PSST, SONGWRITER, TAMA KA BANG MAGTUGMA? - RHYMING IN FILIPINO SONGS

     Since this is my first blog in a long time, I felt it only proper to make it special. How? I wrote it in FILIPINO, okay Tagalog-English, kasi nasimulan ko na sa Ingles e.

      Bunsod na rin ito ng pakikipag-usap ko sa guro ko sa Panitikang Filipino sa Southridge Night School , si Ginoong Michael Coroza, ay Doctor Mike Coroza pala, may PhD. na siya e hehe. Si Dr. Coroza ay isang premyadong makata (Palanca Awardee, Southeast Asia Writers Awardee) at siyang humubog sa akin bilang makata at manunulat.

 Anyway, sabi kasi nya, magsulat daw ako ng blog tungkol sa tamang pagtutugma dahil marami raw sa mga kantang naririnig natin ang may mali-maling pagtutugma o rhyming. Bilang masunuring estudyante, heto na at binabasa mo na ang pagiging kongkreto ng kanyang kahilingan.

Ang pagtutugma ng mga salita, o rhyming sa Ingles, ang isa (isa lang ha)sa mga literary device na ginagamit ng isang manunulat o ng songwriter para mas masarap pakinggan ang lyrics at magkaroon ng magandang daloy lalo na kapag nilapatan ng musika. Nakalulungkot isipin na maraming mga manunulat ng kanta (kahit pa iyong mga tinatawag natin na Professional) na hindi tamang magtugma. Kaya naman sana, pagkatapos mong basahin ang blog na ito ay maging maingat ka at maging mapagmanman din sa mga lyrics ng kanta.

Rekoleksyon lamang ito ng mga natutunan ko noon sa Panitikang Pilipino, kaya hindi lubos o kumpleto. Isa pa, hindi naman kasing istrikto ng sa pagsusulat ng tula ang pagsulat ng lyrics ng kanta, lalo pa kung ang pamantayan ngayon ang pag-uusapan . Ganunpaman, magiging kapaki-pakinabang pa rin itong gabay kapag nagsusulat ka na ng lyrics mo.

PAGTUTUGMA NG MGA PATINIG (VOWELS)

                Sa mga kanta ngayon, ang mga dulong salita ng bawat linya ang kadalasang pinagtutugma. Pero ang tanong, tama nga ba?

                Hindi ako gagamit ng isang kantang pamilyar, para na rin sa kapakanan ng sumulat o ng kumanta. Pero tingnan mo itong halimbawang inimbento ko lang:

                      Mahal na mahal kita
                      Ipaglalaban kita sinta
                      Kaya wag kang mawawala
                      Maniwala ka sana

                     Wala kang katulad sa buong mundo
                     Walang iba, ito ay totoo
                     Ikaw ang laman ng aking puso
                     Maniwala ka sana, giliw ko

Ang halimbawang lyrics na ito ay kalimitang maririnig mo sa mga kanta ngayon. Napansin mo ba ang mali? Pakibasa ulit.

Ganito na lang, ilista natin ang mga dulong salita para mas maging malinaw:

Kita                    Mundo

Sinta                  Totoo

Mawawala          Puso

Sana                  Ko

Sa unang tingin, parang wala namang problema, di ba? Pero bigkasin mo paulit-ulit ang mga salita, may mapapansin kang asiwa, o hindi tama. MAY MGA SALITANG HINDI TUMUTUGMA.

Alin-alin-alin ang naiba? Naalala ko lang ang linyang ito sa Batibot.

Anyway, hindi katugma ng mawawala ang sinta, kita at sana. Hindi rin katugma ng puso ang mundo, totoo, at ko.

