Writing pop songs that stand out
Bobby Borg talks with Anika Paris — an award-winning singer/songwriter, classically trained pianist, and published poet and author — about ways to write unique pop songs. Read the post.
writing songs
Ben Folds’ “2020” — A case study for indie artists
From songwriting ideas to recording technique, there’s a lot you can learn from the songwriter’s tragi-comic recording-in-quarantine project. Read the post.
Songwriting Dos and Don’ts
A recent “Play For a Publisher” event featured Stacey Willbur, VP of Publishing and A&R for Full Circle Music sharing her feedback about 10 songs that were selected to be showcased. Read the post.
Get bluesy with Mixolydian and the Mixo-Dorian Blues
Study up on the Mixolydian Mode, queue up a nice Mixo chord progression, and you’ll see why guitar masters like Eddie Van Halen, Angus Young, and Duane Allman all love Mixo-Dorian Blues. Read the post.
Songwriting advice: Cry when you write, dance when you produce
Johnny Dwinell and Brent Baxter lean on some sage songwriting advice Brent got from veteran songwriter Ralph Murphy: deliver a positive tempo. Read the post.
Lift ‘em up with the Lydian Mode
In music, a mode is a formula for creating a musical scale. The Ionian (major) formula is W–W–H–W–W–W–H. The Lydian formula (W–W–W–H–W–W–H) can give your melody or progression an uplifting and yearning feeling. Read the post.
Surprise ‘em with the major mediant chord
While the mediant (iii chord) isn’t as structurally integral as the tonic, dominant , or subdominant, employing it can provide an unexpected surprise that will make listeners’ ears perk up every time. Read the post.
Use the zesty Neapolitan chord in your songs
A touch of exoticism could be all you need to lift your song up from the mundane. The flat-second, a.k.a. Neapolitan chord, can be just the ticket. Read the post.
Songwriting tips from the Beatles’ “Help!”
Few popular songs meld music, lyrics, and theme as potently as the Beatles’ 1965 hit single, “Help!” Here’s how they did it. Read the post.
Choose the right key for your songs
There are a lot of factors that play into choosing the right arrangement for a song — but choosing the right key for you and the musicians might be the most important. Read the post.
Stop saying your songs are “great”
If the market decides your songs are forgettable, then guess what? Your songs are forgettable. If the market, the listeners, decides that your new album is not worth their time… they’re right. They get to decide if your songs are great. Read the post.
Fifth time’s the charm: The Carpenter’s smash hit, “Close to You”
Before and after the Carpenters scored a massive hit with “(They Long To Be) Close To You,” others tried, but they all seemed to miss what Richard Carpenter figured out: When you have a great melody, great lyrics, and a great singer — less is more. Read the post.
Using suspended chords in your songwriting
Suspended chords offer more than just a frilly little something to add to your music. They work as substitution chords, they can smooth out chord progressions, and they can add tension to your music. Read the post.
Cover to cover: “I Heard It Through the Grapevine”
Not only does “I Heard It Through The Grapevine” hold the distinction of the being the first and last number one R&B song in 1968, it is the only song to have been a number one R&B hit for three artists. Read the post.
How Stephen Stills turned an unreleased leftover into the smash hit “Southern Cross”
This is the second in a series that examines cover songs that went on to be huge hits, even though the original versions were mostly unknown. This post covers Crosby, Stills & Nash’s “Southern Cross.” Read the post.