Professional Documents
Culture Documents
second edition
Craft D
and
of
i<
^VL
Business
S<?ngwriting
BRAHENY
practical guide
creating
and marketing
rtistically
\nd commercially
uccessful songs
^
Boston Public Library
Boston,
MA
02116
PRAISE FOR
THE CRAFT AND BUSINESS OF SONGWRITING
"Braheny
you
and surprisingly
a logical
practical path
gives
make
it
it
a valuable reference
is
Society of
"In college,
only to learn
how
book
to explain
wrote a
&
Lyricists
something they
thesis entitled
—Score
A
Two
John Braheny's The Craft and Business of Songwriting and Sheila Davis's
Writing.
most
know."
Composers
if it's
in this
Both books
in
my
have
mind:
Successful Lyric
hoping
to
so
much
What
a service you've
performed for
of Lyric Writing,
"I
wish
this
songwriting.
book was
You won't
Jay Graydon,
"A veritable
available
when
just read
it
Grammy Award-winning
songwriter's bible. This
is
it
a definitive
work on
constantly."
[It]
delivers the
style."
it
Songwriters' SongTalk
goods with
clarity
and
Digitized by the Internet Archive
in
2012
http://archive.org/details/craftbusinessofOOjohn
The Craft and Business of Songwriting
second edition
The
Craft D
and Business
.
of
Songwriting
JOHN BRAHENY
G5
WRITERS DIGEST BOOKS
CINCINNATI, OHIO
www.writersdigestbooks.com
The
rights reserved.
No
part of this
a reviewer,
F&W Publications,
retrieval
any form or by
Inc.,
in
150"
Dana Avenue,
Cincinnati,
Ohio
Other
our
Visit
To
fine Writer's Digest
Web
site at
Books
are available
from your
Web
06
04
03
05
local
02
Braheny, John
The
craft
p.
ISBN 1-58297-085-8
1
by John Braheny.
—2nd
ed.
cm.
Popular music
(alk.
—Writing and
MT67.B65
2001
782.42164'
13—dc21
(p.)
and index.
paper)
publishing.
I.
Title.
2001045428
CIP
Kim
Agricola,
Griffin
is
for songwriters
dent
A&R service),
Web
TAXI
and per-
(the indepen-
site services.
com-
from 1971
He
John contributes
column
a regular
music business
at
articles to national
in
UCLA,
Musicians
He
Institute,
Web sites,
including
is
a guest
speaker and teacher at universities and songwriter organization seminars around the
country.
He
is
tainment attorneys and music publishers, and has served several terms on the board
of
the Recording
He
show on
If
Academy
currently cohosts
you
KPFK
fly
(Pacifica
United
(the
GRAMMY organization).
"Samm
Radio Network)
Airlines,
you
in
will hear
Los Angeles.
John conducting
in-flight
audio interviews
www.johnbraheny.com.
talk
Web
site
is
J
--gS~~^-
acknowledgments
There
people who, both directly and indirectly, helped to write this book.
many
are
do
I'll
It's
it
who
The LASS
original book.
office staff,
who
in particular,
worked on the
The LASS
sponsor,
BMI, and
Zavin, and Frances Preston, whose support for 18 years allowed us to continue to
create
new ways
to help songwriters.
column
to write a
and
new magazine
and her
good
for her
could do
ideas
My friend
made
her
my best
asked
me
Her experience
She continues
critic.
who
it.
in the
Bettelli,
in
expertise.
My wife
for their
entertainment industry
immeasurably
to enrich
my
life
my own
to
a lucky guy.
and agent
Ronny
Schift,
who
He
continues to grow
as a teacher.
And Chris
Blake,
Many
They
Dude McLean,
the craft
It
many
ability to teach
readers, they've
my understanding
it.
found
this
book
Blume (who
me how much
all
in this
new
inspiring
It
has put
me in
whom
of
and
helped them pursue their dreams, armed with the information they
from
A&R exec
Literally
out?)
lyrics are
book and contributed information and
his
how
communicated.
effectively
critiques.
"Writ-
six,
I've learned so
edition in
many
ways.
the
whom
book of
company
do
it.
leave
They're
Special thanks for their expertise in this revised edition go to:
its
Tim
consultant
Ken Helmer;
HaLevy of Broadway on
Young
Sunset;
Publications;
who
book
use this
his
Music Biz
TAXI; marketing
attorneys Steve
Wino-
Rothstein; songwriters
Silversher;
songwriting
many
Mark
tax accountant
Bettelli;
staff at
Hank Linderman;
Sweeney; songwriter/producer
publishers, Michael
class at
Brigham
as a text;
it
possible for
me
to
With
whom
gratitude to
friends
at
all
at Berklee
and share many
some amazingly
Thanks
have hosted
thanks to those
this
I
book and
also
in
want
who
host
new
writers
and members of
JoAnn and me
Web
to
among
sites for
It
brought
my love
first
in Nashville
and
L.A.,
my
and
me hang
others. It let
talented
to the leaders
who
me
in L.A., the
Summer Workshops
learn from,
country
me
teaches
since the
presented
It
to
book
of teaching
me
who
Much
me new
my
to be a guest speaker
songwriting heroes.
who found me
It
all
at their seminars,
community
introduced
vital
And
word about
and growing.
continue to enrich
my
life.
This
all
is
more
a kind of
payback and,
hope, an investment in
great songs.
in
all
facets
arbitrarily
didn't
want
to
table of contents
Introduction
PART ONE:
The Craft
Creativity:
Inspiration, 7
Do You Have
and
Is It
It?,
— Overcoming
the Barriers,
Developing
"Songwriter's Consciousness," 13
Own
Finding Your
Creative Process,
Problem Solving, 22
Stream of Consciousness, 20
8
Developing
Good Work
Habits,
22
— Mass Appeal, 25
Being Believable, 26
Themes, 26
Themes of Love, 28
Crossover Records, 27
Message Songs, 30
Novelty Songs, 34
Cleverness,
27
The Censorship
Issue,
Christmas Songs, 35
Song
Singles,
The
Is
Not
A Poem
a Record,
Not
Is
39
a Lyric,
Writing
37
for Radio,
40
Listener:
Know Your
Audience, 45
46
Lyrics, 57
57
Focus, 58
Poetic Devices, 70
Titles,
60
First Lines,
chapter
five
Constructing a Song, 77
Form, 77
Hooks, 89
Repetition, 92
Chorus Construction, 90
Song Dynamics, 93
Rewriting, 97
61
Rhyme, 62
30
chapter
six:
Melody, 103
Why Two
(or
Groove, 118
123
Writing As
PART TWO:
103
Band— Working
It
Out, 137
The Business
143
Is
chapter nine:
160
The Compulsory
162
License, 164
Sampling, 165
in Print,
172
177
Publishers
Do, 178
From
Possibilities,
180
Exploring the
Publishers, 184
Your Chances
How
for
Staff Deals
Advances, 197
Happen, 203
Why
Publish Your
Start
Your
Own
Own
Songs?,
Publishing
205
Company, 206
210
213
Negotiating, 215
1
"Holds," 218
CHAPTER TWELVE:
DeiTIOS, 226
Demo
Copies, 254
Presenting Your
Demo, 255
Demo
File,
228
242
Process,
Arrangements, 247
Tape/CD
Home, 231
at
Be?,
as
Audio
258
260
Start?,
Writers, Writer/Artists,
and Writer/Producers
in the
Marketplace, 264
Query
Letters or E-Mails,
Getting Heard in a
"No
279
299
Web
Sites,
Marketing Your
Lyrics,
292
Showcasing, 296
304
Jingles, 31
Music
for
Games, 326
The
The
Professional
Why a
Major-Label Deal
Should You
Appendix 349
Bibliography 360
Permissions 365
Index 367
Team, 336
Do
It
329
Marketability,
334
The Campaign, 344
May Not
Yourself?,
The Demo, 33
346
Be Best
for
You, 345
347
Introduction
Welcome to my book. Before
right that
tell
you why
start
place,
that
is
think
only
it's
know
you're
out there slaving over a cold piece of paper and a hot guitar, keyboard, or
computer.
buy you
doing what you love to do. You care enough about doing
for
to invest
some time
tricks that
in research
thought
and development
And you
years (which
here at once.
that could
that, instead
also help
really),
fears,
it
it
to
make
sure
your progress.
me buy my own
all
make
want
wouldn't mind,
It will
blow
to
also
producer, or anything
artist, a
(or at least
You
and dreams
tuna
fish
and
to bring
you
all
sandwich.
me
with
calls
me
for
been calling and e-mailing
me
for
I'll
give
this
is
if you'll
come with
"music information
junkie" has fed his habit and can help feed yours.
1971,
filled
(BMI)
activities
founded
and information.
Inc.
to a
performer talent around. Stevie Nicks and Lindsey Buckingham, Stephen Bishop, Karla
Bonofif,
Diane Warren,
are
among
and
most
writer/
We found that many of the writers we auditioned exhibited raw talent but little
understanding of songwriting craft that could
writers
whose songs we
rejected
make
wanted
to
their songs
more commercially viable. Those
know why. To
offer
them some
constructive
INTRODUCTION
we looked
help,
for
we
we could
common
needed informa-
who were on
the brink of
needed.
(then called the Alternative Chorus Songwriters Showcase) began
LASS
In 1972, the
ers
to be the
We also
company
program
It
attorneys, publishers,
Bettelli
me
to write a songwriting
and producers,
hit songwriters
The magazine
column
for their
new
six years,
art, craft,
we
this
It
was
all
aspects
which
a different guest
representative each
week
A&R
(artist
and
repertoire)
These weekly
events gave us and our audiences the opportunity to observe the critical processes
of
artists,
who
believe there
is
LASS
After
representatives. In addi-
no such thing
we
as a
years. It gave
Wynnward
me
question,
asked.
Coast office of
dumb
in
1996,
West
ran the
the desk."
Since then, I've been a consultant for hundreds of writers and writer/artists on
their
Entertainment Network
division
and continue
Browns For
to interview
the Record
JPFolks.com and
ax.
several
KPFK
new
So
there's
my
(90.7FM)
as
show Samm
this
me
con-
ever-changing industry.
it's
an
start.
THE CRAFT
AND
BUSINESS OF
SONGWRITING
about
it.
But
at least this
book
will give
you
a
SONGWRITING PRINCIPLES
There
no absolute
are
rule
want
at
command
your
to
hit songs.
and have
restrictions
of the
medium
you need
to be
for
aware
to write,
This book
already
them
know them
you'll
you with
these options. In
most
them
will provide
strongly to
memory and
use
you
in writing. In recognizing
effectively.
and
them
is
to protect
but without understanding the business
who
can make
Unsung thousands
newcomer
how
It will
feel
like a cold,
an and
dumb
luck.
To
many
all
on dumb
luck,
you need
to be ready
be ready for your big break, you have to pull your craft and business
By reading
and analyzing
as
capitalize
To
craft,
this
in this book),
by listening
to
forms of popular music, especially the music you love, and by meeting
people in the business as your circumstances will allow, you'll maximize your
CAN SONGWRITING
Can you
BE TAUGHT?
from
it's
who
rance.
But
classes a
it."
if
for the
informed writers
most
who
part,
how
to
approach
it
in a professional
manner.
In terms of craft,
tion to music
do believe
and language
that,
skills, it's
more important
to explore, read,
it.
to have
a predisposi-
Some
INTRODUCTION
up what they need
Many
go.
know about
to
the craft by
by way of
talent need,
and
trial
error as they
classes,
to be in a supportive
bloom.
their creativity
is
a great teacher
and
in the "school
of hard knocks"
Though
classes
much
others with as
some
craft
and
putting
it
need to
you remember
in
it
may
also
be
know now"
information
Assuming
years.
as
that you're
successful songwriter that can
you already
instinctively
know about
a love for
much
Getting as
careers.
be replaced by
talent, imagination,
will never
it.
know and
oil paints,
and
and watercol-
the
way songs
Top 40
and not
situation
and film
know why an
Awareness
Knowledge
For you,
all
it's
many
It's
in another.
faster.
ears.
are written.
want much
your
to train
serves
is
artistic
and
You
is
the
get
in
to
one
your inspiration.
and form
work
choice would
ways
different
is
it.
how
You
communicate
to
it
know
hear songs on the radio with great form and zero substance.
It's
sadder for
could make
me
something
in a
something
to say that
otherwise enrich
my
life,
but don't
know how
to
to
do
it.
WHAT'S NEW
Though
very
IN THIS EDITION?
little
basic principles
changes in the craft of songwriting
still
work
artists to
new
the
same song
structures
and
And
produce demos
in the process,
information on:
digital sources
at
it's
home and
gain
more
field.
why
a major-label deal
may
production music
libraries
Web
sites for a
Because the industry changes quickly, some of the information you get here
my Mac
because
my
and
my Web
are avid
Web
surfers
be dated
it.
may
site,
new
www.johnbraheny.com, where
discoveries with
me,
can
etc.
where they're
of interest on
and
craft
links to organizations
my own
It's
way
articles,
for
you
services
amount of information on
we'll get
professionals
get answers
Now we
direct contact
medium
that conveys
it,
we'll always
come
we need
Regardless of the
human
and
infinite
and industry
it.
Who
knows how
in!
INTRODUCTION
part one
The
Craft
in
chapter one
Creativity and
Inspiration
What
Creativity:
The
Is
It
subject of creativity has always been a fascinating one because we, as songwriters,
are
so dependent
some attempt
to control
it.
it
it
spectre of "writer's block" are very real battles, particularly for those
depend on constant
put forth on
how
by most
to you.
1.
whose
livelihoods
creative output.
who
Psychologists
study creativity have found there are several qualities that are shared
creative people.
It
may
Don't be discouraged
You're a risk-taker.
if you
You
don't possess
don't play
it
safe.
all
of them. This
You
is
qualities apply
a broad generalization.
(like
2.
You have
assume
3.
that
It?
it's
You tend
you
this
book, we'll
in language or in music.
—and not
fate, luck,
or society
are in control of
4.
You're a
5.
You're playful.
You
like to try
new
your
things.
You
feel
life.
often find yourself going against the grain.
things or
at or
doing things
in novel or
incongruous
You have
a sense of
may
You
8.
find
it
9.
You can
humor
at
You can
and
else.
see.
7.
be oblivious to everything
be
side
.
You can
tolerate ambiguity.
This quality
."
in either structured or
CREATIVITY
AND
INSPIRATION
10.
You enjoy
complexity.
It's
intriguing
You can
something
you
until
ability to see
finish
any problem.
it.
Creative people also have the ability to absorb, digest, and organize external
stimuli; reshape
them
may become
they
To
the basis of a
melody
an
in
when
they
The
bye.
The
affair.
make
become
To a noncreative person,
call.
To
a creative person,
a full-blown composition.
memory
an elevator
memory
but a song
tide,
Last Time."
form.
on an
a creative person, a combination of words overheard
of an old love
art
The songwriting
was
it
just
"Going
way
Down
goodfor the
another conversation.
Some
1.
These
are:
2.
abilities to
fall
Some have an
3.
ability to internalize
stimuli.
This would
He says
such
it's
not
uncommon
actors,
combinations of these
talents,
a visual/auditory
and
verbal combination.
frgr
There
and
you'll
self-fulfilling
more
potential than
anything
it is
is
wear to
a party, or
what
is
it.
Choosing
what
of us do regularly.
Studies of the characteristics of creative people are
arts
more
are creative
all
would agree
are creative.
There
is
is
else.
and
creativity
you already
the information
THE CRAFT
AND
you need.
BUSINESS OF
SONGWRITING
make
working
the
most of the
talent
all
.
Dr. George
Gamez
is
who
Lightning in a Bottle
and author of
a psychologist, songwriter,
Creativity:
How to
Catch
through
selr-hypnosis
you
give yourself.
you want
to
do
to
like
is,
in turn, related to
doing what
commercial," become
to be and/or
it.
which
self-fulfilling
"I'll
in writing
songs, but in being effective in dealing with the industry, something that involves
persever-
Stages
in
Psychologists
who
through four
stages.
These
stages
as
they relate to songwriting
are:
Preparation: the gathering of the physical tools and the establishment of form,
theme, and
In a broader sense,
style.
it
3.
we should suspend
phase
Too
ideas.
often
rhyme or meter.
original if
we
we
is
product
at
the inner
critic,
by working on
we can
which we need
listen
in the process
memory
listen to?
rewriting, polishing,
The
song
and looking
verification stages
is
as a
for the
crucial,
"Aha!"
But
exercise,
you're writing, you can use these memories to help trigger your creative process.
start a
of
a detail
how do you
though occasionally
in
in an objective
experiences,
a solution.
right
on
life
style.
this
—
you
when
You can
CREATIVITY
AND
INSPIRATION
—
LISTENING EXERCISES
some
The
following are
will
Pick
to
listen
it all
the
way through
its
Oooo, uuuu,
all
rrrrr, ssss,
mmmm,
a song.
it
or percussive
f,
Is it
in
ways that
Become aware
of
mellow, hard-
soft,
as a
p or k sounds
one of these
will
it
in
or
all
single
Is it
Does
it
provide a rhythm function? All percussion certainly does. Bass, guitar, and
keyboards can provide a combination of rhythmic, chordal, or melodic functions
arrangement. Listen to
If
you've got
and "assign"
it
how
the
some rhythm
to your right
in
in
it
left.
out. Play
some
air guitar,
may seem
But as a creator,
to visualize
it
it's
silly
if
you tend to be
as an actual line.
Is it
in
smooth and
line
in
and try
flowing?
inhibited.
in
Are
the
we
is
playing. Imagery
is
all
do?
It
more
gives
easily
you
we
create.
a valuable perspective
And
songwriter
it's
is
more
on the various
effective if
he or
a ready repertoire of
dynamic musical
"tricks."
If you're a lyricist
who
doesn't play an instrument or sing,
aware of
seldom
see
available,
10
they're
rhythm
track.
What
helps
it's
you grow
songwriter
is
to be
variations of forms
of which words do and don't "sing," and where and when to use them.
Motivation
To become more
— Overcoming the
creative,
to be
Update
in Context:
conducted many
it's
kill
Barriers
know how
to
enhance
creativity but
it.
Creative, has
tests to find
situations.
Dr. Amabile tested the "intrinsic motivation principle" of creativity and found
that
Among
when
they
feel
satisfaction,
it's
and do
These
skills
will
creative
else will
may
We all
need
#
People
love
enjoyment,
interest,
not by external pressures.
itself,
(or
from a book),
as
pan
feel
be most
when they
motivated
primarily by the
interest,
enjoyment,
satisfaction,
and
of your learning process. But you need to shut out that concern for outside
approval while
challenge of the
you
itself,
're
2.
creating.
You
creativity.
someone
tend, again, to
listening or
is
want
if
someone
to please
literally
is
them
instead of yourself.
it
can
kill
work
not by external
pressures.
Even imagining
skills.
the audience
can inspire you. That's obviously different, though, than someone standing over you
while
you're working something out.
Reward:
3.
When
you focus
entirely
get
way
it,
On
Competition: People
your
will
if
record, the
work
that
you
good about
you should be
The more
restricted
satisfied
you
is
internal.
when
Restricted choice:
the
goal or reward
money
reward.
— gold
—something dangerous can happen. Once
on the
are in
with your
let
someone
own work.
goal, the less creative you'll be. You'll tend to internalize the restrictions
rather than
the freedoms
rather than
When
you have
on the parameters
you
whelmed by
get to a point
where you can no longer enjoy the process and you're over-
the externals (thinking, for example, "This song needs to be a hit," or "If
don't get this recorded, I'm worthless"), you're entering "creative burnout."
You're no
longer writing for yourself and you're doing
it
for
all
the
wrong
reasons. If you're a
CREATIVITY
AND
INSPIRATION
11
which you need
Even
when your
be times
"That's good, but could you change this verse?" and you
me and
for
don't care
if it
in
to another artist
To
someone
"No,
say,
this
is
and an audience.
by the
creative process,
and
forget about
have to
when
may
to please
internally
spirit
plenty*
later.
asked
many
hit songwriters
cosmos
to the
as a
source of inspiration.
they read, watch, listen
approach songwriting
writing
thesauruses,
"picture." Their
and methods
It's like
and
a big puzzle in
real life
and
in
them put
writers
ideas, a
when
of
and many
is
They had
for their
craft
and
of song-
them
a goal
rely
on
call
first
My
sacred,
way of success
and they
will
only write
are.
work with
this
to date.
The
It's risk)'
artists
It's
in everything
credit to inspiration
inspired.
refer
how
song ideas
moment
and never
profile
little
it
which there
that help
Most amateur
them
to,
game of organizing
described as a
is
solving experience.
aries,
as
They
Some view
craft or inspiration.
craft.
type of writer.
first
Many
"inspiration" writer/
When
more songs
second album, they face the dreaded "sophomore slump." They discover that
comes time
to get
back
when
they're
on the road
for six
it
for the
in trouble.
People
the craft
who
down
sit
down and
12
THE CRAFT
AND
BUSINESS OF
want
to say,
SONGWRITING
and the
rest
it.
of
It's
it
automatic.
comes
easily.
They
who
have
title,
who
one great
many
The
who
find
songs, nonetheless,
it
difficult to discuss
and
processes
craft.
when
When
but behind
"feel,"
a writer plays
who
when
They go by
to a natural writer
the
verses, a
On
phenomenon.
is
me
there's
it
a nine-line
at all,
been a subcon-
song with twelve
know I'm
prompted
not listening
to ask
whether
There
both extremes.
I've
heard writers
that
remind
me
On
good
the inspiration
is
and "inspiration"
who
how
communicate them.
All that
Ideally,
to
writers,
to
In contrasting "craft"
is
who
communicate those
and
gives
inspirations in a
way
a dependable vehicle
and
enjoy.
give the
way
create.
agree:
it's
there
and
says,
"Let
complex computer
is
call
"songwriter consciousness."
just
am
Once
use.
come down
songwriter" program
is
how
helpful to learn
to, it's
"Songwriter consciousness"
who
sit
there
filters
on duty watching
CREATIVITY
AND
it
for
coming,
INSPIRATION
13
When
asked
Dwayne
Places," he said he
my
wasn't
was having
a drink
my
title.
that a song?'
And he
see
it
right away.
and
we can
said,
it's
is
what could be
that a
worn out
their
worthwhile. But
still
"Wait
a minute,
You may
good song
idea. If
you have
it
say,
'Is
yet!'
ideas have
may
heard him
places?'
"
Sometimes
'til
When
low
in
anymore. Some
have friends
Low
co-writer on that.
if
'Not
said,
when
one
in
is
the readiness
it,
everywhere.
Being Ready
You're lying in bed, half asleep in that twilight zone where ideas just seem to pop
into
your head. You've got one!
lines,
you
It rolls
out
like a
movie
at
in
"It's
want
doesn't
"No way
the job.
is
what
it
that
of your
life!
down
Do
Or
for a
song
move
forget
it
last
that
pencil in your car for those freeway daydreams, too. Driving time
the conscious
when
Every writer
know
has
you can
process,
you
reinforce your
There
will
which
they'll
little
pieces
one, too.
When
It's
good
idea to
pad and
it!
extra
periodically transfer
also capture
communication between
night, but
melody and phrasing.) Always have one or the other with you. Have an
and on
you think
digital recorder?
14
I'll
been the
you
to
one."
The
you
it all.
to get a
this
see
easier to link
fit.
it
won't be
socially acceptable
The Tubes' Fee Waybill showed me
out individual
lously laid
notebook once.
his
out.
He
said
through
them
to
all in
it
all
lot
was
it
computer now.
his
You may
were
lines
start writing. In
head
was
It
lines as well as
also
work
room
to
want
to write
calls
in private.
brand of shorthand.
That's
at the time.
know one
I
who
writer
Many
when
it's
developed a
candid in writing about their personal relationships and have difficulty expressing
negative
feelings a lover
is
of.
You can
"This
say,
memory of another
to have to
about us."
Of course,
want
about
isn't really
make
I
this stuff up!
don't
it's
know where
for sure
Finding Your
is
when
or
Own
it's
good idea
it
is
when
it falls
on you. Be prepared!
Creative Process
Though
a great idea
to explore
own
process (or
will
^rjr
for creating.
determine an
Every writer
eventually finds his or
approach
It's
that's
someone
else's.
following are
style
which
life
says, "I
need
this
adrenaline starts
to write
case
typical styles
works
your
for
someone
styles
else unless
you want
her
own
process (or
for
creating.
of writers.
large breed.
this
You've got a
lot
is
going on in your
pumping and
from
is
working
it
at
10 A.M." Your
The
full out.
ability
tunities happen constantly in the music business. If you get a reputation for being
able to
CREATIVITY
AND
INSPIRATION
15
done, but don't happen to have any
Making an appointment
one.
to
show
demo
are great
like to sit
until
it
concentration from
you
No
finished.
it's
own
new song
or booking
deadlines.
No
it
takes.
You
go.
You may have
"Scattered" writer:
several songs
going
at
who
work
maybe with
is
fresh ideas
to
make
a sandwich,
calls,
way
a publisher or producer a
other projects.
start to finish,
needs deadlines to get things
to
who
you
deliver,
may
not keeping
all
at
those other
things.
"Project" writer: You work best in some kind of framework with an established goal
or motivation
You have
pay you
("I'll
thousand dollars
a direction, a
theme
to write a
may
for a play in
two weeks.").
type of situation, but otherwise you're not very productive. Recognizing that, you
need
to search for projects or create
series, films,
TV
and commercials.
Some writers
TV
going
when
at the
at writing
Some
they're alone.
are
silence.
more productive
in a collaboration.
Individual Preferences
Sheila Davis, in her Songwriters Idea Book, relates creative styles with your
personality type
as
shown by
the Myers-Briggs
Temperament
own
Sorter based
your
own
feel it's a
valuable
My wife, JoAnn,
how
helpful
is
each of
She
how we
us,
Some
on
found particularly
as
being more auditory, visual, or kines-
people simply respond to the creative process with an attitude of "I don't
modes help
but
know."
16
One
refers to
thetic.
to stimulate
when an
What
intuition.
idea surfaces.
Going beyond
that,
Most of us experience
a
shape does the experience of getting an idea
RITUALS
Getting ready to "commit" to writing
may
You seem
common
involve a
You
cleaning the house, preparing the writing space, and actually sharpening pencils.
is
is
ing
You may
think you
craziness or that
unique
ritual,
realizing
it.
someone
preference.
as if
It's
see
Those who
me
preference
can
says, "I
."
how
."
more
are
or "It looks to
or "I «^r
more
are
me
we can
on
a
like
,"
When
me
."
or "I hear
"It feels to
as if
so that
less
we can
as
anyone who
a producer,
move
past
is
anyone who
is
a "partner" in our
right.
express ourselves.
demo,
is
."
.
way we
kinesthetic
How we
may
it
."
helpful to realize
project.)
to.
is
this
and
e.g.,
goes through
it's
Our
listed here,
who
the world
in
it,
if
it
maybe your
is
how we "sound"
valued differently by
mode
if it's just for
If you're
that
is
is
yours.
Do
to you,
even
an hour.
if
stay in
your songwriting,
(visual) or take a
you simply
a lull in
your
rut,
hammering
New
at
your
sitting in a
dark
you
are blocked
room. Indulge
in a
and you
massage
are
more
visual,
or listen to a
then
listen to
music while
"mind's eye."
CREATIVITY
AND
INSPIRATION
17
.
seem more
natural to you.
may
of our prefer-
Videotape
play
fits
TV program
it
volume
own
with your
gallery
lyrics
developing
by hearing something
in
a musical or
may be more
music. Notice
if
in
you
Or go
"auditory."
if
easily
it
to an art
you have
your head.
some recordings
to
2. Listen
Try to create
off.
If
melody or
When
"new
of symphonic,
only "see" colors or patterns, but this could indicate that you are predominantly
more
"visual" in
how you
receive information.
Think about your favorite places, your favorite experiences, and notice, as you
3.
describe them,
more
how you
fee/.
People
affected by atmosphere,
who
are
more
"kinesthetic"
seem to be
and you
fact,
are
more
Most
material.
it
kinesthetic,
sit in
a lecture or class
kinesthetic people
want
to
by pacing when
them.
and concentrate
move when
they
know
they tend to gesture with their hands or their whole body. Keep a journal (written
or on
much
detail as
you
"When
my
face tickled
me." Lyric
the various elements of the events in as
squatted
down
to
his
feelings such as
these.
come up with
all
it
try
that anything
you do
You go through
all
your customary
rituals,
but
nothing happens.
At
this point,
18
You
to write anything.
who
It is
has ever
comforting, in a way, to
felt totally
know
at
one time or
Though
to
acknowledge that
exists.
it
who deny
are
there's
anything such
some
way
the best
is
deny
as writer's block, to
it is
to deal with
it.
list,
anything to jumpstart
your creative engine and get something on the blank page. Julia Cameron (author of
The
and everything
comes
that
in
which you
ever
an object
select
sounds,
and
taste,
have time to do
feelings.
maximum
it.
to be a
it
to
good
stuff."
