Pages

Preview of SECTION 1 (Continued)


CREATIVE SONG LYRICS

Self-teaching Manual



Releasing Soon 


Self-Teaching Guide to

WRITING SONG LYRICS

By Paul Rodricks

    Have you ever felt the urge to write your own songs?
To compose your own lyrics and melody?
    Are you a lyricist wishing to set music to your lyrics?
Or a music composer desirous of writing the lyrics to
your music? 
Or a music lover and hobbyist wondering how songs are crafted?
    If so, Creative Songwriting is just the right practical
self-teaching manual for you. Because Songwriting has
never been made so easy and simple.



CREATIVE SONGLYRICS

     Is all about Lyrics Composing – Song forms, Title/Hook lines, Storylines and Themes, Rhyme Scheme, Crafting the Verse-Chorus-Bridge-Tag, Song Performing Styles and much more.
  
     The latest in Gospel/Worship Songwriting is also presented in a whole separate chapter devoted to it in this book.
  
     Become a successful Songwriter.  Compose your own Lyrics and Music to styles such as Pop, Rock, Blues, Country, R&B, Jazz and Gospel.


Lyrics: The Composition

Section 1 (Continued)

“The soul never thinks without a mental picture.” 
– Aristotle



Here's a Preview of the SECTION ONE (Continued)
from the Creative SongLyrics Manual:


Popular Forms of Lyrics (Contd.)

     2. ABABAB - wherein you have the 1st Verse-Chorus-2nd Verse-Chorus Repeat-3rd Verse-Chorus Repeat,
OR the most popular form which is: ABABCB - a Bridge (of 4 to 8 lines) after the 2nd Chorus-Repeat. Sometimes, though, the Bridge takes the place of the Chorus-Repeat after the 2nd Verse (ABAC).
     The variation may depend on the duration of the song and generally the particular genre or style it is meant for, viz. pop, rock, country, R&B and others. This is really a matter of choice for the songwriter and finally the performers.

     *Any song that has a Chorus may or may not start with the Chorus before the 1st Verse. Many popular songs actually do so, for a specific effect.

     Example of BABABAB Form: Song Title: "Man, When She Walks" Copyright 2002 Paul Rodericks
   
Chorus (B):
Man, when she walks, oh can she swing,
Heads turn, heartbeats swaying,
She cuts the mood, wishing ya' could,
Be her dude for just one evening.
Verse 1 (A):
She's a goddess on a swing, believe me,
Her come-along look leaves ya' guessing,
Is she inviting ya' or merely teasing,
Man, when she walks, oh can she swing!
Chorus (B):
Repeat
Verse 2 (A):
She's known to have had men aplenty,
Only to love, then jilt 'em - oh, really?
I just don't care even to be her plaything,
Man, when she walks, oh can she swing
Chorus (B):
Repeat

The above is followed by a 3rd Verse (A), the Chorus (B) is repeated.

     Example here of ABABCB Form: “A Solitary Silhouette”, Copyright 2006 Ester Sterling - Paul Rodericks

 Verse 1 (A):
Gray is all that she what she wore
Debonair as the moonlit glow
Amidst flaring embers of her cigarettes
A solitary silhouette.
Chorus (B):
A solitary silhouette
Wrapped in Gray
Puffing clouds of smoke at Midnight
As un-caring, as her cigarettes
She has a tale, she can't re-call,
And sleep, she can't at all
Her feelings dry as a desert
A solitary silhouette.
Verse 2 (A)
For a moment in her time
Enters a shred of peace of mind
And the stirrings of forgotten desires and yet
A solitary silhouette.
Chorus (B):
Repeat
Verse 3 (A):
Is she the images I cast
The reflections of my past
The life I don't know and so can't regret
A solitary silhouette.
Bridge (C):
My life drifts on an outline
Past or new, have yet to find
But it is mine, only mine...
To create and design. .
Chorus (B):
Repeat


                                     To be continued...


Available FREE Digital copy for REVIEW

Contact Author

                                 
or use the

CONTACT FORM




Your comments and views will be appreciated,


Paul Rodricks, Author.