Oo, kasi kahit pare-pareho sila ng huling patinig (vowel), hindi naman magkaTUNOG ang mga ito. Ang tugma ay nakasalalay sa pagkakapareho ng tunog ng huling pantig o syllable. Ang mga salitang  mawawala at puso ay may impit sa dulo, iyong tunog na may diin (impit nga ang tawag doon), para kang nadighay o nabilaukan. Hindi sila katulad ng mga salitang sinta, kita, at sana, o ng mundo, totoo, at ko, na may malumanay o maamong tunog.

Kaya ang simpleng panuntunan sa pagtutugma kapag sa patinig o vowel nagtatapos ang salita ng mga linya ay ito: pare-pareho ba silang malumanay o may impit? Ayan, simple pa lang iyan pero maraming mga songwriters ang hindi nakaaalam nito, kaya naman nagkakamali.

PAGTUTUGMA NG MGA KATINIG (CONSONANTS)

Sa mga kantang Filipino, nakatutuwang isipin na mas istrikto pa ang pagtutugma ng mga salitang nagtatapos sa katinig kumpara sa pagtutugma ng mga taludtod ng tulang may tugmaan. Ibig sabihin, sa mga kanta, kapag ang linya ay nagtatapos sa salitang “-in” ang dulo, lahat ng mga salitang itutugma ditto ay sa “-in” din magtatapos.

Halimbawa: iibigin, iisipin, uubusin, hahamakin. Eto pa: isip, panaginip, naiinip, nagsisikip.

Sa panulaang Filipino, magkakatugma ang mga salitang nagtatapos sa magkaparehong  patinig at sa mga sumusunod na katinig:

L, M, N, NG, R, W, Y                 B, K, D, G, P, S, T

Kaya kung tutuusin, kung alam lang ng mga songwriters, mas magiging maluwag at malaya ang kanilang pagtutugma kung gagamit at magtutugma lang sila ng mga salitang nagtatapos sa L, M, N, Ng, R, W, Y o sa B, K, D, G, P, S, T. Mas luluwag at mas dadami ang kanilang mga salitang pwedeng pagpilian.

                Example ulit para klaro, magkakatugma ang mga ito (huwag kang magugulat):

                
Dasal, asam, pasan, lamang, lahar, layaw, away

Eto rin: Dibdib, Sabik, Lubid, Pag-ibig, Isip, Kutis, Pilit

Subukan mo ito, sigurado akong mas lalawak ang iyong pagsusulat dahil mas marami kang salitang pwedeng pagpilian kapag nagtutugma.

Tuloy lang sa pagsusulat ng kanta!

May you be successful in your musical venture,

Robster Evangelista

P.S.

Get my Ebook THE SECRETS OF RADIO HIT SONGS AND 10 TIPS ON HOW YOU CAN USE THEM WHEN WRITING YOUR OWN SONGS for FREE!!! Just sign up on the upper left corner of this blog or below and you will receive an email with instructions on how you can download my FREE EBOOK.

PSST, SONGWRITER, TAMA KA BANG MAGTUGMA? - RHYMING IN FILIPINO SONGS

                Since this is my first blog in a long time, I felt it only proper to make it special. How? I wrote it in FILIPINO, okay Tagalog-English, kasi nasimulan ko na sa Ingles e.

                Bunsod na rin ito ng pakikipag-usap ko sa guro ko sa Panitikang Filipino sa Southridge Night School , si Ginoong Michael Coroza, ay Doctor Mike Coroza pala, may PhD. na siya e hehe. Si Dr. Coroza ay isang premyadong makata (Palanca Awardee, Southeast Asia Writers Awardee) at siyang humubog sa akin bilang makata at manunulat.

 Anyway, sabi kasi nya, magsulat daw ako ng blog tungkol sa tamang pagtutugma dahil marami raw sa mga kantang naririnig natin ang may mali-maling pagtutugma o rhyming. Bilang masunuring estudyante, heto na at binabasa mo na ang pagiging kongkreto ng kanyang kahilingan.