"If
like,
getting to the
"object writing"
exercises
viable,
calls
room
in the
had
how
you
a hit or great
know you
can
get
one
frequently
in ten to
multiple
hits! I
think
to write a
hit,
to write a
create
sights,
"work of art."
produce
that
is
what-
is
started
much
it
every time.
records. Listen to
music that
nail
mood, and
puts you in a
4.
savor
artist's
it.
mountain, in a
at a different
car, in a
bus
time of day.
Just forget about writing altogether. Relax, have some fun, go to a movie, go
in this
chapter.
7. If
normally listen
learn a
Bach
to,
and
learn solos
violin solo
and maybe
try playing
it
back
CD
you don't
solo.
8.
It's
little
possible that
will
it
may be
useful to dig a
deeper.
mean
that
you
don't want to produce, are self-destructive or lazy, have dried up or been deserted
by the
muse.
It is
be attended to
is
is
a blessing in disguise."
you
that
something must be
lives.
CREATIVITY
AND
INSPIRATION
19
In
an interview by Theresa
Ann Nixon,
my hand
my
just said to
down. Even
it
Girl
this
it
didn't
down.
if it's all
was.
is
is.
do the two
In all
When
it if
And
you
try to
He
ding!
is
is
said
it
he had gotten
just to create
just
it,
that's exactly
do
The
it.
everyone makes
what my problem
spirit
just
word.
Or
shall
"demon"?
just say,
to stan
new
with
You
willgei through
it.
He
a better
Two
this
school, you
do everything
this
it
my
where the
life,
One was
act.
head
of just forcing
method
this
talked with
kill all
'Is
in
got
Is
my
later
And suddenly
at once.
opening.
It
down.'
it
to try to
know what
other was
Paul
Try
to identify
and deal
it
this!
more of an in-depth
explanation. Even
if
you don't
feel
Stream of Consciousness
One
approach
is
Now
good
many
ignored.
It's
a great
way
lines
and
is
encour-
a technique
is
successful writers.
ideas.
you think
schemes, meter.
may
is
lines that
session,
critic"
It's
Now
of.
You may
discover that
is
find that
just
first
is
at a little
all
the
rhyme
that free-form
more
closely.
You
whole process
out
to rewrite
critical. Pull
last.
Maybe
no longer nearly
the
as
first
good
as
phrase
other
What happens
20
lot
is
that
you
of creative hookups and links that you might not ordinarily make
it).
it,
sad, bittersweet,
appear, forget
it.
it
Keep
when
going.
this stage.
You can
What
after?
If
you get
this line?
you'll fix
it
it
up
creating.
more you
doesn't just
If it
but get
later,
may be
when
if
a bridge to
If
there
is
another person
in this setting,
on
What do you
say?
a tangent, that's
it
What happened
OK
going.
Yes, you'll think
listen.
You
some
of
total
it is
Some
of
line
how
some rhythms
great lines,
hung up
trying to
make something
good rhymes
before
the
motivates that person and dictates your
nonsense, but did you really think everything you said would be profound?
the stupid stuff
all
has to
All talked
say?
off
romantic
playful, loving,
just say
may
mad, haughty,
someone, and
mm
there. Next,
it's
do
on
it
is
and
may
suggest,
start a
is
filled a
and some
The
in
mind
married to a
by
If you're
itself
and use
the reject. If
new
it
fit
the
word
erase.
is
rest.
As
sacred.
Put
it
a matter
Draw
Don't get
away
of
return to
may be
them
your
don't
in
fact,
you
Keep
in
mind that
while you're
a tape recorder.
on
to
tape,
critical
is
in
the
phase, nothing
doesn't seem to
fit
the
rest.
helpful to
show
CREATIVITY
AND
INSPIRATION
21
Problem Solving
Another
creative springboard
arbitrary
"problems"
to solve creatively.
is
title
The problem
suggests a
title
r^
The
fact
that a
substantial
is
mood and
to find a great
styles)
way
the "problem"
is
on finding
to set
amount
of
an exercise in problem
up the
embodied by the
a strong concept
title
and pay
it
Maybe
off.
fact
that a substantial
is
amount of
it's
architecture
The
some
on which
ideas
link
putting together a
work
the
and
design.
you ever run into trouble getting started, just pick one of your premises at
it's
title
involves problem
crossword puzzle,
the
Maybe
to
is
The
is
before
a pretty typical approach for country writers, since the success of a country
is
it
with a
is
from your
lyric idea
Remember
collection.
and
Remember,
too, that
which the
accidents in
many
artist
started,
musical and
it
lyrical
has done
to
its
Work
something
to recognize a
else.
little
good
Habits
a fluid process;
is
job.
on her way
the puzzle
will force
Developing Good
Not everyone can form
you
make
that trying to
and
to build. If
random and
have
your writing, however, can have valuable advantages. Say you make a commitment to
yourself or, even better, to a collaborator, that you're going to meet every
Saturday from
nine
till
noon
and
third,
When
it
things.
name. You
finally give
It
up
until
is
an hour
actually just
do
at
last
week,
later,
when
the
it
("He's So Shy,"
nine
it
works on
has to have
it
while you
remember someone's
name seems
Tom Snow
at
can't
Hit songwriter/composer
22
will
procrastinating;
problem from
week
phenomenon
some new
do other
activates a psychological
no longer
to
in the
to
pop
into your
"back" of your
your subconscious.
She
.
PROBLEM-SOLVING EXERCISE
the absence of a "real world" creative problem, simulate one or
In
An
mum
half-note lyric
in
two
come up
with an
the chorus.
A maximum
of five
chords.
28 '/2-second
name
to
jingle for a
the bear.)
ten-second "donut"
start.
Write the
in
the
lyric
female vocalist.
solve.
Tempo
3.
Time
4.
Key
5.
Melodic
6.
Number
7.
Number
of instrumental tracks
8.
Density of instrumental parts
9.
Mood
I.
hole
2.
10.
(a
jingle for a
signature(s)
mode
Rhyme scheme
Lyric density
Talks About You") likes to get an idea started at the end of a writing session but
saves
till
gets into
He
it,
says
his brain
suit
it
your
keeps
is
him
already cooking.
on
The technique
is
own
personality.
CREATIVITY
AND
INSPIRATION
23
chapter two
Subject Matter
Finding Ideas
Your
subject,
of course,
is
important
if
you want
ability to recognize
to be
and generate
viewed
Coming up with
lyric ideas
from
in quite the
that fresh
This chapter
will explore some specific places to look for ideas and a few general subject areas
with
on how
hints
approach them
to
effectively.
Sources for song ideas are everywhere. Here are a few that are endlessly
productive:
interest
TV are extremely popular and elicit an incredible array of emotional problems and
conflicts
from
their callers
news events or
ethical problems.
human
conflicts.
See
there are
if
where the
callers are
As you
ior as well.
listen,
anonymous. They're
remember
it's
any shows
in passionate
in
tremendous education
in
human
for,
on
behav-
but the
The networks
on
a variety of informative
and con-
your
own
it's
TV soap operas and prime-time dramas. The writers of these shows are also listening
to the talk
shows
for ideas.
where your
lines
left
brain
is
is
my
pleasure that,
all.
By some
when
on the freeway,
it
again,
it
"What
could use.
24
its
it
thought
had triggered
I'd
new
heard after
line that
I
Give yourself the challenge of finding one good
of conversation from any source.
wealth of material
is
a great
or
a five-minute slice
title in
way to demonstrate
to yourself
what
almost anywhere.
available
It's
line, idea,
life
feelings
toward your
lover or romantic situations, positive or negative, past or present, and turn those
feelings into actual dialogue
or a story.
someone
and
else's story
it
Some
like a novelist,
are
move
it'll
as possible
them.
You
entertain
down on
it'll
automatically do
it.
"We
Why
pick up on these great ideas, but the turkey never does anything with
should
we
bother?"
can be a productive exercise to ignore the song you're hearing and use the rhythm
It
own
with the
new
may
song.
It'll
help you to
come up with an
It's
also
interesting
important to
listen
to the radio to
artists.
Poetry and books with great colloquial dialogue are inspirations and "triggers"
new
for
others, too.
It's
will say,
you hear
move or
ideas.
Dictionary of Contemporary
NTC's American
and
Idioms Dictionary.
•
titles,
lyricists I've
interviewed
tell
me
is
will provide
some
Most of
great
the great
ftf^r
itself
"commercial."
written,
is
Now
it
message too
many
times,
is
song
— Mass Appeal
I'll
if
you want
risk
of repeating
this
say again that you should write everything and anything your
may be important
to
you
to
make
a living at songwrit-
SUBJECT MATTER
everything and
some
point, though,
if
some perspective on
your songs.
25
say,
are going to be
meaningful
in
some way
to a
mass
can work.
Themes
Relatable
Occasionally a monster will emerge with far more than the basic ingredients.
was
classics
number
One
of the
wrote for Gloria Gaynor in 1979. Along with the great groove and production, the
song
had
made
repetition.
sounded
story that
familiar.
The
like
respect.
^gr
One
The song
is still
she
it
was an anthem
knew what
lyric
positive:
for
women, something
No
matter
how
is
self-
When We Touch"
common
strings that
Dan
we were
else express
inside.
new
hopes, dreams, and inner conflicts that they might otherwise keep inside.
a vehicle to express
keep
later.
"Sometimes
Hill's
them.
bind us together.
may
have
felt like
The Madonna
hit
teenager.
Often the more "commercial" songs are the ones that not only express more personal
and
but do
way
and
Hopefully, the values and experiences reflected in your songs are either ones you
feel
situations
feelings,
it
in a
identify with.
Being Believable
reflect
If you're a writer/artist, a
major
part of your appeal will be that people will identify with your point of view.
Don't
comfortable.
an
artist,
on every record
26
THE CRAFT
BUSINESS
who you
to playing
it
nonperforming
artist.
AND
view of the
—people
OF SONGWRITING
Cleverness
Beyond the considerations
home
One
new
Some examples
twist
is
some
cleverness.
on an old
stylistic
cliche,
and the
"turnaround."
lyrical
are
"
of those
The
is
mind. The
Good
Dream
Last
listener's
"turnaround" with the surprise ending has wide appeal. The John
lyrical
Michael Montgomery
hit,
"The
Little Girl"
hit,
"Chain
To
"Punch
many
times.
a great storyteller
The more
imagery, the
The only
and an
trite
and contrived.
up
punch
to the
line.
more
The
the destination.
story;
welcome
heard too
is
may seem
classic
as
Schlitz,
is
an analog)' for
life isn't
a
a
new
idea,
wonderful
piece of work.
Crossover Records
If you're
concerned about
selling records,
which
A crossover
artists
record
is
about
Country
Modern rock
Down will,
is
artists
artists like
Limp
cross over;
with certain
Bizkit
though
singles, cross to
artists
are
still
company Web
may
sites
and
Web
40,
Faith Hill,
and Lonestar
charts.
such
as
artists like
the Offspring
AC formats.
pop and
artist.
Top
Crossover potential, in
fact,
Record companies frequently promote different
it.
are
lists
of the record-
one that can be played on more than one radio format. Crossover
radio stations).
to a large section
at the
The
more people
principle of crossover
will hear
it
is
that the
and be motivated
more
to
buy
other avenues that can further contribute to the power
artist.
artist's
and record
them
who
SUBJECT MATTER
27
Themes
tejfe
in
any
show that
over 75 percent of
their subject
matter
of Love
Of all
other
human need
is
the
No
most popular.
other subject
show
survey of the top singles in any category of the trade charts will
To
it,
or losing
illustrate, I've
We spend
lust.
lives
quick
75 percent
that over
most of our
no
as universal,
is
looking for
it,
it.
down
on the span of
Feeling the need: The longing to love and be loved has inspired some
pertains to love or
lust.
"When
Will
I
Be Loved?," "Dream Lover," "Looking
"I
in love already,
Woman,"
for
Another
and "Again."
to
Get
to
"I'm Into
situation:
Know You,"
"I've Just
It
many
love
and
lust
games
are
encompasses both the bold and tender:
All
Over," "I'm
in the
Mood
for Love,"
able,"
for Love,"
is
Would Do Anything
classics:
"Come on
sands more.
This
is it,
"Baby
I
•
"Nothing's
Over
Fell in
"My
may
return:
The honeymoon
Ice," "Suspicious
"My Own
no
So Easy," "Truly,"
Gonna Stop Us Now," "Thank You," "The Way You Love Me," and "Head
Feet." This
is
Minds,"
over:
Or "The
My Name,"
Cheating: Songs of
Thrill
Girl,"
"It's
Me
It
"You Belong
to
in the
Is
"You Keep
Dark."
and jealousy
as
Cheatin' Heart,"
is
Rolls,"
and "Whose Bed Have Your Boots Been
Under?"
•
is
an emotional minefield,
with heavy pathos: "I'd Rather Leave While I'm in Love," "For the
the
28
Time
THE CRAFT
Get
AND
to Phoenix,"
BUSINESS OF
SONGWRITING
It's
All Right,"
Up
"Breaking
Long,"
to
Remembering how
more
Me Now,"
Ways
"I've
"My
Your Lover,"
to Leave
Gone," and
Lover's
Gone."
"II You're
•
Hard
Is
positive
among
used to be: After the breakup and the passage of time, the
it
us tend to fondly
remember
the
we've been on the losing end, there's a profound sense of loss and longing that has
created
some
classics: "I
Philosophy:
a rationale
It's
human
and perspective
for
We Do
"The Things
Heart,"
also
My
By," "Tears on
Pillow,"
"She's Gone,"
•
Go
Be Over You."
"I'll
it all.
"All in Love
"Only Love Can Break Your
Fair,"
Is
"Please
Remember Me."
Sex
sells just
about everything.
It is
money-making
early
even songs
fifties,
Throughout
as tolerant as
airplay they
how
like
had
it
is
are
look
still
now.
prime song
If writers
lyric topics.
wanted
"Teach
Me Tonight," as tame as
it
Dalliance
Was
in Flower"),
bawdy
balladry.
and
underground
success.
seems to have
because
likely
it
all
it
fit
During the
sixties' folk
McCurdy ("When
commonplace
In the
it.
about
revival,
more
at
it's
isn't
offensive.
There
it's
are rock
seem
"How?"
matter
how
The important
thing
is
that those of
we must make
who
disrespect
female artists in
women
all
doing
so, they're
who
^f:
always
in
a state of
change, and a
be.
in their songs. In
is
own
sex, the
to impres-
songwriter must
always be aware of
those changes.
counter male
song
may
be subtle or
old
fast
and
SUBJECT MATTER
29
ultimately
is
not as stimulating
It's
as a
song that
more
is
is
perhaps
most
the
sensitive
erogenous zone.
it.
Those
lyrics
in rock
are increasingly
under
all styles
of music.
by self-appointed
fire
guardians of our national morality. These elements have raised the specter of music
censor-
which,
ship,
would constitute
if it materializes,
much
as
it's
hurt their
made
us aware of the
power
lyricists wield.
unaccustomed
try, are
song
(after the
listener.
at least as
Songwriters,
some acceptance by
albums
artists sell
It's
sales.
spend
CDs
many
who
the indus-
That
reality
it
or not you allow this pressure to influence your creative choices, the
responsibility should
not be taken
There
lightly.
who will
pret based
on
only
it's
listen to part
Some
have been
an antidrug song. In
known
condemn
to
song
you should
have the satisfaction of knowing that you did write the song you intended to
write.
Sex
our
is
own
conversations.
am
human
like
can't be ignored
is
parents
who
and
artists
who
kids look
in novels,
in
as a
hope
on TV,
care
enough
is
their
up
to
bottom
and
are heavily
line.
Maybe
and the
coming
lyrics
promoted by
the best
we can
attitudes they
convey
with their kids and model the attitudes they want their kids to learn.
Message Songs
Most
baby
We
30
left
may
turmoil.
is
intellectually,
our
is
Most
all
is.
often
it's
"my
negative scenarios.
But
seem motivated
feel
such pain.
after
songs
are.
Not
how
at
trite
in us looks
that
it
just
heavy emotional
in a
as therapy. Just
state, it's
Even though
is
emotional
a strong
positive,
it's
state,
may have
it
similar results as
the "agony" song unless you're careful. Here's an example: You've just had a
religious
spawn something
fantastic song.
positive one,
l<jfe
on you and
The
tell
spirits
it
just
spawns
self-indulgence.
as a
word.
with
all
all,
this
is
a very
Wrong! Suddenly,
street, reality
heard
it
all
as
becomes
before and
new
and
you
felt it,
but
already
it
actually
to
to
it
person
now
sense
by not presenting
on paper, but
it
for
it.
when you
it.
it
someone on the
it
ever did, or
You've told
it
(c)
the
he
way
the message or failed to
in a fresh,
new way.
The
so
sing
(a)
than
communicate
make up
that
feelings.
kncws
is
communicate
failed to
realize this
make anymore
doesn't
it
know
You
revelation.
just
Beatles' "All
You Need
is
weak, the
Is
Love"
is
melody, a 7/4 time signature, and strong production. Without a powerful musical
vehicle,
the words have to stand
It
on
their
own.
have a phrase,
translates to "I, at
"man on
my
a listener,
go to church. If
I
I
to live
your
need guidance,
I'll
On
I'm going to
tell all
lives."
I
want
to be preached
at, I'll
the contrary,
ones around. I'd just like writers to take their messages seriously enough to
devote some
Now that
I've told
receive them.
you what doesn't work, what does? Some people might respond
to
the sledgehammer, preachy "You've got to," "You'd better," "Don't ever" school of
thought, but
with a whip.
SUBJECT MATTER
31
w£_
The most
and
involve
me
in
a scene
cut so
realistically
from the
that
life
could be a part of
it.
greatest hits.
Wouldn't you
feel great if
in a scene
I'm
of the
from each
examples of
classic
The
Sandy.
children,
is
other.
it
we should
message, that
did
a song that
when
it
when
and pompous.
all
all
try to
of us have so
many
activities that
to the
learned
And he
to
and
bills to
pay
it,
"I'm
Dad
like you,
"
And the
Little
cat's in the
boy blue
"When you
and
like you.
cradle
man
the
in the
moon.
—you know
we'll
He said,
"Thanks for the
Can you
teach
I got a
My son
and
me
And he
to
ball,
Dad, come on
throw?" I
He said
said,
"Not
"That's okay.
let's
play.
today,
"
dimmed,
it said,
cat's in
boy blue
like
the cradle
and
the
him.
and
'
man
But
32
THE CRAFT
AND
BUSINESS OF
"
in the moon.
No
BY
"I
don
then,—you know
SONGWRITING
keep us away
later
was written?
this
important in a time
general, impersonal,
But
of or one
He
a part
you wrote
One
and
me
the great religious leaders used parables to get their messages to masses of
people,
all
his wife,
feel is
still
fabric of
't
know when,
we'll
poetry, too
Well he came from
so
much
like
man
had
I just
to say,
He shook
"What
later,
And the
Dad,
is
smile,
to
and
and
cradle
cat's in the
boy blue
man
the
in the moon.
sit for
see you
Little
his
day
my
you know
son
's
know when,
"I don't
we'll
"
moved away
I said, "I'd
He said,
You
but
"I'd love
hassle
's
and
up the phone,
and
the
it
and
man
The Chapins
mirror up to
did
it
with
life
the time.
in the moon.
"I
—you know
we'll
real-life
made
"
'
boy was just like me.
'
"
occurred to me,
mind.
't
Dad,
My
And the
don
to,
my new job a
see,
it's
listeners
They
"
then.
They held
experienced.
all
They
also did
it
from a
of your
own
It's
approach
wanted
to us.
that
is
to let people in
to tell us
The
about
it.
first-person
Your enthusiasm
(I,
sales devices.
will
good
so excited that
you
effective point
of view
is
is
the story
is
Hollis
no need
for
it.
One
SUBJECT MATTER
33
who
kills his
a job.
Way
"The
the City,"
It Is"
them
Wonder's "Living
are other
for
good
examples.
I
to
What I'm
songs.
ily
mean
don't
people
And
who
are already
You can
on your
and remember
You can
also
use
humor,
it.
If
powerful
a
little
wide audience.
that song to a
lyric
shaky
but are
in
the
music department,
music
is
sage
If
In fact,
a powerful lyric
and
may help
political
but are a
who
composes well
in
ingredients.
contemporary
style.
it's still
the
station play
it.
it
hits.
will
shaky
message
fear their
lightly. Social
don't necessar-
satire,
frgr
who
side.
is
message
effective
in
The
shouldn't be taken
controversial mes-
best of
all
Novelty Songs
Every writer seems to have
fun.
The
spirit
can be
at least
one
as infectious
and
as
much
song written
just for
it is
for
few
artists
difficult to place
with an
as career killers. If
built careers
an
on
from the
it
that
Weird Al Yankovic
on novelty records, most
who do them,
for
artists,
new artists,
got a
you
it
feel
you've
directly to
one
might work.
unknown
is
writers.
The Demento
Culver City,
CA
90232
www.drdemento.com
34
who
their producers,
Aside from
terrific
artist.
Society
at:
Another approach
to pitch
is
performance. Most
live
up
who might
artist
by inserting
of the artist
manager.
If
so charge
them
Be
they like
it,
though,
careful,
to get permission
it
funny song.
Contact the
artists
won't record
it,
it.
they use
if
in a
it
on the personal-
They'll often hire writers to create such "special material" for the act based
ity
use
The
be subject to a lawsuit.
still
it
safest
may
be
approach
first.
chapter eight.)
Christmas Songs
Even' year
sheets
just write
snowman
chestnuts and
sit
why
it
What
me
way
like
Maybe
But
let's
when
and decided
Santa's
to write a
reindeer, to roast
song about
it.
bigger long shot than trying to get a hit record. Obviously, the
song
they could
spoke with publishers and other industry folks and the consensus
if
to avoid cliches.
year round
all
A lot
by the cozy
can't be this
tells
rare to find
which
by mail.
is
become
a hit,
first
is
that
barrier
real barrier,
it's
an even
is
that the
though,
much
is
that
time for
Christmas music.
Veteran publisher and industry consultant Jay
ing, the radio rotation
is
encouraged by the
stations'
at
exceptions, stations keep playing their regular hits with only an occa-
song thrown
seldom worth
it
in.
They
artists like
for a record
company
major
sell all
artists released
year. In the
retailers
2000 holiday
Christmas CDs, and though
etc.),
CD,
would
season, however,
that
re-releases
undoubtedly
(Nat
will
be
SUBJECT MATTER
35
released again in the future. If the song
radio format,
it's
Christmas," but
One
more
it
likely to get
would
help
still
who
of the publishers
fits
if
you had
Web
is
it.
company,
http://www.christmassongs.com.
site:
Print:
Ronny
Schiff,
an expert in the
field
in the educational
examples
Albert Burt's
is
someone recorded
Bells,"
New
for publishers in
Christmas"
says Schiff,
Hear?" Another
is
best
still
gets
York
is
This,
sell
buy
"We Need
it
was from
book of standards
it
successful.
it
TV
she was
knew of was
artists,
performed frequently on
When
starts
first,
and
it
takes
TV:
Every year major
at
artists
perform on Christmas
TV specials.
a shot
one with some ingenuity, good timing, and contacts, or a good publisher. Otherwise
that
new song
work
that's
needed by the
special
is
who
show.
for the
is
may
at
Billboard magazine's
The Contemporary
Christian Chart for artists and labels that specialize in this area. There
traditional to
contemporary musical
styles
is
wide range of
your songs
few
who
in July
and
to
and an excellent
work
and
in
2000
era's. It
36
it
can happen!
My
friend
different Christmas
Aguil-
chapter three
assume you're
much
as
you'd
them, the
series
a songwriter
who
wave
that
like to just
reality
is
As
all,
in their
is
own
ways, decide in which
medium.
When we
several different
movements. In a
film,
we
we
mood
that
When we
we know
R&B,
contemporary music
rock, or other
fairly predictable
and
musical,
lyrical,
form.
When
station,
feel
and help
tell
the story.
is
a visual
medium,
it
and
isn't as
dependent on the type of "reach out and grab you" dynamics that radio needs.
The
point
is
that every
medium
medium,
principles
better
the
medium
we can manipulate
in
which we want
to work, with
its
^jr
The more we
understand the
medium
it.
which we
in
A Poem
In the print
Is
Not a Lyric
legacy of poetry in
may
all
languages.
Much
of
its
principles
and forms,
the better
we can
manipulate
it.
be written specifically to be
37
one of
recited. It
is
are certain
words or
if
she chooses
syllables that
knows
she
it,
it
clearly written to
The
on
point
is
that there
in
when spoken
and
a poet's creative options,
it
can bring
Lyrics,
A common
misconception
do work
treasured lyrics
such
as
is
put
An immense number
to music.
of
as in a
Jackson Browne, Joni Mitchell, Bob Dylan, Paul Simon, Leonard Cohen, and
as
and writing
home
right at
feels
How many Joni Mitchell songs can you imagine other artists performing without
imitating
her style?
them
perceive
to be.
more "poetic
little
We're
a hit single,
make
point,
good
must be sung.
more
license," a little
though some
lyrics
The obvious
lyric.
A poem
but because we
The
artists." In
We
work
CD
don't
difference
more obscure
is
rhyme.
let
It
them sink
Much
in
of what
is
referred to as "poetry"
Good
lyrics
Oscar-winning
need
it's
lyricist
think poetry, in
something
song, and
else,
it's
much room
Dean
is
38
like the
for as long as
is
craft.
actually verse.
Verse
Anyone can
The
really
is
write
is
difference
is
good
verse that
it's still
it
It
that
is
less.
In an interview with
asked what he
between
felt
was the
doesn't read,
it
it's
read,
it
differ-
lyricist:
achieves
who
to
not poetry.
song
the
more and
Pitchford ("Footloose"),
form,
if
we need
music industry.
It
not expected to
It's
in the
it
It
lyric since
but poetry
which
hear
all
final
its
for the
why
necessarily
must function with music.
have
to
references
in the brain.
written for the printed page alone can use graphic style and unusual
words
who we
already fans.
that a lyric
is
like
their
inserts
as poetry,
and
on the
we buy
other words,
lyric
is
aren't
maybe
You
also
have to
resist
like the
and
the temptation to
me
People hand
fill
all
"What do you
Gettysburg Address
there's lots or
— long extended
lines
your space.
fill
think?" and
it
looks
alliteration,
The
lyric, like a
poem,
Music helps
yet powerful way.
do
it
that.
classes, asks a
lyrical
and
same way
the
moods behind
is
lyric
rhyme, but
Each time, he
several times.
where he or she
The
right (or
New
wrong meaning.
to be
difficult to sing.
A
sung
well.
lyricist
going.
is
You
Words
must be
have a
message.
must be able
in his
feeling,
condensed,
in a
room
can do that to a
emotion imaginatively
like
"orange"
able to imagine
we need
remember
to
that, in a
minutes, the listener doesn't have time, as in poetry, to wonder what the words
really
^jr
lyricist
must be able
to imagine
someone
mean.
A Song
Making
the
Is
a record
combined
Not a Record
is
a craft in
skills
its
own
life
of its own.
command
will
It
Many writers
radio, so
recognize
The
why
is
Today, the
But
they'll
want
never
"My
it?"
it
a great song.
cappella. It
great song
song
better than a lot of stuff
is
hear on the
make
sung a
results.
doesn't anyone
if it's
and
ents aside
craft
has a
right.
a "hit song."
artist
or group with
we
just
Those
remember
aren't songs
the
hook
we
line.
can't
We
remember
may
the
melody
to or the
humming
they're records.
demo
39
I've
bought
CDs
solely
on
my
though
but
lyrics,
couldn't
hum
the
much
art
and
craft
will experience
producers and
will,
it.
songs available, whether they write them themselves or go for "outside" (other
writers')
songs. Others,
uct,
else. It's
up
whether
they'll
own
isn't in
It's
advertisers will
pay to
sell
everything from
Muzak-type
to reach a
Top 40
now
classified as
AC
more money
cream
register
MOR
to retirement
sell styles,
Some
stations seek
that's interesting
is
is
fierce
among
Once
among
in,
they
don't want you to go away. Consequently, one of the most important requirements for
of the
most
is
that
it
important require-
radio
hard
almost subliminally.
It'll
specific style
The competition
One
zit
The
wide variety of listeners and age groups with music
with a
do whatever
stations,
play or
is
that
it
holds
you
is
it's
well to radio.
artist,
The
and
following
the listener's
Song Length
attention.
The
greatest percentage
Today they
average
of
hit radio
rarely hear
five
minutes because radio wants to play more songs yet keep more space for commercials.
Knowing
this,
few publishers, producers, and record companies want to buck those kinds
song
gets played.
three hours.
40
THE CRAFT
"rotation," that
is,
the
that exceptionally
number of times
also
With
AND
maximum
know
They
BUSINESS OF
SONGWRITING
a long
one every
told
is
Owens
career as a recording
his
who
("Act Naturally"),
Knowing
artist.
that DJs
frequently had less than three minutes to go before a newsbreak or commercial, too
he got
to
first hits
lots of airplay in
ASCAP
from BMI,
SESAC,
or
down
for
that they
it
might
It's
it
again.
