In this learning module, learners will go through the process of generating ideas for writing a song. Ideas will be workshopped (peer-reviewed) and revised for a final virtual performance.
Songwriting; writing music; music education; popular music education;
This learning module on songwriting is a follow-up to the previous two learning modules I wrote for other LDL courses on Four Chord Songs and Composing with Soundtrap. The premise of this series of learning modules is to leverage online teaching tools for creating music. Learners should complete the Four Chord Songs and Composing with Soundtrap learning modules before starting this Songwriting Workshop learning module.
I learned how to play guitar and use recording software from watching YouTube videos and now use these tools on a daily basis in my teaching. Nowhere in my formal music training did I encounter classes on playing pop songs on guitar and recording them with a Digital Audio Workstation (DAW). This demonstrates what Kratus (2007) describes as a disconnect between in-school music and out-of-school music. The way young people make music outside of school serves to fulfill their personal and emotional goals while a student in a school music program fulfills curricular goals outlined by the teacher (Kratus, 2007). Likewise, Wall (2018) notes that creative music-making endeavors are rarely encountered in the large group settings of secondary music classrooms. The heavy focus on performance leaves little time for creative music-making.
Although creative music-making is often absent from secondary music classrooms, music educators and professional organizations recognize its value. The National Association for Music Education (NAfME) lists “create” as the first standard in the revised 2014 music standards (NAfME, 2014). But with a tradition of performance-heavy schedules and curriculum, secondary music teachers have not fully embraced creative music-making in their classrooms.
One of the remedies to this is to teach music the way it is made outside of the classroom. In her research that explores how popular musicians learn, Green (2008) suggests that students in music classrooms start with informal ways of learning music like learning by ear and copying music that they like. This creates greater buy-in from the student and allows them to immediately make music they like. Green’s research inspired the Musical Futures program in the United Kingdom where they developed a comprehensive curriculum from informal learning of popular music. One of the strands to come out of this curriculum is the songwriting workshop.
Songwriting allows students to explore many different aspects of making music. Not only do they learn about music theory (chords and the structure of music) and how to play instruments, they also gain agency in the music-making process by writing music that is important to them. By expressing themselves through lyrics and music, students gain social and emotional skills that allow them to communicate emotions and ideas in a healthy way (Atkinson, 2015). Students also gain social and emotional skills by participating in the peer-review process where they have to consider their peers’ creative work and navigate ways of constructively communicating their thoughts about each others’ work.
In this learning module, learners explore the songwriting process and learn how to write a song. The foundations of this learning module are modified from the Musical Futures songwriting framework as shown in the graphic below.
This learning module starts the process with writing music but as the Musical Futures framework stresses, there is no one “correct” way to write a song. Using the framework as a guide, teachers can help students down a productive path to creative music-making through songwriting. It is my hope that I can someday teach this learning module at the Community College that I work at.
In this learning module, you will learn about songwriting and the process behind writing a song. At the end of this learning module, you will have a complete song that you have written.
Materials: You will need a music-making device (guitar, piano, ukulele, bass, drums, or computer with a Digital Audio Workstation like Soundtrap for sampling loops)
Learning Objectives: At the end of this learning module you will be able to
Assessment:
During the course of this learning module, you will make comments on admin updates and your peers' updates, create updates of your own based on the prompt in each admin update, compose a complete song for your final project, and peer review two other peers' songs. Here is the grading breakdown for the learning module:
Comments (admin updates and peer updates): 30%
Updates: 30%
Completion of assigned peer reviews: 10%
Peer-review scores on first draft of project: 10%
Instructor review of final draft of project: 20%
Total: 100%
Target Learners: Learners completing this learning module are anyone interested in learning about songwriting. Learners do not need any previous experience in songwriting but do need to have completed the Four Chord Songs and Composing with Soundtrap learning modules. This learning module is not designed with a specific age group in mind but could potentially be used with late middle school students through college and beyond (anyone interested in songwriting).
Anticipated Duration: There is no designated time frame for completing the learning module. However, if the learning module were implemented in community college music classes, it would be something that would be implemented after the Four Chord Song Learning Module and the Composing With Soundtrap Learning Module were completed.