Preview of CHAPTER TWO


TERROR BLOODLINE Series Book 1


CROSSFIRE   Book #1




Only $0.99 

Limited Time Offer


CROSSFIRE  Book #1 


Terror Bloodline Series

Featuring Ex-CIA Agent, Jon Bradley



By Paul Rodricks


International fast-paced Action #Thriller 

# Suspense #Adventure 

#Crime  #Mystery


Reviews: 


     "A Contemporary Masterwork of Mystery, Thriller & Suspense!" The author has the ability to lure the reader into this dark and murky world - kicking and screaming if need be!"

"The novel is multidimensional. There are several plot elements working simultaneously that the author handles with skill. The murder of his friend and the personal relationship between Jon and his lady friend, a rape victim, add depth to the novel. The story shifts between the current investigation and his previous, very dangerous, actions in Lebanon as a CIA operative."


"The fact that it is the first of three books makes Crossfire all that more compelling plus it's a fun to read. Paul POV shifts from telling a story to the illusion of real time which creates a healthy tension throughout. One of the finer elements in the book that helps make it authentic is the authors knowledge of the geo areas where the story takes place."



Read here the Preview of the CHAPTER TWO from this book, CROSSFIRE:



                          CHAPTER TWO 
  
                   Yonkers - New York City 
                      Saturday - 1.30 AM   
               “Allahu Akbar!”…  “Allahu Akbar!”…

     These were the loud shouts emitting from the highly, emotionally charged guttural voices, interrupted by the wild chatter of the formidable AK-47 firing, in the neighborhood of Yonkers.

     Through their own sources and interaction with the friendly spy agencies, the Israeli’s Mossad Katsa intelligence operatives had become aware of the Hezbollah-Jihadist cell’s plot to seize and demolish the two New York City’s Synagogues, along with hostages.
  
     However, the Mossad being an extremely secretive organization, this covert Israeli intelligence agency never confides or fully discloses its investigation or course of action to even friendly agencies, unless it suits their ultimate purpose.

     Youssef Hariri was a double agent, and the Mossad operatives were able to obtain more information from him than what he passed on to the FBI agents.

     Through personal threats and rewards, the local Mossad Katsa forced Youssef to compromise with his father and during this process he also interacted with the new tenants, although they were always on their guard.

     But, Youssef did learn that one of the Jihadists’ had family relatives living in Manhattan. That Lebanese Muslim-family had recommended them his father’s house as available for rent in the N.Y. City suburbs.

     One of the men from the Lebanese family in Manhattan had been coerced by the underground militants to act as the conduit for the cell’s armory, though he was himself not a Jihadist.
The Mossad realized that they had to act before the destructive weapons were delivered.  So far, the terrorists were able to receive only one clandestine supply of small arms, since the conduit living in Manhattan was under the active surveillance of the Mossad Katsas.

     However, they could not discount the possibility that the Islamic-Jihadist cell had other sources of supply interacting in their suicide-mission.  After all, the extremists held the would-be sacrificial martyrs in high esteem.

     Acting independently of the FBI, NYPD and the other law enforcement agencies, Mossad Katsa had traced the cell of the suicide mission planners to their lair in Yonkers and put them under their own surveillance.

     Abdullah, Youssef and the conduit in Manhattan had already compromised the existence of Jihadists’ terror-cell to the Mossad.
  
     Information had come to light that the Jihadists were awaiting the final consignment of the weapons and the signal to
initiate the attacks on the two Synagogues from the Lebanese mastermind, the unidentified Hezbollah illegal arms trafficker.

     The Israelis were at first hoping to trace and trap the man, but realizing the volatility of the situation and the unpredictability of the Jihadist’s mind, they could not risk delaying the capture or destroying the Jihadists’ cell.

     A four-man Kidon (trained assassins) team was dispatched from Tel Aviv, Israel, travelling separately via Germany and Spain, under false names and passports, to be joined by the local Mossad Katsa field operatives.  The Mossad Kidon was the most feared of among the intelligence operatives.

     They took shelter in a safe house arranged by one of the New York Sayanim, the local non-Israeli Jews who volunteer to provide logistic support, including weapons, for any Israeli overseas operation.

     At about 1.15 AM, two black Peugeot sedans with false number plates and forged registration papers, containing seven men and one woman, headed towards the inner suburbs of the N.Y. City - the Yonkers locality where the Hezbollah-Jihadist operatives resided.  