Major
artists
these artists.
know
may
he
idle chatter,
it.
Consequently,
slots.
radio was
much
to put
song
if
when
"Where Your
is
the DJs
with
chapter nine.)
let
fill
from beginning
to
However,
that
song had
can get away with long songs on hit radio because everyone wants to hear
A common
practice
is
special
Something
lengths vary, but
of introduction
because,
if it
else to
it's
is
and musically
interesting. It
faster
it's
it
It's
people find
know how
The
irritating,
but
long to
talk,
it
gets
make
a radio station's
though
on the
CD
it's
back
DJs love
more time
for
intros.
they'll
Singles,
it
Some DJs
good idea
that the
commercials.
more important
Many
more can work
Even though
boredom
is
ability to distinguish
lot
art
THE MEDIA
AND THE
LISTENERS
41
RADIO FORMATS
Here's a
of the major
list
new music
opposed to
(as
United States and Canada courtesy of independent radio airplay promoter Bryan
Farrish (www.radio-media.com) with his
stations
these categories
in
comments on
number
of
subject to change.
is
Country
2,300 stations. Country
newer
proach
More
"Top 40"
the real
artists,
really
younger
listeners,
which new
in
they play.
artists
One
special subcategory of
new
its
took hold about the time Garth Brooks began gaining popularity.
Americana
small.
popularity.
using
is
is
country
it
is
new
an interesting
some
format, with
It is
a cross be-
and
labels.
Religious
1,900 stations. Includes Christian
in
many
stations
less
There
is
is
no absolute number of
new
music. Instead,
it
four hours of
new
music.
Adult Contemporary
1,500 stations. Also called "AC." Includes "mainstream"
AC, and
AC.
"soft"
capacity for
AC
is
of the
talk, satellite,
carry.
Nevertheless,
By
labels.
for a
this
new
artist
AC
still
mean
enough small
if
AC
promoted
new
artists
on
new
small
music)
correctly.
Rock
800
stations. Includes
know
airplay.
42
THE CRAFT
"modern"
One
AND
however
SONGWRITING
Most people
artists
to get
Spanish
600
Top 40
400
stations. Includes
difficult
format for
indie artists.
i.e.,
Top 40
with a beat.
very
day.
Urban
300
artists,
but thankfully
it
also offers
difficult
for
new
mixshow support.
Classical
150 stations.
Jazz
150 stations. Includes "straight" jazz
is
(i.e.,
traditional)
and "smooth"
Smooth, however,
will
be very
difficult.
Kids
50
stations.
*A
specialty
does not
station normally
Live
programmed
all
office.
show or
mixshow
It's
stations,
is
a one- or
two-hour show on
it
commercial
play.
Performance
critique session)
"The
when
my
play
response
them
is
less
me
(in a
all,
say,
aren't they
my
audience?" Yes, they are your audience and they'll almost always respond to a high-
energy,
enthusiastic performance, a heartfelt delivery,
personal charisma.
The
be very misleading
when he
The
new
in his
from
a club
and
performance can
to songwriting
and
performing
in
which
He may
be relatively
When we
forty
go
and possibly
to be entertained.
ecstatic.
THE MEDIA
Give
AND THE
LISTENERS
43
songs on a
demo
and
moved by
facial
the charisma,
to a
who
and
on
to stand
artist to
it's
whole new
aren't
situation. Since
communicated
own. This
its
is
to via
particularly
record the song.
Singles
A lot
work
for a
as a hit single.
dancing crowd and a ten-minute guitar or drum solo can bring a club or
in concert
may change
it
on the
radio,
who
sell
Dave Matthews
relive the
concert
experience through the recording, not because the group has a hit single.
more about
You'll be learning
dynamics needed
work
in a club,
is
Albums
\J£_
I'll
Albums
are another
medium
bands and
writer/artists.
An
creative
can
being adventurous on
an album, even
latter
falls
if it
short of my expec-
tations, but not for
me empty
"filler" just
create
unpredictable.
repetitive
vamps
They can
work
and
in the limited
single.
Most
to have an album to
sell.
can be
are also
good examples.
are
New
age
artists
is
We get
Given
that, the
comforting.
of view.
They
album
artists.
mood that's
Mitchell,
artists like
for
and
The
a rapidly expanding
to
artists
of independent
list
relate to
are
them
in a
more
lyrics,
at a concert.
The
in a
way not
demand our
We're
all
tired
44
on an album, even
me empty
THE CRAFT
AND
BUSINESS OF
if
it
falls
"filler" just to
SONGWRITING
Personally,
short of
my
I'll
forgive an artist
have an album to
sell.
Video
Somewhere
and allow
between
in
which can
video,
is
artists
With
connections,
much
has
more
fans will be
little, if
ways
power
as a
to
on what they
feel
it
make
No
an
artist
it
in the
.)
that
is
is still
computers.
is
make
much
radio.
artists
being
who
for, it
can
about the songs." Video,
"all
show
CMT
works best on
stay in a listener/viewer's
and
on an
MTV, BET,
their
any, relationship to
like
live
watching videos on
that bear
it's
at
opposed
extremely important.
writers give
little
whom
conscious thought to
They may
their peers
musical
styles.
because of
it.
They
keep an audience
who grew up
maybe
younger
thirty years
If you
who
still
want the
(see
is
and groups
Stones
may not
only
still
On
and
the Stones
is
who
at
home
an
Then
with,
artist
you need
and the
to
do some
characteristics
stretching.
The
artist's style.
in the artist's work. Listen to the radio stations that play her records.
Immerse yourself
Be
about the
songs.
make
careful not to
I
style.
asked
who
his favorite
motivation was
all
artists
country
artists
it!
who
It just
seems
like
it
would be
told
him
I
never
easier to write
to forget
it.
The
wrong.
THE MEDIA
AND THE
LISTENERS
45
enough
It's difficult
to
love a style.
don't work
in
way
lyrics that
You have
off track.
might spark
may
jazz fans
really lived
pop or rock
know,
to
love them,
would
piece
inappropriate combi-
nations of music and subject matter. For instance, heavy metal appeals to primarily
young,
make
it
in
romantic
lyrics
do. Attitude
is
You"
doesn't
roll.
hard, frantic edge in the music needs attitudes that aren't soft, mushy, or tender.
Artists like
Down
appeal to both
need to understand
who
an
artist's
man
audience
whom
Even
feel great
if
we assume
wives
friend.
it's
still
material
what
style
where
lyric
was
it
in love
with
mellow pop
with
his wife!
The
other
it
who
I
how
audience would
a pitchable song.
you want
else, if
how
his
found him
it
to sell
to be even
more obsessed
how
in country,
still
song
effectively
is
is
to be included here.
king,
feel this
Though
information
is
is
mostly
in.
by Chris Blake
The imagination
converts
words into experiences, turning songs into old friends that we want to hear again
and
again.
46
it
THE CRAFT
The
hit
song
lyric
is
AND
BUSINESS OF
SONGWRITING
easily,
Chris's experience
what
in
you
room
that
is
So the song
is
she liked the guy and was flattered by the come-on, she
to an audience,
He
women, and
there's
point
would not
The
is
woman. But
as well as rockers.
feel
young men and women because
and completely.
—
The
Much
as a
mechanism
it
need
human
work
that
much
in
ways
of the scientific
But
how
it
works,
who
literature.
I
do want
to point out
some
^L
The theater of the
imagination performs
about.
imagination and
far
certain
I'm going to spare you the specific references and "technical" talk
as a lyricist.
is
know
to
literally
It
specific characteristics
twenty-four hours a
day.
It literally
mechanism
it
ways of acting
certain
and reacting
acted upon, at which point
What
talk
more
we can
simple,
it
about "cues"
is
just
to internal cues.
While
who
it
and
it
perceives.
To
keep
—from
it's
know about.
it
thoughts, associations,
—that we,
as writers, need to
external.
from within
as internal
has cer-
tain characteristics
of the imagination that have been confirmed by scientific research and are totally
The imagination is a stimulus-response mechanism. That is, it will not act unless
cannot
its
own
images
all
re-
itself
the time.
lyric
unattended in front of us) have been caught up in what the people in the lab
jackets call
taking off on
This
its
ability
as a lyricist.
own
on and on.
For now,
just
know
that
it is
itself is
a relatively
weak phenomenon.
It is easily
interrupted by external stimuli that, because they exist in present time, appear to
hold a
much
phone, with
stronger
all its
demand
who might
potential for
them
in
our
own
we
experience, giving
We
them
take
in
in
our
and interpret
own
"reality."
We then attempt to communicate our realities to one another using a set of mutually
upon sounds we
agreed
call
heard,
lyricists, are
become
primarily
Nowhere
is
in the
Were
it
ourselves, for
it
good
thing!
not for the ability of our imaginations to convert words into images,
keep
it's
it is
in
we
let's
simple.
47
6:30 A.M., and Larry, fanatic that he
It's
down
Larry goes
But not
thing.
Watch
dog?
running
head
out?
we
find out
after the
become
best
him
Max was
what happened,
dog warning.
It
may seem
is
why
he's
doing
imagination
his
As
this crazy
Dog? What
talking about.
into an
he's got to
what went on
way of thinking
a well-practiced
And
take a look at
let's
and
off
is
enormous amount of
—what,
remember
inside Larry's
had
lyricist, this
for you.
What
"watch out
to
he always does,
Larry's
as
wondering what
as he's
Why?
Max
(faster
Before
hard
is
as
is,
new running
he's trying a
but
activity,
let's just
not just
It's
"dog"?
Well, Larry's no
dummy. He
now somewhere
is
him.
And
there he
would remain
if
dog"
for the
to
it's
"watch out
in the
reacts automatically to
it
the words.
Now,
the imagination
for us. It
exactly
is
programmed
what
it's
told to
is
from the
to retrieve
— no
And what
less.
in
our
files
had
we
that
however
associate,
with that
loosely,
Dog.
Yessir,
coming
Tin-Tin (excitement)
by Mrs. Smith's
lawn (happy)
right up.
— German
Doberman
—Fido grew
old
as all this
it is
Hmm,
"dog"
old Fido
pain, anger)
to
ah, here it
is, it's
Lassie,
Rin-
being bitten
and me playing on
the front
—and
just a fraction
is
—memory of
information
built to do:
let's see,
and had
to
new running
(fear,
As much
what
we've ever
subject.
choices
files
is
make
doesn't
is, it
so
on
.
of what Larry has
filed
away
with the word "dog." But, his roommate wasn't just talking about any "dog."
Hmm,
let's see,
"Watch Out"
my hand
is
were about
to
oh, yeah,
on the stove
coming
me
it's
to
in the
(fear,
pain)
—
—what kid shouted
—what a roommate would
town (confused)
head (pain)
THE CRAFT
AND
BUSINESS OF
— what Mom
it's
(fear,
that
me
files
on
SONGWRITING
at
say if I
anger)
48
He
tap. It puts
Rabid wolves chasing starving children through
Smith's
Doberman
— Cujo
dogs, led
by an evil-minded
The
at the time.
(fear)
wild
little silly
point
is
little
mutt who
—Mrs.
the corner
seem
silly
enormity and the complex variety of the
to notice the
information that becomes available to Larry's imagination from just a few words.
And
he can't help himself. Notice that nothing about Larry's wild imagining was
demonstrate
is
matter what.
It is
in the
in
You need
to
it is
conditions
The tendency of
for reasons
arbitrary reasons,
Experiment
thing,
its
to
no
discipline
in order to keep
it
to be.
it
is
and
it
we
The
and adverbs
adjectives
It's
tools
shall see
is
and
under these
realize that
you set
off
same crazy
process
in
listener's
the
head with
and
it is
for yourself.
come up with
the imagination
ggr
this
As we saw with
nonsensical.
hoped
impose controls on
to specify exactly
it
domain
do
why God
unless
literally
somewhere
Your
is
you
realize that
What
mechanism.
a stimulus-response
listener's
we have
while running.
else
experience.
Car
Book
Musical instrument
Not
very,
meaning
in your experience.
on one image
to focus
The problem
is
that
meant you
that
had personal
to see:
My great 1982 Porsche 928 with the broken right tail light
My paperback book with a blue cover and the words "Gifts
of
God"
printed in
knob
You want
arbitrary, the implications for
it
to;
THE MEDIA
and
direct.
for that,
AND THE
LISTENERS
49
te£_
you need
listener's imagination
fight he
to re-create
what you
want
it
that,
you need to be
to;
specific, or
and
for
astonishing
But what
will
down
God-knows-what
corridors of
its
how
own.
ahead, the
The imagination
tasks?
all
it
and
it
we simply
often
is
a restless
self-control. If
and highly
you want
its
tasks.
Read on.
The imagination
and wander
them
to give
-the car
had with
attention, you'd better keep
the
imagination
is
It
is
that
is,
it
can only
create pictures out of the information already stored in the minds experience.
Larry's
"dog" emerged
pictures.
as a
Nothing
composite of
many
new was
really
past real
and imagined
and
events, feelings
some new
— none of which, of
scenes from
sci-fi
movies
—perhaps
is
all
had floating
in
the sensation of
empty,
and
vast,
water
it
and
tries
hard
literally
(as it's
real
and imagined
cannot deliver to us
designed to do) to
we
us
of images, feelings,
The
—various remembered
it.
re-
Our
This
is
songwriter,
why
them
that are outside of
to be able to relate to
If they
cannot
to
most people's
become involved
in
the
the song becomes meaningless simply because they don't have the machinery to deal
with
it.
wish
amazing
I
how
is
turnoff.
And
your
to.
often songwriters seem to believe they can get around this one.
had a dime
for even-
song
I've
who
who want
to crash into
the floor of the stock market, the intricacies of shifting through ten different
truck
gears,
It's
and the
tactics
one matter
employed
(plot).
another to write your song exclusively about something with which you're famil-
iar
knowledge.
50
emotion
It's
little
Just
in
remember
about the
to be very careful
ideas,
you
One
are excluding
You have
are songs that are totally about marriage or totally about divorce.
remember
to
meaning
events,
that they
"Unreal"
of
imagined experiences
as
reality. It's a
just
testimony to
how
are,
and physically
to
feel
And
it.
that
we
don't
call "sec-
to
ity in
tion.
Our
is
word ouch
activ-
nerve endings truly react to the phrase "the touch of your hand."
Notice for yourself the number of song
titles
and
lyrics that
"
"We Danced"
The
list
obvious
would be
nearly endless.
when you
physical sensation
The
and
listener
automatically to words.
You
as well.
We
Remember
demands
in their
literally tell
it
what
to
do and
it,
it
is
helpless not to
listener.
is
good
react to
we
just
how
we do them.
We
"hooked" by a
selves.
We can produce audio "images," feeling and sensation "images," and so forth.
We can, in fact, "image" just about any experience we've ever had, think we've had,
or imagine we've had; and
are clear in
you
as the
in
mind
if
only you
imagination.
realize
some of
An
among
these
is its
is
An
abstraction just floats there.
when, or why).
does, doesn't
It is
nonspecific,
know what
to
It's
not grounded in
specificity
do with
it
and
isn't
it
THE MEDIA
AND THE
LISTENERS
51
and
On
the face of
abstractions of
which
So
is
this creates
it,
them
body of words
are the
all
one of
"love."
how do you
Your
goal
is
to involve the listener as deeply as possible by writing words that are usable by
his
The key to
want "the
wants to hear
listener
all
dilemma
is
resolving this
The
simple enough.
First,
cannot process.
remember
real thing,"
that listeners
as
they
listen.
Second, notice that abstractions are convenient for organizing and labeling our
most
it,
let's
definitely not
look
at the abstract
They
all.
are only a
all
of
time
it
happened
losing
making plans
having
more
real
Life
is
Even
on.
bill
remember
is:
except Betsy
when
that
faster so that
list is
it
is
that
on
not too
my experience
you beginning
quadruple
my
sweater
specific,
of "falling
but
know
in love"
it
itself
ever
when
moment
to
moment
mind
what
into
our future
for
my phone
so
else
slightly dizzy
not an abstraction.
And
crete.
and
file
real experiences.
appetite
contact with
could. Are
to me),
And on and
life itself.
my
us,
life
when you
it
real, specific,
life,
it
and con-
can only do so
needs to do
its
job or
it
won't bother
turn
it
And
work
away.
yet
it is
It's
52
is
an abstraction
every one
of
them
what
is
basically
way
that engages
How do you
How
it
The answer
them
every one of
refers to
commerciality.
is
Nonetheless,
—and
listener so
he
of detailed,
lyricist
information.
Two
classic
and
fine
"The Gambler."
blue,
The
vehicle
the
medium
terribly.
is
man
about a
who's lonely,
—through which
De
the writer, Hollis R.
is.
com-
Laughter,
municates those feelings are simple, repeated descriptions of the act of looking
and
Remember
participate.
one very
special to you.
nowhere
in the
lasting. It
is
idea
a very
and
of some-
at pictures
is
a physical act in
the
The
is
at
talk
how he
emotional song
in
is
loved her,
is
profound and
ever
mentioned by
word.
"The Gambler"
had gone
writer,
If,
at
whole philosophy of
outlines a
it
directly,
said
something
It's
it
living.
And
if
Don
Schlitz, the
when
to
like:
important
to
know when
to persist in trying to
and when
to
give up.
You have
to
know when
know when
to
to
decide to give up
give up quickly.
Those statements
to
of time
to look
back
to see
how
life is
it all
going while
went
it's
what we
all
know he meant.
going on.
is
over.
"The Gam-
simply poison in terms of retaining our interest and involving us in the song. As
ludicrous as the examples seem,
level
say.
of abstraction.
The
many
They
They have meter and rhyme. But they
say
to
and
boring.
THE MEDIA
way
AND THE
that
LISTENERS
53
—
would be
and imaginable
alive
is
its
of action
job
the song
some kind
verses before
that
it
has a color.
It
You can
feel
examine
it
it.
You can
see
it.
You might
OK as
It's
not that
It's
images go.
It
all
turn
it
around
in
its
"brickness." But chances are, you'd get bored fast and lose interest.
fcjjr
That
is
last less
rapid decay rate.
is
and
images
last less
than a
one instant
So
we
image
start with.
enough
number of times
it
This
is
true for
to
in succession.
Re-creating the same image
it
and
And when
again.
is
The imagina-
you'll see.
in
an image
window
is
a cue for a
whole
the
usually
is
action.
The
—and
movement
reason
is
in action.
image
series
remember
is
fast
Among
abstractions: There's
no
action.
is
They may
is
it
if
one image or
it
AND
If the
image of sorrow
refer to
SONGWRITING
it is
BUSINESS OF
some
producing an image.
fades away.
THE CRAFT
resist.
you saw.
Are you not remembering your blue-eyed person doing something!' Try the
sort of action.
54
for that
and our involvement more complete. The image of the brick headed toward
that store
is
one image,
demands change
imagination to re-create a
for
television
that action
snowy
The
What
like a
first place.
in time.
re-create the
fresh
rate.
than a second and, visually speaking, are not too clear in the
.
.
heart,"
make your
forth.
lyrics
come
—seem
alive-
will
lifelike
because of the mental and physical effects of images, the good writer will allow
the
do sorrow.
listener to
this
strive to
"Falling
Each
tide
doesn't
mentions the abstraction
itself
Go," Vince
Gill said
Have
to
You."
to
"field
of image"
at its best
An
image
lasts in
the
implicit in
true field of
its
short
"memory" and
it
does
It
its
job best
when
of vision. Notice the ease with which you can produce the image: "Lipstick
field
on Your Collar"
vs.
if
mind
is
— resembles our
image
with objects being clear toward the center and increasingly indistinct toward
vision,
of its
is
It's
Memory
When You
Think About You Anymore" or "When You Go, I'm Gonna Miss
The
action metaphorically.
it
Want
in
but gives
it is
hit writer
overly complex.
the image
imagination
might
far longer
try her
Over You."
hand
One "broken
many
second
at that
The tendency of the imagination
is
All
line, as
abandon the
to
is
an
task
images get more mileage out of the imagination than groups of things do.
It's
why
songs that deal with "I" or "you" (meaning a specific person) work better than
"people" songs
too
much
— "everybody"
songs.
When
free
is
and
specific
becomes more
mind when
like
—one
you're trying to
specific instance
sum up
all
mental work.
she turns
man and
it
mostly
the singer
time.
of providing
risk
of
life
on the
And
is
no longer
mental work
radio.
it
in
in a three-minute
THE MEDIA
AND THE
LISTENERS
55
—
song.
song that
tells
experience of living
With
rageously simple.
it.
So keep
The
more
vividly than
it
to
all
you
if
in
try to
do
it
in
one
simple.
you
moment
due deference
all
will elude
there,
it.
—moment
life
to
it.
moment
is
out-
Everybody knows
cut deep.
many
is
that simplicity and specificity render one vulnerable. Your simple song could be
and may be
—simply awful
theme, plot,
etc.). It's far safer to stick
that
"sound
really
no
So, say
at
when
The problem
is
(especially
safe
that,
is
while there
is
much
to be learned
to say directly
there are
when you
It's
part of growing
professionally.
in code.
Enjoy.
many
credits,
56
teacher,
ofthe Nashville-
Moe
and others.
a songwriting
Writing Lyrics
When we
think in terms of the world's population, there are very few people
who
have the opportunity and talent to communicate their feelings and opinions to
anyone beyond
their
immediate family,
and
Radio,
tion
when
journalists,
numbers
are
still
TV, and
from the
rest
someone
may
films have
become
the vehicle by
which most people
all
do your
relatives that
make you
best.
In this chapter
your
receive informa-
to
thoughts. Novel-
fairly limited.
want
else's
I'll
and
when you
you express
Simplicity
I
is
It
was
felt
common
a question
others,
and the
Simplicity
doesn't
in saying
know
to an artist or
quite
how
performing
it
yourself.
Then you have
When
life,
maybe
hit songwriter/producer/publisher
in his or her
life,
but
it
to try to get
someone
it
else to
challenge them.
WRITING LYRICS
57
he remarked to songwriters several times, "You've got too
idea,
We've
when
they could say "put the thread through the hole in the needle" or "thread
whom
didn't
up
Instead of setting
game
is
you
Sorry, but
it?
to
make
know why
nowhere
in
played
Some of
that Geraldine
lyrics.
this so
it's
who
for
a
you
in
two words
Made you
feel clever,
whole idea
heard them?
listeners as possible.
me.
a friend
sense.
She wanted
me
the
me
She seemed
many
five songs,
work
her
else
communication
The
me
they meant.
anyone
yourself understood by as
common
that
a very private
A songwriter once
to
to
two
clearly
that
on one
it."
with
ideas here. Focus
read how-to manuals that say things like "insert the strand in the elliptical
all
aperture,"
many
and
truck.
make
told her
"How
to be saying,
thought
it
was
was playing an
intellectual
game with
make
worth
bothering to figure out.
Ironically, the
most
dance
floor, a
"No
said,
like
when we
thanks,
interesting, enjoyable
^jr
You should be
"What about
we seem
fine if
you
just
at the
to
want
for as long as
we needed
art?
lyrics
only
Do you
make
think
us feel as
is
to
presented
though we're
communicate an
if
words
way."
also have
we could look
on
first
was her
you want
to
make
You can
derive
some
in a
vacuum, which
benefits
from keeping
is
communicate
expresses.
Focus
Another
critical
to describe the
58
aspect of effective lyric writing
emotion or mental
jealousy,
and resentment
THE CRAFT
AND
BUSINESS OF
are just
state that
a song
is
focus.
expresses.
You should be
SONGWRITING
able, in
one word,
Any of these
could
EXERCISE
Several basic questions will help you brainstorm an idea or bring the idea into
after that
Who
What
inspiration:
initial
is
Someone who's
Who
is
public?
As
a philosophy?
if
how many
they believe
in
Having said
that,
It's
it
work
can
is
or
attitudes,
like
that
away
how
they
Won't
biggest
Then do
about.
this a subject
when they
lives
Is
The general
mistake of their
ask:
it
you please forgive me?"
it
to meet?
like
Arouse?
Criticize?
leaving?
would be interested
to ask yourself
even
To
a purely
you write
Someone you'd
Teach something?
lover?
Give people
Someone who's
God?
friend?
What does
left?
else?
sad? Angry? Lonely? Happy?
You? Someone
is
FOCUS
;t^_j
focus
IN
down one
with your
it
own
line for
songs.
If
be, in a
songwriters tend to
it's
want
to settle
on
eventually zero in
it's
But
if
two,
first
idea to write
all
"Themes of Love,"
what
Attitude,
which
song
in a
is
away
depressing, express
a feeling,
make
it
negative attitudes, or
just one.
is
about. In chapter
describe
Generally speaking,
artists will stay
Many
Beginning
it.
You should
good
a single idea.
on the
specifics.
it
about.
is
find rock,
WRITING LYRICS
59
and hip-hop songs that express an
rap,
(I,
Bonnie
Raitt's
style.
"Something
to
favorites,
"He Thinks
Carpenter's
"Did
Carter's
is
lyrics
it's
by the
attitude,
Shave
My Legs
He'll
for This?" If
it
Titles
strong
title
public will
very intriguing
and
are so
title
wedded
Sometimes,
if
Look
at
up
live
way
many
a very
It's
common and
it's
program
Some
Not
only
is
something
titles
in
think you'd
this
month.
interesting to you,
it
might
start
also interest
some
embodies
a concept,
Me
the
it's
easier to
them-
stick in the
its
memorability
some
if it
poetic
or assonance (repetition
"Show
to
of you, one
Boogie,"
way
practical
itself.
"Silent Lucidity."
Know"
it's
in a
Concept
in front
sounds "catchy."
to their
tions:
of
director.
selves:
list
artist
to say
in the process.
be most interested in hearing? You've already heard "I Love You" twenty times
have failed to
be) for a
country music,
hit song.
an imaginative tide
lyrically.
likely to arrive at
that, particularly in
titles
you should
have a
and ordinary,
titles
Some
to
title
fresh
Of course, you
Top
way toward ensuring
can go a long
It
sounds)
Heart,"
(both)
"I
to
Scootin'
or
Muskogee."
Common
60
"I
Heard
It
Through
in songs: "It's
Twists of
common
Name
and
supported by the
is
dane
Newman's
Sometimes
This
this
is
down
core.
title
name
titles
My
Mind" does
the same.
riff,
melody make you think
or
good
of?"
a process in
It's
and
record buyer
that
knows what
will
it
will be
it
lack of an obvious
title
remembered.
gets
Many
trigger ideas
and phrases
You can
If
it's
potential hits
line.
may have been
This
lost for
to craft a
unique
title is that,
royalties
"What
test:
at a piece of paper.
suggests a
your
itself
mood, and
in a
title
else gets
Randy
case in point.
like "I
Billy Joel's
Place that
good
are a
that
it fits
state
chord,
shuts
is
lyric.
whether they'd been there or not. Hoagy Carmichael and Stewart Gorrell's
"Georgia on
title.
of the
rest
"I
feel nostalgic
does
magic of the
title
classic
real
human
occasionally, a
common one
called "I
you nor
First Lines
The
first
words from
a singer's
how
strongly
you can
it
doesn't
sell
artist. It all
goes into that evaluation you
mouth
So with your
with that
we
all?)
sittin'
get your
first line
or lines.
about selling
as a listener
When
get
down
here
"Woke up
Though
it
(a)
to an artist.
it
off,
Don't
fall
this
these
about
a publisher
make
words
might be penciled
in to
first
WRITING LYRICS
61
.
Your
fcjjr
Your first
line
should
comes
comes
next.
should
You can
next.
Where
set the
your
set
taking place?
is it
Is it
make
us
want
to hear
what
first
what you want your
contribute to
first line
lyric to
accomplish.
What
kind of a place
is it?
Are
be careful of passive picture postcard openers that don't carry with them action,
emotional charge. "Ten miles west of Houston," "In a dirty
flavor, attitude, or
doorway," "At
home
in
all
downtown
geographical or emotional.
Can
2.
the hour, day, season, or year offer a flavor that enhances the emotional
impact of your song? Think of the number of songs that use "morning" or "night" to
evoke a mood.
song
3. If the
song
4. If the
addressed to someone,
is
is
you can
say?
about someone, can you say something that immediately gives a picture
is
5. Is
you can
use? (See
Listener," chapter
three.)
6. If
feel so
Gobel's old
line,
"The world's
answer
it
in a poetic or
lays there.
just a pair
it
of brown shoes."
Of course,
to
establish.
listener
of the
should have the answers to the "who, what, when, and where" by the end
first verse, as
well as
know
your
lyric,
your music, or
better,
it,
with
by both.
Rhyme
I'd guess
so important?
What
There's a reason
rhymes
are strong
is it
why
that
people
still
nothing rhymed?
memory
Rhyme
of
a line
by giving
it
62
THE CRAFT
AND
it
is
solid
trigger.
