A summary of Tunesmith by Jimmy Webb

for the Essentials In Songwriting Certificate Course with Dan Wilt

Those pursuing the art of songwriting would do well to pick up Tunesmith by Jimmy Webb, a seasoned songwriter with a wealth of insight and knowledge. Weaving stories and personal anecdotes with vital technical and experiential advice as well as giving examples of well-written (or poorly-written) lyrics, Webb has created a valuable resource for even the most novice of beginners, like me. Webb also chronicles the history of modern songwriting and gives an inside view of what it was like in the early days contrasted with today. I found Tunesmith to be engaging and informative on many levels, discovering many principles within its pages that I began applying immediately.

He begins by talking about where songs come from. Webb says, “Song ideas are the most intense longings of the soul and its deepest regrets” [1]. The ideas come from something about which the writer feels passionately (loathing or hating). It will also include a destination which will consume the bulk of the efforts of the songwriter in getting from here to there the best way possible. A good songwriter also stays emotionally connected. “Without being able to expose ourselves to pain – to break down and cry if need be – we won’t have what we need to be songwriters or even human beings. The reverse is true. Without recognizing the good things life has to offer – the priceless gift of the distant laughter of children – we become sour pendants” [2].

Next, Webb moves into what was for me, the most significant part of the whole book. He relates the story of being mentored by Michael Geffen, one of Broadway’s greats. Showing Webb the room he’d be working in, he said, “In this room you can never make a mistake” [3]. At first read, I thought that Geffen was laying down a strict boundary where perfectionism was required. I cringed (which says a lot about the lenses I wear).

What he was really trying to say was that “…there is no crossed-out, blotted word on paper or half-croaked note or stumbling, tripping step toward the songwriter’s goal that is unseemly or shameful…creativity is a blameless process. That to exist at all it must function unselfconsciously and without guilt…The primary ingredient in that tranquility might be to pardon ourselves in advance for any real or imagined inadequacies and approach the work with the attitude that we will see what happens, make the best of it and enjoy the journey” [4].

Moving to the practical aspects of writing a song, he stresses that every song needs a story to tell. That story is told through clear lyrics that make a “meaningful contribution” [5] to the whole of the song. To accomplish this, a songwriter takes the raw materials (ideas) and begins to shape them into a song: “...a magical marriage between a lyric (some words) and a melody (some notes)” [6].

She brainstorms, making lists of words, phrases, feelings to express the idea. He makes use of a thesaurus and a rhyming dictionary (never substituting these for creativity). She studies meter and rhyming schemes, counts syllables and checks verb tenses. He eliminates the “less desirable elements in order to expose the more desirable ones” [8] crafting lyrics that stay true to the song idea and lead to the desired destination.

Webb then traces the evolution of a song called “Problem Child”, personally, the second most helpful part of the book. He takes the song from the idea stage and the brainstorming process through the editing and re-write phase to the “finished” product. He explains the reasoning behind changes and points out the ways to make good lyrics better.

The next section of Tunesmith delves into the more technical aspects of song form and musical composition. These chapters hold a wealth of information covering music history and music theory. Webb delivers the information in an easy, conversational tone that makes it understandable and makes me want to go back and study these chapters more in depth when I can absorb more of this useful instruction.

Webb also interviews several songwriters regarding collaboration. Marilyn Bergman who collaborates with her husband says, “The most important elements are trust, respect and willingness to sound stupid. Sometimes a silly idea when put forward by one of us will trigger a really good idea from the other…” [9]. “The major impediment to collaboration is fear, “says Barry Mann who also collaborates with his spouse. “Every collaboration begins with this sense of unwillingness to reveal ourselves as in Oh my god, he’s gonna find out, he’s gonna know I’m a fake, that I don’t know what I’m doing” [10]. Isn’t that the truth! Collaboration requires a good deal of patience and forbearance and the ability to push past the uncomfortable emotions in order to be vulnerable and lay out ideas in front of another human being with a different perspective.

In the final section, Webb explains how the music industry works (or did at the writing of this book). He notes the various challenges facing the modern day songwriter. The advent of the singer/songwriter, MTV, and top 40 radio narrowed the playing field considerably. “A person with real songwriting talent would have had a better than average chance of placing a song with a major recording artist in the decade bounded by 1965 on the one hand and 1975 on the other.”

