Steve & Vikki Cook SONGWRITING MASTER CLASS

1 Steve & Vikki Cook SONGWRITING MASTER CLASS I. Introduction A. For the sake of this class, we will use the noun hymn interchangeably with the idea of a song written for a church congregation to sing. 1. Augustine s classic definition of a Christian hymn- It is praise, it is to God, it is sung. a. praise b. to God (the object of address) c. sung 2. Three Potential Points of View a. Sung to God (Take My Life and Let it Be ) b. Sung to each other- public voice (Crown Him, All Hail the Power) c. Sung to self (Arise My Soul Arise) d. Some change their point of view (How Great Thou Art) 3. Evangelicals use a broader definition than Augustine s to define a hymn: a. Testimony b. Conversion c. Narrative d. Exhortation e. Witness f. Evangelism g. Invitation h. Confession i. Dedication, etc. II. Modern Hymns and Hymn Writers A. The Role of Hymns 1. In congregational singing, hymns are a means to publicly magnifying God 2. Theologically driven, well written hymns: a. Teach us b. Remind us

2 c. Enable us to expound and meditate on Gospel truths with greater detail, accuracy, and emotion 3. Hymns are a means of expressing our love and spiritual passion for God a. Music stirs the emotions b. Well written lyrics will focus those emotions as a response to appropriate spiritual truth c. We are shaped by the things that move us d. Worship begins with objective realities and leads to subjective responses. Ex. 10,000 Reasons 4. Hymns help us get our minds off of ourselves and onto God 5. Hymns can be taken home and remembered throughout the week (Col 3:16) Let the Word of Christ dwell in you richly. B. Why Do We Need Modern Hymn-writers? 1. To serve the local church a. By capturing and emphasizing truths being taught from the pulpit b. Helping meet ministry purposes 2. To expand the biblical truths we meditate on and express when worshipping God 3. You know your congregation best. You can write styles that are most universal to them. 4. To provide a variety of expressions of worship: celebration, awe, etc. 5. Songs that come from within the church help to develop a sense of community among the church members. 6. To seek to serve future generations C. A Few Thoughts on Creativity in Songwriting 1. Why should we be creative? a. God is creative b. Creativity can peak the interest and imagination c. Creativity can help express the manifold nature and worship and greatness of God d. We can use creativity to serve pastoral goals to draw attention to or, express truth e. If creativity is pushed too far, it can become a distraction f. Use creativity to engage your congregation, but do not reduce them to spectators! 2. Discussion

3 III. Three E s of Songwriting Development A. Education 1. Learn the basic skills needed to successfully write songs a. theory b. song form c. song craft 2. Benefits of learning and applying the tools of the song crafter a. Enhanced ability to communicate in song b. Greater conscious control during the development process of songwriting c. Greater understanding of why things do, or do not work in your songs e. Greater ability to make use of feedback you receive from listeners f. Greater ability to analyze and appreciate the work of other writers g. More consistent replication of your successes and avoidance of repeating mistakes h. Having a common framework that allows you to communicate more effectively with peers, collaborators, and other music professionals. B. Exposure 1. Listen to many songs many genres 2. Learn from the best songwriters by analyzing everything about their best songs 3. Some things are better caught than taught. This can be true for developing your inner-editor and filling your creative reservoir a. What you listen to and study will shape your sense of what is the right choice as you write your song b. What you listen to goes into your creative reservoir and Influences the kinds of songs you will write in the future C. Experience 1. Songwriters need to write songs 2. Keep moving. Don t stay stuck trying to make a mediocre song idea great (Although, a great song idea is worth perfecting!) 3. Good songs usually are written in the midst of writing many songs. The act of songwriting is your own best teacher. The Life of a Songwriter, p.24