BUSINESS OF
To drop
it
lyrics
offers
It
Rhyme
SONGWRITING
do you think
can create a
is it
if
Why
you'd remember
is
a tool
assume
it's
you
not
important
isn't a sensible
Not
writer.
someone who's
attitude for
the odds in
rhymes
how
but of
It's
not so
much
by
critics
who
they're judged
life
a
production. Musical theater boasts a long history of exceptional craftsmanship, and
they aim to keep
to
it
come up with
Whenever you
that way.
rhymes
perfect
think
start to
in a context that
it's
makes them
study the masters. For instance, listen to the songs in the Barbra Streisand fdm,
remind us that
rhymes without
it's still
We
ftf^r
Whenever you
think
it's
start to
too hard or
impossible to
come up
in
sacrificing naturalness.
them
feel perfectly
Types Of Rhyme
masters.
Perfect: Stressed
sound
is
identical,
There
use.
My feeling
pop music.
It
rhyme
be called
at
all,
rhyme
to
fit
as in port/fourth, loss/wash,
in
meaning of the
it is
the
effort to find a
Common
word
whether
writers about
oblique, or half-rhyme:
false, slant,
rhyme
that
among
best.
Imperfect, near,
in
to alter the
is
different:
is
is
an ongoing debate
is
preceding consonant
which the
last syllable
let
it
shouldn't
you
around/down, shaky/aching.
Single-syllable
rhyme,
as in
pack/rack or a multisyllable
rhymes, as in compromise/idolize.
stress
on the
first.
The
maker/shaker, masquerading/
as in
degrading.
last
medium/tedium,
three syllables
that don't
end
them
in
makes
rhyme and
facilitate/rehabilitate.
us close our
sustained.
V,
f,
z,
mouths and
and
that
end
in a
consonant
when
(b,
sung.
p, d,
M,
t,
n,
q,
L,
and
and
k) that
can be
(sibilants)
drive recording engineers crazy. Pay close attention to these "singability" factors
as you
write your
lyrics.
WRITING LYRICS
63
.
Internal
the line, as in
at the
end of the
line.
great state."
Rhyme Schemes
memory
as a
rhyme scheme
verses,
for
your
bridge.
it's
It
Once you
consistent.
same pattern
one
in
all
you must be
establish a
You can
tool,
Another way
way without
it's
for the
affecting the
to either precipitate or
is
can be used with any rhyme scheme and the rhyme can occur
better
at
any
last line:
Ta
Here
1
2.
are the
most
common rhyme
(Rhyming
score
dictable.
floor
door
trust
four
lines.)
fast.
(b)
line.)
Has
flexibility
hurt
c
all
b guess
3.
schemes
more
mess
luck
(Rhyming
stuck
fourth lines)
brave
first
and second
lines, third
and
b save
4.
5.
able
still
a
cable
stable
making
b good
6.
64
taking
could
friend of mine
send a sign
try
AND
first,
(Rhyming
first
third,
and
and fourth
third,
BUSINESS OF
(Rhyming
SONGWRITING
first
lines)
second and
fourth lines)
THE CRAFT
(Rhyming
and second
lines)
The
following
is
Lyrics,
See Bibliography.)
Remember,
in
lyrics
And
vowels.
When
rhyme
lyricists
since
is
vowel connection,
you
can
sing,
you exaggerate
make
sonic connections
useful:
Rhyme
Family
1.
which offers
The
syllables'
2.
3.
after the
families.
are different.
Rhymes
Table of Family
PLOSIVES
FRICATIVES
NASALS
Voiced:
bag
vTHzzh
rn n ng
Unvoiced:
in
th S sh ch
plosives, fricatives,
consonant
—forms
a phonetic family.
substitutes.
members
Rub/up/thud/putt/bug/stuck are
and nasals
in
rhyme
of the
same
family rhymes.
Lovelbuzz/judgelflufflfuss/hush/touch are
members
my
line
family.
two, below:
face
First,
The
trick to saying
is
yourself to
Ud
uk
ub
up
Ug
blood
buck
club
hard up
bug
flood
duck
hub
makeup
jug
mud
luck
pub
cup
stud
muck
scrub
plug
thud
stuck
tub
shrug
truck
Look
at
t's relatives:
unplug
snug
tug
Continued on page 66
WRITING LYRICS
65
Continued from page 65
Much
my
There's nowhere
feel safe
First,
Now
to.
this:
back
Not much.
no
in
fs
we get
All
is
waif.
We add these
possibilities:
av
as
az
aj
case
behave
blaze
age
ace
brave
craze
cage
breathing-
cave
daze
page
space
grave
haze
rage
shave
phrase
stage
face
slave
paraphrase
disgrace
wave
praise
chase
aTH
embrace
bathe
grace
ath
lace
faith
resting-place
space
Finally, nasals.
comes out
The word
think
it
means.
All
the sound
of your nose.
Pounding
like
my head
drum
Go
"nasals"
un
numb, slum, strum.
ung
fun
hung
gun
flung
overrun
wrung
won
sung
jettison
skeleton
Finding family
to
tie
yourself
When
66
THE CRAFT
in
rhyme
isn't
AND
hard, and
its
BUSINESS OF
know
SONGWRITING
the difference.
when
family
rhyme sounds so
close.
a
U •I't'H
then
men
know
(Rhyming
first,
(First,
b stand
PLUS
last lines
adjoining verses)
band
b land
show
There
of their functions
may work.
is
These forms
to help us
in
rhymes come
at
more important
in the line
lines.
enhance or
that they
remember, rhymes
it
becomes
from the
mood
failing
among
songwriters
is
to say
two
lines
and, instead of finding an equally strong statement to finish the verse, settling
for a weaker
line for the sake
of the rhyme. Sure, you save some work, but you've also effectively
rhyme
if it
dilutes
more rhyming
that offered
your
efforts,
possibilities.
first
two
lines to
Don't reach
come
pitfalls:
INVERSIONS
Inversions involve twisting the order of words to use a
occur
at that point. It
almost always
feels
rhyme
lips
I kissed
In this situation, I'd go for "lips" as the end rhyme, even though
of "missed/kissed." "Till
kissed your
candy
more
it
natural.
IDENTITIES
Identities are not rhymes. Identities are: the
preceding the same final sound (buy/ good-bye), words that sound identical even
though
spelled differently
arrested for
doing
(homonyms)
it/There's
like
"Gonna
it,"
talk
which
Common
You won't
get
last
word.
WRITING LYRICS
67
Also acceptable
is
downtown,
way downtown."
goin'
SLANG
Slang
is
expressions.
years
of
a great source
hits are
if you're
"Groovy" puts
it
thirties'
squarely in the
"the
cat's
meow"
really
or "twenty-three skidoo" in
it?
sixties.
COLLOQUIAL PRONUNCIATION
Colloquial pronunciation has a problem similar to slang. Here the drawback
in fashion,
tailor a
common
artists to
country or
style, like
rhyme thang
R&B,
styles
good
not change
to be able to
with those
It's
is
who
artists
are comfortable
and pronunciations.
The Exceptions
We hear more songs these days that don't rhyme. In most cases, they're from self-
contained
bands.
They
write their
own
material
and
record the songs. Because they aren't exposed to the same industry scrutiny, they
have a
more wide-ranging
If
you can
More power
get
from which
creative palette
Be aware, though,
it.
that laziness
to them.
there's
no
is
in
"Moonlight
in
Vermont"
is
The
standard
rhyme. So,
why do
several possibilities:
1.
2.
lyrics,
out
especially
"Moonlight
to help us
is
in
Vermont,"
remember the
are simple
to
remember with-
it;
3. in the case
The constant
set
up
a rhyme expectation, so
creative challenge
is
If
THE CRAFT
AND
new
BUSINESS OF
challenge and
SONGWRITING
it
may
is
we don't
to find the best
and mood.
68
lyric,
enough
such that
ever miss
it
doesn't, through
it.
still
retain
should
feel as
natural as conversation.
you'll
a less-than-perrect
mood, or
naturalness,
rhyme.
It's
more important
that
you opt
clarity
for
own
its
sake.
rhyming
writers look at
dictionaries as a crutch, as
possibilities for
to
make
though
it
you probably know the most natural
all,
really stuck,
always good to
it's
know
that there's
line.
run across rhymes in these sources that instigated a whole new thought pattern.
has such wonderful facility for "connecting the dots" between seemingly
it
something new.
friend of
just ran
them through
do
And
for you.
possibilities in
Gene
lyricist
good
sources.
If
you use
available.
line.
head." This
more you
is
use
The
results
coming up
difficulty
it,
a storehouse of
by pro
blank in a
in the
rhyme
your mind.
rhyming
All
his
the
fill
occasionally profound,
to
come up with
make
Rhyming Dictionary
Among
in a song.
and
rhyming
efficient software
dictionaries
Rhyme Wizard
www.rhymewizard.com
Zillion Kajillion
Rhymes
&
Cliches
www.eccentricsoftware.com
When
somewhere
that
mean
well as
in the
the
It will
give
word
that's
is
my
on
a thesaurus
is
like a treasure
Microsoft
Word and
It's
other
hunt
in
and
as
lists
an indispensable
tool. Roget's
also
contain thesauruses.
WRITING LYRICS
*£_
Using a thesaurus
like
is
a treasure hunt
in
on yet another
exciting journey.
It's
an indispensable
tool.
69
Poetic Devices
The
by songwriters
many
of a great
in the service
you know
right away,
when
the chef
tells
that without
dish.
do you
identify
taste nearly as
them
good. Only
start to separate
go consciously
spices are,
At
lyric.
gourmet
work
They
say,
"Look
here, see
how
did
Clever, eh?"
The
of contemporary writers
skill
is
in a subtle
is
common
common
of
is
speech
ones:
ridiculous if carried to extremes, but if used with taste, can be subtly effective.
Dan
Fogelberg in "Same Old Lang Syne" writes "She would have liked to say she loved the
Assonance
do
not, as in
is
like to he."
when
word
Similes are comparisons using the word "as" or "like." "Straight as an arrow,"
"hard
and "sleeping
as a rock,"
If
something comes
Metaphors
Am
a
Rock"
Rock," but
to
are also
like a log."
it
It
you can
tell a
is
is
story
human
is
sets
two opposing
levels.
Paul McCartney's
"When
the
in
is
home
a point.
The
Beatles' "Eight
Days
mean
"It
Never Rains
in
Southern California"
Michael Hazelwood
("it
pours") worked
way.
Characterization
is
70
treat
Irony
Antithesis
"I
classic
if it
is
Christmas
a simile
nearly as effective.
Week"
situation. Paul
one.
attributing
started rolling,
Hyperbole
a
new
though.
harmony.
Personification
ground
try a
cliches,
commonplace
an example.
is
Don't
lot
more about
is
a beautiful
way
Ian wrote
it
example of characterization.
Even though
it
contained very
fan.
common problem
of the most
common nouns
"principals."
Here
all
clarity:
1.
Make
2.
The
it
clear
pronoun stands
3.
must be
close
by so the
represents.
not wise."
Was
is
a substitute for.
"When John
Was
won't
it
was poor."
for.
pronoun
4.
principal
at once.
is
"He was
rich,
but he
involved?
5. If possible,
is
It
its
principal.
"She heard the message
make
the messenger.
r^f-
Be very
you can
careful
create a
maze
in
that he
move
in."
There
line at
whom. "She
your
to
it,
leisure,
ways that
figure
line
could be interpreted. If
them
out; but
when
the line
On
They can
who
is
number of
realizing
create a
when
them know
exactly
in
song. Without
only you
it,
you can
maze
in
which
know who's
whom.
Point of View
Pronouns
The
was on
my way
options
first
are:
person
(I,
me, we).
"
to
nowhere.
WRITING LYRICS
71
Having the
2.
Third person
3.
is
relating a
The
me") or
are based
from the
on
clarity
own
listener
"
you make
choices
effective to deliver a
singer
else (he,
they, them).
it,
to
which you
tell
in the first
a story about
instance,
someone
usually very
and we understand
else
by implying
it's
.")
person positive sentiments ("you're wonderful," "you deserve the best") are very
powerful.
Some
writers use
do
... ?"
"you"
fall
The approach
"you" instead of
to create the
tejfe
listener
sings along, he
is
We
no wrong or
along, he
is
It's
rather than an
listener's place,
anonymous "you."
sonal feelings.
to
rule to follow in
all
a difficult thing to
do
of
this
in the heat
more
and
all
when
is
the possibilities
may
don't hurt"
at
it
more
objectively.
your perit's
To
best
study
on page 76.
pronoun you
of passionate inspiration, so
the
anonymous "you."
It's
"What do
The impact of
right here.
be better than "You can't pretend that you don't hurt" because,
"What do
"I." There's
When the
of way.
read this as
in love
of visual imagery
would
is
in songs
Ideally,
It's
and music.
"Move On Up"
the
72
Minor chords
as a series
it's
and sadness.
to
to the line
"Up,
lyric.
"Mack
the Knife."
Mayfield
it
not an accident.
melody
ludicrous. That's the extreme, but
Other
key.
a conscious choice,
to the line
minor
loss,
in a
of what
melody
for
wind
"What do
Scuse
stay cold,
kiss this
And
This Guy:
title
know?" "What
me
while
'Scuse
Me
me
that
my point. Make
and
The
best
way
make
to
good
what you
listener hears
singer an anxiety
tempo
Sing your
lyrics at the
words
they'll
tie
be performed.
is
to sing
awkward
in
them
feel at all
is
Anyway,
write.
easily at a
If the
what a
certain that
to hear
little.
While I Kiss
attack unless there's plenty of space in between to allow the tongue to recover.
even a
while
as
on paper or
fine
when you
increase the
sing
tempo
One
allows
and
If
rock
you
feel
make
on the wrong
the words
syllables or
at
home
Why
fit
do you need
it,
to
tie
them
feel
wrong
know
So
let's
We
usually heat
and
lyric are:
them
of Foot
in
meter.
Its skilled
into too
little
write.
use
musical pulse
musical space.
You
meter?
to
remember
go back to English
Few
things are
the
and
names
that they
entire
don't usually save
class again.
commonly used
trochee
anapest
dactyl
spondee
heal-thy, I6v-er,
in poetry
Accent
Examples
Scansion
w
what you
amphibrach
lyric
in a conversation?
in a high-intensity rocker.
is
effectively to the
many words
know about
Name
and
squeezing too
iamb
right?
lyric in perfect
certain that
them.
own
melody. It helps
accents
over short, choppy notes. Action words like "jump," "run," "crash," and
may
"flash"
Make
change them.
when sung
r^
good
ta
TUM
TUM
mo-ney
ta
ta ta
TUM
TUM
ta ta
down-town,
TUM TUM
star-ship, head-long
be-liev-ing, con-cern-ing,
I
love
it
ta
TUM
ta
WRITING LYRICS
73
The emotional impact of
Spondees
(TUM TUM)
is
the
So
seriousness.
are dactyls
lightness about
TUM/ta
ta
Though
them
TUM/ta
(TUM
human
closest to
speech.
It's
good
them
for particularly
you need
up
for a
ta
way
makes them
comfortably with the musical pulse, but emphasizes the intended meaning of the
As an
for
overuse of the same meter can be monotonous, just enough repetition can
In songwriting,
its
it's
a long
TUM).
fit
ta ta).
TUM/ta
lyric.
find
it" to
best setting:
I
need/you in/my
life/
(Iambic)
"life."
"In"
because
weaker word.
it's
or
I
need/you in/my
life/
life/
(Trochee)
I
"I,"
need you/in
my
triple
meter (three
"life."
or
I
need you/in
my life/
(Amphibrach)
Depending on
and
rests,
done
in either
4/4 or
3/4 time.
them out
melodies changing with each variation to accommodate the meaning of the line
musical meter. This
a
melody
is
a process that
to lyric, lyric to
melody, or
and
the
should happen regardless of whether you're writing
lyric alone.
Once you
get used to
it,
very quickly.
Let's try a straight
12
It feels
4/4
this
I
need you
in
my
a
long
little
THE CRAFT
AND
BUSINESS OF
"life" held
make
life
74
way and
strained. Better to
SONGWRITING
and end
in a rest.
How
about emphasizing
4/4
3?
12
N ot
to hold "life."
in
my
/;/r
wed' you
and
emphasizing
and
1
3.
it
You can
add
also
to the
on
Still
bad. but
that word.
downbeat.
12
12
-
and maintain vour choice
need you
in
my
and
4 '4
/
2/4
/
need you
my
4/4
Still
4:
12
4
We're
de-emphasize
my
and
still
need you
let's
and
in
my
life
and
12
12
in
my
lift
I
-
need you
you
in
-/.-/--//
This one
try a\\
feels
"
eighth note
good
feel
again.
too.
it
and
more urgency.
in
"need" and
--/-../Now
3/4
Rv
lite
needv»
3/4
and
4/4
and
or emphasis.
lire
and
in
need
my
— too predictable
little stiff
little
tor a
lift
WRITING LYRICS
75
2
need you
my
in
More
il-ll-
3/4
lift
or with a pickup
3/4
12
--//-/
you
need
I
3
in
my
singer to
room
for a
move.
life
In this chapter, I've explored the major areas that concern you as a lyric writer.
There's
a lot
more
way
to
(see the
improve than
When
to write constantly.
you do,
you'll create
your
what you
own
read.
EXERCISE
Look
or third person.
If it's
in
If it's
it
in first
to
first
person, change
or second,
etc.
it
to second
Think about
which one seems to have the most impact for you. You'll usually discover why the
writer chose to do
76
THE CRAFT
AND
it
BUSINESS OF
that way.
Now
SONGWRITING
chapter five
Constructing a Song:
Words
No
how
matter
on
take
The song
is
creative
whole new
and powerful
life
and
or melodies
lyrics
may
be by themselves, they
sum of
its
parts.
Whether you're
they're together.
a specialist at
one or the
how
is
the parts
fit
I'll
understanding
to
make
Form
The form,
In this section,
how
I'll
"format" or "structure,"
is
a song's basic
components
and pre-choruses
—work
how
In the
fifties
and
of
hits like
also
(2 bars)
becoming
The l-6m-4-5
as
(1 bar)
it
laid the
(1 bar)
its
(e-g->
If a
a hit, so the
C Am
chord progression formulas
"26 Miles," "Silhouettes," and "Earth Angel." The twelve-bar blues format
popular
B7
trends.
was
uses;
to analyze
artists.
(4 bars)
(2 bars)
(2 bars).
are familiar
They're predictable:
roll (e.g.,
is
continue
enough
The
to
us feel at
home
with
new songs
the same, so
as
make
we can
learn
them
many
quickly.
Some
basic
They work.
People have an unconscious desire for symmetry, and the repetition of rhyme,
melody,
77
rjgThe repetition of form
sets
up a degree of
and form
satisfies that
The
need.
repetition of
and comfortable
that's reassuring
form
also sets
up
to a listener. It sets
up
a degree of predictability
on which we can
a solid base
create surprises without taking our audience too far into uncharted territory.
predictability that's
form
comfortable to a
make conscious
listener.
beyond the
a very
as a basic part
is
familiar as
is
as a
own
write your
songs.
verse
is
musically,
line. If
it
is
up"
to "set
other major
Its
not working.
it's
The
1.
from verse
lyric,
each time.
It
may
to verse,
is
new information
title line if
the song
has no chorus).
The melody
2.
variation
the
same
is
and some
essentially the
flexibility to
accommodate
is
it
the
lyric.
The
it,
although there
is
room
for
on the changing
lyric.
CHORUS
In contemporary songwriting, the chorus (sometimes incorrectly referred to as a
"refrain")
Meant
for
the "hook"
is
Like That,"
also usually the
The
The melody
2.
The
song's
3.
The
lyric
is
is
the
title
to as
While
usually the
verses usually
more
repetition.
first
it.
and/or
last line,
commonly used
in
Union of Souls'
"I
to use
some new
good example of
that
chorus.
Blessed
title at
last
a "turnaround": a tactic
An
78
remembered
Were
would be
is
easily
1.
lyric
make
and
Problems," or "You
memorable
(i.e.,
a simple
"Mo Money Mo
Wanna Be
There."
1, 2, 4, 5,
and
8,
It
still
works well
is
with the
rest
of the chorus
lyric
changing
—
in
even- verse.
to sing along
title
many
repeated that
Even though
there
may
easily. If
If you
you make
it
it.
the same:
it
there
a very practical
is
You want
listeners to learn
they hear the same chorus three times during the song, they
change
or even
all
some of the
lyric
harder for the listener to remember. If you have information in the verses that
even
lyric,
when you
particularly the
feel
lyric
you need
title line
Be aware
in.
it
to
—should remain
simplicity to
its
amount of
a substantial
lyric,
is
So
frjjr
You want
listeners to
If
it
it.
BRIDGE
Also called a "release," "break," or "middle eight," the bridge provides a variety
of important functions in a song. Musically,
reason,
it's
"boredom
it
way
factor,"
and
for that
may
begin to
tire
of
melodic repetition. The bridge zaps the listener back to attention, helps her to
refocus on
the song,
many
in
used to achieve contrast described in the "Song Dynamics" segment that we'll get to
The
sounding
possible without
like
way by changing
from
specific
Its
reiterate the
The
is
different
you the
versa), or using
it
as
an "aside"
may
title
that's certainly
That decision may depend on how many times you have repeated the title/hook
song. If
3. It
a,
b.
4. It
piece in
it
much,
it
Two
constructed correctly,
title
its
may
in the
again.
melody
itself. It
it
it
if it is
is
new
offers
melody
it
later.
as different as
the "person" (going from "they" or "you" to "I," for example), going
it
leads
all, it's
lines,
or whatever
is
needed
optional.
79
.
verses
"boredom
you have a
if
lot
more you
repetition, the
risk
busters."
PRE-CHORUS
Pre-choruses are melodic segments that are different from the verses, chorus, or
bridge.
They
are
known by many
lift,
all
music
primarily in
in country/pop. Producers
seem
—although
in
contemporary
an additional
level
When
until
there
you
tempo make
first
a straight verse/chorus
hear a pre-chorus,
it
are:
"End of
II
Men
(Sheryl
Crow,
Wind-
They
2.
They
may
The
first
couple of times
it.
can be the same each time or different. Melodies are the same each time.
length varies, like the bridge, from one line to four. Pre-choruses usually
no longer than
5.
where
4.
The
if
(Steve
too repetitive.
it is
Some examples of
(written
Man
Montgomery
feel
as if
is
pre-chorus
ing
form
almost sounds
last
eight bars.
Musically, they build tension to increase the feeling of release in the chorus.
Here's a classic example of a country/pop crossover hit by Faith Hill that uses a
prechorus.
"This Kiss"
I don
't
want another heartbreak
I don
't
I don
't
want
Baby
to learn the
like
to cry
hard way
a rocket
80
.
.
Pre-cbortis
way you
It's
the
It s
a feeling
like this
It s centrifugal
motion
It s
perpetual
It's
that pivotal
bliss.
moment
ahhh, impossible
It's,
Chorus
me
love
Unstoppable
This Kiss, This Kiss
Verse
Cinderella said to
How does
Snow White
With a good
Ride
me
Pre-chorus
It 's the
perpetual
blis.
that pivotal
It's
moment
ahhh, unthinkable
It's,
Chorus
me
love
like this
centrifugal motion
It's
It's
way you
a feeling
It's
Unsinkable
This Kiss, This Kiss
Verse
You can
On
me
kiss
in the moonlight
You can
me
kiss
me
Pre-chorus
It's
the
way you
love
me
It's
a feeling
It's
centrifugal motion
like this
It 's perpetual
bliss.
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
81
that pivotal
It's
ahhh, subliminal
It's,
Chorus
moment
criminal
make
this
work:
Each section of the song's three sections has a separate melody. This
1.
fact
diminishes
the need for a bridge because there's already a variety of melodic changes to hold
the
listener's interest.
2.
meter
(see
"Dynamics"). Again,
this gets
The pre-chorus
3.
sets
up
made up of a
is
series
of short
lines.
make
melody
the
The
in the pre-chorus.
last line
lyric
Groups of three
are a
Analyzing Form
Before getting into the forms themselves,
you
To
The
I'll
explain
how you
can analyze the song forms
hear.
consider the
start,
first
the third "C," etc. Repeats of any melodic segment get the
Count
downbeat
When
same
"A"
letter
is
as
"A."
designated "B,"
first
time.
as follows:
etc.
etc.
the next melodic segment starts, begin counting at bar one again. Enter the total
number of bars
run. You'll
in
or a dash or
to designate
like this:
AABA
8888
Here's a
make
82
notes.
THE CRAFT
or
ABC
ins
ABC
888
888
AND
BUSINESS OF
to lay
it
4/4 time).
INTRO
A
1///2///3///4///5///6///7///8///
1///2///3///4///5///6///7///8///
INS
Try
and,
/ /
/ / /
/ / /
this exercise
/ /
/ / /
/ / /
/ /
/ / /
/ / /
with songs on the radio.
more importantly,
it
will
music between
extra bars of
/ / /
show you
sections.
It
will give
you
a repertoire
of basic forms
Even though
forms
falling into
predictable patterns, the variations often give the song the sense of surprise that
and
special
as
makes
it
exciting.
how memorable
a song
is
new
by helping
information,
it
achieve a
all
within a
ag:
limit.
how memorable
song
it
between
Title/hook in
first
or
unless there
last line
is
melody
A
A
by helping
achieve a balance
AAA
A
is
predictability and
surprise, repetition
"
"
all
within a
commercially
This
interest.
are
is
in traditional folk
results in
The
title line
two repeated
any number of
lyric phrases,
verses.
is
one
in the first
You might
music but
no chorus or bridge
first
or the
and one
last line,
with good
melodic
you had
rarely
to help sustain
a lot
of important
lyrical
content, but wanted to eliminate the time spent repeating choruses. In the absence
of a
chorus that "sums up" the song, you'll want the verses to end with a dramatic kind
of
"payoff"
line.
examples
are:
Often
they'll
Walk
end
Johnny Cash,
"I'll
Bette Midler,
"By
the
Time
Get
to
Some
the Line"
The
of times.
AAA
a Changin'
"
in the
USA"
Goo Goo
Tress)
83
Variations: There are variations of this form, like
which uses
a short refrain
Don
It's
and the
the refrain isn't a part of the basic melodic structure of the verse,
chorus because
it's
hook
AAA because
not a standard
line
(which
refrain isn't a
is
contained in
it
has a chorus,
the verse).
melody
is
the
same
USA"
is
an
AAA: Although
and
if
song
this
would have demanded a rewrite. Without a powerful performance, the song would be
musically uninteresting.
AAA
title line.
A short
form
on
is
makes
important that
it
it
all
of
be the
to break
to be very careful to
it
make
A ABA
A Title/hook in
A
Title/hook in
New
Title/hook in
to see
first
or
last line
first
or
last line
melody and
first
what
— Four
two melodic
last
This
easily.
of each
lines
is
generally
Hum
verse.
mean.
8-bar sections
or
melody as
the
last line
Variations
A
A
As above
New
melody and
lyric
A
B
Repeat B section with or without
Sting did in "Every Breath
A
A
or
make up
a totally
it
new
"C"
bridge as
section).
Repeat first A or part of first and part of second A or part of first A and new
lyric.
Repeat second A
AABA
is
remember.
mid-tempo
84
lyric
a classic
at fast
new
It is
used in
all styles
ballads, because
its
a long
It's
and popular
history.
of music and
all
it
was
and easy
to
sections)
make
At one time,
song
more room
tor
placement
(like
is
to
tell
last line
and
or
first
is
to
go
to a totally
own
as the
need
new
it
arises.
Hook/title
can occur
in
both
lyrically.
Note
that despite
most commercially
perform them.
it's
Most of
viable.
When
AABA
form
is
who
The
Beatles' "Yesterday"
(Lennon/McCartney)
Moment On"
VERSE/CHORUS FORMS
The
or
varieties
more
verses to
tell
Verse
vour
maximum
storv.
#2
#3
#4
#5
Chorus
Verse
Verse
Verse
Pre-chorus
Verse
B Chorus
B Chorus
Verse
Chorus
B Chorus
Chorus
Verse
Verse
Verse
B Chorus
B Chorus
Verse
Chorus
B Chorus
Pre-chorus
B Chorus
C
Chorus
Verse
B Chorus
Bridge
B Chorus
Version #1 gives
you
you have a
section
made up of three
line,
maximum
verse
and chorus
repetition.
potential
that, if
lot
Verse
problem
as
is
an 8-bar
#2 with the
substitution of
first
can give
85
you more
a chorus
depends on the
dynamic opening
interest
on
If
this
lyric
used variations of
The
form.
to see
#4 with two
"set
It's
verses in front
is
is
much
it
Many
it
a test
much-used form.
greater
first
and second
problem
in a
Its
to use since
variation of the
first
verse
melody
a very
verses,
hook
is
may not
some arrangement
first line
second
(AAABAB
Schlitz).
AABAABB
or
AAABAAB)
are rare.
unwelcome
An
Clay Walker.
interesting variation
Version
It
#5
way
on up-tempo
offers the
it
here. This
Many
you
that
was a
hit as
an
is
songs.
is
lyric
intrusion.
variation, particularly
is
You
verse.
