Month: February 2022

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The Proverbs 27.17 Song Critique Method

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The art of the song critique

One of the best feedback tools is learning the art of the critique. It is equally important to learn how to give a critique as it is to receive one. Embracing this art is invaluable for rewriting your best work. Seeking feedback from a trusted source and using feedback are the best ways to improve as a writer, and both are instrumental in learning to spot writing inconsistencies. When your songs are critiqued, you don’t have to make all the changes suggested, you need to listen to the critique without taking offense—and only incorporate the changes that make sense to you … as you realize the suggestions improve the song.

No doubt about it. Our songs are our “babies”, and we think: “You’re gonna attack my baby?!” When I give a critique I say, “This is just my two cents. Take whatever suggestions ring true to your heart and leave the rest.” I want them to know my evaluation of the song is clinical. I will also be sure to include praise for what the song does best, in my opinion.

Learn to take suggestions and ask for clarifications. In the end, you’ll need a “thicker skin” to mold and craft songs that will stand out from the crowd. This is all part of maturing in the art.

Types of critiquing

Do you remember the old saying: You have to learn to crawl before you can learn to walk? Here, learning to crawl means to learn how song critique works so you know how to receive it and learn from it. You should learn how to combine the best from “give” and “take”, for they are inseparable. As babies, our legs and motor skills strengthened as we grew, learned to stand and then to walk—but we fell a lot in the effort to get on our feet.

In the songwriting arena, we get to our feet by getting feedback on our songs. Receiving feedback runs the entire gamut of emotion, from getting praise from family and friends to hearing suggestions from a critic you perceive as tearing you apart as a person. However, getting only pats on the back or being unprepared to discern constructive criticism won’t show you how to get on your feet and become a better writer.

One of the best articles I’ve seen on waking our minds up to this: Ten Things Your Mother Won’t Tell You About Your Songwriting at https://songs4god.net/ten-things-your-mother-wont-tell-you-about-your-songwriting/.

Some writers have figured out how to receive critique, but not give it. They only pass on encouragement when critiquing, but do not offer specific suggestions for improvements. Such encouragement from experienced writers is valuable, but not necessarily constructive. You need feedback designed to help you get on your feet, take your song to the finish line, and show you how to be a better writer.

If you want to become a dedicated congregational songwriter, “cut to the chase” and take on serious critique. (pull quote) Learn from the critique. Focus the learning and become a better writer so you can cross that finish line.

You need constant feedback dedicated to your growth. Top-level critique will speed up your learning curve in remarkable fashion to help you create a top-tier song.

But where do you find this information? Is there a single source of information designed to critique and build congregational worship songs?

Yes.

It’s right here in the following paragraphs. My intention is to help you learn the art of song critique and harness the power it will have on your writing. This upcoming exercise will speed up the learning curve.

Learn how to take data and turn that into information, information into knowledge, and knowledge into wisdom.

Neil deGrasse Tyson

         To do this, I’ll show you how to take extensive data from a song questionnaire and turn that into information. Each individual on a critique team rates and gives comment for each area (this makes the critique team really dig into the lyric and the music). The completed questionnaire is then given to the songwriter so they can take the information and improve the song. Or ignore it. Hey, it’s their song, they get to choose.

Purposeful critiquing using The Proverbs 27.17 Song Critique Method

This is a next-level tool. It’s a method to assess your songs and to learn crafting through purposeful critiquing. The design takes advantage of group learning. It is focused on writing for congregations to accelerate the learning curve and sharpen core writing skills.

The definition of congregational songwriting is found in this list. You’ll find questions there not in the above list in the full form, which is found in my book Fishing in Church. It seeks extensive information about the song by asking follow-up questions to those in this list.

For more information, please visit https://getyoursongsheard.com

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The Proverbs 27.17 Lyric Formula

Click here to download as a .pdf file.

How can you be sure the song you write is a strong one? How can you guarantee it will stick in the memory of your listener? How can you get the listener to concentrate on the idea you’re laying down?

The answer to all three questions: Realize the song is not about you, it’s about your listener.

There is nothing more frustrating than having a great idea but not knowing how to hone it and get it in a form that communicates your story. You know your audience, so craft your stories for that audience. The best way to get started is to latch on to a proven lyric writing system. This will help you go after that unique lyric that defines commercial songs. Don’t tell yourself that what you write isn’t worthy. Just write and write and write. Remember that King David probably wrote 10,000 psalms, but only landed 150 on his greatest hits.

