Tony Conniff Songwriting Workshops

25 Songwriting Assignments

by Tony Conniff
 Foreword
No matter what your level of songwriting experience, the assignments in this short book can be
useful to you. Many experienced and skilled songwriters, as well as less experienced ones and
beginners, have found this to be the case. If a certain assignment is too complex (say, for
example, you don't know enough harmony to do it), feel free to skip it. But first, try it if you can.
Even stumbling through an assignment, or just using it as a writing prompt, may lead you to
something interesting.

And that's the main purpose of these assignments - they might lead you to write something
interesting that you wouldn't have otherwise written.

These assignments might also lead you to:

* Have fun. Writing a song is fun. Particularly when it's challenging. Embrace the
challenge; that's where the real growth - and fun - is.

* Get writing - now.

* Get writing differently - to stretch your limitations, get you out of your comfort zone.
To some extent, making you uncomfortable is the whole point of these assignments. This may be
a strange idea to some. Songwriting often comes from a very intuitive place, and certainly a
deeply subconscious one, and the idea of an 'assignment' might feel extremely counter-intuitive.
But I believe it's worth pushing beyond one's comfort zone.

Some people grow rapidly as writers on their own. But many of us don't. Or  we  do…  and  then  
we hit a wall. For most writers, artistic growth can be accelerated by challenges, both technical
and emotional. Those kind of challenges - some modest, some not - are what I've strived to
provide here.

I believe you'll get the most out of these assignments if you read them carefully and do them as
'correctly' as you can. However, the most important thing is that they might lead you to write a
cool song that you wouldn't have written otherwise. So try to follow the path I've laid out for
you…  but  if  it  leads  you  to  wander  down  another  path,  as  long  as  you  get  a  song  - or at least the
possibility of a song - out of it, that's great.

***

All songs should be written from scratch, for the assignment, completely NEW. Don't use that
riff or title you've got laying around. COMPLETELY new! Try this; you'll like it!!

I suggest you do these assignments on a schedule. It  can  be  a  loose  schedule  but…  a  schedule.
One a week? That would give you 50 songs in a year, with two weeks off (and  I’ll  send  you  25  
more assignments if you do this!) That's a lot of songs. One every two weeks? 25 songs in a year,
with a two-week vacation. Also a very respectable level of production. One a month…  that's  12  
songs a year  right  there… Pretty good.

©2014 Tony Conniff Songwriting Workshops --- www.tonyconniff.com

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Or  you  can  just  dip  in  and  use  this  book  whenever  you  feel  like  it…  or  whenever  you  need  a  
push (or a shove). That's fine too. One of my mottos is: Something Is Better Than Nothing. If
this book helps you write something, we'll both be happy.

A schedule creates a deadline. Most professional writers will tell you that a deadline is the
greatest spur to creativity. So use these assignments with another writer, join a songwriting
workshop, start a band (or a duo), go to open mics,  book  a  gig  or  a  recording  session…  anything  
to create a deadline or a situation where you're accountable for finishing a song (or at least
getting it into a presentable form).

I suggest making a point of listening closely - from a songwriting standpoint - to the examples
mentioned in the assignments (you can find most if not all of them on YouTube). You'll learn a
lot right there.

If you're a Songwriting coach or teacher, or facilitate a songwriting workshop, feel free to use
these assignments and/or adapt them. If, in the process, you can credit me and my workshops, I'd
appreciate it.

Finally, if you have any thoughts or comments on these assignments, please contact me and
share them. I'd love to hear from you.

***

I culled these assignments from my work with many songwriters of every different style, genre,
gender,  age  group,  ethnicity…  I'm  in New York City, after all! In 2001, I began teaching
Beginning Songwriting for NYC's Gotham Writers School. I'm indebted to the great people at
Gotham for that opportunity and glad to say that my affiliation with them continues. In 2007 I
launched Tony Conniff Songwriting Workshops, where I've worked with hundreds of
songwriters.

I dedicate this short book, with humility and gratitude, to the many songwriters who've trusted
me with their songs over the last decade-plus. Working with all of these writers has helped me
clarify my ideas about songwriting (in addition to many other things) and in the process has
made  me  a  better  songwriter,  a  better  teacher…  maybe  even  a  better  person.

Thanks to the readers of my weekly Songwriting Blog (www.tonyconniff.com/blog), for many of

the same reasons as above. And finally, thanks to my good friends/fellow writers who, aside
from inspiring me on an ongoing basis, helped improve this small book by reading it,
commenting on its contents... and even in many cases doing the assignments - Chris Gerolmo,
Michael Tanner, Julie Kathryn, Paul Weinfield, Tamara Hey, Nhu An Do, and Ilina Simeonova.

©2014 Tony Conniff Songwriting Workshops --- www.tonyconniff.com

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 25 ASSIGNMENTS
1) Write a NEW song with a Chorus that has only one line of words and melody.

For example: (All We Are Saying Is) Give Peace A Chance, No Woman No Cry, Photograph,
Sweet Old World, Get This Party Started.

A phrase or word that repeats, with no further elaboration (in the chorus).