4 What makes a song great varies from genre to genre. There are some eternal truths, however. First, the song must be memorable. When you walk away from that record or from that radio station, a great song is one that you will remember. The song must have something unique about it, either it s point of view, it s melodic structure, or it s hook-something about it has to stick out in your mind. If it says something profound, to me, that s the best! It is important that a song touches you and makes you feel something ~Robert K Oermann-Music journalist, Judge, Nashville Star television show IV. How to Analyze Worship Songs A. First, we need a framework with which to define our goals. Consider a song to be like a five-faceted diamond or a five-legged stool or a fabric that has five different kinds of thread in it. 1. Identifying the characteristics of a well written congregational song using SMACU (or SUMAC or MUSAC) a. Skillfully written: Uses devices and methods proven to impact people b. Message/Content: Biblical truth; necessary to spiritually help people c. Accessible: Average person can easily learn it d. Creative: A freshness in the music and/or words that engages people e. Universal: Average person identifies with it musically and lyrically 2. All well written congregational songs have each of these characteristics woven into their fabric in varying degrees. 3. Song Example- Love Ran Red V. Song Form A. Building blocks of popular songs 1. Intro 2. Verse 3. Pre-chorus 4 Chorus (Hook in Hip Hop music) 5. Bridge (Middle Eight, Release, Instrumental break) 6. Turn 7. Outro/Coda/Tag B. Three basic song forms 1. Strophic/AAA/One-Part Song Form a. Melody is repeated with different words b. Ideal for story telling c. Easy to remember (musically simpler)

5 d. Form of many historic hymns e. Usually 8, 12, 16 or 24 bars f. Some AAA songs have a refrain i. Refrain is a part of the verse where words are repeated with the same melody at the same place g. Examples: Amazing Grace (traditional), Holy, Holy, Holy, In Christ Alone h. Possible downside: Can lose interest because of one song section. 2. AABA Song Form, also called American Popular Song Form a. A section is the verse, B section is the bridge b. A section has harmonic closure, it feels complete c. B section is musically and lyrically different, provides contrast before returning to the A section d. Derivatives: AABABA or AABAA e. Examples: Over the Rainbow, My Redeemer s Love, O Wondrous Love f. The title is usually used in one of three ways: i. The first line of the verse (Over the Rainbow, My Redeemer s Love) ii. The last line of the verse (The Rose, Ticket to Ride) iii. Both the first and last line of the verse (Yesterday, O Wondrous Love) 3. ABAB or ABABCB song form a. Most commonly used in modern songs b. Comprised of two or three verses (A) that alternate with a second, musically distinct section, called a chorus (B). c. The verse musically and lyrically leads into the chorus. d. The verse alone does not sound musically or harmonically complete. e. The title is usually not included in the verse, rather in the chorus f. The chorus is usually the catchiest, most memorable part of the song g. The title line or hook is usually a feature of the chorus. It can fall into any number of places in the chorus, including: i. First line ii. First and third line iii. Second and fourth line iv. Last line v. The first and last line vi. Every line h. The first and last lines tend to be the strongest title / main hook positions. i. Many modern songs also incorporate a Bridge (C) section usually after the second chorus. In this song form the Bridge is musically and lyrically unique, usually adding additional information or response or both. j. Examples of ABAB songs: Here I Am to Worship, Blessed Be Your Name, Love Ran Red

6 VI. Creativity and Personality A. Good Songwriting involves the Whole Brain Scientists say we only use a small percentage of our brains 1. The Right Brain- center of ideas/images, possibilities, and creativity Creativity defined- the ability to transcend commonly used ideas, patterns, relationships, or the like, and to create meaningful new ideas, forms, methods, interpretations, etc.; originality, imagination, or inventiveness. 2. The Left Brain the literal, logical, structural, editing side A first rough draft of a lyric is rarely your best work. A lyric must evolve, being edited, rewritten, and rewritten, and crafted by the logical, left-side of your brain. B. Personality and Brain Dominance Your creative process is going to be determined in large part by your personality type and brain dominance. The classifications are not important in themselves, but they are helpful when you can see yourself portrayed within these classifications and learn how you might function better as a writer. 1. Take the test Myers-Briggs Personality Test https://www.16personalities.com/personality-types http://www.humanmetrics.com/cgi-win/jtypes2.asp 2. Your Personality Type a. Introvert energized from within by reflection OR Extravert energized from without by interaction b. Sensing perceiving through the five senses OR intuiting perceiving via unconscious insights c. Thinking coming to conclusions based on logic OR Feeling people centered values d. Judging a behavioral style that is organized and decisive OR Perceiving a behavioral style that is unstructured, flexible and open-ended

