Songwriting & Producing For

Worship
TABLE OF CONTENTS

Songwriting 4
Poetic Devices 17
Odds and Ends 22
Songwriting Advice From The Pros 23

References
Songwriting Assignment 29
Recording Process & Information Sheet 30
CD Project Job Descriptions 31
Clich List 32
 SONGWRITING AND PRODUCING FOR WORSHIP
WS325E-03
Instructors: Denis Campos
SYLLABUS

A. COURSE DESCRIPTION

Lessons and workshops aimed at developing and stretching students ability to write,
arrange, and produce songs for congregational worship. We will train students in
conceiving and polishing songs musically and lyrically, then arranging instrumentation,
rhythm, and dynamics to bring the best out of their writing. Each student will demo a
verse and chorus for two submissions, from which we will choose the songs for the
semesters studio recording.

B. TEXTBOOKS

Songwriting and Producing Notebook in bookstore

God Songs by Paul Baloche

C. REQUIREMENTS FOR CREDIT

1. Songwriting notebook
2. Tests
3. Completion of TEN required songs
4. Attendance

D. METHODS OF ASSESSING OUTCOMES

The final grade will be determined as follows:

20% Notebooks and homework

20% Tests
20% Completion of 5 original songs
20% Completion of 5 rewrites of 1 original song
20% Reading Assignment

These four components make up a total of 50% of the overall grade for the course.
The final 50% is based upon attendance.

E. METHOD OF INSTRUCTION

Lecture format with lab hours and student interaction.

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F. FINANCIAL AID
None

G. DISABILITIES

The student has the responsibility of informing the course instructor of any disabling
condition that will require modifications to avoid discrimination. Christ For The
Nations provides academic adjustments and auxiliary aid to meet the institutions
academic requirements.

H. ABOUT THE INSTRUCTORS

Mr. Campos is a graduate of San Francisco State University in San Francisco,

California. He received a Bachelors of Arts Degree in music in 2001 and a Diploma in
Practical Theology from Christ For The Nations Institute in 2005. In San Francisco, he
served as the Worship Leader at his home church for 5 years. He has traveled and
recorded with many Christian Spanish speaking artists and ministers. He has taught
piano, trumpet and saxophone as a private instructor at CFNI. He currently serves as
Worship Leader at New Life Christian Fellowship in Dallas, TX and as Director of
School of Worship and Technical Arts at CFNI.

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 Songwriting

1. What is your favorite song?

2. What is it about the song that impacts you?

Art should not reflect culture; it should subvert it. Bob Dylan

Q: Do you really think that a song can change the world?

A: It can change mine. Bono

Addendum I: God gave me this song.

1. The Inspiration is from God

2. The expression is from you a song will not surpass the level of your ability.

a. Gods message must filter through your skill (with melody and language)
of expression
b. Craft is, knowing how to more effectively communicate the inspiration.

This is a challenge to write songs that stand up poetically, serve the

church pastorally, and are immersed in the revelation of God in the
Bible. Matt Redman

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Addendum II: Worship songs must express universal sentiments they are
songs of the people, not of individual experience

My books are water. Those of the great geniuses are wine.

Everybody drinks water.- Mark Twain

1. Worship songs must be easily and quickly learnable

2. Must be original, inspiring, simple, repetitive, and predictable (to a point)

Worship songs have one common goal and thats to help people worshipif
youve written a worship song, make sure its defined by its results.
- Jared Anderson, Rescue

I. Stages in the Creative Process

A. Preparation Process - your process of development and training

1. Gather your tools - learn to handle language.

a. Good writers are good readers - read excellent

poetry, lyrics, prose, etc.

b. Listen to people - conversation, prayer, stories, etc.

c. Broaden your vocabulary. How do I express a universal sentiment

in a unique way?

d. Journal - stream of consciousness - write it all

down and sort it out later.

2. Establish form - is your gift songwriting, poetry, verse,

prose, sculpture, culinary arts?

3. Establish themes, style, viewpoint, philosophy - life- dont try to write

before youve tried to live. Many young writers have nothing to say
and no experience to draw from.

B. Incubation - the unconscious process of creation - given a

problem or theme, your subconscious works out a solution.
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 C. Illumination - Now the words and music are initially written down.
Suspend your self-criticism and just let your synapses fire at will. Dont
get too focused. Often a rabbit trail will lead to a better song than your
original idea.

