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5 Things I’ve Learned About Having A Long Music Career

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5 Things I’ve Learned About Having A Long Music Career by Jason Miles

Jason Miles

Jason Miles is a Grammy winning producer, keyboardist, synthesist, songwriter, composer

There are many intricacies to having a long-lasting career in music. I learned so much from being around great musical minds and incredibly talented musicians, producers, and arrangers. I’ve been around this business for 41 years and I still feel there is much more for me to do that I haven’t yet done. Here are just a few things that I hope you’ll keep in your back pocket and learn from as you embark on careers of your own. 1. Be Unique When I came to New York City there were some absolutely amazing musicians on the scene. The competition was fierce! What was I going to do to make my voice heard above the fray? My answer was that I chose to be an early adopter of synthesis. As much time as I spent practicing, connecting, and writing, I also put effort into learning about synthesizers at a time when many people really didn’t know much about them. I programmed my own sounds and used them on live shows, and soon word started to spread that I did something special with these new instruments. You have to find something that separates you from everybody else. 2. Learn from the Masters When I started out, I wanted to work and hang out with as many great musicians as I could. My enthusiasm for music had no bounds. Knowledge and wisdom from experienced people will take you very far in this business. There’s so much to learn, and you simply can’t learn it from yourself. Keeping your mouth shut and observing the work of great musicians in different situations will go a long way to giving you the experience you need. 3, Patience, Patience, Patience! When I came back to New York City in 1974, my goal was to work with Miles Davis. I worked and worked, and in 1986, it happened. Was there some luck involved? Of course, but when the moment came I was truly ready for it. There was a lot of pressure and responsibility involved in making Miles’ album Tutu, including new technology and new ways of making music—but I’d been preparing for that moment for years. Nothing happens overnight, but if you hang in long enough, you will get a shot. 4. Know Your Music History I had a great record collection and I spent hours and hours listening to all kinds of music. Later when I met well-known musicians, they realized I was familiar with their work, and consequently they were much more friendly and interested in me. When I met Josef Zawinul for the first time in 1974 he looked at my girlfriend and said, “This guy knows his stuff!” We ended up being friends for over 30 years. You need to be a mini-encyclopedia of music. It will help you understand how to move forward by respecting and learning about the past. 5. It’s Called the Music Business for a Reason This is not always a kind business, nor has it ever been for anybody. Everyone has his or her terrible music business stories. The more you know about the business side of things, the better chance you have of surviving its ups and downs. Learn about contracts, royalites, and performing rights organizations, and last but not least, surround yourself with people you can trust and who truly have your best interests at heart. I’ve been in this business for four decades and even during its most difficult moments, my wife Kathy always supported me unconditionally.

[This article is reprinted with permission from Keyboard Magazine]

Jason Miles is a Grammy winning producer, keyboardist, synthesist, composer, and arranger who has worked with Miles Davis, Sting, and Michael Jackson. His latest project with his band Global Noize is a groove/jazz/ world tribute to Sly and the Family Stone called Sly Reimagined.

For more information on the 11th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

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IAMA Winner Meghan Trainor Hits #1 on Billboard

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Breaking News: IAMA Winner Meghan Trainor Hits #1 on Billboard

#1 on Billboard Charts is a huge accomplishment, especially for a young 20 year old girl. IAMA winner hits the charts yet again. The song is also #2 on the Billboard Hot 100 charts, Meghan Trainor is no longer an indie artist, she has gone huge mainstream. 

 

IAMA Winner Meghan Trainor Hits #1 on Billboard Charts

IAMA Winner Meghan Trainor Hits #1 on Billboard Charts

Meghan Trainor was discovered by IAMA (International Acoustic Music Awards) and she won Best Female Artist in the 6th Annual IAMA (International Accoustic Music Awards) in 2010 when she was just 16 years old with her songs performed in acoustic format.

 

After sneaking up to #2 last week, Meghan Trainor’s love-your-body anthem, “All About That Bass,” will take the top spot on the Billboard Digital Songs chart this week thanks to sales of 197,000. Her video has over 14 million views on YouTube. The song is also #8 on the Billboard Hot 100 charts this week.

At just 20 years old, this is a huge accomplishment for a young girl. “All About That Bass” is a Pop doo-wop blue-eyed soul song, with a fun retro 60’s “Hairspray” feel.

