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Column Archive |
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August, 2013 |
Emotion in Songwriting |
by Webmaster |
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Many years ago, when I was going through a really difficult time, I heard a Kris Kristofferson song with a lyric that helped me and became part of my basic philosophy: "I have had my share of the sunshine. I can stand a little rain." Our words have power. As writers, speakers, songwriters, we need to remember that.
I was at a songwriting workshop recently, during which we discussed the roles of inspiration and craft in songwriting. Obviously, there is a need for both. Inspiration gets you started. Craft helps you perfect your first draft. When you're stuck, craft can help you find inspiration again. I've heard some very clever, well-crafted songs that left me cold. I simply could not find an emotional connection to them. I've heard people defend them on the basis of how well-crafted they were, and I had no response to that. Yes, they are well-crafted but something important is missing. During that workshop, we did some writing exercises, designed to help us hone our craft of writing as specifically as possible. Find an object, write down all the details about that object using seven senses. Seven? Well, I know of five: sight, hearing, taste, smell, touch. Add two more: how your body responds (goose bumps, pounding heart) and sense of motion (falling down, side-stepping). I had trouble with that exercise, at first. I couldn't take an object and write about it without an emotional connection to that object. And I realized that any discussion of songwriting is not complete without a discussion of emotion. Two years ago, I took a songwriting course with a songwriter I really respect. He started us out with a writing exercise, called clustering. He asked for someone to come up with an emotion. We wrote that in the center of the page, and then wrote down specific sensory images that went with that emotion, going off into different directions. Those images took us to other images, and so forth. We then used that exercise to come up with our hook, which was also the title to our song. Using that technique, I was able to write a song that I'd been struggling with for several years. I started with inspiration for the song, but couldn't make progress because I hadn't fully identified the emotion I wanted. Using the emotion, I was able to come up with specific images that would fit into a song, diverse sensory adjectives and nouns that form a consistant picture that conveyed one emotion. I could then use craft to hone that into a song that people understand and relate to. People like the song! People like songs they can relate to and that put them through emotional changes. Laughter is one emotional change. Funny songs don't usually have "legs" (staying power). Happy songs are hard to write. It's much easier to write a sad song. People relate to sad songs and stories. People respond to sad songs and stories. So, this column is a mixture of songwriting techniques regarding emotion and commentary on emotional content in songs, according to writers much better than I. Perhaps the will give an explanation of how and why we need emotion in songs, even well-crafted songs.
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