the art of song

It’s high time to throw out your I-IV-Vs and throw caution to the wind. If you’re not familiar with harmonic analysis, check out this great overview before you read any further.

Still here? Awesome. Lets start by substituting II for ii in a major key. Changing the chord quality from minor to major raises the third a half step, introducing a non-harmonic tone (specifically, a b5) The result? The b5 resolves down to a 4, which means that II is an effective chord to move to the subdominant. Alternately you could move from the II to a ii, a common way to set up a ii-V7. A side note — consider using a II7; the lowered seventh is a good way to add tension.

in C: D - (D F# A) moves to F (F A C) or Dmi (D F A)

Example: “Just an Old Fashioned Love Song”

III in a major key is a good way to move to IV, vi or ii (IV, vi, and ii are related, as they share common tones — vi shares the root and third with the subdominant, and ii shares the third and the fifth). Raising the third half a step introduces the #5 scale degree, which resolves upwards to 6. In some cases, the #5 will resolve downwards; for instance, in III-VI7 the #5 scale degree resolves down half a step to become the lowered seventh in the VI7 chord.

In C: E (E G# B) moves to F (F A C), Ami (A C E) or Dmi (D F A)

Example: “All of Me”

Our last one for today, the omnipresent iv. This is a good substitute for a dominant chord; many songwriters will move from IV to iv before going back to I. The lowered third in the iv chord is the b6 degree, which most commonly resolves down half a step to become, for instance, the fifth of a I chord. However, the b6 can resolve upwards as well; the b6 could become a 6, making it the root of a vi chord.

In C: Fmi (F Ab C) moves to C (C E G) or Am (A C E)

Example: “I Believe I Can Fly”

It can be daunting to sit down at the piano or guitar when the inspiration isn’t there. It’s even more frustrating when the inspiration is there, but you just can’t articulate it. We’ve all been there; it’s a familiar bend in the road for any serious songwriter. But next time you find yourself face to face with a blank staff, try one of these tips to help keep the creative juices flowing.

1) Write outside of your genre.

One of the biggest fears songwriters have is becoming stale — almost everyone reaches a plateau where they become too set in their ways and the creative process suffers. One remedy is to force yourself to write in an unfamiliar genre; nothing expands your harmonic vocabulary and breathes new life into your work like experimenting with new sounds. Examine new songs, analyzing for stylistic elements. What is the predominant meter? What is the compositional structure? What modes are most prominent, and what chord qualities? Is the genre more vertical (chord driven) or horizontal (mode driven)?

2) Collaborate, collaborate, collaborate

A good songwriting partner is one of the most important tools you can use when you’re in a slump. Exchanging ideas is essential for songwriters — it’s the way you develop your craft. Try to find a songwriting partner with different strengths and weaknesses than your own, so you can compensate for each other’s shortcomings. I often work with a songwriter who plays great jazz guitar; whenever I’m in a bind writing a jazz-influenced piece, I have someone to call for help.

3) Listen to music. A lot.

This should be an obvious one, but I’ve heard so many songwriters complain that they don’t have enough time to really study music. Notice I used the word “study”; there’s both an active form and a passive form of listening to music, and if you’re going to improve your writing, you need to do the former. Listen to music like you’re doing homework. Transcribe the melody and create a lead sheet. Study the changes — are there possibilities for chord substitutions? Where is the emotional high and low point of the song? What about the arrangement/production — can you identify every instrument and its place in the mix?

4) Rewrite an existing song.

Don’t worry, I won’t tell anyone. Rewriting an existing song is a great way to get moving again, especially after a long dry spell. Try taking a simple song and creating a complex arrangement. Or take a complex song and try to simplify the harmony as much as you can while maintaining the basic mood. Switch a song’s genre; Alien Ant Farm reworked “Smooth Criminal” as a punk song; could you write “My Own Worst Enemy” as synth-pop?

5) Write every day.

The best way to beat writers block is to avoid it altogether. Songwriting is like creative exercise; the more you do it, the more effective you become and the easier it is to get going. Commit to an hour of writing a day and suddenly the empty staff paper in front of you won’t seem so intimidating after all.

What elements make a song great? Ask a million people and you’ll get a million different answers. I’ve always believed that great songwriting is a delicate balancing act; harmony, melody, rhythm, form, lyric, arrangement, production, and countless other variables must come together in just the right way. And when everything falls into place, it’s one of the greatest joys you could experience.

I’m writing this blog to assist songwriters in finding their muse and reaching their full potential. I’ll discuss song structure and forms, melody and part writing, harmonic theory, ear training, arrangement and production techniques, lyric writing, rhythmic devices, song analysis, commercial writing, and anything else that might be of assistance to writers.

I believe that music is the purest and most unfettered form of expression. Whether it’s the trying strains of a teen’s first love song or the edgy anger of a protest song, music breaks down barriers and gets the message across. Songwriting is a true craft, the goal being to instill an emotional response in the listener. The road to that point requires being a perfectionist, being self-critical and making a strong commitment to learning the craft. With the right mindset, your songs have the potential to change the world. I’m here to help you do that.

-Max Isaacs