By Pat Pattison
The Must-Have advisor for Songwriters
Writing higher Lyrics has been a staple for songwriters for almost twenty years. Now this revised and up to date 2d version offers powerful instruments for every little thing from producing principles, to realizing the shape and serve as of a track, to fine-tuning lyrics.
Perfect for brand spanking new and skilled songwriters alike, this time-tested vintage covers the fundamentals as well as extra complicated techniques.
Songwriters will discover:* easy methods to use sense-bound imagery to augment a song's emotional effect on listeners
* concepts for heading off clichés and developing ingenious metaphors and similes
* how you can use repetition as an asset
* the way to effectively manage meter
* guideline for matching lyrics with music
* how one can construct on principles and generate potent titles
* recommendation for operating with a co-writer
* and masses more
Featuring up to date and multiplied chapters, 50 enjoyable songwriting workouts, and examples from greater than 20 chart-toppings songs, Writing higher Lyrics can provide all the expert and inventive perception you want to write strong lyrics and positioned your songs within the highlight the place they belong.
Read or Download Writing Better Lyrics PDF
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Additional resources for Writing Better Lyrics
He had an enthusiasm for Ives. What had put me off Ives was all the Americana business. I didn’t like that. You see, in modern painting I was devoted to Mondrian; just as I had chosen Schoenberg in music, so I chose Mondrian in painting. And it was not through my own inclinations but through the excitement and work of Robert Rauschenberg that I came to be involved in representational work. If, then, I could accept representation in painting I could, of course, accept the Americana aspect of Ives.
That was very important to me, to hear through him music from all the various cultures; and they sounded different. Sound became important to me—and noise is so rich in terms of sound. Surprisingly, you can even read statements in the early fifties from young composers in Europe, who are otherwise revolutionary and adventurous, to the effect that sound has no importance in music. Do you realize that? They tended to think that the thoughts, the constructions, the ideas that form the relationships of sounds were important, but that the sounds themselves were of no importance.
You mean interested in the construction of it? And all of the ideas and everything. Otherwise, I don’t think it’s that -48seductive. Certainly some pieces are not at all. Whereas Satie is. The fact that he’s interesting even though he is charming makes him for me still very lively. I think he’s one of the liveliest musical figures, certainly of this century. Long ago I wrote that text comparing him with Webern. Maybe if I paid more attention to Webern now I would like him again, but I don’t feel any need for it.