Songwriting: Write Pro Standard Lyrics | Eve Williams | Skillshare

Songwriting: Write Pro Standard Lyrics

Eve Williams, Music: Information and Inspiration

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18 Lessons (1h 24m)
    • 1. Introduction

      2:32
    • 2. Wireframing: Avoid Rookie Mistakes and Create Story Progression

      4:59
    • 3. Story Progression Example: Folsom Prison Blues

      4:37
    • 4. Lyrical Economy: Big Yellow Taxi

      4:23
    • 5. Show, Don't Tell: She's Leaving Home

      3:57
    • 6. Metaphor: Hotel California

      5:46
    • 7. Intertextual Writing: Oblivion

      3:27
    • 8. The Right Language

      4:25
    • 9. Lyrical Hooks

      8:19
    • 10. Songforms and Lyric Writing

      8:31
    • 11. Over to You: Rewrite One of Your Lyrics

      4:52
    • 12. Two Songs on the Same Theme

      3:49
    • 13. Write Lyrics to This Tune

      4:34
    • 14. Cut Down a Cluttered Lyric

      1:32
    • 15. Using Google to Write a Lyric

      3:12
    • 16. Find the Pay Off Line (and possibly the title...)

      1:21
    • 17. Getting Feedback

      2:03
    • 18. Bonus: How to Become a Pro Songwriter by People Who've Done It

      11:26
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About This Class

As an A&R rep at a music licensing company, I listened to many songs every week. Of those that are nearly there but not quite, it's the lyrics that often pose a problem: lyrics without a story, or too much cliché or no consistent theme. It's a myth that pop lyrics are meaningless. Pro songwriters spend alot of time on lyrics.

In those course you will learn how to craft lyrics like a professional songwriter and what errors to avoid. Specifically, we will look at 

  • Wireframing: constructing a story progression to your lyrics

  • 'Show, Don't Tell': the use of imagery

  • Metaphor

  • Intertextual Writing: taking inspiration from other works of art without ripping them off

  • Using the right language for your song's audience

The course begins by looking at some very effective lyrics, then asks you to craft your own. There are video and text exercises to complete and you will have a chance to get my feedback on your lyrics or to post them for group feedback which may just help you find cowriters!

