Songwriter Theory Podcast: Learn Songwriting And Write Meaningful Lyrics and Songs

We're talking about the only songwriting tip that ultimately matters and an important announcement. ►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/

►► Download the 6-Step Lyric Writing Checklist here: https://songwritertheory.com/lyricchecklist/ In this episode of the Songwriter Theory Podcast, we talk about the power of parallelism in your lyrics, why bridges are the perfect song section to start utilizing modes and borrowed chords, the art of subtly different song structure in our songs, non-lazy songwriting, and more! We're going off of the great song 100 Years by Five for Fighting for this episode. 0:00 Intro 2:51 The Power of Parallelism In Lyrics 12:59 Where To Use Modes and Borrowed Chords In Your Songs 35:32 Changing Up Song Song Structure 50:00 The Art of Non-Lazy Songwriting 1:08:36 Should We Have Our Song Title In The First Line? #SongwriterTheory #JosephVadala

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/   In this episode of the new format of the Songwriter Theory Podcast, we're learning about Hook Writing, 3rd Verses, Wordplay, and more off of the song Everything You Want by my favorite artist,  @VerticalHorizonMusic  . We'll be covering what we can learn about hook writing, lyric writing, song structure, and more in this episode. Let's talk about it!

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this bonus episode of the Songwriter Theory Podcast, we're talking about your biggest songwriting struggles. We're going to talk through and attempt to give the solution or some advice as to how to get past the struggles you're having in your songwriting. Transcript: We're back with another bonus episode of the Songwriter Theory podcast. It's going to be part eight of addressing your biggest songwriting struggles. No, I didn't forget about this series. Just didn't have time for a hot second, but we're back. We're going to finish out responding to these, not necessarily in this episode, unless actually, almost certainly we're not going to finish in this episode. No, it's not important to have watched the other ones. If you're thinking, Oh my goodness, part eight, do I have to go watch the other ones? No, they're all self-contained. Each one is me addressing different of your responses to this survey that I sent out. And whether you are somebody that actually responded to this and you're waiting to hear specifically what I have to say about your songwriting struggle and maybe the advice I give or whatever it might be. But also you might be somebody who shares a struggle with another songwriter out there. In fact, in going through these, I've realized, wow, there are a lot of themes that come up over and over. So there might be something in here to help you as well. Let's talk about it. Hello, friend. Welcome to another episode of the songwriter theory podcast. Another bonus episode talking about your biggest songwriting struggles. If you haven't already, be sure to grab my free guide. 20 different ways to start writing a song, starting songs and finishing songs or some of the recurring themes that come up here. And this free guide will help you with starting songs. It's a cheat sheet now. It's much shorter. It's very easy, practical to apply. Great way to stay creatively fresh. And just it's good to have a variety instead of being stuck in one way to start a song, especially because sometimes the one way to start a song isn't actually what's best for us. Maybe you've always started a song writing lyrics first and you haven't even contemplated that maybe an easier way to write songs for you is actually starting on the music side. Maybe something specific like a bass line or a guitar riff or chord progression. Regardless, it's a great way to mix things up. Songwritertheory.com slash free guide. Let's dive into question or feedback, I guess. Response. There's the word. Number one, lately I've been having trouble getting into the flow and starting a project and or staying focused. It's a big problem in today's society. Yes, yes, it is. Also, I have trouble finishing projects and following through and letting them out into the world. I'm not very experienced at the mixing process, but I know what sounds good, at least to me. I know I can figure out how to use the mixing tools in Ableton Live 11 Suite, which I recently acquired. Not an EDM artist, however, Ableton is perfect for the kind of music I want to play and I'm playing with all of its tweakable sounds and effects and features. But I feel like my music is so far removed from the mainstream that there's no point in putting it out there because A, no one is going to like it or listen to it. And B, I want people to hear it. But that's not the most important thing.(...) I like I make music because it's what I've always done. I'm originally a singer songwriter and trying new things with Ableton on keyboard guitars, bass drums. Do I need an attitude adjustment? Should I go back to busking on 9th Street with my classical guitar in harmonica? What do you think? 0:00 Intro 3:26 I Have Trouble Getting Into a Songwriting Flow! 8:41 I Have Trouble Staying Focused On Songwriting! 16:44 Who Will Even Care About My Music? 24:19 I Struggle Writing Melodies! 33:06 I Struggle with Metaphors In My Lyrics!

►► Download the 4 Pillars of Music Theory For Songwriters Guide here: http://songwritertheory.com/musictheoryguide/ In this episode of the Songwriter Theory Podcast, we're talking about how I'd learn songwriting if I had to start over. After writing songs and continuing to learn for around 20 years, I'd certainly do things differently if I had the chance to do it all again. So, in this podcast I'm going to walk you through exactly what I would do in what order if I had to learn songwriting from scratch. What I'd do if I wanted to learn songwriting but had never written a single song before. The ultimate "songwriting for beginners" guide if you will. So, let's talk about how I would learn songwriting if I had to start from the beginning.

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this bonus episode of the Songwriter Theory Podcast, we're continuing to respond to your biggest songwriting struggles. I asked you all what your #1 biggest songwriting struggle is, and you answered! And now I'm going through each of your responses to try and help you out! So, let's talk about your biggest songwriting struggles and how you might overcome them!

