How To Overcome The Lyric Writing Hurdles That Are Keeping You Behind

The lyric writing side of songwriting is known to create an enormous number of problems for some folks. No matter how hard they try, they are unable to write a single line that they can be pleased with. In many cases these very same people make phenomenal advancements in writing music and melodies. However they just can't seem to figure out how to come up with suitable lyrics to match them. If you are facing such a situation, there's probably no need to worry. By taking certain appropriate steps you should be able to overcome lyric writing hurdles and write songs that deliver. (1) Here are some essential ideas for overcoming these hurdles. 1. Collaboration If you're very good at writing melodies but can't seem to write a single line, one solution might be collaboration. Instead of beating your head against the wall for ideas, find someone who is very good at writing lyrics and work together. You may be surprised at the wonders that can emanate from a combination of his excellence at writing lyrics and your brilliance at writing melodies. 2. Lyric writing tools Perhaps you may be hoping for some other solution. While you don't mind the idea of collaboration, you want to allow yourself to get better at writing lyrics, instead of leaving it to someone else. As far as I'm concerned, the importance of laying hold on good songwriting "tools" should never be underestimated. Educate yourself as much as you can. Make use of songwriting books, programs, courses, software, articles or whatever valuable resources that you have at your disposal. 3. Motivation You've probably heard it said a thousand times ... Without motivation, you won't go very far. This also applies to your lyric writing. While the songwriting "tools" outlined above can help you improve, without adequate motivation failure is inevitable. (2) Here are a few tips to help you generate lyric writing ideas. 1. Use different lyrics to bring the same message across. Choose a theme which is known to have made a few hits. What message does this theme bring across? Write different lyrics that bring the same message across. A typical example of this is John Denver's "I'm Leaving on a Jetplane" and Wyclef Jean's "Gone till November". These songs made hits in different eras. Their basic message was similar ... Baby, you don't need to cry because I'll return. 2. Add a unique twist to a cliche. Turn on your radio and you will hear cliches being repeated over and over. Using these very same cliches is simply a futile exercise. My suggestion is to add a unique twist to these cliches. This is something I am focusing on more and more. A typical example of adding a unique twist to a cliche is found in Dianne Warren's "Unbreak my Heart" made popular by Toni Braxton. The ever popular cliche, "break my heart", was twisted. (3) Here are three lyric writing suggestions. 1. Write a song about a particular incident. Your song should tell a story. 2. Write lyrics that have absolutely nothing to do with anything you've actually experienced. 3. Get lyric writing ideas from newspapers, magazines, movies, TV and so on. Overcoming lyric writing hurdles involves a lot of determination, hard work and perseverance on your part. Implement the suggestions presented above and move one step closer to lyric writing success. About The Author Mantius Cazaubon offers lots of valuable songwriting tips, techniques, suggestions and advice on his site <a href="http://www.ultimatesongwriting.com" target="_new">http://www.ultimatesongwriting.com</a>. Visit <a href="http://www.ultimatesongwriting.com" target="_new">http://www.ultimatesongwriting.com</a> for the ultimate truth about lyric writing and songwriting. <a href="mailto:mantius@ultimatesongwriting.com">mantius@ultimatesongwriting.com</a>