Transcripts

1. Introduction: Hello and welcome to this course on lyric writing. My name is Eve Williams, and I'm a commercial songwriter, and that means that I actually make my living out of writing songs on. I used to also work in A and R, which is artists and repertoire at a music licensing company. So it was my job to listen to the songs that were sent in and choose which ones would be signed. I'm quite often when a song wasn't sign a bill, but it was nearly there. The problem waas the lyrics. It's a complete myth that the lyrics and pop music being nothing, actually, commercial Songwriter spent a long time crafting lyrics, making sure they've got exactly the right word in exactly the right place, making sure they've got a story that's going to pale to people. So I'm hopefully going to use some of that experience to help you to craft really great lyrics. So if you're aiming for publishing Dale or you've been writing for some time and just want to up your game when it comes to lyrics, if you find writing lyrics challenging or if you're new to song writing and you're just starting on this course is going to help you. So the first thing we're gonna do is that we're going to look some really well. The lyrics. Very, very effective lyrics on analyzed water is that making them effective? We're gonna look at avoiding recognize mistakes, which is things like having a song that basically has no story that has no progression from a bay that's maybe slightly cliches, or where the lyrics dope scan or don't really convey what you're trying to say very well. So that's what we'll do in the first section, looking at some great lyrics, avoiding mistakes on. Then when we go into the second section, it's going to be over to you on. There will be guided exercises in the second section for you to complete. No, you can choose to do all of the exercises, or you can choose to do just those that you think would be most useful t eight. But I do recommend, you know, giving each one of them ago. You might like some of them better than others. You can then send them to me for faith back, or you can post them into the question and answer section of this course and get feedback from May from other students, and that might be a great way to find co writers. Speaking of which, we're gonna look at correcting and collaboration towards the end of the course. I'm gonna look at whether or no it's possible to make a living a purely as a lyricist with right being on all Ryan songwriter like writing music as well. So I hope you're excited to get going on. That's far ahead. 2. Wireframing: Avoid Rookie Mistakes and Create Story Progression: okay now, I were going to look at the concept of wire framing on Dwyer. Framing is a little way of working That's going to help you avoid some of the rookie mistakes that lyric writers can. Mick. So some of those rookie errors include writing songs that have no story I work in and are for a music licensing company. And I'm sent songs all the time that basically just repeat the same concept, and every verse with the character stays in the same circumstances throughout. The song, in essence of Song, is a story. Now. If you were making a movie, you'd have to ours tell a story on songwriters. We only have a bite 3.5 minutes. But there still should be a clear beginning, middle and end writing words that don't scan, for example, when dough instead of window really famous example of this buying a really are inspiring lyric writer Oscar Hammerstein, The second he wrote in the song, Something wonderful. You'll always go Along Day Phantom when he's wrong instead of defend because we don't say defend, we say defend. So then the singer has to try and put that right using too many words. Too many words will clutter your chain on be distracting to the listener, not using clear enough images of imagery gets confused and descending into cliche, which we never want to do. So let's lick at Weir, framing on how it can help us avoid these errors. Okay, I've come up with a title for a song, and it's called Geek Goddess, and I haven't actually written this song, but it's been something that I've been mulling over in my mind. So I've written a little flow chart here off the progression of my song on what's Gonna happen in each first at the beginning of the song and verse. Juan, I'm going to set up this story so there's a garlic this boy's quite into, but she's an all white Jake. He's not, um, so he can't get her attention. That's the men theme of the song. But in the 1st 1st when I'm setting it up, I'm going to describe this girl on. I'm going to let the guy who's singing it tell us what it is that he likes about her. Maybe it's because she's a very passionate person. Geeks tend to bay, maybe she's got red hair and he really likes that. So it's setting up the story in the first verse. The chorus, if you're riding in a song form whether Heiress is a chorus. Because, of course, not all songs have a chorus, but usually they dio the chorus gives the man thrust of the song the real point so and my song that happens to bathe it. The singer of the song Israeli into this Girl. But because he's not a gate himself, he can't get her to notice him. So that's what we're saying in the course in verse. T we want to move somewhere else. You want to carry things on a bit. So the singer starts to think of all the things he could do to make the scar like him really Dickie Things because that's the theme of the song so he could travel to tattooing. He could learn to speak Elvish. Either. Qanyare, Us and Darren either would do you know, just some really Gigi things he could do. So then I could either finish that verse with the idea that he could do all this and she still might not notice him or I could stick that idea into a bridge or of your British a middle It a bridge. Incidentally, in a song should both musically and lyrically take us somewhere different for a little while. And then we come back to the chorus, which repeats the man fame of the song. Okay, so adding on the course, which is the man point and say you're can't get the gate got us to notice him because he isn't a gate himself. Not this gives me a plan of a clear progression of my song where it's going to go. After that, I have to find the actual words. So a little exercise that I like to do you and everybody works differently is say, I took the words geek goddess or geek and typed into Google images. And just look at all the pictures that come up If I picked one that I really liked, and in the notebook, I just jotted dine all the words and phrases that came to May when I looked at that picture . Then, after doing that, I picked the ones that really stand, like the ones they think of really gonna work on gonna want to fit them into this framework somewhere. But also, they're going to have to be contend in a way that actually tells the story. So if you would like to if you've got a nice idea that you're mulling over in your hat, it would be great if you could put together your own wire friend Andi. Just see what comes out of that and where your song goes. Of course, a wire frame can always be changed at any point. It's not sounding something in stone, but it gives you something toe work, Teoh. 3. Story Progression Example: Folsom Prison Blues: following on from the idea of wire framing on creating a story progression. Let's look at a well known song that has an amazing story progression, and that is Folsom Prison Blues by Johnny Cash. Now you may be saying to yourself, if you know this song, but surely at the start of the song he's in prison and at the end of the song he's imprisoned, so hires their progression. Well, that's have a little look at that. I hear the tranny come in. It's rolling round the band on. I am seeing the sunshine since I don't know when. So really great opening lines that tell us this guy is locked up and he's not happy about it. So then he describes where he has he's enforcing president on time, keeps dragging on unless it sets up a kind of great metaphor in the song the train is moving on. The guy's not able to move. He has to stay in one place while the people on the trend, our Frey under able to keep rolling on. So then we find light how you got there, so that's a great progression. The situation has set up in verse one on verse two describes the situation a little bit more, gives us the information about high The situation came a bite when I was just a baby. My mama told me Son, always be a good boy Don't ever play with guns on all time classic line Everybody knows I shot a man in Reno just to watch him die. That is just a completes killer line. So again we have this image going of the whistle blowing from the Tran the movement. And I hang my head and cry So it expands on the emotional state that we kind of gassed up in the first verse because I am seeing the sunshine says I don't know when time keeps dragging on that sort of hints that his mental state it isn't that great And then you know by bus to I hung my head on cry sonar. We go somewhere else again. We've seen the prisoners mental state and his physical state. What's happening in his life? Ni We see high. He imagines the state off the people on the trend. I bet there's rich folks eating in a fancy dining car. How does he know that the folks are rich or what the dining cars like. This is pure imagination. He's imagining a situation which is completely opposite to his own. They're probably drinking coffee and smoking big cigars. Not I know it. I had it coming. I know I can't be fray a little bit of remorse there. So referring back to his own situation, his own life story. But those people keep moving on. That's what