Can you really teach someone to write better songs?

I so often get asked whether it’s really possible to teach someone how to write a song. There still seems to be a mysterious veil of magic and witchcraft about it, that is very fuelled by interviews with songwriters talking about channeling the muse.

It turns out that songwriting is really like anything else. You can name the parts and elements, see how people have used them in the past, and use that vocabulary to understand how songwriters are currently using and innovating on those elements, as well as possibilities for other innovations. The same is true in visual art, design, creative writing…and there appears to be no cultural attachment to the idea of the muse—or pure inspiration—as the singular route for successful creation in those domains. And yet, somehow (sigh), it persists in the realm of songwriting.

I thought I’d offer a glimpse into the inside of the songwriting classroom. This is an exercise I posted for my Songwriting Workshop group at the Sydney Conservatorium of Music’s Open Academy recently. We had a lengthy discussion about the importance of reflecting a lyric’s natural syllabic stress pattern in the melody. Melody—like language—has strong and weak beats, and if we don’t match the pattern between lyric and melody, whacky (and generally yuck) things start to happen. At best, you get Katy Perry’s unCONdiTIONallY. At worst, you start to erode the intelligibility, and therefore emotional resonance of your song. Lyrics become wallpaper. And in my experience, there is a self-fulfilling prophecy in the life of the songwriter: if you believe lyrics are mere wallpaper, you will write lyrics that end up as wallpaper. But as soon as you believe that people might listen to and care about lyrics, you suddenly start writing lyrics that people listen to and care about. Part of this is making sure they can be understood, and that they are conveyed with the full force of expression and emotion, which in English, is conveyed by patterns of stressed and unstressed syllables.

So this Songwriting Assignment first sets out to take a lyric, and set it melody, taking care to set the lyric to a melody that retains that natural pattern.

Secondly, the task here then hones in on 3 melodic tools for creating contrast between sections, ensuring that when you move to the Chorus, it will be felt emotionally.

Without further ado…

You can grab a lyric to work with by heading over to the YouTube channel here—it’s posted in the description under the video. And yes, please subscribe to the channel!