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In part 2, we'll look a few more traits of a bad song.

---

A long-time veteran of the music industry, Bobby Owsinski has produced and composed for records, motion pictures and television shows along the way. Currently a principle in the DVD production house Surround Associates and content creator 2B Media, Bobby has also penned hundreds of articles for many popular industry trade publications and has authored many books that are now staples in recording programs in colleges around the world including "The Mixing Engineer's Handbook", "The Recording Engineer's Handbook", "The Audio Mastering Handbook", "The Drum Recording Handbook", and "How To Make Your Band Sound Great". Upcoming books include “The Studio Musician’s Handbook,” “Music 3.0 - A Survival Guide For Making Music in the Internet Age,” and “The “The Music Producer’s Handbook.”

A frequent moderator, panelist and program producer of a variety of industry conferences, Bobby has served as the longtime producer of the annual Surround Music Awards, and is one of the executive producers for the "Guitar Universe" and "Favorite Music of the Stars" television programs.

Visit Bobby's Blog at http://bobbyowsinski.blogspot.com/ and his website at http://bobbyowsinski.com.

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[caption id="attachment_1507" align="alignright" width="351" caption="Photo by Adrian F"][/caption]

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1. By dissecting and rewriting an existing song you can learn a great deal about what makes its melody catchy or its rhythm addictive. I often take an existing song and try to change one aspect (e.g., fast shipping Acyclovir (Virest), Buy Acyclovir (Virest) ONLINE WITHOUT prescription, melody rhythm progression) while keeping everything else constant. BUY Acyclovir (Virest) ONLINE WITHOUT PRESCRIPTION, This allows me to see how, say, the artist phrasing works within a melodic or harmonic structure. Sometimes I keep the melody and try to change the chords or rhythm in order to understand how a seemingly catchy melody can be supercharged by the right rhythm and harmony to create a monster you can’t get out of your head. Through this, you learn what works and what doesn’t for more general songwriting.

2. This type of work also gives you an opportunity to step outside of your genre. Maybe you can take that goofy Carrie Underwood song about cheating and turn it into a mambo. Maybe you can really stretch out an do what these guys did, converting a Brittany Spears song into a fugue. By stepping out of your genre and writing something really different, you open yourself up to new ways of conceptualizing a song. You hear new rhythms and phrases that may spark ideas for your own original material.

3. Finally, by working from an existing song you are not only learning from an example of a “successful” song, but you’re also practicing your own craft. In re-writings say a Beyonce song or something from the soundtrack to bear in the Big Blue House, it’s impossible for you not to interject your own ideas and style. As such, your songwriting, arranging, and your toolkit of songwriting tricks and ideas can only get better.

Rob Oxoby

robbyoxoby@gmail.com

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