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this episode of the Songwriter Theory Podcast, we're talking about another factor leading to or signpost indicating how good a song is. This time we're talking about honesty. A song doesn't have to be literally true, but it definitely should be communicating truth. Often, our songs are touching on themes and exploring different stories to try to glean some meaning from life. Our songs, like any other art, should represent reality. Again, not literal reality, but the reality of the nature of the world and creatures with free will. Just as Tolkien used fantasy characters to explore core human truths, so should we be writing with core human truths in mind. Are you characters consistent? Do your stories represent what is likely to happen in the real world? Do your characters seem like they would or could be real people? A part of what makes art great is the illusion of the lack of the hand of the artist- but yet art is completely created by an artist. But if the art feels honest and real, we don't see the hand of the artist. We do see the hand of the artist when the artist makes characters do things out of character so the rest of the plot can happen, or when they present a world that bears no resemblance to what we know of the reality around us. So let's talk about honesty as a factor leading to great songs! Transcript: In this episode, we are continuing our conversation about what makes a song great. It's a difficult conversation to have. It's not something that is super easy. It's not something that can just be made into a simple math equation. But we all have this sense that there is such a thing as one piece of art or one song being better than another. We all think, "How do I make my song better?" Which implies the existence of better. So, it's important to talk about what are the factors that lead to that. When I say that I want to make my second verse lyric better, what are some of the underlying principles or factors that go into making it better versus maybe making it worse? And we can apply that to all different parts of any given song. So, we're going to talk about things philosophically today, but we're talking about what makes a song great. But to... Hello, friend. Welcome to another episode of the Songwriting Theory Podcast. I'm your host, as always, Joseph Adala. I'm honored that you would take some time out of your busy day to talk songwriting with me. I could be listening to Rogan, but instead, you are here. And I'm sure that Joe Rogan is more entertaining than I am, given that, well, we are talking about things that are largely informational. So, as entertaining as I may or may not be as a human being, this podcast is no Joe Rogan show. Joe Rogan experience, I'm sorry. What's wrong with me? Goodness. That being said, I know that, you know, probably we have time for one, two, maybe three podcasts to actually keep up on in the fact that any podcast talking about songwriting, the craft of songwriting, and learning more about songwriting makes the cut for you, means that songwriting as a craft is really important to you. And that pumps me up, because it's important to me. That's why I do this. That's why we're 251 episodes in, something like that. I care about the craft of songwriting, and the fact that there's anybody out there listening at all, of course, means that other people care about the craft, too, which is the best. So, thank you for being here. I appreciate that. If you haven't already, be sure to grab my free guide. I always do always to start writing a song. We're talking philosophical today. So, makes sense to offer you something for free. That is purely practical, basically. It is, if you want to start a song, do this, or this, or this. And it's not a comprehensive list. But I think too many of us just kind of default to one way to start writing a song and never even entertain the idea that there's a bunch of different ways to start a song that can inspire us in different directions creatively, or can get us out of our creative rut. Too many times, I think we think that, "Oh, the muse hasn't visited me," or, "My creativity's just run out. I just can't write a song right now." But it's not because our creativity ran out. It's because our creativity with that specific thing has run out. Maybe right now, if I were to try to come up with a piano riff, I've just kind of run out for now, because I've done too many in the last several months. And I just need to go try to start a song with a bass line, or start a song with an interesting drum part, or perhaps start with a song title instead, something on the lyrical side. Start with what I think is a compelling story, and then figure out, "Okay, how do I tell that story via song?" So if any of that seems interesting to you, be sure to check out that guide, songartethery.com, slash, free guide. We guide 20 different ways to starting a song, whether from a lyrical standpoint or from a musical one. So in last week's episode, if you missed it, I would encourage you to go back and probably go back to the episode before that as well. In general, if you're new here, this probably isn't the episode I would recommend you start with. Probably start with something that's a little more hard teaching. This is, again, getting kind of philosophical, which I think is important sometimes. And here I think it's super important because this is foundational. If we can't even begin to have a conversation about what some of the factors seem to be of making art in general, things in general, but particularly songs better, then we can't really talk about how we can make our songs better, right? How can we possibly even have the audacity to say anything or ask any question about, "Well, how do I make this verse better?" Or, "How do I write better songs if we don't agree to some premise that better exists and then therefore there are factors that lead to whether something is better or not?" When I write the first draft of my lyric and I think this is deeply flawed, but, you know, hours of work later, rewrites, edits, and then finally I'm like, "Oh, this version compared to my first version is better." And most of us could look at the A and B and be like, "Wow, yeah, the edited version way better." How do we know that? And that's sort of the question that we're trying to answer with this series, where we're getting into what I think are some of the central factors. And last week we talked about sort of the cohesiveness or cohesion or synergy, if you will, of all the different parts in a song that they're all moving in the right direction, that theoretically there is no such thing as a perfect song, but if the perfect song existed, the melody alone would tell you the whole story. And then the lyrics would tell you the whole story perfectly. And also the music, the background music, just if you heard the chord progression alone, it alone would tell you the story. Now, of course, that's impossible, right? We can't have a chord progression tell a whole story. But the closer we can get, where just by listening to the chord progression, just by listening to the melody, just by reading the lyrics, they all are in agreement and push us towards feeling the same emotion and telling the same story, such that if you just heard the melody and you were to write down what you think the song is about, you would be correct. Again, that's impossible. Perfection is always impossible. But I think the closer we get to that, the closer we are to at least in one factor making our song better. So we're talking about a second factor today. And don't think this is in any particular order. For example, I'm not sure that I probably don't think that this is maybe even a top three factor. We'll see as I work through the list. But I do think it is an important factor. And I think it's one that's not talked about enough. And that is honesty. Now, when I say honesty, I don't mean honesty about literal truth. Literal truth, I think, doesn't matter much at all. For instance, if you write a song about something that happened to you, and you take artistic liberties and make adjustments to what acts you're doing, and you think that actually happened in your real life, or you're singing a song that's loosely based on your life, it's not factually accurate, who cares? That doesn't matter. Unless, of course, you identify who the person is and then you throw them under the bus publicly and say, "This song is about this person who broke my heart." That's crappy, right? But that's more of a moral issue than anything else. But it's important that it gets at real truth. And so, we can utilize real truth to tell a lie, and we also can tell the truth through fiction, which you could see as a lie, but it's not really a lie, right? Because it's not pretending to be literally true when it's fiction. Think of a parable would be an example of something that is factually not true. Whatever the parable is about, it's not even claiming that that thing literally happened. The purpose of the parable is a story to teach you a lesson, right? So, let's say the tortoise and the hare, right? It's a fable, right? But a fable and a parable are essentially the same thing, but a fable is designated for kids is maybe the difference. But essentially the same idea, right? The tortoise and the hare communicates a core human truth, even though the actual story, of course, never happened. Never in the history of the world has a tortoise and a hare talked to each other and raced. That's never happened. But the core truth of that, which is the idea that steadily making progress and not being arrogant, even if you're less talented or you're slower in that case, right? If you stick with it and you're the one who's more dedicated and take it more seriously, you can win. And then on the other side, you know, the hare, there's a bunch of d

