Composing vs Songwriting


Television
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© I.Woloshen

It was suggested to me recently that talking a little bit about the differences between the music I produce for television and songwriting might make for an interesting read. I’ll let you be the judge 🙂

First of all, a little history. I wrote my first television theme back in 1993, when my husband, who happens to be a writer/producer at a local TV station, suggested that I might be able to “rip off” a certain theme and he would use it for a new series he was about to produce. Both of us were a little naive about the idea of copying anything at the time (although we aren’t now!), but I was defiant and refused to rip off anything because I knew I could write something completely unique! After much wrangling, he finally and reluctantly agreed to let me experiment. The result is that “Home Check with Shell Busey”, a kind of home fix-it series, was on the air for the last ten years, with my own theme on it.

When I listen to it now, I cringe 🙂 I was pretty new at the whole idea of production at the time, and relied on midi and a simple 8-track reel-to-reel recorder to do my bits. My how times have changed! In the meantime, I’ve composed music for a number of series, the most recent being a news package for CHEK Television Victoria.



In some ways, composing for television is something akin to being a staff songwriter at a record label or publishing company. For instance, I can do what I want, but then it has to be scrutinized by whoever is producing the show, and sometimes more than one person, so the result may not always be what I thought would work best! Some producers are musically succinct in defining what they want, and others have a hard time describing it. Those of us who have had music around us and been involved in it all our lives, take for granted that everyone understands the lingo, but it is extremely difficult for many non-musical people to know how to articulate what they’re after and what they like. So as a composer, you are always trying to get to the root of what the producer wants to hear.

Not all producers are as involved in your work. Some will step back and pretty much let you come up with the ideas. For instance, the producer I worked with on a dog show, pretty much allowed me the freedom to use my own instincts and do what I wanted. I think that it turned out to be one of my best themes…plus, he played trombone, so I wrote a trombone part into the theme and had him come in and play it! It was great fun and we worked well together.

I’ve had to completely scrap ideas and start over. This isn’t easy, because when you have latched onto an idea, it’s hard to let go and start fresh. I’ve also lost work because the producer didn’t like what I was doing. That can be painful, but as long as I keep the attitude that I learn the most from the more difficult experiences, I live through it 🙂

Creating a music package for a television show does not mean only creating a theme. Whenever you watch a show, you’ll notice bits of music throughout. There are bumpers, which are very short musical bits, usually anywhere from 2-10 seconds long, normally placed just before or after a commercial break and leading the viewer into or out of that segment of the show. For some shows there are music “beds”, which are longer bits, anywhere from 1:00 to 3 or 4 minutes long that play underneath someone speaking or some activity within the show. In the dog show I worked on, I created a lot of different beds for the producer to use in segments where, for instance, a trainer might be describing how to get your dog to stay off the road, or a person might be talking about how a dog saved her life. It creates a more emotional impact and gives the segment a nice flow. In fact, I’ll map out what an imaginary show might look like written out on a piece of paper:

Opening theme :15 – 1:00 long
Segment 1 7:00 – music bed 1:35, 2nd music bed 2:04
Bumper into break – :05
Bumper out of break – :06
Segment 2 8:30 – 3rd music bed :55, 4th music bed 3:00
Bumper into break- :07
Bumper out of break – :03
Segment 3 7:30 – 5th music bed 1:00, 6th music bed 2:55
Extro (the closing segment of the show) 1:00 – closing theme :50

For the above show, I have four different length of bumpers, I use 6 different music beds, I have an opening theme and a closing theme (often the same music). I do not edit the music on the show myself, but basically provide the music on CD to the producer, who takes it to the editor when the show is being packaged, and they use whatever they want to make the segment and the show all work. The producer sends something called a musical “cuesheet” to an organization called SOCAN, in Canada (the American equivalent would be BMI or ASCAP) for each episode, and SOCAN decides how much money I’ve earned as a composer.

Television music, in some ways, is hardly noticeable because a viewer is really paying attention to the content. But if you saw a segment WITHOUT the music and then with it, you’d notice the difference! It does a lot to carry the feel of what’s going on in the segment. In a sense, a show without a music bed here and there would be like a lyric without the music. That is true for movies as well…I once saw a James Bond film, many years ago, that was actually a pirated copy (don’t ask!), and it still hadn’t had the post production music on most of the film. It was BORING! You don’t realize how much the music works to drive your emotions in a film, to telegraph what’s coming, and to really milk the happy or sad parts, until you see a film without it.