Ang pagtutugma ng mga salita, o rhyming sa Ingles, ang isa (isa lang ha)sa mga literary device na ginagamit ng isang manunulat o ng songwriter para mas masarap pakinggan ang lyrics at magkaroon ng magandang daloy lalo na kapag nilapatan ng musika. Nakalulungkot isipin na maraming mga manunulat ng kanta (kahit pa iyong mga tinatawag natin na Professional) na hindi tamang magtugma. Kaya naman sana, pagkatapos mong basahin ang blog na ito ay maging maingat ka at maging mapagmanman din sa mga lyrics ng kanta.

Rekoleksyon lamang ito ng mga natutunan ko noon sa Panitikang Pilipino, kaya hindi lubos o kumpleto. Isa pa, hindi naman kasing istrikto ng sa pagsusulat ng tula ang pagsulat ng lyrics ng kanta, lalo pa kung ang pamantayan ngayon ang pag-uusapan . Ganunpaman, magiging kapaki-pakinabang pa rin itong gabay kapag nagsusulat ka na ng lyrics mo.

PAGTUTUGMA NG MGA PATINIG (VOWELS)

                Sa mga kanta ngayon, ang mga dulong salita ng bawat linya ang kadalasang pinagtutugma. Pero ang tanong, tama nga ba?

                Hindi ako gagamit ng isang kantang pamilyar, para na rin sa kapakanan ng sumulat o ng kumanta. Pero tingnan mo itong halimbawang inimbento ko lang:

                      Mahal na mahal kita
                      Ipaglalaban kita sinta
                      Kaya wag kang mawawala
                      Maniwala ka sana

                     Wala kang katulad sa buong mundo
                     Walang iba, ito ay totoo
                     Ikaw ang laman ng aking puso
                     Maniwala ka sana, giliw ko

Ang halimbawang lyrics na ito ay kalimitang maririnig mo sa mga kanta ngayon. Napansin mo ba ang mali? Pakibasa ulit.

Ganito na lang, ilista natin ang mga dulong salita para mas maging malinaw:

Kita                    Mundo

Sinta                  Totoo

Mawawala          Puso

Sana                  Ko

Sa unang tingin, parang wala namang problema, di ba? Pero bigkasin mo paulit-ulit ang mga salita, may mapapansin kang asiwa, o hindi tama. MAY MGA SALITANG HINDI TUMUTUGMA.

Alin-alin-alin ang naiba? Naalala ko lang ang linyang ito sa Batibot.

Anyway, hindi katugma ng mawawala ang sinta, kita at sana. Hindi rin katugma ng puso ang mundo, totoo, at ko.

Oo, kasi kahit pare-pareho sila ng huling patinig (vowel), hindi naman magkaTUNOG ang mga ito. Ang tugma ay nakasalalay sa pagkakapareho ng tunog ng huling pantig o syllable. Ang mga salitang  mawawala at puso ay may impit sa dulo, iyong tunog na may diin (impit nga ang tawag doon), para kang nadighay o nabilaukan. Hindi sila katulad ng mga salitang sinta, kita, at sana, o ng mundo, totoo, at ko, na may malumanay o maamong tunog.

Kaya ang simpleng panuntunan sa pagtutugma kapag sa patinig o vowel nagtatapos ang salita ng mga linya ay ito: pare-pareho ba silang malumanay o may impit? Ayan, simple pa lang iyan pero maraming mga songwriters ang hindi nakaaalam nito, kaya naman nagkakamali.

PAGTUTUGMA NG MGA KATINIG (CONSONANTS)

Sa mga kantang Filipino, nakatutuwang isipin na mas istrikto pa ang pagtutugma ng mga salitang nagtatapos sa katinig kumpara sa pagtutugma ng mga taludtod ng tulang may tugmaan. Ibig sabihin, sa mga kanta, kapag ang linya ay nagtatapos sa salitang “-in” ang dulo, lahat ng mga salitang itutugma ditto ay sa “-in” din magtatapos.

Halimbawa: iibigin, iisipin, uubusin, hahamakin. Eto pa: isip, panaginip, naiinip, nagsisikip.