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this episode of the Songwriter Theory Podcast, we're talking about 1 factor that seems to be one of the factors contributing to a song actually being good. We're talking about how every part of the song working together to communicate what the song is about - aka the COHESION of the song. If your lyrics are about something tragic, but the melody sounds playful and the harmony sounds like a grand romantic piece, is that any good? No. The song may be made of different parts and song sections, but it also is a singular song. So let's discuss the COHESION or..... I'll say it, synergy of songs. Transcript: As songwriters who are seeking to constantly improve at the craft of songwriting and write better and better songs, I think we are constantly on this quest where we're asking ourselves, "How do I write a better song? How do I write a better chorus? How do I write better melodies? How do I write a bridge that's more emotionally resonant?" And yet sometimes we don't actually take the time to think about, "Well, wait a second. When I say better chorus, when I say a better song, what does that even mean? What are the things that we're looking at? What are some of the factors that lead into this idea of something being better in any piece of art?" This is a difficult thing for us to tackle, but as I mentioned in last week's episode, we're going to try. And I realized very quickly that this probably would take more than one episode to even begin to do this justice and not have it be multiple hours long. So this is going to be part one in our Who Knows How Long series about trying to tackle what actually makes a song great or what are some of the common factors to what sort of leads to a good song. Let's talk about it. Hello, friend. Welcome to another episode of the Songwriter Theory Podcast. I'm your host as always, Joseph Vidal. I know that you would take some time out of your busy day, your busy week to talk songwriting with me. If you're listening to anything and instead you're listening to something that you're hoping is going to help you and hopefully me talking about it will also help me become better songwriters so that we can all become better songwriters together, at least be striving in that direction so that hopefully both you and I are better songwriters next year than we were this year and much better five years from now than now and etc. So on, so forth. Don't want to bore you. It's just going through random numbers. I think you understand. So that's the goal. But in today's episode, we're tackling something heavy. Not heavy, maybe emotionally, but something that I feel like most people aren't even willing to start to discuss. But I think it's important to discuss because if we can't define or talk about here are some factors that seem to lead to a song being better or more good or great, then, you know, how can we possibly talk about here's how to make your lyrics better? Like we'll define better if we can't have some idea of some of the factors that go into an element of the song or the song as a whole being better, then we can't actually answer the question what would make this better. So I think it's an important thing to discuss. I think it's something that artists in general don't talk about enough. And it's just one of those things that I think it's a net negative for all of us. Yes, it's a hard discussion, but that doesn't mean it's not one worth having. Most important discussions are difficult and don't have clear answers, but that doesn't make them not important to have. So we're going to do that. It's going to be part one because I realized there's no shot that I could even begin to do justice to this in one part. So we're breaking it up. Let me know in the comments down below if you're on YouTube what some of your ideas are and please back them up. Don't just be like, "I think a great song is X and you have no reasoning as to Y." I mean, you can, but it's kind of hard to... it's not really making a point if you just list a thing and don't justify why it's a thing. But that being said, I am very curious what other people think is meant to be a discussion. I again do not pretend to have the answers. I have spent a lot of time thinking about this pretty much throughout my life, but that doesn't mean that I'm right. It doesn't mean that I'm right. But hopefully it's at least well thought out and has some merit to talking about, hopefully. But I guess that's up to you to decide. So if you haven't already, be sure to grab my free guide. 20 different ways to start writing a song, especially if you're like, "All right, we're talking philosophy and getting real deep into what makes something good today." But where's my hard just go do this songwriting advice? There it is, songwritertheory.com slash free guide. It gives you 20 different ways to start writing a song because I'm personally of the opinion, at least for me, it has been very helpful to have a bunch of different ways that I know I can start a song because sometimes if you start a song the same way every time, sometimes the results in the song start to sound the same. And whether or not that's a problem, certainly a problem that comes up, I think, is writer's block. I've done too many piano riffs for weeks or months. I'll sit at the keyboard or piano and be like, "I just don't have anything." But it's not that I'm out of creative ideas, it's that I'm out of piano-based creative ideas. So just going over to my guitar, or writing a bass line with the keyboard, or starting with lyrics, or starting with what I think is a compelling symbol, or going to find artwork on Google Images or an art museum that I find inspiring that I'm like, "Ooh, that can make a good song." All those sorts of things can be really helpful to jump-start your creativity even when you think it's gone or currently the muse isn't visiting you or however you want to look at it. But again, songwritingtheory.com slash free guide. The first factor that I think we're going to talk about is cohesion or unity or, if we want to use the word, if you're in the corporate world I'm sorry, you're probably about to get triggered, but synergy of parts. Every element of our song should be in agreement on what is being communicated. Your melody, or for a great song or a good song, the melody shouldn't be communicating or sounding like it's communicating love. It's like a love song in the melody. Well the chord progression sounds like you're angry. The song is angry. And then the lyrics are actually telling a tragic and sad story of losing a close relative. Right? Because those three, those don't go together. They're not all on the same page communicating something. Even if the chord progression is great and the music is great and then the melody is great and the lyrics are great on their own, but when we put them together they're a mess because they don't actually work together. It's one of the classic, you know, the whole is not a sum of its parts. The idea that a team is not just how good each of the individual players are. It's how well they work together is a part of it. This is why more talented teams often lose because they just don't have the cohesion or synergy that a team that technically is less talented has. And I think the same thing is true for, well, anything. We could talk about how this is true for movies, right? You can have the greatest actor of all time. Missed cast in a movie might tank a movie. But you think like, oh, we got the greatest actor of all time, whoever you think that is, in a movie and most of the things about the movie are fantastic, but yet that actor is so wrong for the role that it just ruins the movie. It's a real thing that can happen, right? Because it's not just a sum of its parts. No piece of art is simply a sum of its parts. There's more to it than that. The parts all need to be on the same page. Think about something ridiculous. This would work in comedy to comedic effect. But generally in a movie if the soundtrack is communicating something wildly different than what's going on on screen and it's not giving the quote unquote right emotional cues, that would ruin the whole movie. There's a way to know this. You can look it up. There's tons on YouTube and they're hilarious, right? But if you think of it as being in the real movie, it would ruin it. So there's one that I think is like Seinfeld music to The Shining. And it makes it hilarious. But of course it would have ruined the actual movie. And this applies. They do things like adding a laugh track or taking away a laugh track from something. It totally changes how the scene feels by having a soundtrack where it did or having a laugh track where it didn't before or not having a laugh track where it used to. Soundtrack, same idea. Obviously different because laugh versus not laugh. It's a little binary and soundtrack really hits at all the different emotions. But you know you couldn't just take the Star Wars soundtrack and then put it on, I don't know, Dune and it'd just be like oh it's perfect because the Star Wars soundtrack is great and the Dune movie's fantastic. So like no, no. Because they might not fit together. They might not work together. In fact I think they wouldn't. I think the Dune soundtrack's fantastic. It's perfect for that movie. And Star Wars soundtrack is perfect for Star Wars. And the Dune soundtrack of course is Hans Zimmer and the Star Wars one of course is John Williams. And those two are both all time great film composers according to most people and I would tend to agree that they certainly have the longevity and the peaks that you want to look for in greatness. But I would never want to trade those two. I would never want to trade those two. I would never want anybody but John Williams for Star Wars and I would never want anybody but Hans Zimmer and his styles for t

