4Told Quartet – 100% Satisfied Artists!
Adam saved us tons of time and energy. We were up to our ears in demos that did nothing for us – then we had Adam send us a demo, and it was a no-brainer. It was that easy – you could tell he did his homework and nailed our sound. If you need the best material, and you’re sick of wasting your time on a stack of everyone else’s songs, get Adam to send you a demo. Otherwise, enjoy the headache I’ll never have again. I’ll be back for my next project!
- 4told Quartet
c/o Sam
Title: Syllable Control Series – Part 2: Using Few Syllables For Effect
Hello again friends, we’re back talking about syllable control. Last time we talked a little bit about how a gospel songwriter can use syllable control to plan the meter of the song. Today, let’s talk about how to use just a few syllables to smash home the meaning of your song!
Last time we took a look at “filling buckets”. Today, we’ll pick up where we left off, but you’re going to see very few buckets this time. Probably the most underrated song, the song with few syllables that says a ton is a hot one waiting to happen.
My Favorite Example
My favorite example of a song with few syllables that says a lot is Beulah Land. Off the top of my head, I don’t even know who wrote it. It’s one of those songs that’s been done countless times by countless groups. And for illustration purposes, that’s what we’re going to look at today.
Other notable songs like this are “If You Knew Him”, “Holy Shore”, and “There Is Hope For America” to name a few off the top of my head. Note that these songs seem to have pretty serious themes, as opposed to more lighthearted ones.
So here’s what the chorus of the song, Beulah Land looks like chopped into syllables:
Beu lah Land
I’m long ing for you
And some day
On thee I’ll stand
There my home
Will be e ter nal
Beu lah land
Sweet Beu lah land
Seriously, gospel songwriter – check that out: for a combined total of 30 syllables, here is an amazing southern gospel song chorus that has blessed countless people. 30 syllables – that’s all!
Break It Down
So let’s make some general observations here. Off the top of my head, here’s what I’m noticing:
• The title of the song (Beulah Land) opens and closes the course, which is typical
• The phrase is used three times in the chorus
• The phrase is 3 syllables, multiply that by 3 occurrences, and you get 9 syllables of the chorus spoken for by simply using the song title
• 9/30 is about one third of all syllables in the chorus
• The first half of the course is about a future goal
• The second half of the course indicates the significance of Beulah Land
• The language is very direct and straightforward, with an old-English teaser word (thee)
You may have noticed more, and that’s great. Let’s take this simple list and see what we can do to come up with something similar. We’re gonna literally write a course right now.
Let’s Write One
Here’s where we turn to the idea list, and it looks like we have one dealing with the idea of remembering a salvation day. Actually, we’ll make that the title of the song, “Sweet Day to Remember”.
Notice that the title has 6 syllables. We will build a song to the tune of “Did I Mention” (for now). Here’s what we got so far:
Sweet day to re mem ber
Sweet day of sal va tion
Sweet day my e ter ni ty
For ev er was changed
I cling to that mem ry
One mor ning at an al tar
Sweet day of days
Sweet day to re mem ber
Not bad for a rough draft, but far from sharpened as there’s a lot more than 30 syllables here! We took advantage of the shortcuts – notice how we used the title and the first and last lines, that’s a freebie. It looks like the phrase, “sweet day” appears, well, shucks, 5 times I guess. Like Beulah Land, our chorus has coherence: the first half explains, and the second half indicates action.
So in conclusion, here are a few things that you want to consider when writing a song with few but powerful syllables:
1. Usually slow songs work best
2. Usually serious and reflective themes fit most appropriately
3. Repetition is your friend – don’t be afraid to use it; be afraid of NOT taking advantage of it!
I’m Adam of AdamTigges.com, saying so long, God bless, and keep writing the good stuff.
p.s. – use your hips to throw the bat with your leading arm through the bottom half of the softball and kiss that baby goodbye!
Syllable Control Series – Part 1: Intro to Razor-Sharp Lyric Metering
It’s the dead giveaway of a novice songwriter: SYLLABLE PANDEMONIUM! An important aspect of the craft of songwriting is knowing how to weave the lyrics into the syllables in your songs tastefully. This post is the first in a series that explores how you can use every syllable to say exactly what you want.
1. Setting up for Syllable Control Within the Meter
Syllable control is the deliberate and thoughtful planning of how to fit words into the meter of a song. And just like any genre, Southern Gospel needs it as much as any!