     Eli Reznik, their commander was a short, muscular, non-descript middle-age man with thinning black hair, who sat beside the seemingly plain-looking (otherwise attractive), slim, pony-tailed woman driver, bat leveyha, a female agent, of the first car. The weather was cold and dark outside.

     The Mossad team, including the woman, was casually dressed – in a black T-shirt, black leather jacket and gray trousers. All the men carried between themselves an arsenal of weapons; Uzi short-barrel machine pistols equipped with silencers, two AK-47s, Beretta handguns, M26 combat grenades and M48 stun-grenades. All were stolen from various illegal weapons traffickers. 

     Each wore a Kevlar bulletproof vest under their normal clothing.

     The 22-years old, something female Kidon was equipped with the only M24 sniper rifle. It was her first mission abroad upon graduating as a Kidon.

     Tensed, as the team members were with the thoughts of the oncoming mission, they understood it as a necessary task to do or die since they were dealing with hardened terrorists seeking the glory of martyrdom, being brainwashed with the after-death rewards of a heavenly paradise in the company of virgins.

     According to the Mossad surveillance communication, the four aspiring suicide-bombers were expected to be inside the house for the night.

     Their orders from Tel Aviv were to capture or kill the Jihadists, thus destroying the terrorist cell, before they could activate their murderous plan to bomb the Jewish Synagogues and the worshipers. 

     About a hundred meters before the turn in the road, which led to the one-story Jihadists’ house adjoining the block of the other detached houses, Eli signaled the cars to slow down and crawl to the side of the road, some distance away from the nearest streetlight. 

     Then each of them pulled on a black balaclava over the face.


NEXT: CHAPTER TWO (Continued)


To be continued...




Request for a honest REVIEW



Paul Rodricks,  Author










Preview of CHAPTER ONE (Concluded)



The Chronicles of Moses
The Man who would be Pharaoh

Epic Novel

- The Man who would be Pharaoh



By Paul Rodricks


 The Chronicles of Moses 

– The Man who would be Pharaoh


Now Available on Amazon.com

Historical-Ancient-Egyptian-Biblical Fiction Thriller.  

$0.99 only LIMITED TIME OFFER ... 

Unique Novel with many DISCLOSURES.


http://www.amazon.com/dp/B00O6TM1IA

http://www.amazon.co.uk/dp/B00O6TM1IA



Glossary of Ancient Egyptian Names  

Senmut, Senenmut        “Mother’s brother” 
Kemet                          Egypt, ‘black’ land 
Waset                          Thebes 
Mennefer                      Memphis 
On                               Heliopolis



Read the preview of the CHAPTER ONE (Continuation) here:


PART ONE 
 CHAPTER 1 (Continued)


          "There are those who remain loyal to the Queen and to you, my Lord. However, the enemies are many and powerful. They have betrayed for their own gain. Moreover, the Amun-Ra priests hold sway over them. Many court officials fear condemnation by the clergy as heretics, and they maintain their silence."

          "When did Tuthmosis overthrow the Queen?"

          "My Lord, the betrayal took place in secret a week ago. Most court workers and the people in the city were not aware of the drastic measures taken. Only three days ago, the Royal Court issued an official promulgation about the new King Pharaoh Tuthmosis."

          "Do you know the whereabouts of the Queen… is she safe?” This matter of utmost concern was the sole apprehension now engaging his mind. “I am sorry, my Lord. I do not have that information. No one seems to know the exact location of her confinement. But indications are that she is not in her Waset palace residence.”  

          "If, as you say the city gates are controlled, how did you manage to sneak out without being caught?"

          "With difficulty and some guile, my Lord Vizier. I was among the palace courier rally sent to the garrison, the last one to deliver a message to the Captain, before he vacated the outpost. Three days before, his scouts had reported sighting your encampment along the way.

          "The Captain evacuated the garrison the same night. In the darkness, I managed to fall back and hide outside the city wall. By then the Captain and his men had entered and the city gates closed."

          "Did you witness or come across any army scouts recessing the area, during the day, from wherever you were hiding?"

