one chord and the other song using only two chords throughout the song. Which was easiest to write and why? What were some of the obstacles? How did you keep the songs interesting? Experiment with the many different two-chord patterns as discussed in the YouTube video below about songs with two chords, such as using chords I and IV, I and V, I and ii, etc.
SONG EXAMPLES:
- One chord (or mono chord) songs: "Music" (Madonna); "The Beat Goes On" (Sonny & Cher); "Coconut" (Harry Nilsson); "Neon Light" (Blake Shelton); "Chain Of Fools" (Aretha Franklin); "Party Started" (Pink); "Running Through The Jungle" (Creedence Clearwater Revival)
- Watch a YouTube video about songs with one chord along with some music theory by David Bennett HERE
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- Two chord songs: "Paperback Writer" (The Beatles); "Achy Breaky Heart" (Billy Ray Cyrus); "Blurred Lines" (Robin Thicke, ft. T.I., Pharrell Williams, Marvin Gaye); "Born In The USA" (Bruce Springsteen); "Everyday People" (Sly and The Family Stone); "Falling" (Alicia Keys); "Moves Like Jagger" (Maroon 5); "Uptown Funk" (Mark Ronson ft. Bruno Mars)
- Watch a YouTube video about songs with two chords along with some music theory by David Bennett HERE
Challenge: The Power Of The "One" Chord
In Steve Leslie's NSAI Pro video, "Writing The Big Hit Chorus," Steve discusses how chords are used in hit songs. You can use and download Vance's Guitar Chord Chart below (also known as the Nashville Number System). NSAI Members can watch the entire video by first signing in on the NSAI website.
SONGWRITING CHALLENGE:
Write a song without using the 1 chord in the verse, pre-chorus, bridge, etc., but ONLY use the 1 chord in the chorus. If you're really feeling brave, try the Advanced suggestion below.
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ADVANCED SONGWRITING CHALLENGE:
Write a song using all 6 chords in Vance's Guitar Chord Chart (based on the Nashville Number System) below. For example: use the 4, 5, 6 chords in the verse; use the 1, 2, 4, 5 chords in the chorus; then use the 3, 4, 5 chords in the bridge (omit the 7 chord for this exercise). Or, use 2 chords in the verses; 2 different chords in the chorus; 2 different chords in the bridge.
Write a song without using the 1 chord in the verse, pre-chorus, bridge, etc., but ONLY use the 1 chord in the chorus. If you're really feeling brave, try the Advanced suggestion below.
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ADVANCED SONGWRITING CHALLENGE:
Write a song using all 6 chords in Vance's Guitar Chord Chart (based on the Nashville Number System) below. For example: use the 4, 5, 6 chords in the verse; use the 1, 2, 4, 5 chords in the chorus; then use the 3, 4, 5 chords in the bridge (omit the 7 chord for this exercise). Or, use 2 chords in the verses; 2 different chords in the chorus; 2 different chords in the bridge.
| VANCE'S GUITAR CHORD CHART - NASHVILLE NUMBER SYSTEM |
Challenge: Try Co-Writing & Collaborating On A Song
It can be a challenge being a solitary songwriter. Let's face it: it's tough, if not impossible, to do everything alone. Most songs on the Billboard charts have at least one co-writer (and usually a producer is included). At some point, you might need a co-writer who writes amazing lyrics or hooky melodies. An emotive singer/artist or skilled musician might take your song to new heights or give you fresh ideas. Or, you might need a collaborator to produce, arrange, and record a simple but effective guitar or piano/vocal demo. Perhaps mixing is not your thing, but it's essential in the sync world. You will probably need to pay collaborators (no co-writers!), but sometimes students are looking for projects for experience and class credit, or you can trade services. It never hurts to ask.
Co-writing is all about communicating, being respectful, and honest yet tactful. Be open to ideas and avoid getting defensive. Remember: It's all about the song. It can take time to find the right musical partner, so don't give up if the first few (or several) co-writes don't turn out the way you'd hoped. It's part of the process.
Where do you find co-writers and collaborators? Here are some suggestions...
SONGWRITING CHALLENGE:
- Go to music conventions. The attendees tend to be more serious about their craft
- Join songwriting groups (in person and online) and be an active participant. Share your music or play rough ideas
- Attend concerts and open mics and songwriters rounds
- If you belong to a worship group, community theater, or charitable organization, write songs for them and ask if anyone would like to write with you
- Check out local studios, recording classes, and schools with music programs if you need help recording
Co-writing is all about communicating, being respectful, and honest yet tactful. Be open to ideas and avoid getting defensive. Remember: It's all about the song. It can take time to find the right musical partner, so don't give up if the first few (or several) co-writes don't turn out the way you'd hoped. It's part of the process.
Where do you find co-writers and collaborators? Here are some suggestions...
SONGWRITING CHALLENGE:
- Go to music conventions. The attendees tend to be more serious about their craft
- Join songwriting groups (in person and online) and be an active participant. Share your music or play rough ideas
- Attend concerts and open mics and songwriters rounds
- If you belong to a worship group, community theater, or charitable organization, write songs for them and ask if anyone would like to write with you
- Check out local studios, recording classes, and schools with music programs if you need help recording
Challenge: Part 1 - Get Out There!
