Co-writing: How you figure percentages

One of the most important things I learned about co-writing was when NOT to say anything! Silence is so important to the process of allowing thoughts to form. However, too many times a novice songwriter thinks they need to be sure and throw in everything that goes through their minds so they will "do their part".

The way I, as well as most other professional songwriters, split songs with co-writers is not based on the number of words we divide to get at a percentage. The truth is, I've written songs with people who only added one line, or had the basic story which we wrote a song about, or had a partial title or first phrase of the song, or just helped with the bridge I was stuck on. I've also co-written when I myself only contributed one line!

Who's to say what makes a good song into a great song? Sometimes a very little part of the song is actually the most important part. So I just divide the song equally among co-writers.

However, this is just the writer portion we're talking about. Publishing CAN and DOES get split unequally, for lots of reasons. Sometimes the veteran writer will take the time and professional risk to write with a novice writer if the veteran gets the publishing, or a share of the co-writer's publishing. Sometimes it has to do with who is paying for the demo. Sometimes it has to do with who has a major publishing company and how much share they need to really pitch the song. Sometimes you share your publishing with an artist, label, producer, manager, etc for political reasons... to get the song cut by a major artist. There are many different acceptable business deals with publishing.

But writer's percentage is a sacred cow for professional writers. This percentage is paid by ASCAP, BMI or SESAC, according to each writer's affiliation, when the song gets released and played on public media.

If co-writing with someone leaves you feeling too unsatisfied as to each person's contribution, the answer is to go ahead and split the co-write equally, then decline to write with that person again.

But be careful... sometimes a person can be a worthy co-writer just by their presence in the room, if they tend to make you open up and create. This contribution is priceless.

Tips on writing music

Ok.. got some great comments on writing lyrics; so on to the next part of the songwriting equasion: here are some tips on writing the music.

The Music -

• should have a memorable melody.
• should have structured patterns of rhythm. These structures can be more free-form, however it takes experience and study of patterned music to learn how to create free form music, such as musical theater dialog set to music, art music, etc. Most of the time I see a lack of patterned rhythm, I hear badly stitched together pieces of music that instantly cry out... well, BAD.
• stands out better with an unpredictable melody line and/or chord progression. However, should be something that still fits the genre you are writing for.
• SHOULD BE SINGABLE! Watch words and word combinations that the tongue finds difficult... try to get your lyrics to flow from the mouth. I also find that many musicians who are not singers tend to write melodies that are not very singable. Writing wide vocal range songs can be good if you are pitching to singers with great range, but remember that male singers usually have larger ranges than females.
• As suggested by either Quincy Jones or Baby Face (I can't remember which), melody should be strong played on piano without the bells and whistles of production. Not always, but many times great melodies can cross genres when produced in varied ways, as in songs like "I Will Always Love You", "I Swear", "I'll Be Your Baby Tonight", etc.
• should have a mesmerizing, identifying, great feeling and if possible, innovative groove if up- or mid- tempo
• when recorded - should be produced, with budget considerations, with as much quality and sonic excellence as possible, comparing the sound to current radio hits in that genre.

Here are some suggestions I have for studying and researching the subject of songwriting:

• Go to the NSAI website and check out the workshops there. Consider joining NSAI.
• go to Ultimate Songwriting.com and check out the books on this page http://www.ultimatesongwriting.com/songwriting-books.html
• Study the lyrical and musical forms and rhythmic structures of songs YOU love. How many lines in the verse and chorus? How many beats in the lines? How did they make a "bridge"? How did they end the song? What was the musical "riff" that makes you think of the song?
• Try taking a song you love and putting your own lyrics to that song's music. You can't, of course, end up using that music, but you can structure your song the same way. Then you put new music to your lyrics.

Do you have any other thoughts, questions, websites or insights? Please join the conversation and click COMMENT.

Btw... another of my absolutely favorite songwriters is Hugh Prestwood. ("The Song Remembers When", "You're Gonna Miss Me When I'm Gone", etc.)

More on lyric tips for songwriters

Wow, I got some great comments on my last post about writing lyrics. Before going on to writing music, I'd like to post on my commenters' thoughts about lyrics.


Leigh Ann, you ask about my favorite song lyrics and songwriters:


There are so many truly great songs now... I can't think of all but some of my favorite best written lyrics, in no particular order, are for the songs:

• Amazing Grace (written by John Newton, sung by everybody)


• I Can't Make You Love Me (written by Mike Reid/Allen Shamblin, sung by Bonnie Raitt)


• She Is His Only Need (Written by Dave Loggins, sung by Wynonna)


• Fire and Rain (James Taylor)


• I Can Only Imagine (written & sung by MercyMe)


• God Bless The Broken Road (sritten by Marcus Hummon, Jeff Hannah and someone else, I think, sung by Rascal Flatts)


• I Will Always Love You (written and sung by Dolly Parton)


