UNplanned Song Writing For FUN

SUMMARY of this blog:  YES-- YOU can write songs!    
You do NOT need to know music theory and fancy methods  that are detailed in books.  Sure, they might help you EXPAND your ideas.... but my whole purpose for this blog is to help you have FUN with music -- and to know "YOU CAN."

As I sit here today working in GarageBand,  "composing" -- sorta -- a new song,  I am having so much fun that I realize -- I really must share this joy with others!

We get so organized sometimes... so wrapped up in the "right way" to write a song.

So we plan a melody in our head,

write it out and plan the chords that will fit it,
and plan the music notes to fill in the spaces,
and plan which instruments will play the melody and counter-melody and fills....

**  Recently I heard a famous composer share on radio how he writes songs...  and wrongly thought,   "That's so complicated, I couldn't do that."
**  At a book store, I glanced through a book on how to write songs.
**  I remember from childhood my piano teacher trying to teach me how to calculate the "right" IV and vii chords to fit a melody.  And I must confess:

    I do NOT know "HOW" to write songs the 
           "RIGHT" way ....     whatever "right"  means.

Yet I have over 300 songs  which I composed and developed on my main website DianaDeeOsborneSongs.com
and some people tell me they're not bad.
                Not just family and friends, by the way.
 I know  to not depend on trusting such kind but  non-objective opinions!

I do not share this to brag.

I share it as an "Easy Songwriting Hint" (see how I work in my blog title !! :)
SOMETIMES ... maybe even often...   it's more fun to  just sit  at your instrument and play  "ANYTHING",  and record it. 
You can always go back and fix notes if this is
a MIDI instrument played on a controller keyboard,
as often done in programs like GarageBand.
(See my other blog, DianaDeeGarageBand.blogspot.com for more ideas.)

After you have recorded a basic track,  create a new track and play "anything" with another instrument sound -- I especially like flute and cello (violins played low).
Later, you can again fix -- or delete or ADD -- notes that fit better.

When it comes time to write out your music, you can either print a SCORE out of the recording program, or you can use a method like my TEXT-based OTEN music notation method   that uses NO music symbols on plain paper or regular doc files.
I myself in GarageBand select the main track (usually piano) and do a PRINT PREVIEW of the score... and from that I easily calculate what the actual chord is and record it
LONG after I had fun recording my new UN-planned out song.

May you have MUCH joy in the  freedom of not fencing your creativity in   with all planned music!

©2013 DianaDee Osborne;  all rights reserved - BUT feel free to share with copyright info.

Select a Catchy Title.... by DianaDee Osborne

SELECTING a CATCHY song TITLE 
is more important that it would seem.... 
and here are 4 TESTED hints to help.  Actual examples of these songs are available on my daily blog (currently with 153 published songs, with over 100 left to post at one per day).
For  free downloads of lyrics and audio files, go to

http://DianaDeeSongStories.blogspot.com

The FULL SET  of songs is already on my index website
http://DianaDeeOsborneSongs.com

1.  Try to select a unique title.

Unless you're already 'someone famous',  people may be less likely to find songs with titles that are the same title as someone famous's songs.  Of course they can't ALL be unique titles -- but it takes only a few unique (weird) song titles to start building memories of your work.
Example:  One of my songs has the title "Logical Way to You".  Not another song found with that exact phrase when you put it in quote marks in an internet search box.  The same for  "One Single Cell on Mars"     (probably I could add "not surprisingly").
    Free download, no registration required:  LOGICAL WAY     

1a.    Check a website that lists songs in your genre. That helps you find out just how unique your working title is.
Example:  Because all my music is about God in some way, I check CCLI.org  -- a major  Christian music source for churches -- looking for my working title.  Recently I changed the title of the draft song "Lord I Praise You"  because about a dozen songs were already published with that name.  Then I checked the song's 2nd line as a possible title:  "Lord I Love You" and got a similar result.
            So I checked the 3rd line -- which happened to be the same for every verse anyway, and it was perfect.... and unique:  "I Bless Your Holy Name."   No other songs  by that title in CCLI.org,   it was the 4th listing that the  search engine  brought up.

1b.  Consider using an ODD WORD in your title.

When people do an internet search -- even if specifically looking for your song by title -- an ordinary title will blend into all the other internet search "hits."  Even if they include your name, the title may be way down the Found list.
Example:     One of my songs has the title "Pertinacious".   LINK (free to hear)
Unfortunately -- odd words get mixed into the list of DICTIONARY web sites.  But if people remember your last name... maybe even just your first name if it isn't a common noun... and include it in the search box (in quotes), your song title will probably pop up near the top of the Found list.