The words can be sung more than once within the musical phrase (such as in No Woman No Cry,
or Photograph - a one word chorus). Any musical style is fine. The verse and bridge (if you have
one) can be anything you want.

2) Write a NEW song in the 'Verse with Refrain' form. No Bridge.

Useful examples of this form include Blowin' In The Wind, Positively 4th St., Amelia, I Walk The
Line, Ode To Billie Joe, Gentle On My Mind, Reason To Believe, California Dreamin', Bridge
Over Troubled Water...

The verses should be musically identical, each followed by the same short refrain. Except for the
refrain, the lyrics change every verse and often tell a story. The short refrain contains your title
and should be musically and lyrically identical for every repeat.

Write this song in any musical, rhythmic or lyric style - but use this form! And mind also that the
stresses and rhyme scheme you set up remain identical from verse to verse (as it does in the
above songs).

3) Write a NEW song, taking a song (not your own) that interests you and switching the
viewpoint of the lyric.

For instance, You've Got A Friend could become I Am Your Enemy. I Feel Good could become I
Feel Like Sh*#, etc. Please don't be this literal (you don't have to go from the title, just the point
of view), but this is the idea.

You could also take a song written TO an absent lover and write it from the point of view OF the
absent lover (who maybe doesn't miss the other quite as much...). Or take a song about faith and
write a song of doubt... Switch it up in a way that's interesting to you.

This should NOT be a parody. The music should be your own, in any style, giving no clue as to
the lyric's source.

©2014 Tony Conniff Songwriting Workshops --- www.tonyconniff.com

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4) Write a NEW Verse and Chorus (if not a whole song), following these guidelines:

Any melody notes used in the first two lines of the Verse should not be used in the Chorus. Any
melody notes used in the first two lines of the Chorus should not be used in the Verse.

5) Write a NEW song with an 8 to 10 bar Verse melody (about 4 or 5 lyric lines long) that,
through the whole section, builds and moves up the scale. The range of this melody shouldn't
exceed one octave and one step - for instance from C1 to D2, etc.

Then... if, for this assignment, you've written a ballad, do the assignment again, only this time as
an uptempo or dance tune.

Conversely, if you initially write the assignment as an uptempo Verse, then write another Verse
melody that's a ballad.

So…  you  end  up  with  verses  for  two different songs, written in different styles.

Then you can finish both songs.

6) Pick a painting or photograph that has resonance for you and/or interests you in some way.

Write a NEW song sparked by something about the picture.

For example, it could be written about, or from the viewpoint of, someone in the picture. It could
be about the situation in the picture. It could take place in the setting of the picture. Etc., etc.
Choose your own angle.

The song can be in any style, genre, tempo, or form.

7) Write a NEW song based on a particular dream (or dreams) you've had. (Not a song about
dreams in general.)

©2014 Tony Conniff Songwriting Workshops --- www.tonyconniff.com

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8) Write a NEW song that uses the title as a refrain between every phrase, almost like a chant.
Some examples are The Israelites, Cut The Cake, The Girl Can't Help It, and Percy's Song.

Particularly check out the different kinds of melodic and rhythmic invention and variety between
the repeated title phrases in the songs above.

The other parts of the song (if any) can be whatever you want.

9) Write a NEW song that uses the following guidelines:

In the verse, have the bass notes, chords, and melody notes all be in one mode (scale).
Since this section will stay in one harmonic 'color', focus on making the melody surprising -
consider utilizing irregular phrasing and melodic jumps (as well as repeated motifs).

In the chorus, go to another key (you can use the pre-chorus, if you have one, to get there).
Approach it more freely than the verse chordally, but simplify the melody, and the rhythm of the
melody.

10) Write a NEW song involving (or about) MONEY.

Any musical style or genre is OK.

11) Choose a well-known recording artist. Write a NEW complete song for him/her/them, in a
style that's familiar for them. How about a follow-up to their last hit?

12) Write a NEW song where EITHER -

The verse uses mostly Major chords and the Chorus uses mostly Minor chords

OR

The Verse uses mostly Minor chords and the Chorus uses mostly Major chords.

Mostly = over 75%

©2014 Tony Conniff Songwriting Workshops --- www.tonyconniff.com

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13) Write a NEW Pop song using blues, or blues-related, music (melody, rhythm, chords).

Examples - Crosscut Saw, You Can't Do That, Can't Buy Me Love, She's A Woman, I Still
Haven't Found What I'm Looking For, Little Bird, A Change, Ruby Baby.

14) Write a NEW song incorporating a 2 or 3 note melodic/rhythmic motif. Ideally you'll use this
motif to both set up and 'pay off' the title/chorus, as is done so well in these examples:

Yesterday (The Beatles) uses a 3 note motif under the title at the beginning and end of each
verse. Melodically, in each verse, it consistently follows a "high-low-low" 3-note pattern (a
higher note followed by two repeated lower notes) every time this phrase is used, until the last
time when the pattern changes to low-high-high.

Dancing Queen (Abba) uses a 3 note motif (melodically, a lower note followed by two repeated
higher notes - the opposite of 'Yesterday') throughout the verse, which pays off powerfully with
the same pattern, with higher notes, underneath the title.