We are so far removed from that day, although YouTube, iTunes, etc. has in some ways made it easier for music of all kinds (the good, the bad, and the really bad) to get play time. Webb seemingly has prophetic insight into what the future held for music: “…eventually, entire record albums or perhaps even first-run feature films will be downloaded to recordable formats by satellite for a fee, which is paid electronically via credit card or some other code” [11].

In closing, Webb encourages songwriters to write. When one finds himself or herself “cowed, sullen and emotionally dead in the water…a violent, arbitrary and radical change of direction is called for” [12]. He goes on to say that “…the infamous ‘writer’s block’ may be nothing more than a stubborn unwillingness to cure ourselves, a psychomasochism caused by our refusal to confront the truth and put it into the air regardless of repercussions” [13]. He tells us to not burn bridges and to not allow bridges to erode from neglect, to remember that songwriting is best done in community. He emphasizes the importance of holding offenses lightly, choosing integrity over the need to seek revenge in a song.

I found Tunesmith to be surprisingly interesting and helpful and will refer back to it again and again. It is another decided gem discovered through the Essential courses.

1 Jimmy Webb, Tunesmith: inside the art of songwriting (New York: Hyperion, 1998), 3.
2 ibid, 17-18.
3 ibid, 21.
4 ibid, 22.
5 ibid, 52.
6 ibid, 70.
7 ibid, 136.
8 ibid, 271.
9 ibid, 296.
10 ibid, 298.
11 ibid, 375.
12 ibid, 395.
13 ibid, 397.

Songwriting and Responsibility

for the Essentials In Songwriting Certificate Course with Dan Wilt

Writing worship songs carries a weight of responsibility. Songs are remembered long after the sermon has been forgotten. And as important as melody and sound are, the lyrics, the content of the song, the theology being conveyed are more important by far than having a catchy melody. Of course it helps if strong, theologically sound lyrics and well-crafted tune go together...

Worship songwriters also have the responsibility to write the songs the church needs, not the songs the church wants. We need our pastors and leaders to stand alongside of us to write these songs. It's so easy to look first for what will please, what will bring the most approval (that man pleasing spirit at work), but to write the songs the church needs...to release into the atmosphere the songs of heaven that transform and loose the move of God...what an honor! What a privilege!

I want to write songs that are theologically responsible. More importantly, I want to write songs that are the rhema (the "now") word of God to His people...the songs that lodge in hearts and minds and relentlessly work the renewing of the heart and mind according to the Spirit of God.

Doerksen, Brian. Worship Songwriting: Embracing Heart and Developing Skill. Brian Doerksen Music, 2009.

The Perfect Moment

for the Essentials In Songwriting Certificate Course with Dan Wilt

I've spent a lot of time waiting for that perfect moment to come along so that I can do something creative.

Funny thing is, that perfect moment doesn't come around very often, if at all.

My idea of perfect has been wrongly shaped by media: magazines with clean, organized, beatifully decorated living spaces; movies and tv shows that give a distorted view of real life; books that make me long for order that only exists in, well, books and magazines...

In his Worship Songwriting dvd series, Brian Doerksen mentions a songwriting experience he once had with Brenton Brown. Brenton (single at the time) was visiting the Doerksens and had this great song idea to share with Brian, father of 6. Brian is in the throes of holding an unhappy child, trying to calm said child down as it was time for bed. Brenton comes into the room oblivious of the fact that any parent would recognize: this is not a good moment, much less a perfect moment, for songwriting. But Brenton plows ahead and sings what he has so far, asking Brian what he thinks because Brenton is stuck on what to do for the chorus. Brian says: "How about 'Halleluiah'?"

The song being written was none other than "Halleluiah (Your Love Is Amazing)" proving the point that they didn't have to wait in order to write a really great song.

Here's to not waiting anymore for perfect moments and for diving in during the moments of my day. Who knows what song might come out of washing dishes, cleaning up messes, managing disputes, teaching and disciplining children, making supper, doing laundry...

