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Peter Farnan Daily Review Masterclass: Songwriting for Success

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Peter Farnan is a singer, songwriter, producer and performer best known as the founding member of Serious Young Insects and Boom Crash Opera. His hit songs have included Onionskin, Dancing In The Storm, Hands Up In The Air, Get Out Of The House, Bettadaze, In The Morning and more. He has produced records and/ or worked with artists including Paul Kelly, Deborah Conway, Renee Geyer and more.

On Saturday, September 10 from 1pm to 5pm he will conduct a Masterclass in Songwriting for Daily Review readers at the Australian Institute of Music (AIM), 120 King Street, Melbourne.

The cost for the practical, hands-on, four hour session is $178 per person and includes GST, refreshments, and booking charges. An earlybird discount price of $148 applies until September 1. The class is limited to 20 participants of all skill levels and ages.


Peter Farnan’s Masterclass: Songwriting for Success on September 10 will address:

*Demonstrate the creation of a song from basic building blocks and explore how the various levels that constitute a song – lyric, melody, harmony, texture, groove – can be focussed to highlight a central idea

*Explain what makes a song memorable

*How to balance whimsy, eccentricity, non-conformity with convention and structure

*Provide writing exercises and tips for generating lyrical material

*Provide strategies for expanding your use of chords

*Give feedback on your song or songs including adding detail to your lyrics

*Provide the principles, techniques and tips to apply to your craft

Please bring a notebook or computer. A guitar, keyboard and playback will be provided. Peter strives to provide a safe, fun and stimulating environment for examining songs.


Next month Peter will release a new album of his songs, Pesky Bones, sung by vocalists including Paul Kelly, Deborah Conway, Tim Rogers (You Am I), Rebecca Barnard, Sean Kelly (The Models), Sarah Ward (aka Yana Alana), Paul Capsis, Ali Barter, Charles Jenkins, Emily Lubitz (Tinpan Orange), Simon Burke (Lost Ragas and The Meltdown) and Dan Tobias (aka Otto Rot from Die Roten Punkte).  Read about it here.

Read more by Peter Farnan here including his hilarious take on TV’s treatment of INXS

One response to “Peter Farnan Daily Review Masterclass: Songwriting for Success

  1. Lovely examples, although Donny & Marie were noticeable by their absence – similarly Shirley and step-son David (Cassidy-Partridge). All those lovely Jedi midi chlorines and mitochondrial DNA pairs blending through time and rudimentary televisual technology (and humour) for our happy/naive 1970’s listening and viewing pleasure. The Brady Bunch, although a bunch, were not Bradys, which surely explains the non-blend ‘ n ‘ grate of breaking voices and busted tune-age, leading inexorably to the ego-strewn byways of US sitcom Smackdown, after “leverage” was inappropriately applied – as they did not have any – to contract re-negotiations. On a slightly deeper note, the rich baritone that became so popular throughout the late 70’s to Century’s turn (sweeping up Phil Oakey’s “Love Action” and a little purple-lovin’ dude hooked on honing “rival” Rick James’ act – along the way), was apparently very much inspired by Lou Reed’s flat-lining deadpan. Nothing sexier than a baritone emanating from a feminised, slightly over made-up, and muscular man. Jim Osterman (the only one of a ground-breaking triumvirate still with us) had quickly calculated the effect of such a conundrum early on, and along with a bare chest for every performance, would never abandon so sure a thing! And that’s when David Bowie – having produced Reed’s breakout album “Transformer”, and then a not-quite-so breaky out one for pal Jim (aka Iggy Pop) – first registered his vocal noticeably lower than at any other time previously … our “Heroes”.

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