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this Bonus episode of the Songwriter Theory Podcast, we're continuing to address your biggest songwriting struggles directly by responding to more of your responses to my survey. We'll be discussing struggles such as: - I Can't Get My Rhythm + Rhyme Right! - I Struggle To Write Lyrics That All Work Together - Opinion: Songs Shouldn't Have A "Message" - I Struggle To Connect Verses + Choruses - I Struggle To Pick The Right Chords For The Right Feels - How Do I Start A Song? - How Do Intentionally Write Songs With Certain Emotions? - What Kind of Songs Should I Write First?   Transcript: This is part seven of responding to your answer to my question of what your number one biggest songwriting struggle or challenge is. Let's talk about it. Hello friend, welcome to another episode of the Songwriter Theory Podcast. I'm your host as always, Joseph Galla. Honored that you would take some time out of your busy day, your busy week to talk songwriting with me. And welcome again to another bonus episode of the Songwriter Theory Podcast where we are talking about your answers to the question of what your biggest songwriting struggle is. If you haven't already, be sure to grab my free guide, 20 Different Ways to Start Writing a Song. This is a struggle that comes up. We might get to this question today actually, but somebody asks about, "Hey, I struggled figuring out where to start with songs." Not sure if we'll get to it in today's episode or not, but whether you're just somebody that sometimes wants to get out of your creative box a little bit more or you're somebody who struggles to actually start writing songs and not even just being original with starting songs but just starting in general, this is the guide for you to kick writer's block to the curb because writer's block sometimes comes from staring at a blank page, staring at your instrument and just being like, "I don't know. I don't know what to do next." But starting our songs in different ways can be a great way to overcome that, and this free cheat sheet gives you 20 different ways to start writing a song. SongwriterTheory.com slash free guide. First response for this bonus episode. Dear Joseph, songwriting is a very excellent form of literature and philosophy. I agree. As a result, I enjoy English literature such as short stories and memoirs. Songwriting is very special to me and my friends. The tricky part is the rhythm and rhyme. So let's address that first. So when it comes to...so with rhythm and rhyme, because you paired them together, I'm mostly going to assume that you're talking about the rhythm specifically of words and or the melody, aka meter. So the tricky part is meter and rhyme. First thing on that, because I've seen enough lyrics and had enough questions where I know that I think I need to say this, probably more often than I do, but your lyrics should not exist or not be made to serve an arbitrary rhyme scheme. Your lyrics do not serve a rhyme. Your rhyming or lack of rhyming should service and serve your lyrics. So you should never be, for instance, let's say you decide on a rhyme scheme that is A-B-A-B. You should never be significantly altering your lyrics or using corny words you don't really want to use. I'll pick on Night and Light. I've used it in one of my songs. There's nothing wrong with Night and Light. I've used it at some point, but you don't want that to be a constant go-to. If every single one of your songs has Night and Light, it's like, all right, come on. So if you've picked that as a rhyme scheme, A-B-A-B, and you're significantly changing what you actually want to say just in order to fit that arbitrary rhyme scheme, I think we've lost the plot when that happens. Because ultimately, nobody gives a rip whether your song rhymes or not. Just in general. I would argue in the scheme of all things lyrics, rhyme is towards the bottom of what's important. So to your tricky part is the rhythm and rhyme. Worry way more about rhythm, aka meter, than rhyme. Because to take it to the extreme, which is a good way to test any form of logic, but to take it to the extreme, if you had a song where every single, you did not rhyme at all, or a poem where you did not rhyme at all, not a single thing rhymes, not even family rhymes, or consonants rhymes, no rhymes at all, but you paid attention to meter, you could have a great lyric. You could have great lyrics. But if you reverse that and pay no attention at all to meter, your meter is just all over the place. But your rhyme scheme is perfect. Nobody will notice or care that your rhyme scheme is perfect because nobody will be able to see past or hear past the fact that your meter is all over the place. Now when I say meter is all over the place, I don't mean that you have some slight alterations in places. I don't mean that your syllable counts aren't exact, even though your emphases counts are exact so just for instance, take common meter, has four emphases three, four, three, which often comes with a syllable count of eight, six, eight, six, but doesn't have to. We talked about this in a previous podcast. I think the example I used was I have to go to school has the same meter as I have to go to the school. Now I tucked another word in there that's unemphasized to the school instead of to school, but that's the same meter because the emphases are still the same. They're on the same syllables, the same number of emphases. There's just one unemphasized syllable tucked in, which in the scheme of a song, totally fine, totally fine. It happens all the time. It's not imperfect. It's great. It can work marvelously, especially if it needs to be there. If your meter is all over the place, you might as well be speaking the way I am in basic prose where there's no real sense of meter at all, then your lyrics, they're not even lyrics. They're not even lyrics. I guess my first recommendation is don't pay attention to those two things equally. Get your meter right and if you can, use rhyme as a supplemental part to your lyrics where you make your lyrics even better because of rhyme, great. Because rhyme, I think should be viewed that way. Number one is say what you mean to say in your lyrics and get the meter right. And again, meter right does not mean exact with syllables and everything, but try to be as exact as possible with emphases or at least really close and you're good. And then for rhymes, to actually find rhymes, especially if you're looking for perfect rhymes, which would be like night and light where both the consonants and the assonance or the vowel sound and the consonant sound both match, rhymezone.com is a great way to go. If you're looking for lasso-vert rhyming, like family rhymes or things like that, I don't have a website recommendation that's going to just be on you. Although my recommendation is lean, for the most part, I would argue that ABAB rhyme scheme, especially if it's throughout a song, is too much. If maybe in the chorus of your song, one of the main points of your song, you have an ABAB rhyme scheme, great. The rest of your song, do like XA, XA at most because if there's too much perfect rhyming going on in a song, that's usually where it starts to get cringe and feel like everything is just serving the rhyme. So get the meter right. Worry less about rhyme. Moreover another problem is chaos, such as theorizing and being absent-minded. The challenge is that there are a lot of romantic lyrics and there's pain and sadness. However, rock and roll and blues are archaic. That's interesting. Rock and roll and blues are archaic. I don't think any musical genre is archaic and even if it is, you can bring it back. There's that new movement of like, Bardcore, which is like Bard style music. I don't even know what era that's from. 1500s, 1400s, 1200s, I don't know. Really old style music. Old European style music. But they do it for like, Down With The Sickness. It sounds like that. So any genre that gets archaic just comes back. So don't let that, I don't know if this is what you're saying, but don't ever let, "Oh, that genre's played out." Or, "That genre's heyday was 30 years ago." So bring it back. I mean, right now, seemingly half of pop music is just 80s round two. I mean, a lot of Dua Lipa stuff is like that. A lot of the weekend stuff is like that. We're getting towards the end of my pop knowledge here. But I've heard so many songs when I do have the, unfortunately I'm subjected to what is now pop radio. So much of it is, even, I like the 1975. They're a guilty pleasure of mine. And a lot of their songs are very 80s inspired. So anything that you think is archaic, it all comes back. You can breathe new life into something that maybe is actually archaic. But anyway, as a result, the time of day and such saliences as, wow saliences, big word, as country and folk music make poetry pretty. The melodies are always the fun part, but the saying is valid that genius is 99% perspiration and 1% inspiration, for sure. Nevertheless, these forms from the 1980s forwards are very popular. Making money has been new investments. Moreover, I think new songwriters are cool. Yeah, okay. So I think that was the end of the question, implied question part. So Rhythm and Wrath. Yes, get the meter right, get the rhythm right. Mostly paying attention to emphasize syllables. Easy example again is forever. If you just listen to the word forever, you can hear which syllables are emphasized and which ones aren't. It's forever, not forever. It's hard to even say that. Or forever, it's forever. So the emphasized syllables, that middle one is the ee, ee, right? It's for, not emphasized, ee, emphasized, and ver, not emphasized. So just listen for the natural meter in your words and try to match that up. Just another tip on this. If you write melody first, that can help you worry a little bit less about com