For example, let’s say you and I are going to write a song that has a chorus with 8 lines. The layout or the chorus would look something like this:
The next thing we would consider is creating “little buckets” on the lines to hold the syllables. Taken a step further, our song layout then looks like this:
2. Fine-Tuning the Template
It would be one boring song if every line had the same amount of buckets, wouldn’t it? That means we need to mix it up a little bit. So let’s give some lines more THAN others, shall we? Mixing it up, we might have something like this now:
3. Further Adjusting – Figure it out as You Go
That right there is a pretty good start. If you’ve been a gospel songwriter for while, this comes pretty intuitively for you. But every now and then, it’s good to take a look and remember why we do things the way we do them.
Some songs have very few words, but say an awful lot with those few words; other songs rat-tat-tat-tat the words and jibber-jabber a lot of chatter, but convey meaning at the same time.
Why do these songs that exist at the extremes of the “syllable control spectrum” actually work? We’ll begin taking a look at it next time. Write some great songs!
Style Crossover: Writing My First Black Gospel Demo
Since I re-built this website, I’ve been strapped trying to keep up with demo requests! Now: if half of the songs that artists have requested actually get recorded, I’ll have several songs for the basis of a solid portfolio.
But for now, and for today, I want to talk a little bit about crossing gospel genres. I have branded myself primarily as a Southern Gospel songwriter; but over the last 2 months, I’ve come to realize that to be a truly versatile gospel songwriter, you have to be able to write in several styles.
Lately some of my work has been Southern Gospel with a lot of country crossover. To really understand the sounds that go with it, I’ve had to listen to some Joe Diffie, Rascall Flatts, Lady Antebellum, and other straight up country musicians. Of course, I’m always listening to the Gaither Vocal Band for inspiration, because their stuff crosses almost every genre boundary, and is always commercial.
But recently, I was approached by a Black Gospel artist, who requested me to write some music for him. Like every irresponsible businessperson, I said yes with the intent of figuring out how to produce a quality product later!
So to absorb Black Gospel sounds, I started listening to some Stevie Wonder, Ray Charles, and a few others. I have to say one thing: Black Gospel is getting stuck on me more than I had expected – and I’m having a hard time getting it un-stuck for the songs I’m writing for non—Black Gospel artists!
What really made my life easier, however, was getting a co-writer involved. We have an incredible songwriter in our church, and she has been a huge inspiration for my songwriting, and music in general: Carol Johnson. I brought her in to help co-write this Black Gospel demo, because of her extensive cross-genre knowledge. And I have to say: I sure am glad I did!
If you want to hear the song we came up with, CLICK THIS LINK HERE. You’ll notice it wasn’t me, but my co-writer singing it!
This was one of the easiest co-writing projects I’ve ever been involved with, and one I am pleased with. I’ve come to really admire Black Gospel, and I hope the song blesses you. Write some great songs!
Series: Song Layouts of Southern Gospel Music #4 – the VVVCVC, Gospel Songwriting’s Spectacle Song
Welcome to the final post in our series that considers the song layouts of Southern Gospel music. Today we’re going to talk about what some might call the “spectacle” song. That’s right: today we’re gonna talk about the VVVCVC.
VVVCVC
In gospel songwriting, we typically follow songwriting rules that make for solid, tasteful, appealing, inspirational songs. But every now and then, (but not often) it comes time to write a song that breaks your standard song layout rules. Enter the VVVCVC (vee-vee-vee-see-vee-see)!
And believe me, this song layout really does it too! But there are still 2 main rules that a VVVCVC song still follows. They are:
- A logical succession between the verses
- A powerful hook
As I said earlier, these songs aren’t super common in Southern Gospel music. They’re like deep-fried food: it tastes great in moderation, but too much will make you sick of it. It’s worth pointing out that there is a great deal of liberty in arranging a song like this. In other words, you can add more verses before the first chorus.
To do your VVVCVC song a big favor, you’re going to want to write in some key changes. Is this the producer’s job? Yes – but do him a favor by making those key changes such an intuitive ingredient of the song that the key changes become as important as the chord progression itself. This is necessary to create some variation, and save the listeners from easily preventable boredom.
Between the first few verses, a very common thing to do is to go up a half step between verses. Another common trait of songs like this is that they typically tell stories. There is very strong successive cohesion between the verses.
