Full Songwriting Course: Becoming a Songwriter (+Free PDF Guide)

[00:00] Hi, I'm Andrea Stolpe, and

[00:04] I made this course because I wanted

[00:08] of all levels could use to dip into some

[00:13] also some of the more uncommon techniques

[00:17] in the industry find really useful.

[00:19] I really wanted this course to be free

[00:24] circumstance, could benefit from the

[00:29] At the ends of the lessons are exercises

[00:35] that you have available, whether it's

[00:39] you're waiting to pick up the kids from

[00:44] really time to sink into your writing.

[00:47] I've also created a PDF guide that I

[00:51] tools are laid out through the course,

[00:55] You can find that in

[00:58] I really hope this

[01:01] If you find you're benefiting from it,

[01:06] channel and send this course to someone

[01:10] Thank you for being here and I can't

[01:14] strategies are helping you to answer

[01:18] something beautiful through song.

[01:21] Let's go.

[01:28] What makes a song magical?

[01:33] When I work with songwriters, they're

[01:36] been writing songs for a while, and

[01:41] being ordinary to extraordinary.

[01:45] These are the things that we'll

[01:48] course, and things that I know as

[01:54] greater control over our process,

[02:00] There is some language that we can use

[02:06] Well, it helps us feel strongly

[02:14] another place or it sings well.

[02:18] When it comes to melody, it's

[02:23] When it comes to rhythm

[02:27] It's danceable.

[02:29] It's got momentum.

[02:30] It's got drive.

[02:32] There are many ways to describe why a

[02:40] wow, that was a moment I enjoyed having

[02:46] I think the way in which we can

[02:49] extraordinary and our process from

[02:54] something deliberative is in knowing

[03:02] Now, when I listen to a playlist

[03:07] myself, that represents what I've

[03:12] similarities amongst that music,

[03:17] ground in terms of styles and genres.

[03:20] I know that I really appreciate

[03:26] it's really kind of where I find

[03:31] I know that I struggle to create

[03:36] the songwriting process, and I was

[03:42] And so if I start my process with

[03:48] satisfying an element of my songwriting

[03:53] I hear myself enjoying rhythmically

[03:59] intricate and detailed, but I also enjoy

[04:06] There are many, many ways to express

[04:11] But the key elements that I want

[04:15] understand who I am as a writer and

[04:21] the songwriting elements themselves.

[04:23] We can control melody, we can control

[04:29] groove, and then finally the lyric.

[04:32] And in those four elements lie many,

[04:38] I am as a writer and artist and

[04:43] What I would like for you to do to begin

[04:48] artistry is to make your own playlist of

[04:54] you along your musical listening journey.

[04:58] These are songs from other artists that

[05:04] And when you listen to these songs, I

[05:10] some of the important markers with regard

[05:18] chords, and then rhythmic feel.

[05:21] And I want you to see if you can find

[05:26] express to you what you value, what

[05:34] experience that you resonate with.

[05:36] Rather than just a song that's functional.

[05:40] Listen for a few days, take a little

[05:44] these songs, and it might be interesting

[05:50] people and get their response as far as

[05:56] In general, how do these

[05:59] Are they intricate and detailed?

[06:02] Is there a delicacy there?

[06:04] Are they empowered and bold and brazen

[06:08] or agressive, and dynamic?

[06:10] What are some of the qualities

[06:13] these songs that might give you

[06:18] When you're done with this exercise,

[06:22] more into this idea of writing what

[06:41] A familiar story for us as artists

[06:46] we keep trying to write what we think

[06:51] only to find that we're recreating

[06:56] And we keep pushing up against this door

[07:02] other side and recognizing that until

[07:07] write what resonates to us, or write

[07:13] quite actualize the vision that we have.

[07:16] So, write what we know is a wonderful

[07:22] throughout your writing process.

[07:24] Some of the things that I know: I

[07:29] old at midnight on New Year's Eve.

[07:32] I know humid Minnesota nights and

[07:38] when the sun was just going down.

[07:41] I know going out to the deli at 1 in the

[07:48] hours, and hanging out with songwriters

[07:53] the coke as far as it'll go because

[07:57] that night as struggling musicians.

[07:59] I know things that I could write about

[08:05] fitting into the scope of a song.

[08:08] As we develop as writers, it's

[08:14] about the things that you know about.

[08:16] So give yourself time to discover who

[08:23] There can be a tendency to gauge

[08:29] comparing them to other songs.

[08:32] But if we stop there and just continue

[08:38] artist might be able to sing and

[08:43] our own art to flourish as broadly as

[08:49] I believe that each of us, even though

[08:55] we must become artists because it is

[09:01] things that resonate with us and as human

[09:07] How we discover and refine our own

[09:15] We write.

[09:16] We record.

[09:18] We release the music, and

[09:22] I think this hasn't really changed,

[09:26] and maybe the modality in which

[09:31] But whether we share on a large scale,

[09:36] audiences, Maybe family and friends.

[09:38] The act of putting music out there and

[09:44] embrace it develops us as writers and

[09:51] were at the time of making that art.

[09:55] And then I think we can reflect on

[10:00] it and recognize where we might go

[10:08] and over time that act of writing,

[10:16] in the manner that we can and allowing

[10:21] Then we can begin to reform and

[10:28] and become more of who we are.

[10:31] I would like for you to do a

[10:34] just take about 15 to 20 minutes.

[10:37] I want you to grab something to write

[10:41] to make a list of things that you know.

[10:45] Now, it could be short little bullet

[10:50] onto my bed at 5am and staring me in the

[10:56] I know about the door slamming

[11:00] at 2am to use the bathroom.

[11:03] I know about there being a sink full

[11:08] gone to bed and it looks like

[11:11] Now you know a little bit about my life.

[11:13] Make a list of things that you know about

[11:19] thing is about song, the ordinary becomes

[11:27] the insignificant moments that we live.

[11:31] This is where songs reside.

[11:33] Make your list.

[11:35] Put it to the side and come

[11:52] There's no one right way to

[11:55] way that finishes a great song.

[11:58] And that can be different

[12:01] I tend to start with lyrics most

[12:06] me take the longest to finish.

[12:09] And I get a little bit anxious

[12:14] that I like and then no words.

[12:17] There are different ways to write and

[12:23] it's gelling and the song gets done and is

[12:29] Sometimes when we're in situations

[12:34] that we have to be flexible in

[12:38] If I'm writing top line, as the

[12:42] need to come up with melody and lyric

[12:45] that suits the structure of the track.

[12:48] So my process has to adapt to

[12:52] But if I'm at home on my own writing,

[12:58] I'll start strumming something and sing

[13:03] of lyric that begin the song for me.

[13:07] And I'll set those to a little bit of

[13:12] The way we start affects whether

[13:19] a skill that we can use to adapt.

[13:23] So if we typically start with melody

[13:29] we go and we add chords, sometimes

[13:34] about the chords is just not there.