Again, those choices will be different for each song, but the guiding principle
interest.
you do
examples that come to mind are The Eagles' "Lyin' Eyes" (Don Henley/Glenn Frey)
If
devices or write a
line.
lJfc_
same
be the best
to look for
the
to propel
Two
word has
title in
hits
workability depends
Motown
form
verses to build
sixties'
best.
also a
important to generate a
as a "payoff."
always a good idea to give
which works
it's
in
AABAABA
The
with
pre-chorus
up-tempo songs
form
AABCABCBCBC
ABCABCDBC or
or
the
"D"
or without
lyrics.
Dance Music
With
86
charts,
we
see
much more
in the
records are developed for pop, rock, and urban radio and singles for the dance
THE CRAFT
AND
BUSINESS OF
SONGWRITING
.
The
club market.
way
means
is
left in for
the dance
club market or for radio stations that like to play the long versions.
Records earmarked specifically for the dance club and "rave" market, and not for
radio,
can break more
rules.
Since there's a captive audience and you don't need to get their
attention and since records well over four minutes are the norm, there can be long,
slow-building intros, additional sections, and long instrumental breaks that would
be too
monotonous on
radio.
The
record's
major appeal
no
dropping out and bringing
tricks like
in vocal
new
stars
Dance music
rules.
and instrumental
skills.
is
is
added
etc., are
them
first;
later.
that allows
a lot
is
technology
their
own
digital loops
EXERCISES
Write
2.
song adhering
one of your
Pick
have a
new melody
a.
exercise and
new
lyric
to
its
melody. This
commonly used by
it's
FORM
"dummy melody"
the
strictly
IN
lyric
lyricists
called
is
who
don't
letting
know
him/her
the
new
and discover
songs.
Write songs
in
a great
It's
why you
hits.
way to
Do
R&B
this
There are
also
month
weekly countdowns on
music.
new
Choosing a Form
Even when your songs come spontaneously, there
which form
After that
you'll
first flash
need
effectively.
to
is
a point at
to decide
first.
have an idea of the type of form you'll want to use to help you say
You may do
it
say,
more
87
radio
your
all
life
—you
just feel
to be a
change without
who
writes
really
making
but sometimes
just fine,
he only knows two chords instead of learning a few more chords. You have to
remember
that
Another problem
in
You might
you wanted
It's
now
much
on
work
if you
do have
knowing your
the basis of
is
it's
(like
it is
to set
up
it
—make
to be three
better in the
those decisions
options.
in
an
it's
If you're starting
may need
a
slow or mid-tempo ballad, you can use either the longer or shorter forms.
If you're starting
from a
lyric,
the
mood and
and the
wanted
interest. If
really
to restructure the
or
you
tempo
beginning. Even
quite
is
to say, has resulted in a five-minute song that
minutes. You're
song.
feel
theme,
"My
Heart Will
work very
Go On,"
tempo of
wouldn't be
as effective in
Tempo
is
usually arises
also
when
all in.
If you
want
words
Experiment with a metronome by singing the
There
slow-moving
are other
lyric
minute
you may
fast,
are easy to
tie
knots in
is
tempo
tempo
settings.
Fewer
variables available,
due
way
lyrics
set the
lyric
be in each segment, you've begun to lock yourself into the form. If it takes one
to get
through a verse and chorus and you're looking for a three-minute song,
mentioned
earlier, it's
three- or four-section
particularly if
lyric
needed to
tell
the story.
Though
it's
always a good
Any up-tempo
form can give you plenty of lyric space with strong musical
new
lyric
at fast
interest,
maximum
With
88
THE CRAFT
a spare,
AND
condensed
BUSINESS OF
lyric,
SONGWRITING
lay
them over
either
an up-tempo trade or a slow ballad and,
in either case,
You can
maximum amount
of both repetition
more
and musical
had
it
else,
better be
is
initiated
by
need to find
is
a spare lyric at a
making
However,
and
for
interest.
a graceful
substantial
problematic situations
amount of innovation
If
become
they'll
in
music
a repertoire
r«8:
A substantial amount
of innovation in music
is
initiated by a
find a graceful
Hooks
"Hook"
is
the term you'll hear most often in the business
maybe not
much
as
as "Sorry,
The hook
we
and
can't use
of commercial song-
craft
"we
you remember
possible
it's
after the
song
over,"
is
"the part that reaches out and grabs you," "the part you can't stop singing (even
you hate
are
it),"
commercial
Here
way out
of a jam.
writing. (Well,
that the
need to
greatest
hook
when
crafters
How many times have you had a jingle stick in your mind?
jingle writers.
[«&
Some
of the world's
In this category, part of the structure of the song functions as the hook.
is
the
title
"hook chorus."
or
"hook
It
also consider
memorable "B"
the chorus
is
and
it
"Chorus Construction").
sections, particularly in
AABA
an
We
may
writers.
How many
your
mind?
"the hook."
as
Instrumental Hooks
There are melodic phrases
our minds
after
"Don't want
figure that
If
as
in songs that
to leave her
may
last line
believe
and how
we heard
that figure
by
itself,
we'd be able
to
"name
." is
there's
that tune."
The
a melodic guitar
no
lyric
over
it.
repeated
riffs
or
loops that introduce and run beneath Stevie Wonder's "Superstition," Michael
Jackson's
"Beat
It,"
Too
often,
Get a
." are as
memorable
is
if
and
as
sell
them
It
first.
89
Story Line Hooks
Have you
One
great
story?
mind
example
so powerful
"Goodbye
is
itself is
Earl."
Production Hooks
Production hooks aren't always possible for a songwriter, but today more writers
than ever
The sounds on
both demos and master recordings have become very important. Experiment with the
way
various instruments sound in combination. Experiment with electronic keyboard synth
combined with
"pre-sets"
MIDI
disks, tapes, or
infinite variety
You can
digitally
sample
possible an almost
of sonic combinations.
Early recording techniques such as "phasing" and "flanging" were later incorporated
into electronic boxes that
digital
at
mood and
can be so
No
thing.
One
Hooks
interested
much
matter
home
you
is
lyric
and melody
to create
make up
weak song.
different types of
some portable
many
along with
how
are essential in
to
as artistic tools
that once
Remember, however,
before.
it
emotion.
at the tap
hooks
that help us
remember and an
commercial writer
as a
enter-
to be able to use as
is
as possible.
Chorus Construction
The
The
remember
couple of
listens, is
the chorus.
still
I
The
title
title
when
they
the
title
This
90
is
its
degree of repetition,
way
that,
we know
it's
title.
If
words or phrases
repeat in the chorus or in strong positions, the listener won't
call
two
it
or ask for
titles, like
it
in
know
"Untitled
(How Does
It
.
Feel),"
"Blue (Ba
someone
that
felt
Da
Dee)," or
the song's
title
can't
song
if
was not
(The Train)"
It
by putting both
their bets
that usually
hook or even
strongest
its
in the title.
name, these
its
that the
means
song has
Since you
commercial considerations.
2.
literary genius,
it.
is
They need
to think
most choruses
If you're a
easily.
to be simple!
3.
They need
to distill
4.
They need
to stand repetition.
5.
remembered.
It
melody
The
6.
action of the verses should not pass the action of the chorus chronologically.
Here
are
some common
is
it
interesting (like
possibility of
power
(like
"Take
and
and shove
it is"),
and/or
sung with
it"), it's
"I
Way
Don't
It Is";
Want
Brian
a style that
makes
to be strong
it
and
the chorus
satisfying.
to Wait."
and third lines the same, second and fourth lines the same.
and makes the chorus very easy
musically exciting.
it's
3. First
this job
monotonous
get
line).
lyric constructions:
"Whoomp! There
and third
2. First
lines
is
remember
for people to
to
Provides
maximum
three lines are the same, fourth line different. This has some of the potential
4. First
monotony of
lines
makes
no.
2.
The
repetition of the
three
last line as
Dave
6.
is
no. 2
Hall,
The
David
first
in tribal
common
is
doesn't set
up
as
much of an
songs
monotony and
Carey's
My Wings";
"Dream Lover"
Dixie
(Carey/
"Torn" (Thornalley/Cutler/Preven).
repeated (and
is
structures. It goes
back
to "call
hit
tide).
This
and response"
"Fame" (Dean
Pitchford/Michael Gore); Ace of Base's "All That She Wants"; Shedaisy's "Little
Goodbyes"; "Still the
One"
91
—
The
7.
you
gives
Huey
first
last line
These are
hook
few
just a
common
Roll."
structures.
music store or
listen to a
fact, a
Macy
you'll find
is
an incredible degree
different. This
line at
of diversity. In
like
Lewis's
far less
and
is
great flexibility in
pop music
however, there
lyric structures;
available.
in the
ways
can be stretched,
lyrics
on paper only
gives us
Repetition
frjf:
Repetition
One
is
a key
if
you
you
to learn
made showing
that
most
listeners
As
and tend
They
feel
writers
and musicians, we
new
The more
them and
the
on
voices
tell
it's
really
fresh
more personal
listener polls
not
and new
and
styles,
an unfamiliar
like to
add
new
record by a
established hits
feel
with
more
and feedback
new
to
program
artists
Whitney Houston
is
listeners can't
new and
a hard place.
easily identifiable
unfamiliar song by
Madonna
or
artist.
for yourself or
someone
else,
is
you need
to
is
totally
figures (riffs)
and
instantly
understandable, simple, easily remembered, and that touches their hearts and/or
their
92
may be
It
artist,
heavily
something
instead.
surprising:
is
it.
repetition. Repetition
is
it.
if
feet.
By the time the song
know
it
The
and want
general objective
sometimes
and the
finished
is
and sing
to hear
is
and even
is
On
that
you can
get
it's
Wit
It,"
merely be annoying
if
you hear
Repetition of melody,
melody changed
follow the
lyrics.
in each
A
it
is
just groove.
That mental
set or
use depends
why
is
in traffic.
more on
let
mind
the listener's
rest. If, as
longer.
When
over, you'll
it's
the chorus
drum
any
fills,
little
We like
at that.
a Little Tenderness,"
However,
"You got
it's
to,
a release
part of a familiar
in order to
got
to,
a relief
and
got
and
first
to,
work,
it
same
those
feels
it
to
melody or
has to pay
when
lyric, is
when he
finally hits
good.
However, too much repetition can wear out your radio welcome
made up of
your mind
us to choreograph ourselves.
"Try
rest
you'll only
They help
"OK,
says,
If the
lyrics.
on the words.
we
the
little
When
it's
"Little Latin
have to concentrate a
and
its
about
feel guilty
all
think one of the reasons
simple familiarity
arrested.
Choo Choo,"
Obviously, the
him
"musical" by virtue of
It's
boredom.
it till
it
how much
determine
difficult to
get bored very quickly
enough
to have
have heard
listeners
again.
it
you and
fast.
figure out
We
why.
know
all
chorus
Ideally, a
song
much of either.
fcjjr
and
Song Dynamics
Among
much
with your
to
command
of either.
is
and
93
.
variations that
call
"song dynamics."
observed that
I've also
devices
There are
your bag of
in
my
make
it
records
company
had
were asked
a very
arm of
we could
see
responded
at
any given
and
racial
how they
age, sex,
so that
radio.
on behalf of producers and record companies. Even' Saturday, four hundred young
the
on
effective
in the
at several
to
look
which the audience's attention must be
at
commonly
tricks
during a song
crucial points
it's
computer
totaling
moment
we
saw,
we
learned the
following:
Intros for ballads should be shorter in order to get the listener into the
for
more
passive way,
which
increases the
lyrics in a
a blockbuster chorus.
when
on ballad
need for
2.
body of the
get involved
it's first
heard. If
familiar,
it's
than one they don't, because they have to decide whether or not they
it
usually
a voice they
know
an unfamiliar
like
singer.
exposure.
who
voice
know whether
both of
whom
voice in
itself; it
The
3.
of the
reaction at the
through the
first line(s) is
first
The
rest
longer
94
artist,
and
AND
male or female (the
The problem
BUSINESS OF
identity.
is
critical to
is
there's
is
SONGWRITING
is
it is
to build
lyric
content
the audience's
first
when someone
starts to talk. If
another
lyrics didn't
THE CRAFT
it
concluded that the audience was
to identify a
sound of a voice
finally
getting radio
someone
Remember
We
artist's difficulty in
artist
unknown
critical
be negative.
interest in the
is
unlikely.
even
least
fifteen
new camera
interest. (In
we
of what
hear
compared
so easily distracted
radio
to
when we
what we
a
the
is
same
this principle
feel in
Change chords.
Now
we're
on the
that
we
effect
you want
to achieve in
and pitch
your
listeners;
a straight
feel in
the verse to
Initiate a
why
"1-2-3-4" to "l-and-2-and-3-and-4"
2.
understand
is
more syncopated
to
is
as
The
educators
the
all
see; therefore,
is
positive
and another
in a different
key
are
Change
3.
market record.
Queen's
"We
It's
it's
a solid base
It
Out."
it's
(Paul
if
you're going for a radio or dance
Once
on which
to a couple
and chorus,
verse
artists
and
like the
more than
a bar or
two
Change melody.
want
you'll
of the
chorus
a
not a
rule,
melody by
viable. Generally,
however, and there have been rare songs that have achieved
verse.
you work out new chords. Try playing and singing your
is
supposed to come
listen to
5.
make
is
induce you to change the melody in the chorus. Also, change the chorus melody
before
can
to
the chorus
verse. That's
a contrast
cally
it
A melodic change in
it
Change
in,
verse
melody
until
it
your
so
you
f^fj:
A melodic change
the chorus
the most
is
in
probably
effective
make a song
memorable and
commercially viable.
The term
"lyric density"
is
about
how
words
lyrics
sixteenth note during the verse, then change to one syllable per fourth note in the
chorus.
Or
just
The
technique.
of the chorus continues in the same pattern, giving our minds another
rest
One
lyric
and melody.
of the factors that makes Lenny Kravitz's "Fly Away" work so well
in vocal phrasing
and
lyric density,
the change
is
Change the
6.
is
one of the most
lyric meter.
common
Changing
lyric
You can
predictable.
line).
also alternate
There
a risk
is
of being too
many
are
it
is
a verse
line
(and
options.
TIP
If
you can
sing
your verse
lyric
new chorus
lyric
it's
good
indication that
new melody
Me,"
"I
Don't
Wanna
ways that
feel natural
if ever,
own
and
attitudes
to create a
in
(five
else,
metric
feet)
by
ideas in a
way
whose words
If you're a lyricist
someone
is
an-
attention to the
— because
yourself,
to
marry
it
feels
whether
lyric
and
changing
at
line, at
music
You Loved
Heart," "Because
My
"Un-break
Writing
will
you
is
one of the best methods
style.
be
that, eventually,
lyrics against a
set to
metronome
lyric density,
start in creating
meter,
musical
you hear
those patterns in a useful context and have fun experimenting with the phrasing.
7.
a different
rhyme scheme
in
your verses
than in your chorus and/or your bridge. Try not to use the same end rhymes in more
96
"Rhyme Schemes,"
chapter four.)
These devices have
and
infinite variations
wont
all
work on
silence,
in intensity,
you
all
as
exercise
in instruments,
when you
while you're listening to your favorite songs: Instead of singing along with
Try
this
the
lyrics,
pretend the words are part of the rhythm and just speak them, maybe
a sense of their
meter or
rhythm.
L_M
Rewriting
Before demoing any song, be sure
it's
the best
it
more
is
you'll have to
a guarantee that
it
may
objectively
and knowing
is
spare
you the
draft of
first
it
for a
any
compels you to
few days. Being
frustration of hearing a
really
at least you'll
know you
a rewrite
gave
it
your
best shot.
It's
ing. In interviews
hits
came out
song the
first
all
is
once
work
in unison.
at
Even
it
its
can occasionally
most
writers,
It's
writing successful
songs
is
10 percent
One
fcjjr
recognizes from the beginning that he or she will probably be able to improve the
song
with rewrites. The amateur thinks that everything coming from the original,
inspired
is
The
latter attitude
is
the
enemy of
professionalism.
state
The
first
criticize
better than
Most
when
it's
"Who
are
rejects
you
to
many
admit
felt
and be forced
to
become
97
much
open
stronger.
end
result
is
valid because
is
it
It is
much more
comes from
if
a so-
you eventually
Although
considerations,
you want
may
it
most important
it's
to create
something that
will
been a
little
Sometimes
1.
some
are
Make
Words need
2.
know
that if you'd
it.
You may
apart.
it
before.
on the wrong
to hear
Here
is
and music work well together and you haven't placed accents
syllables or tried to
to be easily
The
many words
too
fit
less
wordy
a lyric
is,
the
more room an
artist
has to phrase
it
in
his or her style.
3. Is
word
necessary? If
lyric,
replace
it
a line or a
word
4.
all
verses?
Can you
rearrange
rhyme
schemes or meter to enhance the difference between sections of your song? Try some
alternate
melody
lines
You may
first idea.
some worthwhile
and rhyme
tools
relocation.
Reduction
Reduction
is
fewer metric
And there
I was
98
was hang
just
useless
—ing on
hang
—ing on
to all
those
those
to all
down
worn
making fewer
syllables
and
feet.
worn
out lines
out
lines
Always look
ways
for
your
to streamline
new phrasing
first
lyrics.
If the
above
line
would lend
itself
Inversion
Inversion
is
a tricky
form of rhyme
end
position.
It's
natural, conversational flow of the line. If the inversion appears to have been
to achieve a
rhyme,
it
still,
"
will.
still
word
to give
you
new
If that
and look
for another
end
work
first line
to "I love
you
still, I
it
element for consideration in
it's
You could
"They
Sometimes
an acceptable
in conversation.
say,
still" is
is
is
done only
awkward.
feels
new
line.
You could
you now"
important
Insertion
Insertion
means
filling in
when
the blanks
number of
syllables,
lyrical
concept are known: You've got your verse or chorus written, your meter
lished,
Now you
You
to say.
have a
The
I felt I
was
man was
first draft:
hair.
now
middle
look.
And she
line in the
and
estab-
wrote.
She drifted past the mirror but she didn 't even
weak
is
eyes,
to care.
line
feeling.
99
She drifted past the mirror but she didn 't even
But
trying to hold on
now
Even
that line
needed
to break
which
and
life
to care.
process,
more vulnerable,
felt
look.
hair.
which
life
felt
and
my
life
and
more
helpless.
Rhyme Relocation
Rhyme
relocation
is
power of the
and rhyme. The stronger rhyme-word of the two should come second whenever
Inversion
strongest
others
pair
word
as the
You
relocation.
are
words that
first,
are obviously
to escalate
line,
won't always work and, ultimately,
The
flow.
weak
is
George Michael's
in
each
it's
it's
middle of the
classic
(Wham)
a juggle
between the
is
always
or idea.
line,
line,
overall principle
If you're writing a story song, save the payoff until the last verse.
section
reverse them. It
power of the
possible.
get
word
form of rhyme
actually a
is
lyric
is
released. If
down enough
of
lines,
The
to
last line
of every
you blow
it
with
have forgotten that
an interesting example
is
in
"Careless Whisper":
If
is
kind.
lines
same meter
However,
if
in the rest
first,
is
kind"
is
you
feel,
a different meter, follow through with the
rest
of the choruses
(if that's
what you're
changing). If you don't, you'll give your melody writer a nervous breakdown. At
times,
it's
actually easier to
When
a
word
make
reductions
it,
when an
insertion
might help
There
every
100
are obviously
AND
BUSINESS OF
to
more time
the
melody and
awkward
to
little
make
spots
lyric.
married.
It's
Adding
word
or two
no hard-and-fast
THE CRAFT
when
rules
about
this,
SONGWRITING
is
that
word does nothing
to
enhance the rhythm, meaning, or sound of the
lyric,
shouldn't be there.
it
Once
you're
used to working with these techniques, you'll find that you'll use them very
quickly to
new
explore the
2L
If
to enhance the
rhythm, meaning, or
sound of the
Writing on Assignment
companies are often
even
upon
called
on assignment; but
to write
you're not in that position, you'll hear about recording projects you'll want to
if
write
lyric, it
shouldn't be there.
If you're a "project" writer (See "Creativity,"
for.
is
who works
page 7)
best with
a great exercise,
project.
down
have written
what
the light of
new
with a whole
the producer
is
some
or taped
you'll learn
calculated
artist is a
you have
artist
my
had
"I've
of the
of each song
lyric
want,"
women
but
don't care,"
"They
but
she'll
know
all
There
artists
all
When
stylistic
who
are artists
over
me and
I
lots
if
friends
particularly
don't care.
I'll still
of
Does
lyrics
you hear
their records,
artist.
and
short,
choppy
lines?
minute
choruses with
to
story
artist
lots
Once you've
listened to
it
to write a follow-up
you
Some
feel
Does he
like a
factors
"My
him,"
Notice
them
and
often get additional information from reading interviews with the artists in
passages the artist sings well.
songs with
get over
I'll
be different,"
You can
you
that
can, get
me
if
artist
left
know
fall
artist. If
"He
etc.
like,
You know
a "prescription" to write.
artist's
in
now,
Make
enough of the
will
artist,
become much
song to an
contributed to
parts,
short, four-line
needing
you can
visualize
line? Is the
intermesh?
its
lines
A valuable
all
lyrics
exercise
is
the artistic
success.
it's
calculated, uninspired
101
hack work. Other writers love
it
is
is
at
tailor-made for
artistic
someone
challenge of saying
They look
else.
at the
coming from
approach
this
seems uninspired, the writer has no one to blame but himself. All those great
inspired
you wrote on
ideas
all
those
little
me
softly" in his
Lieberman (who he and co-writer Charles Fox were producing) told him about her
emotional reaction to experiencing
They used
Lori's
own
(1) the
Don McLean
need to write
song to
fit
style, (2)
in concert.
and
(3)
experience to put together a fresh and original classic that was later a hit by
that
felt
some of
their best
Hill).
Many
successful
and not be
wouldn't
hurt.
state
identified with
it
for yourself.
it
can be
your words,
to be able to say
someone
something
in a
who depend on
way
and
that
you
that can't
is
a valuable discipline to develop.
only one
artist
artist. If
102
that
is
it,
don't agree.
even
a great song!
it,
if
you have
believe that
to rewrite or
if
it
song that no other
really
re-demo
is
it.
a great song,
A great
song
chapter
six
Writing Music
by Cat Cohen
Melody
Writing melodies
some
commercial songs
for
an
is
unto
art
The
different.
basis of
most
classical
writing
is
Though
itself.
may
there
be
are very
period of time. In pop writing, short melodic ideas are usually repeated and
contrasted
much development and
without
short
amount of
time.
The
essence of
melody
is
its initial
lead to the
pop composition
section in a relatively
is
The
starting point of
any
measure (two beats) to two measures (eight beats) long. Occasionally, one may find
a
melodic idea that
is
most people
to
song and
classical writing.
is
remember.
ideas
little
learn
will
is
have a
is
how
to
do
this
by using
Take
Here
and
mm
first
how they
two examples:
fe
^m
The
see
example
is
long, unfocused,
ls
is
short
and
WRITING MUSIC
103
memorable, easy
melody
is
unmemorable
notes of the
Now,
how
is
sell
The
a song.
the second
melody
takes the
first
three
first
how
it
measures.
Start
with a one-bar phrase and simply duplicate
m
If
it's
^¥
mm
might get
it
simple-minded.
a little too
^m
^m
^p
te
i
Some
it.
people confuse being "commercial" with being mindlessly repetitive. Yes, you
but
familiarity,
Top 40
stations
play the same songs over and over, and a song must have enough variety to withstand
repeated listening.
melodic
A better way to
to alternate
between two
ideas.
is
nothing new.
It
was
derived from religious services where the priest, preacher, or cantor alternated
singing
folk
to the
is
also
found
"Hokey Pokey"
to
is
in blues.
a great
front
and
from the
"call" or original
melodic
ini
idea.
But
this difference,
is
no matter how
i
THE CRAFT
AND
BUSINESS OF
slight,
predictable.
*
i
J>
a'
104
left,
steps.
the
this
back
example of
SONGWRITING
j>
keeps
melody
lor
^m
"We
Here
^m
pg
PUF
%m
mind,
in the listener's
M
this
is
it is
late seventies,
and
Are Family" by
see
how it
is
Sister Sledge,
one of the
in
classic
repetition.
fly*
j>
We
j
fam
are
GaddA
- ly;
F/G
IV
>j
I
J
got
all
my
with
me.
sis-ters
GaddA
tHii
We
fam
ly;
F/G
Hi
Get - up
Some pop
styles use
arach to Michael
ev - 'ry
bod
and
- y
sing.
McDonald
to Barry
Gibb
to
more
some
classical
and
insert
new
like juggling
alternation.
Most of
is
whole range of
had
more
craft to
balls instead
of just two.
It is
easy to
fall
^fr
Inexperienced
songwriters have a
much through
taking a melody too far away without enough repetition to keep the listener
involved.
melody or
song.
lyric in
one
WRITING MUSIC
105
The song
is
composition:
"
"T
'Torn
BY PHIL THORNALLEY,
IjyJ
]>|,J
k\>
I'm torn,
how
ideas,
get a handle
Do With
to
BY TERRY BRITTEN
to craft
Grammy
What's
got
love
to
but
Gm
•'
got
love
will
be within
in 1984.
to
do
with it?
e -
«
At/F
E?maj9
•
sec-ond hand
mo-
tion?.
E?maj9
PS
to
do.
Fadd9
jot
to
E?maj7
when_
a
heart
can_
with it?
do
IP?
needs_ a heart
still
got
Who
is
iE=£
What's
^
shamed.
do
Gm/F
^^
am
tic
E':>maj9
Gm/F
Gm
and
cold
J'J
Gm/F
love
J~3
It"
^^ g^g
i_
distinctive
for Best
Gm
i-u
>
the
this
alternating, contrasting,
more
AND GRAHAM
What's
on
ked
-
J
faith
I'm
Do With
Gm
of
It,"
out
on duplicating,
all
,1
na
ing
J'J
feel.
ly
Once you
jh
jlJ'j
J'J
>
be
—Fadd9m
bro - ken
Completing Songs
106
Once you
expanding
it
THE CRAFT
an
effective eight-bar
AND
BUSINESS OF
SONGWRITING
is
song
is
then
to get stuck.
One
of the best
ways
of writing
Am"
section in the
first
by using contrasting
is
place?
To
keep a
Coming up
is
difficult
and
minutes or
crucial aspect
of
effective
writing.
A good analog)' to
you
home
stay at
trip
how
help understand
section to a vacation. If
home.
melody
Why
sections.
without
much
relief
contrast functions
the time,
all
to
is
compare
can get a
life
second song
little dull.
trip to
and back)
gives
Here
are
some
Change
ideas to help
interested.
and we tune
lack of change,
Make
your song
in
the
is
and
a similar four-line chorus,
all
change, and
etc.).
hook
section (the
notes instead of eighths and quarters, use long half-notes instead of eighths,
2.
out.
sections.
more important
fegr
A song with melodic
bars or longer),
we tune
out.
a cookie-cutter four-line
lines of:
dah
dah
3.
make
the
chorus more syncopated or try the opposite. (See "Song Dynamics," page 93.)
4.
is
very important to give the listener a clear sense of where the song
this
into a
hook or second
Exceptions to
this are
musical challenges.
album
Top 40
better to lead
cuts
may
first.
you
"at."
try to
jump unexpectedly
from established
artists
whose
fans look to
them
listener.
for
new
what
style,
at
If
is
let
in
melody writing
are range
and
scale context.
WRITING MUSIC
107
Range
Every singer has a vocal range within which he or she can sing consistently and
with
professional control.
Here
is
of different song
styles
and
for different
vocal abilities:
MODEST
Less than an octave. This
is
performer. Country music and simple rock styles often feature performers whose
personalexceeds their ability to sing. Material written for them should never push
them
ity far
beyond
I
AVERAGE
Octave and
most pop
a third or fourth.
singers
and
styles.
Two
is
room
is
for a
I
WIDE
An
octave and a
fifth
Houston or virtuoso
Boyz
II
Men
or
The
singers like
Lou
is
Gramm
Whitney
i
Scale Context
Another important consideration
retical discussion,
is
scale context.
Here
Without getting
melody have
is
written in (C major,
a great deal to
minor), the
MAJOR 7-TONE
i
i
BY
108
You"
THE CRAFT
AND
BUSINESS OF
SONGWRITING
style.
'
"/
Knew
Loved You
BY SAV \GE
GARDEN
MAJOR 6-TONE
i
2
6-8
"I Don't
BY DIANE
"All Star"
BY
SMASHMOUTH
*>
«*
3-5
6-8
"ATy Girl"
BY WILLIAM
"Streets
BY
of Philadelphia"
BRUCE SPRINGSTEEN
i
e)
:«
1
o~ -9o-
*>
l>3
m»
fro
"
l>6
l>7
(RICKY MARTIN)
"Be My Lover"
BY
SARAF,
(LA
BOUCHE)
MINOR 6-TONE
\>Q
*>
!>3
\>o
- b7
»
8
"BiWeJean"
BY MICHAEL JACKSON
BY
WRITING MUSIC
109
—
MINOR 5-TONE (PENTATONIC)
\>3
i?Q
*>
i>7
Woman"
"Witcby
BY
*»
(THE EAGLES)
"Woodstock"
BYJONI MITCHELL
(J.