7 3. Cognitive Style a. I, E, J, and P are four attitudes we have toward life in general. b. S, N, T, and F are four functions the way we learn, work, and decide. c. Your cognitive style 4. Your personality influences how you work at songwriting. a. Extraverts shine at face-to-face collaboration. The act of conversation gives them energy. b. Introverts work and think better in private c. J s are time keepers and thrive writing according to routine and a regular schedule.but this would exasperate a P who thrives on flexibility and spontaneity, with bursts of energy. i. Thinkers logical brains love structure and can put together a song idea that has strong linear form, but need the Feeler s people oriented Motion ii. Free writing (Extroverts-record yourself speaking out loud) iii. Doodling iv. Noodling (Extroverts-Jamming with others) d. understanding to give a song its sincere emotional passion and drive. e. Sensates are realists, taken up with the here and now names, dates, places their lyrics full of facts, and will sometimes lack genuine emotion, or meaning, where Intuitives are just the opposite. They are imaginative, future thinkers the poets who can get caught up in the beauty of a lyric and forget what they are trying to say. C. Activating the Whole Brain and The Four Step Creative Process 1. Activating the Right brain a. Motion b. Freewriting (extroverts-record yourselves speaking out loud) c. Doodling d. Noodling (extroverts-jamming with each other) 2. Activate the Left brain a. Think part instead of whole.

8 b. Devise a structure or an outline c. Start with a chord progression, or a title, or a hook D. The Four Steps -Associate, Incubate, Separate, and Discriminate (Davis) 1. Step 1 - Associate Right Mode Step a. Learn to generate random melodies using dah, dah or other nonsense phrases b. Brainstorming-related lyrical ideas, rhymes to connect without editing! c. Write with your opposite hand d. Resist closure 2. Step 2-Incubate A Right Mode Step My teaching experience has verified that many writers start to write too soonespecially J-types: In their hurry for closure, they may zip past this essential step the lyric s all surface and no depth. ~S. Davis a. Meditate, or fill the well b. Put it in the greenhouse c. Imagine, doodle, draw d. Feel what the singer is feeling e. Sleep on it 3. Step 3-Separate A Left-Brain Step a. Focus on the parts-song Form b. Write small c. Sequence ideas d. Solidify rhyme scheme and meter 4. Step 4 Discriminate a Left Mode Step We song writers don t write, we re-write, and re-write! a. WE MUST EDIT!!! b. Learn by critiquing other people s songs. c. Be sure the time frame, pronouns, viewpoints, and tone all match d. Is there even one line that could be made better? e. Get others involved in this step extrovert or not! E. What Do We Do When We Get Stuck 1. Ask. What brain am I using? 2. If you ve stayed too long in a left brain mode, Stop: a. Listen to music b. Take a walk in the woods

9 c. Paint, or dance, or drive d. Just sleep on it 3. If you ve stayed too long in a right brain mode, Go: a. Organize something b. Look up words in a thesaurus, dictionary, etc. c. Weed out the ideas in your song see if they make logical sense VII. Literary Devices Words used well are captivating and powerful! Every good writer, no matter what they write, loves and studies WORDS! A. Common Lyric Devices Used in Songwriting 1. Antithesis: contrasting, opposing ideas in parallel words or phrases (He was humbled to the grave, then exalted to the heavens) 2. Oxymoron: contradictory words used for unusual effect (The Mighty Lamb) 3. Metaphor/Similes: a figure of speech in which a term or phrase is applied to something to which it is not literally applicable in order to suggest a resemblance. (He is a Lion. He is like a Lion) 4. Personification: the attribution of human nature or character to animals, inanimate objects, or abstract notions, especially as a rhetorical figure. (the heavens declare the glory of God) 5. Synecdoche: kind of metaphor where the part represents the whole. (The smile waiting for me in the kitchen) (The cross representing the whole saving work of Christ) 6. Irony: characterized by some kind of incongruity. (The Sinless One became our sin) 7. Hyperbole: an extravagant statement or figure of speech not intended to be taken literally. (Your boundless love conquered my boundless sin) (I could sing of Your love forever) 8. Anaphora: repetition of the same word or phrase at the beginning of a line (In Christ Alone- repeats at the beginning of verses 1 and 2) 9. Epiphora or Epistrophe: repetition of the same word or phrase at the end of a line (In Christ Alone- Here in the love of Christ I stand similar in 3 of 4 verses) 10. Itemization: listing of multiple words (He is my light, my strength, my song) 11. Alliteration: the beginning of two or more words of a word group with the same letter (Firm through the fiercest drought and storm) 12. Isocolon: parallel elements that are of matching length (What heights of love, what depths of peace. Notice the positional contrast as well) 13. Parallelism: similarity of structure in a pair or series of related words for rhetorical effect (When fears are stilled, when strivings cease both have four syllables and the same rhythm)

