| SILVER KAT
MUSIC CHECKLIST
The following items represent a
comprehensive listing of song characteristics . They may not apply to all
forms of music. However, the majority will apply to most country, pop/rock
and adult type songs. Feel free to download this list for future reference.
You should check at least 80% of the notes to have a marketplace contender.
The
first line or two should hook the listener into wanting to hear what comes
next.
People
will be able to hum the melody after hearing it a few times.
The
lyric is conversational. No forced rhymes, no convoluted phrases or sentences.
Today,
you do not need to have perfect (care, bear) type rhymes. Meaning is more
important.
The
listener will know the title of the song once he/she has heard it through.
This is the place where many songs fall down. I've seen songs where the
title is never mentioned in the lyric, or it is a pick up phrase, rather
than a strong line.
The
lyric and the melody belong together. It's called prosody. Happy lyrics/
happy melody.
The
words and music flow naturally. No forcing more lyrics into what sings
easily, no stretching out lyrics to fill in lack of ideas.
The
song has a timeless feel about it. Try to avoid dating your material with
references to events and people who may be obscure next year. Though, contemporary
references do sometimes appear in country songs. How many of you know all
the names and places in Billy Joel's "We Didn't Start the Fire?"
Songs
should be built around a universal theme, idea or feeling. You want as
many people as possible to relate to the material.
The
song should be self contained. No explanation or mind reading is necessary
to understand the story. If you have to say "What I mean by this, is......
then you need to rewrite the song.
The
song is an acceptable length for radio play. Probably, no more than 3 1/2
minutes. The demo should not contain musical breaks.
The
lyrics are honest, believable and heartfelt.
Ask
yourself, would the singer want to be associated with the tone or message
in these lyrics? If the male comes across as weak or the female as a victim,
the artist will probably pass on the song. One big no-no is self pity.
I have also been told by other publishers they don't like to hear begging
songs, though its' been done.
Song
lyrics aren't the same as poetry. Are your lyrics realistic in tone? Abstractions
are hard for the public to grasp in the immediate sense, which is where
the song is accepted or rejected.
Strong
lines. The lyric should get better as it progresses through the song. Many
times, writers cop out on the second verse, and resort to cliches to get
through it. This is where rewriting may be necessary.
Does
the song revolve around one main idea, or is the lyric scattered all over
the place. It is usually okay to go somewhere else in the bridge, if it
adds to the understanding with a different perspective on the same idea
as the rest of the song.
Does
the song change time frames? Has the listener been prepared to go from
the past to the present, or, one locale to another? An abrupt shift will
cause you to lose the listener.
Controversial
topics should be avoided, but, if you do choose debatable subjects, make
sure they are presented tastefully. I don't think the listener would sit
still for a blow by blow account of an abortion, for example.
Does
the song blame the listener for the singer's condition? No listener wants
to associated with causing another's pain, or, be labeled as an s.o.b.
Has
the song been subjected to an objective view? If you can, play it for few
people who do NOT know you are the writer. In fact tell them it's an acquaintance's
song and they can be truthful.
How
many of these craft worthy details can you point to in the song?
The
title is up front, the first line of the chorus? It is repeated for memorability?
The lyrics express a new way of
presenting the familiar? They are cliche free?
The lyrics paint vivid images with
word pictures?
The song/melody is short enough
and simple enough to catch the listener's ear and be recognizable the first
time it's heard?
The song has a touch of suspense
or mystery about it that pulls the listener in?
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