Sa panulaang Filipino, magkakatugma ang mga salitang nagtatapos sa magkaparehong  patinig at sa mga sumusunod na katinig:

L, M, N, NG, R, W, Y                 B, K, D, G, P, S, T

Kaya kung tutuusin, kung alam lang ng mga songwriters, mas magiging maluwag at malaya ang kanilang pagtutugma kung gagamit at magtutugma lang sila ng mga salitang nagtatapos sa L, M, N, Ng, R, W, Y o sa B, K, D, G, P, S, T. Mas luluwag at mas dadami ang kanilang mga salitang pwedeng pagpilian.

                Example ulit para klaro, magkakatugma ang mga ito (huwag kang magugulat):

                
Dasal, asam, pasan, lamang, lahar, layaw, away

Eto rin: Dibdib, Sabik, Lubid, Pag-ibig, Isip, Kutis, Pilit

Subukan mo ito, sigurado akong mas lalawak ang iyong pagsusulat dahil mas marami kang salitang pwedeng pagpilian kapag nagtutugma.

Tuloy lang sa pagsusulat ng kanta!

May you be successful in your musical venture,

Robster Evangelista

P.S.

Get my Ebook THE SECRETS OF RADIO HIT SONGS AND 10 TIPS ON HOW YOU CAN USE THEM WHEN WRITING YOUR OWN SONGS for FREE!!! Just sign up on the upper left corner of this blog or below and you will receive an email with instructions on how you can download my FREE EBOOK.

WHY DON’T RADIO STATIONS PLAY MY SONG? – A Songwriter’s FAQ

                Why don’t they play my song? It’s very good, at least that’s what my mother said so!

 That was my question back then, when I was still clueless about what is really going on in the music industry. Back when I was very much unaware of the business side of music, I was a young, idealistic, singer-songwriter who only wished to hear his songs everywhere he goes—in public transport, establishments, and households.

Fast-forward to the present, now I am very privileged, lucky, you can say, to have a sort of “dual citizenship” in the music world, at least here in the Philippines. Aside from being a songwriter, I’m also working in a radio station. So I see both sides of the coin. On one hand, there are the music content providers—the composers, record companies, indie labels, and recording artists. And on the other side, there are those who provide the medium for the music to be heard, at least traditionally— i.e. radio stations. And I am very, very lucky to belong to both worlds.

As such, I understand and share the frustration and heartaches of many artists, songwriters, and album producers in not having their songs air on the radio. But on the other hand, I also understand the position of radio stations and why they don’t play ALL songs submitted to them. Aside from the obvious limitations (i.e. we only have 24 hours right?), there are certain considerations in choosing which songs to air that unfortunately, the songwriters or even the album producers are seemingly not aware of. So hopefully, this humble article will shed some light—and more importantly, give “clues” to songwriters on how they can actually use certain elements in increasing the possibility of their songs to air in radio stations.

Dichotomy of Radio Stations in the Philippines

In the Philippines, there exists a "dichotomy" of radio stations. That is, you can classify radio stations in the country into two groups. One is what we call HIGH END. These stations cater to the Filipinos who are in the "higher bracket" of economic classes. Simply put, they appeal to the rich and the upper-middle class.  Filipinos in this bracket enjoy the "American" style of radio programming, that is, the DJ’s speak in English and they play Billboard Top 40 music.  Currently, these radio stations belong in this group:

Magic 89.9

Wave 89.1

RX93.1

Mellow Touch 94.7

Jam 88.3 and others.

The other group is, of course, the LOW END. This type of radio stations cater to the general masses. These are the radio stations that belong in this group:  

90.7 Love Radio                 93.9 iFM

101.1 Yes FM                    101.9 Tambayan  

91.5 Big Radio                   107.5 Win Radio

102.7 Star FM                    103.5 Wow FM and others

The low end stations can be easily recognized, the jocks use Tagalog as medium, they play recorded jokes and their music format is called Hot Young Adult Contemporary. Or simply put, amix of old and current popular songs, including OPM.