From Nantucket, Massachusetts, She wrote “All About That Bass” this year with Hit Grammy Award-nominated songwriter and producer Kevin Kadish. Her publishing company told her that many artists might be interested in recording the song. Music mogul L.A. Reid heard Trainor’s demo of the song and signed her to Epic Records, where she was able to release the song as a solo artist.

Berklee College of Music trained Kevin Kadish has written and produced for the biigest names in today’s pop music such as: Jason Mraz, Miley Cyrus, Michelle Branch, O.A.R. and many more. Trainor is also a successful songwriter and has had songwriting cuts with Rascal Flatts, Sabrina Carpenter and Macy Kate.

 

ABOUT IAMA (International Acoustic Music Awards)

IAMA (International Acoustic Music Awards) promotes the art and artistry of acoustic music performance and artistry. In it’s 11 year, IAMA has a proven track record of winners going on to hit the Billboard Charts. 2nd Annual IAMA winner Zane Williams winning song was recorded by country music star Jason Michael Carroll, that song hit #14 on Billboard Country Charts and #99 on Billboard Hot 100 Charts. Jeff Gutt, finalist at the 9th Annual IAMA was a runner-up on X-Factor USA. For more information on 11th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

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Judith Owen On The Ebb & Flow of Old-School Songwriting

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by Jon Regen

 

Judith Owen, hit songwriter

Judith Owen, hit songwriter

“It’s never been enough for me to just be a musician singing at the piano introducing my songs,” British singer-songwriter Judith Owen tells me via Skype from a tour stop overseas. “I always wanted to be an entertainer who was gifted at connecting with an audience. It’s taken me a long time to hone every possible aspect of my art. And on this record, everything just came together

 

That record is her latest release, “Ebb & Flow”, which finds the multi-faceted artist in the company of legendary sidemen like bassist Lee Sklar, drummer Russ Kunkel, and guitarist Waddy Wachtel. On a set of introspective originals and convincing covers (including the James Taylor classic “Hey Mister”) Owen proves she has honed her craft wisely. And while the album pays fitting tribute to forbears like Taylor, Jackson Browne, and Carole King, it auspiciously announces Owen’s arrival onto the A list of singers and songwriters everywhere.

 

Tell us about the genesis of your new album, which seems like a salute to the heyday of the singer-songwriter.

Ever since I was a kid, I’ve been a massive fan of 1970s “American troubadour” music. That’s what I grew up listening to, and what my family played in the car on holiday trips. We’d all be singing along to songs by James Taylor and Carole King. It was a very influential time for me, listening to artists like Joni Mitchell and Elton John, who made music that was interior, emotional, and breathtakingly beautiful.

In 2012, I’d been living in Britain for a couple of years because my father had been terribly ill with cancer. After he died, I asked myself, “What is it that I want to do the most?” I wanted to do something special that celebrated his life, but also something that connected me to that kid in the car singing her lungs out to those songs. I thought of how I had spent years emulating the sound of those classic records, wanting to work with the musicians who played on them. So I said to myself, “Why don’t I just go out and ask them?” I set out to make the record I always wanted to make, because I was finally ready to make it.

 

Did you have all the songs written before heading into the studio?

Oh, I had everything. I’d been writing the whole time my father was ill. A couple of them came to me right after he died, that’s for sure. But I write all the time and I write about what I know. Within a couple months of him dying, I was in the studio in Los Angeles with these amazing musicians, trying some of the new songs out. And it was just remarkable. It was the most effortless, “hand in glove” musical experience I ever had in my life.

 

 

 

Hearing you in the company of Lee Sklar, Russ Kunkel, and Waddy Wachtel made me realize why the albums they played on sounded so good.

Exactly. These guys had a huge part in making those classic songs and records by James Taylor, Carole King, and countless other artists sound the way they did. Do not underestimate how much they contributed to them! So I went into the studio thinking, “Worst case scenario is, I tried.” I was prepared for that. But what actually happened is that their eyes lit up, because what they heard in my songs was the music they cut their teeth on years ago. It was music they’d grown up playing, and the kind of music they rarely get the chance to play anymore.

 

On “I Would Give Anything” the silence seems as important as the music itself. There’s a spot at the end of the chorus where a chord doesn’t resolve to the tonic. It just hangs on what sounds like a sus chord.

