Depending on how you’ve started your songwriting process you may at this point have a tune, melody, singing line or even a complete chorus or verse worked out. So your masterpiece is now beginning to take some shape:) The next thing to turn your attention to are the song lyrics and title. Something catchy and singable.

So you get yourself settled down with a brand new writing pad and new pen and your all set to fashion a classic song! Well the hardest bit is surely in the bag isn’t it? Getting that tune sounding good was tough and now the lyrics will just write themselves…won’t they?

So first thing is getting a theme and then scribble out those lyrics. And as the minutes and hours pass by and you stare blankly into space you begin to realize that lyric writing isn’t quite as easy as you thought. Better get another drink!

So the next drink goes down, the pen gets another chew, more staring into space and still nothing to show. “OK, maybe I’m just not in lyric mode today after all” you think to yourself. “I’ll try again tomorrow.” We’ve all been there and this is generally what’s known as writers block. I once went a whole 2 week vacation with writers block. Got through plenty of coffee in those couple of weeks:)

Some would say that it’s not possible to learn songwriting, that you can either write songs and lyrics or you can’t. Well I disagree with this because I have learned over a short period of time some simple techniques that help with songwriting.

Yes, some people are just natural writers and find it easy and are just very creative, but that’s not to say that anyone, given some simple methods can write great songs. If these techniques are put into practice then song writing becomes much easier.

So here are just a few simple tips that should get you scribbling in no time:

• Try to write words that people can identify with and give a simple message.
• Although you can use a few cliches try to limit the number and rethink a cliche into your own words.
• Lines don’t necessarily have to rhyme and sometimes forcing rhymes can affect sing-ability.
• Try telling a story in the past tense. It’s much easier to write about something that has already happened.
• Try Writing about something that is going on right now. It could be a scenario that is happening to you, a friend or a family member.
• Try writing about something that could occur in the future. Perhaps if you came into money, or if your partner had an affair. Write about how this might pan out.

Use these simple ideas to try and beat songwriters block.

Learn some great tips for songwriting on guitar and visit songwriting4guitar.com, Beginners Songwriting, and LearnSongwriting On Guitar Grab a totally unique version of this article from the Uber Article Directory

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For many years, professional/top writers (writers in general…and not just songwriters) have been using a powerful and proven technique that separates them from beginners.

And now, I’d like to share this secret technique with you.

If you consistently apply the following 3 steps, you’ll notice a big improvement in your songwriting:

1. Gather as much information about your song idea as possible.

Once you’ve come up with an idea for your song, write down (or type) all related information.

For example:

2. Command your “subconscious mind” to help you with your objective.

With the information you have in front of you, give your subconscious mind a direct command.

For example:
If you’re a lyricist, just before you start reading what’s in front of you, say something like:

(If you’re given a melody to write lyrics to, say the following just before listening to the melody: “Subconscious mind, create powerful lyrics for the melody I’m about to listen to. Work on it 24 hours a day…even as I sleep.”)

If you’re a lyricist/composer, just before you start reading what’s before you, say something like:

(With that last command, you’re basically instructing your subconscious mind to come up with both the lyrics and melody…the “perfect marriage” of both.)

Now, if you happen to be a composer, you could also benefit from this technique.

Just place the finished lyrics in front of you and say something like:

(If you simply want to create a beautiful melody from scratch, just apply Steps 1 to 3. Of course, in Step 1, some of the information mentioned…ex. song’s title or message you are trying to bring across…are not completely necessary. However, as a rule, the more information you have, the better. What’s important is that your subconscious mind has enough information to work with…and it knows exactly what you are trying to accomplish.)

(Note: You’re free to create your own version of the above commands. Also, you can give the commands either aloud or silently in your head.)

It’s even a good idea to apply this step before going to sleep, whenever possible.

3. Let it go. Think or do something else…anything else.
In other words, “trust” your subconscious mind to deliver…by getting out of its way.

This is a crucial step. In fact, this is the key to this technique’s effectiveness. Without honestly applying this step, you will not get the positive results you’re after.

What you do is you simply “allow” your subconscious mind to carry out your instructions… without questioning it… without interfering in any way.

In other words, you take your mind off the song by taking a short break…or even a nap. Or you sleep on it…and work on it the next day (the truth is, some writers take days or weeks off before actually writing). Basically, you want to give your subconscious mind enough time to work on what you’ve instructed it to do. (Many creative people call this the “incubation” phase of the creative process.)

When you do this, you’ll notice that when you sit down to actually start writing, thoughts or ideas come to you more naturally…and in a more organized way. You’ll notice a better flow to your writing overall. (This is because your subconscious mind has done a lot of the work for you…in the background…while you were busy doing other things…or while you were sleeping.)

(If you’re a composer, melodic or musical ideas will naturally come to you…and sometimes it will happen when you least expect it. That’s why it’s a good idea to always have a tape recorder or digital voice recorder handy…so you can sing the melody and record it.)

And what’s the end result of applying the above 3 steps (after all the editing)?

A powerfully moving song.

Author Bio: Ron Balagot is a songwriter/musician/writer. Through articles like this, he hopes to help aspiring songwriters attain their songwriting goals. He can be reached at balagot.ron@gmail.com.

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To sing backup is much harder than it looks. Backup singing requires a great amount of listening and being very sensitive to the main singer, much as an instrumental accompanist would. You must learn to breathe and begin and end your phrase as the main singer does. You must, in effect be the singers shadow.

Hopefully you have some input or control over where you sit or stand on stage. See to it that you can see the singer at all times. The job of backup singing is much harder if you can’t see the singers face. Watch the singer to learn where they are going. The singer will change course or make a mistake and only if you are aware can you react. Watch the singer intently and always. Be on the lookout for a simple nod of the head or gesture that may indicate a repeat or change of course.