[13:36] They're kind of an

[13:39] Now, consequently, if we're leading with

[13:46] we're doing that is because we feel most

[13:52] we're a strong vocalist, and that's

[13:56] sure that something is hanging together.

[13:59] I like to switch up the process

[14:03] know, when I start with lyrics,

[14:09] The lyric tends to be the

[14:13] When I start with chords and groove,

[14:19] melody in there with good rest space and

[14:24] the leading edge, Then, I can pull back

[14:30] The lyric is icing on the cake now.

[14:32] And I have just created a new style

[14:40] I gone with lyrics first as always.

[14:43] Sometimes I'll sit down and pay

[14:47] progression that I'm using.

[14:49] Because again, for me, classical

[14:55] through my head, which results in

[15:00] And so if I sit down and I just focus

[15:06] are the chords and what's the rhythm

[15:11] I can feel better about moving into

[15:16] taken the time to develop something

[15:21] So process

[15:23] can be a result of our strengths, and we

[15:28] process and change it up a little bit to

[15:35] we love and actually finishing songs.

[15:39] I would like for you to do an

[15:42] your process a little bit.

[15:45] Think about how you normally write a song.

[15:48] Now, this may change from song

[15:53] Your process might be to look at

[15:59] when it comes to writing a song.

[16:01] Do you tend to pick up your

[16:04] Do you not play an instrument and

[16:09] What comes with great ease for you?

[16:12] Now think about what's challenging

[16:17] What do you tend to do last?

[16:20] Because it's hard.

[16:22] Now, when we consistently write with the

[16:27] at sometimes, worst case, an unfinished

[16:33] So think about your process and how it

[16:38] and weaknesses, and consider how changing

[16:45] and the song that you get from it.

[17:01] Let's talk about lyric writing.

[17:04] Lyric writing can be

[17:06] And I think that where I'm going to

[17:11] will make you feel more empowered to

[17:17] are right for the music you're making.

[17:19] Lyrics get their shape and

[17:22] landscape that they're in.

[17:24] So, you can think of music like the

[17:29] The agreement, or the way

[17:33] interacts, we call that prosody.

[17:36] What do the words and

[17:39] If I take a simple phrase, like "hold

[17:44] musical landscapes, the meaning of

[17:50] character with which we're singing them

[17:52] seems to change as well.

[17:54] So let me show you what I mean.

[17:58] Let's say I start with a little

[18:03] Hold on.

[18:07] Hold on.

[18:10] Hold on.

[18:11] Hold on.

[18:13] It's got a sense of drive.

[18:16] There's a little bit of power.

[18:17] There's some edge to it.

[18:19] But let's say that I take those same

[18:23] landscape that's, uh, finger picking.

[18:27] Hold on,

[18:34] hold on

[18:38] So here there's a sense of longing, of

[18:44] or, um, kind of wanting to be lifted up.

[18:48] It's a really different

[18:51] Now an interesting thing is when we start

[18:57] product of the music that we make, if we

[19:02] where we go when we write lyric first and

[19:08] we begin to understand what our sound,

[19:14] can change and manipulate pieces of that

[19:20] go there with our musical landscape with

[19:23] those words from that musical landscape.

[19:27] Ultimately, what I think we can

[19:32] songs is the connection between

[19:36] should always create something

[19:42] So, an example of this, imagine

[19:46] Singing at last.

[19:49] At last.

[19:52] Why sing a long note there?

[19:54] Why set it that way?

[19:56] Why not?

[19:57] At last my love has come along.

[20:01] You know?

[20:02] Well, it's, it's true in both times, at

[20:07] pull, at last, she's waited a long time.

[20:13] And you can feel it with the music

[20:17] and really makes it come alive.

[20:19] So, instead of thinking

[20:24] challenging portion of songwriting that

[20:29] by, I want us to start thinking of

[20:36] more through words what the sound

[20:56] One of the best exercises for writing

[21:02] writing called destination writing.

[21:05] It goes by many names, sensory writing,

[21:10] You might even call it journaling,

[21:14] definition on just that idea of

[21:19] Destination writing is the process of

[21:27] descriptive writing in its raw form.

[21:30] So, unpracticed and non judging.

[21:33] And we do this for several minutes

[21:39] into the flow and stay in the

[21:44] Now, what is descriptive writing

[21:49] lyrics that we know and love?

[21:51] I want to share with you what

[21:55] as a lyric so we know where we're

[22:00] I've chosen Randy Newman's

[22:05] It's from the very beginning of this

[22:10] to this lyric with your ears attuned

[22:15] smell, and movement in the verbs.

[22:19] And what you'll notice is there's

[22:23] You'll see visually what

[22:27] Beat up little seagull on a marble stair.

[22:31] Tryin to find the ocean,

[22:34] Hard times in the city,

[22:38] Ain't nowhere to run to, there

[22:42] Waitin for a train, drunk

[22:45] Sleepin in the rain.

[22:46] And they hide their faces.

[22:48] And they hide their eyes.

[22:50] Cause the city's dying

[22:52] Oh Baltimore, man it's hard just to live.

[22:56] Oh Baltimore, man it's hard just to live.

[22:59] Just to live.

[23:01] Do you hear the imagery coming through

[23:06] And it goes on to contain a lot more.

[23:09] Now this is characteristic

[23:13] He gives us imagery to enable

[23:19] It's like a keyhole looking

[23:23] Regular practice.

[23:25] Writing with sensory language in

[23:30] attuned to the language, the

[23:35] available to us when we write lyrics.

[23:38] Now, not all songs need sensory language.

[23:44] The Weeknd has a wonderful song

[23:48] song has no sensory language,

[23:52] I'm finding ways to articulate

[23:56] I just can't say I don't

[23:59] Yeah.

[24:00] It's hard for me to communicate

[24:03] tonight I'm going to let you know.

[24:05] Let me tell the truth, baby.

[24:07] Let me tell the truth.

[24:08] Yeah.

[24:09] Now, I don't know about you, but

[24:15] little red flag, cheese flag goes

[24:21] how do I know if this is good?

[24:23] And I start to ask kind of

[24:26] What is good lyric?

[24:28] What is lyric?

[24:29] So I want you to remember that

[24:37] based on how well the lyric and

[24:42] So our goal is to figure out for

[24:50] what that balance of sensory language

[24:56] engage our listener with the musical

[25:01] Let me give you a verbal example of

[25:05] And this is just going to be me

[25:10] Fireworks with my brother back in 1984.

[25:14] Alright, here I go.

[25:17] We're in the cul de sac.

[25:19] I'm still skinny.

[25:20] Skinny like nine year olds can be,

[25:26] My brother and his friends, he's

[25:30] dancing around a carbon snake, they've

[25:37] the asphalt in the July 4 heat.

[25:39] And it's 7 p.

[25:40] m., but it's still gonna

[25:43] And the poplar trees and the cotton

[25:46] And I see my dad with his socks

[25:53] shorts on and his knobbly knees.