►► Download the 20 Ways To Start Writing A Song Guide here: http://songwritertheory.com/freeguide/ In this episode of the Songwriter Theory Podcast, we're asking if this perspective on art is holding your songwriting back.   I constantly hear people, including songwriters and musicians, say "Music is just all subjective", "Art is subjective", "There is no good or bad, art is purely subjective". Not only is that unequivocally wrong, I think it's an actively destructive view that doesn't leave any room for us to "get better" at lyric writing, music composition, or anything else songwriting because, by definition of music being entirely subjective, there literally is no such thing as "better" lyrics or music or songs. So why spend time trying to make our songs better? How could we even begin to have a discussion on how to write better lyrics or improve our chorus? If it's all completely subjective any of that would be a total waste of time.   So, in this episode of the Songwriter Theory Podcast that absolutely no one asked for, we're going to talk about why this view is wrong and why it also is destructive to us and our future as songwriters.   Transcript: So there's a certain perspective or opinion or just something that people say, especially artists of any kind, seemingly, and certainly songwriters. It seems like songwriters are constantly saying this and I think it's both destructive and just completely wrong. So because of that, we're gonna talk about it in this episode of the Songwriter Theory Podcast.  Hello, friend, welcome to another episode of the Songwriter Theory Podcast. I'm your host, as always, Joe Svedala. Honored that you would take some time out of your busy day to talk songwriting with me. Extra honored that you would take some time to listen to this podcast where we are, this is a podcast for being honest. Nobody asked for me to talk about this. The vast majority of subjects we talk about is something that either is inspired by what I think some of you would want me to talk about if you did tell me, and then a lot of it is off of what you do tell me. So a lot of the content recently, the last several months, has been inspired very directly by your feedback when I asked what your number one songwriting struggle was. Most of the content has been pretty directly off of that, some more directly maybe than others.   And I still need to finish that series as well, which we'll get back to. I have not forgotten.   But this is one of those episodes where we are talking about something that nobody asked for, but I still think is important to talk about.   And I've wanted to talk about it for a while,   and then just realized it's a good podcast episode. I think it's an important thing to discuss, because you may not end up agreeing with me,   but hopefully I can at least get you to consider that instead of what seems to happen, which a lot of people just kinda,   I wanna say mindlessly kind of repeat this thing, I think it's a cop-out answer, and I think it's not true, or at least there's an argument, I would argue a very compelling argument, that it's clearly not true.   But regardless, hopefully you at least reconsider the repercussions of this view of this perspective, and also maybe consider that maybe it's just not true.   If you haven't already, be sure to grab my free guide, 20 Different Ways to Start Writing a Song. It's a cheat sheet, it's shorter, it's better than it used to be, and has double the ways to start writing a song. It's a great way to go, especially for somebody who is struggling with your song sounding the same, or you feel like you're uninspired. One of my favorite things to do, because my bread and butter way of starting a song is starting with a piano riff or something at the keyboard. But whenever I feel like, I just don't have any piano riffs in my fingers right now, I feel like I've written them all, which obviously I haven't, right? But just, you know, if you write a piano riff   two a day for five days, by the sixth day, you're kind of like, I just, I don't even know, like I've done every key of it, I just don't know where to start. But just doing something as simple as, I'm gonna go grab a stock funk beat and improvise to that, or I'm gonna do a bass line, or I'm gonna start with an interesting symbol or song title instead, or I'm gonna think of an interesting character or an interesting story to tell. Those can be all great ways to start a song that will refresh us creatively, so that we don't get into writer's block.   So anyway, be sure to check that out, songrithury.com slash free guide. So what is this perspective that I'm wanting to talk about that I think is super prevalent and ultimately pretty destructive and just not true, just wrong?   It is that art is completely subjective, or art is totally subjective, or art is just subjective, all the different versions of that quote that seemingly everybody says. And not everybody says it, not everybody has that opinion. I think a lot of people don't have that opinion, but the people who do are very loud about it.   And I think, first of all, it's just not true, which we're gonna cover first, why I think it's just not true.   And then also, regardless of the level of truth, I think it's an unhelpful perspective if you want to get better as a songwriter. If you wanna write better songs, I think it's an unhelpful, if not overtly destructive perspective.   So first, let's talk about some of the reasons why I think it's just not true.   And we're gonna start with quite a claim probably, but and that claim is, I think the vast majority of people who say this don't actually believe it. They think they believe it, but if we tease it out a little bit, if we discuss it a little bit, dive a little bit deeper, about the repercussions, if it really is true that music, art in general, movies, books, it's all subjective, just totally subjective.   There's a lot of consequences of that view that almost no people that do start with the premise of like, all art's all subjective, music's all subjective. Most of those people, when we go down some of the paths we're gonna go down, it's like, okay, if that's true, then this other thing has to be true. But those people, even if they wouldn't admit that they are like, yeah, I guess I don't agree with that.   Inwardly, I think they just, they would know. Oh, I don't think this view is correct.   So first let's start with how logic works, I guess, which I know you didn't expect this in a songwriting podcast, but this is, if you want to get to the truth, you have to think logically. And I know a lot of people listening to this might be like, really, I didn't expect a logic thing today, but here we are.   So whenever a logical claim is made, one way to test it is to take it to the extreme and see if it still holds true. So for instance, if I were to make the moral claim that all stealing is bad, you take it to the extreme, find the most understandable or seemingly justifiable version of stealing and try to figure out is that morally right? If it is, then that undermines my point that all stealing is wrong, right?   Or all lying is wrong, for instance. So if we were to say all lying is morally wrong,   but then we take it to the extreme, right? If we were to say all lying is wrong, then we would be able to lie to a certain evil German party from the 1940s to save certain people from a horrible fate. If we lied to them, is that a moral good? I would argue yes, because they're saving their lives and life doesn't always give you perfect choices. So you're not lying for evil   and you've edited that deeply because I don't know, YouTube algorithm is weird and YouTube doesn't like talk about certain things and they will brand it. You can't even say certain words without them. You're like, oh my goodness, they're bad guys. Like, no, no, I'm presenting them as the bad guys. But anyway, hopefully you got my drift about 1940s certain German.   But anyway, if you can find one example of something, then the whole claim is just not true. So if we take the claim that art is completely subjective or songwriting specifically is completely subjective to the extreme, we would take the most extremely bad version of art and extremely good version of art, put them together and say, is it true that it's just subjective that this really bad thing is better than, or is worse than the really good thing?   So let's do that. If we believe, if we believe that all art is purely subjective, again, this is, don't, this is getting ahead maybe, but there's no false, no, don't false dichotomy here.   The claim that all art is subjective, is totally subjective is a extreme claim. What I'm not claiming is that it's purely objective. I'm not claiming that. I think that's actually more arguable than this, but I'm not arguing that. I think there's objective ways to look at art and there's of course, there's subjective ways to look at art as well. Of course, there's subjective ways to look at everything.   But the idea that it's purely subjective is what I'm saying is not true. It's not 100% subjective. But if it's true, that's 100% subjective, then it is 100% valid, 100% valid for me to say that the first scribble my daughter did is equally as good art as Starry Night, Mona Lisa, Sistine Chapel, Statue of David.   And not only do you have no grounds to refute or argue with me, because you said it's all subjective. So if I subjectively believe that my daughter's first scribble is better than Sistine Chapel,   what, is your subjective opinion more important than mine? That would be blatant narcissism, right? That your subjective opinion matters than somebody else's subjective opinion. That's like the epitome of narcissism, is we all have equal opinions except mine is more equal. Like mine is more important. That's a horrible place to start. So if it's true that it's all subjective, you have to concede, you must. There's no other way than