Piano Chords and New Age Music

There are basically two ways you can compose a piece of music. The first and most traditional way is to write out the melody and then harmonize it. Some call this working from the top (as opposed to the chords on the bottom.) The second approach is where you create some kind of rhythmic harmonic pattern and improvise (or compose) the melody on top. Now, which one is best for New Age music? The answer is neither approach. Each has its own merits and own special benefits. For example, if you start with a pattern in your left hand and improvise a melody with your right, you are doing what most new age composers/improvisers do. This is what George Winston does most of the time. He has chords he sets to a certain rhythm and does his thing with that amazing right hand of his. This is the style that I have been playing, but I've recently lost interest in it. Not because it isn't good but because I don't feel like playing that way anymore. Currently I'm leaning towards a softer sound that comes from leading with the melody first. What I do is get the first 2-bars down and then improvise the rest till I fill up 8 measures. This way I can vary the chords and patterns without it sounding very repetitive (minimalism). It's actually another style. You can call it melodic while the other one (Harmony approach) is more textural. IT ALL DEPENDS ON YOUR MOOD! Don't let one style freeze you into something where you can't maneuver artistically! Remember that your feeling must come first. Everything else is secondary. Let your feeling lead you and your creation will be truly inspired, however, if you try to mold what you have to say into a specific style, the result may be less than satisfactory. Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at <a target="_new" href="http://www.quiescencemusic.com/piano_lessons.html">http://www.quiescencemusic.com/piano_lessons.html</a> for a FREE piano lesson!

Guitar Buying - The Pros and Cons of Vintage vs. Reissue

To most people, owning the "genuine article" is the only thing that will suffice. As a guitar player, and one who appreciates classic "vintage" instruments, I can fully understand this point of view. I can't think of a single guitarist who wouldn't absolutely adore playing a real 50's Les Paul or Stratocaster. However, becoming the proud owner of a true vintage instrument does have its drawbacks. First of all, there's the price of admission. The increasingly strong demand for vintage instruments has driven their prices through the roof and out of reach for most of us. Top quality, well taken care of original instruments from the 50's and 60's can approach the cost of a new car, or in some cases a small house! Another problem facing vintage instruments is their questionable reliability. Although they were built to stand the test of time, a vintage instrument will almost always prove to be more delicate and fragile than a later, more modern version. This may not be of great importance to a guitar collector, but if you're planning to gig with a 50 year old, highly valued piece of guitar history, you may want to think again. Fortunately there is an alternative for those of us who love vintage instruments, but find them either too expensive or too impractical for our purposes. I am referring to the latest crop of vintage guitar replicas, or as they are better known, "reissues". Both Gibson and Fender maintain separate production facilities known as "Custom Shops", were they produce replicas of our favorite oldies with great skill and care. These guitars are made of the finest woods, and are almost entirely built by hand using time honored techniques. The electronics are custom manufactured to be as true and faithful to the original instrument as is humanly possible. The cost of these Custom Shop guitars are high when compared to their production line variants, but they are still far below the cost of the real thing. They come complete with a full warranty, the durability of a new instrument, and sparkling clean looks. I own several reissue guitars from both Gibson and Fender, and can truthfully say that I am very impressed with the quality and painstaking level of detail that these guitars possess. The use of high quality woods give them a tone which is a cut above the norm, and knowing that parts are readily available helps add some peace of mind. When all things are considered, buying a reissue guitar is in most cases the next best thing to owning the original. Although nothing will ever replace the "vibe" and nostalgia associated with the real deal, the high cost and impracticality of a vintage instrument for everyday use, makes owning a reissue a very attractive alternative. Will a reissue ever sound like its well aged 50 year old counterpart? Probably not, but for us players with an appreciation for classic instruments, a Custom Shop reissue from the original manufacturer is very hard to beat. ? Written By: Michael Casamento Michael Casamento is the founder of Guitar Pages Online - a comprehensive resource for guitars and guitar related merchandise on the Internet. For more information visit:<a target="_new" href="http://www.guitarpagesonline.com">http://www.guitarpagesonline.com</a> This article may be freely reproduced so long as the above resource box is included in its entirety.

Guitarists...Are You A Victim and A Loser?

