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FAQ: Understanding How, When, and If to Use AI for Songwriting at SongU.com

The challenge of responding to the rapid rise of AI in song creation is an ongoing discussion in both the music industry and at SongU. Legal and philosophical considerations enter the conversation, creating differing responses, interpretations, and confusion. Several of the legal implications, including intellectual property rights, the use of AI models trained on copyrighted material, and what constitutes human expression, are still to be determined.

But we do know some things. In late January 2025, the official report by the Register of Copyrights, Copyright, and Artificial Intelligence, Part 2: Copyrightability, released new information and guidelines that help clear up some of the legal questions, including a critical one – “Can my AI-generated songs be copyrighted?” 

Since this is a rapidly changing subject, this document is not meant to be legal advice. Instead its purpose is to explain how and why we’ve adopted our policies regarding AI at SongU. When in doubt, you should always contact a qualified entertainment attorney who specializes in intellectual property or copyright law.

Ok, let’s address the copyright question and other questions that have been commonly asked at SongU.com in recent weeks.

What is copyright, and why does it matter?

Copyright protects your creative work and ensures that you, the songwriter, can control how it is used, performed, and licensed. Without copyright protection, anyone could use your song freely, including for commercial purposes, without your permission. Technically, the moment you create and fix your song in a tangible form (such as writing it down or recording it), it is automatically protected by copyright. However, registering your copyright with the U.S. Copyright Office provides official proof of ownership and strengthens your legal standing in case of a copyright dispute.

If you transfer or assign your copyright ownership to a music publisher, the publisher gains control over how the song is used and licensed. In this case, the publisher receives the publisher’s share of royalties while you continue to receive the writer’s share.

Here’s a real-world example: When Paul Simon wrote, recorded, and published The Sound of Silence in 1964, he had no way of knowing that in 2015, the hard rock band Disturbed would re-record (“cover”) and release it as a single. Their version became a hit and reached #1 on the Billboard Hard Rock Chart. Because Paul Simon was the copyright owner at the time, he received royalties from the song’s performance and mechanical licenses. In 2021, Paul Simon sold his entire songwriting catalog to Sony Music Publishing for approximately $250 million. As a result, Sony now owns the copyright to The Sound of Silence and his other songs. Moving forward, Sony—not Paul Simon—will collect all publishing income and control how his songs are licensed or used while Paul Simon continues to collect the writer’s share of the income.

What’s the correct terminology to use?

Misinformation and incorrect terminology about a song’s copyright often leads to confusion. So, first we need to agree on clear definitions.

  • Music – A sequence of sounds arranged in a melodic structure. When human-authored, a melody is copyrightable as part of a song. Note that production, demos, chords, and arrangements are not copyrightable since copyright protects a melody’s specific expression, not general musical ideas or styles.
  • Lyrics – Words intended to be paired with music. When human-authored, lyrics are copyrightable and may be protected separately from the melody.
  • Song – A composition consisting of both melody and lyrics. When human-authored, the melody, lyrics, or entire song can be copyrighted individually or together. AI-generated melodies or lyrics alone are not copyrightable under current U.S. law.
  • Demo – A demonstration recording of a song (melody + lyrics) to showcase the composition before full production. If AI generates any part of the melody, the result is an AI-assisted composition—not just a demo. In this case, saying that AI was used “only for the demo” is misleading.
  • Production – The instrumentation and arrangement in a recording. While production affects the final sound, it does not determine the copyrightable composition (melody + lyrics). A human-authored sound recording (master recording) can be separately copyrighted, but this is distinct from the song’s underlying composition copyright.
  • Ownership – Paying for an AI-generated song (e.g., via Suno) does not grant copyright ownership. AI platforms may provide usage rights under their Terms of Service, but under current U.S. Copyright law, only human-authored works are eligible for copyright. AI-generated music cannot be legally “owned” in the same way as human-authored compositions.
  • Public Domain – Works free for public use because they are no longer protected by copyright, were dedicated to the public domain, or were never eligible for copyright (e.g., AI-generated works under current law).

What’s the big deal about using AI-generated music and lyrics?