Materials: Learners need an instrument (guitar, piano, ukulele, bass, drums, or computer with a Digital Audio Workstation like Soundtrap for sampling loops) and a computer with video recording capabilities.
Learner Objectives: Learners will be able to
NAfME Music Standards:
Activities in this learning module are aligned with the NAfME Music Standards for Composition/Theory and Guitar/Keyboard/Harmonizing Instruments. Individual standards are identified in each update. The complete framework of NAfME Music Technology standards are linked below.
NAfME Music Composition/Theory Standards
NAfME Music Guitar/Keyboard/Harmonizing Instruments Standards
Additional Instructor Resources:
The basic framework for this learning module is developed from the Musical Futures Guide to Songwriting. The guide is linked in each update as learners and instructors move through the learning module.
Instructors might also use the Berklee College of Music's Songwriting Degree Handbook as an additional source of information while going through this learning module.
Learning Objective: In this update, you will learn about the songwriting process and how different songwriters approach songwriting. You will also complete a survey about any songwriting experience you might have.
What is songwriting? Songwriting is the process of writing a song or musical idea. Any song that you like to listen to most likely went through a process from musical idea generation to a final product. While most songwriters will say they have a process they go through when they write music, the process from songwriter to songwriter is never exactly the same. In this learning module, we will examine some of the basic processes that all songwriters go through to create a song. In the process, if you find a better way that suits your writing style, go with it! These are meant to be starting points for songwriting.
In the videos below, famous songwriters discuss their songwriting process. Pick three or four (or all) videos to watch based on your preference of music and respond to the prompts below. You can also watch any of the videos on this playlist to hear more perspectives.
Today’s Pop Songs
(CBS This Morning, 2017)
Sir Paul McCartney
(AP Archive, 2015)
Dua Lipa
(Variety, 2018)
FINNEAS
(Pitchfork, 2020)
9th Wonder on Sampling
(NPR Music, 2020)
Paul Simon
([CinemaMusic55], 2018)
Ed Sheeran
(The New York Times, 2017)
Make a comment: What are some common themes among these songwriters in their writing process? What are some differences?
Make and Update: Find a video or an article from a musical artist you enjoy that talks about their songwriting process. What are some of the key processes that they go through when songwriting? What aspects of your chosen artists' way of songwriting resonate with you?
Survey: Please complete the "Songwriting Experience" survey distributed by your instructor. This is not graded- it is only to give your instructor more information about your experience so they can better assist you in the songwriting process.
Learning Objective: Students will be able to describe different approaches to songwriting.
NAfME Standards:
MU:Cn10.0.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.
Pedagogical Rationale: In this update, responding and connecting to music (two of the Core Arts Standards) has an impact on the creative choices that learners will make for the songs they will write. This update provides some theoretical and conceptual frameworks for songwriting.
Roadblocks: It is important to stress in this update that there is no one way to write a song. All of the examples have things in common but no songwriter writes the same way. Some learners may feel pigeonholed into writing a certain way- assure them that their musical decisions (even if different than what this learning module prescribes) will be respected and encouraged.
Assessment: Students will be assessed on their completion of comments (on admin updates and peer updates) and their completion of updates based on the prompt for this admin update.
More Resources:
For more guidance, see the Musical Futures Guide to Songwriting (below).
Survey: Distribute the survey to learners in order to gauge their songwriting experience.
Learning Objective: In this update, you will explore music you like and decide on a style or genre that you would like to explore with your songwriting.
Music is as diverse as the people that play it and there are many defining characteristics to different types of music. Below are a few definitions of terms that musicians and songwriters use to describe different characteristics of music.
Genre: Genre is a term used in music to describe music that shares a set of traditions or conventions. When someone asks you what kind of music you like, you are most likely to respond with a genre. Some examples of musical genres might be pop, electronic, rock, hip-hop, classical, jazz, R&B, rap, metal, country, etc. While music within a genre can vary greatly and some music overlaps different genres, it is helpful to classify music in a genre to give some defining characteristics about the music.
Style: Musical style defines different characteristics within a genre. For example, within rap music, there are many different styles that have different distinctive characteristics.
Beat: Musical beat can be thought of as a characteristic of the style. Beats are combinations of rhythms and tempos that define certain styles. Beats can be fast or slow, they can be swung or straight, and they can have simple or complicated layers to them.