You notice a lot of songs in films these days, which has become almost an industry in and of itself. A movie soundtrack can do very well for an artist if the movie is big. But television doesn’t quite have those theme music “stars” unless you’re talking about someone like Mike Post, who has composed music for some of the biggest and most popular television series around like NYPD Blue and Law & Order. My work is pretty small potatoes compared to him 🙂

There are rarely any lyrics in the music I do for television…occasionally I will use vocals as some kind of background part, but today’s themes are quite different from the era of the Flintstones and Gilligan’s Island 🙂 In fact, I would venture to guess that there was a lot more work involved in older television themes. For instance, they used live orchestras then, whereas today you can almost get away with being a one-person composer with a lot of synths and effects instead. The audio editing tools we have today make life SO much easier. If I want to create some bumpers, I can edit bits of the main theme and use them rather than creating them from scratch.

My work in television has been fairly lucrative at times for me. I get inquiries from time to time from other newer composers who want to get into what I’m doing. As you can see, in my case it was who I knew! And this, unfortunately is the reality for those who haven’t gotten their foot in the door yet. Once producers have used you, if they generally like your work, they won’t necessarily be on the hunt for anyone else. I have a feeling that the music industry itself is full of the same situations, and I feel extremely lucky to be doing what I’m doing. I know, however, that it won’t last forever. One day another young buck will come along with amazing skills and blow me out of the water! New producers will take over and won’t know me from Adam (well, I’m a GIRL, how could they?) 🙂

In the meantime, I love what I do and it supports my songwriting…what could be better? 🙂

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The Real Deal – Songwriting Websites I Recommend


I spend a lot of time surfing the web in search of websites for songwriters, usually because I’m looking for something to write about in my monthly column at the Muse’s Muse 🙂 (For anyone interested, the newsletters along with my articles are archived here).

Occasionally, people will ask to use my articles on their songwriting-related websites, or to link up with me. In the beginning, I would readily allow anyone who wanted to to use my tips or link to my page. But these days, I’m a little pickier! Now I check out these websites as thoroughly as I can before associating myself with them. I have noticed that there are a growing number of websites that offer lots of promises, but they really don’t deliver. I hate to say it, but anyone who wants to charge you for something, should cause you to send up a red flag, with a few exceptions.

Let’s first talk about the “free” websites, good places to start with when you are just beginning your search, and some of these you will return to again and again. The Muses’ Muse is simply one of the best songwriting websites out there, if not THE best. Jodi Krangle, the proprietor, makes little or no money from her website, and yet it always manages to be fresh, up-to-date and an extremely thorough collection of links, articles, advice and services for the beginner to the advanced songwriter. It is a HUGE site, so be prepared to spend a lot of time there! I have known Jodi since I first came online in 1996, and I’ve never met a nicer person! We have continued to help each other to promote and support the idea of songwriting on the web, and The Muse’s Muse continues to exist because of a person who is truly committed to the art and craft of songwriting.



Another really huge, and wonderful website is Just Plain Folks. Again, Brian Austin Whitney has created a wonderful community for songwriters that is almost too much to explain in one small paragraph! You have to see it to believe it. Brian has extended his JPFolks community out into the “real” world, with events all over the US and Canada, and branches of his organization in just about every major city! Again, this website is so full of stuff, it’ll take you literally weeks to go through all of it.

Even if a membership in an online organization is NOT free, ask yourself if you are in a place to truly benefit from their services. For instance, a lot of songwriters ask about TAXI and whether or not they are legitimate. In my opinion, they are. But many songwriters are simply not ready or at a level yet in which to really make use of what they have to offer! You wouldn’t buy a car before you even knew how to drive it. The same rule applies here. If you don’t yet ‘know’ how to write a song, why spend mega bucks on a service where you will be competing with a zillion others who DO know how to write? That sounds very practical, but I have met many, many songwriters who are ready long before their songs really are. So TAXI is a part of my list because I believe they offer a legitimate service for a fee.