Now that we understand copyright and the correct terminology, let’s talk about what happens when AI-generated music and/or lyrics enter the picture. As of January 28, 2025, the U.S. Register of Copyrights ruled that AI-generated works (lyrics or melody) cannot be copyrighted unless there is a “sufficient amount of human expression.” If AI generates any part or all of your melody based on your lyrics, the AI-generated portion is not eligible for copyright. Even if an AI Platform’s Terms of Service allow you to use AI-generated material commercially, according to the U.S. Copyright Office, you cannot claim ownership or copyright on that material because it lacks human authorship.

Back to Paul Simon. If generative AI existed when Paul Simon wrote The Sound of Silence, and rather than writing his own original music, he let AI generate the music, the resulting music would not have been eligible for copyright protection. Since there would be no human author, it would have no legal owner and, like an uncopyrightable work, could be used by anyone without restriction.  Anyone could use that music for their own purposes and profit. They could even add their own human-authored lyrics to it, in which case their new lyrics would be eligible for copyright protection, but the underlying music still would not be since it was rendered by AI, not written by a human.

Does re-working AI-generated music or lyrics make them mine and eligible for copyright?

Making edits to AI-generated material does not grant full copyright ownership, nor does “putting your own spin” on the production. Only the portions that you change with significant human transformation are eligible for copyright protection—AI-generated portions remain ineligible. Modifications or rearrangements are not enough to establish human authorship.

What If I used prompts to get the music or lyrics exactly how I want? According to the U.S. Copyright Office, if you write only the lyrics and AI generates the music, you can only copyright the lyrics, not the melody or the full song (lyrics + melody). Similarly, if you compose the melody but use AI to generate the lyrics, only the melody is copyrightable. Prompting AI to generate a melody or lyrics—no matter how detailed —does not qualify as human-authored.

An analogy: Let’s say you’re a woodworker who designs and handcrafts furniture. Your handcrafted furniture, designed, shaped, and built by a human, is considered an original work of craftsmanship and can be copyrighted. Compare this to a person using a computer-controlled furniture-making machine (a CNC) that automatically carves, shapes, and assembles furniture based on digital instructions. While you provide input, the machine is doing the creative execution.

In the same way, writing lyrics or a melody yourself is like handcrafting furniture—you’re the creator, and it’s copyrightable. However, prompting AI to generate a melody or lyrics is like inputting a design into a CNC machine. It follows your instructions, but you are not considered the creator under copyright law.

I’m a lyricist who does not write the music. When can I claim a copyright to a song?

Is there a problem with using AI to demo my song?

This question has both legal and philosophical considerations. A demo is a recorded version of a song (melody + lyrics) used for pitching or reference. If AI is used only for demo production (e.g., AI-generated vocals or backing tracks), but a human (or humans) wrote the underlying song (melody + lyrics), the song itself remains copyrightable. However, the AI-generated elements of the demo are not eligible for copyright protection as a sound recording because they lack human authorship.

Using AI to create a demo for a song you wrote (melody + lyrics) is generally acceptable, much like hiring session musicians to record a demo. The key distinction is that the AI-generated elements cannot be copyrighted as a sound recording. AI simply provides instrumentation or vocalization for your composition, which does not affect your copyright to the melody and lyrics. However, if AI generated any portion of the melody or lyrics, it is misleading to claim you “demoed” a fully human-written song. In such cases, you must disclose AI’s involvement in the songwriting process).

The philosophical dilemma. Many songwriters use AI to generate demos because the process is cost-effective and efficient. AI allows songwriters to experiment with production, tempo, and arrangement quickly. Some people argue that using AI reduces opportunities for real musicians and vocalists. Others note that technological advancements—such as Digital Audio Workstations (DAWs) like ProTools and Cubase—have also changed the industry. Some songwriters choose to have real musicians recreate their AI demos in the studio for industry credibility.

Can I pitch a song that uses AI at SongU?

Yes, with exceptions. A pitch guest will not accept AI-generated material in certain situations, such as when sync licensing restrictions apply.

However, for any pitch that does accept AI, you must clearly state how AI was used in your submission. This information must be included in the “notes to pitch guest” field and/or on the “lyric sheet” to ensure full transparency regarding AI’s role in your song. Use the following guidelines:

  • If you used AI for ANY portion of the lyrics or melody, you must specify which parts were AI-generated and which were authored by you.
  • If you and/or another human wrote all of the lyrics and melody but used AI to create a demo, state that your song was fully human-authored and that AI was used only for demo production.
  • If you supply lyrics to any AI Platform and allow AI to generate any part of the melody or lyrics, you must disclose it (e.g., ‘I wrote the lyrics, but Suno generated the melody and the demo’). If AI-generated both the melody and lyrics, this must also be clearly stated.