D. Verification - Now you need to be critical. Take your time. Look at the
song objectively as a product. Rewrite, polish, put it down and let it
marinate for a while.
E.g. Alabaster Jar stayed in this stage for 3 years

II. Song is the marriage of melody and lyric

A. Lyrics are not poems

1. Poems can be dense and abstract. They are fixed on

the page and are conducive to study.

2. A lyric must be sparse enough to leave room for melodic interpretation

and fairly instant processing.

B. If one of the two elements (melody and lyrics) is great

and the other mediocre, you will only ever have a mediocre song

C. Remember the K.I.S.S. method. Keep your melody and lyrics simple.
Who am I trying to impress? -
e.g. self-impressed musician man

Song is an art form, but its primary goal is communication, not expression!

*Songwriting: communicating an idea or feeling

in a unique, interesting, and enjoyable way.
.

III. Lyrical simplicity

A. Conciseness - never say more than you need to

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 1. Insert the strand into the elliptical orbit.

2. Put the thread through the hole of the needle.

3. Thread the needle.

When Raphael was asked how he sculpted such a magnificent horse from
a piece of stone, he said that he simply liberated the horse from the
marble. I just cut away everything that wasnt a horse.

e.g. half as many words

Julius Caesar wrote, If I had had more time, I would have written to you
more briefly.

Streamlined lyrics are weighty, economical, and have a cutting edge.

B. Say it clearly and conversationally

1. This is not a private/inside joke - communication includes other people

2. Dont play intellectual games - songs should be accessible, not elusive

e.g. Still as stone in mending wall as Quiet Ones in autumn hue when
shaking mane indifferent come like God with humming fingers
Still as storm on barren lips ensconced on solitary dune as dew from
beetle carapace so I shall sip contented

Dont be an artistic, intellectual snob!

Addendum: Servant Lyrics

Worship leaders are servants. The same should be true of worship song lyrics.
The words should serve those singing them. Our words should explain, reveal,
inspire - even occasionally startle - but they should only do so as a means of
helping people into worship. They are not for showing off rich vocabulary or
technical virtuosity or even how many scriptures the writer has read. They are
servant-lyrics, aiming to serve the church by leading it into a greater
understanding, truth and worship.
-Nick Page
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 And Now Lets Move Into a Time of Nonsense
Why Worship Songs are Failing the Church

The servant lyric should:

1. Find new ways and images to express timeless truths

2. Not show off its wit or technique for the sake of technique

3. Be a pathway to worship and understanding simple and comprehensive

4. Be real and correspond to scripture and life. We must be able to identify

5. Encourage us to go deeper!

Novelist Truman Capote sat at his typewriter all day once and came away
with only one word. A friend found him there and asked, Truman, youve
been here all day and youve only written one word? Capote replied, Yes,
but its the right word.
Ecclesiastes 12:10
The teacher searched to find just the right words, and what he wrote was upright and true.
The teacher didnt write down the first thing that popped into his head and say, Thatll do.

C. Focus - can you sum up the emotional/mental state of the song in one
word?

1. What is the point of view?

2. Who is being sung to?

3. What do you want to accomplish?

Express an emotion? Convey a philosophy? Teach? Motivate?

4. Will other people want to express/sing this?

5. What is the songs mood/attitude?

Lovely? Powerful? War-like? Romantic? Quiet? Lonely?

6. A song should progress logically to express a single thought or theme

a. The verse presents a conflict, problem, or question

b. The chorus presents the resolution, solution, or answer

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c. This builds lyrical tension and release into the song - dynamics

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Application: Answer the following questions concerning a song you are
currently working on.
1. What is the point of view?

2. Who is being sung to?

3. What do you want to accomplish?

Express an emotion? Convey a philosophy? Teach? Motivate?

4. Will other people want to express/sing this?

5. What is the songs mood/attitude?

Lovely? Powerful? War-like? Romantic? Quiet? Lonely?

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IV. Titles - Concept and title are partners

A. Everything hinges on first impressions- Which would a publisher/listener/ producer pick

up first - Hallelujah or El Elyon? Praise the Lord or Bound?

B. Some writers dont even start to write a song until after they have a good
title.

C. The title should be an element of the song that is catchy, frequently

repeated, and unique.