10 A. Find the devices: Creation Sings Creation sings the Father s song; He calls the sun to wake the dawn And run the course of day, Till evening comes in crimson rays. His fingerprints in flakes of snow, His breath upon this spinning globe, He charts the eagle's flight, Commands the newborn baby's cry. Hallelujah! Let all creation stand and sing: "Hallelujah!" Fill the earth with songs of worship, Tell the wonders of creation's King. Creation gazed upon His face; The ageless One in time's embrace, Unveiled the Father's plan Of reconciling God and man. A second Adam walked the earth, Whose blameless life would break the curse, Whose death would set us free To live with Him eternally. Creation longs for His return, When Christ shall reign upon the earth; The bitter wars that rage Are birth pains of a coming age. When He renews the land and sky, All heaven will sing and earth reply With one resplendent theme: The glory of our God and King. Blessed Be Your Name Blessed Be Your Name In the land that is plentiful Where Your streams of abundance flow Blessed be Your name Blessed Be Your name When I'm found in the desert place Though I walk through the wilderness Blessed Be Your name Every blessing You pour out I'll turn back to praise When the darkness closes in, Lord Still I will say Blessed be the name of the Lord Blessed be Your name Blessed be the name of the Lord Blessed be Your glorious name Blessed be Your name When the sun's shining down on me When the world's 'all as it should be' Blessed be Your name Blessed be Your name On the road marked with suffering Though there's pain in the offering Blessed be Your name Every blessing You pour out I'll turn back to praise When the darkness closes in, Lord Still I will say Blessed be the name of the Lord Blessed be Your name Blessed be the name of the Lord Blessed be Your glorious name Blessed be the name of the Lord Blessed be Your name Blessed be the name of the Lord Blessed be Your glorious name You give and take away You give and take away My heart will choose to say Lord, blessed be Your name

11 B. Create fresh lines using these literary devices: 1. Create two lines using antithesis 2. Create two lines using oxymoron 3. Create one metaphor 4. Create one simile 5. Create two lines using personification 6. Create two lines using synecdoche 7. Create one line using irony 8. Create two lines using hyperbole 9. Create one set of four lines using anaphora 10. Create one set of four lines using epiphora 11. Create two lines using alliteration VIII. Four Important Lyrics Topics A. Toggling Term sometimes used in songwriting circles to describe the moving back and forth between two perspectives in the lyrics. 1. Two Kinds of Toggling- Relevant to congregational worship songs a. Internal/External (Abstract/Sensory or Concrete) i. According to songwriter and author Bill Pere, 70% of the people prefer to get their information through concrete or sensory terms, 30% prefer abstract ideas. b. Truth/Response (Objective/Subjective) 2. Usually the best songs will contain these complementary perspectives. 3. Example 1: Psalm 100-Truth/Response (Objective/Subjective) RESPONSE Shout for joy to the Lord, all the earth. Worship the Lord with gladness; come before him with joyful songs. TRUTH Know that the Lord is God. It is he who made us, and we are his[a]; we are his people, the sheep of his pasture. RESPONSE Enter his gates with thanksgiving and his courts with praise;

12 give thanks to him and praise his name. TRUTH For the Lord is good and his love endures forever; his faithfulness continues through all generations. 4. Example 2: Psalm 100-Internal/External EXTERNAL (SENSORY) Shout for joy to the Lord, all the earth. Worship the Lord with gladness; come before him with joyful songs. INTERNAL (ABSTRACT) Know that the Lord is God. It is he who made us, and we are his[a]; we are his people, the sheep of his pasture. EXTERNAL (SENSORY) Enter his gates with thanksgiving and his courts with praise; give thanks to him and praise his name. INTERNAL (ABSTRACT) For the Lord is good and his love endures forever; his faithfulness continues through all generations. 5. In Christ Alone - analyze using internal/external toggling VERSE 1 In Christ alone my hope is found He is my light, my strength, my song This Cornerstone, this solid ground Firm through the fiercest drought and storm What heights of love, what depths of peace When fears are stilled, when strivings cease My Comforter, my All in All Here in the love of Christ I stand VERSE 2 In Christ alone, who took on flesh Fullness of God in helpless babe This gift of love and righteousness Scorned by the ones He came to save 'Til on that cross as Jesus died The wrath of God was satisfied For every sin on Him was laid Here in the death of Christ I live