Timbre: Musical timbre (tam-ber) is a term used to describe the differences in sounds particular instruments make. For example, a drum can have a loud, sharp timbre or a low, rumbling timbre. Timbre, along with beat, makes musical styles sound unique.
Subject: The subject of the song refers to the lyrics. Songs might have subjects about love, politics, racial injustice, friends, etc.
Mood: The mood of a song is how the song makes the listener feel. Often lyrics convey the mood but the timbre and beat also influence the mood. An upbeat song with a bright timbre might invoke a joyous mood and a slower song with dark timbre might invoke a sad or depressed mood.
The graphic below demonstrates how these terms fit together using the rock genre as an example.
Make a comment: What are some of your favorite genres of music to listen to? What are the characteristics of those genres/styles that draw you to them (beat, timbre, mood, etc.)?
Make an Update: Pick a genre of music that you want to explore with your songwriting. Make some initial musical decisions about the style, timbre, subject, and mood of your song. Will it be a recorded acoustic song or a song using electronic samples? What instruments will you use? Write about your decisions (you can always change things as you go- this is just a starting point).
Learning Objective: In this update, students will be able to describe their preferences for musical genres and styles.
NAfME Standards:
MU:Re7.1.C.IIIa Apply researched or personally-developed criteria to select music that expresses personal experiences and interests, visual images, concepts, texts, or storylines in moderately complex or complex forms, and describe and justify the choice as models for composition.
Pedagogical Rationale: In this update, responding and connecting to preferred music has an impact on the creative choices that learners will make for the songs they will write. This update leverages student experience and musical preference to ground their songwriting in what they know. It also introduces more conceptual knowledge for laying the foundations for songwriting.
Roadblocks: Students usually love writing about the music they like listening to. However, some students may have trouble narrowing down a genre or style. Encourage them to talk about certain groups, bands, or artists they like and then try classifying them into genres or styles.
Assessment: Students will be assessed on their completion of comments (on admin updates and peer updates) and their completion of updates based on the prompt for this admin update.
Learning Objective: In this update, you will learn to improvise a musical background to your song, also called jamming.
Jamming is how musicians come up with musical material. It is the musical equivalent of brainstorming. Here are a few ways you can get started with your jamming.
Jam #1: Using acoustic instruments (guitar, piano, ukulele, etc.) pick four chords (you can use the ones we learned in the Four Chord Song Learning Module. Experiment with different chord orders and strumming/rhythm patterns until you come up with a progression that you like.
Jam #2: Using rhythm instrument (drumset, electronic drums, hand drums, etc.), experiment with different beats from the genre/style you chose. Listen to different songs for examples of different kinds of beats.
Jam #3: Using Soundtrap (go back and review the Soundtrap Learning Module if you need help using Soundtrap), experiment with loops and electronic sounds until you come up with a combination that you like. Make your Soundtrap jam at least 16 measures.
Below is an example of a Jam session with acoustic guitar (Jam #1).
Make a comment: What was difficult/easy about jamming? Why?
Make an update: Record yourself playing your jam (Jam #1 or Jam #2) or export your Soundtrap jam (Jam #3) and post it as an update. Comment on at least two of your peers' Jams with a compliment sandwich (compliment, constructive criticism, compliment. Example: "I really like how you used your guitar to create different sounds (compliment). I think you can be a little more aggressive with your strumming patterns (constructive criticism). The chords you chose work really nicely together (compliment).") Try to focus on creative elements of the jam and performance.
Learning Objective: In this update, students will be able to improvise, or jam, a musical background.
NAfME Standards:
MU:Cr1.1.H.Ia Generate melodic, rhythmic, and harmonic ideas for improvisations, compositions (forms such as theme and variation or 12-bar blues), and three-or-more-chord accompaniments in a variety of patterns (such as arpeggio, down-up strumming, and Travis picking).
MU:Cr2.1.H.Ia Select, develop, and use standard notation and audio/video recording to document melodic, rhythmic, and harmonic ideas for drafts of improvisations, compositions (forms such as theme and variation or 12-bar blues), and three-or-more-chord accompaniments in a variety of patterns (such as arpeggio, down-up strumming, and Travis picking).