[25:56] And now looking back, it makes me smile.

[25:59] And my mom.

[26:00] Standing there in her gardening

[26:03] knees and the sweatpants.

[26:05] And the hat, the sun hat

[26:09] Uh, sunscreen, obsessed with not getting

[26:14] And I watch the bursts of light and the

[26:20] grimy hands and snot dribbling noses.

[26:23] And I think about this time

[26:28] And the way that the fireworks crackle

[26:33] dog, mutt, runt, barking at the hot

[26:38] heat as it rises, this colorful balloon

[26:45] these times will never be back again.

[26:48] Okay, so, This is this process of

[26:55] And when you find that you might be

[27:00] mind going blank, you can gently

[27:06] and just continue where you left off.

[27:08] Having a non judging spirit

[27:14] of the songwriting process.

[27:15] And non judgment is not the

[27:20] I'm just gently nudging myself

[27:25] me, to what resonates with me.

[27:27] Whenever a new image pops in, I just

[27:32] and let it take me to a new image.

[27:36] This process, the more you do it, The

[27:42] uncovered, uh, ideas and expressed them.

[27:46] And at this point, it's very natural

[27:50] So it's not about writing the song.

[27:53] This is about a daily practice.

[27:55] And also, then later on, we'll uncover

[28:02] seep from, from us and our history

[28:06] are, and turn them into things that

[28:11] But for now, take this

[28:17] I want you to start a daily practice

[28:20] take five to 10 minutes every day

[28:25] Again, if you'd rather use your phone

[28:29] it on your laptop typing or freeform

[28:34] Whatever way you do it.

[28:35] Choose a prompt.

[28:36] It could be a time like January 1st, 1992.

[28:41] It could be a place like sitting in

[28:46] or it could be a person like your

[28:50] Anything that inspires

[28:54] Now, here's the thing.

[28:56] Observe your tendency to want

[29:02] reserve the editing for later.

[29:05] Also, don't use any form of

[29:09] Just assess when you feel like you're

[29:13] touch, sight, sound, smell movement,

[29:19] And then when you feel like you've

[29:23] expressed maybe a small paragraph to

[29:28] close it down and put it away.

[29:30] And don't look at it again, do another

[29:34] And over time, you'll find

[29:38] comfortable with the process.

[29:40] And then we can start to look at a little

[29:46] for songs, sometimes in their stories

[29:51] use, um, to actually make music from.

[29:56] But for right now.

[29:57] All they are is our entryway

[30:01] is around us all the time.

[30:15] One of the most challenging things

[30:19] times have a story we want to tell.

[30:22] And it's hard to understand what

[30:26] need to be in the song to tell the

[30:31] feel as strongly about it as we do.

[30:35] I want to share with you a few templates

[30:41] belongs in my song and what doesn't.

[30:43] One of the simplest ways of approaching

[30:52] And this occurs in different

[30:56] film, or whether it's books.

[30:59] We first see the characters in

[31:04] to understand what it all means.

[31:08] As an example of this, is a Sara

[31:13] So here's how this goes.

[31:15] Keep drinking coffee, stare me down

[31:20] So many things I'd say if only I

[31:24] and count the cars that pass by.

[31:28] Do you see the scene?

[31:29] It's so vivid and so clear.

[31:33] John Mayer has a song called "Why

[31:39] I am driving up 85 in the kind of

[31:44] just stuck inside the gloom.

[31:46] Four more exits to my apartment,

[31:51] in drive and leave it all behind.

[31:54] So again, wonderful scene

[31:58] Okay, I want you to take a few

[32:04] I would like for you to go to some

[32:08] done and I want you to look for

[32:15] A scene in which your character is living

[32:22] And I want you to make a mental

[32:27] Sarah Bareilles scene, just like

[32:32] It's something in which you are engaging

[32:37] So that what you say in your song after

[32:43] more significant and meaningful.

[32:47] When you're done, come back to me and

[33:03] Setting the scene is a

[33:06] Many, many songs do this.

[33:08] When you set the scene, our

[33:13] Right there in that situation.

[33:16] When we go to tell a story, we

[33:22] happened, then this happened, then

[33:25] And we lose a sense of the

[33:29] while we're singing the song.

[33:32] Some songs do tell you what

[33:37] "Cats in the Cradle", "The Gambler",

[33:43] but real life doesn't go from here's this

[33:49] how I overcame it and here's how I feel

[33:53] The length of a song.

[33:56] So what we tend to do is we root

[34:00] tell what's going on right now.

[34:03] And we tell what happened to get

[34:07] think the future will be like.

[34:10] And from these time frames,

[34:15] This I call vantage point.

[34:18] Every song has a vantage point.

[34:21] It's the moment from which

[34:26] And it's the moment that gives

[34:29] right now, as opposed to later

[34:37] Let's say I'm writing a song

[34:42] Maybe I'm feeling nervous about moving

[34:49] phase, and I don't know what to expect.

[34:52] That challenge is the height of the

[34:58] so it deserves to be the first verse.

[35:02] When I'm expressing this challenge, if

[35:08] of this, ah, it's really hard and

[35:11] worried and I hope it's going to be okay.

[35:14] If I continue to tell you about this

[35:19] I am, the song doesn't move forward.

[35:22] And so the purpose of looking at past,

[35:28] the vantage point is to really begin

[35:32] story I want to tell and make sure

[35:38] Pharrell Williams has a

[35:40] And he begins the song by putting

[35:45] And listen to the sensory language here.

[35:48] Now he starts with a non sensory

[35:51] want to listen for the next line.

[35:53] It might seem crazy what I'm about to say.

[35:57] Sunshine, she's here.

[35:58] You can take a break.

[36:00] See that sunshine?

[36:01] It already makes me feel

[36:05] I'm a hot air balloon that could

[36:09] I don't care, baby, by the way.

[36:11] More imagery that just uplifts.

[36:14] Now, the whole first verse is

[36:20] the main message of the chorus.

[36:21] So by the time he gets

[36:23] He says, cause I'm happy.

[36:26] Clap along if you feel

[36:29] Great imagery right there.

[36:31] And I'm happy.

[36:32] Clap along if you feel like

[36:34] That line just tells.

[36:37] Uh, I'm happy.

[36:38] Clap along if you know

[36:41] I'm happy.

[36:42] Clap along if you feel like

[36:45] So the chorus just tells

[36:49] Now, the second verse of this

[36:53] happy and flips it over.

[36:56] Because imagine for a minute, if

[37:01] of what happiness feels and looks

[37:05] for you, I'm glad you're so happy.

[37:07] But what about me?

[37:07] You know, what about this other side?

[37:10] And so he says, alright I'll look at that.

[37:13] Here's how the second verse starts: Well

[37:18] Right?

[37:19] Well, give me all you got don't hold

[37:25] a song capturing the whole picture.

[37:28] So at any point in a song that

[37:35] solution and the problem, or it's

[37:41] look at the now or before the now.

