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Songwriting and
Producing Music
Online Bachelor’s Degree Major
Begin a new musical journey.
Berklee College of Music was founded on the revolutionary
principle that the best way to prepare students for careers
in music is through the study and practice of contemporary
music.
Degree Highlights
BASIC TERMS TO
UNDERSTAND One of the most important skills for any
Pop Filter
A pop filter is a fabric, mesh,
self-producing songwriter is knowing how
or metallic filter used to block
the rush of air toward the to record vocals.
microphone created by the
vocalist, called a plosive. Plosives Vocal Recording Setup
cause the microphone to distort
or cause low-frequency boom,
usually on Ps and Bs. Always
When setting up to record vocals, keep in mind all of the terms
use a pop filter to prevent this you see in the sidebar. Your ultimate goal is to get a high-
problem.
quality recording the first time to avoid a lot of damage control
Proximity Effect in the mix later. The most common problems in vocal recording
The proximity effect is an
increase in bass or low frequency
come from bad microphone techniques, especially from
response when a sound source plosives and proximity effect. For vocal recording, you should
is close to a microphone.
Remember this when placing use a condenser microphone in cardioid.
your vocalist, so your recording
doesn’t sound boomy, muddy,
and unclear. Watch Video
Watch Video
Watch Videos
Just like guitar recording, layering vocals is a good technique to beef up the
arrangement, especially in choruses. DO NOT copy and paste your comp
track; it will only create phasing problems layer. You should always record
the vocalist several times, in unison, to layer the vocal tracks. It is also useful
to pan them throughout the stereo spectrum, to make the vocal parts lush
and full.
Watch Videos
Chrissy Tignor Fisher is a full-time faculty member in the Contemporary Writing and
Production department at Berklee College of Music. She is a producer, songwriter, recording
engineer, and vocalist who has worked with the likes of Alex Clare, Gary Go, Bastille, Lauren
Hashian, and Notting Hill Music. Her music has been synched on Discovery Channel and TLC,
and she currently produces, writes, and remixes under the pseudonym Data Child.
By Peter Bell
and the brand Nike for years, so the famous graphic logo is
now synonymous with the brand. When we see the swoosh, we
don’t need any other information, we know it’s Nike. The Nike
swoosh doesn’t even need to have the name affixed. Everyone
knows what it means. The same principle pertains to logos that
are musical rather than graphic. In broadcast advertising, there
are musical phrases that are just as ingrained in our ears as the
Nike swoosh is in our eyes.
As a composer, you can choose melody notes that emphasize the business name or tagline by
selecting any or all of the following:
By Neil Diercks
“Who Is Cutting?”
“What Are They Looking For?”
“What are they looking for?”: This question is simply asking for
any details about the characteristics of songs specific artists are
wanting to record.
“Who Is Cutting?”
There are many artists in the music industry. Not all are
scheduled to be recording and not all are looking for “outside
songs” (meaning songs not written by the artist). Writing a
song for an artist who has no current plans to record and/or
doesn’t plan to record any outside material might be fun, but
it’s usually not very productive.
Knowing which artists are recording and are looking for songs
helps narrow your team’s focus.
As you can see from what I’ve described, Pitch Lists tend to be
available to only those “inside” the music industry. (Don’t start
bullet pointing your complaints. That list may rhyme with “Pitch
List,” but it’s an entirely different kind of list, and just not as
productive!)
Take a look at the sample Pitch List, and pick a project for you
and your collaborator(s) to start. Even if you don’t have the
industry connections to pitch to the actual artists right now,
you’ll at least have a new song in your suitcase, and you’ll be
able to see how closely you were able to write to the artists’
parameters when their next albums eventually come out.
Marc E. Bassy Fun summer songs and ballad like John Legend’s Oct - Dec
of "All of Me"
Jason Aldean Rootsy country, southern rock, think modern day Nov - Jan
"Sweet Home Alabama" and "Life in the Fast
Lane," with references to Georgia a plus
Shawn Think "Thinking Out Loud" Now - Dec
Mendes
Niall Horan Thoughtful but fun, think "Took a Pill in Ibiza" Sept - Oct
Neil Diercks is a Los Angeles-based songwriter, song coach, and musician. He served for many years in various
capacities at Warner/Chappell Music, Inc., in Nashville, beginning as an intern and eventually becoming
Manager of A&R Activities. It was within this role that he worked with hit songwriters including Gary Burr, Steve
Bogard, Stephony Smith, Jeff Stevens, and Victoria Shaw, who penned hits for artists such as Tim McGraw,
Garth Brooks, George Strait, Trisha Yearwood, Faith Hill, Ricky Martin, and Christina Aguilera.
By Suzanne Dean
Keep in mind that the song forms presented here represent the
most common song forms. Since song forms differ from song to
song, not every song will conform to one of these examples.
Coda (Outro)
The coda (outro), or ending of a tune, can be many things. Two
possibilities are a vamp or tag, which are repeated bars at the
end. Vamping usually refers to the rhythm section playing a
repeated section of chords, and often will have the direction
of “repeat and fade.” Tag refers more specifically to repeating
the last few bars of the tune itself, usually culminating in a
heightened dynamic feeling on the final beat.
Verse
The verse tells the story of the song. Verses generally have
different lyrics in each musical repetition, while the melody and
harmony stay essentially the same. Some songs feature verse
lyrics that are different from verse to verse, but touch upon
the same certain phrases in different ways. “Fields of Gold” by
Sting is a good example of this.