D. People cannot specify a song they cant recognize as individual - Freedom

has 5 entries alone on songbase! Look up Hallelujah, Glory, Praise - all 25+!

E. Avoid using a title that doesnt appear in the lyrics

F. A good title whets the appetite for more

1. Is the title interesting?

2. Does it encapsulate the theme of the song?

Application:
Take three minutes and brainstorm as many titles as possible.

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V. First lines - another 1st impression
A. Do I want to hear more, or do I turn it off? Is this song compelling?
B. NEVER settle for a clich in the first line!
Im just sittin here, Woke up this morning, Walking down the avenue, I love you,
Hallelujah, etc.

Clich = A phrase or saying commonly over used or said .

(See Clich list on Page 32)
The Law of the Clich: If youve heard it before, dont do it again.

C. The 1st line sets the tone and makes you want to hear more - lyrical bait

D. The 1st line answers the questions, who, what, where, when?

1. Where are you while singing this?

Down at your feet, Before the throne, Find me in the river.

2. Does the time of day enhance the emotional impact of the song? -
Morning, day, and night all evoke different emotional responses.

3. If the song is addressed to someone, do you have something

interesting to say to them?

4. If the song is about someone, can you say something that immediately
gives a picture or personality sketch?

5. Is there an active image you can use?

You span the sky with the palm of your hand. Stars dance at your mere command. from El Elyon
by Zach Neese
Well talk about imagination later!

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 Application: Write down the first line of a song you are currently working
on or have completed.

How does it stand up in terms of these criteria?

Where does it need work?

Brainstorm some ideas for improvements.

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VI. Hooks - A hook grabs the listeners attention and helps them remember the
song
A. The hook line is stronger if it includes the title: I Could sing of Your Love
Forever, Shout to the Lord

B. Try starting a song with a hook: Great is Thy Faithfulness, Lord I Lift
Your Name on High, Open the Eyes of My Heart

C. A hook that comes at the beginning and end of a chorus is called book
ends - helps with song identification and strengthens emotional impact

D. Repetition is the key to hooks - sticky catch em and reel em in!

1. Ballads require less repetition
2. Faster rhythmic songs require more repetition
3. A good hook uses enough repetition to make a song memorable but
not so much that it becomes irritating or boring

VII. Imagination: Taking listeners with you

A. People react physically to mental images - secondary sympathetic
response

1. red causes the eye to react as if it is seeing red

2. ouch causes muscle contractions

3. the touch of your hand - nerve ending react

A side note: Contributes to the addictive nature of pornography.

A good lyric can hook a person in terms of

beauty, cleverness, and physical response.
B. Imagination responds automatically to words.

C. If clear enough direction is given, a songwriter can cause a listener to

image any experience. - The pen is mightier than the sword.

e.g. car - what do you see? a yellow 1999 Volkswagen Beetle - ?

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D. The imagination cannot image abstractions (subjective or general
information) - e.g. grace, belief, faith, wonderful, beautiful, love

E. Listeners want the real thing - abstractions are convenient for labeling
lifes experiences, but they are not life itself.

e.g. Falling in love - abstract

The way your eyes shine for me.
My hand upon the small of your back.
Carrying your last letter in my back pocket for a week
Your scent lingering in my room after you have gone.
Your head tucked perfectly under my chin.
Your hair in my mouth.
Whispered conversations up too late on a weeknight

F. The successful lyricist writes about abstractions by using detailed,

concrete information.

G. Good writers allow their listener to do love

1. The imagination craves action

2. Images fade quickly - action gives your imagination more to work with
so it can create a stronger image.

e.g. How long can you hold the image chair?

How long can you hold rocking a baby to sleep?

H. If the image is too complex your imagination may abandon it (give up)
e.g. a broken arrow is easier to imagine than

a war party of heavily armed Apaches

I. Focus on one truth, one moment, one action - SIMPLIFY. - Cut narrow.
Cut deep.

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Application: Listen to Rich Mullins song The Color Green and take note of
his use of images.