Creativity and Songwriting

for the Essentials Blue In Songwriting Certificate Course with Dan Wilt

I'm in the Certificate Phase of the worship theology courses I've been a part of these last two years, going back through the material and finishing the additional requirements that will earn me a Certificate in Worship Studies. Certainly, just a piece of paper. Most definitely much more than that in terms of growth in depth of understanding of many things related to worship, the passion of my life.

Yesterday I began a dvd series on songwriting for worship titled Worship Songwriting: Embracing Heart and Developing Skill by Brian Doerksen. Doerksen talks about the heart of a songwriter that says "There's got to be more. What I've written up until now is just a glimmer of what is in my heart to write," encouraging us to write, to be willing to take risks, to try anything, to look foolish, and to not fear mistakes.

He references Jimmy Webb who in his book Tunesmith tells of a time when he had been taken under the wing of Broadway master Michael Bennett. Mr. Bennett shows Jimmy the room where he will be composing music and says, "In this room, you can never make a mistake." [1]

At first read, I cringed and thought, "Wow, what a lot of pressure to have to work under, to never be able to make a mistake." But as Jimmy continues, he explains that what was really meant was that "there is no crossed-out, blotted word on paper or half-croaked note or stumbling, tripping step toward the songwriter's goal that is unseemly or shameful...creativity is a blameless process...to exist at all it must function unselfconsciously and without guilt..." [2]

What a relief to hear, and Brian's encouragement to not fear mistakes seems a little more doable in light of there not being anything shameful or unseemly in creative attempts.

Now, creativity will be challenged, even opposed, particularly when it comes to worship songwriting done out of a passion to see God's Kingdom come here on earth as it is in Heaven. There is an opposing kingdom that would seek to destroy the heart of every sincere songwriter and leave it a mangled mess of discouragement, despair, and depression.

That's why it is so important to remember that everything we do out of love and service to God has a part in building for His Kingdom. I can guard my heart and mind with the truth that God delights in my feeble offerings of creativity, whether they be eloquent lines or scribbles of thought, and there is no shame in offering it to God.

Why not write a song today? Scripture says that we are to sing to the Lord a new song (Psalm 33, 96, 98, 144, 149 - to name a few). Go ahead and sing Him a few lines from your heart. Risk a few moments of embarrassment and be willing to look foolish as you reflect the glory of the Lord back to Him in your creative offering.

1 Jimmy Webb, Tunesmith (Hyperion: New York, 1998), 21.
2 Ibid, 22.

Essentials in Songwriting and The ongoing struggle of identity

For the Essentials In Songwriting Online Worship Values Course with Dan Wilt

Identity and significance are an ongoing struggle for me in this journey to find my place in the arts.

"What?" I can already hear some of you responding. "You? Struggle?"

Well, yes, as a matter of fact, I do. And one of the main reasons the struggle is ongoing is this insidious tendency I have to compare myself to others.

I know I've counseled many to not do that very thing, but I am as guilty as you. It's part of the internal voice that goes something like this:

"Look at that person. They can _______ better than you. You might not get an opportunity to _______. Who are you anyway? Where do you fit in? Are you even good enough? Why do you even bother to try?"

Stinks. And what stinks even more is that, sometimes, I start to believe that maybe this voice is asking valid questions and making valid points. The insecurities rise full-force to the surface and before I know it, I've just about thrown away the word of the Lord to me:

"Heather, you are an artist. You are My artist. Use your stick figures and paintings for My glory. Sing your songs. Play them on guitar. Play them on piano. Wave your flags and dance your dance for Me. Do it even when you feel insignificant. Do it even when you are afraid. Do it for My Kingdom in full display. Do it when there's no one watching to assess their merit. It is enough that you do it here for Me."

Staring over the precipe of the lie, I realize once again the importance of reviewing the things the Lord has said to me over the years, strengthening myself in Him, and grounding myself in His Word...so that I don't succumb to the tempation to believe a lie and enter into an agreement with the enemy of my soul who would like nothing more than to see me lose confidence in the One who sustains me and teaches me all things.

Michael Hanses says this in his article "The Measure of a Songwriter": "Buying into a lie of what success means is a costly mistake. You start to look at other songwriters as the competition...You forget that we are one Body with many parts, that our Father has just the right place for each one of us according to His design."