The takeaway: A human-authored song may utilize AI to create the demo, but if any part of the lyric or melody is AI-generated, the song must not be misrepresented as fully human-written in any pitch submission.

Why wouldn’t sync agents, music publishers, or artists want to hear an AI song?

  • Sync Agents – AI-generated songs create legal uncertainty for licensing in film, TV, and advertisements. Since AI-generated content lacks clear copyright ownership, securing rights for use can be risky.
  • Music Publishers – Publishers typically require clear ownership of songs to manage rights and collect royalties. If part of a song is AI-generated and lacks copyright protection, it complicates the ability to monetize the work.
  • Recording Artists – Many artists avoid AI-generated songs due to legal uncertainties, rights management issues, and ethical concerns about AI in creative works.

Full transparency is required when pitching AI-assisted songs at SongU.com so pitch guests can make informed decisions based on legal, financial, and other considerations.

Can I bring my AI-generated (or partially AI) song to a SongU song feedback course and/or submit it to a coach for a song evaluation?

Some instructors in our live Song Feedback Courses (FDBK) may be open to discussing AI-generated songs as part of the educational process. However, they may choose not to provide detailed feedback on AI-generated portions of a song. Some may only offer general comments on the overall feel, while others may decline to evaluate AI-generated material entirely.

Our song evaluation coaches generally focus on human-authored songwriting. While some may provide feedback on AI-assisted songs, they are not required to review AI-generated portions. We have asked all our coaches to add a note in their coaching philosophy area about how they intend to handle AI-generated content.

If you submit a song with AI-generated elements, you must disclose this upfront so the instructor or coach can determine how to proceed.

What if I register an AI-generated song without disclosing AI’s involvement? Who’s going to know?

Falsely claiming AI-generated content as human-created when registering a work with the U.S. Copyright Office can lead to serious legal and professional consequences. Music publishers and licensing agents require clear copyright ownership, and misrepresentation can permanently damage your credibility and future opportunities in the music industry.

In addition, knowingly submitting an AI-generated work as fully human-created is considered a false statement on a federal form and can result in:

  • Cancellation of your copyright registration – If the Copyright Office discovers AI-generated portions were misrepresented, they can invalidate your registration.
  • Civil penalties, including fines and potential lawsuits, especially if you attempt to monetize the falsely registered work.
  • Legal liability under U.S. law – knowingly falsifying a government form violates federal law.
  • Criminal penalties in extreme cases – If the misrepresentation is part of a broader fraudulent scheme, you could be charged under 18 U.S.C. § 1001, which carries fines of up to $250,000 and a maximum prison sentence of five years.

The takeaway: Misrepresenting AI-generated work as human-authored is not worth the risk.

Will AI-generated songs become more accepted in the future?

Possibly. But as of now (February 2025), music publishers, sync agents, and labels still rely on traditional copyright protections. AI-generated songs remain difficult to license because they lack clear ownership and cannot be copyrighted, making rights management uncertain for commercial use.

The U.S. Copyright Office is preparing a third report, which may address the legal implications of AI training on copyrighted works and how AI-assisted content should be handled. Additionally, ongoing lawsuits against AI companies could set legal precedents that influence copyright policies for AI-generated music.

Some companies, such as Monarrch and Humanable, are developing systems to track AI-generated content and identify copyrighted material used in AI training. If widely adopted, such systems could lead to new licensing models for AI-assisted songwriting that ensure compensation for original copyright holders. Currently, the long-term adoption and use of these solutions remains to be seen.

Where can I find reliable information about copyright and AI?

For the most up-to-date and legally accurate information, we recommend:

  • U.S. Copyright Office – The primary authority on U.S. copyright law, including AI-related rulings.
  • Copyright Alliance – A nonprofit organization providing expert copyright law resources and advocacy.
  • Stanford Copyright & Fair Use Center – A legal research center offering clear explanations of copyright law.
  • Qualified Music and Copyright Attorneys – Consulting a qualified entertainment attorney is the best course of action if you have specific legal concerns.

