What do Taylor Swift, Marvin Gaye, and Leonard Cohen all have in common? They’ve each written songs that have shaped their generation. And they all had to start somewhere.
You could be getting your start in music. Or you could be looking for pointers to keep you moving toward that #1 single. Either way, these 9 songwriting tips are for you.
There are two conflicting opinions on how to write a song. One way is to focus on the lyrics first. The second is to focus on the music first.
When you set out to write song lyrics, you need to know what you’re trying to say. Is there a story you want to tell? An experience you want to share? Is there a feeling you need to express? These can all provide incredible fodder for a new song.
If no words are coming to mind, don’t beat yourself up. You may need to start with the sound. You could be walking down the street one day and a tune pops into your head. Or you hear someone whistle something unique, and your mind spins it into a melody.
Don’t waste these moments. Record the sound before it slips from your mind. Even if it’s only a line or a potential chorus, record it anyway. That way you can go back later and see if it’s something worth pursuing.
The best of the best songwriters create pictures with their lyrics. Take these lines from Leonard Cohen’s Hallelujah:
She tied you to a kitchen chair
She broke your throne, she cut your hair
and from your lips she drew the hallelujah
Or these opening lines from Taylor Swift’s Our Song:
I was riding shotgun, with my hair undone, in the front seat of his car. He’s got a one-hand feel on the steering wheel,
the other on my heart.
These lyrics don’t you flat-out what the writer is feeling, but they put you in the shoes of the character. In Cohen’s song, you’re in the chair. You can picture it all happening. In Swift’s song, she’s not telling you “I love this guy,” she’s showing you what that looks like.
Writing great lyrics will put your audience into the story of the song and make your words come alive. By doing so, you’ll make the listener feel the same emotions you’ve felt.
We all know that the same four chords are at the heart of countless songs: I, IV, V, VI (in the key of C Major: C, G, Am, F). It’s not wrong to use these chords or this progression. But if you want to write a song that stands out, you’ve got to branch out.
Take a look at some music theory books if you’re curious to know which chords work best together. If theory isn’t your thing, you can always go at it by trial and error until you find something you like.
When in doubt, get wacky. Mix things up a little. Experiment with putting different chords together. Sometimes the best way to write a song is to play with sound pairings and see what piques your interest. And sometimes the best songs are those that stumbled upon something unique.
Remember: if you’re in the middle of a writing session and you feel like your song is going nowhere, don’t worry. Nobody has to hear it but you. If it’s crap, scrap it and try again. Nobody writes a hit song on their first try.
The next thing you’ve got to do is make sure your melody and lyrics jive. When Marvin Gaye sings, Ain’t no mountain high enough, the notes climb higher. When he sings, ain’t no valley low enough, they drop lower. The melody matches the lyrics and brings them to life.
This can be an effective story-telling tool. As the music matches the lyrics, it can help your listener grasp the meaning and emotion of your song faster.
On the other hand, the rhythm of your music doesn’t have to match your words. Your song doesn’t need to be fast if your lyrics are happy. Nor does it have to be slow if your lyrics are melancholy. It means that, whatever direction you go in, you need cohesion between your lyrics and your melody.
John Mayer’s song Waiting on the World to Change pairs sobering words with an upbeat melody. The lyrics convey disappointment and frustration. But because of the way Mayer wrote the music, the song also conveys a subtler message in the lyrics: hope.
The greatest songwriters make their words and music work together. They use both to tell the story they want to tell and express each of the emotions they want to express.
Know someone with a great ear for tunes? Get them to listen to your song. Have a friend or family member in the business? Ask them if they’ll have a listen.
The key is to show the right people your music and ask for the right feedback. Talk to people with experience and get them to give you constructive feedback.
Your grandma telling you that your song is great won’t make you a better songwriter. (Unless your grandma has a record deal.) It’s good to know what works for people, but knowing what doesn’t work will force you to improve.
The general songwriting process can look different for everyone. Once you’ve reached the point where you’ve received feedback and adjusted your song, leave it for a few days or so.
Artists can always find something wrong with their work, even after it’s out in the world. And the more you listen to your song, the more things you might wonder about. Does that sound right? Does that word need to change?