Pedagogical Rationale: In this update, brainstorming lyrics and melody immerses learners in elements of two of the four core arts standards, creating and responding to music. Learners must be comfortable improvising chords and beats to be successful at jamming.
Roadblocks: This update will take longer to complete than the first two. Encourage students to try lots of things and remind them that there are no bad ideas. For inspiration, have students go back and listen to songs they like in the genre they chose. Encourage them to copy some of the riffs, rhythms, and styles they hear.
Assessment: Students will be assessed on their completion of comments (on admin updates and peer updates) and their completion of updates based on the prompt for this admin update.
More Resources:
For more guidance, see the Musical Futures Guide to Songwriting (below).
Learning Objective: In this update, you will use you jam you created in Update 3 to improvise lyrics and melody.
There is no one correct way to improvise lyrics but there are a few starting points that are helpful. Before we dive into the methods below, it is helpful to think of a subject for your lyrics. A subject can be anything- friendship, love, pets (sing about your dog!), emotions, events, politics, etc. Think of a subject (if you can't think of anything- use your pet as your subject if you have one). Use one of the methods below to start crafting lyrics/melodies or come up with your own way of writing lyrics and melodies.
Method 1 - Rapping: Brainstorm phrases or sentences that talk about your subject. Experiment with speaking these phrases in rhythmic ways.
Method 2 - Melody: Play your jam. Hum or sing "la" along with your jam until you have a melody you like. Start adding in words that might fit with your melody.
Method 3 - Poems: Many songwriters' lyrics start as poems. Without thinking about the music, write a poem about your subject (can be short- four lines is a good start). After you have written your poem, play your jam, and either rap or sing the poem along with your jam.
Here is an example of Method 2 - Melody:
Watch the video below from songwriter, Andrea Stolpe for more inspiration:
(Berklee Online. (2015, September 10). How to write a song: Tips for writing lyrics to music | Songwriting | Tips & techniques [Video]. YouTube. https://www.youtube.com/watch?v=NC1PcpFT604)
Make a comment: What do you find more challenging- writing music or writing lyrics? Why?
Make an update: Record your jam with your improvised lyrics/melody/rapping/poem and post it as an update (video or audio-only). This does not need to be a finished song- just your improvisations. Comment on at least two of your peers' updates with a compliment sandwich.
Learning Objective: In this update, students will improvise lyrics and a melody to go along with their jam from Update 3.
NAfME Standards:
MU:Cr2.1.C.Ia Assemble and organize sounds or short musical ideas to create initial expressions of selected experiences, moods, images, or storylines.
Pedagogical Rationale: In this update, brainstorming lyrics and melody immerses learners in elements of two of the four core arts standards, creating and responding to music. Learners must be comfortable improvising melodies and lyrics to be successful in writing their chorus and eventually write the whole song. These jamming/improvising experiences allow students to apply their knowledge of genres and experiment creatively with ideas of their own.
Roadblocks: Learners may feel stuck trying to brainstorm ideas for their chorus. Help them generate ideas by using some of the techniques in the video below:
(Guiles, 2019)
Assessment: Students will be assessed on their completion of comments (on admin updates and peer updates) and their completion of updates based on the prompt for this admin update.
More Resources:
For more guidance, see the Musical Futures Guide to Songwriting (below).
Learning Objective: In this update, you will put together the jam music and lyrics you have written into a complete unit or chorus and perform/record your chorus.
In the last two updates, you have come up with musical material for your backing and lyrics and melody (or rap). Practice putting everything together into a complete unit. This complete unit will be the chorus of your song. In the course of practicing your chorus, if you feel like you need to change anything, feel free to make modifications.
Watch the video below for an explanation of a chorus in a song.
(Mountain Side Guitar. (2015, August 21). What is a chorus (music term) [Video]. YouTube. https://www.youtube.com/watch?v=IMYmQqsPvBM)
Here is an example of what a completed chorus might sound like based on the jam and melody already created:
Make a comment: What is a chorus? Describe some important elements of a chorus.
Make an update: Share some of your favorite chorus lyrics of a song you like and describe the characteristics that make them so powerful. Additionally, upload video or audio of you performing the chorus you wrote into an update. Comment on two other peers' updates using a compliment sandwich.