For industry perspectives on AI and licensing, you may also check:

  • ASCAP (American Society of Composers, Authors, and Publishers)
  • BMI (Broadcast Music, Inc.)

Be cautious of outdated, misleading, or non-authoritative online sources. Some websites promote false claims about AI disclosure rules or suggest ways to bypass legal requirements, which could put you at risk of copyright violations or legal consequences.

As of February 2025, the most recent guidance on AI-generated music and copyright law is found in the U.S. Copyright Office’s report, Copyright and Artificial Intelligence, Part 2: Copyrightability, which provides the current legal stance on AI-generated music and lyrics. We recommend staying informed on new developments since AI copyright laws may continue to evolve.

How should I proceed?

Songwriting has always been about human creativity and originality. The rise of AI does not change that—it remains the songwriter’s role to craft meaningful lyrics and melodies that resonate with listeners. Generative AI is a powerful tool, and like any tool (e.g., rhyming dictionaries), it can assist in the creative process. However, AI should enhance, not replace, human ingenuity. The most successful songwriters develop their craft through experience, emotion, and originality—qualities AI cannot replicate.

AI makes it easy to generate music at the push of a button, but the Copyright Office report clearly states that copyright protection requires human authorship. True artistry comes from human creativity and experience. Those who dedicate time and effort to honing their craft bring value to the music industry and should be rewarded for their originality.

Author’s note: I couldn’t have written this document without the help and assistance of my long-time creative collaborator and co-founder of SongU.com, Danny Arena. In addition to being a professional songwriter, he also happens to be a Professor of Computer Science at Vanderbilt University (where he’s currently helping to design their Generative AI minor).


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Natural Influences in June

“There is nothing more musical than a sunset – Claude Debussy”  

Debussy asserts that musicians “read but too little from the book of Nature.” What sights, sounds, or places in nature do you find musical? Share your thoughts in the comment area.

Thanks to @liveloveFranklin for this photo of my hometown


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Instructor Spotlight: Randy Klein Has a Cool NYC Debut This Month

Multifaceted songwriter, performer, producer and native New Yorker, Randy Klein, has been mentoring emerging songwriters at SongU.com since 2006 when co-creator, Danny Arena, randomly spotted Randy’s name online for winning a prize for one of his jazz compositions. At the time, we were looking for some additional genre-diversity within our coaching faculty, and once we read his extensive bio, we had a gut feeling that Randy could bring exactly what we needed to the table. As it turns out, Randy did have a “flair for feedback” and has since become a well-respected staple of our song feedback and coaching staff.

Adding to his award-winning credits from Emmys to gold records to fellowships and commissions with projects including jazz, musical theatre, soul/R&B, documentary film scores, and PBS children’s TV shows, he now has a World Premiere to look forward to. His composition “Fanfare For Jerusalem” will be performed in New York City by the 400 voice Hazamir Chorale at the Metropolitan Opera House, Lincoln Center on March 26, 2017.

I asked Randy to answer a few questions about  songwriting and what this newest commission means to him.

When did your music career begin and what were your goals when you first began?

I’m not sure when my music career began because I have never done anything else but music. There are pictures of me as a toddler reaching up to the piano to play. And, as far as goals are concerned, I only wanted to be a good piano player. Songwriting didn’t come into the picture until way later when I was in my late twenties.

What are the most important lessons you learned about the music business since starting out?

To be nice to everyone. Admit when you are wrong. Remember that it ain’t a gig until the check clears!

You have a very exciting project called “Fanfare to Jerusalem” that will be a worldwide debut performed at Lincoln Center in New York City. How did you get this commission? 

The commission for “Fanfare For Jerusalem” came to me because of my relationship to Matthew and Vivian Lazar, the founder and director of the HaZamir Chorale. They are my neighbors and live in my apartment building in NYC. They knew I was a composer and invited me to hear the chorale a year ago at a performance at Carnegie Hall. It was excellent, the sound of 400 voices blew my socks off, and the concert was of a very high musical aesthetic. I ran into Matthew and Vivian in the lobby of our apartment house the next day and told them how much I enjoyed the concert and mentioned that I would love to write for the chorale. They told me that the theme for the next year was to be the 50th anniversary of the unification of Jerusalem. I thought about this for a while and then pitched them the idea of composing a piece called Fanfare For Jerusalem. I wrote the main theme and proposed some original text in English. The text was not approved, but the concept and the main theme were. It was suggested that I look at the Psalms of David for text that related to Jerusalem. I did the research and found, using translations in English, four excerpts from the Psalms which I thought would work. These selections were approved.