Get to a point where you are happy with your song. Then stop adjusting it. Trust that you’ve done everything you can and are ready to send it into the world!
We hope these songwriting tips will inspire your next big hit. Get in touch with us if you want to know more about songwriting or just want to say hi. For more on music, be sure to check out our blog.
Browse our extensive and exclusive catalog of over 300 custom made beats and instrumentals, available for free download or purchase.
THIS LICENSE AGREEMENT is made on 7th June 2024 ("Effective Date") by and between Licensee(hereinafter referred to as the "Licensee") also, if applicable, professionally known as Licensee, residing at [N/A] and Thomas Hodek. (hereinafter referred to as the "Licensor"). Licensor warrants that it controls the mechanical rights in and to the copyrighted musical work entitled "BEAT NAME("Composition") as of and prior to the date first written above. The Composition, including the music thereof, was composed by Thomas Hodek ("Songwriter") managed under the Licensor.
All licenses are non-refundable and non-transferable.
Master Use.
The Licensor hereby grants to Licensee an exclusive license (this "License) to record vocal synchronization to the Composition partly or in its entirety and substantially in its original form ("Master Recording“).
Mechanical Rights.
The Licensor hereby grants to Licensee an exclusive license to use Master Recording in the reproduction, duplication, manufacture, and distribution of phonograph records, cassette tapes, compact disk, digital downloads, other miscellaneous audio and digital recordings, and any lifts and versions thereof (collectively, the "Recordings", and individually, a "Recordings") worldwide for unlimited copies of such Recordings or any combination of such Recordings, condition upon the payment to the Licensor a sum of Varies US Dollars ($Varies), receipt of which is confirmed. Additionally licensee shall be permitted to distribute unlimited internet downloads for non-profit and non-commercial use.
Performance Rights.
The Licensor here by grants to Licensee an exclusive license to use the Master Recording in unlimited for- profit performances, shows, or concerts.
Broadcast Rights.
The Licensor hereby grants to Licensee an exclusive license to broadcast or air the Master Recording in unlimited amounts of radio stations.
Credit.
Licensee shall acknowledge the original authorship of the Composition appropriately and reasonably in all media and performance formats under the name "Thomas Hodek" in writing where possible and vocally otherwise.
Synchronization.
Licensee may exploit and monetize from licensee's unique derived work(s) of composition for use on TV, Film, Video game or other synchronous projects. Licensee may represent other publishing owners of the original composition for exploitation and have full authority of granting non-exclusive license for synchronization use as long as credit and publishing information is provided to such agency.
Consideration.
In consideration for the rights granted under this agreement, Licensee shall pay to licensor the sum of Varies US dollars ($Varies) and other good and valuable consideration, payable to "Thomas Hodek", receipt of which is hereby acknowledged. If the Licensee fails to account to the Licensor, timely complete the payments provided for hereunder, or perform its other obligations hereunder, including having insufficient bank balance, the licensor shall have the right to terminate License upon written notice to the Licensee. Such termination shall render the recording, manufacture and/or distribution of Recordings for which monies have not been paid subject to and actionable infringements under applicable law, including, without limitation, the United States Copyright Act, as amended.
Indemnification.
Accordingly, Licensee agrees to indemnify and hold Licensor harmless from and against any and all claims, losses, damages, costs, expenses, including, without limitation, reasonable attorney's fees, arising of or resulting from a claimed breach of any of Licensee's representations, warranties or agreements hereunder.
Audio Samples.
3rd party sample clearance is the responsibility of the licensee.
Miscellaneous.
This license is non-transferable and is limited to the Composition specified above.
Governing Law.
This License is governed by and shall be construed under the law of the Bayern DE, without regard to the conflicts of laws principles thereof.
- Licensee, owns 50% of publishing rights. - Tellingbeatzz (GEMA), owns 50% of publishing rights - Licensee, owns 50% of publishing rights. - Tellingbeatzz (GEMA), owns 50% of publishing rights
To download your free version of please enter your name and email address and the download link will be emailed to you
One Comment
9 Steps to Promoting Your Music on Spotify | Tellingbeatzz
[…] Click here to discover some great songwriting tips for boosting your career. […]