►► Download the Musical Keys Cheat Sheet here: https://songwritertheory.com/keys/ In this episode of the Songwriter Theory Podcast, we're talking about how learning chord types just got easier... because I'm going to tell you exactly what chords to learn in what order to be most effective at writing chord progressions for your songs. The way songwriters should look at chords should be significantly different than how musicians often look at chords. So let's talk about how to learn chord types for songwriters! Transcript: If you have wanted a roadmap to know what chords to learn when along your songwriting journey, then this is the episode for you, because we are talking about what chords you should learn in what order as a songwriter. Let's talk about it. (upbeat music) Hello, friend. Welcome to another episode of the Songwriter Theory Podcast. I'm your host, as always, Joseph Adala. I honor that you'll take some time out of your busy day and be here with me talking about songwriting. You could be listening to any podcast right now, which I probably shouldn't remind you of, like Rogan or whatever your favorite podcast is. But instead, you are here wanting to learn about songwriting. And hey, I get it, but I also appreciate it, because there's a lot of entertaining podcasts out there. And the fact that you are choosing one where you would learn something about songwriting, about the craft of songwriting, I'm glad you care enough about the craft of songwriting to, well, be listening to any songwriting podcast much more even so that you chose this one. I was about to say much less this one, but that wouldn't make sense, now would it? If you haven't already, be sure to grab my free Keys Cheat Sheet, a lot of what we're talking about today with chords. There's gonna be my first point before we dive into the chords, but you have to understand the chords within the context of keys. Because as long as your understanding is just, oh, G major to C major sounds good with quotation marks around it, for those of you who aren't watching the video, you're just, you're not really gonna understand chords. The only context where chords have any meaning at all, in chord progressions have any meaning, is within the context of keys. So a C major chord in the key of C major has a totally different sound and a totally different job than a C major chord in the key of G major. Because in C major, a C major chord is a one chord. In G major, it's a four chord, which sounds different. So context matters. So it's really important to understand that, again, that you don't wanna learn super complex theory. So I made it super easy. This Keys Cheat Sheet just breaks down every single one of the main triads, AKA main, major, and minor, as well as diminished chords in every single key. So no matter what your favorite keys are, it will give you exactly all the notes in the keys, which will help you with melody writing and making your own chords, but also all of the main triads, all the main, major, and minor chords. So that's at songwritertheory.com slash keys. Super easy to remember. Link will be in the description down below or in the show notes, depending on whether you are listening via podcast or watching on YouTube. So we're gonna dive into the chords that you should learn in what order. But again, just to reiterate, it's really important to understand chords in context of keys. Yes, you need to know the notes within C major. Let's say you're playing on a keyboard or a piano. Of course, it's important to know, oh, C major is C, E, and G. Yes, great. But the most important way to understand chords as a songwriter is not just C major and G major, and, you know, oh, it's a common chord progression to have a C major, G major, A minor, F major. Yes, that's true, but it's not just that chord progression. Really that chord progression is a 1, 5, 6, 4, and you just happen to say what a 1, 5, 6, 4 chord progression is in the context of C major. So the chord progression G major, D major, E minor, C major is actually the exact same chord progression as C major, G major, A minor, and F major, just for frame of reference, here's your, let me find my pedal here. Here's your C major, G major, A minor, F major, and then if we have instead the G major version of it, so that was a 1, 5, 6, 4 in C major, and then if we have it in G major, then we would have this. (drumming) So that would be the same exact chord progression, and you probably can hear that. It's just in a different key, right, but the chord progression sounds the same. So it's most important to understand chords in that context. In this episode, we're going to be talking about things like major and minor chords, inversions and things like that, but that is only gonna be helpful, or is mostly gonna be helpful if first you understand that just getting an understanding of that Roman numeral notation for chords, and knowing that a C major chord in the context of G major is the same as a D major chord in the context of A major, because they're both four chords in that context, that that's the most important way to understand chords. Because as a songwriter, you need to know that if you're writing a song in G major, a C major to G major chord transition is gonna sound very different than even what it would sound like in the context of a song in C major. Same exact chords, but it's gonna sound different because of the context. So that being said, let's talk about the specific chords to learn in what order. And the first chords to learn are major and minor triads. And that's because no matter what the genre, key, style, whatever it is, major and minor chords are foundational. They're foundational to everything. I don't care what music you listen to, major and minor triads are at the foundation of it. And you may have noticed that I just, I believe, interchanged between using major and minor triad and major and minor chord. And that's because it's the exact same thing. So a chord is really just any combination of two or more notes. So a chord could be this, even though it's just two notes, or a chord could be this, which is four notes, or this, which is five notes. All of those are chords. A triad is a specific type of chord. And by the way, is the most foundational type of chord there is. In fact, all major and minor chords, as well as diminished chords and augmented chords, are triads. There's no such thing as a C major chord or G major. There's no such thing as a major or minor chord that is not a triad. And all a triad is, is a chord that's made up of specifically three notes, and they are stacked in thirds. It's not super important that you understand what thirds are for most of this episode, but we'll go over it really quick. So a first or unison is just the same note. So C to C would be a first or unison. C to D would be a second. C going past D to E would be a third. So basically, if you just include the note that you're starting on as the one, you just move up more notes. So a third is not moving up once to a second, but moving up again to a third. So a triad is a chord that is made up of three notes stacked in thirds. So let's take a C major triad as an easy example of this. So a C major triad starts with a C. That's why it's called C major, because that's the root of the chord. So then we have a third on top of that. So we skip over the D and go to an E. So the first two notes of a C major chord are C, skipping over D, and then E. And then we skip over F and go to G for another third, a third on top of that E, because a second on top of E would be the F. A third is going up to the G. So C, E, G. That's your C major chord. And that is basically how you build all major and minor triads, because, well, they're triads, also augmented and diminished would also be made in that same way. Now, the only difference is that a major triad has a major third, and a minor triad has a minor third. The only difference there is a major third is four semitones up. So we have C, C sharp, D, D sharp, and then E. All right, so one, two, three, four, four semitones up. And then if we just go three semitones up instead, that's where you get minor. That's the only difference. Major chord has a major third between the root and the third. Minor has a minor third in between the root and the third. And going with my initial point about understanding chords in context of keys is going to be most important. What's important to know, I think, is that in any key, any major key, any major key, you're going to have chords built off of all the scale degrees. So we'll stick with C major to keep it really simple. So C major is made up of seven notes, just like every other major and minor key. So we have C, D, E, F, G, A, and B. No sharps or flats. This is why it's a super common key because it's super easy. So each of those seven were called scale degrees, C being the first, D being the second, E being third, F4, G5, A6, and B7. Each of those scale degrees, we can build a triad off of those scale degrees. And those are foundational chords. And in every major key, the triad built off of the first, fourth, and fifth scale degrees are all major triads or major chords. So in C major, the one is C, so we have a major chord built off of that. The four is an F because C, one, D, two, E, three, F is four, so we have an F major chord in C major. And then if F is the four, we know G is the five, fifth scale degree. And the five chord is also in every major key going to be a major chord. And then the two, three, and six in any major key are going to be minor triads. So in the context of C major, we know that our two is D because C, one, D, two is going to be minor. And then if D is two, we know E is three, so we have an E minor. And then six is going to be A, so we have an A minor. And then the chord built off of the seventh scale degree is a diminished chord, which is not as useful as major and minor chords, or at least not as important.

