The main element job of a songwriter is to publish a song. Not to execute the song. Never to record the song. Not to market the song. Not to offer the song. But to publish the song.
Your primary skill as a songwriter is to select the proper notes and right chords to go with the proper words and right song title and write them in to a song.
You write a tune for whom?
Firstly, for the finish listener. The one who will in truth emotionally and financially choose the song, either through buying a CD or record or buying a live performance of the song How Much is Tekashi69 Worth.
Secondly, for the record company, who’ll turn a tune in to a product (like a record or CD) that may be sent to the finish user through radio or retail stores.
Thirdly, for radio programmers, who decide what their listeners will listen to.
Fourthly, for the performer of the song who has to provide an efficiency that the record company may wish to capture and the radio station may wish to play.
Now you could argue for more people to be added to the list or for this list to be reordered. But essentially they’re individuals for whom a recording songwriter writes.
So, so you know who to publish for, how to become songwriter for these listeners is the key question.
What key skills do you want to become songwriter?
As a songwriter you should know how to write lyrics, how to publish melody, how to publish chords and how to publish your song as a lead sheet. As a tune owner and seller you should also know how to choose the song to demo and how exactly to record a compelling demo.
Put another way, as a songwriter, you’re a lyric writer, a melody writer, a chord writer and a lead sheet writer. That’s, to certainly be a songwriter, you should write in these four dimensions.
You could be a solo songwriter like Billy Joel and Bob Dylan do all four things yourself. Or you might participate a partnership like Lennon-McCartney or Holland-Dozier-Holland and specialise in either a lyric or music role or move between the roles, with regards to the song.
So, how to become lyric writer is one of the sub questions of the big question: how to become songwriter.
The main element skill is the capacity to have the ability to tell an account rather than simply throw words or rhymes together. One of your key lyric skills is always to have the ability to create song titles and then write your lyric around that.
There are numerous conventions about loading your chorus up with your title lines and utilizing your verse and bridge to guide that line. Additionally you need to learn to publish your story within conventional forms.
Fortunately, there are plenty of resources both on and offline that will show you how to publish lyrics. Naturally, to become lyric writer you need to publish habitually and exercise your skills daily.
The challenge of melody
Unfortunately there is less resource around that will support you in becoming a melody writer. Whereas there is an audio lyric writing literature available to songwriters, no comparable literature exists for melody writing skills.
Much of what passes for melody writing advice lives is usually the twins of superstition and obscure theory in drag, neither of which in fact tells the melody writer how to choose the best notes because of their melody. Nor guide them how to become songwriter.
The 2 main melodic skills you need will be the concepts of contour and span. Contour means melodic direction and shape and whether any given note are at a higher, lower or same pitch as the prior one.
Jack Perricone identifies four contour shapes in his book entitled Melody in Songwriting: Tools and Procedures for Writing Hit Songs (Berklee Guide).
There are actually a huge selection of contours, depending on what many notes there are in your melodic phrase. These contours can effectively explain to you how to become songwriter. Right now there is only one melodywriting site online that educates songwriters about these melodic goldmines.
Span can also be very important to your melodies and ensures that you write for ordinary people who’ll sing and hum your melodies as they wash their car or vacuum their property or console themselves. Focus on span means you’ll write for the fans, not for virtuoso singers who never buy or sing pop music generally, aside from yours.
Anyone seriously wanting to know how to become songwriter won’t neglect melodic span.
Chords and harmony
Fortunately one area where songwriters are relatively well served is in the chord writing area. There is no shortage of items that teaches you scales, chords and chord progressions. In comparison to learning lyric writing and melody writing, learning scales and chords is straight ahead, like learning an orange pages directory.
The more songs you write, the more you realise how secondary chords and voicings are when you’re working with the absolute core of songwriting: deciding which notes go best with which words.
Scales and chords aren’t useful as of this time. They are extremely important however after you have selected the notes and words for the song and it’s time for an arranger and a producer to arrange your notes and words into voices and sounds that your fans will love.
Nevertheless, deciding on the best chord for the melody is a significant element of how to become songwriter.
So in becoming a songwriter you’re becoming a lyric writer, a melody writer and a chord writer. But as important as these skills are, the most crucial skill has not been mentioned yet.
Rhythm to song is much like oxygen to life
A key element of how to become songwriter is how to become talker, reader, writer and player of rhythm.
While we are able to consider rhythm to be a separate concept (and there are reasons with this view) it’s so embedded in lyric, melody and harmony, that you might want to know the way rhythm integrates each aspect as well as how it separates from each too.
Words consist of meaning and rhythm. Melody contains pitch and rhythm. Harmony contains simultaneous sound and rhythm. Rhythm contains rhythm and timbre. There is no escaping the importance of rhythm and understanding, talking, reading, writing and playing rhythm is a key element of how to become songwriter.
Again, like melody, the news headlines is not hot here.
Ethnomusicologists report on many cultures around the world who have rich, verbal languages for counting and talking rhythm. Musicians of South India are rich in this regard. Musicians of the west aren’t so blessed. Which slows our rhythm education down a bit. And hamstrings us as songwriters when we do not overcome this handicap.
Fortunately with the emergence of rhythmeggio–which is such as the solfeggio for rhythm—songwriters now have an easy to master language that enables them to talk, read and write rhythm like their first language.
And accelerate their comprehension of how to become songwriter and their ability to publish an acceptable amount of songs to acceptable levels considerably quicker than they otherwise would.
How to become songwriter in conclusion
So the keys areas of successfully knowing how to become songwriters lie in becoming proficient at writing lyric, at writing melody, at writing chords which is accelerated by your capability to talk, read and write rhythm.
They are the skills that permit you to pick the proper notes and right chords to go with your words and song title and so earn you the proper to call yourself a songwriter.