I was thinking today about THE most dangerous enemy of musical progress?the victim mentality . What do I mean by this? Often we can let our personal circumstances dictate our progress. For example, someone may let their guitar practice slide because they were really busy at work. This person may start making excuses such as "I didn't have time". This is victim mentality . It is believing that your musical progress is only possible when external circumstances allow it. What they are really saying to themselves is that their musical dreams and goals are not as important as paying a few lousy bills.They are letting their boss's goals get in the way of their own. Now?I can't point fingers at anyone . I've been guilty of having a victim mentality plenty of times! Especially when it comes to things like going to the gym :) But I don't have a victim mentality when it comes to guitar practice. There is virtually nothing that I will allow to get in the way of my musical progress. So?how can you stop yourself from becoming a victim and a loser? 1.Stop making excuses. <br> I can guarantee that for every excuse you can make there is someone out there who has overcome that obstacle. Don't allow yourself to make excuses. They are the death of your musical dreams. 2. Watch your language. <br> For example, rather than saying "I couldn't find the time" say "I am acting like a complete and absolute loser and if I continue acting like this I will NEVER achieve my musical goals". Because that statement is pretty painful to say, you'll soon stop making excuses! 3. Think of solutions. <br> For excuses that you normally make, think of ways of overcoming those obstacles. For example, if you are constantly using your work as a reason why you can't practice, ask yourself questions like? "How can I get paid more but work less hours?".<br> "How can I get paid while I sleep?".<br> "How can I stay home all day and practice?".<br> If you ask enough questions like this on a daily basis, you will find a solution eventually. 4. Think of your "Why". <br> These are the reasons why you want to achieve your musical goals. If your why is strong enough, You will NEVER want to stop practicing for any reason. 5. Think of your role models. <br> Use your role models to motivate and inspire you to keep on practicing. Every time you start to make an excuse, ask yourself "Would__________make this excuse?" For example, one of my favourite guitarists is Steve Vai . I could NEVER imagine making him excuses for not practicing! To finish off here's a quote that you may want to memorize? "You can either become a great guitarist, or you can make excuses, but you can't do both". Craig Bassett (The Guitar Solutions Expert) is a professional guitarist, guitar tutor and author living in Auckland, New Zealand. For free online guitar lessons go to:<br> <a target="_new" href="http://www.pentatonic-guitar-lessons.com/online-guitar-lessons.html"> Free Online Guitar Lessons. </a>