[37:44] All right, in my example of the challenge

[37:48] life, I could look back and say, you know

[37:54] This phase used to fit me.

[37:56] New York streets and the busyness

[38:00] and the buildings and the, and the

[38:05] And after a while, I felt myself become

[38:12] I felt myself.

[38:13] overwhelmed, maybe my

[38:16] And now here I am thinking

[38:20] So I've given you a backstory and

[38:25] with how it used to feel invigorating.

[38:29] So whenever you're looking at the

[38:33] tell, see if you can push the content

[38:42] Or problem.

[38:44] Time frame of here's how it is

[38:49] Sometimes these extremes they help

[38:53] song forward through its sections

[38:59] information the listener needs to really

[39:04] that the character is going through.

[39:06] The final timeframe of future is often

[39:11] talk more about later, but the bridge

[39:17] Kelly Clarkson has a wonderful song that

[39:22] And in her bridge, buildings

[39:26] swinging with revolving doors.

[39:28] I don't really know where

[39:31] moving on, moving on, moving on.

[39:33] So she shows us an example of an

[39:40] the risk, she's gonna keep going.

[39:44] And that is futuristic thinking and a

[39:50] So I would like you to try

[39:54] I want you to think of a concept that

[40:01] And it could be a title, or it could

[40:05] about being in a place now in life

[40:10] And I feel excited but also

[40:15] And I want you to map out the

[40:20] Is my singer experiencing a challenge?

[40:24] Or is my singer experiencing delight,

[40:31] Or peace, calm?

[40:32] What's the now?

[40:34] Now, taking that, what would be the past?

[40:38] What led up to this moment?

[40:40] Or what is the considering the flip

[40:47] And then one last look into the future.

[40:50] What could be the future

[40:56] Map out this different parts

[41:00] Don't take too long, maybe 10 minutes,

[41:06] view of your song in an outline of

[41:11] writing a real lyric and music to it.

[41:16] Have fun.

[41:29] So, I've talked about setting the

[41:34] a song establish the point in time

[41:39] And then we've also talked about vantage

[41:45] what parts of the story to deliver in

[41:50] present and future.

[41:52] There's another style of lyric

[41:57] how to express what we want to

[42:02] A lens is when we tell a

[42:08] So for example, I can talk about a

[42:14] tornado, and that relationship carries

[42:19] elements of a tornado, like it's spinning

[42:26] and it whips up, uh, the earth and

[42:31] with it and sets it down somewhere else.

[42:35] Now, I can change that concept

[42:38] be characterized by those things.

[42:40] Let's say divorce.

[42:43] I could talk about a parent's divorce

[42:48] Using a lens is a wonderful way to allow

[42:57] that doesn't require that we put the

[43:03] Now, let me show you how a lens

[43:11] This is the song, "Who Are You Mad At?"

[43:14] by, uh, Jordan Schellhardt.

[43:17] You come through the door

[43:20] walls and window panes.

[43:22] Blow off the roof and let it rain on me.

[43:26] Then you get silent right after the storm

[43:31] I said I'm sorry, but

[43:36] Do you hear the words that

[43:41] And they even say the word

[43:45] That's the lens.

[43:47] A lot of times when we're

[43:51] in our lyrics, but we miss it.

[43:54] When we describe things like her hair

[43:59] fact, giving the listener an image, and

[44:05] could just let that image go when we

[44:10] is allowing ourselves the ability to

[44:16] and then liken those sensory terms

[44:22] So we're colliding a concept with

[44:28] Look for this idea, this lens in other

[44:36] soon find that verbs like rattling windows

[44:41] come out over and over again.

[44:43] These verbs, these descriptors of taste,

[44:48] they come from the lens and then you

[44:53] the concept you're really talking about.

[44:55] It's a beautiful way to envision a more

[45:02] might be more appealing to you if you

[45:09] in your lyrics.

[45:09] Here's an exercise for you with Lens.

[45:12] I would like for you to

[45:15] Let's say 10 nouns that

[45:19] And then, look at a song concept that

[45:25] And I want you to hold that song concept

[45:31] So, you're going to imagine Popcorn.

[45:34] That's my noun.

[45:35] Let me look at, uh, a relationship

[45:39] through the lens of popcorn.

[45:42] That relationship is unpredictable.

[45:45] It's fun.

[45:46] It's greasy.

[45:47] It's salty.

[45:48] It's something that is a

[45:52] Maybe it's under pressure.

[45:53] Maybe there's points of steam,

[45:57] But all in all, it's, I

[46:01] Popcorn.

[46:02] Now, if I change the lens and I go

[46:08] I'm going to get ten different songs.

[46:11] But ultimately, the practice here is

[46:17] different lenses for a single song

[46:22] your favorite and write that song.

[46:37] Whatever kind of music

[46:41] Having a seed idea in a song that recurs

[46:48] a familiar thought of words, or words

[46:54] progression, this is what allows us to

[47:01] to our audience and for that to be

[47:08] When it comes to lyric writing, the

[47:13] understand where they are in the song

[47:17] to tell often comes down to a title.

[47:22] Now, whether it is the actual title

[47:26] simply repeated often is up to us.

[47:29] Of course, some songs don't carry

[47:35] title of the song, but I'm going to

[47:39] important to have focus in a song.

[47:42] And the way that we can do that is

[47:46] back and be positioned in areas

[47:52] Some songs have the title right

[47:58] An example of this might be Bill

[48:03] Ain't no sunshine when she's gone.

[48:06] It's not warm when she's away.

[48:09] Ain't no sunshine when she's

[48:13] long, anytime she goes away.

[48:17] Wonder this time where she's gone, wonder

[48:22] when she's gone, and this house just

[48:30] Another example would be

[48:33] Blackbird singing in the dead of night,

[48:38] All your life.

[48:40] You were only waiting

[48:44] Blackbirds singing in the dead of night.

[48:46] Take these sunken eyes and learn to see.

[48:49] All your life, you were only

[48:55] Our tendency is to write every

[48:58] We want to say it all.

[49:00] But the most magical song experiences

[49:05] people reflecting back to me over and over

[49:11] point clearly, concisely, beautifully.

[49:16] That's our job, just one.

[49:18] And a verse, the job of the verse

[49:23] detail that makes me believe that one

[49:30] there's nothing else I need to say

[49:35] Verses often show us something.

[49:38] The chorus tells us what it means.

[49:42] Catching a clean,

[49:47] Here are some titles that artists have had

[49:53] just for a minute what might be qualities

[49:59] Here's a title.

[50:01] It's "Cool".

[50:03] Just the word cool.

[50:05] "Fake Out".

[50:07] "Death Wish".

[50:09] That's interesting.

[50:10] "Speak to Me".

[50:11] Depeche Mode.

[50:13] Sometimes a title is just

[50:20] Now, other times a title

[50:23] "Superpowers" by Daniel Caesar.

