Online Master's Degree Course

Songwriting Tools and Techniques

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Authored by Scarlet Keys, Pat Pattison

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Course Code: OSONG-525

Next Semester Starts
Jan 10, 2022

Level 5 - Degree Only

Level 5

The purpose of this course, in the context of the overarching master’s program, is to help you acquire the tools and techniques necessary to go forward with your studies. The course requires you to become intentional in every aspect of your writing: melodic composition, harmonic considerations, and lyric composition, all focused through the lens of prosody. You will learn to align each compositional element in relationship to your song’s central intent and emotion.

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By the end of the course, you will be able to:

  • apply the concept of prosody to their songwriting
  • apply lyric, melodic, and harmonic structures prosodically
  • apply the concept of sense-bound writing to your songs
  • create effective metaphors in your writing
  • accurately set lyric to melody 
  • use front-heavy, back-heavy, and strong/weak bar phrasing prosodically
  • use melodic rhythm and contour to support the narrative and emotional narrative
  • use harmonic rhythm and harmony prosodically
  • describe and utilize the emotion that chords bring to a song both diatonically and non-diatonically using modal interchange and modulation
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Overview Syllabus Requirements Instructors Request Info

Syllabus

Lesson 1: Sense-Bound Writing and Setting Lyrics to Music

  • Sense-Bound Writing
  • Sense-Bound Language
  • Object Writing
  • Stressed and Unstressed Syllables
  • Recognizing Word Stresses: Single Syllable Word
  • Recognizing Word Stresses: Gray Areas
  • Melodic Stress
  • Finding Words that Fit the Music
  • Further Exploration
  • Rhythm: Syllabic and Melodic
  • Matching Musical Stress and Syllable Stress
  • Master Class with Ali Rapetti
  • Assignment 1: Lyric Setting

Lesson 2: Melody, 'Who' Writing, Titles, and Song Form

  • The Four Types of Melodic Contours
  • Static Melody
  • Step Melody
  • Skip Melody
  • Leap Melody
  • What Is a Title?
  • Types of Titles
  • Developing Song Ideas: Using Boxes
  • Examples of Boxes In Action
  • Master Classes with Johnny Duke and Liz Longley
  • Melody as Tone of Voice
  • The 6th and the 7th
  • Intervallic Narrative
  • Assignment 2: Writing from the Title Using Boxes

Lesson 3: 'When' Writing, Third-Person Narrative, and Prosody

  • 'When' Writing
  • Discovering Point of View
  • Third-Person Narrative
  • Third-Person Narrative Characteristics
  • Prosody
  • Number of Lines
  • Form: Verse/Refrain
  • Melodic Development Techniques for Verse/Refrain Song Sections
  • Setting Your Refrain Line
  • Beginning Your Song with the Refrain
  • Chord Progressions for Verse/Refrain Song Sections
  • Bridge Section in a Verse/Refrain Song Structure
  • Assignment 3: Co-Write No. 1

Lesson 4: 'Where' Writing, First-Person Narrative, Length of Lines, and Common Meter

  • 'Where' Writing
  • Point of View: First-Person Narrative
  • Characteristics of First-Person Narrative
  • More Examples Where the Narrator's Characteristics Play a Role
  • Prosody: Line Length
  • Common Meter
  • Common Meter with Variations
  • The Effect of Music on Line Lengths and Song Sections
  • 'Train in the Distance'
  • Non-Diatonic Moves to a Bridge Section
  • Modulating in a Bridge Section
  • Master Class with Rebecca Perkins
  • Assignment 4: Draft of Song

Lesson 5: Working with Metaphors, Delaying the Tonic, and Writing in a Minor Key

  • Making Metaphors: Adjective–Noun Collisions
  • POV: Direct Address 
  • Master Class with Maureen McMullan 
  • Tetrameter Couplets 
  • Prosody: Rhyme Schemes 
  • Perfect Rhyme
  • Master Class with Ali Rapetti
  • Melodic Keep-Away: Delaying and Avoiding the Tonic 
  • Melody in a Minor Key 
  • Melodic and Dorian Minor 
  • Assignment 5: Solo Song No. 1

Lesson 6: Metaphors, Second-Person Narrative, Rhyme Types, Melodic Rhythm, and Song Form 

  • Noun–Verb Metaphors 
  • POV: Second-Person Narrative 
  • Second-Person Narrative Song Analysis
  • Grammatical Advantages in Second-Person Narrative 
  • Point of View Review 
  • Family Rhyme 
  • Additive and Subtractive Rhyme 
  • Building a Worksheet 
  • More on Worksheets 
  • Melodic Rhythm for Motion, Contrast, and Prosody
  • Repetition and Contrast within a Section 
  • Contrast between Song Sections 
  • Rhythmic Onomatopoeia 
  • Assignment 6: Co-Write No. 2

Lesson 7: Metaphors, Assonance and Consonance Rhyme, Phrasing, and Harmony for the Songwriter 

  • Noun-Noun Collisions: Expressed Identity 
  • Assonance and Consonance Rhymes 
  • Consonance Rhyme 
  • Consonance Rhyme in Lyrics 
  • Front-Heavy and Back-Heavy Phrasing 
  • Three Chords and the Truth
  • Secondary Chords in a Major Key 
  • Stealing Chords 
  • 7th Chords and Dominant Chords 
  • Assignment 7: Harmony Practice 

Lesson 8: Linking Qualities in Metaphor, Weak-Bar Phrasing, Tensions in a Major and Minor Key, and Chord Voicings 

