Mastering Melody Writing (eBook)

Introduction

Discovering The PRA Method

In my Melody MasterClasses, I teach melody to songwriters by coaching them how to make their melodies more memorable.

While explaining the what and how of writing hooky and timeless melodies, I created the PRA Method to conjure the intangible of melody-making into graspable parts.

Three key elements for writing memorable songs and melodies are encapsulated in the PRA Method:

1. Pattern
2. Repetition
3. Arc

Because each part builds upon the other, much like a beautiful melody, I think it’s best to learn the PRA Method in this order.

In Chapter 1, we look at Melodic Patterns.

I like to think of it this way: a song’s melody consists of a series of melody notes arranged in rhythmic patterns.

In the Patterns section, you will learn to:

- Recognize patterns

- Write more memorable patterns

- Understand melody, rhythm, chords, and rhymes

In Chapter 2, we look at Repetition.

Repetition is the art of repeating melodic, harmonic, and rhythmic patterns in a memorable way. A successful song uses repeated patterns to engage the listener and leave a lasting impression.

In this section, you’ll learn to:

- Create symmetry between melody, chords, and rhythm

- Compose variant repeating patterns of melody, chords, and rhythm

- Recognize Hotspots

And, finally, in Chapter 3, we look at Arc.

The arc of a song is the rise and fall of the melodic story. I believe successful song melodies tell stories both separately and in conjunction with the lyrics of the song.

Melody tells a story through emotion and sound, rather than words.

In this section you will learn to:

- Arrange repeated patterns into a memorable song arc

- Build an emotional story from beginning to end

- Recognize the role of each song section.

Just as we are riveted by a well-told story, we should get hooked by well-told, well-written melodies. In Mastering Melody Writing I will demonstrate how to tell a good song story using the three elements of the PRA Method.

Inspired vs. Reactive Listening

Inspired Listening is a personal songwriting habit I developed in the early days of my own creative journey and a method I recommend to every aspiring songwriter.

Inspired Listening to songs means noticing what we like about a particular song and then analyzing which elements inspire or hook us. We can file these elements away and recall them later. The goal is to channel them into our own music. Inspired listening gives us the opportunity to grow.

Reactive Listening to songs is opinion-based and serves little purpose other than reinforcing what we already think we know about music. It often involves making negative and dismissive assessments. Too many times I have heard bitter or frustrated aspiring songwriters say, “I could write a better song than those songs I hear on the radio.” Or, “Every song on the radio sounds the same.” Or, “I hate today’s hip hop (or country or opera or classical or bluegrass…).” Reactive Listening rarely helps a songwriter improve.

Songs are ultimately a conversation between the writer, singer, and audience. So, part of becoming an accomplished songwriter is understanding your listeners. What do they find interesting about songs in a particular style? How are they emotionally connecting? Perhaps it’s the cool way the vocal plays off the guitar riff, or the way the song begins with the chorus instead of the verse, or maybe it’s simply a beautiful series of notes. Spend some time being curious about what makes a popular song appeal to the listener’s ear—so much so that it got recorded and played over and over. Train yourself to listen with an inspired, appreciative, open attitude. Remember, the goal of Inspired Listening is to discover methods and techniques that you can file away to incorporate into your own yet-to-be-written songs.

I recommend searching for inspiration in every song you hear, and then, spending some time thinking, “What about this element appeals to me?” I am always listening for tools I can add to my own songwriting toolbox. Deliberately seek out genres of music you would “never” listen to and, again, find something about each song in that genre that works or makes it hooky and compelling. Try putting yourself in that audience’s seat.

I make it a regular practice to set aside time each week to just listen to new music. I encourage you to do the same. Soak in a variety of styles, sounds, and genres. Listening to music you came of age to is okay, but those songs are already embedded into your DNA. So, it’s especially beneficial to get outside your comfort zone.

Inspired Listening is the first step in a series of techniques included in Mastering Melody Writing to soak the ideas and methodology into your bones so your melodic storytelling comes alive.

The Songwriter as “Corporation You”

I once heard writer and musician John Mayer say each songwriter is like a corporation. Every time the songwriter learns some new method or skill, or picks up a trick from someone else’s writing, playing or singing, it’s akin to a corporation acquiring the assets of another company. You can file it away and pull out the technique when it fits a future song. “Oh, I love how the melody went down in pitch for the chorus section. It really has a chill vibe. I’m going to try that in my next song.”

In Mastering Melody Writing, yes, I’m giving you tools I’ve used successfully. But, not only do I want to help you incorporate the PRA elements into your songwriting “corporation,” I hope to teach you how to recognize and acquire new ones for your own melodies.

You’ll soon be listening to songs and melodies differently and discovering your own distinctions, tools, and methods!

Turning Anything into a Melody: The Talk/Sing Method

Once, early in my songwriting career, I was driving to a co-writing session with Hall-of-Fame songwriter Rory Bourke. Traffic was extremely slow that day. I rushed into the writing room and frantically said, “I’m so sorry that I’m late.” Immediately, Rory sang what I had just said: “I’m so sorry… that I’m… late.” I chuckled, but when he continued to repeat little things I said throughout the co-writing session and at lunch that day, I got a little annoyed.

However, over the next few weeks, I found myself doing the same thing in everyday life. I’d hear an actor say something in a movie and immediately, without thinking, sing back the phrase. A friend would say something in conversation and I’d repeat it back with a melody. It was as if I had caught a melody disease!

Over time, I started to notice it was easier and easier to conjure new melodies while songwriting. Singing what I or someone else was saying was teaching me how to turn phrases into melodies in a seamless way—in an instinctual way. I was shortening the distance between lyrical thought and the melody of a song, striking closer to the emotion of the words. Oh, and by the way, some of those phrases Rory sang back to me turned into great songs! I still do this exercise to this day. I owe Rory a big thanks for teaching me this valuable technique!

I encourage you to use this technique with phrases you hear on TV, on the radio, or in everyday situations. This will help train you to intuitively fit phrases into melody and rhythm. No thinking or filtering, just sing. For this melody muscle builder, remember there is no wrong way to sing a line. It’s all about shortening the lag time between thinking words and breathing musical emotion into them. So, sing away!

Mastering Melody Writing Includes an Interactive Resource Website

Throughout this book, I will be referring to numerous musical examples that illustrate techniques you will be learning. Rather than have you chase down all the songs yourself, I’ve put together a resource website as a companion to this book. You’ll find all the song examples I mention organized by chapters. I’ve also included some bonus lesson videos for you as well. Simply go to www.songtownpress.com and click on Mastering Melody Writing to access your resources.

I recommend keeping a blank notebook dedicated to Mastering Melody Writing for your Inspired Listening and for the “Put into Practice” exercises within this book. Creating your own companion workbook gives you an invaluable reference moving forward until these practices become second nature.

Glossary

I’ve included a short glossary at the back of this book of some terms, concepts, and methods I’ve developed over years of teaching. Also, you’ll find some inside lingo in the glossary...