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songwriting for dummies.vol1.egg
songwriting for dummies.vol2.egg
Contents at a Glance
훑어 보기
Foreword .................................................................. xvii
Introduction ................................................................ 1
Part I: So You Want to Be a Songwriter ......................... 5
작곡가가 되고 싶은가 ?
Chapter 1: Capturing That Solid-Gold Nugget ................................................................7
Chapter 2: Looking at the Genres ..................................................................................31
Chapter 3: Working It Out: Getting Your Song into Shape ..........................................53
Part II: Unleashing the Lyricist in You ........................ 73
구속을 풀기 the 작사가 in 네안의
Chapter 4: Snagging Your Listeners with a Hook ........................................................75
걸려들게하기 네 청취자들을 with a 훅으로
(Hook : 노래가사에서 반복되는 부분)
(somethings have hit a snag : 암초에 부딪혔다.=차질이 생겼다.)
(snag : 걸려들게하다.)
Chapter 5: Making an Impact with Lyrics .....................................................................91
Chapter 6: Finding Your Voice in the Lyrics ..............................................................111
Chapter 7: Using Rhymes in Your Songs.....................................................................135
Part III: Creating Memorable Music .......................... 153
만들기 기억에 남는 음악을
Chapter 8: Feel the Rhythm, Feel the Ride .................................................................155
Chapter 9: Making Melody Magic.................................................................................169
Chapter 10: Using Chords in Songwriting ...................................................................187
Chapter 11: The Cheating Side of Town: Shortcuts and Cool Technologies ..........199
Part IV: Cooperation, Collaboration, and Community .. 213
협력, 공동작업, & 커뮤니티
Chapter 12: Bringing Talent Together: Collaboration and Networking ..................215
Chapter 13: Online Marketing and Social Networking for Songwriters ..................233
Chapter 14: Writing for the Stage, Screen, Television, and More ............................245
Chapter 15: Getting Your Songs Heard: Making the Demo .......................................261
Part V: Getting Down to Business ............................. 283
일에 착수하기 (= 작업 들어가기)
Chapter 16: Creating Goals and Meeting Deadlines ..................................................285
Chapter 17: Ka-Ching: How Your Song Makes Money ...............................................295
Chapter 18: Introducing the Business Players ...........................................................309
Chapter 19: Looking at the Legal End: Dealing with Paperwork ..............................327
Part VI: The Part of Tens .......................................... 345
10가지 것들
Chapter 20: Ten Songs You Should Know ..................................................................347
Chapter 21: Ten Common Song-Related Contracts You Should Know ...................353
Index ...................................................................... 357
Table of Contents
Introduction
About This Book
Foolish Assumptions
How This Book is Organized
Part1 : So You want to be a Songwriter
Part2 : Unleashing the Lyricist in You
해방시켜라 네안의 작곡가 본능을
Part3 : Creating Memorable Music
Part4 : Cooperation, Collaboration, and Community
Part5 : Getting Down to Business
Part6 : The Part of Tens
Icons Used in This Book
Where to Go from Here
Part 1: So you want to be a SongWriter
Chapter1 : Capturing That Solid-Gold Nugget
Ground Zero - Before You Write a Single Note
Is formal music training a must ?
Being prepared when inspiration strikes
준비해라. when 영감이 때려박힐때
Finding you own inner voice and expression
Creating the mood
Drip, Drip, Drop : The Six-Step Process
Pay Attention : Stop, Look, and Listen
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Page 13
Drip, Drip, Drip : The Six-Step Process
Well now you have your notebook at your side
a gross of freshly sharpened pencils, and your digital recorder in your bag,
.
.
.
1. Find a message you feel passionate about.
2. Find a simple melody
3. Find a simple set of chord changes
4. Find a place to write
5. Find a nine-foot Bosendorfer concert grand piano in an ancient cathedral
and let your fingers land sensuously on the keys as you compose your masterpiece.
찾아라 a 9개 발 붸센도르퍼 concert grand 피아노를 in an 고대 성당에서
and let 네 손가락을 둬라 감각적으로 on the 키들위에 as 네가 작곡하듯이 네 걸작을.
6. Find the confidence within yourself to put your heart and soul on the
line and share your song with others.
찾아라 the 자신감을 within 네안의 to put하기위해 네 heart와 soul을 on the line에
and 공유해라 네 노래를 with 다른이들과.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Page 161 in the PDF
When a dot is placed after a note or rest,
the value of them is increased by 50 percent.
(Note : 음표) (Rest : 쉼표)
Time Signature : 박자표 ex) 3/4 4/4 6/8
Applying notes to common time
Now we take a look at how notes and rests can be used to rhythmically notate music-with seven bars of common (4/4) time shown in Figure 8-1
(Seven Bars 는 7마디를 의미한다. 아래 그림에서 보면 윗줄 3마디, 아랫줄 4마디로 되있다.)
The example in Figure 8-1 starts out with the “time signature” of 4/4,
meaning that there are four beats in each bar,
and a quarter note is equivalent to a beat.