RAGTIME
o
2
3-5
!>3
6-8
WONDER.
BY STEVIE
"Take
BY
Me to
L.
GARRETT.
S.
WRIGHT. AND
LIL
HARDAWAY
the Pilot"
"The Weight"
BY ROBBIE
BLUES
l,o
<»
bo
!>3
[>5
"7^* Sunshine
?o
i
5-1.7
«>
Of Your Love"
BY PETER
"Fever"
BY EDDIE CODLEY
MIXOLYDLAN
^—
MODE
— —"
w ?o
123456
«*
<*
l>7
'You Learn"
BY ALANIS MORISSETTE
"Norwegian
BY
110
(ALANIS MORISSETTE)
Wood"
AND
BUSINESS OF
SONGWRITING
JOHN)
DORIAN MOP!
.--3
-»<>
?7
"Eleanor Rigby"
lOHN
BY
"Parsley, Sage,
(BEATLES)
To
We
contrast.
can do
this
a specialized craft
is
by duplicating,
alternating,
ideas.
We
then craft our ideas into contrasting sections. Writing within a suitable range and
scale
context helps pinpoint a song to
you
enables
is all
its
potential audience.
and
artists,
which
is
3E
Writing within a
suitable range and
scale context helps
about.
pinpoint a song to
its
potential audience.
Harmony
A
knowledge of harmony
is
lyric
a chordal
accompaniment
lyric as a
The
its
completed
Harmony
as well.
Think of a
plain
what
gives
down
into
the half-step.
You
drawing or painting. Very often, the imaginativeness of its harmonic setting
a song
is
distinctive appeal.
Intervals
In order to understand
intervals.
The
how
Western music
is
down
the keyboard to
the next note, whether a black key or white key (C-C;-D-D;-E-F-F; etc.). All
intervals
are
measured multiples of
between
musical pitches.
Here
Unison
half-steps
major
Major 2nd
Major 3rd
Perfect 4th
2 half-steps
4 half-steps
5 half-steps
I-
Iw
WRITING MUSIC
//7
—
Perfect 5 th
Major 6th
Major 7th
7 half-steps
9 half-steps
1 1
i
C
If
you examine
this chart,
There
These
are the
minor
major
you
scale,
12 half-steps
half-steps
i
c
Octave
chords.
Here
Minor 2nd
half-step
major
Db or
Minor 3rd
3 half-steps
6 half-steps
Ct
Eb or
Minor 6th
Minor 7th
8 half-steps
10 half-steps
The
-
At or
intervals
G|
on the unison,
and 7th
intervals are
tone colors.
more
Bb or C
4th, 5th,
- Dtt
coloristic,
and octave
Ht
I
scale
scale
minor
(dark),
uses.
Minor
Perfect
&<
Perfect
Minor third
fifth
fifth
colors simply by
harmony
various combinations
and
(or
disharmony)
is
created.
You can
create a
a "chord,"
and
mainly simple
112
3rd, 6th,
depending on the
(bright) to
When
try,
F§
variety of chordal
of intervals.
BE
Gb or C
Major
Major third
Af
when
chromatic intervals
scale
THE CRAFT AND BUSINESS OF SONGWRITING
these
two extremes.
styles
tend to be
FIRST LEVEL
OF HARMONY— TRIADS
pop music
triad in
is
which has
a specific
formula of
halt-steps.
Major Triad
4 half-steps
3 half-steps
(minor 3rd)
(major 3rd)
,y
. ,
"
. .
A Major
C Major
"
'
"
?
E\>
Major
1st scale
triad in
pop music
is
the
tone
minor
triad,
Minor Triad
3 half-steps
4 half-steps
(minor 3rd)
. .
V H
?
..
.
[l
yQ
?
A Minor
C Minor
(major 3rd)
1st scale
common
especially
is
tone
replaces
it
suspended
triad (SUS),
with a 4th.
2 half-steps
(major 2nd)
(4th)
<>°
°"
II
Many
Boys' "I
/^o^MI
Want
It
1st scale
made up of
tone
triadic
harmony
like
The
Backstreet
Another example
Ic
Ei>sus
F#m
If
l l
A sus
C sus
(fl at )
E? Minor
is
F#m
in the chorus
If
F#m
Ic
If
F#m
Comes
Id
I
E
Ig
WRITING MUSIC
113
SECOND LEVEL OF HARMONY— 7ths
For simple
more middle-of-the-spectrum
in
may
styles
such
as
country-pop,
may
triads
give a fuller,
styles,
adding
you'll
more
interesting
resolution.
Here
some formulas
are
minor
triad
major 7th.
sus
with
for
Gi.
more
is
major
is
triad plus a
Love You":
B,m7
minor 7th,
triad plus a
as illustrated here in a
Dion "Because
Dt
major
is
7th
common
It is
for Celine
Major
Minor 7th
Dominant 7th
A»sus
Fm7
G>maj7
Broadway, and pre- 1950 pop standards, then even more sophisticated harmonies are
called
for.
lths, etc.).
as well as
This
is
much
demanding
too
a subject to
cover here, but don't be overly concerned. These chords are never used in 90
percent of
the music
on the
charts.
They
are a specialized
sound
for a specialized
John Mehegan
Tom
I
The
Al>add2
is
used
in
The
many
excellent
books on the
13
C7
Fm7 Ekm7
Al.7
Dkmaj7
Cm7 Fm7
Btm7
EMI
is
how
urban audience.
their effectiveness.
how
To
to choose;
it
they relate to
is
its
chords work together, you need to relate them to a scale context. Chords can be
built diatonically (using only tones inside a scale) or chromatically (using tones
inside
114
scale).
formed
are
$ g
inside a
it
11
iii
IV
i(
I I
vi
vii°
12
12
5
2
i »
IV
n
II
in
vi
into
fall
diatonic har-
scale:
how
is
major
Here
most people
refer to
when
describing three-chord
Walk
as "I
the
Line," and traditional twelve-bar blues. Secondary chords are minor triads formed
within a major
emotion and
to
scale,
color.
harmonic contrast
to give
in a
change keys. Diatonic secondary chords can help achieve a sense of departure
secondary chords are used effectively in song passages like the chorus section of
"Believe" recorded
bv Cher.
IV
&>\*
the
Roman
iio (7)111
7
12
5
6
is
on E> (an
major or minor.
vii°.
Roman
in analyzing
triads.
— F-A-C—
is
degree sign
This triad
is
fifth
is
triad in
major
exotic harmony),
than a perfect
iii
it
HjfcM
<a\ <*§
(1>)III(->)VI(!>)VII
i
is
after the
built on;
etc.
iii
The
chord
"Capital" numerals are used for major triads and "lower case"
to be a
triad automatically.
as
iii7
» iii
or
Roman numeral
made up of B-D-F
would be notated
used
IU
is
made up of E-G-B.
For the
scale.
chords to show at a glance which scale tone the chord
triad
(1>)VI (?)VII
be the
less
iv
(?)§
is
§frfa
would be an e-minor
there
built
tc the
^' § m* w
1
same thing
"fifth"
this basic
would
s»
III
to
would have
consist of
to be raised to a GS.
E-G-B-D.
If a
chord were
show
a diminished
of the chord.
would be
chord
An example
B-FI).
in
—one
C
in
which
Major would
WRITING MUSIC
115
Many
make
songs
use of
as
sound
is
»VII
vm7
,VI
loop.
CHROMATIC CHORDS
To
to&_
get even
more
contrast
for
chord
is
list
to
experiment with
far out.
The
Beatles
slightly outside
in their
temporary "shock
value"
in their
songs
Major
with otherwise
II, III,
Minor
VI,
VII, iv
IV,
II,
t
ii
straightforward
harmonization.
slightly outside
ing's
III
VI
Redd-
respectively):
IV
II
III
VI
I
II
IV
II
VI
Harmony
Exotic
For harmonic
(verse
contain more than one nonscale tone and take a song into strange, unexpected
places.
and
to be used carefully
5g§
"Do You
G Bm
I
116
may
get confused
iii
VII
5*
Hi
(b)iii
Em
vi
Want
to
G Bm
I
iii
3*
bVI
?#
tv
!>v
Chord
bv
^iii
;§
> >
3^
.ii
listener
lose interest.
i #
I
uncommon
in songs like
Em
vi
C G
IV
Am
ii
Bm
iii
B»
,111
B>
bill
A.
,11
A,
,11
I
Gm
i
I
—
Now
how
a variety
many pop
to
on harmony
as
chords
at all.
an important element. In
fact,
some contemporary
do not
rely
chords, you will find the horizontal construction of a melody accompanied only with
a
riffs
and bass
lines.
riffs!
Here
is
"Livin'
BY
La Vida Loca"
1.
L
»M
She's
in
——
to
k~i
su
per
_JJ m
sti
(RICKY MARTIN)
black
tions,
*«^*
cats
voo-doo
and
dolls.
~J^
J>
Edr:
t^fr
Think of chords as
As you can
more
effective.
Think of chords
as
many ways
see
good way
to get a handle
to use
on
this
is
match the
style
to
triads,
it
we
the
call this
harmony
is
called demographics.
"harmonigraphics"? Whatever we
call
together, the
it,
Why
you can
more
don't
see that
versatility
appropriate simplicity
or sophistication of
harmonies to match
the style of music
you're seeking to
write.
you
WRITING MUSIC
117
Groove
Musicians have long referred to "groove"
cially
when
it
feels right.
or
when
of a song, espe-
feel
Mean
Thing
on American Bandstand
gives a
when
If It Ain't
It is
feel that
all
over
to
what
it.
Rhythmic Elements
In
more
technical terms,
you can
by examining
rhythmic
its
PULSE
A pulse
is
pulse. In
is
drum
the bass
beat
2, 3, 4)
(1, 2, 3, 4)
is
based on
of the disco
style.
TEMPO
The tempo
this
is
to
number of pulses
per minute.
your heartbeat. At
rest,
at
72
to
80
race to
relationship of various
50 times
tempos
to
is
a chart
showing the
activity:
BPM
60BPM
90
Slow
Mid-tempo
Up-tempo Dance
Hyper Drive
"Smooth"
"Livin' La
(Santana)
(Ricky Martin)
"I'll
Ballad
(by Boys
II
Men)
BPM
20
BPM
150
BPM
Vida Loca"
and
"No
Scrubs"
(TLQ
METER
Meter
is
the
way
in
which pulses
are
Almost
all
pop music
is
one finds a 3/4 waltz meter with three pulses (quarter notes)
118
bars.
in each measure.
Other meters
music and
classical
jazz,
or
11/16 or 7/8
like
exist in
RHYTHMIC SUBDIVISION
The 4/4
pulse or a
pop song
and easy
how
to learn
A 4/4
how rhythmic
listening stations.
2
and a
Swung
R&B,
2
R&B,
e and a
e and a
and
and
is
It is
left
out. This
is
and
4
e
and
as
fills
in the
it
first line
I6ths but
The
(hip-hop, alternative)
alternative)
in this beat:
e and a
counted
a
3
and
e and a
and
4 and a
3 and a
16th groove
(funk,
and
latin)
is
know-
Shuffle groove
and a
and
it is
country
technical
MOR,
12
stations,
disco
March,
is
to differentiate the
is
felt
we
of music to
with a staggered
all
know now
that
whole
triplet
of that beat.
the I6ths.
results in
two grooves
at once,
which
call a
on top of
hybrid groove.
Much
feel.
of the nineties has been played over hybrid grooves. Examples of straight I6th-8th
hybrid
include "Genie in a Bottle" by Christina Aguilera with the Backstreet Boys' "All
Have
WRITING MUSIC
119
.
to Give."
Hip-hop grooves
in today's
cuts
by Lauryn
Hill
on
Examples include
"I
are
common
SYNCOPATION
Once you determine
that defines style
is its
when
Dance music
full
is
of
syncopated patterns that use one or more of these accents to create rhythmic drive.
Syncopated patterns can be found in the rhythm tracks and in the actual melodies of
most of
today's recorded music.
six
listed
below:
"Smooth
BY ROB
"
BY
SANTANA
lift
Triplet
"I'll
BY
you
up.
my
could change
bet- ter
to
life
JU
'
i i i
mood
your
suit
Groove
Make Love
to
You'
>i»jj
I'll
make
BOYZ
BY
II
MEN
\nv njii^~i\jn^n:
love to
you
like
me
you want
and
to
I'll
hold you
tight,
ba
Shuffle Groove
"With a
BY
Little
Help From
My Friends"
do.
y*
would you
120
if
stand
out
sang.
up
and
*
walk
m.
j>
of
out
on
tune
=
me.
*
"No Scrubs"
K\
—•—t—
A
scrub
is
t
i-
—t—
44
'
and
fly
'
al
is
so
known
as a
bus-
ter.
"You Learn"
Moderately
fast
(«T
»«M)
J31
rec
i=r
an
om mend
-
'
on
to
IP!
one
j>
yeah.
BY SAVAGE
GARDEN
BY
MACY GRAY
TEXTURE
Once you understand how syncopation
the finer points of
distinctive
want
if
to study
they are
made up of the same rhythmic subdivision. This can be a complicated study, but
here's
a simple concept that can
rhythm
tracks
move
its
make
it
easier to understand.
own unique
"texture,"
from sparse
to
moderate
the beat along with just a few notes while others use
and
full
to full.
Some
<>>--hhi
t
,
jlj
t
1
jlj
La Vida Loca"
As
in
BY
"Livin
(RICKY MARTIN)
WRITING MUSIC
121
^S
As
in
"Like a Virgin
lap
"
BY BILLY STEINBERG
iH
As
in
m£
"Purple Rain"
BY PRINCE
"Heart of Glass"
As
in
BY
People in the record industry are looking for songs with the groove already built
Knowing how
to place
your song
and
teacher,
Hubbard), he
is
and
author.
a member
enjoys
THE CRAFT
AND
its
me on
the radio!"
BUSINESS OF
in.
122
in
He
He
Web
regularly coaches
site
classes
and
HBO film
at
UCAA
consults for
at www.catcohen.com.
K'
chapter seven
Collaboration
Why Two
A
Than One
like
are collaborations.
Consider
Hammerstein; Kander and Ebb; Bacharach and David; Rodgers and Hart; the Gershwins;
Holland, Dozier, and Holland; Gamble and Huff; Lennon and McCart-
Stoller;
In a January
two of
the
sixty songs
Hot R&B/Hip-Hop
six
were
fifty-
writer/artists;
on
Hot
of the remaining seventeen, nine were writer/ artists. Today's song market
so competitive
is
aE
that professional writers can't afford to settle for less than the best, so they
often elect to
so competitive that
Though
this
specialists.
chapter
is
Than
"Bluer
devoted to collaboration,
way
it
it
isn't
is
professional writers
can't afford to settle
for less than the best,
First
of
years
on
by
me
all
collaboration.
At
least
was
Than
I
thought,
Blue,'
not
not use
'closet.'
in a
Well,
'closet'."
We
how
if
is
and
[Goodrum
six others
my
on an album]. But
experience,
it
can water
uniqueness.
'it,'
and
from
as a rule.
he going to rhyme
it
lose a sense
"Gee when
down and
said,
out, yet
are
it's
on "Oh
we would
little
bit
of
heard 'Bluer
it.' I
have
rhymed
said, "Let's
more unique of a
COLLABORATION
123
.
line
I've cowritten.
Sometimes the
art
You
it.
makes
You know,
Or
that's incredible.
yourselves. ...
am proud
we came up
at
it's
on or anything, and
a business suit
So
just rewrite
greatness.
cowriting
Though
it's
if
it
tickles.
it's
good
muse
.
it's
He doesn't
have
just
that
comes
along.
to get
if it
you can
McDonald
some abandon
of you can get by
album, and
two songs
They were
with.
totally in
also.
not the only way to go, there are several other good reasons
why
writers
collaborate:
1
A writer may have more talent as a lyricist than as a composer or vice versa.
good
lyricist
may need
or
song must be
Many
is
just
as
skills,
maybe you
assess
want
good
as
all
it
&
music by"
for a
who
It's
you're
The bottom
if
of the page,
though,
line,
is
that the
did what.
talented musicians/arrangers can put the music together but don't feel the lyric
^fr
2.
When
own
own
musical and
lyrical cliches,
and a
or rhythm patterns.
Out of
It's
chord book and work out some new chords and progressions,
discover
to
They may
3.
if
whose
you do
that well,
style
songs that
style.
it
your fingers
collaborator can
some new
guitar,
styles,
like those
you need
to get a
you
like.
may need
demand
for
it
comes
up-tempo
else disciplines
last
to
all
kinds of other projects to avoid the task ("I can't possibly create with a dirty
house/broken
guitar string/out-of-tune piano."). This avoidance
124
start
syndrome
at
is
way of
signaling
and
to produce, the brain sends a signal to the subconscious that says, "It's
time to download
Many
best
on
all
find a collaborator
and plan on
if
there are
up deadlines
a regular
for themselves.
is
to
you'll
have to come up with some ideas to work on before that deadline, and that
subconscious
preparation process will operate on an ongoing basis
if it
knows
that every
week
(or every
day) that deadline will arrive.
4.
partner will furnish a constant feedback and critique. You're stuck for a rhyme
and eager
say, "It's
OK.
something
together the
conscientious collaborator
Maybe
else."
first
I've
want
You put
you're a
lyricist
is
thing to
'rain'
there to say,
with
we
is
Maybe some
Let's see if
a singer
The more
5.
collaborators
and can
find
say, "I'll
this
it.
British
we can
This feedback can keep you at your best and help you both grow commercially and
and
'again.'
"Wrong!
come
are
networking to get
[^
There's also a political strategy to cowriting. If each writer
The more
whom
collaborators on a
many more
more people
song, the
recorded.
walking into a
singles' bar
common. You're
At
best,
away
as
you'd have
But there
difficult process.
are a
lifestyles.
With
know-how, and
collaborators
aggressiveness.
too.
You put an ad
singles' bar,
you go
to
Music
newspaper
there.
is
A better bet
probably a waste of time because readers don't generally look for cowriters
is
to
make
little
signs that
bulletin boards in
music and
record stores, the Musicians Union, or clubs that feature your kind of music. If
you're a
lyricist, it's also
good
on
Computer
college
as
files
on
spontaneous
as
is
it's
good
bet.
Search
possible to collaborate
no longer much of an
obstacle,
though
by
it's
COLLABORATION
125
The ad
or message should include the styles with which you're most comfortable, the
looking for a
and
lyricist
are in a
deal,
you have
Another approach
list
listings
your
own
TAXI's www.musiciansjunction.com
collaborators.
the serious
tells
is
you can
fee
do your own
any. If you're
if
Web
of songwriters' service
is
list
of potential
Appendix
for lists
sites.)
among
work
at local clubs.
but whose
lyrics
would consider
or she
to
a singer/songwriter
You
song-
local or national
make
contacts.
whose music
excellent
is
if
he
collaboration.
to the public
feel are as
good
It's
also
and
to their publishers.
One
you wrote
Try
to
together, particularly if
meet
as
many
who
called "writing
in as
an independent writer
get a cut
on
a song
often like to
all
areas
know of good
bands
is
people as possible in
lyricists,
it
way
"Writing Up"
I
you
also a great
is
are
These
staffs.
lyricist.
lyricists that
Producers
they can
may
hook up
be working with
also
good
contacts.
A substantial number
of successful
collaborations today,
hip-hop, happen at the source of the project. That encompasses three typical
situations:
particularly in
pop and
substantial
number of
artist,
pop and
R&B/
R&B/hip-hop, happen
at the source of the
project.
This
is
do
it.
126
THE CRAFT
AND
BUSINESS OF
SONGWRITING
On
an
artistic level,
on
the process can include: talking with the artist about what's going
them and
finish
"My
Happy," and
flight
own
Day
Is
and
in his/her life
and helping
to
Winding Road,"
"If
Makes You
It
My
pitcher
and
is
kind of
a closer.
and
They have
a starting
at instigating ideas,
at
is
get
as well as
artists, referrals
other
by
artists.
good
strategy.
artist,
of song. If you're a
Madonna's
artist
to record.
of the
who
teaming up with
writer/artist,
a writer/producer
is
Stephen Bray, Shep Pettibone, and Patrick Leonard are good examples.
BEING A WRITER/PRODUCER
Having the
ability to
produce
to specific artists.
There
is
a distinct advantage to
end up
Frank, and
Pam
and R&B/hip-hop
that
knew
producing
as a
With "Genie
if
write and
well as 98 Degrees'
with
You can
writers
who
in a Bottle,"
(as
interviewed
to be pretty
common
for
pop
it
U Not").
his studio,
and
just started
two
in the
interest-
ing music. There's a kick-drum pattern in that song that's a very fast kick-drum.
So
it
is
that
you take
music and
it
just
loop
it
around
up loud and
all
of
COLLABORATION
127
you
a sudden,
anyone
about
I'll
sing something or
Pam would
concentrating on
really
else,
Whatever comes
it.
something. So,
sing something,
And someone
out.
And
you
so that gives
"What was
will go,
little
melody and
and you
that?"
of a sudden,
all
slowly but surely, everyone starts sort of like singing relatively the same melody.
There
no words
are
someone
someone
line
says,
"Wow,
at that point,
Wow,
that's
way."
right
good
Wow,
Someone
that's interesting."
there
you
you
keep
just
literally
And
be a
first
of
all,
namby-pamby
if
new
line.
when
sort
of a
convey here? So
and what
actually
it's
in that thing, ya
know, then
you
it
done
until
and
And
of a sudden until you
all
of a sudden
all
production, but
it's
it
good
strategy.
And
it.
can't just
it
it
gonna
has to be about
sitting
OK,
down and
When
Then
world
go by and you
just
and produce
it's
it's
record companies.
the
this
is
You can
it
at the lyrics
me
looking
you
so
it
lyric. It
and
.
again and
gotta rub
try
it's
now what
"You
else said,
Once
a genie.
And
then
"I'm
say,
And someone
go, there's a
And
melody.
little
her, then
shop her to
One
"My
ego
is
my
biggest
problem when
accommodate
when
a lyric,
I
she offers a suggestion or asks
should give
it
difficult
a shot."
this lyricist
collaborate.
because
me to change part of my
in this
really
melody
example was
caused, in part, by the fact that the writer had written both words and music to
his songs
128
for years
and found
THE CRAFT
AND
it
BUSINESS OF
SONGWRITING
A
negative and quarrelsome attitude can destroy any type of partnership, especially
who
with people
vulnerable psyches.
is
ugly.
We
Remember
When
you
really
do
why you
think
it
If
is,
new
someone
is
may
becomes doubly
it
goes.
to leave
Alan and Marilyn Bergman's
With
it
in.
If
who are
sensitive
and
emotional issues as
rule
is:
If
exposing their
vulnerable psyches.
one collaborator
like.
mind
is
than to protecting your ego. Don't defend something just because you wrote
you'll get a bigger percentage if
split
quarrelsome attitude
let
rf
A negative and
lyricists
The one
of professional-
a quality
in fact,
it, it
is
else,
already perfect.
us, it's
pretty.
Famed
line.
at
tells
feel
fighting too hard for
for a
and look
you ignore
who
It's
want
all
are sensitive
(a
good argument
it
or because
of writers' royalties from the beginning (see the following section, "Business
Considerations").
You'll need to learn not only to accept criticism graciously but also to give
tively.
Critiquing
is
an
any criticism be given
you
get
art in itself.
and
as gently
When you're
beginning a relationship,
positively as possible.
it
it's
construc-
crucial that
shorthand to speed up the process. As you communicate better, you'll also get to
know
dumb
line!"
latter
and
"Let's
make
acknowledges a
your partner.
ideas. Criticism
you find few causes
for
becomes much
are
some of
how your
able
easier in
an atmosphere of respect.
It's
is
compliment good
Approaches
The former
line
It's
If
else.
Writing lyric or music alone and getting together later. Some people are uncomfort-
when
open
Some
their partner
to criticism
lyricists
is
in the
and change
would
It
and
Some who
say,
"Take
They may be
suited to correspondence.
writers in succession
same room.
later,
melody and
write this
way
will
send a melody or
week and
see
is
first.
well
lyric to several
COLLABORATION
129
come up
with."
gives a writer a
It
And
his material.
it
common
a very
problem.
To make
of time that
r^
It's
unethical to give a
lyric
or music to more
Otherwise,
won't be
it is
a complete work.
to
not.
collaborator at the
ful
should also mention that
it's
unethical to give
their
spend
to
their time
disrespect-
it's
if
anyone
known
For yourself,
and writers
tion
2.
it's
rightfully resent
else
They enjoy
both
and music,
particularly
It's
and shared
in
intimidated (though a
feel
little
is
that writers
may
also
want
and
He
Didn't Trust
Language" by
Me
part.
The
devastating.
weakness.
is
To
One
Do
good
for artists
both
areas.
What
you
like
stylistic
is
who
With
understood
first
88 Songwriting Wrongs
Them and
single
write.
have
avoid the
about collaboration:
this to say
latter,
of our cowriters
The
may
is
You should
"You have
says,
collaborate to
by yourself."
is
AND
BUSINESS OF
see
security to
make
thing to keep in
you love
Muppet
it
it
better,
mind while
good
to be able
Don
can't
do
line
all
of
character
SONGWRITING
the
be pleasant or
it's
it
THE CRAFT
hit
it's
Wish
"I
your writing, you get that ego thing of trying to prove yourself with every
you
write
this type
compatibility and also need to decide
to collaborate, or
in
the
Patti LaBelle)
The paperwork
hard
Me,"
happen
business.
many
collaborate with
way
this
time of day?
it.
when two
lyric
is
130
ahead
in writing
knowledge. They should have the option to agree to that type of speculative
situation or
their knowledge.
it
legally,
music
a lyric or
is
to have a
good
time.
Street,
banging
head into
his
that line."
his
many
been there so
I've
never do
"I'll
Don
it,
never get
I'll
is
lots
of patience.
a useful technique to play records
It's
one
is
artist
Check
you
are writing a
among you
it
song
make
to
while warming up to a
make
the label to
sure the
artist's latest
no
If there's
who
that's
artist,
Stewart,
and
words of advice:
You should
basis.
artist
decide at the
could record
we do
research, listen to
the kind of
it?
the facilities
we have
a particular
something
like
it,
and
album.
particular assignment,
doesn't work, so
to take on.
to be commercial. If
buy the
good job
on an assignment or an organic
you want
if
beginning
on
of a specific
assignments.
does sing songs written by other writers. Playing the current hit single and
artist
If
own
at
someone doesn't
It's
title.
Both
parties
feel
work on something
forced to
must
first
they're not
interested in.
Or you
can just get together and have a conversation casually.
organic approach.
and
If
It's
establish rapport.
something
it.
It's
as a result
It's
if there's
A
this
is
no
progress.
good way
me on."
Some
on the "up"
to the
side,
way people
to write
because
relate to
an up song or
we want
to be
to
have a
title session.
happening
each other.
down
one.
about
is
bit
not to write
by
We
in the news,
Then we might
Most of the
time,
we
do
what
decide
decide
commercial, and positive songs tend to
Then we might
that the
to be comfortable
Meet once
in general, what's
to find a
You have
has to flow.
whether we want
call
OK if you decide
also
happening
It
idea.
after
being
split up.
Then, we have
We might throw around some titles
of songs that have already been written on the subject, just to give a clearer idea
of where we're heading. Or,
from
lists
that we've
titles
talk
on various subjects
COLLABORATION
131
EXERCISE
COLLABORATION
IN
You can
If
want to
How? Take
try out
new
rises
placed,
and
falls,
hit
lyrics
to the melody.
The advantage
missing part.
new
title is
you approach
practice collaborating with the world's best writers before
how
how
telling
is,
how many
did
it,
you
take
and
she'll
where rhymes
is
Now,
lyrics.
of this trick
If
go,
where the
happened
make
another task to
sit
we
of a friend that
in the life
down
feel
would make
good
These
story.
to after a
a living.
Business Considerations
assume that you've found
Let's
together and,
publisher!"
company,
may
first
you need
Your partner
If
says,
"Oh,
guess
forgot to
at all
tell
You
is
song with
in this situation,
split the
for
more on
my own publishing
in trouble.
months or
a year,
all
of
that, if
You
your partner's
he give up
You might
his publish-
also set
up
Or
it)
to the
new
will give
an equal
this subject.)
The Splits
You
also
may
have supplied a
for a song,
rest
royalties.
Your
collaborator
feel
most of the work and should get 90 percent of the money. Your partner may
132
find a
publisher.
let's
good
"Great,
ing interest and the two of you look for a publisher together.
your
say,
feel like
company
find that
you'd be
You
rightfully ask
song.
a lyricist
you did
feel that
.
without the
be
title,
you
anyone
one of you
arrangement.
more
some of
the other
the
wants to record
touchy
little
if
why
it's
50/50.