1c.  OR,  use an odd SET of words.

Example:    I gave the title "Psalm 102 Troubled Praising" to one song.  No where else on the internet does the word "Praising" get matched up with "Troubled"!  And -- of course -- the phrase fit the song!

2.  Use a  MEMORABLE TITLE PATTERN   if you have several songs that fit with each other.
Example:    For all of my songs that quote Bible Psalms,    CLICK HERE FOR LIST
have a consistent title format that begins with the Word "Psalm", 
gives the number, 
and then gives a phrase describing that psalm that has an -ING suffix in one of the words.  

   People seem to think that a series indicates a consistent line of quality... and 
   it shows that you DID design your song titles with much thought!                    
 

Much joy to you in growing your music and "designing" titles!

©2012 DianaDee Osborne;  all rights reserved - BUT feel free to share with copyright info.

Tracking the Audio Sent to Copyright Office

Here's an easy way to track which audio file copy  you sent to the U.S. Copyright Office.  
One of my greatest challenges has not been writing and recording
over 250 songs  as of now   at DianaDeeOsborneSongs.com  (index site).
No -- it is TRACKING  which version of the MP3 was in the package I sent to the  U.S. Copyright Office.  I'm always double-checking before I delete duplicates out of iTunes and my Finder (Explorer etc.)  lest I delete the actual file sent to be copyrighted.

After all,  as you've probably learned,  as time goes by and we develop more skills and ideas,
we often have fun doing "remixes" on older songs!  The basic FILE DIRECTORY  blog hints that I provided awhile back still work.
Here's a new great method I found specifically for audio files;  for me, these are .MP3 files.  This is an ADDED STEP  to Item 4 on my blog for 2 October 2012.

Overview:   
1.  Create a File Folder (Directory) for the entire Copyright Package.  I identify mine by YEAR-dash-LETTER,  where the letter = A for my first submission in the year,  C for the 3rd, etc.  For example, I am currently developing my Package for  Copyright 2012-J.  HOWEVER, because I have so many packages,  I continue the letter from year to year.  In 2011,  I submitted (and received approval of) four packages named 2011-D, 2011-E, 2011-F,  and 2011-G.  My first set of 25 songs submitted this year was 2012-H.

2.  Within the Folder (see 2 Oct for details),
A.   Create an index document file.
I put an underscore in front of the filename so it's always on top when I take files to my second studio which uses PC's.  A space does the same if both you and your studio use a Mac.  The U.S. Copyright Office provides the information you need to put at the top of this page, such as Date of first publication (can be published on your website), contact info, country, etc.

B.  Put PDF copies of the Lyrics (-LY),  Music (-MU),  Score (-SCORE piano, -SCORE flute) files and the audio file (such as .mp3) in this folder.  NOTE -- Since the USCO does not accept .DOC files, I keep these in a separate folder.  You will probably  find that easier also.

C. HINT that you can use on a Mac -- In Finder, select the final files and change the filename color to ORANGE  (or your choice).  Later when I search for files, I always know -- NEVER delete an orange file unless I've looked at it within its enclosure folder to be sure it's not an essential ARCHIVED file.

3.  NEW HINT - for tracking which Audio file you sent
A.    Complete your Folder, checking that you have all files needed and ONE AUDIO file for the complete song, including vocals  (Always check that you remembered vocals on the submitted file!) 
B.   In your Explorer/Finder window,  Click on "KIND" or "TYPE"  to sort by file type.

C.   Select all  audio files  (.MP3 type).
D.  While they are selected,  in a Mac, right click and select MAKE ALIAS.  On a PC, you will create a SHORTCUT  instead.  Keep these new files in this SAME directory for now.

E.  Looking at the Last Modified date of the ORIGINAL audio file,   add a note into the filename of the alias that tells you the DATE of the original file, and the studio if you use more than one. 
EXAMPLES from my directory:
Amazing Grace DOXOLOGY   cw 5-19-2012.mp3 alias
          tells me that file was produced at VwP Studio by Claxton Wilson
Clean Camp Faith jk 7-21-2012.mp3 alias  (Produced at J&T Studio by Johnny Kyle)
Church Budget Proof Diana mix 12-17-2012.mp3 alias  (My personal mix)

F.  Create  a new folder  WITHIN that one with a title like 
          __Mixes I didnt use and DATE notes    (hey, I understand my title! Pick what you like!)
G.  Once again,  do Step B to sort by file type.
H.  Select all  of these "pointer" files  ( .alias  or  shortcut  type).
I.  While they are all selected,  slide them up into the folder you created
     in Step F.