Making Connections
To really find success in the music business, it's important to find connections. This challenge was recommended by our special guest Eric Palmquist, who at the time was VP Income Tracking, BMG/Chrysalis Publishing Company and formerly of Disney. Eric said, "This business is all about relationships. Go to music conventions. Meet people."
Another special guest Larry Beaird gave the same advice along with "network and cowrite." So, this Challenge is a little different. Go to a music industry event, especially go to one you've never gone to before.
SONGWRITING CHALLENGE:
If you've never gone to a music event, it can be intimidating, even scary or awkward at first. But going to music events and meeting people can be life-changing, and it will bring your songwriting to another level. Below are just a few events for songwriters and composers. Some are costly; some are reasonable. Many offer discounts if you are a member of NSAI (provide your member number). Sign up early because these events tend to sell out.
Another special guest Larry Beaird gave the same advice along with "network and cowrite." So, this Challenge is a little different. Go to a music industry event, especially go to one you've never gone to before.
SONGWRITING CHALLENGE:
If you've never gone to a music event, it can be intimidating, even scary or awkward at first. But going to music events and meeting people can be life-changing, and it will bring your songwriting to another level. Below are just a few events for songwriters and composers. Some are costly; some are reasonable. Many offer discounts if you are a member of NSAI (provide your member number). Sign up early because these events tend to sell out.
BEGINNING SONGWRITING CHALLENGE - NOT-SO-SCARY NETWORKING OPPS:
ADVANCED SONGWRITING CHALLENGE - PROFESSIONAL MUSIC INDUSTRY NETWORKING OPPS:
Attend a Meeting Hosted by a Professional Music Industry Organization
- Attend open mics and small concerts: Go to an open mic at a coffee house and talk to the performers afterward.
- Join a PRO: If you're not affiliated yet with a PRO, call ASCAP, BMI, and SESAC at their L.A. office (or the one closest to you) and ask for a meeting with a rep in person, online, or by phone.
- Book a trip to Nashville and have a One-On-One session at the NSAI Office. Go to as many concerts and open mics as you can and meet not only the performers, but the people attending and sitting next to you.
- Follow up: This is really important: if you did meet someone from the music industry or a potential collaborator, follow up by sending an email, text, or message them on social media to connect with them.
ADVANCED SONGWRITING CHALLENGE - PROFESSIONAL MUSIC INDUSTRY NETWORKING OPPS:
Attend a Meeting Hosted by a Professional Music Industry Organization
- The CCC (California Copyright Conference)
- AIMP (Association of Independent Music Publishers)
- BMI, ASCAP, SESAC (see their calendars on their websites)
- NSAI events in Nashville such as the Tin Pan South Songwriting Seminar and Concert Series
- Production Music Conference (PMC by the Production Music Association) in Los Angeles in the fall
- The Guild Of Music Supervisors (GMS) Conference in Los Angeles in the fall or late summer
- Taxi Road Rally in Los Angeles in early November. Good for Beginning and Advanced Songwriters
- Hawaii Songwriters Festival (HSF) on the Big Island usually in the summer or early fall
- West Coast Songwriters' Conference in the Bay Area, near San Francisco, various times
- Durango Songwriters Expo (DSE) in Colorado in the Fall and in Ventura in the Winter & Spring
Challenge: Part 2 - Get Your Music Out There!
Start Pitching & Follow Up
So, you've finished all of the above Songwriting Challenges. Once your songs are done, you've gotten feedback and made changes, they've been recorded, and they're as good as they can be, start pitching! This can be one of the scariest things a songwriter can do because most of us are a lot more comfortable writing than marketing. There are several ways to pitch your music, but where do you find opportunities? Here are a few suggestions...
SONGWRITING CHALLENGE:
- Do a search for songwriting meetings. Many are online and may have guests (publishers, music supervisors, etc.)
- Go to songwriter seminars and conventions that have one-on-one sessions with publishers
- Attend professional music organization seminars, meetings, and conventions
- Submit your songs to the NSAI Evaluators. If they really love your song, it might get forwarded to a publisher
- Put your music on a streaming service (be sure to read the rules carefully and know what you're getting into)
- Enter a songwriting contest (same as above--read the rules)
- Research publishing companies and reach out to them. Many have online portals or contact information IMPORTANT: Always ask permission first and NEVER send mp3s or anything attached to the email. If you don't follow these steps, they will not listen to your music
AND THIS IS THE MOST IMPORTANT STEP...
- If you get any type of response, follow up immediately with an email or phone call
SONGWRITING CHALLENGE:
- Do a search for songwriting meetings. Many are online and may have guests (publishers, music supervisors, etc.)
- Go to songwriter seminars and conventions that have one-on-one sessions with publishers
- Attend professional music organization seminars, meetings, and conventions
- Submit your songs to the NSAI Evaluators. If they really love your song, it might get forwarded to a publisher
- Put your music on a streaming service (be sure to read the rules carefully and know what you're getting into)
- Enter a songwriting contest (same as above--read the rules)
- Research publishing companies and reach out to them. Many have online portals or contact information IMPORTANT: Always ask permission first and NEVER send mp3s or anything attached to the email. If you don't follow these steps, they will not listen to your music
AND THIS IS THE MOST IMPORTANT STEP...
- If you get any type of response, follow up immediately with an email or phone call
Final Challenge: Keep Writing
SONGWRITING CHALLENGE:
- No matter what happens, just keep writing your songs
- No matter what happens, just keep writing your songs
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