Here’s a preview of my formula for writing a great lyric. I call it The Proverbs 27.17 Lyric Formula. Proverbs 27:17 says, “as iron sharpens iron, so one person sharpens another.” Even if you are the only lyric writer for the song, you purposely invite others to critique the song later and help you make it better. Great writing is a team sport.

I introduce this in my book The 5 Steps to Get Your Songs Heard, and go into great detail of it in each section in my book Iron Sharpens Iron.

Visit https://getyoursongsheard.com or https://amazon.com/author/stephenrobertcass to learn more about getting these books.

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How To Prepare for the Studio

Simply stated, what you need in order to record music in a studio is to ask yourself ‘why do I want do this’? Whether you’re a songwriter getting a demo cut or a solo artist or a band, you need to know why you want to do this. Secondly, have an understanding of the process.

There are plenty of good articles everywhere that tell you some ins and outs of ‘how’. Let’s stick with the ‘why’ and some of the background stuff so you know what you’re getting yourself, and possibly your mates, into. After these questions are answered you can get more into the ‘how’.

What are your goals?

Why do you want to record you or your band? Are you a songwriter that needs a demo? What are the goals for doing this? Answers to these questions will help you decide how to proceed. For example, if you are a solo guitarist and your goal is to just have some CDs of a couple of songs to pass out to friends, why not ask around at the local guitar shop or ask friends of someone who has a decent recording set-up that would be willing to make a few extra bucks?

Let’s look at the larger picture. If you want to record with intention of replication and distribution, then be totally aware of copyright law. It would be illegal for you record a song that someone else wrote with the intention of distribution. Go to the Harry Fox Agency and google on ‘how to secure recording rights’. The answer on how to secure recording rights, in a nutshell, is this: pay for the mechanical reproductions you are making by contacting the owner of the rights of those songs. The cost is usually very reasonable.

If your songs are original compositions, protect yourself by getting the songs copyrighted before you record. This is job #1 for the serious songwriter. It takes sometimes up to 6 months to receive a copyright registration, but proof of your submittal is good enough for government recognition of your work.

Ok, back to the topic at hand. Why do you want to record? Are you a solo artist that is recording a project for demo purposes? Then maybe you don’t need to spend huge bucks on a top-of-the-line studio, maybe you need to find a smaller studio or a recording geek to help you out. Are you part of a full band that wants to record for the purposes of getting a demo for distribution to bars? Then seek good quality, but don’t break the bank. Are you a songwriter in need of a great sounding demo? Sadly, a great sounding demo is what is expected. Make a list of the studios in your area. Call or surf and find out recording rates.

Have a plan before getting into the studio.

Do you want really great quality? Then be prepared to spend some money. But fear not, you will save a ton if you your sessions planned far in advance. Think of session planning as you would songwriting. A little incubation time is required.

Before even getting into the studio, contact and prepare the musicians. This means send them charts, mp3s, CDs tapes, whatever. Get them prepared for the parts they’ll be playing. Even if you want them to come up with some ideas, prepare them with whatever you have. Even if it’s only a description of the song.

Plan the sessions with the studio manager. After setting up the blocks of time, tell him or her what you’ll be doing that day. “Today we’re bringing in the drummer and he’s (she’s) gonna play these songs”. In tomorrow’s session, we’ll split the time between recording the bass part on x songs and the acoustic guitar part on x songs.” The session on that day will be all about certain players and certain parts of certain songs.

If you’re planning on recording your band all at once, no problem. Most places can do that. Just be prepared that there’s a goodly amount of set-up time.

Speaking of set-up time, this is all studio time as well. Be prepared because you will have plenty. Especially when it comes to drums.

Even if you’re a solo performer, make session plans. No matter whether your solo or in a band situation, you will need to be flexible and re-structure your plans. Things happen or things take longer than you expected. Learn when a part is good enough and move on. If you’ve got the time to wait for the ‘perfect’ take, then wait. Just remember that time is money.

Build the house. Start with the foundation and build upward. Begin by recording the drums, then get the bass track down. Then the rhythm parts, then any highlight or lead parts. Finally, get the vocals tracked (you may want to record a ‘scratch’ vocal track during the drum session for reference). There’s no hard and fast rules about producing this way, but this is what works well. If you don’t have tight tracks from the drums and a tight bass guitar track to them, nothing else will groove. These ARE the grooves! You might decide to record the band all at once, and this is ok. This also works well. Do what you think would be best for you.

If your band or session musicians are playing and recording a song all at once and you think it will take multiple takes to get it right, think about recording each instrument separately. You’ll have more control over the mix and less frustrations overall.  It just depends on musician availability, whether or not the band performs together better or other time constraints.eceive the publisher’s share of performance royalties.gain staging of each amplifier in the chain!