By the way, the frequencies of the above-mentioned radio stations are for Manila only, and they may vary in the south/provinces (that is, most of the radio stations I mentioned have local/provincial counterparts too).

Now notice that I used the word “cater”. Because that is precisely what radio stations do, they SERVE what the audience wants. Therefore, the songs that radio stations play are actually dictated by the preferences of their respective “customers”.

What does all this hoolabaloo have to do with songwriting? A LOT.  If you are a songwriter, it is very helpful to identify what the different “customers” of the radio stations look for. While I already talked about the elements that you can add to your song to make it more “radio friendly” in my free ebook THE SECRETS OF RADIO HIT SONGS AND 10 TIPS ON HOW YOU CAN USE THEM WHEN WRITING YOUR OWN SONGS (you can get it for FREE just by subscribing to this blog, i.e. enter your name and email address), it is also helpful to understand the preferences of the listeners of the two kinds of radio stations.

Likewise, it is also good to review and analyze your own song as to its “appeal”. If your song sounds “too Foreign” or too technical, chances are it won’t get played on Low End stations. What do I mean with “too Foreign”? I AM NOT REFERRING TO THE QUALITY OF THE PRODUCTION OR THE RECORDING OF THE SONG. Some people might mistake foreign sounding for high quality. I beg to disagree. There are many locally-produced songs of high quality.

So what do I mean with “too Foreign” sounding? Well, it could be the topic of your song, the idioms and some insinuations in it that many Filipinos (the general masses) may not be able to relate to. To give an example, the songs by U2, Nelly Furtado, John Mayer, among others, are very good, excellently made and of very high quality. That is why their songs are mainstays in many high end stations. However, many Filipinos who belong to the C,D,E classes are not able to relate with them, that is why you never hear them in Low End Stations.

Low End radio station audiences enjoy listening to catchy songs. They don’t care much about the technicality of the song, the riffs, the chord-shifts, etc. They only want to be ENTERTAINED. And by entertainment, I mean singing along with the song, relating to the lyrics or the story, and being able to ride the emotional journey it provides. The name of the game in Low End stations is how catchy is your song. How much of it sticks to the listeners after hearing the song means a lot.

                Does that mean a “high end” song will never ever air in a Low End station? NO! There are several instances that prove the contrary. Some songs initially aired over High End stations but were later on picked up by Low End stations simply because the general masses embraced them. This “phenomenon” is what we refer to as “CROSSOVER”.

                There are many hit songs that made the crossover from High End Stations to Low End ones. Here are just some of them:

You’re Beautiful (James Blunt)  

Billionaire (Travis McCoy feat. Bruno Mars)

I’m Yours (Jason Mraz)                            

This Love (and other Maroon 5 songs)

Just The Way You Are (Bruno Mars)       

Someone Like You (Adele)

Yeah! (Usher)     

Where Is The Love (and other Black Eyed Peas)

And many, many more.

There are also several OPM songs that started airing in High-end radio stations and also ended up airing in Low end ones, such as:

The Day You Said Goodnight (Hale)

The Way You Look At Me (Christian Bautista)

Jealous (Nina)    

A Little Bit (MYMP)

Wag Na Wag Mong Sasabihin (Kitchie Nadal)

And more.

What made the “crossover” possible? Well, there are several factors like the frequency of airing of the songs. Sometimes, when a song is played frequently, it gets stuck to your head. Another reason is the totality of the song itself. It may be foreign sounding in that the lyrics is not too Filipino, but the melody is SUPER CATCHY, so much so that any radio listener would quickly grasp it. Ever heard of “Baby” by Justin Bieber? Love it or hate it, IT JUST STICKS TO YOUR HEAD! Or the current hit by Taylor Swift, “We Are Never Ever Getting Back Together”—even if a listener from the Low End station doesn’t understand the lyrics, what the heck the song is so EASY TO RECALL. That says it all.