Right, there’s no resolution. It’s like the experience I talk about in the song itself. So it was a thrill to work with people who understand that not playing is part of the art, as opposed to filling up every single second. All of us who write know how precious silence is in music. It’s the jewel, and you don’t just fill it up for the sake of doing so. For me, it’s about putting emotional intelligence behind every note that you play.

 

Ebb & Flow sounds great production-wise, as well. How was it recorded?

I went so “old school” it was ridiculous. It was exciting, because these musicians hadn’t all been together in a studio for 15 to 20 years. I co-produced it along with David Z., who has done a lot of work with Prince. I wanted someone who wasn’t into bells and whistles—someone who recorded with flat EQ and didn’t want to work any “wizardry” on any of the tracks. We booked Sunset Sound in Los Angeles, where so many of those revered records were made. And we played together in the round—I would play a song for them and they’d all make little notations and ideas. Russ would be thinking about rhythms, Lee would be charting it out, and Waddy would be working out how to play inversions within each of my chords. All three of them were constantly thinking about making the song shine. So we’d go through each song, and then record it completely live in one or two takes.

 

Did you record to tape?

No, I didn’t, actually. I usually do record to tape. We messed around with it at Sunset Sound, but we ended up recording to Pro Tools. It sounds like it was recorded to tape because we mixed it with David Biancho, who’s another old-school kind of guy. He mixed the record through all of his analog gear. Then, Bernie Grundman mastered the record, and of course, he mastered every single album I grew up loving.

 

The only way you could be more period correct is if you offered the album on eight track tape!

Well, I can tell you that it’s now available on vinyl, and I’m thrilled about that. From the artwork that I did myself to the way the album was recorded, everything on this project was about being authentic and honoring that time, because it was the time I wished I’d been in.

 

What was it about covering James Taylor’s “Hey Mister” that intrigued you?

It’s funny. When I told Russ Kunkel, who played with James Taylor, that I wanted to cover one of Taylor’s songs, Russ immediately said, “It’s got to be ‘Hey Mister,’ because you know about depression.” That’s been my war, and the fight I had before I had to fight with the bloody music industry. It was a fight with myself. I’ve been as ill as a person can be with it, and that’s been my battle. I’m thrilled to say it’s no longer an ongoing battle. I came to America because I wanted to be well more than anything in this world. So here I am, after getting better over the years and doing a show on London’s west end about depression, and then I get to make this record with this amazing bunch of musicians. So when Russ told me I had to cover “Hey Mister,” it was because James wrote that song at the height of his success—but when he couldn’t feel a damned thing because he was so depressed. I rewrote it from the point of view of someone who isn’t depressed anymore and wants to live. So what you hear in it now is defiance and determination.

 

Who played Hammond organ on “Hey Mister”?

That’s Jeffrey Young. His playing is gorgeous, and he played organ on every single song except “About Love,” which features Chris Caswell.

 

What piano players were you listening to when you were coming up?

Early Elton John—God knows, that man dug in like no one else. The guys in my band tell me that when the heard Elton play with his trio at the Troubadour in Los Angeles in the early 1970s, they said, “it sounded like a f***ing orchestra!” His playing is still humongous to this day.

 

What other piano players have inspired you over the years?

When I grew up, my Dad was an opera singer, but in our house jazz was king. So we were listening to Art Tatum, Erroll Garner, and Oscar Peterson. The piano to me was profound right from the get-go. But when I heard early Elton John, with all of his Americana influences like Leon Russell, I was knocked out. Then I heard Randy Newman with all the inversions he uses in his playing, and it was so good it broke my heart.

 

Do you plan to tour the album with this band?

It was hard to get all of them together for a tour, because Russ is out with Lyle Lovett and Waddy plays with Stevie Nicks. So many of the shows will be just Lee and myself, with some special guests. But that’s okay with me, because this whole project really came about because I got to do a show with Lee Sklar a while back. It was just the two of us, and it was spectacular. Playing my songs duo with Lee imparts a sense of intimacy that you just don’t get with a full band. The next time out, I’ll play with the full band.

 

What advice do you have for singers and songwriters who hope to have a career like yours?

It’s very hard to hear this when you’re young, but it’s the truth and something that’s encapsulated in my song “One in a Million,” which is, this is not a race. You can’t go through life comparing or judging yourself based upon how other people are doing. Sometimes life is hard and it isn’t always fair, and music is certainly one of the toughest industries you could ever be in. But if you get to do what you love most as your occupation in life, you are indeed the most fortunate human being in the world.

