June 11 Forge: Why is it so easy to write sad songs, and so hard to write happy ones?

Oh my beleaguered songwriters!

The title says it all. As one anonymous person once commented on this blog, why can't singer/songwriters write something upbeat for a change? The reasons why we like to write sad songs are manifold, so please post your theories in the comments section below. I have some of my own, but right now I am much too depressed to write them. (that's a joke! haha-ha!)

But seriously, we can work on all this mopey melancholy, if we wish. So next Forge for the examined songs on the hot seat, we will discuss whether the song is "sad" or "happy" or something in between. We will also try to give suggestions and techniques that alter the mood of the song. So Forgers, scan your brains, listen to your happiest and saddest songs, and interrogate them, asking why are they so happy or so sad?

Please songwriters of Hamilton and beyond, help us in out quest to answer the eternal question above. Bring us your sad songs, happy songs, and everything in between (bipolar song?). Do not hesitate to contact me to showcase thomas.g.wilson (at) gmail.com .

PS big thank you to Brian for suggesting the topic!

2x the Mono: Science Fantasy

Even spaceship parts require the fiery ovens of the Forge. Check out a demo of 2x the Mono's intergalactic contribution "Science Fantasy" here myspace.com/2xthemono and be prepared to encounter some of his other unidentified singing objects.

"Science Fantasy" By: Randell Neudorf (c) 2007

Epic tales from a future past
Grand adventure with lightening swords
Its Science fantasy
Princess power with good old blasters
Redeemed scoundrels join the battle
Its science fantasy

Action figures brought the fun home
Bought my first one before I saw the show
I must have got the wrong one cause my dad brought me back
I’ll never forget what he did next
He bought one more and said “you need the hero!”

Fallen dark lord, an evil master
Technologic terror tactics
Its science fantasy
One line wonders from bounty hunters
Backgrounds implied so don’t deny
There’s a history

I heard the theme song at my grandma’s house
My uncle was playing it form a record on the shelf
He asked me if I, would like to see the show
He took my brother and I with Grandma in tow
It was a double feature, that’s how I saw the first two

Puppet master, hairy giant
Tin can humor, a golden tongue
Such cute robots
Cool space ships, like flying Lego
All in real time, all in real space
I believed it all

My brother got scared of little green men
But owe did he love the great big hairy one
We loved those movies way past prime
An bought all of the toys form discount bins
Just two poor boys with no chagrin.

Tips to Test Your Mettle: Songwriting Tips

Here's some songwriting tips inspired from our last meeting.

Tip #9 Begin and/or end with a riff.

It is often effective to start your songs with musical riff or hook. If this riff comes from the chorus or bridge, then it can draw the listener as they wait to hear again or are pleasantly surprised when the riff comes up in the later context.

Tip #10 Break your song into its component parts.

I've been thinking that a stronger song shouldn't be dependent on guitar (or piano) riffs like in Tip #9. Try breaking down the songs to its components to test the strength of each. Try singing the song without instrumentation -- do you get lost or does the melody stick? Try humming it or plunking the melody out in single notes on an instrument you are unfamiliar with. Try also reciting words as if they were a poem. Is there a natural rhythm there? 

Tip #11 Make your weaknesses your strengths.

Unlike classical (and  jazz) music, singer/songwriting is an amateur art form. Of course, some musical training can make a world of difference. But most of the time we "make do" with our weaknesses. Even better is when we can turn our weaknesses into our strengths.

If you a weak guitar player, keep your guitar work simple so that you can feature your voice. 

If lyrics are your strong point, make sure your melodies, chord progressions and instrumentation are simple enough that your lyrics can be easily followed.

Conversely, if you find lyrics difficult to write, take your best line (or steal it from a better writer -- a famous novelist or poet) try seeing how many times you can repeat it a keep it interesting. 

Please if anything irks or pleases you in these tips, do not hesitate to leave a comment. Our next Forge is June 11th. Please contact me to showcase.