Independent Music Promotion on the Web: 3 Steps to Success

Let's face it, the wildfire spread of web-based portals designed to introduce independent music to the world has created a bewildering array of opportunities and costs. So where do they all balance out? When does the cost of signing up to yet another music promotion service yield results? What results are we looking for anyway? The key is to make your web promotion targeted, systematic and rich. What is the main drive for independent artists promote their music on the web? The fundamental incentive for web promotion is the opportunity to get your music heard by people who might otherwise never know that you exist! If people know you exist they can become fans and repeat-listeners. Which of those fans buy CD's and downloads? Targeted listeners. The most important goal of web promotion is to attract targeted listeners. Any independent artist who says they use the web to sell their music has missed the primary target - attracting targeted listeners. Attracting targeted listeners should be every independent artist's first priority. Remember, you don't sell your music - listeners BUY your music. It's a buyers market. The more targeted listeners you have, the more sales you make - provided you are systematic in getting your targeted listeners. The best way to get targeted listeners is to be systematic. Many artists tend to approach their web promotion thinking that since they have a website and have signed up to a couple of artist showcase sites, that the listeners will just come pouring in. Yes you have managed to target some potential listeners, but you still have to shout, "Hey, over here...you'll like the sound of this!" A systematic approach to getting listeners to hear your music will attract and maintain their interest. But remember to make sure you have the content ready for the listener to enjoy. Sites rich in content will retain your targeted listener. In the independent artist's case, the rich content is the music. This may seem like old news, but look at the amount of independent artist websites that give the visitor loads of info about the band but very little (or hidden) ear candy. Music should be the first thing a visitor gets. At the very least they need an obvious link to where they can listen to your music. And not just one or two tracks but a variety of your music. Independent artists have to remember they have not had the radio exposure to model the presentation of their music after more well established acts. Listeners need to be convinced they like your independent music before they will buy it. So the question is how to make your web promotion targeted, systematic and rich? Tips for Targeting. The best targeted listeners on the web will be those that make it to your website. Find a way to know who they are. Setup a newsletter and make it easy to sign up to it. People interested enough to want to receive news about you are your hardcore web fans, keep them happy. The next best group of targeted listeners are those that hear your music on other sites. Try to pick sites that allow listeners to link to your site. If they like your music they might click on that link to visit your site. You can then find out where these visitors are coming from. Find a good web statistics package that lets you know which sites your visitors are being referred from. Take note of those sites and focus your efforts with them accordingly. When choosing sites on which to promote your music, check to see if they offer any individual stats relating to your music. Like how many track plays or page views you and your music receive on their site. This way you can check in periodically and monitor your performance with these sites. Systematic Steps. The key to being systematic is organization. Keep a note of all the sites you use to promote your music, a brief description of what they do and how much it costs. Try to get into the practice of monitoring all of them regularly. Take note of which sites are getting better results than others and focus your efforts accordingly. You might pay for minimal promotion on one website, while another gets you loads of listeners for free. Naturally you'll want to put more effort into updating the sites that are getting better results. Provide a link on your website and newsletters to all of the sites you use to promote your music. Remember your website visitors are your hardcore web fans and are the most likely to check out and spread the word about your spot on other websites. So encourage them to visit your profile on other websites. At the very least it raises your stats on those websites - making your music look more popular! Try to create a ring of sites that link to each other though the content you supply. For example, you might have your music on your own website and two other showcase sites - Site A and Site B. Your site should without a doubt link with Site A and Site B. Site A should link with your site and Site B, Site B should link with your site and Site A and so on. What if these sites don't allow you to setup links to other sites? Put a web address in the areas where they do allow you to supply content. Like biogs or descriptions. The ultimate aim of linking all your sites is to provide your listeners with a variety of access points to your music, as well as access to the different ways various sites may deliver your music. Remember to link to your specific page on the site and not just the site itself. Your site linked with a site that play your tracks on Internet radio, linked with a site that sells your downloads, linked with a site that sells your CD's provides for a powerful combination of exposure. Be Rich Without money! That is the challenge that most independent artists face. The conventional approach to selling music is that it should not be too readily available to listen to, should the incentive for listeners to actually buy albums be undermined. This has persuaded independent artists that they should limit web listeners to low-quality snippets of streaming audio. Independent artists have to remember they don't have the resources and finances to support the "shotgun approach" of spraying their music across radio and music television. Big artists have big companies behind them that need to recoup the costs of mass media exposure, and therefore try to limit the extent to which listeners can sample their music on the web. Listeners have already heard the music and are trying to find a copy of their own. Conversely, listeners haven't had a chance to listen to independent artist through conventional media. Therefore independent artists can't assume that people will buy their music off of a website if they don't get a chance to really listen to it. If people have already heard an artist's music, and like it, the value they pay for is in owning a copy they can play whenever they like. If people have not already heard an artist's music, the value is in being able to sample as much of the music as possible. So being rich is providing your listeners with as much of your music as they want to listen to before they buy it. Now you don't have to make all your tracks available for free download, but you can provide good quality, full-length streams that impress the listener and enhance your sound. Not tight-fisted snippets that lose the listener because they are lo-fi and over before they attract the listener's interest. Being rich is also making your music available in a variety of formats for different audiences. Telling fans that your music can be heard via Internet radio, on-demand streams, mp3 downloads and mail order CD means you can appeal to listeners who prefer more than one type of media. You can also use your web promotion to go beyond simply plays and sales - consider licensing. Licensing your music for use with television, film, advertising, websites, video games and other multimedia will open up your listening audience, provide revenue and introduce a degree of professionalism to your career that attracts the notice of industry reps and A&R. Adding this depth to your web promotion helps to enrich the presentation of your music and retain targeted listeners. So remember: a) maximise your targeted listeners, b) be systematic in obtaining them, and c) retain them by making sure your own site and other sites are rich in content. Nick Hooper has helped to create Tunetrader, an online platform for the promotion of independent music at <a target="_new" href="http://www.tunetrader.com">http://www.tunetrader.com</a>

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