          "Yes, my Lord, I did see a team of about five men approaching the city wall. I assumed they were Co-regent’s scouts and kept my distance from them. I did not see them afterwards. They must have reached the city gate and let inside.

          "I walked back and half-ran towards the garrison, the route I knew you would be arriving, to warn you, my Lord. After daybreak, I must have been discovered and tracked by your scouts." He sounded miserable as he continued, "It grieves me, my Lord that I’ve been of no service to you, other than merely to warn you."

          Senenmut knew the man was telling the truth. Why else would he have risked his life to find and warn him?

          "Take a hold of yourself, young man. You did well. We shall award you for your loyalty."

          "Commander, tell your men to attend to this man's need."

          Djedefre had been mulling over the courier’s grave disclosure. His two Army Commanders and two army scouts were witness to it. They would understand the danger to Vizier’s life. Moreover, Senenmut’s troops now stood in conflict with the new Pharaoh, since they owed their allegiance to the Vizier. But, Djedefre knew his men well. Come what may, they would stand by their loyalty to their Commander-in-Chief.

          As the scouts were leading him away, the royal courtier pleaded with Senenmut. "My Lord, you must take care. Please do not attempt to approach the city. Co-regent Tuthmosis has rallied the Kemite military against you. The troops maintain station inside and outside the city-wall. You must return to the garrison before you decide your next move."

          Senenmut nodded in acknowledgement to the courtier as the scouts escorted him away. He then signaled Djedefre to follow him. They moved a short distance away from the others.

          "Commander, pass an order that a regiment of 100 troops turns back to the garrison with the camp followers. They will join the others we left behind. The rest of the troops will follow me in marching order towards the city wall."

          "I’ve understood you well, my Lord. I seek your leave now". Djedefre whirled his horse and rode back to his Second-in-Command, Senbi, to relay the order down the ranks.

          The arrangement that Senenmut had ordered soon took shape. A portion of the army headed back to the garrison. The larger part adopted the battle-formation and began marching behind the Commander-in-Chief’s chariot.

          For the sake of outside appearance, Senenmut strived hard to remain calm and collected. It was important for him to maintain his dignity before his commanders and soldiers.

          More than anything else, Senenmut's resolve was to hasten to the palace, as he feared for the life of the Queen. Whatever the consequences, he must face Tuthmosis’ threat if he were to go to the aid of his beloved Hatshepsut.
                   

NEXT: Preview of CHAPTER TWO


 Get your copy here: 



  http://www.amazon.co.uk/dp/B00O6TM1IA





Your comments and reviews will be appreciated. Thank you.

Paul Rodricks, Author.

Paul's WRITERS DIG 7

Contact: paulrodericks@gmail.com

Blog: www.paulswritersdig7.blogspot.com










SECTION ONE: Lyrics and Melody


Creative Music Composing
Self-Teaching Manual


Releasing soon......

Self-Teaching Manual



By Paul Rodricks

Have you ever felt the urge to write your own songs? 
To compose your own lyrics and melody?
Are you a lyricist wishing to set music to your lyrics? 
Or a music composer desirous of writing the lyrics to
your music? Or a music lover and hobbyist wondering
how songs are crafted? 

If so, Creative Music Composing 
is just the right practical
self-teaching manual for you. Because Songwriting has
never been made so easy and simple.

The Manual  covers all the music aspects of Writing Melodies– melody notes, tonality of scales and harmony in chord progressions and rhythm. You begin from learning to create simple melodies to composing complete performing versions of songs by using the Digital Numbering System, the Solfeggio (do-re-mi) and ABCDEFG notation methods. 

Become a successful Songwriter.  Compose your
own Lyrics and Music to styles such as Pop, Rock,
Blues, Country, R&B, Jazz, Gospel and others.


Read here the Preview of the Section 1 from Creative Music Composing by Paul Rodricks:

Section 1

“I love the development of music, that’s what I really dig about the whole thing. How we’ve tried to develop, you know? It grows. That’s why every day people come forward with new songs. Music grows forever.” – Bob Marley

Lyrics and Melody

A Study of Contrast

Lyrics and musical notes work together to produce a variety of effects, the important one being that of producing a contrast.
    
