Step By Step

© I.Woloshen

This is a more recent song lyric that was born from one line that hit me in the car (don’t worry, I wasn’t hurt 🙂 )on the way home from dropping the kids off at school.

I thought it might be an interesting thing to take you through the process I went through in creating this lyric. I have mentioned before that usually my songs come from a “music first” place, but in the last couple of years, I’ve noticed a tendency to come up with a line and melody at once.

I saw a man that I’ve seen many times, walking down the street. I don’t know him personally, but when I look at him, he reminds me of someone…

“There is a man who looks like Truman Capote

That was the line…now I had no idea where the song was going to go, I had only that line! What on earth was this song going to be about? Some people start with a central idea or theme…these days, I tend to write the first line and then try to build a song from there.

So I recorded it into my trusty micro-cassette recorder, and left it for awhile. Later, I pulled it out, along with my guitar, and started playing around with it. The melody had come at the same time, so I picked a chord and a key and let the words kind of come out as I was creating the melody.

Okay. There is a man who looks like Truman Capote…I thought I’d give a bit of a description next:

There is a man who looks like Truman Capote
He wears a slanted smile and a wide-brimmed hat
A little pigeon-toed, a lot eccentric
He gets a kick out of what he’s smiling at
And as I pass him on the street I wonder
What it is he’d have to say…

But what’s the song about? At this point, I remembered something my Dad talked about once…how he always remembered the “characters” that were around when he was a kid: characters who had idiosynchracies or looked or spoke a little strangely whom he never forgot.

This made me think about another older woman who we buy pumpkins from every year…she has an old house and some property and it’s become our tradition to always buy our hallowe’en pumpkins from her:

There is a woman, must be in her nineties
She sells her pumpkins every Hallowe’en
She’s all bent over with the weight of something
But every year, her crop’s the best I’ve seen
And as she prices out the one I’ve chosen
I wonder what she’d have to say

Now it seemed was the right time for a chorus…as it turns out, I wrote a melody and a different chord progression, but no lyrics! I just hummed a melody. Now, that’s not very conventional…but somehow or other, it works. If it feels good, do it 🙂

So did I just want to write about characters? I could probably think of others, but at this point, I decided to take a different direction:

A friend of mine who rides the bus on weekdays
With sixty travelers she’ll never know
She looks at every one and writes their story
To entertain herself when the ride is slow
If she saw Truman and the Pumpkin Lady
She’d know just what they had to say….

All of these people are real people…there really is a friend who does this…I always thought it was an interesting way to pass the time on a bus! It just goes to show that little bits and pieces of ideas and thoughts can stay with you and come in handy in your songwriting sometimes. And it gave me the title of the song…again, not very conventional, because there’s no lyrical chorus, which is where the title is more commonly found. So I decided at this point to call the song “Truman and the Pumpkin Lady”. Kind of unusual :-). Now I needed to finish the song…how do I tie all of these thoughts together? This is what I came up with:

And as we reach our final earthly hours
Looking back at what our lives have been
It will appear as though a giant weaving
Of every person, place, and time we’ve seen
And maybe someone will pass by and wonder
What it is we’d have to say…

Then I finished with humming that chorus again…a kind of wistful exit to a wistful lyric. One point I’d like to make is that I wrote it all in the present tense…this is intentional. If I had written it in past tense, it would have had less impact. There is an immediacy to the present tense that works very well with this type of lyric.

Of course, the verses didn’t come out all that easily and just as I’ve shown them here…they went through two or three drafts first. And is the song finished? I dunno!! But that’s the story of how it got this far.

***Update*** I finally broke down and wrote lyrics to the chorus…in fact I changed the chorus melody altogether. Why? Because I felt it was missing a summation, outside of the repetition of the line at the end of each verse. Here it is:

Don’t be unkind
Live a simple life
Laugh at yourself sometimes
Look at me now
You’ll be here someday
So love a little bit along the way

When I was in my teens I bought my step-grandmother a little wall plaque, that said “Live, Laugh and Love”. She thought it represented exactly what she believed. So there you go.

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Song Structure

"This Old Guitar"
Image by Tony the Misfit via Flickr

© I.Woloshen

Often I come across songwriters who are confused as to the labels we have for different parts of a song. Verses and choruses are obvious, I think! However, what is a bridge? A pre-chorus? Intro? Extro? Here are my definitions (I’m smart enough to know that definitions can change from writer to writer!):

A bridge is a musical and/or lyrical break in the song, often inserted after a couple of verses and choruses. It can, when written effectively, give a little change of pace to the song once the repetition begins to become obvious to the listener. Sometimes I might write a simple musical break with no lyrics, usually in the same key, but with a different chord progression. Lyrics are often part of a bridge, however. I’ve also met pro songwriters who HATE bridges and never write ’em! To each his own!