[50:26] "Back 40 Back", Luke Combs, right?

[50:29] What is back 40 back, man?

[50:30] That's kind of interesting.

[50:31] Sometimes you will find that your

[50:37] with the way that it flows or doesn't flow

[50:44] And this is a beautiful thing because

[50:49] language that the music is creating for

[50:54] our skin and become art instead of just

[51:01] So.

[51:02] I would love for you to take a

[51:07] call a title list for yourself.

[51:11] Take a notebook or make yourself a digital

[51:18] You could do this by setting

[51:24] saying, today for these 20 minutes

[51:29] You could go to some books that you

[51:35] random page, scroll down for phrases,

[51:42] to you that has title potential.

[51:46] You don't have to know, you

[51:51] a title might be telling you.

[51:54] Jot the title down.

[51:56] and set it aside for a later date.

[51:59] But start your title list so that when

[52:07] can go back to that list and consider

[52:26] There's one more element of lyric

[52:30] with you that affects how we

[52:37] When we write, we naturally take on

[52:42] And the point of view

[52:46] So, when I use first person point

[52:51] I am speaking to you,

[52:57] When I use direct address, I am

[53:03] You and me.

[53:05] When I'm using second person narrative,

[53:11] you feel this and that happens and

[53:14] And so I, as the singer and delivering to

[53:23] I'm slightly outside this experience.

[53:25] I'm just relaying the information.

[53:28] When I'm addressing the third

[53:34] and they do this, think this, and

[53:40] I'm the narrator, and I'm

[53:43] say what I want to say here.

[53:45] And none of it is necessarily how I am.

[53:49] I am just reporting the news.

[53:52] So, how is point of view really useful

[54:00] I going to use it to create the kind

[54:04] Well, I think one of the first things

[54:10] notice the point of view that we're using.

[54:13] When we notice the point of view,

[54:17] experiment with how changing those

[54:22] Let me give you an example.

[54:24] Here's a song called "Never

[54:27] It's a John Mayer song

[54:30] Now it's never on the day you leave that

[54:35] you can't remember why you said goodbye.

[54:38] You'll hear an old familiar sound and

[54:43] but never, never on the day you leave.

[54:48] So, I understand, from this point

[54:55] truth that might be my truth too.

[55:01] And she is gone, and so naturally,

[55:07] works really well to further

[55:12] They've left.

[55:13] It's over.

[55:14] Now let me try changing the pronouns

[55:20] you perceive me as the singer, and the

[55:26] No, it's never on the day I leave

[55:32] And I can't remember why we said goodbye.

[55:35] And I'll hear an old familiar sound

[55:40] but never, never on the day I leave.

[55:44] So now, interestingly, I think

[55:51] Perhaps in a manner that doesn't

[55:56] just one person's experience.

[55:59] And it might even be a

[56:03] When we change the point of view,

[56:09] between the singer and the audience.

[56:12] We're changing the way

[56:16] And so, as a writer, even if I can't

[56:21] the pronouns is going to have, it's

[56:26] that gives me the ability to step

[56:30] is telling me that it could be saying.

[56:33] Right?

[56:34] So it's a wonderful tool to be aware of

[56:40] it so that I can find the soul of the

[56:47] life with a particular point of view.

[56:50] Sometimes not having pronouns

[56:54] that we want in the lyric.

[56:56] Going back to Randy Newman's

[57:00] for the lack of pronouns.

[57:02] Beat up little seagull on a marble stair.

[57:05] Tryin to find the ocean,

[57:09] Hard times in the city,

[57:12] Ain't nowhere to run, there

[57:16] Waitin for a train, drunk

[57:19] Sleepin in the rain, and they hide their

[57:26] the city's dyin and they don't know why.

[57:30] For the first time.

[57:32] Late in the song we hear the word they.

[57:35] They is quite distancing.

[57:37] I don't know who they is and I

[57:41] It's just a group.

[57:42] That I don't belong to, and

[57:46] And so the lack of pronoun there,

[57:52] helps to emphasize the desolation

[57:59] that he's describing, the tough times.

[58:02] So, consider your pronouns.

[58:04] And know that you have control over

[58:09] them and which pronouns you use to create

[58:16] So a great exercise can be to find a

[58:20] it out, and just exchange the point

[58:26] Go from first person to third

[58:30] first person, or to direct address.

[58:33] Haphazardly, without being able to see the

[58:39] back and observe what the change causes.

[58:42] Now sometimes you might realize,

[58:45] new point of view confirms that my

[58:50] But sometimes, changing point of view

[58:54] a song, where what once felt cheesy

[59:01] real, and sometimes the point of

[59:06] I know how to finish this song.

[59:09] So I would encourage you to find a song,

[59:13] be stuck or stalled or something that

[59:18] Flip the point of view and

[59:20] new insight into the song.

[59:43] A foundational piece of our

[59:47] doing on the instrument.

[59:49] And I don't know about you, but when I

[59:55] feel with which I'm going to play those

[1:00:01] And the reason is, I think it's

[1:00:05] from the typical places we go.

[1:00:09] I know what I've been doing

[1:00:14] on piano, with my chords.

[1:00:16] And so sometimes it feels

[1:00:20] Nothing really interesting that

[1:00:25] I approach songwriting can then

[1:00:32] If I don't spend some time giving

[1:00:39] And so what I'm really talking

[1:00:42] harmonic rhythm of the feel with

[1:00:48] I think most of us are looking

[1:00:54] when we go to our instrument.

[1:00:57] And, uh, certainly, we can wind up

[1:01:14] some really interesting bass movements,

[1:01:21] chord, you know, a flat three, um, and

[1:01:29] I go now that's an interesting color?

[1:01:32] But, only doing that leaves behind

[1:01:40] is accessible to us without really even

[1:01:47] the instrument with music theory.

[1:01:50] And that is paying attention to time, time

[1:02:00] I'd like to use a Sheryl Crow song called

[1:02:06] Now, when I play, I'm going to be

[1:02:12] we've been playing guitar a while.

[1:02:14] I'm playing an A major, a D major,

[1:02:24] So it's in the key of A.

[1:02:26] And in this song, what's

[1:02:32] transition from one to another.

[1:02:35] If I were given those chords,

[1:02:42] 3 4 1 2 3 4 1 2 3 4.

[1:02:49] You know what I'm saying?

[1:02:51] One chord per measure and then I'd

[1:02:56] to write the melody and the lyric.

[1:02:58] And so here's what Sheryl

[1:03:03] And it has a wonderful movement

[1:03:10] prosody or dance with the melody.

[1:03:14] God I

[1:03:18] feel like

[1:03:19] hell tonight.

[1:03:22] Tears of rage I cannot lie Be the

[1:03:32] you strong enough to be my man

[1:03:46] So, the movement here happens

[1:03:51] God I feel like hell tonight.

[1:03:57] And I think, wow, what if I had

[1:04:05] to change chords every bar?