Basic premise and setup of the Forge

Many performing songwriters find it difficult to get substantial feedback on their songs. Also there are many perceptive fans of songwriting, who do not get the opportunity to voice their opinions.

The Forge is meant to provide a space for both songwriters and fans of songwriting.

There are up to 4 showcasers at each workshop. These showcasers should sign up ahead of time by contacting the host, Tom Wilson, at thomas.g.wilson (at) gmail.com . However, there is sometimes time for last minute arrivals to showcase a song.

The showcasers are also encouraged to send Tom the lyrics of their songs ahead of time, so that they can be posted.

Each showcaser performs one or two songs; and after each song the songwriter receives a comments from the over participants on the strengths/weakness of the song/performance. The song should be complete but not "set in stone" as the purpose of the workshop is give suggestions to refine the song.

The host will also bring up the focussing topic to bring to coherence to workshop, so that everyone can increase their understanding of the different aspects of songwriting.

The Forge Workshop happens at the Freeway Coffee House (333 King St. E.) on the second Wednesday of every month, from 8-10ish pm. There is no cost.

The performers are usually solo, however duos or more work as long as there is not much set-up times needed. There are microphones and a PA, but we haven't always found it necessary to plug in. There is also a keyboard available.

The Beginning of the End: Ins and Outs of Songwriting

Our focussing topic for the next Forge (May 14th) is: Beginnings and Endings.

"Intros" and "Outros" seem to be significantly less popular today than throughout the "progressive" songwriting of the 60s and 70s. These are parts are distinct musically from the main body of the song and, if you will suffer me to speak logically, act as introductions and conclusions. 

Beginnings and Endings can drift in and out like slow boat down a canal or a marching band coming from streets afar, or they strike you and awake you like gunshot or a thunderclap. Do you want to start with a hook or a slow build? What fits?

But we don't need to only look at intros and outros for beginnings and endings. We can look at the first word of the song, the first line or the first verse, and see how each sets the tone. Ditto regarding the last word, etc. of the ending and how it leaves the listener. What feeling or thought has been achieved? Academic writing style guides suggest you alter the syntax (word order) to put the most important word at the sentence's end. 

Suffer me again, songwriter and critics, to make a foolishly metaphysical comment regarding beginnings and ending in song. I hazard to say that all good beginnings are borne out of some greater ending. Like people, songs are not born ex nihilo, out of nothing. From what death is your song born out of? What is the context you wish to evoke (and perhaps subvert) with your song? In regards to endings, what new beginning comes from this end?

But to not get too lost in the outerspace of metaphysics -- let me say pragmatically that beginnings tell your audience "hey, it's time to listen" while the endings say "okay, now clap!" This is a subtle art, so watch experienced performers to pick up on all the ways they queue their audiences. 

Tips to Prod Yourself With: Songwriting Tips

Hello, hello songwriters! 

Have you been heaving your deep drafty artist sighs, feeling you've once again been forgotten? I know I have! But I haven't forgotten to draft up a few tips to goad you into your further artistique excellence. These are tips honed from the last meeting of the Forge. Remember, you songwriters in and around hamilton, to contact me if you are interested in showcasing at the next Forge, on May 14th.

Tip #6

Push your voice. Your singing range WILL increase the more you sing. Don't only push your range of pitch, but your dynamics: how quiet can you sing and still sound good? How loud? How harsh or intense of a tone can you create? How smooth and sultry? Listen closely to yourself and you are sure to extend the colours of your vocal palette. 

Tip #7

Change the key, use a capo. Relate to previous tip: do not hesitate fooling around with the key of the song to find the sweetest part of your voice, or push your voice to its limits. 

Tip #8

Lose the capo. For you guitar players, losing your capo can ultimately be surendipitous. Exploring up the finger board, trying out new chord forms, using open tunings and using open strings  are all ways to revitalise your guitar playing and songwriting.