What Can Business Learn from Songwriters?

I was kindly invited by Soren Trampedach and Work Club Global, in collaboration with the Sydney-based organisation Affectors, to present an information session on some of the Screen Shot 2016-07-15 at 4.13.55 pmcraft and process of a songwriter and musician. The audience were entrepreneurs and culture creators. The discussion that came about found fascinating interplays between language in song and language in all types of communication.

An excerpt is provided below, but you can read the whole article and listen to the discussion by clicking HERE.

Keppie played with language, testing us all on our ability to recall certain words, she shared the theory and the practice of song craft and she played some beautiful indie folk tunes that were open to interpretation.

And in the space of 2 hours, relaxing on a lounge enjoying wine and cheese, I learned three business relevant insights:

1. We must show people what we mean, rather than tell them, even if it’s with their imagination. We can do this by painting a picture with words that our audience can relate to.

2. Sense based language is far more memorable than task orientated words. When I talk about a strategy and use words like ‘approach’ and ‘task’ they don’t stay in the mind as easily as nouns (Keppie proved this with an audience participation experiment). So I’m going to re-evaluate my language and look to bring more colour to ‘strategic dialogue’ in future.

3. Evocative words, memorable language, losing yourself in the music – all of these create an experience in music that’s carefully crafted around notes, but also silences, pauses and spaces. We can be afraid of silence and so keen to fill it – but what if we don’t? What if we allow people to create meaning and to connect with us in the same way they connect with a piece of music. Wouldn’t this allow us to have far more interesting relationships?

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The Secrets of Successful Collaboration

Reposting here a short article I wrote for ASCAP a while ago, with some thoughts and musings about successful collaborations, and some of the transformations that can happen in the process…

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SECRETS OF SUCCESSFUL COLLABORATIONS

Creative collaboration is very much like dating. I can’t think of any other experience that comes close to the strange alchemy that either happens, or doesn’t. Everyone has that person in their life, someone you really admired and were absolutely sure if they just returned the admiration that you would dance, heel-clicking, off into the horizon…only to discover that your dream came half-true. You DID get close to that person, and found out that they only brush their teeth twice a week. Or yell at their mother. Or give you dirty looks when you eat meat. The idea of what you think your partnership will be doesn’t turn out to have the right chemistry even though you were sure it would. Well, creative collaboration is very similar, and also similar in the way that you get better at predicting success, knowing what to look for, being totally fine when it doesn’t work out, and counting your lucky stars when it does.

The article continues here: ASCAP

Eagle Rock Fall Songwriters Retreat

 

EAGLE ROCK SONGWRITERS RETREAT – OCTOBER 8 2011

 

Former Berklee Songwriting faculty Keppie Coutts presents the Eagle Rock Fall Songwriters Retreat on Sunday, October 8!

 

Fall Retreat will involve a series of creative exercises and time-proven writing techniques in the morning, equipping you with processes to bring your unique perspective and voice to the page. The afternoon will consist of song listening and feedback, giving you insight into the tools, techniques and strategies used by professional songwriters to generate ideas, develop, revise, edit, and fine-tune their songs. Fall Retreat will be a small and focused group, building strong connections, community, empowering participants to develop their creative processes and write the best songs possible!

 

In order to keep the retreat focused, the group is limited to 10 people, on a first come first served basis. REGISTER TODAY to secure your spot, by visiting www.kcsongstudio.com or by emailing kcsongstudio@gmail.com.

 

COST:

$80 Early Bird Discount (signed up by September 15)
$100 (after September 15)
$90 (Member Affiliations – West Coast Songwriters, Berklee Alum, previous attendees)

 

The Whole Brain Process

In 1968, a psychologist called Roger W. Sperry published his groundbreaking study that showed that the two hemispheres of the human brain – the left and the right – process information in very distinct ways. Since then, there has been a lot of research and interest in left-brain and right-brain theories, and how this relates to creativity.

One thing is for sure – songwriting is a Whole Brain process. It requires you to access your ‘right brain’ mode of cognition, when you are gathering ideas, making connections, being inspired, finding out what the deeper meaning of your work is, or even letting your subconscious figure out the right word, image or line.

It also requires you to access the ‘left brain’ mode, when you putting your ideas into a structure, making decisions about rhyme scheme and meter, cutting out lines, switching verses, rewriting melodies, testing out different points of view, checking for consistency in your tenses, and cutting out all the times you use the words ‘just’ or ‘really’ in your song!

Most of us relate to one part of the process more than the other. We might be ‘right-brain’ dominant, and find it really easy to get inspired, to have lists of beautiful images, to spill something heartfelt onto the page. Or we might be more ‘left-brain’ oriented – deciding on a song form early on, setting the meter or melody early and challenging ourselves to find word combinations that sit within that structure, choosing and interesting, challenging, and unusual rhyme scheme from the start.

Either way, at some point, we need to engage with all of it, and that is what ‘songwriting is’ – it is inspiration and imagination within a structure and a pattern.

For more reading about left-brain and right-brain cognition in the creative process, I recommend these books:

  • ‘Songwriting and the Creative Process’, by Steve Gillette (Chapter 7)
  • Sheila Davis has written about these topics in ‘Successful Lyric Writing’ and ‘The Songwriter’s Idea Book’.
  • ‘Drawing from the Right Side of the Brain’, Betty Edwards.

Getting Fruitful Feedback – (Eagle Rock Songwriters Retreat this weekend!)

One the most important things in the journey of a songwriter is being part of a community who can give you helpful feedback. Your friends, parents and audience will always be more than willing to tell you how much they love your songs (aka how much they just love you), and sometimes how much they don’t. Alas, while this feedback can be a joyous validation or an ego-rattling slap, it rarely helps your songs actually improve. There is hope! Other songwriters with the experience and vocabulary of songwriting are often the best community to tell you a) what works and why, and b) what could use development and why. The WHY part is so important, and requires more than just “I wasn’t feeling it there”.

I encourage you to seek out opportunities to be with other songwriters, whether it’s local organizations, regional camps or workshops, or annual conferences. Berklee College of Music has a wonderful online school (berkleemusic.com).

In the spirit of this community, I am hosting the first Eagle Rock Songwriters Retreat this coming Sunday, in east Los Angeles. If you are in the area and would like to come along, follow this link: kcsongstudio.com/workshops/spring-workshop-sign-up

Listen to What People are Listening to

In 2008, I had a extraordinary experience of spending a week with John Mayer, working on tunes and at the end of the week taking a song into the studio and having Mayer produce it. I made a point of absorbing as much as I could during that week. It was visceral and obvious that Mayer has certain habits that contribute to his success.
The first habit I noticed is most likely one shared by many successful people: being prepared, doing your research, and knowing your audience – whatever it is. It was obvious that this permeates Mayer’s whole mode of existing. He has an incredibly broad vocabulary on popular music over the past 40 years. He referenced artists, bands and songs, could play most of what he was referencing, and was obviously literate in it, not in an academic way, but in the way of someone who has a ‘sticky curiosity’ – a genuine interest that is aggressive and passionate. He makes it his business to know EVERYDAY what is in the Top 20 – not to imitate by any means, but to know what the trends are. To know what people are listening to, no matter what you think of it. Ultimately you’ll have your tastes and preferences, whatever they are, but a good exercise as a musician and songwriter is to listen to everything (especially the popular stuff) and think to yourself: ‘What is one thing that is good about this? What’s one thing I would do differently? Why do people like this?’

No one is ever going to force you to write ‘Top 40’ music, but having an active curiosity about what people like and why they like it can help bridge the gap between your own authentic voice, and effectively communicating what you have to say to a listening audience.