[1:04:08] Or, in the middle of every

[1:04:12] So it has such a beautiful lilt to it.

[1:04:16] This idea of when we change chords

[1:04:20] is really wonderful because then we can

[1:04:27] So, for example, if I have a

[1:04:31] know the verse goes like this,

[1:04:36] one two three four five six one.

[1:04:38] I'm going to use two notes.

[1:04:39] Two chords,

[1:04:57] so each chord lasts two measures.

[1:05:16] Now look when I change

[1:05:27] now, that clearly was a new section.

[1:05:30] And did you feel the energy pick up?

[1:05:33] It's a result of two things going to a new

[1:05:45] Not much changed in the

[1:05:48] It's all due to doing

[1:05:53] And again, these aren't chords that

[1:05:58] too long, so it's really about the

[1:06:04] The more frequently I change, the

[1:06:10] The less frequently, the more

[1:06:15] sprawling it begins to feel.

[1:06:17] And that could feel peaceful and content.

[1:06:21] Or maybe it feels a little bit, um,

[1:06:27] Maybe it feels a little

[1:06:32] Ba da da, da da, ba ba ba ba ba

[1:06:56] So here I'm staying on one

[1:07:01] And that might create kind of a

[1:07:06] tension going to relieve, you know?

[1:07:08] So, when we change chords is a really

[1:07:14] apply anytime because you simply

[1:07:20] A really great exercise to take

[1:07:25] would be to just take 10 minutes

[1:07:30] around with changing the frequency

[1:07:34] So let's say that I've got A major

[1:07:41] around with real basic 1, 2, 3,

[1:07:50] Now I can change chords elsewhere.

[1:07:52] 4 1 2 3 4 1 2,

[1:08:01] Or I could stretch it out.

[1:08:02] 1 2 3 4 3 4 1 2 3,

[1:08:11] 4.

[1:08:11] Right?

[1:08:12] And so not having assumptions about

[1:08:18] up a lot of possibilities for how

[1:08:22] So take 10 minutes and just play around

[1:08:27] about when you should change chords and

[1:08:32] bit and you'll find that you come up

[1:08:36] feels just from that simple exercise.

[1:08:57] Nobody doesn't know that song.

[1:09:01] And it's really interesting

[1:09:05] And yet, it's the rhythm with which

[1:09:10] makes me realize it's that song.

[1:09:12] Right?

[1:09:12] If I change that and I go

[1:09:20] Now it's not that song anymore.

[1:09:22] Same chords.

[1:09:23] So, the rhythm, or the feel, the harmonic

[1:09:29] really affects the identity that the

[1:09:35] helps to establish who the character is.

[1:09:38] Now, remember this idea

[1:09:42] You can choose all the chords you

[1:09:46] correctly express the character with

[1:09:51] the full scope of that character, right?

[1:09:54] So guitarists learn this by playing

[1:10:00] develop that right hand flexibility,

[1:10:05] that we get to develop a vocabulary of

[1:10:13] us to write different styles of songs.

[1:10:17] Now, we could go with

[1:10:26] And just because of this feeling

[1:10:30] has more of a rock groove to it.

[1:10:33] If I finger pick, Um, I took

[1:10:40] Suddenly, I get a little

[1:10:44] I climbed a mountain, I turned

[1:10:51] sense of looking back and reflection.

[1:10:54] It's just wonderful, but it's that

[1:11:00] that takes me to that place lyrically.

[1:11:04] So, if you feel that you're writing a lot

[1:11:10] that is kind of a point of stuckness to

[1:11:16] absolutely, first of all, listen, listen,

[1:11:22] outside of the music that you typically

[1:11:28] is some new influences on our right hand.

[1:11:32] If you're strumming with your right hand,

[1:11:38] take us to new places with our content.

[1:11:42] So how much should we listen?

[1:11:45] I recommend that you listen to at

[1:11:50] If you can, more is always great.

[1:11:53] But to take that a step further, pick a

[1:11:59] And play along with it.

[1:12:01] Now it could be that you have to

[1:12:04] mess and you're not even able to

[1:12:08] And you bring out your capo

[1:12:11] It's okay.

[1:12:12] Just try to let your right hand

[1:12:18] And then,

[1:12:19] you might even record yourself laying

[1:12:24] And then later you can pull it out

[1:12:29] And we don't even really need

[1:12:32] We can simply strum, get the feel

[1:12:38] something inspired by that feel.

[1:12:41] So I would recommend doing that.

[1:12:43] Once a week, if you've got the

[1:12:47] month, and it'll help you to develop

[1:12:53] write new songs and inspire you.

[1:12:55] A really great exercise that you can do

[1:13:01] and pay attention to the feels and the

[1:13:07] And when you're listening to something

[1:13:14] take that groove and start to sing some

[1:13:19] your title list over that mood and groove.

[1:13:23] The idea here is not that you need

[1:13:28] original moods and harmonic rhythms

[1:13:31] every time you sit down to write,

[1:13:35] other people are doing within a

[1:13:40] And just experiment with how the things

[1:13:45] ideas feel over those grooves and rhythms.

[1:13:50] And this can then unlock a whole new

[1:13:56] just using other artists to inspire us

[1:14:01] Try this out for a few minutes every

[1:14:07] the titles that you have connecting to

[1:14:25] Sometimes it's intimidating to manage

[1:14:32] chords and feel all at the same time.

[1:14:35] So I want to tell you that it's okay and

[1:14:41] those areas aside while you work on one.

[1:14:46] Sometimes, uh, folks who don't

[1:14:50] Oh, I hear it in my head.

[1:14:52] I know what I want to hear, but I

[1:14:57] And I'll admit it was sometimes

[1:15:01] instrument, I will search around to

[1:15:06] And of course I, I know all the normal

[1:15:11] we want to go by accident and sometimes

[1:15:15] and we'll know it when we hear it.

[1:15:16] So there's nothing wrong with

[1:15:19] just going to look around a bit.

[1:15:22] But one of the best ways I think

[1:15:26] is to say, you know what, I've got

[1:15:29] to all be playing at the same time.

[1:15:30] I'm just gonna, gonna do one.

[1:15:33] I'm gonna capture a note in

[1:15:36] gonna be the root of the chord.

[1:15:39] And I'm gonna use this song,

[1:15:43] Amazing song.

[1:15:45] And I'm going to just pluck the

[1:15:51] And I want to look at why did he

[1:15:55] And what is so great about

[1:16:02] Why those?

[1:16:04] Because under a melody, we

[1:16:07] chords to capture the emotion.

[1:16:09] So, the first line of the song is, When

[1:16:14] goes, When I wake up in the morning, love.

[1:16:20] So it starts on the root of the scale.

[1:16:24] And it's in the key of E.

[1:16:26] So it's, When I wake up

[1:16:33] And sunlight hurts my eyes.

[1:16:36] And something without warning, love.

