Pearls of Songwriting Wisdom
Pete Seeger once said that “all songwriters are links in a chain,” and his body of work defends that statement. Known as a legendary folk singer, Seeger turned to roots music and storytelling tradition as sources for inspiration. He helped bring classic American spirituals back into the public consciousness during the 1960s. Along with fellow folk musician Joan Baez, Seeger ushered in an era of musical activism by reviving “We Shall Overcome.”
Seeger’s statement suggests an understanding and appreciation of musical history. Listeners can hear evidence of his dramatic influence on the radio today. Baby boomer troubadours like Joni Mitchell and Bruce Springsteen continued in Seeger’s songwriting tradition by penning tales of the less fortunate. Songwriting tips can’t be etched in stone because each artist taps into creativity in his or her own way. Take a lesson from Pete Seeger, however, and you won’t go far wrong.
One thing you will find that is popular in the Irish capital is traditional folk music. By going around the streets of Dublin like the Whelan’s in Camden Street, you will surely find traditional and folk music. This is one exciting spot has the best of Ireland’s talented folk performers.
A vast array of instruments are utilized in Irish folk music; and while fiddles and flutes are the first that come to mind, the banjo and guitar are now commonly used as well. Some famous Irish bands who have been very successful in taking traditional Irish folk music to the world are the Clancy brothers, The Dubliners and The Chieftans, Tommy Makem and Altan. These bands were even given tribute by the Irish post office by means of coming up with stamps of these iconic bands. Because of the distinct and mesmerizing sound of traditional Irish folk music, The Chieftans music, as well as The Dubliners’ and Clancy Brothers’ has been very popular all over the world.
Before the computer age, upstart songwriters had it tough. Options for laying their music down on tape were extremely limited. They had to scrimp and save just to afford some studio time to lay down a few tracks. Alternatively, they could utilize a four-track recorder to capture their work in grainy low fidelity. The rise of songwriting software programs has turned that entire paradigm on its ear.
These days, songwriters can record professional-quality material from the comfort of their own home. But recording isn’t quite the right word. They can tweak their sonic creations to a tremendous degree, making them sound as sparse or layered as desired. Such software programs make the life of a struggling musician a bit easier; the only thing they can’t do is guarantee a big record deal. And although some people enjoy the sterile sound of these recordings, many people still desire the raw nature of Deering banjos and traditional folk and bluegrass tunes.
Although there are many folk heroes of the American music scene, Woody Guthrie was a true titan among men. He grew up in dire poverty on the Oklahoma prairie and began collecting the regional songs he heard older people performing. This marked the beginning of Guthrie’s legacy as both a songwriter and a musical historian. He kept many traditional songs from dying out completely over time, using everything from mandolins to harmonicas.
In 1940, he wrote “This Land Is Your Land,” a song that’s still identified with American civic pride. During his later years, Guthrie focused on writing protest songs in response to the social injustices he perceived in the world around him. He also inspired and mentored the young Bob Dylan. Woody Guthrie will forever be remembered for his ability to capture the spirit of the times in his folk music.
For those unacquainted with the dulcimer, the first line of business is to point out that two distinct instruments carry the moniker. An Appalachian dulcimer, also referred to as a mountain dulcimer, is a stringed instrument that was highly popularized in American music during the 1800s. Typically, the instrument is played by placing it on your lap, allowing for strumming and fretting from that position. While the instrument experienced a resurgence in the 1950s thanks to folk music, it has never been able to garner mainstream acclaim.
The other type of dulcimer is the hammered dulcimer, and it bares little resemblance to its counterpart. While also being a stringed instrument, the hammered dulcimer is a trapezoidal board and played by striking the individual strings with small mallets. Although the origins of the instrument remain obscure, it is believed to be a relative of the santur from Persia.
The five-string banjo presents a unique problem when using a capo. Since the fifth string doesn’t start until the fifth fret, capoing the four long strings at the most common frets (two, three, or four) leaves the fifth string unaltered. A number of solutions have been devised over the years. Simply re-tuning the fifth string is always an option, but tightening and stretching the string beyond its intended range repeatedly can cause it to break. Plus, the fifth string won’t note correctly when fretted. Fifth-string capos are available; some attach permanently to the side of the neck and some clip temporarily onto the string.
Earl Scruggs solved this problem by hammering a couple of his wife’s bobby pins into the fingerboard at the desired frets, leaving a small length of pin sticking out of the fingerboard and bent over so that the fifth string could be slipped under it. Pete Seeger illustrated the same idea in his pioneering book “How to Play the 5-String Banjo”, using a screw placed in the fingerboard. In more recent years, players have turned to less-obtrusive HO-gauge model railroad spikes to provide a simple and reliable way to capo the fifth string.
I think at one point or another, we’ve all thought about learning to play the guitar. But no matter who you are, when you start playing the guitar you’re terrible, and it takes a lot of time, dedication, and practice to get better. When I was about 13, I told my parents I wanted to learn how to play the acoustic guitar, and of course they gave me that sort of parental sideways glance. I knew acoustic guitars weren’t cheap, nor were the lessons, and since I hadn’t played before, there was no guarantee I’d continue. My parents made a deal with me; they said they’d pay for half of the guitar if I paid for the other.
I worked for a whole summer as a part time paperboy, and earned my half of the guitar. My parents were true to their word, and covered the other half after I had thoroughly examined all of the Johnson guitars the local shop had to offer. I think that because I worked for it, the guitar was a lot more important to me. I played it all through junior high and high school, and when I was 18, a few friends of mine formed a band and played together all throughout college. While I’m not a professional musician now, it was a whole lot of fun!