13 VERSE 3 There in the ground His body lay Light of the world by darkness slain Then bursting forth in glorious Day Up from the grave He rose again And as He stands in victory Sin's curse has lost its grip on me For I am His and He is mine Bought with the precious blood of Christ VERSE 4 No guilt in life, no fear in death This is the power of Christ in me From life's first cry to final breath Jesus commands my destiny No power of hell, no scheme of man Can ever pluck me from His hand Till He returns or calls me home Here in the power of Christ I'll stand B. Major Plot Choices (Shiela Davis) 1. Four Major Plot Choices a. The Viewpoint Choices: I/we, you/you, she/he/they b. The Voice Choices: thinking or talking c. The Time Frame choices: present, past, future, moving d. The Setting choices: None, A Particular Place, An undefined Here, i. Scenes Change, A Moving Vehicle. 2. Maintain your plot choices unless you make sure the listeners know the change.

14 He s Alive George Clinton The gates and doors were barred And all the windows fastened down I spent the night in sleeplessness And rose at every sound Half in hope of sorrow And half in fear the day Would find the soldiers breakin' through To drag us all away And just before the sunrise I heard something at the wall The gate began to rattle And a voice began to call I hurried to the window Looked down into the street Expecting swords and torches And the sound of soldiers' feet But there was no one there but Mary So I went down to let her in John stood there beside me As she told me where she'd been She said they've moved Him in the night And none of us know where The stone's been rolled away And now His body isn't there We both ran towards the garden Then John ran on ahead We found the stone and empty tomb Just the way that Mary said But the winding sheet they wrapped Him in Was just an empty shell And how or where they'd taken Him Was more than I could tell Oh something strange had happened there Just what I did not know John believed a miracle But I just turned to go Circumstance and speculation Couldn't lift me very high 'Cause I'd seen them crucify Him Then I saw Him die Back inside the house again The guilt and anguish came Everything I'd promised Him Just added to my shame When at last it came to choices I denied I knew His name And even if He was alive It wouldn't be the same But suddenly the air was filled With a strange and sweet perfume Light that came from everywhere Drove shadows from the room And Jesus stood before me With His arms held open wide And I fell down on my knees And I just clung to Him and cried Then He raised me to my feet And as I looked into His eyes The love was shining out from Him Like sunlight from the skies Guilt in my confusion Disappeared in sweet release And every fear I ever had Just melted into peace He's alive yes He's alive Yes He's alive and I'm forgiven Heaven's gates are open wide He's alive yes He's alive Oh He's alive and I'm forgiven Heaven's gates are open wide He's alive He's alive He's alive and I'm forgiven Heaven's gates are open wide He's alive He's alive He's alive

15 C. Idiomatic language An idiom (also called idiomatic expression) is an expression, word, or phrase that has a figurative meaning conventionally understood by native speakers. This meaning is different from the literal meaning of the idiom's individual elements. In other words, idioms don't mean exactly what the words say. Hold your tongue! 1. Biblical idiomatic expression uses familiar phrases from the Bible or hymns that infer or contain meaning that is deeper the surface definition. a. Our culture and our history play into our understanding of these idiomatic expressions b. Examples- Love Ran Red, Nail Scarred Hands, 10,000 Reasons 2. Why they are useful a. Brings to mind other Scriptures, teachings, hymns b. Reminds us of our sacred shared history with other believers c. Packs extra meaning (emotion and memories) in a small phrase D. Cliches Familiar is good, but words soon lose their effectiveness through overuse. 1. Here s some clichés mentioned by a couple of internet articles on writing worship songs Amazing grace I love you Lord I worship you with all my heart Lift You high/lift Your name higher I want You, I need You Forevermore In this place I lay it all down In this storm I want to feel You/Feel You near me You are all I m living for I m alive in You Waiting here for You On my knees Laying it all down I m in awe/awesome All my hope is in You I could stay here forever Lift up a shout of praise/lift it up