 

[Reprinted with permission by Keyboard magazine]

Judith Owen is a Welsh singer-songwriter. Her first North American album, Emotions on a Postcard, was released in 1996, and has since been followed by five additional releases. She is co-founder of Courgette Records with her husband, Harry Shearer, and her manager, Bambi Moe. Her 10th studio release, “Ebb & Flow”, evokes the spirit of the halcyon days of the great 1970s troubadours. This new opus, released on April 7, 2014 (UK) and May 6, 2014 (USA & Canada), features an amazing trio (became known as “The Section” in the 70’s): Leland Sklar on bass, Russ Kunkel on drums and Waddy Wachtel on guitar. She is currently touring in U.S. with this first-class band.

For more information on the 11th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

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5 Things I’ve Learned About Songwriting

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By Dan Wilson

Dan Wilson, songwriter

Dan Wilson, songwriter

When I was a very litle kid my parents too k me to swim lessons. On my first day, standing at the end of the diving board, waiting to jump in, I froze with fear. I couldn’t climb down. I couldn’t jump. What happened next was terrible but also helpful. My big, blonde, Norwegian-American swim teacher strode up onto the diving board, wrapped me in her arms, and jumped int o the pool with me. My eyes were open as we went under, and I can still remember rising through the blue and popping up to the surface with her. I was fine! There was nothing to be afraid of. I enjoyed the water ever after. So many musicians I know spend their careers standing at the top of the diving board, waiting to jump in. I wish I could wrap them all up in my arms and jump in with them. Songwriters, here are some good ways to get yourself into the pool.

1. Work on Your Music Every Day, Inspired or Not
Once during my time as an art student, I complained to my instructor, Tina Stack, that I wasn’t inspired to work that day, so I was going to knock off early. She said something that surprised me and that has helped me ever since: “You’re better off staying and working, whether you’re inspired or not. The muse doesn’t always visit. But when she does, you need to be in your studio, working. If the muse visits your studio when you’re at the bar, she can’t do you any good.” There was something so liberating about the idea that I didn’t need to be inspired every minute of the day to be a real artist— that I could get meaningful work done whether I felt inspired or not. And even though I wasn’t inspired at that moment, inspiration would eventually come. This turned out to be completely true. Over time, I have learned that most great painters paint everyday, most novelists write every day, and most great musicians make music every day, whether or not they’re “feeling it.”
2. Have an Artistic Practice
Prince has a great song called “There Is Joy in Repetition.” Is there something about your artistic practice that you can do every day? At the same time every day, even? It’s challenging to arrange your life so that you can have an artistic practice, but it’s not impossible, and it’s worth the effort. Every weekday morning, after getting the kids off to school, I try to play the piano for half an hour. I play Broadway standards and jazz hits from the middle of the last century: Duke Ellington, Harold Arlen, Richard Rodgers, Cole Porter, Wayne Shorter, Charles Mingus, and Leonard Bernstein. It’s a joy for me, partly because I like the sense of a simple routine, partly because reading music is an interesting challenge, and partly because I know I’m loading up my imagination with great melodies. After I’m done with the greats, I start working on my own music. The excitement of Ellington carries me through, even when my own song might not be quite figured out.