So if you’re still wondering why your songs don’t air over the radio, maybe it’s time to analyze them and compare vis-à-vis the ones you hear all over. Maybe your song doesn’t fit the format of the station. Or maybe your material is not really radio-friendly to begin with. And if you’ll ask again, “what is ‘radio friendly’ in the first place?”, then I suggest you get my free Ebook, just sign up to this blog.

Keep on writing songs!

May you be successful in your musical venture,

Robster Evangelista

P.S.

Get my Ebook THE SECRETS OF RADIO HIT SONGS AND 10 TIPS ON HOW YOU CAN USE THEM WHEN WRITING YOUR OWN SONGS for FREE!!! Just sign up on the upper left corner of this blog or below and you will receive an email with instructions on how you can download my FREE EBOOK.

HOW A SONGWRITER GETS PAID: FROM STEP 1 TO KA-CHING! (The Studio Album Route)

This article is borne out of a question from one of my subscribers. She asked, “Hey Sir Robster, how does a songwriter get paid?”. Well, there are several ways that a songwriter can earn money from writing songs. And this is just the first in a series of blogs about the subject matter.

This article is about earning money via the studio-album route. I opted to write a full blog about the entire process for you to visualize the things you have to go through so you would understand each step.

1. Make a demo of your song.

Make sure that it is of good quality, clear vocals and at least one instrumental accompaniment. If you can afford to hire services of an arranger, do so. It will help make your song sound “professional”.

Some would disagree with this. “I thought you said ‘make a demo’? Then why do you need to make it sound as if it is already professionally recorded?”. The answer is one word: COMPETITION. My friend, making a good quality and clean-sounding demo is not impossible anymore, what with the advent of highly-advanced but cheap recording gadgets and workstations. Gone are the days of recording via tape recorders with barking dogs as background noise. Most amateur composers nowadays have home studios that can rival some old-fashion set up.

When you’re done, submit your demo to A&R People of Recording Companies or Independent Album Producers (for Indie Artists/Singers who don’t really write their own songs).

You may want to research on them. Nowadays, with many social networking sites available, finding relevant people in the Music Industry is fairly easy.

Star Records – Jonathan Manalo

Warner Music – Neil Gregorio

EMI Polyeast – Chito Ilacad

GMA Records – Alwyn Cruz

MCA Universal – Francis Guevarra

Able Music – Bernie Refuerzo

And a lot more..

2. Your song will be evaluated by the A&R Manager or the
     Album Producer

The role of the A&R or Artist and Repertoire people is to choose the songs that would fit certain artists. The songs that will be chosen from among the submissions will be included in the album that will be produced professionally.

Now expect that there will be other songwriters who will submit their demos, much like in a songwriting contest. The difference is your song will not be adjudged whether it’s good or not. On the contrary, A&R People will evaluate whether your song FITS the artist who will be recording the album.

It will be a BIG HELP if you have a clue as to WHO will record the song/album, since you will have an advantage of studying his/her style before plunging into action.

3. The A&R Manager or Album Producer will call you

You might want to venture into some other activity, or you may write songs for others as this stage takes a long time--sometimes, two to three months, depending on the volume of demos they need to listen to. But they will call you if your song is selected. NOTE: don’t call them, they don’t like follow ups. Or you may try (at your own cost haha, just kidding). Some A&R people are really nice, just don’t catch them at a time when they have listened to over a thousand songs.

4. They will ask if your song is already assigned to a publishing company

They would want to make sure if your song is available for usage. If it is already assigned to a publisher, they might change their minds. Commonly, A&R managers are employed by record labels that have their own publishing company.

What exactly is a publishing company? It is a company that publishes. Genius. Seriously, it handles the right to MAKE USE of your song according to terms indicated in your agreement.