(time signature : 박자기호)
Quater Note가 한박자에 해당한다.
In the first bar of Figure 8-1,
there is only one note: a whole note,
which lasts four beats — the whole bar.
첫 bar에 a whole note가 있다.
which 유지하는 4 박자를 - 전체 bar에서.
In the second bar there are two half notes,
each lasting two beats.
But the second note has a tie to the first quarter note in bar three.
두번째 bar에는 두개의 half notes가 있다,
각각 유지한다. 두 비트들을.
But the 두번째 note는 갖고있다. a tie를 to the 다음 마디의 첫 quarter note에.
When notes are tied together, that means that they have been joined to a single note
: in this case, a note that lasts three beats.
In bar three, there are two quarter notes (the first tied to the half note in the
bar before), followed by two eighth notes, and those in turn are followed
by four sixteenth notes.
When note들이 묶여있을때 함께, that 의미한다. that they 이미 been joined됬다는걸 to a 하나의 note로
: 이 경우, a note이다. that 유지하는 3 비트로 (2beats + 1beat = 3beats)
세번째 bar에는, 2개의 quarter notes가 있다. (처음껀 이전 half note에 묶여있다.)
The quarter notes each have a value of a beat,
the eighth notes a half beat each,
and the four sixteenth notes occupy a full beat
for themselves, the fourth beat of the measure.
Quarter note는 갖고있다. 한 박자를
4개의 sixteenth notes 역시 한 박자를 갖고있다.
.
.
.
163쪽
Putting Rhythm and Meter to Use in Your Songs
We've shown how lyrics have accents and syllables.
엑센트 & 음절
Now take a look at how lyrics are applied to the meter of a song.
For this we’ll turn again to the familiar
“Mary Had a Little Lamb” nursery rhyme, and adopt it to 3/4 time.
(We could’ve chosen 4/4, or even 5/4 — 4/4 will work,
but the 5/4 rhythm will feel awkward).
(Nursery Rhyme ▶LINK : 입에서 입으로 전해지는 라임들)
Figure 8-2 shows how we set the lyrics to the rhythm.
“Mary Had a Little Lamb” has the honor of being the first words ever recorded
on a phonograph! In 1877,
Thomas Edison spoke these famous words
into the first recording machine ever made in his laboratory
in Menlo Park, New Jersey.
"Mary Had a Little Lamp"는 갖고있다. a 처음 녹음된 영광을 on a 축음기상에서 In 1877년도에,
토마스 애디슨은 말했다. 이 유명한 단어를
into the 첫 녹음기에 ever 만들어진 in 그의 실험실에서
The observant reader will notice that
the strong accents of the lyric (capitalized)
have been placed on the strong (first) beat of each bar.
Matching accents with strong beats, as we have pointed out,
is what marries the meter of lyrics
with the meter of music.
주의깊은 독자는 will 알아차릴것이다. that
the 강세들 of the 가사의 (대문자로된)
은 이미 been 위치해있다. on the String Beat에 of the 각 bar의.
매칭되는 엑센트 with 강한 비트들에, as 우리가 이미 pointed out했듯이,
는 what이다. 결합하는 the meter of lyrics를
with the meter of music에.
It’s the natural way that the two come together,
although variations and exceptions will always be found
— this is not a hard and fast rule, just a basic guideline.
Now take a look at Figure 8-3 to see how one of the great songwriting/lyricist
teams dealt with setting lyrics to meter using the opening of “All the Things
You Are” by Jerome Kern and Oscar Hammerstein II.
.
.
.
187쪽
Chapter 10
Using Chords in SongWriting
In This Chapter
▶Understanding how chords and cord progressions shape your song
이해하기 어떻게 코드들 & 코드진행들이 모양을 내는지 네 노래를
▶Picking an instrument when working with chords
택하기 악기를 when 작업할때 with 코드들로
▶Creating colors through your choices in chords
색깔내기 through 네 선택들로 in 코드들의
Given the fact that you’re reading this book,
you may already have a basic grasp of chords on the instrument of your choice.
주어진 fact that 네가 읽고있는 이 책을,
넌 아마 이미 갖고있을것이다. a 기본 습특of코드들을 on the 악기에서 of 네 선택으로.
You can use this knowledge of chords to your advantage and actually play the songs
for others
while you’re in the process of writing them to receive some valuable feedback.
넌 can 사용할수있다. 이 코드지식들을 to 네 이점으로 and 실질적 play the songs에
반면 넌 있다. in the 과정에 of 작곡하는 그것들을 to 받기위해 some 가치있는 피드백을.
But, even if you’re strictly a lyricist, you can use what you learn
in this chapter to speak intelligently about chords with your co-writer.
The more you understand the underlying chord structures of a song, the more
appreciation you’ll have for them when you hear a great song on the radio or
Internet.
The next step will be applying that knowledge and appreciation into
your own songs. Putting chords to work within the context of a song is what
this chapter’s all about.
