Showing posts with label Theyve Got A Ticket. Show all posts
Showing posts with label Theyve Got A Ticket. Show all posts

Monday, 3 June 2013

Cole Tyler's Got A Ticket To Write



Welcome to another guest post where a working musician spills the beans on how they've used the Tickets To Write. Next up - Cole Tyler

Hello this is Cole Tyler of The Forz!

You're blog has definitely helped me through some writing slumps and inspired some more Beatles-styled songs to go along with the ones we've got. 



This song Sleep Deprived uses Ticket 5: Make sections contrast and Ticket 18: Finish with a single ringing chord

It starts with a slower, blues rock shuffle and then switches to a faster blues rock riff like Dizzy Miss Lizzy. It also ends with an A6 chord which is a very Beatley way to end a song (She Loves You, Help! and a million more)

We've used a lot of your "Tickets" in our songs including The Lennon Edit (T37) , Let Two Become One (T55) and Don't Start The Melody on The First Beat (T39)

Thank you so much for your blog and keep up the great work!

Cole Tyler



Cole Tyler handles vocals guitar, keyboards in The Forz, a 1960's inspired rock and roll/blues band from Boston, MA. You can connect with the band via Facebook and Soundcloud and get their debut album Something New from Bandcamp

More guest posts here

Have you used any of the Tickets To Write? Drop me a line!




Friday, 24 May 2013

Elijah Lamp's Got A Ticket To Write





Welcome to another guest post where an ordinary musician like you spills the beans on how they've used the Tickets To Write to ... erm... write! Next up - Elijah Lamp

Hello,

I remember miming to Beatles singles on my Fisher Price record player as a child, their music is deeply ingrained in me. I saw your call for songs that used tips from your blog. So here is mine - Cast Stones.




The song uses Ticket 18 (one of my favourites!) endings on a single ringing chord (G6 - according to my iPhone reverse chord finder.) The opening G, pulled from the verse (Ticket 4) and last G6 both remind me of A Hard Days Night.

I tried to contrast the bridge section with new chords and a half tempo feel per Ticket 5, and I tried to parallel the lyrics in the verses (Ticket 24) a 'la Come Together which was one of the singles I had as a child. (I'm partial to Revolver, the White Album, Abbey Road and yes... Let it Be, which I love like a ragged, favourite old pair of jeans).

Thank you so much for your exhaustive efforts to make this voodoo discernible to average hack songwriters like myself. I've really enjoyed your blog.

Elijah Lamp is a 43 year old classic rock fanatic who's been writing and recording since 1984. You can check out more of his music here 


Elijah giving his son his first guitar lesson (“Smoke on the Water of course”).



Friday, 10 May 2013

Joe Scala's Got A Ticket To Write

Today's guest blogger Joe Scala combined a Beatles approved chord with a really original approach to writing lyric in one of his recent songs...



I used an interesting process on the FAWM song Take A Photograph. I wrote the moody echo-y music first, but I had no idea where to go with the lyrics. The obvious direction was something along the lines of “I am lonely, I am empty, I am nothing” but this isn’t the kind of song I want to write. It’s ok to be moody; you don’t have to be depressed.

An idea came to me – from out of nowhere it seemed, although it probably un-buried itself from my memory from a writing class in college – to use photos as inspiration. (I often use poetry by Frost, Whitman, Dickinson, but I was tired of that method). I pulled up flickr and looked at the daily photos. I saw a lot of stuff, and when something struck me, I wrote a description of what I saw.


It started with very basic, prose-y stuff: “a gray and brown train riding along with a town in the background”. But then I kept pushing myself to write more, what else could I find? I added some flowery descriptions. I repeated this for 3 or four photos, and I expected to find some good lines for the song in there.
I didn’t. Everything still looked boring. So I printed out all of my descriptions like this:







































I looked for interesting phrases across the lines, stuff that I would never have written, although I kinda did, and just found it. I circled lots of stuff. From there, I constructed a new list of possible lyrics. Once I found the lines “Take a photograph / Fill it up with what you see” it suggested a pattern to the verses, and away I went. I pieced the song together from there. It’s interesting how the verses each reflect one of the photos, even though I chopped everything to bits.