Let’s take a look at a very famous VVVCVC variation, “My Name is Lazarus”:
My Name is Lazarus
One day, four men brought a crippled man to Jesus
Still and lifeless, he lay upon his bed
He had not moved since he was just a baby
Still he longed to become a normal man
Now we don’t know much about the men that carried
The corners of his tattered bed that day
But if we may create an illustration
We’ll see what these men might have had to say
Suppose that first man said, “I hate to doubt it
For Jesus touched my eyes when I was blind
He made me see and there’s no doubt about it
But this man’s needs are more serious than mine”
Suppose that second man said, “No need to bother
This man’s condition will remain the same
Though Jesus touched my hand when it was withered
I don’t believe He can heal a man so lame”
Suppose that third man said, “I hate to question
But no one here is more skeptical than me
Though Jesus cleansed me when I was a leper
This helpless man will never walk, you see”
Then every eye was turned to the fourth man
To see how he might criticize and doubt
But all three men were startled with amazement
When that fourth man stopped and said his name out loud
He said, “My name is Lazarus, could I testify?
My name is Lazarus, it feels good to be alive
When I in chains of death was bound
This man named Jesus called me out
If you think your little problem is too big for Him to solve
Take it from the one who’s heard the mighty voice of God
A living testimony of His death-defying touch, my name is Lazarus”
See what I’m saying? These “spectacle” songs have some real appeal to them, and cannot be ignored if you want to take your tunesmithing talents to the next level.
To complete your collection of Southern Gospel song layouts, add this final layout, the VVVCVC to your toolbox and you’ll be all set. When inspiration strikes you, or whatever your process is, you will have a wide palette of song layouts to choose from. And greater flexibility equates to an increase in skill level. Happy songwriting!
Series: Song Layouts of Southern Gospel Music – #3: the CVCVC, the Gospel Quartet Singer’s Dream
Welcome back once again to our series on the song layouts of Southern Gospel music. Today we’re going to discuss a really fun one for gospel quartet singers, which just so happens to be my personal favorite. Not surprisingly, this song layout has its roots in the VCVC song layout as well! Introducing…
CVCVC
The ole “see vee see vee see”. I like this one – I really started to notice it when I took a long hard look at the music of Greater Vision. And while CVCVC may be the format of the song from a recording/production standpoint, who says a Southern Gospel songwriter can’t write one like this on purpose? Of course you can!
Like any genre, songs in Southern Gospel music have to speak to its listeners. Truthfully, one of the best ways for that to happen is through a very strong hook. And if you’re going to write a good CVCVC song, you need a powerful hook-driven song. Why?
Think about it: if the song opens with the course, that’s typically where the hook is. So if you’re going to open up your song, and make a great immediate first impression, you want to make sure that your song becomes memorable – AND BECOMES MEMORABLE FAST. That’s why the hook is so important to a CVCVC song – it’ll be the first thing they hear.
Let’s take a look at an example of one I wrote, called “Guarantee the Victory”. This one was written to emulate something Rodney Griffin would write:
Guarantee the Victory
V1
Gideon started with 32,000
But God said that’s too many men
For a victory would fool them into thinking
That the battle was won by them
So they went down to have a drink of water
And by the time that they were done
God told Gideon take 300
For the battle is as good as won
CHORUS
God Himself is all anybody needs
To guarantee the victory
When the mighty hand of God begins to move
The true mismatch will be clear to you
Overpowered and outnumbered
Tell me what are you gonna do
God Himself is all anybody needs
To guarantee the victory
V2
David met the giant Goliath
With no armor or sword in his hand
But David had God so God had David
Drop the giant on his face to the ground
For you see God knew David wouldn’t think
Hey everybody look at me
He knew David would give him the glory
And the glory for the victory went to the Lord
Gospel quartet singers typically have all kinds of fun with the songs. Yes, this is the kind of song that has the potential of going through 3+ key changes after the final course, each stepping it up a half step, and pushing that tenor’s noggin to the brink of explosion. Heavenly entertainment, right? haha
If you can write a good CVCVC (and you pitch it that way), you can be sure that there are groups looking for what you got. If you’re trying to break in and nail a song with a big group, a strong hook-driven song could be your ticket through the door.