Another legitimate service is SongU.com . I will say right up front that I am associated with them, because I’ve written two courses for their website. Danny Arena and Sara Light are IN the business of songwriting, they teach it and they live it. SongU.com will eventually become a collection of online courses which the songwriter will pay to use. Many of the gurus I’ve already mentioned are contributing courses to this website and it will become quite a full and fascinating resource for songwriters at all levels. SongU.com hasn’t fully launched as of the writing of this article, but in the meantime, you can also check out Danny & Sara’s other website, Craft Of Songwriting.

These are only a few of the major websites that I can personally recommend, but it doesn’t mean there aren’t more that are equally as good…there seems to be another songwriting website popping up every month or so. But the ones I’ve mentioned here have built up over time and have become as successful as they are because of all of the hard-working people behind them. Give them all a visit and tell ’em Irene sent you!

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Song Contests – One Opinion

Tin Pan Alley Festival 2005
Image by michaelpickard via Flickr

© I.Woloshen

I’ve entered a few contests in my time, the most recent one being the USA Songwriting Competition a few years back. I’ve heard different opinions about them both from other songwriters and from people in the business. There is absolutely nothing wrong with entering a songwriting contest, so don’t expect me to completely blast them! However, I do think you have to take a few things into consideration.

First of all, if you are expecting something from a contest, well, it’s a little bit like buying a lottery ticket, in that all you really find out is that you haven’t won 🙂 Very few songwriting competitions offer anything more than a chance to win. There is rarely any feedback from your songs, or calls from “interested” parties as is sometimes implied when they say “industry professionals will be listening to your song” or something in that vein.

Most of the time, contests are judged by a group of people who are listening to piles and piles of tapes and who can’t possibly have any objectivity left after such a long haul! So the good news is that losing doesn’t necessarily mean your song sucks 🙂



This is something else I’ve heard from a couple of publishers, first hand. They tend not to pay any attention at all to a songwriter who claims to have won a contest! In fact, it often deters them! Why? Because winning a contest really doesn’t mean anything to people who are in the business. A “win” is a very relative thing and left to the discretion of the people choosing the songs. Another point is that some songwriters believe that winning a contest means they’ve got a hit on their hands, and it often goes to their heads. Publishers don’t want to work with a songwriter who believes he/she is already THERE in terms of their songwriting ability…they want to work with someone who can be flexible and open to their suggestions.

Some contests offer the winner(s) a chance at a publishing deal. Big deal! All that means is that your song gets signed with a publisher, it does not guarantee that the publisher will be able to place that song with an artist, or even want to. A single song deal means nothing unless somebody actually cuts your song.

On the other hand, there are some contests in conjunction with festivals that I would consider a benefit in terms of boosting your career. These involve the winner having an opportunity to perform their songs in front of an audience, especially at a songwriting camp or event, and would be an excellent way for you to introduce yourself to an audience and an industry. There are well-established events that hold these contests annually and that have a very positive reputation in terms of what they do for songwriters.

If you approach the idea of entering a contest for fun, rather than for furthering your career, you’ll have a healthier outcome. Consider an online poll conducted by Music Dish Industry e-Journal in the Spring of 2001. Songwriters were asked “How would you rate your experience with songwriting contests in furthering your songwriting career?” These are the results:

23% had no experience with contests
9% were very satisfied
11% were satisfied
17% thought it was adequate
18% were dissatisfied
22% were very dissatisfied

Before you enter a songwriting contest, considering putting that entry fee towards joining an organization that really CAN help you, such as NSAI (Nashville Songwriters Assoc. International). These people will listen to your song and give you real feedback, which is what you should really be focusing on!

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The “Hit” Song Checklist

NASHVILLE, TN - NOVEMBER 07:  Songwriter Bill ...
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© I.Woloshen
***All of Irene’s songwriting tips are provided for FREE…beware of those giving advice for money!***

Okay, folks, you think you’ve just written a “hit”…your heart is pumping, your palms are sweaty, you’re suddenly seeing dollar signs and imagining yourself winning the Songwriter of the Year award 🙂

Could it be possible? Could you have just written yourself a hit song? Isn’t it a great feeling? Enjoy it, crack open the champagne…and then consider the following checklist. These are some thoughts and ideas on what kind of process you should put your song through before you put that imaginary award statue on your desk 🙂

1. Has anyone else heard it yet? Who should listen to it? Not your best friend (unless your best friend already has a hit under his/her belt!), not your family, not your dog. If you really want some honest feedback, consider presenting it to a songwriter‘s circle if you have or can find one. Make sure at least 10 other people who have no bias towards you, have a listen. Why 10? That’s just a number I pulled out of a hat 🙂 However, the more who listen, the better you’ll be able to discern if there are any problems with the song.