tortures may. So this is the whole point. This is what's being described by that. The trend image, the people keeping moving and he can't. So we've got to Verse three before we get to the rail emotional point of the song. And then we have an emotional conclusion. Well, if they freed me from this president, so if he got what he wanted, what he's dreaming off. If that railroad trend was mine, I bet I'd move it on a little farther down the line. So this is what ultimately he wants far from Folsom Prison. That's where I want to stay on. I'd let that lonesome whistle blew my blues away. So, um, the Wessel of the trend comes to represent his dream of being free. Although he said in the breast before. I know I can't be free, but he's not going to leave. Go off the dream of being free. So that's the emotional conclusion off the song. And it's actually quite a powerful emotional conclusion. He's not just accepting his lifelong incarceration, he's still going to dream, and it tends to bay. And there's There is a lot of studies that suggest this that listeners tend to warm, tomb or impart characters in a song. So the fact that this guy isn't saying, I have to stop dreaming it's never gonna happen, You know that it's not ending in a dime beat way could bay. And I'm not saying it definitely is part of the popularity of this song, really well crafted lyric. It made from a to B to C today, something different in every bar. Swell. But yet following on, there's like a sequence like here we can see people keep it moving. That's what tortures may, and then he makes it even planner, and the last person gives us a conclusion. Consistent imagery, the hallway throw lyrics that scan really well with the Children. Just a great way to craft a lyric 4. Lyrical Economy: Big Yellow Taxi: in this section, we're gonna look at the concept of lyrical economy. In other words, not using too many words. If you use too many words, it commit your song signed, cluttered, and it can also take your chin off course, really great example of lyrical economy. And that's Joni Mitchell's big yellow taxi. I'm sure you all know this song, but there's a link to it and the resources for this section. So if you take the lyrics to Big Yellow Taxi on you copy and paste aumento word under a word kind, there's only 220 it words in the song. In fact, in a standard size 12 font size, it really doesn't take up much space on the page. If you've got a song which in a standard type size is going on 2 to 3 pages, that could be an indication that something's gone a little bit wrong. Their commercial songs generally fit on one page. Okay, let's look at the first verse. They paved paradise, put up a parking lot with a pink hotel, a boutique on a swinging heart spot. They paved paradise, the very first line absolutely amazing that in so few words. We've already got this really complex idea off nature being destroyed and concrete it over . Also, there's the great alliteration there a pave paradise. Put up a parking lot. Noticed there isn't even an armed put up a parking lot. There is no wired here that isn't essential. The Pink Hotel again. It's the P alliteration, but also it sounds really gaudy. A boutique and a swinging heart spot. So, you know, if you think of paradise is as nature, something really disastrous has happened here. So the first verse and hardly any words, sets up a really, really great complex thing. Don't it always seem to go that you don't know what you've got till it's gone? They pay of paradise, put up a parking lot, so notice she doesn't say, Doesn't it always seem to be the kiss that you don't appreciate the things you have until they've disappeared? Because that would be crazy within a Scott a song. It wouldn't scan it all. We want to keep the syllable kind dying. Nice second verse. I know we talked earlier about high. We don't want to just repeat the same idea verse after verse on it May. At first glance, looks like this is repeating the same idea. But actually it's taking it even further because in the first verse they've pave paradise. They've destroyed nature in the second, versus even worse. They're not charging people to go and see the trees that used to be there. So, you know, we're in a even worse situation. A tree museum. Just great. Great use of phrasing, because that is actually completely horrifying. And then, of course, we repeats the man theme of the song. Don't it always seem to go that you don't know what you got till it's gone? They pay of paradise, put up a parking lot. Now she's getting personally angry situation. Hey, farmer Farmer, put away that D d t know. Give me spots on my apples and leave me the birds and the bees, please. So the spots in the apples, the birds and the bees that's really in stark contrast to the paved paradise, like the idea of concrete on the parking lot. You know, that makes quite a powerful contrast again. So few words to convey this complex idea. Don't it always seem to go that you don't know what you've got till it's gone. They pay of paradise. Put up a parking up Ni, get ready for the curveball. This is the entire point of the song. This is the true story. This is what she's really upset. A bite lit last night. I heard the screen door slam on a big yellow taxi took away my old man. It's not even a full verse. It's just two lines. And this is what she's really upset. A bite. This is the thing that she had that she didn't appreciate until it was gone. So carb. All right at the end. Hardly any words. Big impact. Don't it always seem to go that you don't know what you've got to? Let's go on. And I We understand that a little bit better. Why she feels that they pay of paradise, put up a parking lot. Great great lyric writing 5. Show, Don't Tell: She's Leaving Home: in this section, we're going to look at the lyrical concept of show. Don't tell, in other words, using imagery. We don't want to write things like Then You died Ohio, I cried. I have actually heard that sung. We want to tell a story in a subtle way so that it has more emotional impact. A great example of showed hotel as she's leaving home by the Beatles, and there's a little link here to somewhere where you can find the song. And also there's a link in the resources section off the lyric section of this course. Let's look at the lyrics on what gives them the huge emotional impact that they have Wednesday morning at five o'clock as the day begins. So really early in the morning, silently closing her bedroom door, leaving the note that she hoped would say more. So we're not being told. Here's a girl who's running away from home, her running away from home. Her escape is being described. It's really early in the morning. She's closing her doors quietly. She can sit. Was not Twiki anyone up? She's leaving a note. She goes downstairs to the kitchen, clutching her handkerchief grit image there. She's probably really nervous, and that's why she's clutching her handkerchief. But it doesn't actually say that it shows us turning the backdoor key stepping outside. She is free. So basically what the song is doing is describing the actions of the girl rather than just telling us how she feels in a sort of unsettle way. Then the chorus gives us the point of view of the parents that she is leaving home on. Then we have the we give her most of our lives sacrificed most of our lives. So instead of coming out and saying her parents are controlling, her parents are difficult. Whatever active you want to use were actually being shown. We've got a demonstration off why she has problems at home. Second verse, the wife gets up, their mother gets up. I'm finds out that she's got so we have her mother getting into addressing going with father snoring, picking up the ladder and then this beautiful, beautiful line standing alone at the top of the stairs, just a really lovely image of shock and loneliness so really continuing with the method that's been set up in the first verse of describing the action. And then she breaks down and cries. Daddy, our baby's gone. Why would she treat us so thoughtlessly? How could she do this to May? So you know, we're saying this story from the other side, then repeat of the chorus. Interesting. Beginning to the final burst Friday morning at nine o'clock. So we compare that toe Wednesday morning at five o'clock. She's far away, so she's mirror skit. We're going to keep the appointment she made meeting a man from the motor trade. We think, Oh, what's going on there and then the course, But the words are slightly different. What did we do that was wrong? We didn't know it was wrong. That's probably the issue. She's having fun. Fun is the one thing that money can't buy something inside that was always denied for so many years. Bye bye. And only at that point does it give us an actual emotional description of the emotional world. So, really, what this song is doing is describing a complex emotional scene through a series of images , leaving the ladder closing the door, turning the key stepping outside. All those things have much more impact than just writing a song that said she felt stifled . She felt suffocated. This is actually really moving song, so if you want to take a few minutes to listen to it, I'm sure you'll love it. 6. Metaphor: Hotel California: Now we're going to look at one of the oldest literary devices there is, and that is a matter for and look at, metaphor. The song that I've chosen is Hotel California, which is on a surface level, about a guy who gets really tired during a long drive and stops at this creepy hotel, which is a bit like the Shining. But what the song is really about is drug taking and getting trapped and sort of