Each
writers
empowered
is
to
a pretty straightforward
it's
each of you writes music and
more room
for
lyrics
or if the
tunes,
generally agreed
that
if
you get
Lennon/McCartney
J^_
It's
it.
On
and percentages
rights
tends to get a
It
contributions are
all
split the writers' royalties
of the copyright,
a lyricist
is
you
to the contrary,
who
effort.
relationship,
grant a license to
If
if
ongoing writing
Without an agreement
writer
a song.
right,
want
just didn't
to fight over
song or to establish an
ongoing writing
relationship,
you
split
every time, so
it
Here
1
are
some other
possible situations
You
this
volatile situation,
Is this
he wants
who wants
writer's credit.
This
Any
recording credit
b.
How extensive
a very
artist,
may
artist, there's
to
up on
it.
a hit album.
therefore be important to you.
accommodate him,
offer to
artist
is
make them
him
him
Get
the credit.
may
as
much
informa-
extensive changes
allow
more
yourself.
artist
just a
potentially
no question about
it's
work
and changes
it
common and
to the bank,
try to
tion as
you should
to "personalize"
is
up," and
else to "tighten it
to contribute.
something. For
a.
him
to deal with:
someone
to
new hook or changes
it
tell
the artist
artist to
you
you
scratch. If
yourself. (See
If
he thinks
it's
good enough,
he's torn
between wanting the writing credit and money and possibly blowing a potential
You're in the same position, too, except that you
someone would have the nerve
While many
artists
to
demand
may
credit for
also
hit.
your work.
royalties),
COLLABORATION
133
do
others
in a
New
to
it
it
a portion
to decide
the contribution
is.
It
can get a
ask. It
touchy, but
little
Is it
worth
it
Maybe you
4.
and she shouldn't
it's
credits.
whether
new
lyric to a
song
written permission.
5.
you
still
get paid?
music by
decision has to be
,"
or
the
lyricist's half.
In the
commission
In the former,
if
lyric is reprinted,
graph
six
you both
and know
Do
deducted from
also vice-versa
lyric?
"Words and
latter,
and music by
the translator
made whether
"Words by
if there's
latter,
in the
worked out
Note
that
all
these are
Meeting".)
All these potential problems point to the need for collaborators to get
straight before they get into the music.
the business
all
it.
Parker
former
at
is
UCLA,
and
Festival winner,
lyric
writing
Musician's Institute, and throughout the United States. Her suggestions for
in her classes)
With
more
American Song
is
offer
them
to
up
until
it's
it
the songs
a business meeting
too
late.
The
is
like
buying
fire
Of
course, there's
no way
134
THE CRAFT
insurance:
AND
BUSINESS OF
no reason
SONGWRITING
to
in
to be
to
your
good enough
know
own
this until
potential
if
and when
to be published,
you
and
unless
actually start
in that
you
of your
do),
am
.
Don't
work on music
matters.
into the trap of thinking that just because your potential collaborator
fall
Most of us
"nice," that ironing out the business will be a snap later on.
we
about money,
after
all.
money make
Many
childlike to be creative.
Don't
who were
at the
same time
Come
more than an
Of course,
if
things
You may
prepared.
meal
is
Make
reference.
draw
a letter of
meeting
a checklist or
agreement
Go
same time
it
it
helps to
are.
resources.
because your
potential collaborator
a day
Make
when
whole
open,
you're not
affair, limits
bond
new
partner
copies of information
will
won't work.
it
discuss.
on the
if
she
is
Be prepared
discussion.
to
A business
the meeting
is
over.
in with a positive attitude. Don't enter the meeting with tales about
there.
direction.
on
flexible,
from
not a good time to be under the influence of alcohol or drugs of any kind.
is
at the
do go
fall
is
to read.
be both
try to
less
to
left
£L
Don't
2.
is
successful
it's
when
and business
to people,
and
is
are "nice"
a powerful brew.
The
necessary
is
Assume good
how you
will
and go
You're building a team and every team needs goals, guidelines, regulations, and
well,
it
it
Specifics
Is
some of these
date
a
and
on
this
discuss? Here's a
all
phone numbers,
address,
list.
Social Security
remember
finally passed
(i.e.,
vividly
fill
a song) together,
how
felt
when
a publisher greatly
found.
know
want
to
before
to
ers will
I
num-
create a copyright
information.
song of mine, but
files
do you
specifics
points or include
affiliation
songs.
what
date.
the rules,
Most
I
to
wanted
publish-
wait until
COLLABORATION
135
number. Some people may be touchy about giving
2.
company?
feel
if
acquaintance.
own
his
How
Is it
new
this info to a
does he
publishing
about
feel
he interested
Is
in
3.
many
Do
is
collaborators
is
nothing more frustrating than holding back a great song on the chance that your
partner
When
of you
in
all
Be frank about
isn't a perfectionist
you rewrite
5.
or seeing
demo
is
of the two.
Do
prolific
melody
middle, no
When a third
party
is
called in,
everything
into thirds.
is
divided
When do you
it's
How
more
on her
part?
want
often this
activity
work on
the song?
Who
is
to
done, and
What about
will
you bring
thoroughly.
usually
it
many
relationships
where
one party writes both words and music and the other parry only writes one or the
other.
a third party
8.
splits?
This
is
a major
is
down
individual matter,
regardless of
What
how
Who
work
THE CRAFT
if
Do
AND
either of
BUSINESS OF
for the
demo
costs?
This
is
is
all
an
made,
out.
what
When
does what.
parties
it
who
thirds.
them?
and both
they
in
divided into
9.
is
bone of contention
using them?
136
times do
to
down the
If
7.
everything right
your partner?
is
you or your partner need deadlines? Pressure?
split
disagree?
or can't?
it,
in? Ideally,
Professional writers
How many
you
to finish
how
OK if one
if
teg:
What
give a lyric or
it
it's
a set of rules.
6.
come up with
if
this issue.
is
back
artistic aspirations.
How will
you belong
SONGWRITING
Would
Do
either of
either of
you
you go
to
feel
LA,
comfortable in
New
York, or
publishers, producers,
Songwriters Association,
Guild, or
to write
New
Nashville, or
10.
fee
York
to better
Would
axi?
either of
the time
you prepared
move
to
to
LA,
How does each of you feel about songwriting competitions? Who pays the entry
and how
winnings be
will the
split?
work
you brings
work out
flexibility
and
willing-
be greater.
adopt the belief that people are more important than songs.
If
might help
It
you don't
if
you
you
believe that,
Washington, D.C.,
in
if
you know the
As
act.
to
in the
such a wrongful
It
might help
adopt the
te^T
is
deemed
who conduct
anyone
to have notice of
an actual search of
if
you
belief that
that, then
maybe you
copyright office records, a record of the agreement will discourage any transfers
or licenses
in violation of
its
terms.
Writing As a
Band—Working
It
Out
Occasionally you'll pick up a record by a group and see five or six writers (group
members)
listed after a title.
You
think,
"Do
they expect
me
usually contributes
sible for the
Many
more than
members contribute
their
the
melody, or someone
members don
financial, the
't
second
own
a
rest.
in
to believe that
are, in fact,
most group
Maybe
all
members
one writer
(or two)
groups in which
situations,
is
respon-
writer/artist or team.
in
which
several
songs or write with another group member.
group decide
with
all its
main
members
reasons: the
if
first
artistic.
Financial Reasons
On the financial side, there are five major areas in which a group member can make
money:
(1) record royalties (2) live
performances
(3)
merchandising
(4)
songwriting royalties
(5)
publishing.
1.
costs, advances,
is
that recording
company from
COLLABORATION
137
.
The
following
own
situation.
comments
is
(There
to your
it
is
COLLABORATORS' AGREEMENT
Agreement
This
entered into on
is
20
in
understanding:
1
No songwriter shall
in
All
Writer's
song(s), as well as
name
all
all
composed
If
made
4.
If
all
and there
is
no precise
there
is little
purpose to
[One or more of
All of us shall
money
of virtuality no use.]
-
we
lyrical
[NOTE:
is
Again,
clearcut.]
[or]
have equal rights to issue licenses for any use of the song(s), but must pay
appropriate shares of any
received as specified
of the writers]
song(s) and
made by
the wrrters] shall have the only right to issue licenses for any use
Paragraph 2 above,
in
[One
split in
respective creative contributions to any song(s) not meeting such requirement, and
the
other(s) shall have no remaining claim to income from any use then
6.
is
lyric,
of the lyrics to the song(s).
5.
be divided as follows:
Percent share
_ wrote
[NOTE:
will
[All
of us]
Any
[NOTE:
If
Any
all
there
is
of us
may
of the others.
of us with approval,
shares of
all
[or]
of us
in
etc.,
to the
a definite division
between
lyrical
new
lyric
or melody of the
songwriter(s) adding
changes may be appropriately categorized by the type of change and assessed against
that writer.]
7.
[One
of the writers]
is
hereby granted
full
power
of attorney
[or] [All
attorney to assign any rights or grant any licenses respecting the song(s)
to give their approval for any period
138
in
excess of
days.
in
full
power
of
some
In
circumstances,
insists
on reserving
song for
his
far
more knowledgeable
in
it
may be appropriate
to
grant that writer the exclusive right to grant licenses and assign rights without
approval of the others.]
8.
In
the event of any dispute between us regarding the song(s) or this Agreement,
arbitration
in
association
we
will
submit the matter to binding
local arbitration
agree.
Signature
Soc. Sec.
Number
Although
it's
not
critical,
states, notarization
as to
how
you
may wish
to have this
document
notarized. In
many
a power of attorney
your meager
royalties
is
artist royalties.
is
legally granted.
So most group members never end up receiving any
artist
(from the record company) beyond the original advance unless they're very, very
successful.
2.
least
Regarding
money
in
live
start
performing. "Opening act" status and at least two hit singles are needed to bring
enough revenue
to
who
bills.
The
following by touring.
3.
Merchandising of T-shirts,
etc., at
to
sell
merchandising.
4.-5. So, the
income generated by
self-publishing.
own
company
The songwriting
The second
to publish
its
option, setting
are
from writer
royalties will
group and
songs.
left
up
royalties or
a publishing
company
is
for the
way
to reward nonwriting
ties.
company
is
up
good
royal-
COLLABORATION
139
company
to give
up
credit.
The
final
"What
ask,
if
we know
it,
hip-hop. So
it's
To
and melodies,
He may create
how
he uses
it,
an instrumental hook
word
one member
left
altered.
How
to use
and when.
parts
he creates
riff
and
he plays
form of a bass
just a
important to the
how
and what
in the
as
written a
if
own
how his
is
as
his
song
group contributes
is
singer, etc.,
eleven),
Reasons
Artistic
On
among
it's
R&B/
it,
what
important
may
and often
tions can be
are
all
whose
are
made by
others.
commitment
first
is
to the
The
solicit
all
who
rolling in.
feel their
So
contribution was
if you're
especially if you
want
else.
group member
more important,
it
rise to
jealousy from
may be worth
may give
money starts
if
As you can
see,
collaboration
is
THE CRAFT
increased productivity
140
AND
and
BUSINESS OF
quality.
SONGWRITING
It
offers
difficulty in finding a
many
compat-
The Business
742
7oa&
fi
<$.
53^;
chapter eight
Your Songs
Protecting
soul
book and
who
all
that."
think
"Oh,
saying,
I'll
hope
met
over the years whose creativity has been drained and their careers put on hold
while they
tried to
undo by
There was
legal
when
some
teach
business that
it
ill
music business.
you plenty of
it
can
sense
You can
feel just as
talent are
in
your old
Many
may
are
you
know
age.
as
much by
when
you
figuring
a song,
and
they go out in
to be protected, to be
do something good
Reading the
that
rest
in the world,
of this book
is
with people
and
if
they're
major payment
in this section, just in case
different
r^
You can exercise your
ways
to those babies.
to deal
you thought
succeeding at
feel just as
it
can
good.
many
as
bit as
all,
good.
special, to
doesn't pretend to
exercise
who
It
to be a
ignorance.
basics of the
give
common
is
own
there were
their
are motivated every bit as
much by
who want
as
much
to see
frustration
it.
They
and aggravation
take
in their
143
jobs as
you do
some
get
idea of
what happens on
rest
their
you make
efforts
Reading the
in yours.
work
to
team.
as a
And
will help
it
is
Is
Your Property
One
—an
enacted so that an
own
his
artist
work.
his
purposes.
product or
as a
it
ownership of
copy"
is
"intellectual property."
Our government
retain
for his
deals.
Your Song
commodity
will help
rewarded
creations.
To
artist deserves to
song
to a
music publisher
Now we
come
you
show me
need
to the
me
for a ride in
we would need
to see
it
works or depended
Years
later, as
and
successful songs
totally
on someone
these songwriters
Anyone can
if
who
know how
to register their
own
as the creators.
from
can someone
is
but
it,
How
for a "right to copy," or copyright:
all
their songs.
Fortunately, today there are books (like this one), songwriters organizations,
classes,
seminars, and other learning opportunities available to help people learn about
their rights
as creative artists.
When
a songwriter puts so
was
knew
my new
better,
know how
had
to protect
a fantasy
He'd
say,
it
for
all
prayed that
(who
"experts"
say,
"Wait
everything)
144
this
it's
OK.
would shake
now wipe
Let
it
it
pass,"
when
make
and
One by
pan
and somebody
No,
was home
it
they
sure
which,
would
in
art, it
it.
really original.
much work,
reality.
thought
it
free.
The Copyright
more than 600,000
Office processes
listen to
out correctly.
see
If
the song
it
you haven't,
is
they'll
to
make
them
is
According
to the
effect
on January
1978, original (original with the creator of the work) songs are entitled to
copyright
1,
it's
good
it's
compact
date of registration.
audio
disc, or digital
when
it's
it is
in "fixed" form),
it's
vinyl, tape,
it's
is
^L
Copyright registration
registration.
—only
in public.
it
of their expression.
is
work
1978,
is
that
is
and
for
70
life
moment
of
time)
first
its
plus an additional
creation
70 years
on or
after
and
ordinarily given
who
is
will
January
1,
works made
is
1978
I,
is
for hire,
revealed in
shorter.
I,
1978,
same way
as for
works created on or
after
in these
statute
works
January
The law
1,
and
are
now
given federal
will generally be
1978:
The
computed
life-plus-70 or 95/
December
31, 2002,
and
for
works
published on or before December 31, 2002, the term of copyright will not expire
before
December
31, 2047.
145
WORKS ORIGINALLY CREATED AND PUBLISHED OR
REGISTERED BEFORE JANUARY
1978
I,
Under
was
last
work was
the
work was
registered
for a first
first
term of 28 years
from 28
works
endured
(28th) year of the
47
to
it
if
on the date
term of protection of 75
years. Public
Law
these
105-298, enacted on
still
subsisting
on
that
of protection of 95 years.
Law
Public
102-307, enacted on June 26, 1992, amended the 1976 Copyright Act to
provide for automatic renewal of the term of copyrights secured between January
is
1,
1964,
and
renewal
registration
is
no
longer required
in
tration
registered in the
no longer required
is
95
full
and
Public
rjjfr
Filing for
Copyright Office.
in order to
renewal regis-
filing for
a renewal registration
during
For more detailed information on renewal of copyright and the copyright term,
request
Circular 15, "Renewal of Copyright"; Circular 15a, "Duration of Copyright"; and
Circular 15t,
95 years.
all
"Copr."; and
2.
The
year of
first
work
duced
in or
article;
and
3.
on greeting
sufficient.
THE CRAFT
AND
BUSINESS OF
year date
may
if
any,
recognized, or a generally
The
publication of
be omitted where a
name can be
146
is
first
Doe
SONGWRITING
in the
known
is
repro-
any useful
work, or an abbreviation by which the
The "C
of
works
ies"
in a circle" notice
notice
work
is
for
tapes
is
in
literary
works
— may be
are
"C
as
audio
in a circle"
is
recorded.
"works that
result
from the
fixation of a series
of musical, spoken, or other sounds, but not including the sounds accompanying a
motion
Common
drama, or
lectures.
A sound recording
is
as a
phonorecord.
The
CDs, LPs, 45
is
A phonorecord
all
the
The symbol
2.
The
3.
year of
(the letter
first
in a circle);
and
a generally
name
shall
if
in the
is
known
alternative designation of the
named on
Inc.
Form of Notice
Copies
Copyright Registration
In general, copyright registration
is
Even though
make
registration.
Among
However,
registration
is
registration
is
make
a public record of
to
2.
be
is
copyright
registration
is
a legal
formality intended to
make a
may
#
In general,
public record
particular copyright.
of U.S. origin.
3. If
made
before or within five years of publication, registration will establish prima facie
evidence in court of the validity of the copyright and of the facts stated in the
4. If registration
is
made within
three
months
after publication
certificate.
fees will
be available to the
copyright owner in court actions. Otherwise, only an award of actual damages and
profits
is
147
5.
owner
U.S. Customs Service for protection against the importation of infringing copies.
For
additional information, request Publication
No. 563
"How
Your
to Protect
Intellectual
www.customs.gov
Registration
when
before 1978,
make another
owner may
may
a
made
be
at
registration
when
of the copyright. Unlike the law
the
not necessary to
it is
published edition,
register the
life
the copyright
if desired.
Registration Procedures
ORIGINAL REGISTRATION
To
register a
work, send the following three elements in the same envelope or package
to:
1.
2.
tion.
Copyright Office
2002)
please check
(202) 707-3000.
3.
A nonreturnable deposit of the work being registered. The deposit requirements vary
The
in particular situations.
If the
work was
first
b.
work was
first
If the
work was
first
If
deposit.
Whenever
THE CRAFT
AND
all
1978, two
as first published.
applications, deposits,
If possible, applications
possible,
BUSINESS OF
1,
as first published.
SONGWRITING
and
fees
should be sent
processing.
148
1978,
same package.
1,
edition.
(e.g.,
of
3,
2 of 4) to
facilitate
.
WHAT HAPPENS
and ordinarily
without applications or
and
will
be returned,
fees
may
Library of Congress
and
fee.
you wish
the deposit
of the
"accompanied by
is
.
is
appropriate copies,
phonorecords, or
identifying material
will
not be processed
and ordinarily
it
received without
no longer
available to the
will
be
returned.
Copyright Office. If
to register the
if
."
and transferred
received
is
its
in accordance
is
tbe law,
also.
2L
Applications and fees
fee.
RENEWAL REGISTRATION
To
if
necessary,
Form RE Addendum,
and
2.
nonrefundable
filing fee
fees.)
Addendum
for
must be accompanied by a deposit representing the work being reviewed. See Circular
"Renewal of Copyright."
15,
NOTE:
on
Copyright
when you
behind the top of page one. Forms not meeting these requirements
may be
is
re-
many
types of works.
The
If the
work
is
a
motion
and
is
of
its
work
is
is
in a
phonorecord,
149
LOW-BUDGET COPYRIGHT REGISTRATION
The
f ^jjr
The
least expensive
way to
expensive
least
Here
title.
way
to register
is
to
from
register your
unpublished songs
to combine
under one
is
Under
them
a "collection,"
title.
An
tents
The
all
title
same author,
by
of
practical application
to initiate a search
of the song
if
is
the
different authors,
they don't
this last
information
is
to each element.
titles
someone
that if
it,
of the con-
under the
existing copyright
will
is
of the collection.
number
title
unpublished collection
and wants
title
bear a single
copyright claimant in
all
as
fee:
at least
form
same; and
registered in unpublished
work may be
it's
wants
number, the
for a specific
song
"y."
copyright registration
is
effective
to process
an application
certificate
varies,
how
long
it
receives
all
the
is
receiving.
If
you apply
you
will
your application has been received (the Office receives more than 600,000
applications
annually), but
you can
expect:
ftfjjr
needed or
a certificate
why
it
if
Requests to have certificates available for pickup in the Public Information Office
or
copyright is the
to
process of sending
have
certificates sent
mail.
registered mail.
possession,
It's
It's
's
copyright
is
it
"protection."
150
THE CRAFT
BUSINESS OF
cannot be honored.
AND
service
is
SONGWRITING
and
all
it
altered
its
contents. Also,
if
it
in
your
your house
The
someone
next level
else
who
can swear to keep
register
it.
it
in their possession.
Another option
is
to use
an online service to
services.
matter
how
reliable or unreliable
be,
is:
1.
Allow you
registered
to sue
someone
first
it
Court
if
you've
in Civil
Court.
Tough
to
prove the date of creation and very expensive and difficult to obtain compensation
for
damages.
2.
Allow you
damages
and court
much
win) of up to S100,000
costs
(if you
as
government on
this one.
Copyright Infringement/Plagiarism
One
it's
common
of the most
happened, plagiarism
would
fears
of songwriters
less
is
common
is
Although
it.
They'd rather be
in line for
your next
hit
The more
concrete fear
is
title
and use
Throughout the
it
possibility'
as a basis for a
history of literature
is
new song.
and music,
writers
to
idea itself
is
not
as
it
important
make
is
unlikely that
it
how
Beyond
he develops
The
still
originators of musical
in use.
The
The
it.
new
and
is
said
with variations.
The
storyteller
you had
There
own
it
well,
is,
direction
it.
If
as
plots.
might borrow
it
it
justice.
right
it
constitute
copyright infringement.
151
.
Copyright Infringement
Copyright infringement
is
Those
copyright owner's
must be
who
2.
copyright registration
admitted
as
number
for that
Whether
type of
established:
the copyright
is
damage compensation
plaintiff also
must prove
suit.
which the
for
plaintiff (the
that the
one suing)
If a witness
is
eligible.
cannot
The
testify that
he or she saw the defendant actually listening to and copying the song, the
plaintiff has
to prove (1) access
and
ACCESS
Access
it
is
really
will
If
particularly hits.
it
you prove
it.
that a song
"Widely known"
is
in a case
is
where a writer/performer
is
traveling
around the country singing his/her songs. Though no publishing or recording deals
are
involved,
it's
no
but
it
would be
difficult to find
and
"possibility,"
SUBSTANTIAL SIMILARITY
The
crucial question
plaintiff?
rǤr
A popular myth says
that
before
This
is
of another work.
it
constitutes
it
is,
how
of course,
similar
it's
constitutes infringement.
Not
true!
On
much
different
one would not remind you of the other. But there are other songs that are instantly
which
true!
"substantial taking."
The
as musicologists are
is
to that of the
popular myth says that more than four bars need to be copied before
infringement. Not
the
tests to
first
brought in to
testify
similarity.
THE CRAFT
AND
BUSINESS OF
SONGWRITING
152
is
similar.
The
other test
alike, or close
is
for
enough
.
that
is
similar.
he
you
It
George Harrisons
listen to
"My
mean
do
to
was
still
found
was decided
it
not a defense.
it" is
Sampling
is
The
Though
lost the
why
understand
will
ated by ease of
is
an ongoing
battle.
Challenges gener-
who
use
Napster and other file-sharing technologies that allow the downloading of songs
without
less
may
We're helping
The
to
promote the
artists.
rationales
go
like this:
Answer: In some
cases, particularly
new
with
indie artists, that has, in fact, proven to be true. "Viral marketing," the concept
of
on
to the artists
and those
same
a very
is
is
one
artists to
promote themselves.
Having
determine to
releases
whom
an audio
and how
file
2.
labels,
What
industry.
pay
marketing job
their
for the
3.
the
The
make
effectively.
90 percent they
millions of records.
own
Most music
songs and
that's his
Answer:
it
to
do
difficult to
making them aware of the
as a result
it
be an apologist
They want
aE
is
that
it
find
of the
labels
determine to
and how
his
whom
music
will
be distributed.
having
on.
and don't mind. Answer: You don't know how much they
write their
off.
The
CD,
money
money
lose
artists
done
is
is
else
it
as part
nobody
major
for
music
his
of a song
that
is
when
how many
download those
mode
many
after selling
artists
don't
artists'
Music should
time, effort,
perform
and
their
success, or the
and those
is
all
be
free.
Answer: Only those
promise of
music
it,
that artists
business will
like that. It
is
and sanity
to create
and
to continue to create
artists
in the
who
When
left that's
it is
worth
no longer
able to support
stealing.
153
The Copyright
who
artists
When
who
music
creates
will
believe, prevail.
new
Domain
Public
song.
song
in the public
is
is
domain" song
domain
if,
domain when
their copyright
Posting your
work on
downloading
others'
who wrote
it
them. They're
[Jgr
plaintiff's
like classical
copy the
it
domain" and
put
it
domain" and
downloading others'
Some
uses can be
lyric in a
"fair use."
record review),
These include
(using a small
portion of another's
to
work
as a basis for
an editorial
comment
scholarship or research (using portions of other works for a thesis or term paper,
it),
for instance),
latter
is
and composers. Several major music publishing and music educators associations have
for the
the purpose
use.
fair use:
use, including
whether
it's
for
commercial or for
3. the
amount and
4. the effect
Parody
also
is
is
work
itself;
and
original work,
of parodying
for,
legal
if,
THE CRAFT
AND
fair use. I
for instance,
of action. In some
else,
but
it
BUSINESS OF
SONGWRITING
cases,
it
amounts
to
more
whole;
but always obtains permission of the copyright owners for the use of
as
as a
then be cited
work
basis.
how much
established
it
can
profit
The
plaintiff will
it
can be
if it
can be
was unintentional.
if it
verv difficult to prove damages, though, so the plaintiff can elect to seek
"statutory
damages," an amount
if
It
be recovered.
all
it
set
by law
to
they offered a cash reward, they could keep you from being your
own
worst enemy.)
fees
spent on the
trial,
have been obtained before or within three months of the date the infringement
occurred.
What
this further or
tion
and
a simplification
is
of the subject.
If
Legal Guideby
Mark Halloran,
you would
call
your
like to
also highly
(see Bibliography) or
pursue
Business
and
Online Resources
•
The
It's all
also presents
info. It
updates (in nonlegalese) of the ongoing court cases and Copyright Office
and more.
•
Site:
www.benedict.com
A
Copyright and Fair Use: http://fairuse.stanford.edu
Stanford University Library
site that's
an amazing repository of
facts, articles,
opin-
most commonly
who
to write
music to your
lyric,
which they
like to
refer to as a "songpoem." Others, under the guise of publishing companies, ask you
to
is
song
is
just so
branch of their
it
own company
perfect
—they
just
that
is
the "record"
company. The
first
latter writes
to
make
sure
they can do a good job. You're "double teamed" to make sure the sharks get your
money.
155
Many
"songshark"
them
a letter asking
is
the
common
"record
off.
submit material
to
company" who
wants to record
common
is
story
Only
the
me?"
Freedom of Information
much
like the
catch phrases.
con-
letters
their material.
who were
songwriters
next most
that,
The
for "review."
me from
letters
several
most
I've highlighted the
same
common
As
a songwriter,
it
one time or
sit
submitting
make
at
you
like
to consider
to us.
Recording companies need new songs. Without them, they would cease to
Just think
Many
may
We
that
employ
good
really
vocalists to help
and
record stores
melody
of material:
etc.
and
Some
produce some
be excellent
efforts
exist.
record,
ROYALTYfor each
we
you accomplish
after
Songshark
record sold.
of any
style,
with or without
a commercial tune
by our professional arrangers. If you have a completed song, rest assured our
arrangers
will
adhere to your
sure
it is
accompanied by the
envelope for
Productions
is
in sending us
a recording
poems. However,
and/or send
real ability
if you
THE CRAFT
it
much
as possible. If
you send
a tape,
self- addressed
make
stamped
company and
Mail through
is
and you must act now, today! Let us look over your work, so that we may
opinion.
Don't
recorded.
AND
as
Registered
you get
156
it
lyrics
return.
its
Have no fear
give
and melody
lyric
BUSINESS OF
SONGWRITING
just let
sit
your
you off to
First
a great offer!
creative
life.
at this letter
and
of time
Who
hasn't been
disappointed? Sounds like they're going to get your song recorded for you!
writer alive
radio,
my
song
is
gets heavy.
who
The
radio
assuming
(they're already
you
tells
it
this
all
this.
The
stores.
—and
effective.
There
is
album and
it
on an unknown
unknown
artists,
will
it
to
buy the
Songsharks have
it.
artist
on
a compilation
on
are included
They know
promise by sending
that they're
fulfill this
whose songs
a phrase
is
is
They could
reality
the other writers
about their
They wouldn't.
and
company
be good enough),
will
probably actually do
real illusions
typical
is
letter
stores. They'll
no
on the
line
a cinch!"