If your song is not yet assigned to any entity, they will ask you to sign a publishing agreement with them. For newbies, these publishing companies would push for 10 year-exclusive agreement.

There are pros and cons to this. Ten years is quite a long time for your song to be handled by a company. And that would mean you will have to SHARE with that company any earnings (normally 50%) from your song for 10 years. The good thing is, if you happen to sign with a good publishing company, then you are assured that you will receive royalties accordingly for 10 years.

CAUTION: Double check the contract, if you find the words PERPETUAL or IN PERPETUITY, be on the alert. This means you are assigning the rights to your song to them FOREVER, yikes!

5. Your INITIAL PAYMENT is indicated in the Publishing Agreement

Once you agree on all the terms, you will be informed how much you will be paid initiallu. This is called your Advance Payment or Royalty.  This normally ranges from P3,000 to P5,000. For seasoned composers, figures may vary, and normally they are higher.

6. You get paid, congratulations!

This will happen while the album is already in production phase. But this will just be the start of your earning potentials. After the album that contains your masterpiece is done, the Producers will choose the carrier single of the album—the first song to be released publicly in different media (hopefully it’s your song)—and market the entire album.

7. Additional Earnings

If the album generates sales, and or your song is used in TV Series, commercials, or in a movie, you will have to be paid again. And this is stated in your contract, the when and how much (whether annual/quarterly or semi-annual). Remember, any earnings from your song will be shared (50%) with the publishing company.

Thirty (30) days before the expiration of your contract with the publishing company, you have the choice to opt-out, meaning severe ties with the company. So you have to take note of the expiry date of your contract because some have an AUTOMATIC RENEWAL clause for another few years if you fail to notify them of your intent to end the contract.

If you decide to terminate the contract then you will have COMPLETE CONTROL over your song onwards. Meaning if for example, a giant Shampoo manufacturer wishes to use your songs in their commercial, then they will talk directly to YOU and you will get 100% of the payment (after taxes of course).

But the catch is: this RARELY HAPPENS for beginners. Most songwriters don’t have the training to market their own songs. In this case, I would advise that you get the services of trusted LICENSING MANAGERS whose role is to find deals for your songs without you having to surrender your ownership rights to them. I would write about music licensing in other another blog so watch out for it.

Again, the studio album route is just one way of earning from your songs. Sadly, because of piracy, this route is getting bleak. Although it still puts some money in the pockets of songwriters, the earnings from sales of albums is not the same as it used to be, back in the days when buying pirated music is synonymous to being CHEAP (because pirated copies back then are cheap in price and in quality).

Nevertheless, as brave producers continue to believe and invest in this route, you can still try your luck submitting your songs. After all, it’s better than just letting your stuff rot in your hard drives or worst, in your notebooks, right?

May you be successful in your musical venture,

Robster Evangelista

P.S.

Get my Ebook THE SECRETS OF RADIO HIT SONGS AND 10 TIPS ON HOW YOU CAN USE THEM WHEN WRITING YOUR OWN SONGS for FREE!!! Just sign up on the upper left corner of this blog or below and you will receive an email with instructions on how you can download my FREE EBOOK.

P.S.2
I also invite you to join the group "Talented Amateur Pinoy Composers" in Facebook, so you can meet other songwriters who wish to learn more from and share music with each other. Just go to this link: http://www.facebook.com/groups/418221114902149/ .

WHAT KIND OF SONGWRITER ARE YOU?

Why do you write songs? 

What do you want to achieve or get from writing your own music? 

The answers to these questions will determine what kind of songwriter you are and your place in the music industry.

  

I have written some general and common characteristics and mindset of each kind. Each type has its upsides and downsides. Hopefully, by the end of this article, you’ll have an understanding of where you are as a songwriter now and where you want to be in the future.

Let me make it clear that I am not saying that one category is better than the other. You as a songwriter have the freedom to choose which path you would take. As long as you are happy with what you’re doing, then it’s fine! And for all we know, you can be a combination of two or more kinds.