celebrity culture that's quite unhealthy and a little bit scary. Now this is quite a long song, and I'm not gonna read all the lyrics. But you know, famous first lines on a dark desert highway, cool wind in my hair, warm smell of Pilatus rising up through the air. So the 1st 1st gives this idea of arriving at this kind of slightly creepy hotel the slightly creativeness, which still has some kind of atmosphere that draws the guy in. So there's words in this first part, a shimmering light. It's an almost spiritually image. I heard the Mission bell, and I was thinking to myself, this could be having or this could be how so That whole idea off celebrity culture. Living the dream has this veneer of being something that everybody wants, but it can also be hell. Welcome to the Hotel California. Such a lovely place. Such a lovely face. Plenty of room at the Hotel California Any time of year, you can find it here. Find what? What is it that the singer is seeking? Her mind? Is Tiffany twisted? She got the Mercedes bands to script turn of phrase their use of alliteration. She's got a lot of pretty, pretty boys, she calls France, so we're starting to see the the kind of fakeness of these people high. It's it's there's a sort of a NRI a list. I'll buy it living in the atmosphere, you know, some doubts to remember some dance to forget, You know, that really ties in with a whole drugs name. Not interesting line in the song. So I called up the captain. Please bring me my wine, he said. We haven't had that spirit here since 1969. So the character of the captain that's something much debated if you look that up in the Internet. But all kinds light is some people think that the eagles were followers of Anton Live a Who was a famous it list. Not too sure whether that the kids or not, but there's clearly someone who's like almost the leader of a cult is very controlling amongst this group of people. So we repeat the chorus. Welcome to the Hotel California. Such a lovely place. Such a lovely face levin up at the Hotel California. But by this stage, the idea of living it up doesn't signed as good as it might have done at the very start of the song. What a nice surprise. There's nice little sort of a survey line here. Bring your alibis. So there's a lot of dodgy stuff going on amongst this great people mirrors on the ceiling, pink champagne on ice, sort of celebrity lifestyle, she said. We are all just prisoners here off our own device. So we have actually made a decision to be trapped in this lifestyle. And where prisoners, you know, that's actually something really horrible. We can't get ICT. We're into this lifestyle. We're into this group of people and there is no escape. There's a hopelessness, Abida, not This next line is probably where Satan Ism idea comes from. but it's not actually about sittin ism or any kind of black magic it all, And in the Masters chambers they gathered for the feast. They stab it with their steely knives, but they just can't kill the beast faced Stab Staley based great use of alliteration. What that's actually describing is the needles used and drug taking. If you're taking heroin, you know you're stopping yourself with syringes. And that's really what's being described here. Last verse of the song, obviously incredibly famous. Last thing I remember I was running for the door had to find the passage back to the place I was before. So he's gone down this road, this lifestyle and desperately wants to go back to the person that he used to be. Relax, said the night man we're programmed to receive. And then the really, really famous line, Which is why I've put in italics you can check out anytime you like, but you can never leave, so you have lost all freedom. You can check kite. In other words, you could commit suicide of just you know, that's the only way you're going to get out of the situation. You can never leave you're trapped. Very, very haunting song. Very powerful use of metaphor, not the metaphor, is consistent through the whole of the song. Most songs that use metaphor. I'm thinking of Johnny Cash's Folsom Prison Blues, where you have the metaphor of the Tran running down the tracks and the guys stuck in presence of the trend can move that has constant movement, whereas he's stuck in one place. That's a very strong better for and but it allies the guy to be a bit conversational, too, which is more the kiss and songs that use metaphor. This song, quite unusually, is completely and metaphor from beginning to end, but it works because the metaphor is consistent. You know what they say. Don't mix your metaphors. That's good advice, because you don't want toe confuse the audience. You want to stick with one idea which this song does amazingly well. 7. Intertextual Writing: Oblivion: Now we're going to look at Inter Textual, right? We've mentioned this before in relation to Leonard Cohen's Hallelujah on. Also in the exercise where you take it image from Google. Images on describe that image in order to craft some lyrics. So in this action, I'm going to play you a track. But I co wrote and explain to you High Backtrack was originally best on tennis ins in Memoriam. So here is a little bit of the truck. I don't believe I have never You know, I think this has to come really hate being here. You need this. You promised me, Teoh. They say it's better to have loved unl ost the very, very famous words from in Memoriam. So we knew that we wanted to start a song with those words, basically because my co writer very strongly disagreed with the sentiment, wanted to argue with it. So we knew those words came from Tanis ins in Memoriam. So he went on to poetry dot org's to find the poem. So there's some great databases online off poems, and I think about in memoriam. Is that being a Victorian poem? It's well, I have copyright if you use a poem that was written in the last 70 years, you might get into a bit of trouble for lifting lines. Art of it verboten. But you can't, of course, write your own response to it. The opposite of Memoriam is oblivion. So memoriam, as in something that you purposefully hold a memory and oblivion, a state of being totally for gotten. So our 1st 1st became, they say it's better to have loved and lost. I don't believe that to be true. Is it fair to wish our past had never crossed? I'd not be crying over you. Compare that to the original words of the poem. I hold it true what air before I feel it when I sorrow most, it is better to have loved and lost than never to have loved it all. So an interesting exercise for you today would be to think of a poem that really inspires you are some very famous words trying to find the entirety of the poem own line really taken the things of it on right, your own response on. I'd be very interested to hear what you come up with 8. The Right Language: way using the right language for your target audience, you're going to use very different words and phrases. If you're right and commercial pop for 16 to 20 year olds, then you are. If you're writing, say, Americana or country music for people who are 30 plus. Let's look at the lyrics of Garden Valley by Cara Dylan. This is really not my home or where are you, my lovely Johnny? I'm afraid. And all alone. There's no pace for May. So before we listen to the song, I just want you to think through rating these words. What kind of music do you expect to hear when you raped these lyrics? Andi. What kind of demographic do you think would like this kind of music? So that's something to think. If I may be, pause the video and have a little think about that, and then we'll listen to the track. This is really not my home who I love Johnny Frayed and there's no peace for me. I'm sitting in a stranger, strange Shane struggle, cool one shot, one opportunity sees everything you ever wanted and one moment captured and his balls sweaty in these weak homes and heavy. There's vomit on a sweater already. Mom's spaghetti. He's nervous, but on the surface he looks calm and ready to dry palms. But he keeps on forgetting what he wrote down. The whole crowd goes so loud he opens his mouth, but the words won't come out. He's hoping how everybody's talking now with clocks. Time's up over that reality. There goes gravity that goes moving on to a very, very different lyric. Eminem Lose yourself. So when you look at the start of the song on the slide, there's an awful lot of words. So let's look at some of those words. And if you have one shot or one opportunity to seize everything you ever wanted in one moment, would you capture or would just let it slip? Okay, so then we have some brilliant imagery. Palms are sweaty knees, make arms or heavy. There's vomit on his sweater already. Mom's spaghetti. So who is the target audience here? Who is it that he wants to hear this track? What kind of edge are they? What part of the world to the 11? Are they male or female? Let's just have a little think about that so when you're crafting your own lyric, bear in mind that there will be certain words and phrases that will be familiar to your audience that will make sense to them and some that maybe won't so much. So just check your lyric that it really is heading home. But you're targeting it while at who your audience is going to pay. Thank you so much for completing the section on lyrics, and if you want to send me any lyrics that you've written during this part of the course, I'd be more than happy to read them. 9. Lyrical Hooks: way. Let's look at the really crucial concept of lyrical hooks night in the same way that the music of a song may have a hook that helps make it really memorable. Think of the big guitar riff from Laila, or perhaps the line