I like a lot of music. I don’t always get attached to every piece I hear, but I do appreciate the work that went into it. What we get from what we listen to as far as meaning is subjective. But the craft itself, the boring stuff, can be appreciated objectively. Seeing objectively necessitates an unbiased view. In my experience we appreciate this “craft” in others, but give ourselves little time for it.
Listen to Kelly's playlist while you read
The problem is we can’t be in two places at once. If the self observes their art, then they become an observer. For example: you’ve created a song. It’s sensational. You are emotionally attached to it. If you try to view this song objectively your vision may be clouded. This is because you cannot be the observer and the one observed at the same time. But how can you be objective about your own music?
When we listen to a new tune, or even an old favorite, we stir up all kinds of things in the brain. There might be a memory, a sentiment, a creed, even a tribute, and many more! When we listen to our own music, we should get the same things. After talking with several musicians and recording them over the years, I’ve come to find that many songsters don’t listen to or don’t even like the songs they make. I have a sneaking suspicion that these folks, given some time with their own material, get to a point where they like their own stuff. You would think right? Practice makes perfect, huh? Feel like you’re in an artistic songwriting loop, eventually coming back to where you started? Listen with intent. Spiral. Notes. There’s your ticket out of it. You’re welcome.
There are many elements to listen for, maybe countless ones. But MOST good music has a sense of atmosphere. This is why I like to know where artists are from. I like to think where they grew up or what they grew up liking has had an impact on their music. Sometimes I find myself daydreaming about visiting places like London, just for the music I listen to that comes from there. We as songwriters have a unique ability to make folks want to be where we’re at geographically. I learned that from listening to music. There are so many street names, neighborhoods, and other locations in lyrics, it’s hard not to get caught up in the geography. When you listen for notes to your own music, ask yourself if it applies, “Where is this song located?” This doesn’t have to be mentioned in lyric, by the way. It can be cleverly infused in the music. Many popular places have their sound.
Listening comes down to more than just atmosphere. Rhythm and Melody come into play sooner than atmosphere most times. Are you making melody to rhythm? If you’re not, why? I’m not saying you’re wrong, but surely you have a reason. Dissonance is a neat tool, but can drive folks away.
Where I see a lot of feelings hurt is when the artist gives the listener incomplete material, hoping they see past the imperfections and missing parts. This relationship doesn’t work. Whoever listens to your music is a listener. Period. Even if they’re another artist. This means they won’t appreciate that clever hook, or twisting melody unless it’s presented in near final form. They might try to piece it together like you with a partial recording or performance, but if the song isn’t done, it isn’t fair to expect them to follow it. It’s just manners.
Seeing your own work objectively simply means you put on your objective hat and criticize yourself. This isn’t a license to beat yourself up because you’re trying to improve, after all. But, it is a chance to work on that second verse, tighten up that chorus, and throw in a harmony vocal.
Thanks K