Learn to blend your phrasing to the will of the singer. You can start your phrase just behind the singers phrase if you want to blend properly. If you are not sure of how loud they are going to be, start your phrase quietly and raise your level as the phrase develops. Do not pronounce consonants too hard at the start of a melody. Two consonants sung slightly after each other will sound unpleasant and is largely avoidable.

The end of melodies are just as critical as the beginning. As the singer approaches the end of a line, gradually decrease your volume so you can avoid the embarrassment of ending after they do. Listen, watch, blend melodies and you can be a professional backup singer every band would love to have.

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If you’re like most people who take piano lessons, you do! Whether you’re young or old or somewhere in between, you aspire to make beautiful music and… right away!

You’ve probably heard the old joke: “How do you get to Carnegie Hall” asks the inquisitive tourist. “Practice, practice, practice!” replies the wise old responder.

But wouldn’t you much prefer to learn the secret to sounding good just for your own satisfaction and enjoyment?

That’s probably why you take piano lessons… However, most piano students forget to pay attention to the very areas that would enable them to sound great!

Do you do one or more of the following?

1. Ignore the timing by not counting or tapping your foot.

2. Play everything at the same volume.

3. Disregard the key signature and just start playing the piece.

4. Use too much pedal.

5. “Type” or bang the keys and disconnect one note from another.

6. Allow the accompaniment (usually the left hand part) to overpower or drown out the melody.

7. Listen to talk radio instead of spending some of your time listening to music.

If you recognized any of the above habits as things you do, congratulations! Now you know why you aren’t sounding like a pro yet.

(Parents: Have you noticed these traits in your children who take lessons?)

Obviously, you want to sound good! (And you parents want your kids to sound good, don’t you?) So instead of treating piano practice like a chore, here are seven ways to start you on the way to Carnegie Hall:

1. Pay attention to the timing: count or tap your foot.

2. Notice the dynamics (indications for differences in volume) and follow them.

3. Look at the key signature before you start to play and mark all of the sharps or flats if you need to.

4. Use the pedal with care. (Pedal changes are often marked in classical pieces, and should be made in songs with each chord change.)

5. Employ correct fingering as you work towards playing smoothly and connected (unless the music asks for staccato: detached playing).

6. Listen for the melody. Can you always hear it while you are playing?

7. Focus on spending some time listening to music every week. (With wonderful tools like iPods, MP3 players and the internet, it’s easy to find recorded versions of the pieces that you play as well as music that motivates and inspires you.)

Give these suggestions a try. Start today. You’ll be surprised at how much better you sound!

Copyright © 2007 by Ed Mascari – EdMascariPianoStudio.com About the Author: Ed Mascari has been teaching piano privately to children and adults for nearly three decades. He is a seasoned performer (pianist/ jazz organist) of show tunes, jazz and popular music as well as a published classical composer and church musician. Go to EdMascariPianoStudio.com for info.

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It’s no secret that virtually everyone loves music in some form or other. After all, music is the universal language. In one way or another we all participate in it from our cradle song to our wedding song to our funeral song, with thousands of other stops along the way.

The country-western fan may not like jazz, but he or she sure loves the sound of pickin’ & grinnin.’

And that’s as it should be. If we all liked the same kind of music, there just wouldn’t be the variety that is available to us now. We can choose from musical styles ranging from heavy classical and opera to rock to children’s songs to Broadway musicals to gospel music to the blues.

Each has its place, and each seems on the surface to be drastically different than another form of music. The key word is “on the surface.” But beneath the surface of all music is a commonality that is organic to all forms and styles of music.

So what does all music have in common? What makes music tick?

At least 3 things – sometimes more, but never less:

1. Melody
2. Rhythm
3. Harmony

The melody is the part of a song or composition that you whistle or hum – in other words, the tune of the song. In one sense, it is the most visible of the 3 elements, because melody is what identifies a song. Without melody, it would be difficult to even conceive of a song or piece.

In musical notation, the melody is almost always written in the treble clef – also known as the treble staff. It consists of a horizontal line of notes that move up and down on the clef as the tune moves higher or lower.

Rhythm is the beat – the swing – the throb of the music. It happens in repeating patterns, depending upon the type of music. It is like a horizontal line of beats which occur at regular or semi-regular intervals.

A waltz, for example, basically consists of a heavy beat followed by two lighter beats. So we say that a waltz is in triple meter – one strong beat followed by two weak beats, then repeated.

A march, on the other hand, generally consists of a heavy beat followed by a light beat, then another heavy beat followed by another light beat. (I’m simplifying, of course – there are many varieties?) So a march is in duple meter – as you might expect since we have two feet and we march in left-right-left-right patterns.

All rhythms are some combination of triple meter and/or duple meter, and the possibilities are endless – from boogie to R&B to mambos and sambas and bossa novas and on and on.

Harmony, the 3rd aspect of music, is the musical background of a song – the chords, or intervals “behind” the melody. Without harmony, a song sounds empty – like a vocalist singing without an accompanist – or accapella.

Music doesn’t HAVE to have harmony to function, but in actual practice it almost always does, even if it is just the interplay of two melodies, as in counterpoint.

You could spend a lifetime learning all the nuances of music, but it its most basic form, it is these 3 elements combined together; melody, rhythm, and harmony that comprise music.

Duane Shinn is the author of over 500 music books and music educational materials such as DVD’s, CD’s, musical games for kids, chord charts, musical software, and piano lesson instructional courses for both children & adults. His book & DVD course titled “How To Dress Up ‘Naked Music’ On The Piano!” is used by adults around the world.