Somewhere (from West Side Story) uses a repeated three note pattern (high-low-low, similar to
Yesterday) in the verse (for instance, under the words "place for us...", and continuing). Then it
develops a different, 2 note pattern under the rising melody of the title, "Somewhere".

Any musical style or genre is OK.

15) Write a NEW song that has absolutely NO Chorus or Refrain.

You don't have to imitate them, but here are some examples: All Along The Watchtower (Bob
Dylan), The Trapeze Swinger (Iron & Wine; written by Sam Beam), Pyramid Song (Radiohead)

16) Write a NEW song based on a situation and characters from a movie that interests you.

Try to define what in the movie is most compelling to you (a character or characters, a
relationship,  a  place  or  places,  the  story,  what’s  at  stake  dramatically,  atmosphere,  any/all  of  the  
above, etc.) and then render that into the song. You can change the names, place, leave things
out,  etc.,  but  keep  what’s  important  to  you  from  the  movie.

Any style of music or genre that seems appropriate to the film is fine.

Don't depend on reminding people of the movie or on people knowing the story from the movie
to make the song powerful; it's got to stand on its own.

©2014 Tony Conniff Songwriting Workshops --- www.tonyconniff.com

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17) Write a NEW song sung by, or about, a character who gets what - or who - he/she wants.

And then... what can happen when someone gets what they want.

Any structure, style or genre of music is fine.

18) Write a NEW song based on a GROOVE.

from Wikipedia:

Groove is the sense of propulsive rhythmic 'feel' or sense of 'swing' created by the interaction of
the music played by a band's rhythm section (drums, electric bass or double bass, guitar, and
keyboards). The term is mainly used in the context of genres, such as funk, rock, and soul.

Find a steady rhythmic underpinning that interests you and sink your song into it.

Make the melody, rhythm of the melody, harmony, and lyrics as indispensable as possible to the
rhythm of the music, and vice versa.

Think about the words, chords, and melody building the momentum of the groove (without
changing it), rather than trying to make it exciting with dynamics in writing.

Examples include Hit The Road Jack, Rock Steady, Got To Give It Up, Give It Away, Oops,
Blurred Lines...

This song can be in any genre, tempo, feel. It doesn't have to be a cliched "funk" song, or
anything like that (but it can be funky!).

19) Write a NEW song involving Betrayal.

Any style or genre is fine.

20) Write a NEW song in the voice of a character who is as different from you as possible.

Write what the character him or herself would say and commit yourself to it (in the song). Don't
comment on or distance yourself from the character; rather, get inside them and their point of
view.

Musically, it can be in any style or genre.

©2014 Tony Conniff Songwriting Workshops --- www.tonyconniff.com

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21) Write a NEW song that tells a story.

Write something that has a progression in the circumstances of the narrator and/or characters.
Have their situation and/or relationships change with time.

Have each verse take place at a different time (and place, if you want).

Also, think about how to end it in a satisfying way - a surprise, or twist? Something that feels
inevitable? Ambiguous? Shocking?

Any form of song or style of music is fine.

22) Write a NEW love song that uses some 'non-words' (la, sha, mmm, ooh, doot, etc.) in the
chorus (for example: La-La Means I Love You, Ooh Baby Baby) or a refrain (for example: Brown
Eyed Girl... Walk On The Wild Side - though not a love song...).

The idea is to use, as these songs do, the sound(s) to express another, even deeper level of
emotion than words can convey.

The sounds don't have be in the title, but they should happen close to it!

Any style or genre of song is fine.

23) Write a NEW Song with a Shuffle rhythmic feel.

(A shuffle, or 12/8, rhythm means that each beat is split into three parts, with the first and third
part usually given emphasis - think of a blues [12/8] feel - Bum-baBum-baBum-baBum-ba). This
is a rhythm that can be adapted to many different feels or styles of music.)

Examples of songs with a Shuffle feel include:

Penny Lane, Got To Get You Into My Life, All You Need Is Love by The Beatles
Higher Ground by Stevie Wonder
Everybody Wants To Rule The World by Tears For Fears
Love Song by Sara Bareilles
I Kissed A Girl by Katy Perry

A note regarding the tempo - a shuffle is a Rhythmic Feel (which has to do with how a beat is
subdivided), not a Tempo (which has to do with beats per minute - fast, medium, slow, etc.). So a
Shuffle feel can be played at any tempo.
And tempos can be deceptive - many of the songs mentioned above actually have a pretty slow
tempo, but they still really move. So your song doesn't have to be at a fast tempo, but it should
move.

©2014 Tony Conniff Songwriting Workshops --- www.tonyconniff.com

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24) Write a NEW Verse/Chorus song.

Give yourself 2 hours. No more.

Use three chords. No More

Write about an object, not a subject (that is - a thing; not directly about a person).

Make the Chorus melody higher than the Verse's.

Write at least three Verses.

Bridge optional.

25) Write a NEW song about a good person.

Any style or genre.

©2014 Tony Conniff Songwriting Workshops --- www.tonyconniff.com

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