Was it intimidating to write the lyrics in another language, especially one that doesn’t use the English alphabet?

The only drawback was that I did not speak Hebrew and the Psalms are in Hebrew. Matthew Lazar connected me with an associate who spoke the Psalms into a recorder in Hebrew, including a recording of each word sounded out phonetically. It was from this recording that I wrote Fanfare For Jerusalem.

How long did it take for you to complete it?

It took about 5 weeks of non-stop writing. I would study the pronunciation of a syllable, then a word, and then a phrase and I slowly put music to it. Hebrew is a language with some guttural sounding syllables that don’t sing very well, like ‘o-ha-va-yich’ and ‘b’-chei-leich’. The challenge was to set them and be musical. While, I was composing the music, I was also imagining the 400 voice chorale singing it. So, I was learning the sound of the words, composing and orchestrating for chorale at the same time. I presented the first draft in Matthew and Vivian’s apartment. I had them look at the printed score as I was playing and explaining the piece. The reaction was overwhelming. Vivian sensed that this was a very special piece and said it was going to be in this year’s concert at the Metropolitan Opera House. Matthew was already making musical suggestions to make it better. And, that they had decided to make the piece a commission. To say the least, I was overjoyed! Through Matthew’s suggestions about chorale writing and a series of about 11 rewrites, the piece was tightened up.

You almost make it sound easy, Randy. I’ve done more than 11 rewrites on a 3-minute Country song!

As a writer, I was thrilled because the original structure never changed and except for ‘one mis-stress’, I had set the text correctly. I was able to hear the language as it was spoken and paint it in a musical setting. The final piece is about 6 minutes long. The skill set I used to compose this piece was the same as I use to write songs in English. Listening to the way a lyric speaks, I used my songwriting ear to learn how the lyric in Hebrew spoke and set it to music. Lessons to learn… don’t ever be afraid to pitch a creative idea to someone…music is a universal language….develop your listening skills! And, the cool news is, my collaborator is King David!

Yes, that’s a great lesson: “Don’t ever be afraid to pitch a creative idea to someone.”  So, what’s the best piece of general advice you can give up and coming songwriters?

This is easy. Write every day, even if you are not inspired. Take an article in the paper and write a song about it. Write a song about ketchup. Just keep your pencil sharp.

What’s on the creative horizen for you?

-A book on songwriting titled, “You Can Write A Song!” (Fall 2017)
-Musicals in various states of completion: The Black Swan, Jubilee, Pandamonium and Speak.
-A piano improvisation project: Ambient Spaces
-Teaching songwriting – ongoing!

Name three of your favorite non-music related activities.

-Sitting in the middle of Greenwood Lake, NY on my 1995 pontoon boat on a warm summer day.
-Freshly brewed coffee.
-Riding my bicycle.

 

For more information and to purchase tickets to the March 26th world premiere of “Fanfare for Jerusalem” go to:  

http://www.metopera.org/Season/2016-17-Misc-Season/Hazamir/


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The Power of Simplicity by Danny Arena

On December 31st, when discussing what our guiding words would be for the new year, I chose the word “joy”, and Danny chose the word “simplify”. So with no further ado, it gives me great joy to offer up one of Danny’s timeless music related articles for songwriters. Read on to find out how to simplify your music. 

-Sara

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The Power of Simplicity – by Danny Arena

As the boundaries of popular forms of music continue to expand, it’s easy to get so caught up in modulations and syncopated rhythms that we can forget the power that a strong, simple melody can have. In my songwriting classes, after covering several new musical techniques, I always make a point of giving an assignment to write something simple musically. 

Simple Isn’t Easy
While a melody may be described as “simple,” the writing of it is usually far from easy. It involves achieving a perfectly natural balance between repetition and change so that the song is easily singable, but not boring. In this column, we’ll look at two of the components that make up a strong, simple melody. We have a tendency to think our own melodies may become dull when a musical phrase is repeated two or three times. As a songwriter full of musical ideas, it’s easy to end up with a song that has too many melodic ideas. In truth, some of the most well-known melodies like, “Yesterday” (Lennon/McCartney) and “Don’t It Make My Brown Eyes Blue” (Leigh) rely heavily on repetition. If one of our main goals as a songwriter is to write something that’s easily memorable, then by far the best technique available is the power of repetition.

