Here on bandamp most members critique 'sensitively', but sometimes we may be too polite. We are all different, with different views, so I listen to all and take what's best for me. The fact that someone has made an effort to critique is a gesture. There are exception to the rule, now and again someone will be offensive, rude etc, that is totally unacceptable, insensitive. inconsiderate, inappropriate and I could mention a few swear words too.
| Critique Your Own Songs |
Found this to be interesting:
http://andreastolpe.berkleemusicblogs.com/2008/02/25/how-to-critique-your-own-songs/
How to Critique Your Own SongsFEB 25 2008
When it’s not possible to send each song we write off for a critique by a skilled writer, we need to get a good critique system going at home to learn how to rework our own material. I’ll go through 5 basic ideas below that I use to rewrite my own material, in hopes that they may help you to become more critical of your work where it counts. For a more in-depth study on several of these techniques, please refer to my service called ‘Songwriting Made Simple’, available at http://www.andreastolpe.com/.
1. What is the main message of the song?
Perhaps the most important element of a song is the chorus, and within that, the title. Look at where you’re singing the main idea. Is it set in the first line or last line of the chorus, or hidden within the chorus in a less prominent position? Sometimes our listener can be left confused and disinterested in our song if the title is not highlighted by its position in the chorus section.
2. Can you sing the melodic hook of the verse and chorus sections?
Every song begins with a melodic idea that is made up of pitch and rhythm. That melodic hook is like a first impression, and repeats throughout the section to form one consistent pattern. Often that hook or parts of that hook makes up other sections of the song, giving the whole piece one consistent fingerprint. Consider what that hook is for your song, whether two notes or two measures. If you can’t identify one hook, then you may have several different melodic and rhythmic ideas all fighting against each other. Listen to some of your favorite songs and notice how simple the basic hook idea is.
3. Do the song dynamics rise toward the chorus?
Consider whether the chorus section is overshadowed by the energy level of a previous section. Do you hear the chorus as the main message, or is it possible the listener may be misled to believe the second verse or pre-chorus section is the main message of the song? If your pitch is lower in the chorus than in previous sections, that may be the case.
4. Is there plenty of contrast between the song sections?
A lack of contrast results in choruses sounding just like verses, pre-choruses, and bridges. If you find the listener confused as when the chorus actually starts, then consider taking a look at the harmony, melody, and lyric in a new way. Harmonically, you can add a new chord to the first measure of the chorus, or change chords more of less frequently than in previous sections to add contrast. Melodically, you can raise the pitch, or lengthen or shorten the notes to create contrast. You can also change the beat on which the chorus melody begins. Starting before, after, or on the downbeat are the three options, and so choose one that contrasts with the starting area of the previous section. Lyrically, you can start the chorus with your title idea, and immediately repeat that idea. That repetition and setting of the main idea first distinguishes the section from others that came before.
5. How long does it take to get to the main point?
If you want your listener to wait through an intro, two verses, and a pre-chorus before arriving at the chorus section, you’d better give them a good reason to give you their attention. Production alone can do the job, but consider that you’ll need a slow build if your chorus will stand out as the highlight when it finally arrives. A much better way to ensure that your song is structurally sound without all the bells and whistles of production is to keep your sections short. Take a look at the basic verse and pre-chorus and chorus rhyme schemes in your favorite songs. Notice how many lines each section is, and take note of how many seconds each section lasts. This kind of research can yield a great deal of information about the attention span of your audience, and clue you in to how best to display your ideas so they are received with the most impact.
http://andreastolpe.berkleemusicblogs.com/2008/02/25/how-to-critique-your-own-songs/
How to Critique Your Own SongsFEB 25 2008
When it’s not possible to send each song we write off for a critique by a skilled writer, we need to get a good critique system going at home to learn how to rework our own material. I’ll go through 5 basic ideas below that I use to rewrite my own material, in hopes that they may help you to become more critical of your work where it counts. For a more in-depth study on several of these techniques, please refer to my service called ‘Songwriting Made Simple’, available at http://www.andreastolpe.com/.
1. What is the main message of the song?
Perhaps the most important element of a song is the chorus, and within that, the title. Look at where you’re singing the main idea. Is it set in the first line or last line of the chorus, or hidden within the chorus in a less prominent position? Sometimes our listener can be left confused and disinterested in our song if the title is not highlighted by its position in the chorus section.
2. Can you sing the melodic hook of the verse and chorus sections?
Every song begins with a melodic idea that is made up of pitch and rhythm. That melodic hook is like a first impression, and repeats throughout the section to form one consistent pattern. Often that hook or parts of that hook makes up other sections of the song, giving the whole piece one consistent fingerprint. Consider what that hook is for your song, whether two notes or two measures. If you can’t identify one hook, then you may have several different melodic and rhythmic ideas all fighting against each other. Listen to some of your favorite songs and notice how simple the basic hook idea is.
3. Do the song dynamics rise toward the chorus?
Consider whether the chorus section is overshadowed by the energy level of a previous section. Do you hear the chorus as the main message, or is it possible the listener may be misled to believe the second verse or pre-chorus section is the main message of the song? If your pitch is lower in the chorus than in previous sections, that may be the case.
4. Is there plenty of contrast between the song sections?
A lack of contrast results in choruses sounding just like verses, pre-choruses, and bridges. If you find the listener confused as when the chorus actually starts, then consider taking a look at the harmony, melody, and lyric in a new way. Harmonically, you can add a new chord to the first measure of the chorus, or change chords more of less frequently than in previous sections to add contrast. Melodically, you can raise the pitch, or lengthen or shorten the notes to create contrast. You can also change the beat on which the chorus melody begins. Starting before, after, or on the downbeat are the three options, and so choose one that contrasts with the starting area of the previous section. Lyrically, you can start the chorus with your title idea, and immediately repeat that idea. That repetition and setting of the main idea first distinguishes the section from others that came before.
5. How long does it take to get to the main point?
If you want your listener to wait through an intro, two verses, and a pre-chorus before arriving at the chorus section, you’d better give them a good reason to give you their attention. Production alone can do the job, but consider that you’ll need a slow build if your chorus will stand out as the highlight when it finally arrives. A much better way to ensure that your song is structurally sound without all the bells and whistles of production is to keep your sections short. Take a look at the basic verse and pre-chorus and chorus rhyme schemes in your favorite songs. Notice how many lines each section is, and take note of how many seconds each section lasts. This kind of research can yield a great deal of information about the attention span of your audience, and clue you in to how best to display your ideas so they are received with the most impact.