     You may have already learned in the relevant Sections of the companion Manual, “Creative SongLyris”,  that every line of lyrics in your verse or chorus can be made to stand out and we do this in many ways:

    (a)  By proper use of the stressed and unstressed word-syllables;
    (b)  Varying the length of the lines in your verse and chorus/bridge; 
    (c)  Doing a different rhyme scheme besides the perfect rhymes, such as the near-soft-false-rhymes and even creating your own, including making use of the intensity of inside and outside rhymes;
    (d)  Creating an air of expectation and suspense in the flow of your rhyme pattern, i.e. 
by rhyming and un-rhyming end words;
    (e)  Giving a twist to the main theme in the bridge section;
    (f)  Correct use of the personal nouns, genders, conjunctions and tenses;
    (g)  Adopting a chronology of events and time-frame for constructing your verses;
    (h)  Presenting varying points of view in each of your verses and the bridge;
    (i)  Using graphic, emotive and imaginary lyrics, not the least metaphors and similes;
    (j)  Repeating the hook or your title line maybe once in every verse and twice in your Chorus;  
    (k)   Repeating whole lines of phrases and so forth.

    That was mostly about writing some real good lyrics. 

    Now to turn those lyrics into a successful song, we need to put your lyrics to music, depending on your ability and preferences.

    If you have already done the music or have some idea of it, you will still need to grasp the basics of writing lyrics.

    You will find for yourself how easily everything falls in place after you have acquired the necessary basic knowledge and simultaneously with some practice.

“Creative Music Composing”

begins with the basic rhythmic value of the musical note. We then learning the structure of melodic patterns, the changes and contrast that can be effected through different values of the musical notes.

    By altering the rhythm, we learn to write short and long interludes, and how the correct use of scale-tones and music chords can give us  a wide choice of melody variations. 

    Just as you learned  to write lyrics in the companion Manual, “Creative SongLyrics”, you will now begin your journey into composing melodies for your lyrics with ease and simplicity.

    However, at this stage, it is essential that you familiarize yourself with the basic elements of music, i.e. acquire some knowledge of the shape and time value (rhythm) of the melody note, the Bar which is a division unit in a Measure; the latter containing the melody-notes pattern of any song corresponding to your lyrics as they are sung or played - known as sighting reading from sheet-music.

    If you play the guitar or keyboard, you would know or at least be familiar about the common major and minor chords including the names of the music notes, namely 
C-D-E-F-G-A-B.

    These letters are the names for the notes or tones of the music scale. 

    Both chords and scales play a very important role in composing melodies.  You just cannot have any semblance of a pleasant or even unpleasant sound without striking the right or wrong note or chord.

    The study of music theory can turn lyricists into accomplished songwriters.

    So do not just stop at writing lyrics, as the advantages to you of learning to compose music, as an experienced or aspiring lyricist, are too many.  And, it is never too early or too late to learn. 

    Studying music theory is a mental learning process that is richly rewarding.

    Some of you who have played or still play the guitar or keyboard or any musical instrument would be knowledgeable in terms of the music theory or basic sight-reading at least. 

    Hence, setting music to your lyrics is not that great a deal. 

    What matters is acquiring the right know-how and the 
experience that comes from learning and then practicing.

    This is same as you would depend on your regular individual practices and group rehearsals to prepare for any public performance.

    Playing by ear can be further aided  and enhanced by learning to sight-read the music score.  

    Here we take a brief look (some parts are more in details because of their related importance) into the essentials of music theory.

    It is possible that you may choose to skip some of the following Sections; may be for later reference.    

    However, it would be worth your while going through the book thoroughly at least once.

    You would first become aware of the considerable scope of knowledge available in terms of a clearer understanding of the various aspects of the musical note, musical rhythm and the chord harmony.     

    Some of these elements, you may learn for the first time, but the knowledge will certainly help you to advance in writing independently the suitable music to your lyrics.

    Those of you who are familiar with the music theory would have the opportunity of writing better melodies.

***


To reserve your digital copy at 

pre-release price, 


please use the CONTACT FORM or contact

Author: paulrodericks@gmail.com


I invite your comments and queries,

Paul Rodricks, Author
Paul's WRITERS DIG 7

Contact: paulrodericks@gmail.com

Blog: www.paulswritersdig7.blogspot.com






Subscribe to: Posts (Atom)