Make Your Songs Current Understanding Your Guitar and Leading In Cowrites

By: Mike Meiers Intro

The guitar is one of the most powerful tools for a songwriter. It can set the tone, and give a song dynamics both melodically and rhythmically, which sets you and your cowriter up for a fantastic song. Far too often many songwriters feel that having control of their guitar is out of reach. I hear it over and over during cowrites with others, and from students:

“I wish I could, but it’s impossible”

“I don’t think I’m capable of it”

“Lets be honest, some people just have a talent for it”

Sound familiar? I was in the same boat as you, and every songwriting guitarist has felt this before. You feel inadequate, and not capable of understanding the instrument you’re holding. You almost feel like a fraud! You have just one set of chords, and one set strumming progression . . you’ve hit a wall. But we can choose to stay where we are, or move forward. I’m not going to say that it’s easy. If it was you wouldn’t be reading this! Like any craft this is going to take work, and dedication. You’ll have to carve out the time and be persistent!

Over my years of teaching guitar full-time, and writing for various artists there are three things every songwriting guitarist needs to be aware of. If you start implementing these into your writing you’ll have a better tools in your songwriting kit, understand your guitar more, and lead confidently in your cowrites.

Ready to jump in? Let’s get started! Voicings

Each box is important, but this one really defines the genre you’re trying to aim for. So, what is a voicing? Voicings are how a songwriter distributes the shapes that we use to play a set chord progression. Here are a few you might know:

• Open Chord Shapes

• Power Chord Shapes

• Barre Chord Shapes

• Roots/3rd Shapes

Those are the most commonly used voicings, but the are often mismatched to the wrong genres. Why does this matter at all? If you’re not thinking of what voicing to use for the genre your aiming for, your melody will be greatly effected. Here’s an example. . .

Let’s say I’m all set to write with an up and coming pop artist who loves Billie Eilish, Khalid, and Lauv but I bust out my power chords from my punk rock background. There’s a good chance we’re walking away with a mismatched Frankenstein song. They'll think my writing is dated and out of touch. I most likely won’t be writing with them again! Would that matter to me? YES! I want my writing to stay current. When I write with someone new, that’s a connection I want to keep.

A few things go into finding what voicings work. This takes a bit of research on your part and knowing what to listen for, but here’s are some notes on where to start:

• Open Chords

These are the ones most beginner guitarists learn. These utilize the open strings on your guitar. They sound great, but at times can seem a bit over-powering. These are most commonly used in Country, Folk/Singer Songwriter, and Americana.

• Power Chords

These sound big, and are meant to stand out. Unlike open chords that have various shapes, power chords keep to one. Think Power-Pop, Punk, Pop-Punk, and Grunge. • Barre Chords

These carry a similar form like the power chord, but are fancy (aka the dijon mustard of chords). Your first finger barres the majority of the strings . . .hence why it’s a barre chord. These can be used in similar genres found in open chords but this also includes Reggae, Ska, R&B, and Jazz.

• Root and 3rds

This has been my current go-to voicing for multiple genres. I’ve strummed it, plucked it finger picked it. . . .it has been my Swiss Army knife of chords. This particular voicing utilizes the Root (this is the guide note of the chord, the root of G is. . .G) and the 3rd (which is the second note of the chord). The iconic Beatles song “Blackbird” uses this. Other songs like “Holiday” by , “Love Yourself” by Justin Bieber, and “Unforgettable” by Thomas Rhett use these shapes. You see what I mean? This voicing crosses so many genres.

Techniques can help us define it even more. What techniques you ask? Let’s find out!

Take away: What genres are you looking to write for? Write them down, find artists that fit that, and listen to them. Now that you know what genres are using what voicings, listen for them each time you hear music playing. Start playing along with those songs. Techniques

Techniques are a useful tool so many songwriting guitarists overlook. Techniques help add dynamics, spice up your song, and define your genre more. Unlike voicings, you’ll find that techniques can be used in multiple genres.

• Palm Muting

In palm muting we’re literally placing the palm of our hand on the side of the bridge of the guitar to create a “chunk chunk” sound; aka bringing the dynamics of the song down. Dynamics is the overall volume. Most of the time songwriting guitarists just strum loudly for the whole song, which adds no definition, making the song structure feel flat. There are even different types of palm muting:

• Straight palm muting Continuous and non stop, much like the intro of “Still Waiting” by Sum 41.

• Percussive palm muting Moments of muting mixed with pick hits in the center of the strings. Think of “Have It All” by Jason Mraz.

• Accented palm muting This is palm muting that has moments of lifting off, and on. Listen to the intro of “Stay Gold” by Butch Walker.

• Grooves

Palm muting is a fantastic element to helping you establish a groove for your song. Grooves can keep your song moving froward without detracting from the melody, but its energy is still present. Illenium’s “Good Things Fall Apart” and “Keep It To Yourself” by Kacey Musgraves are fantastic examples of grooves.

• Pull Offs/Hammer Ons

These next two techniques are often paired together. They’re subtle but when removed from a song their absence is noticeable. In a pull off, you’re using your finger to flick off a string. In a hammer on, you’re using the momentum of one pluck to press into the next fret. You can use this technique between open chord changes. Think of Tom Petty’s “Wildflowers” or “Where’s My Love” by SYML

Take away: Techniques can add movement without overpowering key moments in a song’s melody. Listen through the songs mentioned and find ways to start adding them into your songwriting. Strumming

The last important step is finding the strumming patten to match the genre you’re aiming for. The count matters when it comes to strumming patterns. Knowing how to vary them can help you change throughout your song.

Example: Verse: 1 2 and 3 4 and Chorus: 1 e and a 2 e and a 3 e and a 4 e and a

• Up Strokes

In genres like ska and reggae, up strokes make the genre! In this pattern up strums are emphasized more. A percussive muting is added on the down. Listen to songs like “Superman” by Goldfinger or “Have It All” by Jason Mraz.

• Swing/Ballad

If you want your song to have a swing or ballad feel like “Perfect” by Ed Sherran or “Hopeless Romantic” by Meghan Tranior, a count of 6/8 or 3/4 can achieve this.

Example: 1 2 3 4 5 6, 1 2 3 1 2 3

• Punk Strum

There are many versions of this strum depending on the decade you’re aiming for. In "Blitzkrieg Bop” by The Ramones, straight down strums happen. When practicing this there can be stiffness in the wrist, but you want to keep your wrist loose. Another version of punk strumming can be found in “Linoleum” by NOFX. This faster strum involves more up’s (down, up, up, up, up) .

Take away: Strumming patterns can enhance and define your song and style even more.