I was browsing Beatles Songwriting Academy for an easy idea to use and found “Ticket 44 – Use the Minor 5.” While I was messing around with a chord progression, a pretty standard one actually, I looked for a place to insert the minor 5, an unexpected twist. This lead me to the structure of the verses that I ended up with. I used my new Hamlet pedal and set the reverb to 12 (yes it goes to 12!) to get the eerie arpeggiated guitar tracks.





Joe Scala is a 'regular guy with a regular job' from Baltimore MD who is also the guitarist in The Katie Bowers Band and Katie & Joe. You can check out some of their music here and listen to another Beatles related tune by Joe here.

Want to read about more regular guys using Beatles songwriting knowhow? Here you go!

This post originally appeared on Joe's blog (thanks Joe!).

Monday, 4 February 2013

The Black Heartthrobs Got A Ticket To Write




Have you used any of the Beatles approved songwriting tricks on this site to create your own songs? Send me an email and I'll feature your song here. David Benitez did.

Hello Matt.

This is David Benitez from The Black Heartthrobs from Los Angeles. We're big fans of the 4 dudes and your website.

We used a few 'tickets to write' in the bridge to our song Fool For You - ticket 44 - Use the minor 5 chord (v) & ticket 45 - Change key between sections.



We go into the bridge by minoring the 5 and we exit the bridge back to the verse by making the 5 major again.

Here's the chords (in the key of C#)

Bridge

G#m    A#7     D#m      F#7
G#m    A#7     B           F#
G#major

I also sing the minor third (a B) in the minor V chord so you really hear the shift. IMHO, minoring the V (G#m) wakes up the listener. I don't think it's used that often, or at least not nearly as the minor 4 (which in this key would be F#m). It refreshes the song and makes going back to the verse more satisfying cos it felt like the song actually went somewhere.

David uses the m5 to transpose into the new key of D#m (T45) but in true Beatles fashion they use the borrowed V7 (A#7) to get to D#m (i) and then throw in F#7 which also doesn't 'belong.' It's clever stuff and shows that the band have really absorbed the Beatles techniques and made em their own.



David Benitez is vocalist/guitarist with The Black Heartthrobs, a three-piece garage rock band from Culver City, California that craft catchy songs a la Pavement and The Nerves. Find them on Facebook and Bandcamp.


I'd highly recommend their album Saturn Mexico (featuring Fool For You)



More Readers Stories

Friday, 30 March 2012

Phillip Alexander's Got A Ticket To Write



Welcome to another post where a real life working musician like you, explains how they're using Beatles inspired knowhow like the Tickets To Write to create their own songs. Next up is Phillip Alexander from Cincinnati band Plastic Inevitables.


First things first, I am a huge fan of Beatles Songwriting Academy. I've been reading it diligently for a while now, and I'm honored to be asked to write a guest post. Matt, thanks for doing BSA and especially for showing me The Summer Of Love (by George Martin) and Songwriting Secrets Of The Beatles. The latter (in addition to this blog!) has helped me immensely with songwriting, and made me appreciate the Beatles more than I thought possible, seeing that I already was in love with them.

Currently, as well as recording a new album, Plastic Inevitables are working on a YouTube project called “Short Song” - writing and recording a track less than two minutes long every month during 2012.

Naturally, every Short Song we write has to use ticket 2 (put your song on a diet) to the Nth degree. There's usually only room for one verse, two if we're lucky. Although that's partly due to our tendency to make them have more of a progressive structure than some of our other songs.


In our latest Short Song, Jekyll, we created an intro AND outro using different existing parts of the middle of the song (ticket 4). I also made sure that my vocal line never began on the first beat (ticket 39). In the end section, though it does lie on beat 1 of a measure, it doesn't come in until the second measure. Lastly, I wanted to see how much we could do with just two chords, so about 2/3 of the song is alternating between C and Am (ticket 25), though the average listener may not notice. This contrasts with the end, that uses a much more exotic chord progression and doesn't hit the tonic until the last chord.

Jekyll was partially inspired by From Me To You, although it doesn't have much in common with it besides the C to Am move. All of our Short Songs take some inspiration from the early Beatles catalogue as a whole, seeing as most of their early hits were right around the 2 minute mark. They had a way of packing everything you could possibly need in a pop song into 2 or 3 minutes. We try to be more experimental when writing Short Songs than if we were trying to write a single, but nevertheless those early Beatles hits had the perfect amount of innovation to be unfamiliar, but still go to #1 on the charts.