The Lord has a specific place in His Body for my feeble artistic offerings. No one else's fit just there. His design for me is unlike the design He has for any other, so to enter into the comparison/competition trap, is to desire something that I am not created for. I'm not designed to be anyone other than Heather. I can look and learn from others, of course. I can view their work and listen/watch for tools to incorporate into my offerings.

But I can't be them. To be them would be to be less me. And to be less me would not bring God glory.

And I want to give Him all I can.

So I commit again to struggle through, to not give up, to embrace my destiny...to continue to offer up whatever artisic offering these hands or this voice or these feet of mine create.

I choose to believe, by faith, that God fulfills His plans and purposes for me. I choose to listen to His voice, to receive the sustenance of affirmation from His hand, and to stop listening to that deceiver.

I choose to create and, in the creating, to find my true significance, my unique identity in the One who created me and knows me better than I know myself.

I choose to continue on this journey to be
fully human,
fully Heather,
fully alive in Christ.

Songwriting and a "Blue-Sky Mind"

For the Essentials In Songwriting Online Worship Values Course with Dan Wilt
A few years ago, when I began my journey as an artist, I found that the biggest hindrance to creativity was internal dialog. I would start to create and then stop because it didn't look right, I wasn't talented/gifted/creative enough, who did I think I was anyway...

And I would stop before I had even started.

Somewhere along the way, God revealed to me that I needed to turn away from that voice, press through, and create. Anything. It didn't matter if it was a stick figure. Creating was the point. Not the product.

Dan Wilt calls it "having a blue-sky mind."

I love the image that brings me: a wide-open space, deep blue and beckoning me to enter its depths. It's the process of turning off the internal editor and allowing thoughts and feelings and ideas to flow uninhibited over the pages of my heart, not judging or condemning or assessing. Just being and flowing.

I haven't painted or created much of anything in a while. So as I pick up the songwriting craft in a more purposeful way, I'm going to cultivate a blue-sky mind, expecting creativity to come forth filling the wide open spaces with an abundance of thoughts and ideas to play with, to create from, to explore...

How about you? Join me! Turn off that internal editor. Pull up a blue sky.
Brainstorm.
Dream.
Create!

Essentials*Red Creative Project

For: The Institute of Contemporary and Emerging Worship Studies, St. Stephen's University, Essentials Red Online Worship Theology Course with Dan Wilt

When week 5 roles around, it's always a little stressful around the essentials hallway...I've known for 4 weeks that I would have a creative project due in week 5. Ideas linger in the back of my mind...but nothing really comes into focus that is "easy." And easy would really be best for me in order to fit it in with daily life. I take a deep breath and try to figure out what exactly to create that is unique and will draw someone closer to Jesus.

Bear with me as I am somewhat vulnerable here...I have this bent in me that pushes me to do something different than everyone else. Most write songs. Really amazing songs. But since I don't fancy myself that great of a musician/songwriter, I'd rather not put myself up with all of those who are truly incredible (and this course is full of them!) It feels safer, I guess, to do something different. Then there's no one to compare me to.

But when I assessed how much time I thought I could devote to the project, the idea I had originally decided to go with (a silk painting with a Communion theme) would take too long...too many steps involved that required lengths of uninterrupted time (very hard to come by at my house). As I fought the panic of the encroaching deadline, I opted for the "easier", less-complicated (read: fewer actual steps involved) song-writing idea because I couldn't think of anything else I could possibly do.

I opened up my Bible (or Biblegateway as the case may be) and read through the Scriptures normally read for Communion. This is the sacrament that has most captured my attention during Essentials Red and the one my original project would spring from. Almost immediately, a song began forming in my head that went with the image I had wanted to paint. The way it fell together was amazing and God-breathed for me.

The funny thing is that once I finished the song, the other project fell together as well. The one I thought would take too long. For some reason, He wanted both of them, but had to withold the one in order to get me to the song. He knows what it takes to get from us what He put in us.

It's a 2-for-1 :-)

You can listen to the song and access the chord chart by clicking here.

To view the silk painting, you can go here.

And I highly recommend checking out the other creative projects in Essentials Blue and Essentials Red. There aren't any yet for Essentials Green, but check back in about 5 weeks.

Leave comments! I'd love to hear what you think.