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Showing posts with label Nashville Tennessee. Show all posts
Showing posts with label Nashville Tennessee. Show all posts

Monday, November 11, 2013

3 Crucial Whys & Hows to Get Out of Your Writing Comfort Zone

3 Crucial Whys & Hows to Get Out of Your Writing Comfort Zone
Written by Cliff Goldmacher
One of the many challenges we songwriters face is that we’re tasked not only with creating something from nothing, but our “somethings” need to be unique – and not only compared to what others have written but also compared to what we’ve written before. This is no small feat, and the moment you think you’ve “figured it out” as a songwriter is exactly when you need to leave your creative safe place and shake things up again. To help you along the way, I’ve listed a few “whys” and “hows” to get you out of your songwriting comfort zone.
The Whys
1. You’ll demonstrate your versatility to music industry decision makers.
By showing you’re not afraid to experiment and explore new musical and lyrical territory and be a bit left of center, you’ll show those in the industry - whether publishers, record label execs or music supervisors - that they can consider you and your music for a wide variety of projects. This can be essential when one area dries up and the industry is looking for something new.
2. You’ll broaden your opportunities for collaboration.
Quite simply, the more styles and approaches that you’re comfortable writing in, the more collaborations you’ll be suited for. The flexibility that you’ll develop by not writing the same style of song in the same way will help you step into a variety of co-writing situations. This concept of new and different collaborators is also a fundamental part of the “how” to leave your songwriting comfort zone.
3. You’ll keep yourself - and the people who listen to your songs - from getting bored.
Songwriting is difficult enough, but heaven help you if your motivation to write starts to fade. By challenging yourself with new songwriting approaches, you’ll stay engaged in the process. And, better yet, your core group of listeners and industry contacts will also stay interested in what you’re doing. It’s just as dangerous to have those folks lose interest due to the sameness of your songs as it is for you to lose your motivation.
The Hows
1. Put down your instrument.
We’re often limited in our songwriting by how well or in what style we play an instrument. Work on the melody (and the lyric) without your trusty guitar or piano, and you’ll be amazed at the new places your songwriting will go.
2. Vary your rhyming approach.
A typical songwriting mistake is to use rhymes that are so predictable that the listener knows exactly how the line will end before you get there. Look for unpredictable rhymes, which not only tell a more unique story but surprise the listener when they arrive. You can also deviate from your normal rhyming patterns and make use of internal rhymes to add an interesting touch both lyrically and vocally. Little variations like these can open up brand new areas in your writing with very little effort.
3. Write with new collaborators.
As I discussed earlier, varied collaborations are an excellent way of keeping your songwriting fresh. Even if your idea is unique, going to the same collaborator over and over will most likely result in a similar sounding song, no matter how new the idea. As much as possible, resist the temptation to fall back on the familiar. There’s also the fabulously motiving element of fear. It’s always a little nerve-wracking to go to a new co-write, but it’s that same nervous energy that creates great art!
It’s almost unfair - after you’ve spent all that time learning your craft and honing your songwriting approach to a fine point - to tell you to change it all up again. However, the benefits mentioned above, which come from stepping outside of your comfort zone, will far outweigh the extra work and mental gymnastics required. As I’m fond of reminding myself (when I’m resisting what I know will be good for me), fortune favors the bold.
Good luck!
Bio
Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter including monthly online webinars. Go to http://www.educatedsongwriter.com/webinar/ for the latest schedule.
Cliff’s company, http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos.
You can download a FREE sample of Cliff’s eBook “The Songwriter’s Guide To Recording Professional Demos” by going to http://www.EducatedSongwriter.com/ebook.
Facebook: www.facebook.com/EducatedSongwriter
Twitter: @edusongwriter

Wednesday, September 18, 2013

Make Videos That Fit The Artist and The Audience [Leadership Music Summit Panel]


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Make Videos That Fit The Artist and The Audience [Leadership Music Summit Panel]
An unlikely sounding panel at this week's Leadership Music Summit in Nashville, "Bringing Content to Fruition," kicked off a lively discussion about videos, music marketing and even a bit about building and monetizing a relationship with an audience for the long haul. Opinions varied but all seemed to agree that most choices come down to creating videos that fit both the artist and the audience.
Tuesday's Leadership Music Summit featured numerous talks and panels. A discussion focused on "creating video content...to expand a band/brand's message" touched on a number of interesting points.
Moderated by Hit Shop Records' David Ross, the panel included:
Stokes Nielson - Stokes Tunes/Country Now
Dez Dickerson - The Pavilion Group
Jamin Guy - Streamweaver
Brody Harper - Skorinc
Jared Scheel - Populr.me
High Points of the Discussion
Stokes Nielson got things going early with the audacious statement that musicians should be making videos because they're the "most effective way to communicate with other human beings."
Later Jared Scheel pointed out that video is an "incredible storytelling platform."
But to unleash the power of video, from music videos to backstage chronicles, many of the panelists spoke to different aspects of authenticity.
Dez Dickerson shared the first of many concepts he uses, in this case, to understand the act's "DNA" as a way of maintaining authenticity:
Who are we?
What do we do?
What are we doing it for?
By discussing such questions a band and team can then more easily evaluate a video project and whether or not it's appropriate for the act and the audience.
The panelists also discussed the fact that fitting both the act and the audience can affect such issues as production values. A new act has less money so a low-budget look is appropriate. More established acts are expected to have higher and therefore more expensive production values.
But this was one of the spots where panelists resisted formulating a one size fits all approach.
Stokes Nielson pointed out that first looks are so important that it can make sense for an emerging act to spend more money to make a strong first impression.
While Brody Harper says they've found with bigger stars that more off-the-cuff videos can work cause it offers a more human connection than fans are feeling from social media. On social media, they don't know if a tweet is actually written by an artist or by a team. When the artist is sitting there adjusting their webcame, it's a much more intimate moment even when watched by a large audience.
Other Tips and Insights
Stokes Nielson encouraged musicians to do collabs on YouTube to reach their audiences. In particular, he pointed out that YouTube stars are likely to be open to a collab with a musician as simply a cool thing to do, so reach out.
Jamin Guy suggested making sure your video works for all devices. Sure, it plays, but how does it actually look when played on a big screen vs. a smartphone screen.
Videos are a powerful tool for building relationships with one's audience. Dez Dickerson maintained that the long-term play is a shift from a transactional approach (i.e., buy this new release) to a relational approach (i.e., let's get to know each other so we can be friends for a long time).
As Dickerson pointed out, a hit doesn't necessarily translate into a music career. But if you have an audience, you can have a career.
Hypebot Senior Contributor Clyde Smith (@fluxresearch/@crowdfundingm) also blogs at Flux Research and Crowdfunding For Musicians.

Wednesday, September 11, 2013

Random word match


Open up a book and select a random word from it, then try to relate that word back to what it is you're trying to do. There are certainly ways the words can relate, you just have to find them.
I like this creative idea, I have read about this for songwriters that like to write lyrics for their songs, I'm more of an instrumental songwriter myself. But for lyricists this is great. But you have to be in music to use this technique. But this is how I relate to it.