Hallelujah from Leonard Cohen's Hallelujah. Musically, in the same way, a song should have a lyrical hook, a word or a phrase that really hits home that sticks in people's mind. On that is the men point off the song, so we're going to listen to some quite well known lyrical hooks on Discuss What mix and gripped on Why it is that they work there wasa secret card that David played and it pleased the Lord. But you don't really care for music, Teoh. It goes like this. The fourth, the fifth, the minor major left baffled King way. So a lyric by Leonard Cohen's Hallelujah, which had already mentioned on That's the roughest win right recording, which I really love. So he sets up in the first verse, this sort of queers I religious imagery. But David, of course, not only the biblical King, but he was also a composer on the world. Hallelujah before Leonard Cohen wrote, This song would have been most associated musically with Handel's Hallelujah Chorus that, Ah Leoluca. So it's a big, exuberant term off joy and of prayers. And here, of course, he subverts that a mix it very dine bait. But we have the words. I heard there was a secret chord that David played, and it pleased the Lord. But you don't really care for music, do you? So where? Bringing in the element off classical music and of a religious story. And that sets up the word hallelujah really well, because, as a word, A is associated with both those things. But he's Ni, associating it with a dine beat sentiment on a much, much simpler form of music. I mean, we don't have a symphony orchestra playing this here. It's played on piano only. There's a lot of recordings on guitar. Jeff Buckley's being the most famous, but the repetition of Hallelujah, hallelujah, hallelujah, hallelujah, really hammers home the sentiment of the song, which has all come to focus. Ronde, this one word on a lyrical hook will normally repeat, so let's look at another example of a lyrical hook, which this time it's more than one word on. It's a bit more of a recent song, - so we find it. Love in a Hopeless Place. Words by Calvin Harris It was famously sung by Rihanna. That is a huge, big emotional sentiment. We find love in a hopeless place that's either something you can relate to our something that you're aspiring to. So it's going to make an emotional connection with an audience, and it's repeated over and over again. We find love in a hopeless place. We find love in a hopeless place. We find 11 hopeless place. We find love in a hopeless place. Those are the words that are really drawing you into the song and helping you connect with it. So let's move on to another example. The next example is one of my own songs, but in my defense it may seem a bit like plugging. I can only pay play, use short snippets of other people's music. But because I own the copyright of my own songs, I can talk about them a bit more in depth. You can should change way, so it should be quite clear that the title of this song is illumination on like the other two songs. This is not just a lyrical hook. It's what's called a titular hook. In other words, it's also the title Off the song Night. I have tried to do something similar to Leonard Cohen, although it's very different style of music and that I set up in the first verse my basic concept, which is this person who has long dark evenings. The curtains closed, things were a bit dark. The only light is one small little candle, and that reflects her psychological states. And then, when we get into the chorus, that's becomes a firework bursting on a jet black sky. So you compare a lot to the little candle burning. But I don't actually use the word illumination until I got into the chorus because the whole concept of the songs you were in darkness. So this person was in darkness, quite lonely. Somebody comes along and suddenly there's light. So it's quite a simple concept, but I'm saving up for the course because the chorus is the man point of the song, like a firework bursting on a jet black sky, illumination, illumination, a sudden spark to melt an ice cold life illumination elimination. On that again, a couple of lines. Letter elimination, elimination on right at the end of the chorus. Illumination elimination, elimination, elimination. Hi, Boring. You might be thinking that's not exactly inspired lyric writing. But that repetition off the hook got me places with this song. I managed to make a connection with the publisher I really wanted to work with through this song. A Nashville songwriter's Association international near me want to watch twice on the back off the song, whereas when I try to be clever and I tried to be Shakespeare in my lyrics attended to do last well on. The reason for that is if publishers air getting hundreds and hundreds of songs a day, you have to do something to make yourself stand out and to make yourself stand. I'd quickly, and that's what I'm aiming to do, both with the musical and with the lyrical hook of this song, you can tell what the title of the song is quite easily Sonae. Let's talk about your lyric writing, so if you want to think about a song you're writing at the moment or planning to write, or maybe a song that you've written quite recently, Go back over those lyrics and see, Can you discern a clear, lyrical hook, a word or a phrase that's really going to stick in people's mind but summarizes Water is you're trying to say. And if your song doesn't have that, it's a really good idea to add that, because it is Hook best songs, both lyrically and musically, that tend to be sign a bill that tend to be commercial. 10. Songforms and Lyric Writing: going to look ni at a topic that's essential for all songwriters, even those who are pure lyricists. And that is song forms. The most well known song form on the one that you're most likely to use when you first start out is a B, a B for or, in other words, the national formula. So a B A B form is verse, chorus, verse, chorus. I'm then, quite often, a bridge on a chorus. There are a lot of examples. I mean, we could think of millions of songs in this structure. Let it go. Very popular recent years Gimme, Gimme, Gimme by ABBA on Wrecking Ball by Miley Cyrus are all examples of songs that are in a B A B form, which is a very commercial song form. So let's look at one of those songs night. You've probably heard this song 100,000 times. It's everywhere. I'm not going to go through all of these lyrics, but just looking a little bit of what it does, setting up so glowing white on the mountain. She's walking up the hill. She's a queen of isolation. That situation, set up in the first verse six expanded upon the chorus. Let it go, Let it go. Great Titular hook. It's such a big emotional statement, you know, Let it go. Can't hold it back anymore. Let it go. Let it go. Turn away and slam the door Some grit imagery there. So the story builds on in this particular song, The chorus has different lyrics every time it comes. Ryan See Melody, different lyrics. That's because we're using a bit of a music theatre form here. A swell. This is a bit like a sung monologue that's not a pure commercial pop song. So what I want to look at is what it does in the so called C section in the bridge. Or, if you're British, that might be referred to as a middle it. But my power flurries through the air into the grind, my Solis spiraling and frozen fractals all around and one thought crystallizes like an icy blast. I'm never going back. The past is in the past, so she's really in part by the time she gets to this point in the song. So, in essence, we're looking at the whole story of the song from a completely different perspective than we were when we were talking about snow glowing white on the mountain, on being a queen off isolation because she's in isolation at the start on here, she's very, very impart. She's much more in control, and that's really what ah bread should do in this particular song form when it comes rhymed . It should help us to look at things from a completely different point of view, and it should really move the story on. Neither are other song forms. There's a form that were look out in a few minutes, called a B a form, which is a verse, verse bridge verse form where the bridge would do something a little bit different. But in this form, that's what you wanted to do, and you want your chorus to really summarize the whole essence of your song. Let it go, Let it go A a form. So that's basically verse, verse, verse with no chorus. I'm not so formed that's very much associated with folk music. I'm with storytelling, and it's come from that kind of traditional background. So being Northern Irish, when I think a a form, I think of songs like she moved through the fair my Leg in Love, which are Irish folk songs on Wildlife in Time, which is a Scottish folk song arguably because the lyrics are actually from by someone from Belfast on I live very near Belfast, so we like that now, while Martin Time actually does have a chorus. But the chorus, in essence, has the same melody as the verse, so I think we can technically call it a form. So let's look at one of these folk songs. If you don't know this song, it's exceptionally beautiful. I highly recommend looking it up New tube. So my young love said to me, My mother won't mind. My father won't slight you for your lack of kind. Then she stepped away from me, and this she did say, It will not be long love till our wedding day. On that line. It will not be long loved till our wedding day repeats again at the end of the song, where we realized that his love has died and she's coming back to him in the night, meaning his own Daph is imminent. Very Irish. This isn't It will not