So, read on!

THE HOBBYIST

Just like any hobbyist, you belong to this type if you love writing songs simply because you feel good while and after doing it. This kind of songwriter doesn’t care so much if he will get any financial reward or payment for his works. Just the thought of having your songs heard and appreciated by people is enough to keep you writing more.

Although you dream of making it big as a songwriter, you are somehow stuck with dreaming because you are more focused on something “more important”, like a job, studies, girlfriend/boyfriend (just kidding), etc. Your music can wait. You can relate so much with these words: enjoy, relax, therapeutic, share or sharing, free time.

Most songwriters begin this way. And a lot also remain in this category. The advantages of being a hobbyist-songwriter are:

1. No pressure when you write songs – hey it’s just a hobby,    

    right?

2. You get to express yourself in any musical form or style that you want (bahala na si Batman!)

Here are the downsides:

1.  Your audience is limited to people you know

2.  You get no financial rewards for your songs – but you don’t care about this anyway!

THE PURE ARTIST

You belong here if you put too much emphasis on “creating your own” sound. You are also your own artist. Meaning, you sing your own songs. Songwriters who belong in this category do not really care about the money. They don’t like to compromise on what is “in” or what is the latest music. Mainstream doesn’t appeal to you.

For the pure artist-songwriter, what is most important is to remain “artistic” and express this artistry. Your goal is to “enrich” the listening habits of the majority. You like to change the world through your music.

This type of songwriter also enjoys the technical aspects of writing songs: the instrumentation, the riffs, the chordal shifts and progression. These words make sense to you: freedom, expression, artistry, deep, experimental, progressive, and more.  

There are so many independent songwriters who belong in this category, and I respect their vision and commitment to their music.

Advantages:

1. You are your own boss – nobody is telling you what to do when you write songs

2.  You get to experience deep appreciation of music as an art

Disadvantages:

1. You have a relatively small audience – although you can upload your songs on the internet, only a few people will “dig” your style. This is also called “niche” music.

2.  Earning money from your music is an option, not a motive

3. The production of your music depends on how deep your pocket, resources, patience, and support are.

THE COMMERCIAL SONGWRITER

This kind is easy to identify. If you are contracted to write a song, and you are getting paid for it, then you belong here. You understand that music is used in businesses. In fact, it is clear in your mind that music IS business.

The commercial songwriter is always conscious on what is hot, trendy, and in-demand. He or she takes into consideration the capabilities of the artist who will record his or her song. You have more leverage if you are a SINGER-SONGWRITER because you sell yourself and you have better understanding of the appeal your song has to have.

The commercial songwriter doesn’t really care whether his or her song will be “intellectual” or “deep” for as long as it will “move” the audience to feel whatever emotion he/she would want them to feel.

Songwriters in this category are the jingle writers, mainstream composers, TV/movie scorer. The words that make sense to commercial songwriters are: appeal, royalty, production cost, hook, airplay, etc.

Advantages:

1. You receive remuneration (MONEY) for your songs

2. You appeal to a broader audience (that’s why it’s called MAINSTREAM)

Disadvantages:

1. There is pressure from restrictions like length of song, topic, range, artist, genre and budget from someone else, THE CLIENT. Your challenge is to satisfy the needs of the client in the most creative way possible, considering the limitations.

2. You tend to be accused of feeding “trash”, “formulaic” music to the general masses

Again, I am not saying that one is better than the other. It is up to YOU to choose which path you would take. After all, each of us is unique and we have our own preferences and goals in life.

So, what kind of songwriter are you?

May you be successful in your musical venture,

Robster Evangelista

P.S.

Get my Ebook THE SECRETS OF RADIO HIT SONGS AND 10 TIPS ON HOW YOU CAN USE THEM WHEN WRITING YOUR OWN SONGS for FREE!!! Just sign up on the upper left corner of this blog or below and you will receive an email with instructions on how you can download my FREE EBOOK.