[1:16:44] Bears heavy

[1:16:48] on my mind

[1:16:50] So the idea here is that he plays

[1:16:58] First, the key, the the, the, the E.

[1:17:01] Now, why start on the e?

[1:17:04] When he plays, when I wake up in,

[1:17:10] beautifully with the key.

[1:17:12] When I wake up and when I wake,

[1:17:17] It's very agreeable.

[1:17:18] And so I think that sets

[1:17:22] It's almost like he's saying,

[1:17:26] morning, love, it's not awful.

[1:17:30] Like it's not, um, I'm drowning

[1:17:34] It's all right.

[1:17:36] It's all right.

[1:17:37] You know, take this with a

[1:17:41] When I wake up in the morning, love.

[1:17:44] Right?

[1:17:45] There's a little bit of challenge.

[1:17:48] That morning, sometimes like, uh,

[1:17:53] That's what this C

[1:17:55] It's a little dark, right?

[1:17:56] A little darker.

[1:17:57] It's darker than this.

[1:17:59] This says, um.

[1:18:01] Little pain, little, little twinge.

[1:18:04] And then he goes, the

[1:18:11] That's a little bit painful, right?

[1:18:14] Just a little, it's not a, I'm

[1:18:18] it's just a little, little jab.

[1:18:21] So what I'm saying here is that the

[1:18:28] And when you write a lot of songs.

[1:18:30] Or, you know, Bill Withers, uh,

[1:18:35] didn't release a lot of albums.

[1:18:38] And yet, um, many of his songs

[1:18:44] There's such intentionality in how the

[1:18:53] Now, the song goes on to say, and

[1:19:02] It bears heavy on my mind.

[1:19:06] It's not bears heavy on my mind

[1:19:13] Right?

[1:19:14] If he goes back to that C sharp minor,

[1:19:22] uh, to me there's a little strength there.

[1:19:25] It's a little like, yeah,

[1:19:27] Stay tuned and we'll see what comes next.

[1:19:29] Kind of a feeling.

[1:19:30] And then there's a little pre chorus

[1:19:35] you and the world's all right with me.

[1:19:43] You know, it's like,

[1:19:45] Just one look at you.

[1:19:49] And so the feeling here, you can

[1:19:55] And then he goes up, he lets the

[1:20:01] there as far as I'm looking at it.

[1:20:03] Skeletally.

[1:20:04] Uh, then I look at you and

[1:20:12] How do you say It's all right with

[1:20:16] An E minor.

[1:20:19] It's so interesting.

[1:20:21] So the colors of the chords, I'm gonna

[1:20:26] that they cast over the words will be

[1:20:33] you have to attune to, what do I feel

[1:20:37] the message to be now that I

[1:20:42] And it's a beautiful, um, dance

[1:20:49] shares with us what it's meaning.

[1:20:53] Then, we get to this chorus.

[1:20:56] Uh, I know it's gonna be Then,

[1:21:09] So it really is a lovely day

[1:21:14] We're over the E major again, the world

[1:21:23] that we've had in this pre chorus,

[1:21:29] so that when we come back, it feels

[1:21:32] .

[1:21:36] It's a beautiful, beautiful,

[1:21:40] Now, if you know this song, you'll

[1:21:45] one, two, three, a lovely day.

[1:21:49] Then the backgrounds are

[1:21:51] Lovely day, lovely day,

[1:21:56] And he just gets away with

[1:22:01] over and over and over again.

[1:22:03] And I say, get away with it because

[1:22:08] Why can't I write something

[1:22:13] And I think that it is a keyhole

[1:22:21] Magic happens when we are

[1:22:26] Just like with melody, we write a distinct

[1:22:33] With harmony, we allow for distinction,

[1:22:43] So, whatever your skill set is at this

[1:22:50] way around your instrument in a manner

[1:22:57] you're just beginning, I want you to

[1:23:04] able to express for writing the bones of

[1:23:12] that is expertly crafted and played.

[1:23:17] What we're interested in in the writing

[1:23:23] the chords that I've chosen just simply

[1:23:29] message in the lyric, and the rhythm

[1:23:35] help to express that message as well.

[1:23:39] If you're someone who tends to lay

[1:23:45] pieces without lyrics to go with

[1:23:51] because you have all these wonderful

[1:23:56] with you a character, a personality.

[1:23:59] And now it's your job to mine some of

[1:24:05] and the language that they share.

[1:24:07] So, one thing that we have trouble

[1:24:14] piece of music that we've recorded

[1:24:18] And so, an exercise for a day might

[1:24:23] less time, 10 minutes, and put that

[1:24:28] playing, uh, an idea, just on loop.

[1:24:32] And then what I'd like you to do is take

[1:24:38] just write feverishly whatever comes

[1:24:44] the musical landscape you laid down.

[1:24:46] Now, in a way, you're kind of co

[1:24:50] saying, Oh, I wrote this the other day.

[1:24:52] Isn't this kind of cool?

[1:24:53] There's something here.

[1:24:54] And now you're saying, well,

[1:24:58] And it's okay if you're not in the

[1:25:04] when you wrote that initial idea.

[1:25:06] Your job now is to say, yeah, what

[1:25:13] But I'm in a different space and that

[1:25:19] to lyrical ideas that even as they've

[1:25:25] form, you can drag ideas out from to

[1:25:45] There's a few really wonderful tools

[1:25:49] of our songs that I want to share

[1:25:53] some of the issues that we might

[1:25:58] One of those is that we can't quite get

[1:26:04] Another one of those is, man, I keep

[1:26:09] know, to really feel like, ah, we're at

[1:26:13] in, it's just kind of subtly there.

[1:26:15] And I can't quite get it to pop.

[1:26:18] Well, one of my favorite

[1:26:22] And what that means is, whatever key

[1:26:26] of G, I'm gonna wait to play the G

[1:26:31] that when that chorus comes and that

[1:26:37] Just like Bill Withers in "Lovely Day",

[1:26:43] starts on the root of the scale, For the

[1:26:47] chorus comes, it's like, ah, there it is.

[1:26:50] So if I'm in G, and that's where

[1:26:56] going to avoid it before there.

[1:26:58] So maybe my verse starts on C.

[1:27:01] So, da da da, da da

[1:27:09] Now.

[1:27:13] This is my verse.

[1:27:24] Notice that I am just using two chords.

[1:27:27] I'm, I'm using the C major and the D.

[1:27:31] But the idea here is that I've got two

[1:27:36] creates a very simple but potent sound.

[1:27:41] Now imagine for a minute if I were

[1:27:45] Now we're to do Ba da da, bum ba da

[1:27:52] bum ba da da Ba da da, bum ba da da Ba

[1:28:04] You have no idea where you

[1:28:08] can't tell you anymore either.

[1:28:10] There's too much change and so

[1:28:15] and nothing in particular.

[1:28:17] So, one of the tricks to making

[1:28:22] to save the one effectively is to let

[1:28:27] Potent.

[1:28:28] So I'm just gonna use,

[1:28:54] now.