be long love till our wedding day so slightly the precursor of the modern day lyrical hook. I I'm claiming because you know our spoke music. Fadden, to American music in a big way in American music, became the commercial music off the world at one point with a big and from the Brett. So I don't think I'm pushing it too far to say that we are ish had a bit of a bevin influence on the way the world commercial music went so that line from the first sparse repeating last first very, very emotional. It's got the story that moves what it doesn't have as a chorus that keeps repeating the man opposed emotional point of the song because we don't really need this. This song is basically a story, and it's come out of a story telling tradition, and there's no reason why you couldn't write on a I saw. You know, add sharing has made all things focac a stick very, very commercial. Actually, there is a point of writing something no, because its commercial just because you won't take. So that would be a nice challenge to set for yourself to write on a form song. Now let's look at a be a foreign which I refer to slightly earlier. That's where you have the verse, verse and then a bridge anniversay that normally comes in at 32 bars. There's an awful lot of old jazz standards and swing songs that do this. They usually come in at 32 bars, and then what generally tends to happen is the bridge on the last verse are repeated to make the song long enough to play because normally it comes in. It arrived 1.5 2 minutes. Examples of this form include Dream A Little dream of May. I Can't Help Falling in Love With You on Will You Still Love Me? Tomorrow? Yesterday by Paul McCartney. Another one. Um, pretty much every jazz standard that you can possibly think of all those old £10 Ali songs follow this structure off. So all right, so let's look at Will You Still Love Me Tomorrow? By Carol Kane. Grit, songwriter. So I mentioned before the The Bridge in this particular form does something different than a bridge would do if we were an A B I B form in the national formula. So the bridge and this song is tonight with words unspoken. You say that I'm the only one. But will my heart be broken within light meets the morning sun? That's the whole point. That's what she's worried about. That's why she's singing this song. So in this form, the bread just basically taking the place of a chorus and making the moon point of the whole song. So we'll compare it to the first verse, which was tonight your mind completely. You give your love so sweetly tonight, but light of lovers in your eyes. But will you still love me? Tomorrow? It's the same kind of emotional sentiment was just frizzed in a different way. And then again, we have the whole lyrical hick thing going at the end. Will you still love me tomorrow? Big emotional freres that we can all can't got non. Do we really know what that means? So there's one more song form thrust on that is post form on. Really, unless you're a very, very established artist, you're not going to be writing in post warm. It's blocks of music put together very much associated with prog rock, so if you think sort of radio had Pink Floyd, examples might include Bohemian rap stay, carry that wit. You know where there isn't really a verse chorus verse course. There's a lot of sections of music added together on these songs tend to be very long. I would think that it would be unlikely unless you were very, very established or specifically working in the prog rock fields, that you would be asked to write anything and post form. So we're not going to look too much in depth at that night. If you are interested in Postwar him, you'd like to chat to me about it. Feel free to get in touch. 11. Over to You: Rewrite One of Your Lyrics: Hello again. I hope you picked up some useful tips from the last section on in this section. It really is over to you and we're going to be looking at your songs in this section. So the very first exercise that I would like you today is to revise a song that you've already written. So if you haven't written a film, Eric, out of your not at that point you can write one from scratch, but using the principles that I'm going to mention based on what we just learned. So I attached a checklist to this lecture, which is this already checklist. And I want you to look at your lyrics against this checklist and try and fix anything that might have gone slightly astray. And that's a very important thing that commercial songwriters dio. You don't just write a lyric and go, That's it. In one archetype in half an our there is a rewriting process. Unusually, the rewrite is rewritten a few times, and then when the song is actually recorded in the studio, you work up that certain things work or don't work for the singer, and it's rewritten again. So I want you to get into the habit off revision and rewriting. So there is a checklist that I'd like to go through with you. And I want you to measure yourselves against this checklist. The first thing we're gonna look at is does your song have a story progression? Is there a clear movement for a debate on? Is that story clear to the listener to do they know what's happening? Something that particularly beginner song register is. They pour their heart out in a song which is well and good. But they don't always think Does the person listening to the song really understand what I'm trying to say? Someone once said to me that a good song conveys high songwriter feels but a great song conveys high. The listener feels, in other words people hear your story on They can almost imagine that it's there. So does your song do that? Is the story. They're gonna have a little look. I have this all right, and I hope you don't mind. The next point is, Is the imagery a motive on? Is it consistent? Have you got a clear Siris of images going through your soul? So think of the recent song Supermarket Flowers, a song, a Bite, Someone Who's Lost her Mother, which is awful. And you have the central image off the supermarket floors. Does your song have an image in it that people can connect to? That's gonna real people in. And it's the imagery consistent. If you've used a metaphor again, is that clear matter for on its the matter for good system, like Hotel California or Folsom Prison Blaze that we looked at in the last section? If you've made references to somebody else's work like, say, you've quoted Shakespeare, have you done it in a way that makes sense and mix the sentiment euro on? Also, if you have quoted somebody else's works, are you sure there's no copyright infringement? Anything that was written within the last 70 years? You might need to have a bit of copyright clearance to use somebody's works. For bottom is the language that you've used appropriate to your target audience. So if you're writing for, say, 17 to 20 year olds, have you used words that 17 to 20 year olds actually used? Is that the way? But they speak and we've already had a video on that depending on the song for Does the chorus convey the man point of the song? And if you're in a B I form, does the bridge convey the man point of the song? Does the bridge go somewhere that shows a new point of view. If you're in a B A B form, does it take the story somewhere else or progressed the story or show us somebody else's point of view? Is it coming at it from a different angle? Does the song have a clear conclusion? Do we know high character circumstances or that point of view? Their feelings have changed throughout the course of the song when we come to a definite conclusion, and is there a clear lyrical pay off line or a lyrical hook? Because, as we discussed in the last section, it's really important to have a lyrical hick. So I have written all this time for you on the checklist, just like you to check one of your own lyrics against this checklist on adult red needs added eight on If you would like send to me for feedback 12. Two Songs on the Same Theme: know what I'd like to do is look at two lyrics that are on the same theme, which in this case, is the theme of grief. And I want to ask which of these lyrics appeals most to you and why. What is it? A biter that makes it more effective than the other lyric could be. You like them both the same. There's no right or wrong answer to this. We're just going to lick it different ways of approaching the sand thing. So these are two songs in the theme of Great the 1st 1 The Supermarket Flowers by ad Sheer and I apologize that these texts, these slides a really text have a, but there's no other real way off looking at the lyrics other than actually having them on the screen. So I took the supermarket flowers from the window Cell I three, the Dale T from the cup packed up the photo album Matthew had made memories of a life that's been loved, took the get well soon cards and stuffed animals, poor the old ginger beer dye in the sink. Dad always told me, Don't cry when you're dying. But Mom, there's a tear every time that I blink. So it's using a lot of imagery. The imagery of the supermarket flowers, the photo album. You know what size like something very riel that's actually happened in someone's life. And then they Oh, I'm in pieces. You know, that's a phrase that people were generally used. I'm in pieces of a bets, you know. So if you want to pauses video on half a raid at thes there XO goes on to sing. Hallelujah! You were an Angelyne, the ship of my mom so angels in heaven than very ancient use of metaphor when it comes to death until loss there. So that's the first lyric second lyric Dancing in the Sky by Dani and Lizzy on. That's really going with the idea of heaven being in the sky and you