And the moon is a sliver of silver like a shaving that fell on the floor of a carpenters shop and every house
must have its builder and I awoke in the house of God where the windows are mornings and evenings
stretched from the sun, across the sky north o south and on my way to early meeting, I heard the rocks crying
out, I heard the rocks crying out.
Be praised for all Your tenderness by these works of your hands
Suns that rise and rains that fall to bless and bring to life Your land
Look down upon this winter wheat and be glad that You have made
Blue for the sky and the color green that fills Your fields with praise
And the wrens have returned and are nesting in the hollow of that oak where his heart once had been and he
lifts up his arms in a blessing for being born again
and the streams are all swollen with winter winter unfrozen and free to run away now and Im amazed when I
remember who it was that built this house
and with the rocks I cry out

Classroom Application:

What is your favorite color?

What does it taste like?

What does it smell like?

What does it sound like?

What does it feel like?

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Application: Use the following questions for your song.

Can I make my lyrics more sensory?

Do my opening lines grab the attention?

Have I found just the right words?

Is my viewpoint original and insightful?

Does my song maintain focus?

Do my lyrics progress logically?

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 Poetic Devices
I. Poetic Devices - when used correctly, they go unnoticed - subtly enhance
without drawing attention to themselves.

A. Alliteration - repetition of accented consonants especially at the beginning

of words
e.g. Your voice summons the sun from the sea. Who am I that Youre mindful of me? from El Elyon
by Zach N
eese

B. Assonance - repetition of stressed vowel sounds.

C. Simile - a comparison using the words as or like - e.g. sleep like a log, hard
as a rock, gentle as a lamb - FLEE FROM CLICHES!

D. Metaphor - a comparison that doesnt use like or as

e.g. You are the air I breatheYou are my daily bread.

E. Personification - attributing human characteristics to an inanimate object -

e.g. I wanna hear oceans roar of your righteousness to declare how great you are. from How Great
you Are by Melissa Loose

F. Hyperbole - an obvious exaggeration to drive home a point

e.g. I cant live without you., Im dead tired, Im so hungry I could eat a horse

G. Consonance - repetition of consonant sounds especially at the ends of

words -
e.g. I worship You alone in the quiet place. Where the stillness of my soul meets the brilliance of your face.
from Bound by Zach Neese

H. Characterization - the creation and presentation of convincing characters

The TRICK: to say for the 1st time the thing that everyone has always wanted
to express as simply and naturally as if it had always been expressed that way .

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Application: Read back through Mullins The Color Green and underline poetic
devices. Note which device is being used beside each line.

And the moon is a sliver of silver like a shaving that fell on the floor of a carpenters shop and every
house must have its builder and I awoke in the house of God where the windows are mornings and
evenings stretched from the sun, across the sky north o south and on my way to early meeting, I
heard the rocks crying out, I heard the rocks crying out.
Be praised for all Your tenderness by these works of your hands
Suns that rise and rains that fall to bless and bring to life Your land Look down upon this winter wheat
and be glad that You have made blue for the sky and the color green that fills Your fields with praise

And the wrens have returned and are nesting in the hollow of that oak where his heart once had been
and he lifts up his arms in a blessing for being born again and the streams are all swollen with winter
winter unfrozen and free to run away now and Im amazed when I remember who it was that built this
house and with the rocks I cry out

II. Rhyme - rhyme acts as a powerful memory trigger

A. There is a modern turn towards less rhyme - these songs are harder to
learn, sometimes frustrating, and generally less well received

B. Rhyme gives a sense of symmetry and completion - sets the stage to

deliver a pay-off.

C. If you think its too hard to rhyme and still sound natural, study the
masters - musical theater, hymns, pre-modern poetry
D. Types of rhyme:

1. Perfect - ending sounds identical

action/fraction, variety/society
2. Slant, false, imperfect - approximates rhyme (its really assonance) -
port/forth, feet/breathe/beat/deep/peace/overwhelming

3. Masculine or one rhyme - single syllable - (pack/rack) or multi-syllable

with stress on the last syllable (compromise/visualize)

4. Feminine or two rhyme - 2 syllable rhyme with the stress on the first
syllable. Vowels and inner consonants must match.
maker/faker, masquerading/degrading

5. Three rhyme - medium/tedium, facilitate/rehabilitate

6. Open rhyme: dont end in hard consonants - on holding notes -

glow/snow, fly/try

7. Closed or stopped rhyme - cant be sustained

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 b, p, d, t, q, k - m, n, l, r can be sustained - v, f, z, s can be but sound bad e.g. cat/sat

E. Rhyme schemes - the same scheme through the entire song gets old fast.
Try to use different schemes for the verse, chorus and bridge.

a more a trust a more

a score b more b guess
a four c heart a for
a poor b for b bless

a more a bless a trust

b heart a guess a must
a score b more b night
a for b for

a more
a for
a poor
c night
b must
b trust
b just
c might
F. Singing consonant sounds from the same family can closely approximate
perfect rhyme.