Using Variation
The downside of repetition is that too much of it can bore the listener. I like to think of it this way:

Suppose you were eating spaghetti with red sauce for dinner four nights in a row. Probably by the time the third or fourth night rolled around, you’d be tired of eating the same exact meal. Now, imagine that you change the meal slightly each night: the first night – spaghetti with red sauce; the second night – Chinese sesame noodles; the third night – lasagna; the fourth night – penne pasta with garlic and olive oil. By making a few changes, the same meal can still be satisfying. It’s like that with your music – a little variation goes a long way

An Example
As an example of the power of repetition with change, let’s take a look at the John Michael Montgomery hit single, “Home To You” written by Arlos Smith and Sara Light (my lovely wife). The verse consists of a total of eight measures, but only two musical ideas, one of which is the following two-measure pattern that starts the song:

Home to You – Example 1a:

musicnotes1-powerofsimplicity

What makes the melody particularly memorable is the fact that this musical idea or motif is immediately repeated two more times (see example 1b below).

By the time the second verse rolls around, the melody is very familiar.

Example 1b:

musicnotes2-powerofsimplicity

From the song, “Home To You” written by Sara Light & Arlos Smith. © 1999 Mamalama Music (ASCAP)/Good Ol Delta Boy Music (SESAC). All Rights Reserved. Used by permission.

Although the initial musical idea (in example 1a) is repeated three times in a row, there are several subtle variations employed that help keep us tuned in to the music, allowing the repetition to work its magic without us becoming bored.

Notice the first time the musical idea appears, the chord pattern is a G chord followed by D (with an F# bass). But when the musical idea is repeated, the chord pattern changes and an Em7 chord is substituted for the G, which is then followed by C chord. This small harmonic variation in chord structure the second time allows us to return to the initial chord pattern again (G, D/F#) for the third time with fresh ears. Also, notice that each time the two measure musical pattern repeats, the melody begins the same, but ends a little differently. This is a type of variation commonly known as melodic variation and it is often due to the changing of the chords in the musical motif as in the case here. Finally, notice that rhythm of the melody changes slightly each time the musical phrase is repeated but is close enough to the original musical idea that it still reinforces it.

So the next time you hear one of your favorite songs on the radio, try to listen for some of those subtle variations in the music. They may be small, but they can make a big difference.

Hope to see you on the charts.

–Danny

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Danny Arena is a professor at Vanderbilt University in Nashville, TN, a Tony-nominated composer, and the co-founder of SongU.com.


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Guest Post by Danny Arena – Sharpen Your Music With The Flat Seven

Although I studied violin from the time I was 9 years old, played in youth orchestras throughout my school days and all the way through college, the person who taught me most about music is the today’s guest writer (and my favorite collaborator in songs and in life), Danny Arena. While I memorized scales, key signatures, and fingerings, I missed the big picture. Danny taught me how to regard all the elements of music from the individual notes, to the chords and harmonies, to the rhythms and structures. He explained it all to me in a simple and logical way that made me enjoy listening to all kinds of popular music, and even made me want to try to write it. Here’s an example of the ease with which Danny takes you on a musical journey – Sara Light

music notes clipart

Guest Post by Danny Arena – Sharpen Your Music With The Flat Seven

There are actually seven standard chords that are part of every key in which you may be writing a song. However the seventh chord, in its standard form, is not often found in most songs. But there is a variation of this seven chord called the flat seven (or flatted seventh) chord which does turn up in many hit songs. 

Formation of the Flat Seven Chord 
The flat seven chord is formed by first determining the seventh note of the scale of the key in which you are writing your song. Lower this note by a half-step (also known as “flatting” the note) and you have the flat seven. For example, in the key of C, the flat seven would be a Bb chord. In the key of G, the flat seven chord would be an F major chord.

How It’s Used
The flat seven is generally used in one of two ways. First, the flat seven chord can also be used as a “surprise” chord, where you set the listener up to hear a certain chord, but give them the flat seven chord instead as a “surprise”. This is how Jimmy Webb first popularized the use of the flat seven chord (in fact, the flat seven chord is also known as the Jimmy Webb 7th). The bridge in the Grammy winning song “Beauty and the Beast” (songwriter – Menken/Ashman) uses the flat seven as a surprise chord, as does the classic Vanessa Williams/Brian McKnight #1 hit “Love Is” (songwriter – Tonio K/J. Keller).