You now have a clean list of files to send to the U.S. Copyright Office
and kept the  ability to track the date (and therefore the EXACT MIX)  of your submitted audio format.

Much joy to you in tracking more and more audio files for your music!
©2012 DianaDee Osborne;  all rights reserved

Avoid the PRIDE THING in Studio

It's almost amusing.
As we singers "advance" in our dreams and goals, sometimes we get enough money
to hire a studio producer to record our singing.

It's rather human that we don't reach this point until we think we're pretty good.
It's rather human to be a bit miffed when hearing the suggestion that we could improve something.

But we are -- after all -- paying someone  
who "knows" his or her stuff.
Who has experience and equipment to make us sound good --
but also the professional responsibility to be honest 
when we can improve.

Amazingly, I've repeatedly heard professionals speak of singers
who were insulted to be told they were slipping off key,
or had their feelings hurt when told that their tone for Part 1 did not match that of Part 2 in a song.
So this is a pretty simple hint.  Sorry it sounds a bit preachy.  Just ignore if you'd like. But here 'tis:

In a studio, you would be paying for professional services to make you sound "good".

The producers have no interest in hurting your feelings;  

they just want to do what they're getting paid for -- 

give objective evaluations.  

Only then can singers move on to the next step in good vocal recordings:
         Consider the advice without pride. 
         And -- if desired -- take it.  
You can always ask for the old recorded vocal track to be used :)

Much joy to you in growing your music!
©2012 DianaDee Osborne;  all rights reserved

Hint for Practicing Tongue-Tying Songs

An odd title.  What do I mean?  You know how you sometimes say you're tongue tied when trying to speak?  Same thing happens -- even worse -- in front of a microphone in a studio where you're paying for professional recording time.  So here's an easy hint for practicing (even if you record vocals on your own time at home).

Sometimes one of my draft songs is REALLY fast with half counts.
That means I have to get a LOT of syllables out of my mouth in moments.
We EACH have two choices when we keep stumbling over words during practice:

    1.  Select different words with less syllables.  Don't write off this good hint; sometimes it's best.

    2.  Practice in the following way:

Don't even try to get out your words at first.

It's like learning to drive stick shift where you're watching the road and
 3 mirrors and your speedometer until you've learned to "hear" when to change --
plus the gear shift you have to look down at when you start, 
plus feeling between the clutch and brake to be sure you get the right one...

OOoopps -- I forgot:  Please also watch the road and other drivers and
Bambi                (and enjoy the blessing if you don't understand the Bambi joke).
In other words:
There's too many things to focus on 
at once as you learn.   So you stress.
Same with music.
So first learn your melody REALLY well.
Most people do the humming thing - like "La La",
and then   start practicing  words.

My hint of Experience is to throw in a middle step 
so the learning step is not so steep:

           Sing the Alphabet.

Yes, I said to sing the ABCs on up to the TUV's     and then back to A's.

Example:  Say a different alphabet letter for each syllable in
"We Wish You a Merry Christmas"  --
  A__B___C__D_E _ F _G_ H _ 

Your mind has to focus on BOTH  the letter and the music note, 
which is harder than "La".
But not as hard as focusing on the WORD and the music note.
It's really helped me.  I hope you'll find joy in music and trying out hints like this:)

Much joy and laughter to you in feeling silly while the silliness helps your song be better!
©2012 DianaDee Osborne;  all rights reserved

Stammering Lyrics in Songwriting

"THEY SAY"  (whoeverest "they" may be)  that the  longer you know someone, the  easier it is for you to know where their sentence is going and you impatiently wait for them to finish speaking -- or you just jump in  and finish their sentence so you can quickly move to the next point.  (And yup,  I know the grammar is wrong 3x,  but do you really want a "his or her" and "him or her"  instead?  Ya know where I'm going faster!   Point  illustrated!
        The same impatience happens when people listen to your song   if you're not careful:  And if you're brave enough to laugh at yourself,  it really is  FUN  to look for old awkwardnesses in earlier songs!  But here are some hints to raise your awareness if you haven't already noticed in other people's songs:

EXAMPLES:
1.    Let's say you have a long common word like "Yesterday" in your lyrics.  People will know what your word will be by the time they hear syllable "ter".... After all, how many English words start even with "Yes"?
        So if it's a slow song,  they're aching to get past that 3rd count so they can hear the REST of what you're saying in your song that interests them.
2.    Or perhaps one line for your lyrics is "I hope you will come"  (which is already rather blah.  Anyway...)  The listener in English has probably caught your song pattern by now and knows the next line will rhyme with "come".  So the moment you sing the sound "Inv",   the listener is waiting for you to finish the word Invitation.