2. Did you work on re-writing it? There are very few songs that come out “perfectly” the first time. Most need to be polished at least a little so they’ll really shine. I can’t tell you how many songwriters I’ve come across who swear that touching up a song after it has been written will “ruin” it. Arrgghh…

3. If you are writing for yourself as a performing artist, you can skip this one. Can anyone else sing your song? If you know somebody who sings, try and teach them the song and see what happens. Do they trip over certain parts? Is it really “singable”? Remember, if you’re trying to market your songs, then they have to work for other voices and other vocal styles.

4. Here’s a really good idea which will give you some objectivity. Record the song, even if only on a little digital recorder. Then walk away from it for a week. Don’t let yourself even THINK of it, block it from your thoughts entirely. When a week is up, go back and have another listen. Does it strike you the same way? Or is it just a turd? 🙂 Giving it a week is a very small investment in time, especially if you’re considering spending a whole whack of cash to demo it.



The “best” songs don’t necessarily become hits. It’s a LOT more complicated than that. However, you have a much better chance of peaking a publisher, record label or artists’ curiosity if you have a really well-written, well-produced song to present them. Can you judge if you’ve written a hit? You might have a really good feeling about a song…but none of that matters if no one ELSE has a really good feeling about it. So give it time, don’t get ahead of yourself, go through some steps to see if it stands up. And call me when your first royalty cheque comes in 🙂

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Genres – Some Definitions

Heavy metal band Judas Priest performing at th...
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© I.Woloshen

(Note: This is NOT meant to be a complete list of all genres, just an example of some, so don’t be offended if I leave your favourite one out!)

Ever been asked “what kind of songs do you write?” Don’t you just hate that? Okay, maybe hate is the wrong word, but it sure is difficult sometimes to sit down and define your style. Many people use known artists to help others get an idea of what their songwriting style is, but quite often these known artists simply define the sound of how someone sings or plays their instrument rather than defining a style of music.

We all pretty much know what rock is, or folk or pop. These are relatively straightforward genres. But most songwriters are influenced, whether they know it or not, by many others before them, and that leads to sub-genres and mixtures of genres that are harder to describe.

Maybe you are really special and have created a whole new style of music! Chances are, though, that your music is also defined by the artists and bands that came before you. This is not a defeat…musical styles exist and thrive because people like to hear them! This article may not answer all of your questions, but a little research on your own will teach you a few things about where your music is coming from.

First of all, here is a list of main genres:

Alternative | Indie | Punk | Blues | Jazz | R& B/Soul | Classical | Latin | Reggae | Country | Lounge/Easy Listening | Rock | Dance | Metal | Roots | Electronica | New Age | Soundtracks | Folk | Oldies | Trad. Pop | Hip-Hop/Rap | Pop | World

Although they are considered to be at the root of all of the other styles, each of these genres came from somewhere else! Even Electronica and Hip Hop, the sounds of which are more defined by technology, have their roots. Reggae, which originally came from artists like Bob Marley out of Jamaica, is rumoured to have come from Jazz. I think a little too much ganja may have had something to do with that 🙂



Okay, let’s start with the more obvious genres:

Rock has many, many sub-genres…everything from adult rock to classic rock to folk rock. Originally, rock was actually rooted in the blues, following similar chord progressions and patterns. Classic rock artists from the Beatles to Pink Floyd, Doobie Brothers to Aerosmith, show just how diverse rock became within a very short period of time. The 70’s was considered the “Golden Age” of rock and today’s alternative and indie music are each an offshoot of rock with their own sub-genres. According to the MSN Music Webpage these are some sub-genres of rock:

Adult Rock | American Traditional Rock | Arena Rock | Blue-Eyed Soul | Bluesy Rock | Boogie Rock | British Folk Rock | Classic Rock | Country Rock | Country Rock Soul | Folk Rock | Glam Rock | Heavy Rock | Jam Bands | Orchestral Pop | Pop Progressive Rock | Power Pop | Progressive Rock | Psychedelic | Rock and Roll | Rock Soul | Rockabilly Revival | Soft Rock | Southern Rock | Surf Revival | Theatre Rock | Tin Pan Alley Pop

Beyond this, we have a number of other main genres. Pop is certainly a significant style, although it has changed over the years. It was originally born from the word popular, and really wasn’t defined by anything other than what most young people listened to at the time! Frank Sinatra would have been considered pop in his hey day, but today, Nellie Furtado is what you would think of as a mainstream pop artist. As you can see their styles are quite different, and Frank Sinatra’s music is now considered either easy listening, nostalgia or traditional pop. These days, pop is defined by a very contemporary sound and often simplistic lyrics and usually has a younger audience. Pop/Rock is where the majority of artists classify their songs, and is almost always the largest category in any online music website.

Alternative is also a difficult style to pinpoint. Originally, alternative music seemed to be a return to hard rock with it’s hard driving, often frantic pace. Grunge, or the Seattle sound begun by bands such as Nirvana was associated with alternative as well. But now we find that Indie comes closer to that definition. Arrgghh!!! To me, each of these genres doesn’t define a “sound” as much as an attitude…yeah, that sounds more like it 🙂

You’ll find the following styles associated with alternative:

’80s Modern Rock | Adult Alternative Pop/Rock | Alt. Hard Rock | Alternative Pop/Rock | Britpop | Goth Rock | Modern Psychedelic | New Wave | Quirk Rock | Space Rock/Dream Pop | Third Wave Ska Revival/Ska Punk

How confusing can it be?? 🙂 So let’s move on to something just as arguably indefinable, country. You’ll hear all kinds of discussions about country and what it is or should be! Twenty years ago when I went into a recording studio with my acoustic guitar, the studio engineers called me country. They hadn’t even heard my songs, yet because I had an acoustic guitar, that automatically made me a country artist! Country & Western was what I assumed country music to be, including artists like Hank Snow, George Jones and Patsy Cline. But in the last 10 or 15 years, it has also branched off into many directions. When country became more “mainstream” or more populist, the pop sound started to invade the more traditional sound of country music. Now you’ll find many different branches of this genre as well:

Alternative Country | Alternative Country Rock | Bluegrass | Country Folk | Country Pop | Fusegrass | Honky Tonk | New Contemporary Country | Outlaw Country | Progressive Country | Traditional Country | Western Swing

Country/Pop, contrary to what you might think, began back in the 50’s and was originally dubbed the “Nashville Sound” and included artists such as Willie Nelson, Kitty Wells, Crystal Gayle and Kenny Rogers. Today, groups and artists like the Dixie Chicks, Tim McGraw and Kenny Chesney are country stars, incorporating a “pop” sound in their music.

So is there any genre left in its pure state? I suppose the argument could be made that the only western “traditional” music left is classical and Native Indian! A recent PBS series by Ken Burns on blues music, showed how even it originally came from the slaves in Africa who chanted hymns and made up working songs as they worked long, hard hours for American slave owners. But the blues is considered by many to be American in its roots.

Occasionally, you’ll hear the term crossover which means that a song could be considered in more than one genre. This is particularly applicable to ballads…a country version and a rock version of the same ballad could be hits for different artists. The only elements that would separate them would be the arrangement and instrumentation!

The fact is that your music is often defined by the artists you were influenced by. Although it can feel like defeat to have to describe your music by naming more famous artists and bands, it really has a purpose! Most people want to know what they can expect from you as a songwriter or an artist, so don’t resent this requirement too much. Many of us write in more than one style too! As a songwriter, this can certainly work in your favour when you are trying to pitch to different publishers and artists. As an artist, it means you are diverse!

Don’t be adverse to the idea of studying genres in order to better define what yours is (or are!). I’ve heard many artists or bands who try to create a NEW genre just to make themselves stand out, only to find that they sound exactly like someone else! As an artist you can get away with this in your promotional material as a way to create a buzz for yourself, but as a songwriter, you will have to fit in more with traditional genres. As Bruce Hornsby says “That’s just the way it is…” 🙂

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