It’s no secret that songwriters want artists to do their songs. And it’s also no secret that there’s more songs than artists and producers know what to do with; to make yours stand out, write a big fat juicy CVCVC – and you might just surprise yourself. Now go write one!
Series: Song Layouts of Southern Gospel Music – #2: the VCVVC
Welcome back to our series on the song layouts of Southern Gospel music. Last time we talked about the industry standard, the VCVC. This week, we will talk about a variation of that song layout. And it gives me great pleasure to introduce that song layout ladies and gentlemen, introducing the…
VCVVC
That’s pronounced (vee see vee vee see). Here’s another one that you’re going to see in southern gospel songs. I should tell you, however, that you’re probably not see these near as much as the VCVC. Why would anybody use a song of this format?
The reason for this bird’s existence is due to a song’s need to provide a thorough explanation. If it can’t be crammed into two verses and chorus, enter VCVVC. Hey let’s face it – sometimes 2 verses and a chorus just isn’t enough, and we need to explain things a little better for the song to connect!
You’ll see these often in story songs, where the first verse sets up the chorus. The first half of the second verse starts a plot, and that the second path is used to hatch the climax of the song. V2b is really the moneymaker for a VCVVC song, because this format is used to typically tell a story. So if you’re doing a VCVVC song, make sure you get the second half of the second verse right above all else.
You don’t see the VCVVC too often, but every now and then you’re going to see it. I’ve even seen some songs that you could call VVCVVC – where the first verse has two halves just like the second verse. But be careful – it tiptoes on the side of bad form to have ridiculously long verses with a short chorus.
The point is, as a gospel songwriter, you can add this tool to your toolbox – another song format. They are not as easy of a sell as a VCVC, but if you’ve written a strong enough song, you stand a good chance to reel in a license with a VCVVC song! Give it a shot and see what you think.
Series: Song Layouts of Southern Gospel Music – #1: the VCVC
In Southern Gospel music, we have a lot of repetition. How so? Southern Gospel music has in many cases very predictable song layout. What is song layout? For our intents and purposes, song layout is the construction of the song in terms of verses and chorus.
VCVC
We begin by considering the simplest of all – the one I call the “VCVC”, or the “vee see vee see”. Why are we going to start with this one? Here’s why: it’s by far the most common! In fact, when using other song layouts, a gospel songwriter will have written the song in this one already. That means most others are tweaks of this one!
On a typical Southern Gospel music project, 90% of the songs will be of this song layout. Now: you probably already know that a song recording usually includes a repeated chorus and the tag at the end of the song. When pitching demos, just represent that content of the song that has value – the verses and chorus. Let the producer add the bells and whistles if he wants to.
When I cut a demo for a group, I go straight to the song. VCVC and I’ll usually repeat the end of the chorus, and that’s it. No interluedes, intros, etc. For any good manager or producer, that right there is enough for them to get a solid opinion of the song.
The other reason I like this format so much is because you don’t have to cook up a lot to have an original song. Let’s look at an example of a song I wrote called Heaven’s Court. For some context, think of the song “Champion of Love” by Phil Cross:
Heaven’s Court
V1
This court is now in session
Said the judge presiding in heaven’s court
The evidence was presented
And my sin testified against me
I plead guilty and threw myself
Upon the mercy of the court
And stood as my verdict
Was read out loud
CHORUS
It is the decision of this court
To pardon full and free
Justice has been satisfied
By the blood of Calvary
Eternal condemnation
Shall nevermore impart
Your advocate intercedes forevermore
Let the record state this decision
Of heaven’s court
V2
You see my counsel, my mediator
Advised me, he showed me how to proceed
Through him and his atonement
The court’s ruling that favors him now favors me
And for Satan’s future charges
Though legitimate enough
I remind him of the decision
Passed down by heaven’s judge
What you are looking at is a song that was written with minimal lyrical work. Here’s what that means: this song is merely 24 original lines of about 5 words a piece. Take it a step farther, and you’ll see that all I had to do was think up a way to arrange about 120 words. That’s the same as writing 2 average 3-sentence paragraphs!
Somebody must be wondering about 3rd verses. Personally, I agree with what Kyla Rowland says about 3rd verses and bridges:
-“More than two verses are a tough sell.”
My rule of thumb for writing bridges is that the only good reason for writing a bridge is if you cannot help yourself. In my case, I’ll write a bridge for 1 out of every 30 songs. (In other words, in most cases, don’t waste your time writing bridges).