16 2. Just as important as avoiding cliché phrases is avoiding cliché concepts or titles. You can possibly get away with a cliché or two if the overall lyric idea is original 3. Take the time to go through your song and look for clichés. If you find them, work on a more original way to say your concept. a. Sometimes moving the word order can change it enough to make it fresh. b. Adding or subtracting a word can make a line more original. c. Sometimes an entirely different concept works just as well. IX. Melody Writing A. What Makes Up a Melody 1. The components of a melodic phrase: a. Pitch b. Rhythm c. Intervals same notes, adjacent notes, leaps of a third or greater d. Adjacent notes tend to be easier to sing and remember Ex. Here I Am to Worship e. Leaps of a third or larger tend to be more interesting. Increasing the intervals increase emotion. Ex. In Christ Alone the middle section f. Placement within the measure g. On the beats feels more emphatic, solid. Ex. Holy, Holy, Holy h. Off the beats has less emphasis. Ex. Love Ran Red, Holy Spirit verses i. Contour or overall movement j. In chord, or out of chord notes Ex. Dare You to Move-Switchfoot k. Pauses or rests 2. Melody and congregational singing a. Range-C to C is ideal as a song model b. Larger ranges can work, depending on the average range of the song as well as the duration held on the highest/lowest notes i. An octave and a third is average for the February 2016 CCLI Top 25 Song List c. Another factor deals with rhythmic complexity with phrases. Syncopation and big intervals tend to be more difficult for non-musicians to sing d. Effective use of melodic patterns make a song easier to remember

17 B. Melodic Patterns 1. As we look at the melodies of effective songs, we see groupings of notes, usually separated by a break or rest, that form the fabric of the melody. These are called melodic patterns. 2. Recognizable patterns make your melodies easy to remember, gives them shape, organization, and listener appeal 3. Always includes a combination of repetition and contrast Somewhere Over the Rainbow: What makes it memorable? a. Two repeated melodic patterns and one held note i. Pattern 1/Pattern 2 ii. Pattern 1/Held note iii. Pattern 1/Pattern 2 iv. Pattern 2/Held note 4. Labeling Melodic Patterns a. We use letters to identify melodic patterns b. Labeling guidelines: i. When determining whether a phrase should share the same letter or be labeled with a different letter, consider the length of the phrase, rhythm, pitches, and contour in that order. ii. Labeling can be nuanced and sometimes a case can be made for two different interpretations of the phrasing iii. We add numbers after the letters to designate phrases that are mostly identical with some variation c. Somewhere Over the Rainbow Two melodic patterns and one held note i. Pattern 1/Pattern 2 (A1, B1) ii. Pattern 1/Held note (A2, C) iii. Pattern 1/Pattern 2 (A3, B2) iv. Pattern 2/Held note (B3, C) 5. Analyze these songs a. Before the Throne of God Above b. This is Amazing Grace C. Melodic Patterns in the CCLI Top 25 Songs released Feb. 2016 Observations The opening phrase was the most repeated within the verse or verse/pre-chorus song form. 55% of phrases are the A idea

18 19 out of 25 songs repeat the A idea for phrase 2 7 out of 25 songs has an AABAAB pattern The songs averaged 2.64 melodic motifs per verse or verse/pre-chorus The songs averaged 2.2 melodic motifs per chorus The average largest melodic interval per song was a little over a 5 th. D. Melodic Patterns in Your Song 1. Evaluating your songs a. If you ve got more than four different patterns in a section, your melody may not have enough repetition to stick in the listener s mind. b. Consider eliminating one or two patterns while repeating others i. Organize your patterns-try repeating your first and second patterns at least once during the section ii. Some melodies have too much repetition and predictable organization Try adding interest by changing the note pitches and lyrics while preserving the melodic rhythm (Ex. Before the Throne ) Switch the order of your patterns to surprise your listeners E. Melodic Pattern Strategies 1. The Vacation Rule When you create a melody line then repeat it, it becomes familiar, like being at home. If you then go away to a different melody line, it feels like a vacation; it s something new and exciting. a. Pattern 1 Line 1-A Line 2-A Line 3-B Line 4-A Line 5-A Line 6-B i. Examples of this are displayed in the verses of: In Christ Alone Revelation Song Forever (We Sing Hallelujah) Open Up the Heavens b. Pattern 2 Line 1-A Line 2-B