1. Plosive family - b, d, g, p, t, k

2. Nasal family - n, m, rn, ng

3. Fricatives - v, TH, z, zh, j, f, th, s, sh, ch

The trick to saying what you mean with rhyme is expanding your alternatives

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Example: You need to find a rhyme for the word cut - First find the perfect
rhymes:

Next look at the relatives:

UD UK UB UP UG
blood buck club hard up bug
flood duck rub make up jug
mud muck pub cup unplug
stud truck hub plug thud
stuck scrub shrug
luck tub snug
tug

G. Rhyme problems

1. Inversion - twisting the order of word to force a rhyme that wouldnt

naturally occur at that point. - e.g. I loved you then, I love you still Break us up, they
never will
2. Identities - lazy writing - bear/bare, no/know, buy/good- by, for/four

3. Slang - dates your song and guarantees it will not transcend your
generation

4. Colloquial Pronunciation - pain/again, thang/hang

5. Exceptions - laziness is not a good enough reason to ignore this tool

a. If you are not writing for the public, do whatever you want

b. If your melody is exceptional

c. If your lyrics are simple and natural enough to remember without

rhyme

d. The song does not set up a rhyme expectation

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Application: Read Mullins the Color Green with rhyme in mind.

What is the rhyme scheme from the verse?

The chorus?

Find an example of perfect rhyme. Is it masculine or feminine?

Find a slant rhyme.

Find an example of a rhyme approximation using plosive relatives.

And the moon is a sliver of silver like a shaving that fell on the floor of a carpenters shop and every
house must have its builder and I awoke in the house of God where the windows are mornings and
evenings stretched from the sun, across the sky north o south and on my way to early meeting, I
heard the rocks crying out, I heard the rocks crying out.
Be praised for all Your tenderness by these works of your hands
Suns that rise and rains that fall to bless and bring to life Your land Look down upon this winter wheat
and be glad that You have made blue for the sky and the color green that fills Your fields with praise
and the wrens have returned and are nesting in the hollow of that oak where his heart once had been
and he lifts up his arms in a blessing for being born again and the streams are all swollen with winter
winter unfrozen and free to run away now and Im amazed when I remember who it was that built this
house and with the rocks I cry out

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 Odds and Ends

I. Use Pronouns with care - take the place of a proper or common noun
He, she, it, you, we, us, etc

A. Dont refer to two principles using the same pronoun - CONFUSING

B. Make sure that your use of pronouns makes sense to listeners and needs
no interpretation

C. Keep the songs perspective straight and be clear about what the pronoun
is being substituted for.

II. Avoid putting a word that ends in a consonant before a word that begins
with the same consonant. - teach children

III. Be sure that your lyrics, when sung, say what you want them to say: -
Scuse me while I kiss this guy. Your love blows like Fabreeze What a whino

IV. If you really want to write good songs, sing them to harsh critics and take
their suggestions seriously.

V. You are not your song. If you take criticism personally you will:

A. Always blame the listeners for not liking your songs

B. Never take the initiative to improve them

Notes and lyrics are not sacred. Everything is subject to editing.

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Songwriting Advice From The Pros!
Advice from Denis Campos:

STEP 1:
Pick a way to start.
1. Poetically- Start with lyrics, poem, a thought, a scripture, preaching, idea,
theme
2. Melodically- Start with a melody, a melodic hook, a lick
3. Harmonically- Start with a progression, chords, a chord idea
4. Rhythmically- Start with a Rhythm, a groove, a loop, a drum beat

STEP 2:
1. Fill in the rest of the prior steps that are missing
2. Just write the song dont worry about the arrangement
3. By the end of this step you should have a sing-able melody
4. For worship songs, make sure anybody can grab an instrument and play
the song and sing it - Make it simple
5. Re-write, re-write, re-write!!!