• Does a certain musical event, such as a guitar lick or a sample, create an interesting musical
result that should be featured or downplayed?
Certain music genres have specific common practices as to what is more prominent and what is
considered a “color” detail.
Pop-Rock Hip-Hop
A typical pop-rock song will have the lead A hip-hop mix will typically have a dry and up-
vocal, drums (with snare on top of them), and front lead vocal with heavy, big low-end kick
guitars, most likely in that order, as the louder and bass, drastic transitions for vocal tracks,
sounds in the mix, while keeping some strings from dry and centered to processed or not,
or keyboard pads, ethnic percussion sounds, but duplicated and hard panned, stressing
and some other sound components lower in certain phrases.
the mix.
Latin
Hard Rock Some Latin music genres, like salsa, have a
On the other hand, a hard rock mix will very up-front percussion component. Since
have more distorted guitars and less of the percussion is essential for dancing to this
guttural lead vocal, everybody loud, with music, the various percussion instruments
usually no dramatic level changes, and almost need to be spread all over the stereo field
no depth. This might sound like a bad thing, and placed at prominent levels, while keeping
but it perfectly matches the reality of a band the main vocal message on top, but usually
performing this music, and so is the type of downgrading guitars or keyboard pads, etc.
message that needs to be transmitted.
ABACB
R&B and Hip-Hop ABABC
ABAB
Dance AABAAB
ABC
AB
AAAA
Jazz ABCD
ABC
AB
Refrain
The refrain appears at the end of every verse. The lyrics for
the refrain will always be the same. Typically, the refrain is the
most memorable part of a song, called the hook. The words
presented in the refrain are often reflected in the song title.
The refrain is usually the shortest part of the song. Think about
the refrain in “The Times They Are A-Changin’” by Bob Dylan.
In this case, the refrain is the title phrase, a one-line tag that
comes after each eight-line stanza.
Chorus
The chorus usually stands alone from the verse. Like the
refrain, it can be used to present the hook or title of the song.
However, a chorus can be different from a refrain in that it may
not come after every verse, and it can lead to a new section
of the song. A chorus is generally longer than a refrain, usually
eight bars.
Transitional Bridge
A transitional bridge connects the verse to a chorus. A
transitional bridge, also known as a prechorus, is used to help
connect the verse to the chorus and give the feeling of forward
motion leading into the chorus. Listen to “After the Love Has
Gone” by Earth, Wind & Fire, and you’ll hear the transitional
bridge at the “something happened along the way” part.
Primary Bridge
A primary bridge usually comes later in a song, after some
verses and at least one chorus. It may return to another chorus
or just continue to the end of the song. In some cases it can
return to a prechorus, then chorus, or it can even return to a
final additional verse. It provides contrast, both musically and
lyrically, to the verses and choruses. Think of the “Dear Daddy,
I write you, in spite of years of silence” portion of “Say It Ain’t
So” by Weezer.
Suzanne Dean has taught at Berklee College of Music since 1997. She is an
arranger, educator, composer, keyboardist, and vocalist who has released two
albums on Nova Records and worked as an orchestrator for the CBS television
network. She is a member of Broadcast Music Inc., and the National Academy
of Recording Arts and Sciences.
*Arranging 1: Rhythm Section is one of the many elective courses you may
take as part of your Songwriting and Producing Music degree major
By Brad Hatfield
Film
The income trail that results from a successful placement in a
major motion picture is a long one. Even a small indie film will
deliver some peripheral income from broadcast on TV or other
broadcast technology.
2. Performance Royalties
A. Foreign Theatrical Release
B. US and Foreign Subscription Broadcast Television
HBO, Showtime, Cinemax, Etc.
C. Radio Airplay - Foreign and Domestic
D. US & Foreign Network TV Broadcast Television
E. Stage Shows Based on the Film
Television
The use of songs in network television series as a dramatic tool
and atmosphere creator is on the rise. Even if a song is not the
most prominent part of a scene, there are many types of song
usages that will still earn the writer some great royalties once it
is included in a show. Songs that are played in the background
of a bar or café scene still need to be licensed, and if the show
is successful, such a licensed song will continue to earn money
for the writer as it moves through repeated broadcasts.
Personal Insight
I wrote several songs that were used in the popular HBO
show The Sopranos. It was to my great surprise that when
technology to view the show on a cell phone became a reality, I
had a licensing income windfall because the initial licensing did
not include that method of distribution!
Animated Film
With Disney classics as the most salient examples, this medium
for songs creates an unbelievable cross-marketing opportunity
for soundtrack CDs (yes, actual CDs, since parents still tend
to buy physical products for their kids), downloads, DVDs, ice
shows, radio airplay, Broadway versions, sheet music, toys, and
other merchandise. Licensing fees and royalties from many of
these peripheral usages can add up to a substantial amount of
income for a songwriter.
There are many other outlets in visual media for your songs,
and many more outlets yet to be discovered. More than ever,
entrepreneurs of all types are moving their storefront to the
Internet, and often need some great music for their sites. I’ve
had a few of my instrumental songs licensed for use on sites
displaying visual artists’ and photographers’ works. There will
forever be a use for good songs, and if you write them so they
work instrumentally, as well as vocally, they will serve you well
for many years.
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