With only a handful of exceptions, the finished recordings of my songs have sounded almost indistinguishable from the demos I submitted, except for the vocalist and the improved sonic quality. My demo essentially says, “This is the guitar lick I hear in the verses” “This is where I hear the background vocals coming in” “This is the bass line and drum pattern I envision for the final recording,” and more. I make my “suggestions” by recording the musical and vocal arrangements as I imagine them. In thirty-five years of having my songs recorded by artists other than myself, I have yet to be consulted by a record producer or artist seeking suggestions about the instrumentation or arrangement. In most cases demo recordings are our only opportunity to give our input about the instrumentation and production. Remember that demos are not only the vehicle to present your songs to industry pros, but they also have another equally important job-they express your vision for your songs. By using these tools, we can create melodies that compel exceptional singers to say, “I’ve got to record this song!”Įxcerpt from “ What Makes the Perfect Demo” Our vocal limitations do not need to be reflected in the melodies we write. If you are unable to hold out a note as long as you would like, let the vocalist know that this note is to be extended.Let the demo singer know that these notes are to be sung an octave higher or lower than where you sang them. Sing the low and high notes you are unable to hit in a higher or lower octave.If it sounds terrible, remind yourself that only the demo singer will ever hear it. You might sing the highest notes in falsetto.You can play the correct melody on an instrument while speaking the corresponding words in rhythm.Those with access to a recording program that alters pitch can use that program to change the notes they sing to the notes they would like them to be.Let’s look at ways to convey your melodies to the demo vocalists if you unable to sing the melodies you write. To maximize our chances of songwriting success, we need to write the strongest, most compelling melodies we are capable of imagining, whether we can sing them-or not.
EUGENE WILDE GET COMFORTABLE FULL
For example, while a non-performing songwriter might have a vocal range of an octave-and-a-third, a hit vocalist is likely to be able to sing an octave-and-a-half, and in some cases, two full octaves, or even more.
Unless the writer is also a terrific singer, it is unlikely that he or she has as wide a vocal range as the vocalists whom they are targeting.
EUGENE WILDE GET COMFORTABLE HOW TO
I hope these tips will help you achieve your songwriting goals!Įxcerpt from “ How to Stretch Yourself Melodically”Ī common pitfall for non-performing songwriters is writing melodies limited to the notes and rhythms the writers are comfortable singing. As we begin a new year, it’s a good time to revisit some of the advice shared in the year that has passed.
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