know very you know, very well worn metaphor for death rising. Tell me, what does it look like in heaven? Is it peaceful? Isn't free, like they say, Does the sun shine bright forever? Have your fears on your pan gold away so imagining what the place where the person that they've loved is gone. So it's coming from a slightly different tack much less dined Earth and the ad share, and some was very earthy. This is mostly a bit more heavenly is it's a bit more in the realms off, literary and imaginative than the other. Saw the chorus I hope you're Dancing in the Sky. I hope you're singing in the Angel's choir. I hope the Angel's know what they have. I bet it's nice up and have and since you arrived so expressing affection for the person, this is obviously a very, very well worn use of imagery. Do we think it's cliche? Do we think that it works? There's no right or wrong. So I'm gonna give you time to read both these lyrics and then answer some questions. So I'd like you to think about what do you like and dislike about each of these lyrics? Which one do you consider to be the most effective on why, on best on your reading of the lyrics, why do you think these songs were so successful? What is it about them that's resonated with people? Obviously, grief is is a bit of a universal fame and something that most of us go through at some point in our lives. So if you want to just take out a notebook and pan on DCU, elastic your thoughts around us and see what methods they're using to pull at the heartstrings to reach people without actually really depressing people, I'm thinking about what elements of these really successful songs you can use in your own cell writing. 13. Write Lyrics to This Tune: So what I'm gonna do is play little chain that I've written that apparently has numeric. Well, it does have a lyric, but we'll forget that pretend husband. I would like you to write the lyrics to this song that if you like, you could message those lyrics to May not be like we're correcting together, which is great. So when you get a chain, there's no brief because it could be together. Tune And you get a note saying I like this song to be a bite Falling leaves in autumn say, But here we don't have that. I'm gonna leave it totally open and it so what you need today is just really listen to the harmonics of the song records. Are they happy? Are they sad? What kind of mood are they suggesting to you? And then they come up with a thing through that so I could play the Jeanine part of the on slip. But it's only for the purpose off example. So really looking forward to hearing what you come up with us. By the way, don't be too influenced by my particular voice, because it could be when you're writing a song that song writer who says You chain might know end up in the final singer off track. So think more bike chain that by my voice out of light harmonics. What kind of made is coming through the courts on? I'm really looking forward to hearing what you come up with. 14. Cut Down a Cluttered Lyric: I haven't touched a lyric sheet to this video, and basically it's lyrics that I wrote a few years ago, but I've purposely masked them up on kind of cluttered them. What I'd like you to do is cut them back, dine so that the lyrics completely scam the first line of each versus the same number of syllables with the stresses of the same place. The second line of H Bars has the same number of syllables with the stresses in the same place, etcetera. Now as a little sister is a songwriter, that's something you'll be asked to do quite a lot. For example, last year I wrote a charity song for the Alzheimer Society on The Gentleman had written a poem, but he wasn't necessarily a songwriter lyricist. He was a poet, and the song when it arrived, the lyrics that I was asked write music, too, were way too long to make a song, and also they didn't have the same syllable kind of each line, so I then had to negotiate with him on. Once we came up with a tune. Hi, we were going to change the words what we could cut ICT, what we're gonna leave in. Hi. We could change things to make it scan better. So that's basically what I would like you to do with the lyric that I have attached. So it's a word document you can mess away with it. I know in a lot, of course, is that you do. What people do is they just watch videos and they take notes. But I like my students to work. So if you want to dine, load the word document on have a go a de cluttering lyric, that would be great. 15. Using Google to Write a Lyric: So if you've been having some problems with writer's block on, you would like a method to help you kick starts your writing again. Using Google images is a great way to do that. So I'm here on ago and I go to type in a quite generic term relationship. Break up. There's about a 1,000,000 songs on that topic and go to Images Night. The first thing I notice is that everything looks a bit gray. Gray seems to be that color of depression. Low mood was Love seems to be represented by Read All the Red Hearts. The Girl in the Red Jumper actually quite like this picture. It has been of a story, too, but let's keep scrolling, dine and see if I can find an image that really appeals the great story. Uh huh. Okay, so let's look at this image on. We want to apply the who. What, Where? High. Why principle. So who are these people? What is their situation high? Did they get interact situation higher? They're going to get out of it. Where are they and why has all this happened? So by asking yourself those questions, you can formulate a great story. There's also a lot in this image that's gonna be great for coming up with a story like I like the fact that the woman is standing in the light was The guy's face is completely in shadow and it looks like it's the morning may. So what has happened the night before? The bad is a little bit scruffy and on marriage. That's a great image. There's the RAB lamp. There's so much that we could talk about here, So I have, of course, used a very generic term. Let's see what's happened. What happens if I use something very specific? So, um, Theo bedroom fight. Let's hope this isn't gonna be too X rated. I will go to images. All looks a bit three about generic. Ah, now here's something I hadn't thought off the kind of idea off a pillow fight so you could kind of compare play fighting to proper actual fighting. So here is a very different image. Yes, they're still the Massey bad, but they're clearly having fun. That's a playful relationship, so you could compare that to the other image. You know, hide. It'll go wrong again. The lights coming in through the windows. You know, we could add to our original story or come up with a completely different story from this image. So this method off using giggle. This is, of course, inter textual writing, using somebody else's art form to spark ideas for your own. I remember that it is somebody else's art form on their likely to open the copyright of it . So never just right. Click and save on image from giggle and posted somewhere else online. That's not what I'm advocating here. A tall it's just using the images that are right there to spark your own ideas. So if you want to do that, if you want to think of a topic that you want to write about and find some images and giggle. But go with the idea, I'd be really interested and reading your final lyric 16. Find the Pay Off Line (and possibly the title...): so we could almost make a competition out of this next exercise. I'm going to give you some lines of lyric. I want you to find a pay off line. A really, really good line that ties together the sentiment, um, makes a real point. Moves the story Onward. So I have include it This little verse as a resource attached to this lecture And I'm also gonna put it up to the screen. We could always have, like, a competition to see who comes with the best payoff life. So old person glasses, all I will read a logic We wandered in the garden as the old trees were freezing You were holding my hand I listened to you breathing the are was let When we reach to get on You turned to me and said over to you high Does this end? I'd be interested to know Feel free to send me the results 17. Getting Feedback: So if you really go into lyric writing or you've been sold writing generally, you would like some feedback on your work. I do. You offer a free feedback service, so please feel free to send me either lyrics or whole am P threes on. I'll give you a proper considered the back sheet, which will look at things like your hooks that will let things like your story progressions . So it won't just say, you know, that was good. I will actually give you some comments, and hopefully that's going to be useful if you're aiming to take some running forward. Getting things back from music educators from people who work in the industry and for people who've been writing in years is for years is something that is really, really important today. So more than happy to receive any feedback on Also, I love to hear what has happened to students in my courses after they finish, because I've had some students go on to great things, go on tours, schools get ready to play, and it just, you know, it warms the cockles of my heart to know that the course has been useful to you. What you've done with that. So if you have any comments or feedback on the course that you think it can be improved or you've been enjoying it, please feel free. Teoh Lever View or Teoh send me a message. But if you got a story, Buck would be amazing to hear. So in the next section, the last section of the course, I have some useful organisations and these air organizations, such as performing rights organizations that pay royalties, music body development organization. So if you're really looking to take music forward, I really recommend that you don't load and read the pdf. And don't just finish the course here because there may be some great directions for the future. In that hyperlink document, you only have to click on the legs on Thank you once again. So much for doing the course 18. Bonus: How to Become a Pro Songwriter by People Who've Done It: hi students and anybody else who happens to be watching this video. Here I am in one of the nicest recording studios are ever worked. Um, I've been writing in here for the past two days, so I'm just gonna spend rights. You can see it. Really? Comfy air conditioned all the kit. So this is the words Norway. And I'm here on a songwriting camp to write songs for your vision. 