ONE  EASY  FIX:

Simply avoid a full count per syllable.
Put one of the syllables on the "and" of the measure's count.  Which one?
(1) Just listen and follow what sounds best to YOU, the artist.
(2) Follow the natural accents of the word.
          IN__  vi__  TA-tion   _ _  is 1_2_3 + 4_.
(3) When the natural accents don't change, such as ENDLESSLY,
      match the meaning of the word:   END sounds long-- full count.
(4) IMPORTANT:  SING your song aloud.  One of my earlier blogs speaks from experience of the danger -- and humor!-- of getting to your recording studio without practicing the song at tempo!
        Give full counts to the syllables where you need to get a complete consonant sound at the end of the syllable -- like getting that  D  at the end of END  is more important than the S on -LESS.

UNIQUITIES**:

        But of course, this hint does not apply to ALL many-syllabled words.  For example, in my rather slow song "Building Cathedrals"  I kept a full count per syllable on the key title word because a cathedral is a stately building that just "seems" to deserve slow, deliberate notes per syllable.
        Hey, that's why you and I call our songs "art" -- We
use the instincts that make our music unique from other songs and other lyrics in this vast world of sound!
May you have much joy developing your own splashes and wave-pounding sounds!
     **  By the way, there's no law against having fun using odd words either... your own uniquities in lyrics design.  As long as the listener knows what you mean!
©2012 DianaDee Osborne;  all rights reserved

Supernatural Music Skills

     One of my secret (til now!) joys is working in my journal on future songs on the sofas in each of my studios while that studio's producer is mastering that night's recordings --- and suddenly glancing up and noticing him "bouncing" with the music as he masters it!
      My music skills are average.  I tried for a number of years to write "pretty good" songs -- not even going for "great".  Then, in frustration, I decided -- "what's the harm?  
I may as well do some experiments",   after I read about testing for help in the Bible, in Malachi 3.  And so I started praying.
        If you don't yet believe there's a God who yearns to give you joy in music and peace in life and etc. -- that's ok.  But maybe sometime you too might like to just "see what happens."  Here is what happened for me with my pretty good yet still average music skills:
       From 2001 to 2007,  I loved the hard rock and all other types of music at music festivals like ALIVE and CREATION, so  I kept trying to write songs. The result: In 2006, I wrote new music called "Amazing Grace Blues" which has been popular with church bands looking for an up beat sound.   ONE  SONG  in one year.
        (free download at   http://DianaDeeOsborneSongs.com/Songs-2008-2012.php )

In 2007, I wrote  half of "Nothing & Everything"; "I Praise You Despite";  and also
"I Choose Your Choice" with its key opening lines

I wanted fame and fortune and to dine out really well.

Instead I’m lucky when I can afford Tostado Bell.

I don’t need a Mercedes Benz--- a Cadillac will do.

Instead I’ve got a no-name car that’s held in place with glue...

THREE   SONGS   in one year.

In 2008, something I considered horrendous happened.  I was praying a lot anyway for 'any help I could get' -- and so figured I may as well also pray about my dream of music writing more also.  Three days after the event, I wrote "Above My Sorrow Sea"  music AND lyrics in under an hour.  I kept praying through the turmoil  (See "Third of Despair and Hope", another free download, for details).   

The results of my song  experiments: 

  53   SONGS   from 2007 through 2009 for my first copyright package
  59   SONGS in 2010   (one year)  for my copyright pkgs  A, B, C
  77   SONGS in 2011   (one year)  for my cprt  pkgs  D,E,F,G
  56   SONGS to date in 2012   for my cprt  pkgs  H, I, &  J thru now

I do not share this to brag.  In fact, I had to count up the numbers while I sit here typing, because I quit counting months ago.  The 'SONGWRITING HINT" for this blog is this ----
There are many sources of help for writing good,  even great,  songs if you really want to.  If you want more,  even maybe supernatural skills,  what's the harm in experimenting with prayer and with Malachi 3:10 type of exploration?  Doesn't waste any time..... :)  
Might help you write fun songs like my "SAFE EXPERIMENTS"!
Much joy to you in exploring ways to grow your songs!  
©2012 DianaDee Osborne;  all rights reserved.  FREE DOWNLOADS and MUSIC SHEETS on website