Learning Objective: In this update, students will put together the jam music and lyrics they wrote into a complete unit or chorus and perform/record their chorus.
NAfME Standards:
MU:Cr2.1.C.IIa Assemble and organize multiple sounds or musical ideas to create initial expressive statements of selected sonic events, memories, images, concepts, texts, or storylines.
MU:Cr3.2.C.Ia Share music through the use of notation, performance, or technology, and demonstrate how the elements of music have been employed to realize expressive intent.
Pedagogical Rationale: In this update, writing a complete chorus immerses learners in elements of two of the four core arts standards, creating and performing to music. Learners must be comfortable improvising melodies and lyrics to be successful in writing their chorus and eventually write the whole song.
Assessment: Students will be assessed on their completion of comments (on admin updates and peer updates) and their completion of updates based on the prompt for this admin update.
More Resources:
For more guidance, see the Musical Futures Guide to Songwriting (below).
Learning Objective: In this update, you will learn about verse-chorus song structure and write some of the verse for your song.
Verse-Chorus song structure is a popular way of putting together the building blocks of the song. You already know what a chorus is from the previous update. The verse is a separate section that usually has different music than the chorus (chords, timbre, beat, etc.) and has different lyrics every time (unlike the chorus which is the same words every time).
Read this article and watch the videos below to learn about Verse-Chorus structure.
(The Song Foundry, 2016)
(Berklee Online, 2017)
Here is an example of a verse-chorus structure with analysis below:
(Avril Lavigne, 2010)
[0:33] – Verse 1
[1:09] – Chorus 1
[1:38] – Verse 2
[2:14] – Chorus 2
[2:51] – Verse 3
[3:16] – Chorus 3
[3:41] – Chorus 4
Make a comment: What is a verse? Describe some important elements of a verse.
Make an update: Upload video or audio of you performing a section of a verse that you wrote into an update. Comment on two other peers' updates using a compliment sandwich.
Learning Objective: In this update, students will write a verse for their song.
NAfME Standards:
MU:Cr2.1.C.IIa Assemble and organize multiple sounds or musical ideas to create initial expressive statements of selected sonic events, memories, images, concepts, texts, or storylines.
MU:Cr3.2.C.Ia Share music through the use of notation, performance, or technology, and demonstrate how the elements of music have been employed to realize expressive intent.
Pedagogical Rationale: In this update, writing a verse and working with verse-chorus structure immerse learners in elements of two of the four core arts standards, creating and responding to music. Learners must have a grasp of music theory (form and how it relates to song structure) to successfully write their verse.
Assessment: Students will be assessed on their completion of comments (on admin updates and peer updates) and their completion of updates based on the prompt for this admin update.
More Resources:
For more guidance, see the Musical Futures Guide to Songwriting (below).
Final Peer-Reviewed Project
For your final peer-reviewed project, you will put together your complete song using verse-chorus structure. You can add optional intros, instrumentals, and bridges, but the final must include the following:
Here is an example of a complete song based on the jams and improvisations provided in previous updates:
You will be assigned to review two other peers' completed songs. Use the rubric below to review your peers' songs. When you review your peers' works, give evidence for your rankings. For example, in lyrics and melody, pick out things like beat and timbre to justify the ranking for lyrics and melody.
After you receive peer feedback, you need to revise your song and submit a final draft for instructor review.
Here are the steps you need to compete in list form:
Learning Objective: In this update, put together their verse and chorus into a complete song through a peer-reviewed project in CGScholar. Students will evaluate peer performances with a rubric and give constructive feedback.
NAfME Standards:
MU:Cr2.1.C.Ib Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (such as one-part, cyclical, or binary).
MU:Cr3.2.C.Ia Share music through the use of notation, performance, or technology, and demonstrate how the elements of music have been employed to realize expressive intent.
MU:Cr3.1.C.Ia Identify, describe, and apply teacher-provided criteria to assess and refine the technical and expressive aspects of evolving drafts leading to final versions.
Pedagogical Rationale: In this final project, students will synthesize their work into a creative whole, perform the song digitally, and reflect and revise their work. This combines all four Core Arts Standards: creating, performing, responding, and connecting. Additionally, learners think critically using the rubric as they review each others' work.