STEP 3:
1. Play it for honest friends - Those who will tell you what is wrong with the
song
2. Take suggestions seriously
3. Dont play it in public until you are sure it is finished!!

Advice from Zach Neese:

Get alone and be quiet with the Lord. Dont even think about writing a
song.

Begin to play quietly - nothing fancy - a chord or simple progression.

Let your heart be stirred by the Spirit - it wants to express something to

the Lord

Begin to sing to the Lord. Dont try to write verses. Just express the
stirring of your heart.

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 Ignore the craft of songwriting, but keep one ear open to what is coming
out. - This is the raw material for sincere worship songs.

IF something memorable and powerful is born of your time worshiping

God, write it down and record it.

Note: I almost never record ideas. I pray that if it is good and pleasing to
God, Ill remember it. If its not good enough for me to remember, why
should I expect anyone else to remember it?

Now take the idea and brainstorm, free associate, sit back and visualize
the imagery.

The writing process may be quick or take months. Afterwards I show it

to my harshest critic (Jen, my wife).

I will only continue with editing and rewriting if she is impressed by the
song. If she says its pretty good, I put it up.

IF it passes the initial hearing, I have Jen read the words and point out
any problem areas: fuzzy imagery, confusing references, clichs.

Pray about rewrites and improvements and let God inspire you to pull
more out of the song.

Give the song time to mature and grow. The song is only done when it is
on a CD

Sing the song to impartial listeners if possible. Dont announce it or tell

them who wrote it.

1. When you lead it, do others want to join-in and sing?

2. How does it worship? Does it help people connect with God?

3. Listen for comments like, Whered that song come from? I really like
it. Man, that new song blessed me.

N. Rewrite, Rewrite, Rewrite!!!!

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Advice from Paul Baloche:

Song writing is part inspiration / part craft

Think with a pen & a recorder

Songwriting should be playful

Great songs come from that non-conscience part of us

You should always be looking for song seeds

Always keep a journal, song book

Live life with your spiritual eyes wide open

Have your spiritual antenna up and receiving

Music is an emotional medium

Our inspiration is from the Lord

Dont feel pressured

Songwriting is singing prayers to God

I have submitted over 400 songs in 10 years & about 100 were recorded

That means over 300 written, demo-d songs were rejected

Songwriters advice: Just show up, just start writing

Listen to great songs, not bad ones, songs that move you

Pay attention to the songs that move you

Proverbs 14:23 All hard work brings a profit, but idle words bring poverty

Buy a book on songwriting once a year

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 Songwriting is just like music, it requires practice, hard work, & discipline

If you want to write worship songs, Worship, then let songs be the bi-
product

Study master songwriters, just like artists do with masterpiece artwork

Write out the melodies of great songs and examine them

Great songs come from the Word, your walk with the Lord, peoples
conversations, your prayers

Try to write songs away from your instrument, your melodies will be
more original

Start with an emotional, universal idea

As an exercise, ask your pastor what hes preaching on, then try to write
a song to enhance the message

Is the song conversational, not Yoda language

Melody is king (well, really Jesus is King, but you get the idea!)

Use repetition of melodies

Start singing your prayers

Write SIMPLE SONGS

Write songs for God, not for Integrity or Vineyard

Write songs for your church or small group

Say, God, what do they need to sing, say or hear?

Then write it down and sing it to Him!!!

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Advice from Walker Beach:

Great reference: The Craft and Business of Songwriting by John

Braheny

Two biggest lyrical problems:

1. Saying more than you need to say
2. Not saying clearly what you mean

You should be able, in one word, to describe the emotion or mental state
that a song expresses.

Praise & Worship vs. Contemporary Songs:

True P&W is for God alone
Contemporary music is for you

P&W causes the Holy Spirit to respond

Contemporary music cause the mind and soul to respond

Contemporary music is human in composition

P&W can be divinely written
The songs of heaven can be heard and written down by you here
on earth!
Remember God spent 9 months with everyone (They know His
song)

Three vital elements to add to lyrics:

PICTURE WORDS: lyrics that vividly describe a scene or situation
LYRICAL PAYOFF: A hook line or phrase that has been anticipated
REASON & RESPONSE: Verse should tell you why, chorus
should let you!