Phillip is lead vocalist and guitarist in Plastic Inevitables, who “sound like the White Stripes and the Beatles had a baby”. They're about to record a new album, tentatively titled Loon, which will be out by the end of the year. You can get their previous albums on Bandcamp, check out the Short Songs project on Youtube, or find them on Facebook or Twitter



Interested in contributing a guest post for Beatles Songwriting Academy? Been using the Tickets To Write to create your own songs? Drop me a line and let me know!

Monday, 15 August 2011

Alt Hitman's Got A Ticket To Write


Welcome to another post where I ask 'real-life' songwriters just like you to spill the beans on how Beatles inspired songwriting ideas like the Tickets To Write have helped them create new songs. Say hola! to alt hitman...







First, I'm honored to be invited to post. Thank you, Matt, and thanks for trashing Maxwell's Silver Hammer!

I write demo songs in the wee hours of the east village night, after the sirens go to sleep and before the birds start wailing. I've always written from the hip and just misunderstand music theory.  One reason I love the Tickets To Write is that they break it down in a slew of dares.  I started with piano in my tweens, and picked up the guitar when I left for university. I think I'm on a futile mission to write the best White Album rejects I can.
 

You And You 

 For my song You and You I availed myself of the major to minor (Ticket 8).  I isolated this switch by dropping the lyrics here, and gave it time to happen over two measures (G to Gm7). I've used this ticket before, occasionally changing the root of the chord.  Lyrically, I used parallel lyrics (ticket 24).  I aim for that moment when the chord structure and the lyrics begin to intertwine.  The middle change in this song is not a real chorus, more of a burning bridge (ticket 26).  Finally of course I always make use of ticket 21. It keeps me honest. 


Inspiration 

 I was thinking of George Harrison circa 1970 when I wrote this one.  I'd like to add some Harrisonesque guitar phrasing when I get the courage.  The lyrics are circular but paradoxically open-ended.   Recently I worked the D aug into several songs (eg What Is Up Girl?)...and I don't mind borrowing the augmented feel from Oh Darling! for the open!






alt hitman is pronounced like Walt Whitman, minus the W's. He grew up in El Salvador and New Orleans which is where he gained the ability to deep fry 7th and 9ths. By day he's a freelance artist or Sunday painter in the East Village and you can find his music at http://alt-hitman.bandcamp.com.

Read about another ticket holder: 
Joel D Canfield





Have you used the Tickets to write in any of your songs? - Drop me a line and let me know!



Thursday, 14 July 2011

Joel D Canfield's Got A Ticket To Write


Welcome to the first post in a occasional series where I ask 'real-life' songwriters just like you to spill the beans on how Beatles inspired songwriting ideas like the Tickets To Write have helped them create new songs. First up to bat is nomadic songwriter Joel D Canfield



I've been writing about music for nearly a decade and a music lover for half a century. I started writing music seriously about seven years ago and this year (2011) I realized it was time to push myself out of the comfort zone of my favorite chord progressions.

Ever since I heard The Mamas and The Papas cover I Call Your Name back in the seventies (when it was already ten years old) I've always loved the vocal slide from the major 4th to the minor 4th ("I never weep at (A) ni - (Am) ight, I call your name".) Ticket 8 Part 2 felt familiar when I started reading the description and when I saw I Call Your Name in the examples I knew I wanted to give it a try.


It turns out I tried it twice. Both The Map and This Path use the 4 to 4m change in the verse. For some reason, though they're both songs about the nomadic life I share with my Best Beloved, This Path works better melodically over the change. It may be that I immersed myself in David Gray's melodic structures before I wrote these songs and This Path captured more of that feeling.

Other songwriters have commented on the challenge of sliding from the 4 to the minor 4 in This Path but I was surprised how simple and natural it felt. Wasting my youth with my ear glued to the radio came in handy after all.

Though he pays his bills as a business author, writing and business coach, and web developer, Joel D Canfield is first and foremost a philosopher who believes that finding why makes what and how become clear. Get to know him at FindingWhy.com or read more of his musical background at his musiblog KnowYourMusic.com

Have you used the Tickets to write in any of your songs? - Then drop me a line!