Writing Songs

We've just got back from the Worship Central retreat, where 20 worship leaders gathered for a time of teaching, worship and reflection. Below are some notes from a session on song writing.

Things to look for in a great song:

SUBSTANCE

Does the song say anything of worth?
1 Corinthians 14:15 – “I will sing with my spirit, but I will also sing with my mind.”

Christopher Idle:
“When the mood leads to a suspension of critical faculties helped by an exciting or seductive tune, it is sadly easy to get people to sing nonsense.”

Some pitfalls to avoid:

TOO OBSCURE:
TOO SENSUAL:
MEAN WHAT YOU WRITE:

Get songs checked over by a theologian or a pastor

 “In the modern world, theology was done by scholars, and was expressed in books and lectures. In the postmodern world, many of us believe that the theologians will have to leave the library more often and mix with the rest of us. And the best of them will join hands and hearts with poets, musicians, filmmakers, actors, architects, interior and landscape designers, dancers, sculptors, painters, novelists, photographers, web designers and every other artistic brother and sister possible…not only to communicate a postmodern, Christian theology…but also to discern it, discover it.”
Brian Mclaren

Simplicity

A hook – something that grabs you

“The most enduring songs are virtually without exception the simple ones.”
B. Doerkson

“A song for a congregation is a unique type. I always try to keep it simple with a very singable melody. Don’t leave them frustrated because they couldn’t catch the song.”
Chris Tomlin

Does the song have a focus?
Is there a song vision? – Clear theme of where it’s all heading.

Authenticity


The best songs will always be the ones that come from the very depths of who we are
They will most likely connect with others

“A song is successful when an audience responds with a recognition that says me too…I’ve felt that…I’ve seen what you’ve seen…I know what you mean. That’s what our applause says: the performer is singing not so much to us as for us.”
Sheila Davis – speaking to secular songwriters

Look at David in the Psalms – Ps 51 & Ps 57

Write what’s real to you – not what you think others want you to write

Adventure

Need that adventure in a song – something exciting.
Fresh images

Extract from an American Paper objecting to new trends in church music.

“There are several reasons for opposing it. One, it’s too new. Two, it’s often worldly, even blasphemous. The new Christian music is not as pleasant as the more established style. Because there are so many new songs, you can’t learn them all. It puts too much emphasis on instrumental music rather than godly lyrics. This new music creates disturbances making people act indecently and disorderly. The preceding generation got along without it. It’s a money making scam and some of these new music upstarts are lewd and loose.”

Who said this? A pastor attacking Isaac Watts, writer of ‘When I survey,’ in 1723!

I wish I could have been there.  I will have to re-read these notes several times to get all that is in them.  I try to make sure the songs I write are simply profound.  I want them to have something to say, but to do it in a way that the listener/singer can say, "Yes! That is exactly what I am trying to convey."  Some of the things mentioned in these notes I feel I follow well.  Others I am still trying to get a grasp on.  I write what I know that is for sure.  Everything I write comes from my own experiences and from deep in my own heart. Thank you for sharing your notes, Tim. They will be a huge help in writing songs in the future. 

For some of my music go to: http://www.soundclick.com/dannygroff and click on the Music link on the right.
Hi Tim, was great to meet you and Al the other day, thanks for letting me gategrash with Martyn.  Found this the other day, it's quite interesting...

...from Christian Schubart's Ideen zu einer Aesthetik der Tonkunst (1806)

C Major
Completely Pure. Its character is: innocence, simplicity, naïvety, children's talk.

C Minor
Declaration of love and at the same time the lament of unhappy love. All languishing, longing, sighing of the love-sick soul lies in this key.

Db Major
A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying.--Consequently only unusual characters and feelings can be brought out in this key.

C# Minor
Penitential lamentation, intimate conversation with God, the friend and help-meet of life; sighs of disappointed friendship and love lie in its radius.

D Major
The key of triumph, of Hallejuahs, of war-cries, of victory-rejoicing. Thus, the inviting symphonies, the marches, holiday songs and heaven-rejoicing choruses are set in this key.

D Minor
Melancholy womanliness, the spleen and humours brood.

Eb Major
The key of love, of devotion, of intimate conversation with God.

D# Minor
Feelings of the anxiety of the soul's deepest distress, of brooding despair, of blackest depresssion, of the most gloomy condition of the soul. Every fear, every hesitation of the shuddering heart, breathes out of horrible D# minor. If ghosts could speak, their speech would approximate this key.

E Major
Noisy shouts of joy, laughing pleasure and not yet complete, full delight lies in E Major.

E minor
Naïve, womanly innocent declaration of love, lament without grumbling; sighs accompanied by few tears; this key speaks of the imminent hope of resolving in the pure happiness of C major.
F Major
Complaisance & Calm.

F Minor
Deep depression, funereal lament, groans of misery and longing for the grave.

F# Major
Triumph over difficulty, free sigh of relief utered when hurdles are surmounted; echo of a soul which has fiercely struggled and finally conquered lies in all uses of this key.

F# Minor
A gloomy key: it tugs at passion as a dog biting a dress. Resentment and discontent are its language.

G Major
Everything rustic, idyllic and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love,--in a word every gentle and peaceful emotion of the heart is correctly expressed by this key.

G Minor
Discontent, uneasiness, worry about a failed scheme; bad-tempered gnashing of teeth; in a word: resentment and dislike.

Ab Major
Key of the grave. Death, grave, putrefaction, judgment, eternity lie in its radius.

Ab Minor
Grumbler, heart squeezed until it suffocates; wailing lament, difficult struggle; in a word, the color of this key is everything struggling with difficulty.

A Major
This key includes declarations of innocent love, satisfaction with one's state of affairs; hope of seeing one's beloved again when parting; youthful cheerfulness and trust in God.
A minor
Pious womanliness and tenderness of character.

Bb Major
Cheerful love, clear conscience, hope aspiration for a better world.

Bb minor
A quaint creature, often dressed in the garment of night. It is somewhat surly and very seldom takes on a pleasant countenance. Mocking God and the world; discontented with itself and with everything; preparation for suicide sounds in this key.

B Major
Strongly coloured, announcing wild passions, composed from the most glaring coulors. Anger, rage, jealousy, fury, despair and every burden of the heart lies in its sphere.
B Minor
This is as it were the key of patience, of calm awaiting ones's fate and of submission to divine dispensation.

Translated by Rita Steblin in A History of Key Characteristics in the 18th and Early 19th Centuries. UMI Research Press (1983).
That is great!  I loved that.  I will have to try using it with the next song I write.  I always find it hard to find the key that really conveys what I am trying to get across and now I may just be able to do it.  :)
hey tim,
thanks alot for your advice on songwriting, its helped alot with my own journey in the field...
andrew