Songwriting and Arranging For Demo Submission
copyright 1996 by Monte Nordstrom
from issue#27 - Cosmic Debris Musicians Magazine - Mar '96
The act of song writing is a very
personal experience. It can be
shared by a co-writer(s) or be an
individual vision. If it is purely for
one's self gratification there are no
particular "rules" to be followed,
but if a song is meant to be
"pitched" to an A&R rep (artists &
repertoire representative for
publishing or record companies)
there are some guidelines that
should be considered.
In truly creative "Art" there are no real
boundaries but remember that if it's
for public consumption, people are
creatures of habit. They relate to
popular culture with preconceived expectations, hence that
annoying habit of categorization. "What kind of music is it?" This
brings us to the first point regarding writing a marketable song.
Who is going to be interested in this tune? Is it Country, Blues,
Pop, Folk, Jazz, Soul, Dance, Rap, Hard Rock, Alternative, etc.
or the dreaded "I don't know, Man!"? The point being that if you
want to pitch the song to a Publisher or sell the idea of you as a
"Singer / Songwriter" or your band as an act, the person who
listens to it becomes your focus. You don't pitch a C&W tune to
a Rap producer or send a Jazz instrumental to a folk label. Or
maybe you do. I know I have & it is a waste of postage. Unless
you enjoy collecting rejection slips. "Thankyou for your tape. We
don't feel that it meets our stringent criteria for commercial
release, so go blow."
Half the submissions you make may not even be
acknowledged and there is the possibility that it won't be given
proper, if any attention. There are many stories of mischievous
writers sending blank tapes with a full promo kit to an A&R rep &
receiving a "form" rejection. "We appreciate your submission &
enjoyed your material but its not what we are looking for at the
moment." I'd call that a blank expression of jaded pessimism.
Even so, if you don't play, you don't win.
Getting a "hit" is akin to winning the lottery and you can better your odds if you have
proper packaging and a succinct representation of your material. Realize that A&R people are professionals and will recognize hit potential if it grabs them quickly. Don't bother sending half-thought material or record your tune with a weak singer. Nothing points out the faults of a song more than inadequate vocals.
Drop the ponderous 16 bar intro, 2 or 4 bars should set it up
mo' better. It's not a bad idea to have an instrumental "hook" lead
in. A hook is a melodic, rhythmic or lyrical device that is repeated
elsewhere in the song to add to it's overall structure. The intro
defines the rhythm & tempo or "Groove" and will suggest the style
of the ensuing song, be it Country, Blues, Reggae, Pop or
whatever. Make it snappy! -The next few elements can appear in
a variety of orders.
The verses tell the story of the song with a rhyming sequence
and phrasing. This is usually where the poetic meter is
incorporated. The moon-June-spoon-croon or maybe
moon-song-June-wrong. Avoid bud-spud-dud-mud. Unless you're
Stompin' Tom... Sometimes a clever internal rhyme can add a
hook to the lyric. Use your imagination. Hint: A demo is more
effective if it is edited. Use the best two verses & if you have more
verses include them on the accompanying typed "Lyric Sheet" as
Always provide a neatly typed lyric so your myopic A&R rep can
readily see your genius. Also make sure that every page of your
promo and especially the cassette cartridge itself has your
address stamped on it incase things get separated.
A&R people wade through stacks of material in a day and may
only listen to the first two minutes or will often fast-forward, skipping
through three songs, sampling only random sections. It sounds crass
but you yourself do this when searching for a radio station. You
stop when something grabs you. It's the same principle, so you
can't waste time noodling.
Usually the most important part of the song apart from the
overall meaning of the lyric as a whole. (Nonsense can be a
meaning) Na Na Na Na Hey Hey Goodbye. This is where
repetition can be used to effect. The chorus hook is the part of the
song that will stick with you. It is a good idea to derive the title of
the song from the chorus' lyric hook since people will identify it as
This is a section where an alternative chord sequence or lyrical
perspective can be included. (In military marches referred to as
the "Dogfight") This could be a "solo" section. Not all songs have
a bridge but it can introduce another element to the piece & often
is a pivot point to the last verse, last chorus or what is called a
Melodically or lyrically adds a lift or direction toward the
resultant chorus. It can be an alternate rhyme to the verse or
chordal movement that sets up the chorus structure.
This solo section can be done over any of the previous
components or can simply repeat the intro. This will function as
a melodic hook. On a lyric based demo it is not necessary to
include an instrumental. It can often be the point where the client
turns off the tape.
The "Out" section can be a repetition of the intro, an
instrumental hook from the solo or a vocal phrase from the
chorus. It can be ended with a fade-out or a climactic full stop.
Avoid the bombastic "Trainwreck" ending. They only work onstage
& only sometimes.
Some typical structure arrangements:
Intro - verse - chorus - verse - chorus - instr/verse - repeat chorus
out. Intro - verse - prechorus - chorus - solo/bridge - verse -
chorus - out. Intro - pre chorus - chorus - verse - chorus - verse
- bridge - chorus - out: - Or whatever.
Do your initial edits on paper, rehearse, record a few versions
on cassette or 4-track, etc. Get some objective feedback from a
knowledgable sort and be willing to re-record if necessary. Make
sure you use good quality tape with adequate levels, (Vocals
audible, balanced instrumentation - IN TUNE). If you don't have
a porta studio & mics you can rent them, or go to a studio in your
area to record your demo. If you haven't got the expertise to
produce a quality demo, a good engineer will help you. If you
don't feel that you can perform the song to its best representation
find a producer willing to give you an evaluation. Keep a positive
attitude and accept criticism gracefully. It may sting but you can
improve your song if you are open-minded. There are professional
musicians who will record your demos for a fee.
An effective demo can simply be piano & vocal or guitar &
vocal. A rhythm section (drums & bass) will fill out the song and add
power to the arrangement. Adding strings, synth, doubled lead
guitar, harmony vocals and things can get complicated and studio time
is expensive if you don't know what you're doing (even if you do)!
Less is more. Basically, when you submit a demo, keep it short and
Another important thing is that A&R needs up-tempo material.
There is a real glut of ballads and a shortage of fast songs. Include
NO MORE THAN 3 SONGS! Put your fast tune first, a strong
ballad second and perhaps a midtempo last. If you think you have a
Killer song that happens to be a ballad, put it first in any case. Put
your "best foot forward", since your tape may not get any further
than one song if A&R goes to lunch.
Strive to rewrite and don't include too many ideas. Make your
point as clearly as possible. Many times when the creative juice
is flowing you get a multitude of ideas. Catch them all as they
come and sort it out later. Sometimes when you edit a piece you
can end up with enough material for two or three songs. Also, keep your
instrumental hooks down to a modest number or the piece will
sound busy or disjointed. It's also a good exercise to try the song
in a variety of styles & tempos (tempi?). It may turn out to be
better as a rhumba, waltz, skank or whatever. Have a pen and a
notebook of your lyric ideas on you at all times, because you may
be inspired anywhere. Record your melodic & instrumental jewels
as they appear, so they don't fade on you.
Good luck and happy
re-writing! Remember rules are meant to be broken. There are
always exceptions and innovation so don't feel restricted by formula.
Note: Monte Nordstrom has authored or co-authored over 175
songs since he started writing in 1969. He joined BMI with his
1974 Columbia Of Canada release "Ptarmigan", which was
produced by Paul Horn and published by Horn's "Samadhi Music".
He is associated with the performance rights organization,
SOCAN and formed his publishing company, "Northstream Music"
in 1980. He has produced over 75 demos and has recorded 8 albums to
date (Nov '99).
Monte performs regularly at numerous venues on Canada's West Coast.
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