Experimenting with new artistic practices can be a fun game in itself. Among the most fruitful songwriting times I’ve ever had were two stretches when I wrote a song a day, every day, for a month. The first time I did it was when I was writing material for Semisonic’s Feeling Strangely Fine album. I got the song-a-day idea from a fellow songwriter, and it seemed interesting. The rules were that you had to finish the song, from beginning to end, every note of melody and every word of lyrics, by the end of that day. Importantly, it didn’t have to be good; it just had to be done. Then the next day, you would start a new one. For the first two weeks, it felt weird and artificial. The stuff I was writing all seemed a little forced. I nearly gave up the experiment. But then suddenly I turned a corner, and writing a song became really easy. I found myself continuously transforming small moments from everyday life into metaphors, stealing remarks my friends made
3 Let Your Audience Teach You
The best thing you can do to improve your songs is to play them for people, even if you don’t feel like they are “finished” or “good enough” or “original enough.” Don’t wait for some magical “readiness” to descend upon you. You are ready now. Open mic. Church talent show. A party or gathering with friends. When you play your song for people, you get the amazing feedback effect of an audience. It’s like a magical kind of critique that needs no words. You will learn from the audience’s reaction which songs are good and which need work. You will learn which of your “tricks” are worth using over and over (of course you’ll use the same tricks over and over—we all do) and which “trick” isn’t really a trick at all. And you’ll start to get yourself hooked on playing your songs for people, which is the biggest trick of all. Another great hidden benefit of getting in front of audiences is that you’re way more likely to meet other musicians that way. Musicians are always the first group of people to discover a new songwriter or player. So you might find that during your first year of shows, most of the people who show up are other musicians. This is a good thing, because not only are other musicians good cheerleaders for great music, but they’re also going to be crucial to your own musical efforts. When I’m at an impasse in the studio, when I can’t figure out a great next verse for a song, when I want to make a gig more interesting and entertaining, I find the most effective trick is getting another musician involved.
4. Hang Out With Musicians, Be a Friend, and Help Somebody
This is a life you’re trying to create here, an artist’s life. It’s not a windfall, or a payday, or a brand. Your biggest and most complex creative project is the creation of an artist’s life. And one thing that makes an artist’s life worth living is the wonderful company of other artists. Musicians are the funniest, silliest, most generous, spontaneous, and overly dramatic tribe of people in the world. By being a musician, you already have earned the amazing right to hang out and have a beer with them, to help them move house, to date them, and to bail them out when they’re in trouble. Don’t forget about these things, because they’re almost the best part. A teacher of mine, Ron Jones, says: “Work a lot, yes; work six days and nights a week, but save one day or night to hang out with musicians.”
5. Working on Music You
Love Is a Long-Term Investment. Working on Music You Hate is a Short-Term Hedge. Go for the Long Haul. Artist Tom Sachs says, “The only reward for work, is more work.” It’s hard to overemphasize how true this is. Nobody in this gig wants to retire at age 35; I don’t care what you say. If you’re a real musician, you’ll be stuck with this inconvenient obsession for the rest of your life. Which means most of your time will be spent working, and very little time will be left for relaxing on the yacht that you buy with your royalties. If you succeed, the world will flood you with requests for more of whatever music has brought you the most success. So if you’re doing music you love, in a style and a direction that you love, your reward will eventually be this: the chance to do more music that you love. If you’re doing music that you despise, just for the money, your reward will be to do more of the same music you despise. I have friends who study the Top 10 and try to cop the sounds and styles of the Top 10. These friends don’t even enjoy the sounds and styles of the Top 10; they just think that by studying this music, they’ll find their own paths to success. What a nightmare! I say, study greatness! What music do you love most deeply? What really moves you? Study that with great passion, and try to follow that music. Then one day the world will be asking you to make more of what you love.
(Reprinted with permission from Keyboard Magazine)

Acclaimed singer and songwriter Dan Wilson wrote Adele’s #1 song “Someone Like You” and Co-wrote the song “Not Ready to Make Nice”, the 2007 Grammy Award for Song of the Year for the Dixie Chicks. He has been a frequent presence atop the pop charts since his 1998 song with Semisonic “Closing Time” rocketed to number one. Wilson has written songs with artists including Adele, Pink, Nas, Taylor Swift, John Legend and others. His new solo album, Love Without Fear, is out now. Find out more at danwilsonmusic.com

For more information on the 11th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

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Improvise Your Way To Your Next Song

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Improvise Your Way To Your Next Song

Improvise Your Way To Your Next Song

by Gary Ewer

As a musical exercise, nothing beats improvising. It doesn’t just improve your playing chops – it’s a great generator of songwriting ideas. While it’s often thought of as a group activity, there are ways to improvise on your own––just you and your instrumen––that can provide you with great material for your next song. Many of the ideas listed below come from Chapter 3 of Gary Ewer’s new book, Beating Songwriter’s Block: Jump-Start Your Words and Music. The first five activities will help you create melodies, and the next five pertain to creating lyrics. Some involve singing, others will use guitar or keyboards. Most of them work as solo activities, but are fun to try with a fellow songwriter. Feel free to modify them to suit your purposes.

SOLO IDEAS
1. Play the following 4-chord turn-around: C F Dm G, or invent your own. Now… start singing––anything. Keep in mind that most good song melodies are comprised of repeating ideas, so try singing the same short fragment repeatedly as you change chords. The key to generating ideas is to keep things simple.