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ Transcript: Something I think songwriters don't talk about enough are songwriting sessions, because not every songwriting session looks the same or should look the same. In fact, I think there are a lot of different types of songwriting sessions, and most of the time a successful songwriting session is one with a pretty specific goal, not just something like, "I'm going to work on song X." I don't think that is specific enough. So in this episode of the Songwriting Theory Podcast, we are going to talk about five different songwriting sessions that will change everything. Let's talk about it. Hello, friend. Welcome to another episode of the Songwriting Theory Podcast. I'm your host, as always, Joseph Adala. I'm honored that you take some time out of your busy day, your busy week, to talk songwriting with me. It's coming out a bit later than usual, but I was sick with the flu for a week, so that's why this got delayed. And my apologies in advance for any coughing. I will be sure to try to do it not into the mic or anything, but still recovering from that. If you haven't already, be sure to grab my free guide, "20 Different Ways to Start Writing a Song," because a great way to make sure you don't get creatively stuck is simply by starting in different spots, starting with different things, not always starting with a chord progression, not always starting with a bass line, not always starting with lyrics, not always starting with music. Sometimes changing it up is a great way to stay creatively fresh and get some different results with your songs. There's something I don't talk about probably as much as I should, but these aren't just 20 ways to start a song, but they can be 20 different ways to start any given song section. So if you wrote your first verse, and that first verse is built off of a sweet bass line, that's how you started your song, and now you're sort of stuck on the chorus, or you're trying to figure out where the chorus needs to go, you can again go to 20 different ways to start writing a song, but in this case you're actually starting a song section, because just because you started the verse with the bass line doesn't mean that you can't start your chorus with something different, like your melody or with the piano riff or something else. So let's talk about these five different song... so be sure to check that out. It's at songwritingtheory.com slash free guide. So let's talk about these different songwriting sessions. We'll start with the beginning, and that is simply an idea gathering session. And the beauty of these is, first of all, they're fun, and it's just a great way to get really excited about songwriting. If you're stuck on songs, just going back to basics and sitting down with only the intent of gathering ideas. There's something beautiful about the lack of pressure that you have when you know that you are sitting down just to come up with ideas. You don't need to care whether they're good ideas, you're just trying to get as many ideas as possible. And also the lack of pressure that you know you're not trying to come up with an idea so that you can write a song 10 minutes later off of that idea. It just frees you up to think of more ideas, to possibly think outside the box a little bit more. So be sure to check that out at songwritingtheory.com slash free guide. So let's dive into the songwriting sessions that we are talking about. The first one is right at the beginning. It's an idea gathering songwriting session. And you can even argue this isn't really even a songwriting session because it's sort of a pre-songwriting session or as sometimes I like to think of it a song developing session. And really that wording comes from a lot of times in movies they'll say like a movie is in development and what that means, what that usually refers to is the process before you actually start making the movie in the way that most of us think of making a movie. So principal photography is when they actually start to film the movie. It's really getting made. But development is sort of that stage where they're kicking around ideas, they're trying to figure out maybe casting, they're trying to figure out what's the right budget for this movie, is this something that we can do with the budget that we have, all those sorts of things. It's really the pre-movie making stage if you will. So in the same way there's no reason that we as songwriters can't have essentially a pre-songwriting stage. In fact I think it's a great idea. Authors do the same thing. Most of the time an author doesn't just sit and start writing a book. Some do, but a lot plan beforehand. They'll do exercises to really flesh out their characters and make sure they understand their characters before they start writing for them. They don't discover their characters as they write the book. They already know their characters before they write the book. Or they know the general plot points. They try to outline the book, make sure that the story arc makes sense and it resonates with the characters and it makes sense. All the characters' decisions make sense before you actually put the proverbial pen to paper. So this is something that I think we should do more often in songwriting. I don't think we need to do as much of it because a book is a pretty big endeavor. There's a lot when it comes to characters and story. And songs have less. So there's no reason to spend months developing a song before you actually write it in the way that maybe it does make sense to do for a book. But there's something glorious just about having no pressure to come up with a song idea and immediately execute on it. There's something just great about that. Because in an idea gathering songwriting session, you're not actually trying to write a song. You're really not even trying to figure out what is a good idea for a song. You are simply, you have one job, gather ideas. You're not worried about whether the ideas are rotten or great. You're not worried about anything like that. That's for later in the process. For now, you just want to go find ideas and find as many ideas as you can. And really we're trying to maximize the pool of ideas we have that we actually go execute on. Because I think another mistake that is pretty common to songwriters is really, I could call it just impatience. I think impatience is something that negatively affects many songwriters where they're too impatient to actually edit lyrics. They're too impatient to actually craft a song. They just want to get a song done so every song takes an hour. And it's like, well, I can tell. It's not that you can't write a great song in an hour. Of course you can. But just like a book, can you write a book in a month? Yeah. But on average, if you took a million authors and said, okay, write a book in a month, and took those same million authors and said, okay, now write a book in a year, of course on average the yearbooks are going to be way better. That's why authors take a year to write a book. Right? You know, this is the whole process, not just the writing part, editing, all that sort of thing. But usually it's, you know, an author comes out with a book something like once every six months if they're pretty fast, or a year on this lower side. And I think sometimes songwriters struggle with impatience. Whether impatient to start writing a song, they're impatient to finish a song, they're impatient to just, you know, put out there whether the lyrics make sense or not, whether the lyrics are really something powerful or not. They're just like, oh, it's done. It's done. We think too improvisationally, I think, sometimes when it comes to songwriting, which we'll talk about a little bit more for songwriting session too. But a part of the beauty of this is it forces us to come up with more ideas, and then we can choose the best ideas for ourselves. Because the pressure of I'm going to come up with a great idea and immediately execute on it, probably the idea sucks. Right? If you and I, right now, were to try to think through a song idea, and we were to go write a song off of the first idea that we have that's halfway decent, by tomorrow we might think that was a stupid idea. Why do we even make a song off of that? But when you have a giant pool of ideas, it allows you to pull from the best ideas you have, and it also allows you to pull from the ideas that most resonate with you at the moment. Because, you know, if you got laid off two months ago and you were ticked at your boss because you feel like you were not the right person to get laid off, blah blah blah, so you're ticked about it, now two months later when you have a better job and maybe you're not bitter about it anymore, maybe right now is not the time to write that song. Right? Maybe in two months when you have a new boss and they're kind of annoying you too or something, then maybe that brings back the emotions that you had when you were laid off and maybe now that's the time to write the song. So there's an element of that too, right? Where some nights or some days writing a sweet love song might be something that makes sense based on how you're feeling. In other days you couldn't do that if you tried, but you can write a bitter angry song. So when you have a giant pool of ideas to work off of, it allows you the luxury of sort of working on a song that best fits where you are at right now mentally, emotionally, etc. and it also allows you to be more picky, where if you have 30 ideas and you're only writing one song off of one of those ideas, you get to pick the best idea of 30, which is probably a much better idea than just coming up with an idea and immediately executing on it, because now it's one of one idea. That idea might have sucked. You might have just written a whole song in an hour or something that already you wrote a song in an h