One of the greatest guidelines in writing Praise & Worship songs is:
The notes in the chorus of a song should be higher than the notes
in the verse!!!!
This gives the chorus an uplifting feel
If the bridge builds up to or over the high note of the chorus, it

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 builds anticipation

Verses will always stay around the notes E or F

Choruses will always stay around the notes B or C

WHY?
E or F is comfortable for most people to sing
B or C pushes people to sing out!
e.g. E or F: You Alone, All in All, Open the Eyes of My Heart
A or Bb: Shout to the Lord, Breathe, Draw Me Close

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 Songwriting Assignments:
Assignment 1: Write 5 original songs

All lyrics and chords must be typed, and each song on a separate page.

Each song must have chords and lyrics.

You must have a typed cover page on the assignment.

Due: 2nd Monday of class at 4pm

Assignment 2: Take 1 of the original songs from Assignment 1 and

rewrite it 5 times

You must show each change with a highlight or notation on each rewrite.

All lyrics, chords & changes must be typed, each rewrite on a separate
page.

You must have a typed cover page and the original song with the
assignment.

Due: 3rd Monday of class at 4pm.

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 Recording Process & Information:
____________________ is project manager this semester. He/she is in charge of all
scheduling (demos, scratch tracks, etc) and will be there to assist.

A) Song Demos: Wednesday, ___________ & Thursday, ____________

(afternoon/evening)
A demo is verse and chorus only with one vocalist and musician only NO EXCEPTIONS!

Everyone in SOW must demo at least 1 song (you do not have to summit your demo
for the recording please tell your engineer, if you do not want to summit for
recording)

You cannot sing or play on your demo or final song (if it gets chosen). Only CFNI
current students, 1st, 2nd or 3rd year, are eligible to sing or play on SOWTA projects (if
they are currently on probation, they are not eligible).

Anyone from SOW or SOTA can summit a song for the project.

B) Choosing the songs: We will listen and vote on songs Friday, ______________ 2nd &
3rd hour.

The 10-12 chosen songs will be announced on the following Tuesday morning.
(NOTE: A song can be dropped from the project at any time, for any reason by Denis
Campos.)

If your song is chosen, we will assign a producer & engineer to you.

C) Scratch Track: Due Monday, ___________________ by 8am.

A scratch track is the full arrangement of the song with lead vocalist & instrument set to
a click track.

Every song needs to do a scratch track, even if you do not plan to use a drummer!

Production Dates/Deadlines:
Demos: Wednesday, ___________ & Thursday, ____________
Scratch Track: due Monday, ________________ by 8am
Final song recording begins: Monday, __________________
Mastering/Graphics finished: _______________________
Delivery of Finished Product: last Monday of the semester

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 CD Project Job Descriptions
Use this as a guide for the job you are given for the Student Project!

Project Manager: He or she has been hand picked for this role! They will oversee the scheduling
of all recording sessions, work with the Recording 201 Instructor(s) to make sure equipment and studios
are in proper working order and available, and guide the process along, keeping everyone on track.
They need to be available for questions or problems that may arise in the studios. If an issue arises,
whatever the Project Manager says is final. They have been given the authority by the director
of the SOWTA to make sure everyone and everything works in proper order.

Songwriter: The songwriter is responsible for writing the music and lyrics. (This may be done with
assistance from others.) The songwriter is primarily responsible for the arrangement. However, the
producer should be involved in this as well. The songwriter and producer must complete a production
chart for the full arrangement of the song prior to the beginning of the recording process. The songwriter
helps the producer in choosing vocalists and instrumentalists for the song.

Producer: The producer works directly with the songwriter and engineer. They must first speak
with the songwriter and analyze the song to look for possible issues, improvements, hooks, style, etc.
Once this has been done, the songwriter and producer must complete a production chart for the full
arrangement of the song prior to the beginning of the recording process. It is the job of the producer
to contact and schedule everyone participating in the recording. The producer must then distribute
the production chart, scratch track and chord charts to all vocalists and instrumentalists (the engineer
needs to given a production chart as well)! Also, they need to communicate to the vocalists and
instrumentalists the direction and feel of the song. During the actual recording, they will communicate
with the engineer. If any problems arise (other than technical), it is their job to solve the issues.
They are the voice for the songwriter! NOTE: Dont be afraid to ask for input from the engineer.
Depending on the background and experience, the engineer may have some valuable suggestions!