  1.  Detune your guitar to something other than the standard E-A-D-G-B-E. Move your B up to C, your G down to F#… that sort of thing. Now start improvising chords and melodic shapes as if you were playing a standard tuning. Why? The odd tuning will give you melodic and harmonic ideas you’d probably not have found otherwise. The best results happen when you detune your guitar randomly. Be prepared for weird sounds, but you’ll probably stumble on something that’ll get the creative juices flowing.
  2.  Dial up a short rhythmic/chord loop on your synthesizer and sing or play improvised melodies. Handing over part of the musical job to a synth frees you up to create ideas, both vocal and instrumental.
  3.  Sing a note that works. A song like Jack Johnson’s “Don’t Believe a Thing I Say,” or the verse of Maroon 5’s “One More Night” show us that melodies can do quite well sitting in and around one pitch. So give it a try: invent a short 3- or 4-chord progression (Am F G  C, for example). Play it several times to get it in your ear. Now, start by scat singing rhythmically on one note that works with the first chord. As much as possible, keep that note as you cycle through the chords. When a chord doesn’t support the note, switch to singing a note that works.
  4.  Create new melodies by borrowing from old ones. Take an old hit (“Hound Dog”, for example), and write down the all the notes used in that melody. (“Hound Dog” uses G-A-C-D-D#-E, listed from low to high.) Now put “Hound Dog” completely out of your mind and use that tone set to create an entirely new melody. As with our first idea, use lots of repeating patterns, but use only those six notes.
  5.  Choose a book from your bookshelf or from a blog or online news site. Open randomly to any page, or scroll to any random spot on a website, and point to the first word you see. With that word in your mind, point to a second word. Quickly invent a short line of lyric within five seconds that starts with your first chosen word and ends with the second one. Repeat. Example: You open a book and point to the word, “that,” and then you point to “more.” Possible lyric: “That is how I know I love you more.”
  6.  The best lyrics are not necessarily poems; they’re made of simple words whose main job is to stimulate the imagination of the listener. Take the following list of words and paraphrase them in as many different ways as you can that might work in a descriptive lyric. Work quickly. (The first one has been done to demonstrate.):
    • Fog: The grey murkiness; through the misty haze; in the cloudy haze; the soup; etc.
    • Happiness
    • Anger
    • Trust
    • Held on
    • Heartbroken
  7.  Lyrical clichés will kill a song faster than you can say Jack Robinson. (See what I did there?) “What goes around, comes around” is a cliché that’s not very interesting. But “What comes around is gone again” has potential. Or you might change “A friend in need is a friend indeed” to “A friend indeed, but what do I need?” Both of those examples turn the original expression around backwards, giving you something that’s a bit more creative. So for a fun improvising activity, Google “The Phrase Finder” website, have a songwriting partner read one of the sayings to a rhythmic beat, and try creating something spontaneously by reversing the order of some of the words. Another example: “Every cloud has a silver lining” might become “My silver lining turned a little cloudy.”
  8.  Bounce lyrical ideas off a songwriting partner. Sit facing each other, keep a beat by tapping your foot or dialing up a loop. Then one of you speaks out a line, and the other one has to immediately answer it with a line of their own. “I got you, and you got me”… “Anywhere I’m with you is where I wanna be…”
  9.  Try brainstorming titles. Work as quickly as you can. Don’t worry about clichés, just get a list of titles written that you can consider later. Some titles may just pop into your head with no story behind them at all: “That’s the Way To Do It.” Others may be a bit silly: “George is Going Crazy, and His World’s a Little Hazy.” Later, look through your list, strum a chord, and say the titles with a considerable amount of melodrama and vocal expression. See if melodic ideas pop into your mind.

This article is preprinted with permission from Music Connection magazine

GARY EWER is a veteran music teacher, clinician, composer and arranger. His interest in the relationship between the pop and classical worlds eventually led him to write an ebook for songwriters, The Essential Secrets of Songwriting, that looks at hit songs in much the same way a classical musician would analyze a symphony. Through his writings, he shows songwriters how to take their music to a new level of excellence. He is the author of Beating Songwriter’s Block: Jump-Start Your Words and Music, published by Backbeat Books. His songwriting blog can be found at http://garyewer.wordpress.com

For more information on IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

 

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