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this bonus episode of the Songwriter Theory Podcast, we're continuing to talk about your #1 biggest songwriting struggles. We'll be talking about: I can't flow on a beat or sing on an instrument I'm not able to concentrate I often just give up I am afraid to write lyrics Getting into a creative flow I get stuck after a verse or two If I'm not inspired, I don't write songs I can't write about certain subjects intentionally! How Do I Start My Song?

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this episode of the Songwriter Theory Podcast, we're talking about the 3 Simple Steps To Create a 2024 Songwriting Plan You'll Actually Accomplish. We all have dreams, but we need to create goals off of our dreams, then break those goals down into habits that actually inform the day-to-day of how we accomplish our goals. 0:00 Introduction 2:35 Step 1: What Would Make You Thrilled A Year From Now? 9:03 Step 2: Create Tangible Goals 14:27 Step 3: Create Supplementary Habits

►► Download the 6-Step Lyric Writing Checklist here: https://songwritertheory.com/lyricchecklist/ In this episode of the Songwriter Theory Podcast, we're talking about the easiest way to write a song if you're overwhelmed with songwriting. There are a nearly infinite number of ways to write songs. We can start with chords, melody, lyrics, different song sections, hooks, and more! So, naturally this can be pretty overwhelming. In this podcast, we're going to just talk about the single easiest way to write a song. This is by far the easiest if you don't know any music theory or meter and is even the easiest for those of us that are leveraging great writing tools like music theory, meter, rhyme, story structure, and more. ❤️ If you find my content helpful and want to say thanks, you can buy me a coffee! - https://www.buymeacoffee.com/josephvadala 0:00 Introduction 2:00 The Background Logic To This Songwriting Method 10:49 Step 1: Write the Chord Progression or Song Engine 16:33 Step 2: Write the Melody 23:12 The Easiest Song Section Writing Order 27:19 Step 3: Write Lyrics 32:47 Detailed Version of my Favorite Songwriting Process

►► Download the 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this bonus episode of the Songwriter Theory Podcast, we're continuing to talk about your #1 biggest songwriting struggles. We'll be talking about: Where To Find "Great" Ideas for Songs Syllables and Meter for Lyrics What are the # of Words Per Bar Normally? Writing a Memorable Chorus Melody How Do I Figure Out What To Write My Songs About?

►► Download the NEW 20 Ways To Start Writing A Song Cheat Sheet here: http://songwritertheory.com/freeguide/ In this episode of the Songwriter Theory Podcast, we're talking about 3 easy ways to stop overthinking your song. It can be so easy to run into writer's block when we are overthinking our songs. Overthinking can come from different places such as perfectionism, a lack of a plan, or even allowing our knowledge to get in the way of what SOUNDS right in our song. So let's talk about 3 easy ways to STOP OVERTHINKING your songs and actually keep songwriting.