Second, it can be used as part of the motif chord progression in a particular section of your song. The bridge in the hit Country song “Money In The Bank” (songwriter – J. Jarrard/M. Sanders/B. DePiero) starts on the flat seven chord and the Faith Hill hit “This Kiss” (songwriter – R. Lerner/B. Chapman/A. Roboff) uses the flat seven chord in the verse chord progression.

An Example
Let’s say you are writing a song in the key of C and have the following chord progression for the verse (1 chord per measure):

C       F     C     F

         Em   Am    F     G


One way to surprise the listener would be to play a flat seven chord (Bb) instead of the F chord in the seventh measure. Another way to surprise the listener would be to play the Bb chord in the 8th measure after the F chord, and use an extra measure for the G chord.

So the next time you’re looking for a little different twist on an old progression or just a different chord to start that chorus or bridge on, don’t overlook the flat seven chord – it’s really pretty sharp (sorry, I couldn’t resist).

Hope to see you on the charts.

–Danny

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Danny Arena is a teacher, a Tony-nominated composer, and the co-founder of SongU.com.


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What Was That Idea Again?

“The ability to convert ideas to things is the secret of outward success.”  -Henry Ward Beecher

lightbulbIdeas come from all sorts of places. My old “idea books” are filled with song titles, random thoughts and bits of conversations scribbled on napkins, placemats, and sticky notes, along with torn out newspaper and magazine articles. The current version of my idea book is stored on my computer: various emails to myself, screen shots, quotes, mp3’s, links to articles and websites. A necessity of the business of creativity is to grab that idea and keep it or it will elude you in minutes. However, once you’ve captured it, let it simmer in your mind and spirit until you find the perfect opportunity to use it. I can go back twenty years, look at any of my notes on napkins and tell you where I was, who I was with, how I was feeling, and why I was inspired at that moment to write it down.

Take SongU.com, for example. Back in 2000, my husband Danny Arena and I, who had the combined skills of being teachers, computer programmers, and professional songwriters had, in the immortal words of Oprah, an “aha moment!” We asked ourselves, “Why not combine our particular skill set and create a school online for songwriters providing everything we wished we had access to back in the days when we had to walk barefoot in the snow from Newark to Nashville with no clue? Why not give back to up-and-coming songwriters in the same way that our mentors guided us? Why don’t we provide songwriters around the world with easy access to the same songwriting classes and song coaching that we offer in our on-ground seminar? Why not ask our pro songwriter friends to contribute their skills? Why not call it SongU (as in Song University)?” It was idea whose time had come.

Here’s one of the earliest website headers we sketched out when we were first noodling around with the idea in 2001:

Image-1-2015-EarliestHeaderLogo

Finally, in July of 2003, in the dark ages before Facebook, Twitter, or YouTube graced the world wide web, we launched http://www.SongU.com, the first online education program for songwriters. Over thirteen years later it’s still humming along.

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I know I’m not alone in trying to keep up with the rapid fire growth of technology (can we say iPhone 1, 2, 3, 4, 5…?). By necessity, SongU.com, has continued to evolve every single year since its launch. We’ve persevered through dial-up to high-speed, through text-based chat rooms to audio/video-enabled meeting rooms, from desktops to tablets, and on and on. Being able to stay current for an international online school with instructor-led web-based classes, song feedback, and community shared over many internet platforms, computers, and browsers has been no small feat. During it all our members stayed true, many of them sticking with us year after year, exceeding our expectations as they achieved their goals, giving us the props and encouragement to carry on. Admittedly, we’re proud of this accomplishment.

Recently we launched the newest iteration of the site yet, completely mobile and tablet-friendly. We’re offering some new membership options to keep up with the Joneses. And we have more ideas on napkins that are turning into realities as we speak. This blog is one of them.

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As Danny and I discovered a long time ago, it’s the ability to create –  to turn a random idea into a working reality – that makes all else pale by comparison. I know that any of you who have written your ideas on napkins, that have turned some words into a lyric and some notes into a melody, can most certainly relate.