• Hurt (written by Linda Perry, sung by Christina Aguilera)


• Hurt (written by Trent Renzor, sung by 9 Inch Nails and Johnny Cash)


• Chiseled In Stone (sung by Vern Gosdin, written by Max T. Barnes/Vern Gosdin)


• Memorial Stones (written and sung by Mat Kearney)


• You Can't Always Get What You Want (But You Get What You Need) (The Stones)


• Undeniable (written and sung by Mat Kearney)


• Respect (written by Otis Redding, sung by Aretha Franklin)


• Fields of Gold (written and sung by Sting)


• I'm Not Supposed to Love You Anymore (written by Skip Ewing and Eddie Keys, sung by Bryan White)


• On A Bus To Cloud 9 (written, as Leigh Ann noted, by Gretchen Peters, sung by Trisha Yearwood)


• Your Cheating Heart (written and sung by the great Hank Williams, Sr.)

And yes, I like Simon & Garfunkle (master songwriters), Amy Grant too... much of her songwriting is great, but she cuts those mindless pop ditties probably because somebody tells her she needs to have some commercial songs for the radio. It's unfortunately the business of being a megastar.

Some of my favorite songwriters happen to be all the writers I listed who wrote the above songs. I am also a big fan of Nancy Griffith. Bob Dylan, it goes w/o saying. And Bruce Springstein.

Billy, you had some great points... here are my thoughts:

Yes, I agree that its best to get a "hook line" that is memorable. It is important that this line be unique, and powerful enough to catch the attention of the mind. A songwriter does indeed do well to look for "hooks" and central song ideas in the lives of those around him or her. Many hit songs have been inspired by the offhand comment of a stranger.

But it's also important to be keenly observant, so as not to write a superficial lyric. I, for instance, find it hard to write a male lyric. I have done it, but usually need a male co-writer. My mind thinks like a girl. Some writers are better at "getting into other peoples' skin". Dave Loggins comes to mind. I think he could write like a Martian if he had ever met one!

Though it can be a jumping-off point to write, I don't think it's important to have the final title of the song until it's written, because I've frequently had the song I was writing take a different direction than I thought, and a better title made itself known. Sometimes what I thought was going to be the title just ended up being an important line (sometimes the first line).

Come to think of it, I may do a post listing some jumping off triggers for songwriting. Whatdya think? I am always grateful for your comments!

Lyric tips for songwriters

I get lots of questions about songwriting. This is, of course your inner voice, and so the subject belongs on "All Things Vocal" (don't cha think?) I intend to write a 3-part series on songwriting, beginning with my thoughts on writing great LYRICS.

In my humble opinion, no matter what the musical genre, a well-written song should have the following characteristics:

The Lyric-

• should be written with intellegence and cleverness, avoiding trite phrases and cliches.


• should try to say something unique about the subject. Drawing from true personal experience helps find the most unique perspective.


• even if written third person, should be written from the vantage point of a participant instead of a spectator to the story. Writing from a personal vantage point makes is much stronger and more real than writing what you think someone else knows or wants to hear.


• should be consistant in its language (if it's earthy, say it with "down-to-earth" language all the way through the song... if poetic, keep that voice going... if easily understandable with clear images, or if more obscure and symbolic as in many great pop songs, be sure it sounds like the same person talking in the whole song.


• needs to say that which will make the listener connect with the singer on an emotional level, even if that level is just a happy or freed feeling.


• should make the listener identify and actually like the singer (duh); the listener frequently will take on the singer's persona while listening.


• should make the listener feel loved. Yes. Loved. ie... what would every woman want her man to say to her (and it could be "I'm sorry, I was wrong"!) What would every man want his woman to say to him? (and yes, it also could be "I'm sorry, I was wrong")


• should bring the listener wisdom, anger at things done wrong, fun, story, drama, and/or empathy with hard places that actually point to solutions (I lost you and I learned how to be a better person, I lost you and learned how to love myself, I lost you and you're gonna miss me, I lost you and I will miss you but I can love again, I lost you but I love you enough to let you go and I'll be fine... etc.)


• should not be "preachy". Instead... just tell the story and let your audience draw conclusions. They don't trust you when you condescend or preach, like you are smarter/better/wiser than them.


• should not lead to hopelessness, unresolved hatred or violence towards others.


• should if at all possible have an unexpected twist or two.


• should have some kind of structured pattern of lines.

I'll give my songwriting suggestions for writing MUSIC on my next post. On my third post, I intend to suggest HOW you learn to do the things I mentioned, books you should study to develop your skills, what you need to know about co-writing, how to prime the pump of your inner muse, etc.

To make my next posts more interesting, I have questions for you:

• what have I've forgotten?


• what more would you like to know?


• what are your favorite songwriting books?


• who are your favorite songwriters?


• what suggestions for successful songwriting do you have to pass along?
  

Please join the conversation by clicking the "comment" link below this post. Thanks!