A pre-chorus is a lead up to the chorus, a kind of “build” if you will. They are not as common as bridges, but can be very effective in bridging the verse just before the chorus.

Intros are at the very beginning of a song, the introduction to it. If you are pitching your songs, better keep your intros SHORT!! Publishers, A&R reps and label execs usually don’t have the patience for long self-indulgent intros, and may give up before you even get to the first verse! Sometimes an intro can be effective by foreshadowing the chorus chords just a little, or a quick build of instruments into the song. When I’m playing live, I may stretch the intro to a song and let it build a groove before I start singing.

Extros are often mis-labeled “outros” (I hate that!)…and are the lead-outs or endings to a song. Again, they can get too long and self-indulgent. The faders on recording equipment back in the sixties and seventies lead to just about every recorded song fading out…! There’s nothing that beats a nice, tight and unexpected ending, though!

Middle Eight – this is a term you might hear that sometimes refers to a type of bridge, and other times is simply an instrumental break, usually (but not always) eight bars long. In a rock song, for instance, it might contain a guitar lead…Eddie Van Halen howling alone on his guitar for eight bars 🙂

Breakdown – sometimes about two-thirds of the way through a song, you’ll suddenly hear just the drums playing alone, or the vocals alone, or hand-clapping, etc., with nothing else in the mix. Then, there will be a build-up of instruments again. This is what is referred to as a “breakdown”. It’s more of an arragement term, rather than a songwriting one. But if you’re in a studio trying to get a good recording of your song, you might use this trick to make your arrangement more interesting.

And here’s my extro…. 🙂

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The Music

Elton John & Bernie Taupin
Image by Burns! via Flickr

I recently had e-mail from a new, young (14!) songwriter who wanted to know how to come up with the music for her lyrics. Since I usually come from the opposite direction (i.e. I usually come up with music first), it made me think about approaching it from the lyrics first perspective. I sat down and wrote out some lyrics off the top of my head and then realized that I definitely had a rhythm going while I was doing it. Not necessarily a melody, but since I usually write to an established meter with the music already created, I think this brought out my instinct to automatically meter the words.

The difficulty was in developing a melody to them. Elton John is someone who has always taken that role, receiving the lyrics from Bernie Taupin and putting a melody to them. In an interview I saw with him, he discussed how he first reads through the words to get a feel for the “mood” of the song. Sometimes he will change things around (I guess Bernie gives him some artistic license!), making a verse into a chorus or the other way around, adding or changing lines slightly to accomodate what comes to him musically.

Don’t be afraid to let the melody do the “talking”…if the melody starts to write itself a little differently compared to the lyrics, go with it. I heard once that a sculptor looks at the work as already existing within the material…his/her only job is to remove the unwanted stuff. I think you can remove or add lyrics or adjust your meter to make it fit the music and still remain true to the essence of the song.

How to come up with a melody? I once had to write the music to a whole bunch of poems in the play “Through The Looking Glass” (realizing much later that this had already been done professionally!) in high school. This was quite a challenge for me and I worked up quite a sweat doing it! Instead of trying to come up with chords, I “sang” the words…I just repeated them and sung a melody off the top of my head until it developed into something tangible. Then I sat down with the guitar until the chord “sounds” in my head matched the melody. It took alot of patience (when doesn’t it?), and it gave me a whole new outlook into songwriting! Needless to say, I went back to songwriting in my usual way!

Recently a student came to me with a melody she had in her head, but she wasn’t good enough at playing the guitar to play what she “heard” chord-wise. She hummed and I tried all the chords I could come up with and it was pretty frustrating! In the end we still didn’t find it, but she learned more about how to experiment on the guitar until she could come up with it herself!

Coming up with a melody first is my “specialty”. I usually do this by sitting down and experimenting with chord progressions, but sometimes I’m in the strangest places when the thing hits me! Baths are great, so is a walk on a beach for me. Driving the car with no radio or tapedeck playing is good too. What also works for me is learning a new song by someone else…lately Shawn Colvin‘s “Sunny Came Home” has been a source of inspiration…the rhythm of her writing is really catchy and the progressions in that song are terrific. I don’t copy it, of course! But when I learn something new, it often brings out something new because the mood of it can inspire. Or I play it wrong and come up with something else!

There are many schools of thought in terms of writing…my writing is very instinctive and never comes from a “well, this is a ‘C’ so I should be using an ‘Am’ ” attitude. But I have come across a number of songwriters who do exactly that…they come from the theory end of it. In fact alot of serious songwriters study the theory end of music quite voraciously, looking for a clue to writing a ‘hit’. There are all kinds of theories about hit songwriting. For me, I focus first on coming up with something that pleases my ear, and then I worry about whether or not anyone else will like it! Que sera, sera!

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