Assistant Producer: To assist the producer & songwriter in anyway possible. This person
needs to be available for all meetings and recording sessions. If the producer is not available or
drops the ball, this person would need to be able to step in and take charge of the situation. (If he
or she has not been involved in the whole process, they will not be able to do this!) For the most
part, this is a behind the scenes role, but it doesnt have to be!

Engineer: The engineer works directly with the producer. They must be available for all recording
sessions. They are responsible for the technical end of the song; making sure the studio and equipment
(i.e. keyboards/pedals, mics, cables, headphones & jacks, etc) is available and in proper working
order (this should be done prior to the session), laying of tracks, editing, and mixing. The engineer
can give input into the song, if their opinion is asked for.

Assistant Engineer: To assist the lead engineer in anyway possible. This person needs to be
available for all recording sessions. If the engineer is not available or drops the ball, this person
would need to be able to step in and take charge of the situation. (If he or she has not been involved
in the whole process, they will not be able to do this!) For the most part, this is a behind the scenes
role, but it doesnt have to be!

Praise&WorshipSongwritingClichList
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 Asanexercise,trytowriteapraise&worshipsongnotusinganyofthesephrases.
(Notbecausetheyarenotgood,manyareinthebible!BEFRESH,ORIGINAL,PRAY!!!)

YouareHoly Youareworthy Youaregood

Youareeverything Yousavedme ByYourgrace
PraiseYourHolyname InYourPresence HereinYourpresence
InYourSanctuary ComeintoHiscourts StandingbeforeYou
Ienterintoyourcourts IcomeintoYourcourts Yourloveenduresforever
Betterthanlife Morethanwordscansay BecauseofwhoYouare
IloveYou Yourmerciesarenew Youaloneare_________
Openmy(our)eyes Opentheeyesofmyheart LordIpray
Thisismyprayer Hearmyprayer Iwanttosee(seek)yourface
YoureallIwant YoureallIneed BlesstheLord Ohmysoul
FeelYourembrace IlongforYourembrace Becauseofyourgrace
InaweofYou Iwanttoknowyou PraisetheLord
PraiseHim Withallmymight Witheverybreath
Everythingthathasbreath Treesofthefields Themountainsdeclare
AllthatIam Thisismydesire Yourmercyenduresforever
Ohtheglory Showme(us)yourglory InthegloryofYourpresence
Lordofall Thatiswhy Youpaidtheprice
Yougaveyourlifeforme Yousetmefree Becauseofwhatyoudid
Yougaveyourlifeuponatree Youdieduponatree YoudiedformeonCalvary
Amazinggrace AmazingLove Unfailinglove
Blessyourholyname WhenIthinkabout Washoverme
Showerme Therainofyourpresence Youcleansedme
Breathonme Whiteassnow Washmeclean
Alltheglory Allthehonor Allcreation
Alltheearth SingpraiseuntotheLord IwillblesstheLord
Heismyrock Mysalvation Mysavior
Mydeliverer Myredeemer Myhelp,Mystrength
Wheredoesmyhelpcomefrom WhoislikeYou WhocancomparetoYou
ThereisnonelikeYou TheresnoonelikeourGod Mycomforter
Youdieduponthecross Thankyouforthecross Youpaiditall
IwillworshipYou IwillpraiseYou Iwillbowdown
Ibowmyheart Isurrenderall Icountitallasloss
IneedYoumore IlongforYou Allthepower
Allthepraise IgiveYoupraise Iwilldance
Iwillsing Iwillrejoice LetYourkingdomcome
ThankYouLord MyhopeisinYou Peacethatpassesunderstanding
ThejoyoftheLord Iwillshout IshouttoYou
ShouttotheLord LordGodalmighty IgiveYoumylife
BecauseofYourfaithfulness Imlivingforyou ImlostwithoutYou
IliftYouup(yourname) LordIlift Iliftupmyeyes
Youtookawaysin UntoYoubealltheglory Igiveyoumyheart
Withallofmymind Withallofmysoul DevotedtoYou
Iamyourown GlorytoGod Thismysong(story)
HALLELUJAH HALLELUJAH HALLELUJAH
(Thesephrasesarefoundationalforourfaith.Keepthedoctrine,getridoftheclichs!)

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