[1:28:54] I could go.

[1:29:02] And I've come to what might be a chorus.

[1:29:05] Now, a few things happened for me there.

[1:29:09] One thing that I'm not going to blame on

[1:29:14] my melody starts after that downbeat?

[1:29:16] I played, then I sang.

[1:29:18] And in the verse, da da

[1:29:23] So what I'm sharing with you then

[1:29:30] to hear what I have to say, right?

[1:29:32] It's just gonna eventually happen.

[1:29:35] And when we do that section after

[1:29:39] allow you as the listener to disengage.

[1:29:42] So if I'm purely focused on harmony,

[1:29:47] gonna work out okay, just going C D..

[1:29:52] But let me add now a pre chorus

[1:29:56] like, well wait, I wanna pre chorus

[1:30:00] get things moving towards the chorus.

[1:30:02] I'm still gonna avoid the G,

[1:30:06] I'm gonna go somewhere else.

[1:30:08] In a key, a major key.

[1:30:11] I have diatonic chords.

[1:30:14] We call them the chords that

[1:30:17] And I think, you know, without getting

[1:30:22] got A minor, I've got B minor I could

[1:30:27] the D, and then I've got E minor.

[1:30:29] that I could go to.

[1:30:30] Now, there are all kinds of wonderful

[1:30:36] uh, D, D over F sharp, and these are

[1:30:42] to add subtlety, but I'm going to

[1:30:46] I'm just going to maybe bring in

[1:31:25] Uh, ba, ba, Ba da dap, Ba

[1:31:35] So, I went to an A minor, and

[1:31:39] maybe an E minor after that.

[1:31:40] But I'm trying to avoid that G, because

[1:31:46] is it's gonna take us home, and it's

[1:31:51] energy that I've built up through

[1:31:57] To practice this, see if you can take

[1:32:01] use, and identify the key you're in.

[1:32:04] Now, that's the chord that you're

[1:32:09] And pop it right up there

[1:32:11] And then write around it

[1:32:15] Some wonderful songs that

[1:32:18] One of my favorites to use is

[1:32:22] I grew up in a small town When the rain

[1:32:29] window I'd just stare out my window It's

[1:32:33] da da da da da da da da da da.

[1:32:36] So it really lands us securely on that

[1:32:41] what breaking away feels like, whereas

[1:32:48] Right?

[1:32:50] So,

[1:32:52] when the tonic, and in that song it's

[1:32:59] is used as a passing chord, it's okay.

[1:33:03] But, when it's used as a place

[1:33:06] to rest, then we have a dispelling

[1:33:10] So, try this technique just save the

[1:33:16] sit down for 10 minutes, write a

[1:33:20] one, and then play it down and see how

[1:33:24] And I think you'll find over time,

[1:33:29] routine with intuition rather than

[1:33:47] I want to talk about melody.

[1:33:49] Now, melody comes with great ease to

[1:33:53] comes with quite a bit of difficulty.

[1:33:56] And something that I find really

[1:34:00] well, what makes a melody great?

[1:34:03] When we ask this question,

[1:34:05] well, it's a very dynamic melody.

[1:34:07] It's gotta, it's gotta be rangy.

[1:34:09] It's gotta show off the singer's

[1:34:13] And sometimes a melody is

[1:34:17] And it has a lot of notes, a lot

[1:34:21] deliver a good amount of lyric.

[1:34:24] Sometimes a melody is just very simple

[1:34:30] shows the character of the song well.

[1:34:32] And other times it's syncopated,

[1:34:37] and unpredictable, and that shares

[1:34:43] So it seems to me the question that

[1:34:46] do you write a great melody is how

[1:34:51] song that I'm currently writing?

[1:34:53] Because that might be a very different

[1:35:00] It really comes down to what

[1:35:06] that I'm trying to get across.

[1:35:08] Just like we would ask ourselves,

[1:35:12] What is the harmonic rhythm

[1:35:17] We ask the same thing for melody.

[1:35:19] So we can define melody as two elements.

[1:35:24] It has a pitch element.

[1:35:26] So what am I singing right now?

[1:35:28] Right?

[1:35:28] Which pitches am I singing?

[1:35:30] And then what is the rhythm of

[1:35:34] Which is really how

[1:35:37] And when do I sing it in

[1:35:40] That's pretty much it.

[1:35:42] It's just pitches and rhythms

[1:35:46] When I think about melody in this way,

[1:35:52] So really what we need to know

[1:35:57] tools that I can play with?

[1:35:59] And what are the rhythmic tools

[1:36:03] something that supports the lyric?

[1:36:05] And I think, remember what we were

[1:36:10] is the body language of a song.

[1:36:13] It tells us how to interpret

[1:36:18] And so when you write melody with lyric

[1:36:24] What I think we're really saying

[1:36:30] the song have become transparent.

[1:36:33] And we are only immersed in the experience

[1:36:40] about the experience we're having.

[1:36:43] And that is where I want to

[1:36:46] With melody, we get to control

[1:36:52] And what that means is, songs have energy.

[1:36:56] There's like an amount of energy

[1:36:59] in the front of the song.

[1:37:01] And I think as writers, we can feel that

[1:37:06] into the next sections of our song.

[1:37:09] And sometimes when the section's

[1:37:13] necessarily, but not working.

[1:37:14] We feel the energy sag and we feel

[1:37:19] or the melody is just not right.

[1:37:21] Or that chord isn't pulling us forward.

[1:37:24] With melody, These tools

[1:37:30] We call it gain acceleration

[1:37:34] One of the things that we can do to create

[1:37:41] Now, I'm going to show you

[1:37:45] repetition in a verse section.

[1:37:49] This can apply to more than just

[1:37:53] melodic theme is the most basic and

[1:38:02] I'm going to use this song called

[1:38:07] If she had given us only verses

[1:38:14] little while that the energy dips.

[1:38:17] Because the song doesn't build and grow.

[1:38:20] So the question is, how do we use melody

[1:38:26] And the answer is, contrast.

[1:38:28] We give the listener a new melodic

[1:38:34] energy at that point in the song.

[1:38:37] And this song has a pre chorus

[1:38:41] Now I like this song as an example

[1:38:46] So what is responsible for creating

[1:38:53] So we just came out of a

[1:38:58] Da da da da da da da da da.

[1:39:00] Ba da da da da da da ba ba.

[1:39:05] Ba da da da da da da da.

[1:39:07] Da da da.

[1:39:09] Right?

[1:39:10] Just nice and chill.

[1:39:11] So if the prechorus does this I, I'd

[1:39:22] At least you're all mine.

[1:39:28] That's a really different melodic theme.

[1:39:32] Now, I think as writers, we think,

[1:39:38] Right?

[1:39:38] And a really wonderful way to come up

[1:39:44] we're looking for is a new melodic

[1:39:49] one, it repeats that melodic theme a

[1:39:57] And so what I want to show you is how to