In brief, songcircles are 2-3 hours long and designed to give writers an opportunity for peer-critique of their work. For an example of the template Aortas uses, download the AORTAS Songwriting Workshop Feedback Sheet.doc

Purpose

The purpose of the song writing circle is for one or more songwriters to have one of their songs dissected, evaluated and potentially have suggestions for improving it. A sub-goal is for participants to learn about other strategies for writing songs and get better at writing songs themselves. This also applies to participants who do not have a song in the circle. The song's copyright is established and protected by the process in a way described further below. Although creative input from the circle may radically change the quality or meaning of a song, it should be made clear that this is in no way a co-write situation: all feedback and suggestions are offered without obligation; by the same token, if someone contributes an excellent line which the songwriter subsequently uses, they should not feel aggrieved if the person providing the line also uses it themselves (discuss!).

 

Execution

Prior to coming together, songwriters should print out copies of lyrics (with chords if they are able); this sheet will have space for a signature and a date, which establishes authorship of the song with reasonable certainty.

First it is determined how many of the present songwriters would like to have a song evaluated. Ideally there should be 45 minutes allocated to each song, but at the very least 30 minutes. Depending on the time allocated for the circle and the number of songs up for evaluation it is now decided if the circle should be split into sub-circles, and suitable spaces should be considered for this eventuality. The chairperson should bear in mind that for everyone's comfort breaks should take place and ideally all should be present in the circles between breaks.

 

Now the songwriters who have a song up for evaluation take turns going through this process:

 

Evaluation of the song

First the song is performed.

 

The performing songwriter now acts as moderator allowing all of the other participants to give their initial first reaction feedback if they have any. If the songwriter is not allowed the right of reply or explanation before this initial feedback, it represents most faithfully the response of a new listener to the recording. On the other hand, if the writer is allowed to introduce the song with some background, this may be more true to a live performance context.

 

When there is no more initial feedback, the songwriter distributes the lyrics on paper to the other participants. When the other participants have had a chance to read through the lyrics the performing songwriter again acts as moderator.

 

Second round of feedback will dig deeper into the song, e.g. Lyrics, melody, hooks, harmony/harmonic rhythm, the 'big idea' behind the song, and performance (e.g. Intelligibility of lyrics, relative volume of voice to accompanying instrument, dynamics). At this point the songwriter may ask the listeners to focus on specific aspects they may be having trouble with. 

 

When there is no more feedback, the songwriter performs the song again, it is often seen that this second time around sparks new ideas or highlights new problem areas because of the intermediate work done by the circle.

 

After the second performance the songwriter is again moderator for a final feedback round. This feedback round should usually be kept short. It is often in this third feedback round that discussion can begin to deviate from what needs to be the focus of the group, so keep it tight.

 

When one songwriter is finished, the turn progresses to the next until all songs have been evaluated. A chairperson should be delegated to make sure each songwriter does not exceed the allotted time, progressing the above process as they think necessary.

 

If the circle was split up into sub circles, often we end by listening to all songs so that every participant at least hears all songs.

 

 

About feedback

Notice that feedback should be constructive and polite, but the participants should not only focus on the well-functioning parts. It is vital for a circle that if a song has problems they too are highlighted.

It is also important that everybody remembers that the feedback is subjective, and participants should be encouraged to qualify that this is the case ("for me….I feel…this part confuses me" rather than "this part of the song is confusing/does not work very well). When you give your feedback you give it from your perspective, so two participants can have totally different views on a particular subject. The songwriter having a song up for feedback can pick and choose from the feedback and decide for himself what he/she wants to use if any of the feedback.

 

Here are some examples of feedback:

·      This part of the song works really well. (pointing out a particular stanza, verse or other sub part)

·      This part of the song is confusing (to me). (pointing out a particular stanza, verse or other sub part)

·      This part of the song does not work very well (for me), maybe you could… . (pointing out a particular stanza, verse or other sub part)

·      If you change this word to be … it would strengthen the message, or help get the message better across.

·      I don’t understand the message, do you have a message you would like to deliver?

·      I like the song.

·      To me it feels like this song is finished

·      The song is a bit long, maybe cut a verse?

·      You could make the dynamics more interesting if you add a middle-eight where you sing really low.