19 Line 3-C Line 4-A Line 5-B Line 6-D i. An example of this is displayed in the chorus of: This I Believe (The Creed)-verse c. Pattern 3 Line 1-A Line 2-B Line 3-A Line 4-B i. Examples of this are displayed in: Lord I Need You-verse Jesus, Messiah-verse How Great Is Our God-chorus d. Pattern 4 Line 1-A Line 2-B Line 3-B Line 4-A Line 5-B Line 6-B i. Examples of this are displayed in: Mighty to Save-chorus Oceans-verse Revelation Song-chorus X. Collaboration A. On collaboration 1. Most professional songwriters eagerly seek out collaborators. a. If you look at the most popular songs in both Christian and secular genres you ll see the vast majority of the songs have multiple writers. 2. Most beginners write alone. a. Beginners often do not know how to go about building a co-writing relationship and may not understand the many advantages of co-writing. B. Why collaborate? 1. Your co-writer may have strengths that complement your own talents, including lyrical, musical, and production experience. 2. Your co-writer may have a way of looking at the song that is totally different from yours. The lyric may progress in an entirely new and innovative direction with a single suggestion from a good co-writer.

20 3. Your co-writer may have a business or publishing connection that will enlarge the circle of people promoting your song. 4. In a nutshell, a good co-writer expands your horizons. C. What makes a successful writing team? 1. Like any good relationship, it is important that each collaborator complement the other s abilities. Gifted lyricists need talented tunesmiths. A big-idea person needs a solid craftsman. Starters need finishers. 2. There is no single right way to collaborate on a song. a. Lyrics first b. Music first c. Title or hook idea first d. Back and forth with both collaborators contributing both elements. 3. Every co-writing relationship will be different, but what should be the same is: a. Creative chemistry b. Mutual respect that commits to the process, if only for one song. 4. You won t know if a co-writing relationship is going to work until you try writing a time or two. D. How do I find and choose a collaborator? 1. Look for someone who complements you. 2. If possible, find someone further along than you. 3. Go to a local writer s night. 4. Visit area churches that feature original songs in their service. 5. Contact local and national songwriters organizations. 6. Get the word out that you are looking for a writing partner. (Facebook, Craigslist, local music store, etc.) 7. Use an online songwriter directory. Among the many are: http://www.songwriteruniverse.com/songwriterdirectory.htm http://www.taxi.com/members/links-directories.html http://forum.christiansongwriters.org/ 8. Songwriter s retreats E. The co-writing session 1. Chemistry doesn t always happen instantly. Maybe get together over coffee first. Talk about music, church, family, whatever. 2. Come prepared. Show up with three or four solid song ideas. 3. Choose an idea and get to work.

21 4. Consider the room a safe zone. There are no dumb ideas. 5. Be honest, but be kind. 6. Encourage one another. 7. Pull your own weight 8. Share ideas and trust your collaborator. 9. Keep the goal of a finished song in front of you. 10. Be generous with credit. There are no hard rules, but the assumption is that credit will be split 50/50 unless otherwise discussed. 11. Long-distance collaboration: technology gives you many options from phone calls to Skype sessions. 12. In much of HipHop music and some current Pop music, when a song is written to an existing music track (sometimes referred to as a bed or a backing track ), the producer(s) of the track typically own 50% of the writers share. The writer(s) of the topline (the melody and words the vocalist sings) earn the remaining 50%. 13. Sometimes it doesn t work out. Just learn and move on. F. Becoming a better collaborator 1. The more you work at it, the better you become. 2. If you re having trouble finding a collaborator, try writing to a ghost song to practice working with someone else s lyrics or music. G. Examples of our collaboration: 1. I Have A Shelter, w/bob Kauflin 2. Sooner Count The Stars, w/doug Plank 3. I Will Glory In My Redeemer 4. Before The Throne, w/charitie Lees Bancroft 5. Give You Rest, w Allan Hall and (Jason Saetveit) of Selah 6. We Cry Out, w/don Poythress