VCVC is the Industry standard. The more comfortable you become with the VCVC, the easier writing Southern Gospel music will become for you, so go write some great songs today!
I Got a Great Idea for a Southern Gospel Song! – What’s that? It’s Already Taken?
Have you ever had a great idea for a Southern Gospel song, only to find out that you aren’t the first person to write a song about that great idea? BEEN THERE! DONE THAT! Haha! I’m laughing about it now because it wasn’t so funny then.
Of course there will always be a bunch of sizzling leads out there for songs so a gospel songwriter had better be able to come up with at least something. But I would encourage you to be especially careful when dealing with a certain type of hook: a hook based on a quotation from Scripture.
How do you find out if your song idea is already a Southern Gospel song? Trial and error has taught me that the best place to start is to do a phrase search in Google. A phrase search is a search that is bounded by quotation marks.
For example, suppose I’m interested in writing a song around this biblical quotation:
“…come, take up the cross, and follow me” – Mark 10:21”
We could come up with some great stuff surrounding a hook like this – probably a slow song, with this hook as the last line of the course, sounding something like the Greater Vision recording of, “Heaven’s Hero”. Possibly a story from the New Testament as the first verse, and personal application in the second verse. Give it a majestic background track, and heck – I practically feel a song coming on!
But not so fast: let’s do a little bit of research first. Over to Google we go, and in the little search box we type:
I really like the look of these search results. “Come, Take Up the Cross and Follow Me” would probably be a song worth pursuing. I’d shorten the title to something like, “Take Up the Cross”. But suppose there IS a song by this name out there someplace. Then we need to ask ourselves a few questions:
1. What genre – I want to write a Southern Gospel song, and if the only song by this title that exists is a piece written by a classical composer 200 years ago (or something like that), as far as I’m concerned, it’s fair game.
2. How obscure – if no major recording artist has picked up this song, I would go after it. There’s no such thing as owning the rights to the name of the song; but be careful. Could you write a song called, “Moving Up to Gloryland”? Well, technically yes, but you wouldn’t be doing yourself any favors. Why? For the simple reason that when people hear this song title, that slot in their memory is probably already occupied by the older song that many people already expect.
So hopefully this post has shed a little light on how to avoid inadvertently replicating somebody else’s work. The last thing you want to do is write a great song, only to find out that somebody has already written the song. There’s other fish in the sea!
Carolina Boys Quartet: Favorite Group of this Gospel Songwriter
The Carolina Boys Quartet, I have to say is my favorite Southern Gospel singing group. To me, they got it all: great songs, and hands down some of the best voices. Most of their material is pretty quick on the tempo, which is probably what really does it for me.
This group is based out of Six Mile, South Carolina and consists of the following members:
- Phillip Masters – tenor
- Chuck Lowe – lead
- Joe Trusty – baritone
- Stephen Jewell – bass
As a gospel songwriter (and a huge fan of theirs), it’s impossible to listen to their stuff and not try to identify their sound for the purposes of pitching them a demo. If that’s what you’re trying to do for this group, there’s good news and bad news. Bad news first:
Trying to render a demo as close to their sound as possible is nearly impossible. To create a demo that even approximates their sound would require world-class demo singers, which if a singer can sing like anyone in the Carolina Boys Quartet, I guarantee you won’t be singing demos long. That’s the bad news. How about some good news?
The good news is, you might get away with not having to pitch it in a key around where they would probably do it, because they can sing anything in any key. They’re like Gold City, they’re that good. Phil Masters, their tenor, can go much higher than is humanly necessary, and the bass can go as low as he wants to go.
All in all, it should be pretty obvious that I highly recommend you grab some of their music as quick as you can. What I think is great about this group is that they understand that people are becoming more and more tech savvy, and to accommodate that, their music is available for download. So whip out your credit card and buy their music here before the price doubles!
Let’s say a prayer for these guys: God, we ask that you prepare a special blessing for Phillip, Chuck, Joe, and Stephen today. Give them the wherewithal spiritually, emotionally, physically, and financially to keep singing for you, and we ask you to abundantly bless these dear singers. We love you tonight, Lord. In Jesus precious name, Amen.
The Carolina Boys Quartet: favorite group of this gospel songwriter.