Roadblocks: In the beginning stages of songwriting, it is important to stress that all ideas are good ideas and that quantity of creative output will lead to quality. Help students understand that they might never think the song is perfect but finishing will help them get there.
The rubric is designed to be more objective so that students feel supported in their artistic decisions. The review process should be positive and uplifting. If harsh criticism in the peer-review process is a concern, consider requiring only positive comments so students feel safe and supported in their creative undertakings.
Assessment: Students will be assessed on their first draft by their peers through the peer-review rubric. Students will also be assessed by the instructor on their final draft using the same rubric.
More Resources:
For more guidance, see the Musical Futures Guide to Songwriting (below).
Atkinson, P. (2015). Social emotional learning in the music classroom: A cross-case analysis of teacher experiences in the rock and roll academy [Doctoral dissertation, University of Alabama]. The University of Alabama Institutional Repository. https://ir.ua.edu/handle/123456789/2412
D’Amore, A. (Ed.). (n.d.). Musical Futures: An approach to teaching and learning | Resource Pack: 2nd edition. Musical Futures. https://www.musicalfutures.org.
Kratus, J. (2007). Music education at the tipping point. Music Educators Journal, 94(2), 42–48.
National Association for Music Education (NAfME). (2014). 2014 music standards (Guitar/keyboard/harmonizing instruments). https://nafme.org/wp-content/files/2014/11/2014-Music-Standards-Guitar-Harmonizing-Instruments-Strand.pdf
State Education Agency Directors of Arts Education. (2014). National core arts standards: Dance, media arts, music, theatre and visual arts. https://www.nationalartsstandards.org/
Wall, M. P. (2018). Does School Band Kill Creativity? Embracing new traditions in instrumental music. Music Educators Journal, 105(1), 51–56.
Media
AP Archive. (2015, August 3). Sir Paul McCartney gives out his tips on songwriting at community chat event [Video]. YouTube. https://www.youtube.com/watch?v=6mJOzYi0vYY
Avril Lavigne. (2010, February 24). Avril Lavigne - Complicated (official video) [Video]. YouTube. https://www.youtube.com/watch?time_continue=109&v=5NPBIwQyPWE&feature=emb_title
Berklee Online. (2015, September 10). How to write a song: Tips for writing lyrics to music | Songwriting | Tips & techniques [Video]. YouTube. https://www.youtube.com/watch?v=NC1PcpFT604)
Berklee Online. (2017, October 19). How to write a song: Use melody to build your verse lyrics | Part 5/9 | Andrea Stolpe [Video]. YouTube. https://www.youtube.com/watch?v=PfbmsgHTvBY
CBS This Morning. (2017, February 9). Songwriters share their process for writing hit music [Video]. YouTube. https://www.youtube.com/watch?v=BVrUtMi__0E
[CinemaMusic55]. (2018, October 9). Paul Simon on songwriting [Video]. YouTube. https://www.youtube.com/watch?v=czSfvauFtQc
Guiles, S. (2019, July 13). How to write lyrics: Brainstorming map technique [Video]. YouTube. https://www.youtube.com/watch?v=XLp2w5NZlYw
Mountain Side Guitar. (2015, August 21). What is a chorus (music term) [Video]. YouTube. https://www.youtube.com/watch?v=IMYmQqsPvBM
NPR Music. (2020, April 18). 9th Wonder on sampling for Kendrick Lamar | The formula | NPR music [Video]. YouTube. https://www.youtube.com/watch?v=23vumiogTQk
Pitchfork. (2020, April 22). FINNEAS explains how he builds songs for Billie Eilish | Critical Breakthroughs | Pitchfork [Video]. YouTube. https://www.youtube.com/watch?v=FsSkRjgjFvU
The New York Times. (2017, December 20). Ed Sheeran's 'Shape of you': Making 2017’s biggest track | Diary of a song [Video]. YouTube. https://www.youtube.com/watch?v=ZpMNJbt3QDE
Variety. (2018, November 28). Dua Lipa dives into her songwriting process [Video]. YouTube. https://www.youtube.com/watch?v=MmjLJzby5I0