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Critiquing your song
by Holly Tashian
It's one thing to write a song, letting the words issue forth without too much
censoring, and letting the melody flow where it wants to go. But the
song isn't finished until it's had a good lookin' over, i.e. critiquing.
 This
can be one of the most challenging steps in song writing, and probably
the one most of us would like to avoid. Critiquing your song is, however,
the most important step and the one that makes a good song better
and a better song great.
To make the job easier, here are a few tips on critiquing that I've
learned while working for the Nashville Songwriter's Association International
as a song evaluator. If you're interested in learning more, visit
the N.S.A.I at www.nashvillesongwriters.com.
Read through this list and be honest as you evaluate your creative
effort. Hopefully you can answer "yes" to most of these questions.
If not, it's time for the eraser!
A. Theme (underlying idea or concept)
1. Is the idea one that a lot of people can relate to?
2. Is it a unique or "fresh" approach?
3. Is the idea believable?
4. Did you avoid confusing the listener with too many themes
or details that don't lead to the hook?
5. Are the characters interesting and/or believable?
Note: Occasionally I hear a song that is offensive in one way or another,
and I wonder who would want to sing such a song. It's a good idea
to remember to put your singer in a good light. Most singers will
turn down a song that makes them look like jerks!
B. Lyrics
1. Is there a memorable title or hook? (Exceptions are certain
love songs or story songs).
2. Is there a strong opening line? (Who, what where, when…)
3. Do the words sound in-fashion or up-to-date?
4. Are the lyrics something you would hear in a conversation
today?
5. Are the lines concise and does every word count? Did you
eliminate rhymes that are too predictable? (true,/blue, heart/ part,
rain/pain).
6. Is the use of clichés kept to a minimum?
Note: One of the most common problems I come across in critiquing
is what we call "telling the listener what's happening"
rather than showing by example. If you say "they fell in love",
it's just a fact. But if you say, "They kissed" the listener
has an image to intensify the lyrics.
C. Melody
1. Is there a strong marriage between melody and lyrics?
2. Has an appropriate mood been established through the rhythm
and tempo?
3. Is the musical hook memorable?
4. Is there an interesting melodic change between verse and
chorus and/or verse and bridge?
5. Does the melody build into the chorus?
Note: A memorable hook is also called a "motif" and it repeats with
variations throughout the song. A good example of a motif is the first
few notes of "Sentimental Journey." Notice how this phrase and rhythm
gets repeated throughout the song, with slight variations in pitch.
This makes for a very memorable song.
D. Overall Impact
1. Does the song have a beginning, middle, and an end?
2. Are all the verses strong and non-repetitive?
3. Is the message powerful?
4. Does the song generate emotion?
5. Is the storyline good?
6. Does the song resolve itself to the listener's satisfaction?
Note: Variety is the spice of life, and this goes for lyrics and rhythms
as well. If your verses have lots of words coming together rapidly
(bunching), it is a welcome relief to draw the words and rhythm out
during the chorus or bridge (running). We call this technique, "bunch
and run." A good example of that is "Sunny Side of the Street"
or "Blue Skies." Notice the variety within the song.
One last word(s): If you are too close to your song to critique it,
ask someone else, whose opinion you trust, to listen to it with this
list in hand and have them give you honest feedback. This is a powerful
tool and one worth using every time you write a song. Good luck!
[© 2006 Holly Tashian]
Holly Tashian lives in Nashville and writes with
her husband, Barry. She has had songs recorded by the Nashville Bluegrass
Band, Roland White, the Stevens Sisters, Daniel O'Donnell, Ty England,
and many other country and bluegrass artists. She and Barry teach
creativity classes at Ashokan Fiddle & Dance Camp, Puget Sound
Guitar Workshop, and Summer Acoustic Music Week. Her e-mail is holly@tashian.com.
For more information, visit her Web site at www.tashian.com.
Comments? E-mail the editor at djohnson@folklinks.com.
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