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Rating:
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So before I write a review, a little about me, because whenever you read a review for an music product, whether a $5,000 Gibson guitar, or a $20 sustain pedal for a keyboard, you need to know your source. I've been playing guitar for a long time, but not seriously (currently in my late 20s). I've written my own songs, but for fun. I can play lots of chords, but can't play a solo or scale to save my soul. I know a bit about music theory, but can't site read or anything fancy.
Summary:
Good Points:
* Book is concise.
* Easy read for beginners.
* Requires no knowledge of music theory.
* Uses examples of contemporary songs across multiple genres for examples of good songwriting.
* Provides only the most the basic theory necessary to write songs, so as not to intimidate rookie songwriters.
Weak Points:
- Can be repetitive (although for some, this can actually be a good thing, because it is purposeful repetition)
- Needs ...
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This is a great book. I read it over and over and always find new or renewed insight. I particularly like the review of song structures and there are easily more than 126 tips in the book. Even if you are beyond a beginning songwriter you will find this read useful.
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I don't have a huge problem with this book if it's useful to you and you have some fun playing with it. The real problem I have with it is that it sweeps under the rug the realities of the current state of the major labels and radio. Both are dying industries that are on life support because they've long ignored the needs and desires of their audience. They've evolved from being businesses built by music people for music fans into corporations run by accountants and lawyers for stockholders, where the "product" is treated no differently than mass-produced widgets.
Books like this are all about pleasing the accountants and lawyers who pay off radio conglomerates to play whatever they're peddling this minute, and not pleasing the real audience who hungers for quality music of the kind they're not getting from the rusty dinosaurs who run the traditional music business. You have other options now. If you write great songs and you can get them in front of audiences, no matter how small ...
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This is the first review I have written, and I have ordered a large number of books, especially songwriting books.
I must say, I was rather taken aback at the cost I paid for this item, which is much more than I usually pay for books. It was worth every penny, however. The tips in this book, especially the ghost song writing process, has changed the way that I write songs forever. I was also glad there wasn't a bunch of business stuff, since I am not interested in doing this for a living.
If you are on the fence about this book, take it from me, this is a great songwriting book that can change the way you write songs. I am even reading this book out loud and recording it, making my own personal audiobook.
I hope she writes another book, I will lap it up as soon as it is released!!
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Shortcuts to Hit Songwriting, by Robin Frederick, is a no nonsense, user friendly songwriter's manual. The title of the book is somewhat of a misnomer though. While Ms. Frederick does, in fact, carefully present 126 "shortcuts" to hit songwriting, she assures the reader that there is work to be done. Each of the techniques in this fine book needs to be applied to the craft of songwriting and the reader is walked through the process with a refreshing blend of seriousness and humor. Ms. Frederick recommends that the student choose a song within their preferred genre and use that song as a "ghost" template for creating a new original song. In this way, the new song will have all the structural elements of a proven hit song. I am finding this concept most useful.
As a member of Taxi, the independent A&R Company which published this fine book, I have seen Ms. Frederick speak on the topic of songwriting and have been very impressed with her confidence and her track record as a songwriter. ...
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