2020. There are professional songwriters here from all over the world. All signed two different publishers. So I thought that it would be useful for you while I was here. If I interviewed them on high, they became professional songwriters What they did to get there. So hope this video is going to be useful for you. Hi, students. Here I am with the lovely kid. The Sky was actually signed to Universal as a songwriter, which is pretty cool where at the moment of out of the woods in Norway, writing for Eurovision 2020 which is really exciting. And can you and I have been doing track today, So gonna ask you about a parcel writing. So what made you decide to become a songwriter? for many years old I did was like singing when I was a kid. I was not simply school productions stuff, you know, the usual stuff. And for May, the turning point was when I wanted to be able to put my message in my own songs. And you can take the eyes and ice unless you write Arizona's right. You're in some things. You need to get good at something. I think that's what really pushed. Yeah, because I felt like I had a message. Is an artist and you want to get that message out in the form of a song? Excellent. So, like, what are some of the things that you did that got you to the point where you could be signed? Teoh your major labels publishing division? I had a lot of learning to dio lots of songs that we were in a song sets with for me Teoh. Hone my skill in my craft land What I was going up. I was personally even that I'm much better melodies the lyrics. So I'm getting better. But and yeah, some of the things were collaboration. Writing with other writers who are back to the new as well, making yourself feel a little bit uncomfortable and challenge is really good. It's really positive is actually the only way to grow. Visit somewhere, to be challenged, them to be pushed out of your comfort zone, to write with different people who are you have different perspectives than you on melody and lyrics. So collaboration was a big one. I would save May on them. New experiences I was traveling brings a lot of inspiration. T be able to write some. She need lots of good subject matters looked subjects to write about. And if you were going places and experiencing new things, then you will feel inspired. As one short question, I would ask, Was it really cool writing that brought you to the attention of Universal Because you being writing with writers that they were familiar with is that kind of is this wise business once it makes no sense because you could only ever send it to the people in your little contact pool. Yeah, whereas if you write with writers, then they will have a little contact, and then that song that you've read in that one day could go full of different contact on bay sent to eventually to the right person who would then either your voice or listen to how you right. And they then she's got from And so it goes further than you could get yourself. When you collaborate, you have other pools of contacts. Is it once again? Absolutely so, Yeah. She definitely does have something, by the way, so check kidding. Hi, students. I'm here with that Louise. Do you want a personal interest? Are now? Because my German is Oh, yeah. And the reason is you could be releasing your first single suit on she signed as a songwriter just to go get yet Napa sounds going to get a second. So she writes a writ stuff. We're here at the moment of out of the woods in Norway, writing for Eurovision 2020 which is being really fun. So that asked Louisa Louisa, what made you decide to become a musician? Well, for me, I was always a singer, and I felt like kind of a relief on the ferry to write songs into single day. And I have a feeling I have to tell my own stories, and this is why that's okay. So you wrote stories and get your message. Are that something that I love? A songwriter? Say, what would you say it was that you did that got signed basically like I did you get where you are? Well, basically, I would say I just did everything I could to be recognized in some way as a singer, as a whatever. I met so many people. I went everywhere like I went through two billion from Cologne, which is not so close in Germany and just met Brenda. People done one day I met a guy cool to be asses and he's on me to my first published networking and getting yourself there. Yeah, important message. That's it. Just like work work, right? Do what you love and let people know what you do. Like especially like through social media through. So everything ended you to I did life stuff I did writing. I did everything I could to be I'm gonna put some links, raises social media with this video. So people, can I follow your example of what you did. Thank you. Thank you so much. Lees. That's really helpful. We're we're just having lunch with my studio. Thank you. I'm here with the lovely in new Connor, who is an hour so writer like myself. He's have all my 30 songs associated with your general Richard. Quite amazing. So I'm not asking what made you decide to get hold of music. I think what made you decide to get involved in music is speaking my truth. Speaking what I want to get across to be. It's very unusual, very rare for some letters to have that opportunity, like all that must want to tell our story. But to be involved in songs on to just say this is what I feel with good or bad Just get out there and say it. Don't be afraid. It made me think this is the avenue that I want to go down. Don't listen to other people. Don't Teoh other influences, I think. What is your view? What do you want to tell? How do you want to expect story? That's just don't be afraid. Also, you know it takes a dark side, but it takes a every song has a bit of a gang of light and shade. Yeah, but also don't be afraid to kind of go. I'm going to tell that story. Also tell that lights tell everything their happiness because they have been cheating on that. But 10 start, very pressing solves. Nobody wants to sign. Some of the only has very pressing, so I have to mix it. Otherwise you're going to be stuck in this type of song. And I've seen people who are somewhere anything one genre, and that is really bad for your career. You'll be typecast and not do. Every life has different dimensions of it, like you know us from sin mood every day, or even, like all the way through today. So what is it you think you know? It has gotten to the point about your act, where artists are like messages asking, What do you think that I think I love people was working for me? A lot of it is you don't have a joint. If you don't have personality, you can connect with people. And if you can't mix with a group of you you've never met before, he's kind of cancer. That's where that's a drawback. You have to try yourself. You might be scared, but you have to just choice. I go, I'm gonna do my best. You might be full of anxiety going in there. Kind of. I don't know what's gonna happen, but the best thing is just face this fear down. Anyway, That's a great message. Don't be afraid. I'll be able to get on with people Syndrome has turned up funding for my songwriting students on I'm asking working music. Walt Manju won't work in music. What is it that you did that brought you to this point in your career? Me personally, I am down mixing and using program W called life because I waas I wanted to convince my friend that this was an easy thing to do. It's not, but I thought so. That point in time. There is a whole lot making a good song. What you would first think challenge is really what made you what made me really snakes go for this day for us And I really want to really want to make this life rather than just a stupid bet. Yeah, yeah, yeah. It started by not serious. Your Hello are here. Yes, yes. So that's quite Mr what got you to the point they would like I say, let's get Senator has a dedication to excellence. He doesn't have anything which I think is a big part of thanks. That's thanks. Um, no, I actually had actually had a lot of luck. Nothing. Cryptocurrencies is embarrassing. I feel like I kind of had too much left my way through time. I decided I would use that to to invest in something that I wanted to do. And that is that. That's music, because music is really hard and I actually need to do that more lucky. Ask who made some money. You make a good point there that people do need to have a day job until I think it's important to be financially sensible, like investing in other things on making music and a wise it's not stable in this gown like Like you could come here and you could write so and it might be picked up. Might make one things from it Or you can actually spam gonna get here Panic, actually thinking good advice. Thanks so much Teoh way. Are you in your dreams? Thank you so much. Way are going head into the party