  • Metaphors: Linking Qualities 
  • Linking Qualities in Action 
  • Weak-Bar Phrasing 
  • Mixing POV
  • Analyzing Successful Songs for POV 
  • 'Lyin’ Eyes' Feedback
  • When Changing POV Wins Out 
  • Analyzing POV in Eminem’s “3 a.m.” 
  • Less is More: Reinventing Common Chord Progressions 
  • Voicings 
  • Tensions 
  • More is More 
  • The Add2 and the Add4 Chord 
  • Sus4 Chord 
  • Assignment 8: Solo Songs

Lesson 9: More Linking Qualities, Contrasting Sections, Choosing POV 

  • Choosing Point of View 
  • Third-Person Narrative 
  • First-Person Narrative
  • Second-Person Narrative 
  • Direct Address 
  • Musical Contrast 
  • Harmonic Rhythm: Contrast, Highlighting, and Prosody 
  • Contrast for Highlighting 
  • Symmetry vs. Asymmetry and Surprise 
  • Rhythmic Patterns and Surprise
  • Assignment 9: Song Co-Write

Lesson 10: Metaphor, Matching Lyric and Melodic Phrases, Melodic and Harmonic Phrasing, Sectional Symmetry

  • Roadmaps: Matching Lyric and Melodic Phrases 
  • Symmetry vs. Asymmetry: Balanced and Unbalanced Song Sections 
  • Extension 
  • Roadmaps: Harmonic and Melodic Phrases 
  • Melodic Phrase Lengths and Harmonic Phrase Lengths 
  • Assignment 10: Writing Practice

Lesson 11: Mixolydian Melody, Major and Minor Pentatonic Scales, and the Blues 

  • Mixolydian: What a Difference a Note Makes 
  • Major Pentatonic Scale 
  • 'My Girl' and the Pentatonic Scale
  • Minor Pentatonic 
  • Blues 
  • Blues Form 
  • Borrowing from the Blues 
  • Assignment 11: Solos Songs

Lesson 12: Review and Reflection 

  • Review and Reflection: Prosody 
  • Review and Reflection: Object Writing, Metaphor 
  • Review and Reflection: Melodic Contour 
  • Review and Reflection: Harmony 
  • Final Reflection

Requirements

Prerequisites and Course-Specific Requirements 

Completion of an undergraduate degree, preferably with a music emphasis or equivalent knowledge and experience is required.

Students should have:

  • A desire to become a more intentional songwriter
  • Moderate understanding of music theory

Required Textbook(s)

After enrolling, please check the Getting Started section of your course for potential deals on required materials. Our Student Deals page also features several discounts you can take advantage of as a current student. Please contact support@online.berklee.edu for any questions.


General Course Requirements

Below are the minimum requirements to access the course environment and participate in live chats. Please make sure to also check the Prerequisites and Course-Specific Requirements section above, and ensure your computer meets or exceeds the minimum system requirements for all software needed for your course. 

Mac Users

PC Users

All Users

  • Latest version of  Google Chrome
  • Zoom meeting software
  • Webcam
  • Speakers or headphones
  • External or internal microphone
  • Broadband Internet connection

Instructors

Scarlet Keys

Author & Instructor

Scarlet Keys has been a Professor in the Songwriting department of the Berklee College of Music for the past 15 years, holds a BM in Music from Berklee and is a former staff writer for Warner Chappell. 

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Scarlet has had a gold record in Sweden, topped the charts in Britain and has songs recorded in the U.S. by award winning artists spanning genres from jazz, country, Americana, folk and pop.

Her songs have appeared on film and TV. as well as national commercials and Scarlet has worked with and collaborated with artists such as Chris Stapleton, Gretchen Wilson, Emily West, Golden Globe nominee Monty Powell to name a few.

Scarlet’s former students include: Charlie Puth , Charlie Worsham, Liz Longley and Betty Who and many up and coming new artists.

Scarlet continues to write, perform and teach both at Berklee and songwriting clinics across the U.S. Read Less


Pat Pattison

Author

Pat Pattison is a professor at Berklee College of Music, where he teaches lyric writing and poetry. In addition to his four books, Songwriting Without Boundaries (Penguin/Random House), Writing Better Lyrics, 2nd Edition (Penguin/Random House), The Essential Guide to Lyric Form and Structure (Hal Leonard), and The Essential Guide to Rhyming (Hal Leonard), Pat has developed five online courses for Berklee Online: three on lyric writing, one on poetry, and one on creative writing, all available through online.berklee.edu. In addition, more than 1,500,000 students have enrolled in his coursera.org MOOC, Songwriting: Writing the Lyric since its first run in 2013. He has written more than 50 articles for various blogs and magazines, including American Songwriter, and has chapters in both The Poetics of American Song Lyrics (University Press of Mississippi) and The Handbook on Creative Writing (Edinburgh University Press).

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Pat continues to present songwriting clinics across the US, Canada, Australia, New Zealand, and Europe. His students include Grammy-winners, professional songwriters, and major recording artists, including Gillian Welch, John Mayer, Tom Hambridge, Joelle James, Karmin, American Authors, Ingrid Andress, Liz Longley, Charlie Worsham, Greg Becker, Justin Tranter, and many more. Read Less

Questions?

Contact our Academic Advisors by phone at 1-866-BERKLEE (U.S.), 1-617-747-2146 (INT'L), or by email at advisors@online.berklee.edu.

We can also answer basic questions in the comments below. Please note that all comments are public.

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