Next they
compare"
"just
artist.
it
would go nowhere
labels they're
it
new
artists
from
bonus, as
how
if
Songsharks capitalize
real illusions
about
airplay on an
artist
unknown
on a compilation
record (containing
"ROYALTY"
though
in the letter as
an added
it's
singers).
they want very badly to prove to you that they're really honest and wouldn't
and
Songsharks have no
several different
Notice
fcjjr
off.
is
a matter of course,
Many
by people who
them
tell
want you
truth, if
melody
in his
else essentially
writer credit
it
someone has
it.
created a
When someone
puts chords to the melody, writes a chord and/or melody chart, and wants
royalties for
it,
the
first
writer
must decide
if that
contribu-
But Songshark
isn't
who
A legitimate
collaborator works
is
valuable
enough
a melody
in his
it
head
into a
company
"written"
it.
collaborator
fcfj:
If
believes
lyricist she's
The Songshark
letter assures
is
"not
in the business
knowing
of stealing songs
that the
world
is
157
think their poems could be used as song
who
of frustrated poets
full
weak.
You
The worst
it.
possible protection
you
that
The
last
to think
about
this
really
is
just as easily
nervous
it
it
It's
or check with anyone about this
let
an exclusive
make
to be able to
letter.
a prime setup
is
it
sound
as
in,
legally
worthy
been proven to be
It's
that
is
registered mail.
number
They might
lyrics.
steal
think
they'll
to record.
is
Congratulations! Out of
all
(title)
$400
creative
second
on our new
to appear
you
album which
we
been chosen
will be distributed to radio stations
around
and
team ofsingers, musicians, and producers can record your song with the
best
$400
much
(or
You
you're gullible.
Demo
services,
be a part of the
i
Some
jfc
In
a record.
charts.
ples
on your
lose,
If
you
lose. In
the
talent.
they
to
NO
demo
may
Demo
No legitimate publisher,
demo
much
practice,
don't gamble.
publishers
service,
is
new ways
to separate
it
is
is
a standard
their
money on your
you
lose.
letter
lose.
production seems to
company
money, they
legitimate record
first
album you
service writes melodies for a fee.
songshark "industry,"
158
you
make
services
tell
demo
activities
Demos
though demo
if
They know
by the way,
sharks will
industry, publishers
know
actually think
talent. If
you
lose,
they
They don't gamble.
of the law. Strictly speaking, they usually
do what they promise. But everyone
in the legitimate
worded
letters create
deliver
is
little
resemblance to
who would
The songsharks
who
don't
it is.
how
Their carefully
know how
to get
good
argue that those people don't want to deal with the music industry.
Songsharks say they're satisfying a need for people to hear their songs in a
"finished"
product.
If
and authors, another legitimate
for poets
anything
produce
a master of
your song,
it
will cost
X amount
Legitimate promotion
single. Just
that
your
and
calls
believe in
You'll receive
or
to press
it
costs
X number of records,
to actually
X amount
to
tell
is
to totally lose
expensive.
Major
the quickest
your
is
way
labels regularly
program
credibility.
small stations in small markets that typically play your song at 3 A.M.
BMI
ASCAP
next to the
it
tell
title
on the
songsharks promise to get your songs played on the radio, they deliver that, too.
ASCAP
If
X amount
you don't
When
business, but
else. If
radio," they
artists,
You thought
that,
and
BMI
when
they
that,
even
it,
but songsharks are not in the
honesty business.
159
—
chapter nine
Though
their songs.
most of us want
much money"
may
is
it
may earn
slice
how
of the
it's
life
many
get
variables.
How we
mechanical,
in this chapter
it.
of the copyright.
is
earn nothing or
get paid
writers
to
is
new
also get a
pie.
Methods of Payment
Mechanical, synchronization, and print royalties are collected by the publisher,
his share
by the performing
a quarterly check
if
you have
a
rights organizations
and statement
to the terms
directly to
who
takes
The performance
to
your publisher,
split,
of the performance royalties will go directly to him, and your half will go
directly to
you. If you have a 50/50 cowriter
total) will
"traditional" and
is
is
go directly to you, the other half to your cowriter. Maybe you're splitting
r-ffc
split,
would
50/50 copublishing split and you're the only
not an absolute,
percent of the
The
total).
As the
writers, based
160
THE CRAFT
AND
writer,
you'd get
check
for all
of the
total.
writer,
BUSINESS OF
clauses that
SONGWRITING
way income
may
limit
is
what the
Keep
in
mind
that the
50/50 division
less
is
"traditional"
and
is
is
200 percent
as a basis
use
number of
writers
and
The
etc.
"writer's" share
may
i.e.,
may
be divided
472% Collection
100%
100%
WRITER'S
PUBLISHER'S
Figure
get
when
The
97V«%
97 3 /<%
WRITER'S
PUBLISHER'S
NET
NET
4Vi percent
Fox Agency
shown here
for collection of
as
an example,
is
income
is
the royalty split
you
zations charge different fees. Ideally, for the writer, this cost should be paid by
the
Collection
and
100%
administration
WRITER'S
expenses
absorbed by
WRITER'S
9272% to 95%
PUBLISHER'S
NET
NET
9272% to 95%
PUBLISHER
Figure
income
"less
connected to the
exploitation of that specific composition. In this example, those costs are shared
by the
writer
However,
161
Split Publishing or
Figure
most
E shows
common
Copublishing
who
of collection and
own
their
publishing compa-
may be
hired. In such a
OTHER
PUBLISHER
50%
100%
WRITER'S
WRITER'S
PUBLISHING
COMPANY
50%
Mechanical Royalties
Mechanical
compact
royalties
discs,
mechanical
of January
come from
2000,
is
— audio
records, tapes,
The
current
7.55 cents per use for compositions that are five minutes or
is
is
is
years). So, if
less;
you have
cents.
frfjr
collect
many
on behalf of
publishers, they
success record.
your songs,
in
is
if
publisher will
make
enough about
if
you can
convince him/her that you'll personally be very aggressive about pitching the tune
to
producers and
companies regularly
to
make
sure the
publishers get
all
royalties they've
one.
the
artists.
Collecting the
Most
collect
money is
who
earned.
162
THE CRAFT
AND
BUSINESS OF
SONGWRITING
many
make
and often a
difficult
issue licenses
and
fee.
all
the royalties
The
payments to
its
Agency on
royalty
On
with a
maximum
On
All
etc.):
5%
Home
maximum
of
On
On
Background Music,
5%
flight, etc.):
of royalties distributed with a
4%
Import Licensing:
they've earned.
There
is
In-
of royalties distributed.
a lot of "creative
is
to
maximum
bookkeeping"
hold on to the
money from
in record
money
the interest
on your
can so they
royalties.
New York,
N.Y. 10017
Web
site:
www.nmpa.org/hfa.html
(615)242-4173
St.
(CMRRA)
West #320
M5S
2S3
Web
So
seller
site:
www.cmrra.ca
how do
CD
you can
the
figure
it
will
be on the
When
that
one song on
you have
song
a million-
as a single,
mixes. For example, the Ricky Martin hit, "Livin' La Vida Loca" CD-single contained
the
Album
(4)
push
at the
&
pull English
edit, (5)
house mix,
rates. (5
X 7.55
163
=
you have
five
down
you may
the road
of 2002,"
etc.
you
sales
will
be more.
Producers of these will usually want you to give them a lower "rate,"
(%) that song's rate. Their philosophy
commonly three-quarters
for
it
be involved in "Greatest
also
bonus
—and
they
may
is
that
it's
an extra market
sell
after the
peak
first
time a
composition
is
first
who
time a composition
is
what
do.
who
by
That
first-time control
a publisher
is
owner has
charge even more than the current statutory rate for that
recorded, the
The
owners could
first
will
they do.
After a record of a song has been manufactured and distributed the
it
first
time, the
get their
own
copyright on
it.
Those who record the song
after
recording must obtain a "compulsory license" and agree to pay the statutory
first
maximum
mechanical rate unless they can negotiate a lower rate with the copyright owner.
Failure to obtain a
compulsory
In addition, they
must
file
a "notice
Copyright Office before they can distribute the records. The licensee
is
required to
make
made and
records
the copyright
The
pay
if
there
is
is
month and
name of
to designate the
is
for
not done
defaulted.
no record of copyright
registration filed at
CDs
primarily intended
Compulsory
licenses are
deal,
demand
is
to ask for
to
rate or less.
Your
artist).
The
current
it
attorney
or leave
s
it"
approach
is
entirely
better than
no
in
New artists
is
deal.
also
tell
an
artist
if
company
will
pay only 75 percent of the statutory rate and often limit that to ten
still
producer and
artist to
his
The obvious
own
effect
From your
artist
by other
promote a record,
From
money
that royalty;
company makes
their
own
for a video.
material
They want
money from
to
selling records.
their
can.
on
rely
it's
way they
must
writers.
as writer/artist
practice,
record!
a reality that
it's
So
you
or as an "outside" writer.
Sampling
In addition to the above, be aware that if your "outside" song
is
on an album that
contains samples (pieces of compositions and/or sound recordings used from other
songs), the artist will have to pay another copyright
fees
your song.
Sampling of yourwoik,
in general, could
be looked
at as
For example, in the early days of the sampling craze, publisher Jay Warner,
realized his writer, funkster
capitalizing
on
this
new
soon
as
he
as
fill
out
artists,
Sampling of your
work,
in general,
could
He
also
be looked at as an
etc.,
additional source of
inviting
teg:
them
to
sample them.
source of income.
who wants
to
sample someone
else's
recording,
you must
contact both the owner of the copyright on the song (usually the publisher) and the
owner
of the recording (usually the record company) for permission before you release
your
record. Samples aren't subject to the
compulsory
license (the previous page), so you'll
it's
used,
how
you're using
it,
the
number of
of the recording.
165
For example,
tant
and
if
Vi%
royalties
on the
record
your record
is
all
and/or performance
cal royalty,
is
Depending on
and probably
If
you use
released, you're in
song,
else's
it's
with the writer, publisher, and record company
record.
royalty. If
you wait
to
pay a
plus mechani-
in the
your
get
released, you're in
an injunction against distribution of your record. So you must negotiate for the
use of
in
negotiating position.
them
use
something
at the
time you decide you want to
is
it
with
else.
royalties are a
directly
publicly.
According
nobody can
in a club,
local
TV,
owns
in
Do you
you heard someone play your song
How
there in the
first
The performing
there?
to pay?
The mind
SESAC
mean
if
you sing
Through membership
in
its
use.
Do
live
performances.
When
is
how
to
and
you send
to a club
bill
owner because
rights organizations
Muzak, and
as the writer,
the radio
call
it?
doesn't
It
played
performed
is
song
somebody's song
their
royalties
Society of Composers,
ASCAP
title,
Society of Euro-
or affiliation with
BMI
or
problems
SESAC, you
grant
for
them
A writer
or publisher
may
166
THE CRAFT
AND
The
collect
line
of the song
in musical theatre,
dramatized with
for the
to another
sets,
same song.
You can
switch
BUSINESS OF
is
SONGWRITING
to a U.S.
and
European
organization such as
How
it
to
SACEM
do these organizations
money?
collect the
members. Blanket
and
on
The philosophy
local
list
on behalf of
and network
their writer
TV permission
and publisher
of
a percentage of the advertising revenue received by the
is
For a
(Germany),
to be worthwhile.
it's
GEMA
(France), or
them
maximum
and
local
and network
TV permission for
teff:
compositions.
Films and
TV movies
TV shows
Commercials
Home Video
Video Jukeboxes
Video Games
CD-ROM
PERFORMANCE
TV Airplay
Piano Copies
(Sheet Music)
Radio and
Folios
Airlines
Choral Arrangements
Cable
Clubs
Concerts
Conventions
Health Clubs
PLUS:
Band Arrangements
Lyrics reprinted
in
books/greeting cards
Multimedia
Hotel/Motels
Jukebox
Karaoke
Museums
Record Company
and
Music On Hold
Pagents
Restaurants
Retail Stores
Sports Events
Theatrical films outside
the
US
Trade Shows
Trains
MUSIC PUBLISHER
Web
Web
Radio
sites
Guild of America
collection for Writer
from Publisher
SONGWRITER
COMPOSER
LYRICIST
ADDITIONAL SOURCES
Grand Rights
for
167
.
on
ticket prices.
The Ameri-
League,
The
all
jukebox. That
money
goes into a
TV,
many
is
and
colleges
is
an annual
How do
they
BMI
fund and
times a song
played?
is
its
the
number of performances.
computer system
(log)
of
all
by
them
stations
The
music performed. The logs are put through an elaborate
number of "plays" on
statistical projec-
all
stations. Differ-
ASCAP
uses a
method involving
out the
ASCAP
on
ate
statistical experts,
local
TV,
all
network
statistical projections.
strive to
spend
less
money
so that
TV performances
members
by
all
money
direct census
sheets.
they use a combination of sampling, cue sheets, and program. All organiza-
performance
performing rights
determine
selected
Both monitor
For
more may be
and taping
societies.
royalties, the
royalties
Though
through reciprocal agreements with foreign
SESAC,
is
a for-profit
a formula
and
TV
performance data. They also have a method for computing and making "post chart"
payments.
SESAC was
the
first (in
visit to
Web
site at
3. direct links to
168
THE CRAFT
AND
more than
BUSINESS OF
fifty
SONGWRITING
record companies.
a
How much
Ic
varies in
both
it's
played?
sources during the year or the quarter. Each has an equation that gives
all
on the type of
station,
number of
plays,
and the
overall
formance income
for publishers
and songwriters
many years).
amount
will generally
royalties
an overall
it
amount
licenses. Per-
to a great deal
TV uses.
giving
were
(collectively)
in advance of earning
if
they
and other
effort
you
it
and
literally
know
It is
factors to
possible, in
there's already
major or
cases, to
artist,
if
to
know
have
BMI
or
ASCAP
song
and
songwriters will
amount
great deal
the
to a
more than
money earned
from mechanical
royalties.
if
determine
some
money
new
between
a fine line
They walked
for publishers
generally
&_
Performance income
you'd
considerable airplay.
How else
money
command
receive, the
in negotiations
distribute to their
users.
more
The
members. Conse-
quently, the three are in competition with each other for actively productive
members.
So
it's
to decide
which organization
new
talent.
for generating
ties
list
informative articles
on the music
industry,
FAQS
and workshops
in
networking opportuni-
to their
Web
where they
sites,
and
their writer
artist
members.
Which
is
the best?
is
usually
many variables
"Who
situation.
—one of
more?" —
the
pays
Talk
to
How much
them
all.
they each
169
pay may be the biggest question, but
someone
there
Those
you
is
(if
even
known
There
affiliate
What
^r
anyone
$10 annual
BMI
with
else
at
make
treat
The
all.
publishers to
it
do they
you?
feel
you
you
organization
one or the
in
paying more
is
mere reason
for the
for you.
do
or
SESAC. (Membership
be an
in
ASCAP member.
SESAC
is
There
is
no
fee to
by invitation only.)
need to know?
Report any new songs that you have published or recorded to the clearance depart-
make
published or recorded
if
sure
it's
rights organization.
The
applicable.
BMI
and
performing rights
involved in a song, a
organization.
ance
BMI
will
pay
its
own
writers
and
publishers. If there
is
licensed by
no publisher
is
royalties.
Be sure to
you'll
notify
ASCAP
New York— One
Fax: (212)
Lincoln Plaza,
New
York,
NY
10023
Tel.: (212)
621-6000
724-9064
Los Angeles—7920
W.
London— 8 Cork
Street,
Fax: (323)
London
CA
90046
883-1049
W1X1PB
Tel: 01 1-44-207-439-0909
England
Fax:011-44-207-434-0073
Nashville,
TN
37203
Tel.: (615)
742-5000
(615)742-5020
Miami— 844
Tel.: (305)
673-3446
1,
Fax: (305)
673-2446
Puerto Rico
472-1157
Fax: (773)
472-1158
— 510 Royal Bank Center, 255 Ponce de Leon Avenue, Hato Rey,
Tel.: (787)
281-0782
170
Is
charge to join?
is
departments of your
Some
How
feel
make
else
to the clearance
Do
you
relate to?
join
other
you can
there
it's
THE CRAFT
AND
635-1758
BUSINESS OF
Fax: (404)
SONGWRITING
Street
627-2404
Fax:(787)767-2805
NW,
Atlanta,
GA 30318
BMI
New York— 320 West
57th
New
Street,
NY 10019-3790
TN 37203-4399
York,
Tel.: (212)
586-2000
401-2000
Tel.: (615)
West Hollywood,
90069-221
Tel.: (310)
Rd.,
659-9109
NW1 5HN,
London
England
Tel: 011-44171-486-2036
Miami--5201
Atlanta—-P.O.
Puerto Rico
—
GA 31126
FL 33126
Tel.: (404)
Tel.: (305)
266-3636
261-5151
Tel.: (787)
754-6490
SESAC
— 55 Music Square
Headquarters
SESAC—421 W.
SESAC— 501
Fax: (310)
—6 Kenrick
7486-9994
10019
489-5699
analysis,
London
90401-2430
W1H
3FF, England
7486-9929
recommend
and
CA
393-6497
Place,
Fax: (020)
Money
37203
SESAC International
Tel.: (020)
Fax: (212)
TN
329-9627
New York, NY
54th Street
East, Nashville,
Fax: (615)
Jeffrey Brabec
Synchronization Royalties
Another important area of income
to record the
music or song
and publishers
for writers
is
is,
show
music
TV
that's
The
film or
TV
producer
is
and per-
formance license with the copyright owner (usually the publisher). The Harry Fox
Agency,
Inc., in
with expertise in
Clearing
House
in
many independent
attorneys
the
totally negotiable
way
it's
music. Next
to be used.
is
and depends
largely
come from
background
171
such
as a car radio or
we watch
music
band
a rock
in
in the film
perform a song or
theme
listen to a
that's
and
featured over the intro or end credits. If the song has already been a hit
selection for that particular film,
soundtrack album
as well,
may
it
it's
worth a
lot. If it's
an
which
in
prominently
it's
a perfect
there's a
be perceived in the negotiation that a lower "synch fee"
might be worked out because the fdm's exposure of the song may benefit record
print, or other
whether
The
promotional
it's
them
sales,
in the
many
possible uses
The
most territories.
or obtain higher fees for additional time and uses. If you need an in-depth
discussion
Money
or songs as a
situation
is
for hire" in
that a film or
difficult, for
unknown
an
writer to
for
an unknown
will fight
them.
credit.
performance
From
and
You
and foreign
It's
their point
them
may not
money
uses
Most of the
film.
cases
This doesn't
you
receive are a
fee
royalties for
domestic
all if it
looks as
Film companies
if
of view, having the rights saves them future negotiations for future
retain publishing
gives
It's
music
rights."
of extra
lots
know
in
if their
movie helps
company
at least
to
some publishing
rights
a hit.
were
his/her
(For
more
info
to film
and TV,
see
in chapter fourteen.)
Music
Most
in
writers
know
little
If
particularly adult
With
the possible exception of the education print market, though, the songs will
worked
for
some of the
Ronny
make
Scruff,
all
Warner
Bros.
projects, has
Sheet Music: piano/vocal arrangements, often with chord designations for other
172
THE CRAFT
AND
BUSINESS OF
SONGWRITING
Personality Folio: collections based on a
2.
"The
name
contract,
to use the
someone wanted
to
do
3.
may
4.
Matching
Mixed
"name and
likeness"
name and/
likeness" contract
wrote but
on the
album or musical
theater show.
These
likeness" contract.
on concepts
like
Educational: included in
5.
is
,"
.
that book.
sell
also involve a
of 200
"name and
The philosophy
of
"name and
or writer/artist's
called a
artist's
"The Songs
artist, e.g.,
bands, concert bands, jazz bands, and orchestras. These are obviously sold to
schools,
drum and
bugle corps,
etc.
in school
have you heard the same songs being practiced by the chorus
number of
listeners in schools
events,
sales.
is
might
The
educational print market can be very lucrative, especially for jazz and pop
writers;
for a
marching band
a big
is
sell. It
Some
of $1.40
retail
There are
It's
sell fifty
not unusual for popular choral writers to net $7,000 (10 percent
X 50,000)
levels
and
you
as well as hits,
but
of different student groups
combo, and
has teaching
is
"how
skills to use.
is
demand
for guitar
and
who
also
bass note-for-note
MIDI
create
and market
song
files.
Often,
who
Some may
also
be
full
professional
What
Retail prices for print music, like everything else, continue to rise. Currently
for sheet
173
Folio publishers will pay about 12 /: percent of the retail selling price. In cases
where the
1
folio contains
number of copyrighted
What
is
songs.
stick.
The longtime
Try
fcjjr
new
after a
royalties received
sales.
on
received by your
you
print sales.
lay out
than a 50/50
less
some
his deal
you may
still
in
royalties received.
all
The 50
percent
is
based
split,
on your
split
Try to negotiate 50
a standard writer/publisher
on
if
50 percent of all
to negotiate
practice in "standard" publish-
same
Publishers have
split.
some
print deal. In
company,
no
may
situations, a publisher
producing demos
just like
is
have to
that's part
yours. If
of
you
can't get
guidelines for print royalties. (See "Negotiable Contract Clauses," chapter ten.)
how
to
go about looking
for
and
music publisher,
sizing
up
you'll
the primary avenue of exposure for songs was selling sheet music
publishers
in print
and
artists
who
sang
live
on
radio.
With
style
Print expert
1.
and
Ronny
print publisher
How
folios;
is
to
drop
in
on
and the
new
method
company keep
marketing
areas:
list
in looking for
You want
a print publisher
hits.)
it
let
it
174
3.
Do
4.
Do
they supply
THE CRAFT
AND
BUSINESS OF
with promotional
SONGWRITING
an effective
retailers
pop, which
Does the
in print
like.
hit songs?
interested
two major
less
2.
became
marching bands,
pop
to the
and arrangements
aids, displays,
and so
forth?
From an
artistic
Compare them
with
company
that grants
is
if
To
it.
Don't hold up
It's
work
to
production
tract.
that
want
on some
high school and college band and choral directors and ask them which companies
provide
the best service
nies,
ask
if they
to see the
compa-
promotional
packages they send to the schools. You'll want to be sure they'll promote your
music
aggressively.
A
print
a variety
in
It's
to
all
your
deals.
Digital Sources
possibility of
more income
right legislation.
Money
Here
is
new
digital distribution
and recording
Todd
systems
artists via
Brabec's
is
the
new copy-
book Music,
nies in certain
are
is
a limited
FCC
DMCA.
resulting
non-exempt-, subscription
artists
from
Web-
this
and on-demand
license)
new
The
first
digital services
with
CARP
royalty decision
50%
the remaining
The 1998
50%
DMCA
implements the
WIPO
WIPO
(World
Performances and
Monograms Treaty
that deal
175
with copyright protection for works in a
give protection to foreign
domestic works.
The
works no
DMCA also
digital
to
creates civil
and criminal
penalties (up to a
one
million dollar fine and 10 years imprisonment) for the circumvention of the
technological
etc.).
Limitations
is
(title
also included
as the
liability
set forth that
OSPs
176
and identifying
infringers to copyright
Publishing
as
refers to songwriting, as
it
recorded, and the offering of those products for sale to the public.
is
a lot
The
practical
legal definition
or theory.
it
with print
in the
to
business,
and they're
likely to
and piano
rolls for
fact,
economic, and technological changes, the business continues to evolve with the
times.
Currently, the sale of sheet music
and
actual manufacture
to print
sale
is
its
is
now much
broader.
Leonard
Feist's
from the
early
York's "Tin Pan Alley," where most of the music publishers had
their
1900s in
New
offices. In
those days, they performed the songs for vaudeville troupes
together shows for their tours; for employees of music stores who, in turn,
performed
the songs for potential sheet music customers;
and
for
anyone
else
who might
influence
sales.
still
producers, recording
record
Today they're
ers."),
It's
artists,
called "professional
and songplugging
is
all
if
demos of songs
one of their
just
important to understand
company A&R
duties.
to pitch
to avail yourself of
PUBLISHING
177
.
What
Many
At
Publishers Do
best,
its
ness sense.
believes in.
tejjr
It's
a special
combination of
it all.
demands imagination,
situation,
label
of "publishing."
and good
busi-
A publisher must be willing to make mistakes and face daily rejection of songs he
A knowledge of how the music industry operates and a familiarity with the work
artists
Publishers' activities
fall
all
of these
a great publisher,
with
all
It's
a special
own
In your
it all.
those qualities.
and
administrative.
have
publishing
ingredients that
makes a great
different levels
and established
artists,
critiquing
attending
staff writers
dent writers, reviewing songs already in the catalogue, producing demos, initiating
or
suggesting collaborations between staff writers or lyricists and producer/writers
or
2.
to learn
which songs
and
files
how
reps
material; mailing
writers to determine
long;
making
calls to
radio
3.
make
decisions
Among
4.
CAP,
or
SESAC
and producers,
managers,
file
licenses to users.
copyright forms;
artists,
mechanical royalties
file
notices with
BMI, AS-
pay
A&R
may need
staffers
maintaining
they liked (or didn't), the songs they're "holding" and for
stations, record
artists,
compute and
writers' royalties.
Additional Activities
There
more explanation:
is
nies
the level at which the "heavy-duty" deal-making machinery gets into gear.
(groups of songs
178
Compa-
Some
catalogs
make money
Companies
own
that
Any
still
future earning
forever.
as potential
company
combining
In practice,
staff.
To
on
who
staff
see the
all
it
are
name of a song
actually
The people
assessing
some
company's database
in a
new
by
now
to get audio
cast, history
company's
in that
this
MP3)
files (like
as style,
problem
tempo,
of past recordings,
for the
of the songs
lyric
content
etc.
who
by
impacting
to cut expenses
is
is
New technology is
male or female
lyric),
way
better,
as a
often
most
move
in catalog acquisition
are
is
valuable to
WRITER/ARTIST DEVELOPMENT
Investing in the production of master recordings and the signing of new
writer/artist talent
is
another
who
of activity
level
can afford
it.
that's
to sign
own
part to
all
promising
them
common
for those
and self-contained
writer/artists
to record
companies. Obviously,
companies
on
all
if
they
the songs
artists.
A&R
is
many
and
publicist
own
A&R representatives since most of the duties described here are the same as those
of
company A&R reps. Trying to find the right producer for an artist involves a
and
person
all
record
preliminary tapes
writer/artist's
them, scheduling the project, negotiating the contracts and choosing the songs,
studio,
and musicians
ments
if
kits, setting
it
involves
making appoint-
music supervisors,
It
who
development deals
most often
a strategy limited to
major publishers
are
50/50
split
that
you
publishing
179
and the publisher has
for you),
months
six
to a year
and a half
after
completion of the
a record deal.
"Where Do You
for a writer/artist or
WRITER/PRODUCER DEVELOPMENT
This
is
reasonably priced
learn to produce
experience.
home
and arrange
At some
their
own demos.
may
point, they
decide to find
among
makes
as
artists
who
it
cost effective to
produce a successful
artist.
Writer/producers are
who
it
in.
can perpetually
produce.
artists to
WRITER DEVELOPMENT
As opposed
lishing
common way
more information,
is
do
that publishers
this
is
to sign writers
in this chapter.)
are
major companies
that must, to
some
in effect, serve as
who
degree,
do
and have no
gjf:
others
staff or
do individual
hire people to
it all. Still
who
is
seem
tasks,
to be publishers in
name only
and,
first use.
Uses of songs are limited only by lack of imagination and perception. The bottom
line for
song. Obviously the big ones are through sales of records, tapes, and
imagination and
perception.
any publisher
is
to
make money by
finding as
many
TV, and commercials); and
CDs; synchroniza-
airplay. If a
song
is
successful
suited to a choral or
band arrangement
as part
like
of a radio or
and
TV commercial.
compile special
CDs
to
colleges. It also
might
Manufacturers of autos,
for
which
royalties are paid.
Manufacturers
of music boxes, musical toys, and video games are also licensed to use appropriate
180
more
there are
It's
uses
and
on the horizon.
creative publisher
and have
devices,
new
children's
album
new
that
would be
compatible.
New
technology has introduced uses for music that were not even dreamed of a short
time ago.
good publisher
keep abreast of
will
new
these
all
uses. It's
up
to you, with
the help of some advice, to assess your needs (they'll differ at various points in
your career)
for
you or
if
self-
i^J^
New technology
has
Finding a Publisher
Though
finding a publisher
who
believes in
difficult,
it
could be
Beyond
tions
tors
that,
if you
College
Music Journal,
for
example)
list
hang out
at
songwriter organiza-
(Billboard,
from
instruc-
(published by Writer's Digest Books, available online and through most bookstores)
will
give
you
what
profiles
and how
Major Publishers
vs.
whether he or she
to
submit
new
tapes.
Independents
is
and your own relationship with that person. Has she earned the respect of producers
by consistently bringing them high-quality, appropriate songs
she respect you, love your songs, and believe you'll be successful?
Those
Does
questions.
Sometimes
it's
on "professional")
easier for a professional
to
The debate
mentioned above
if
it,
name of a
over whether to go with a small or large publisher usually gets around to the
"A
small
company can
give
attention. You'll
case.
PUBLISHING
181
Depending on
major companies
ual attention at
r^Jr
There
of professional staff to
staff songwriters,
you
are
experience.
to
it).
By
basis. It all
to
spend working
there.
autonomy of making
attention at major
companies.
by-song
their
own
do
a great job
on
a song-
basis.
Major publishers
"new"
much
you want
get individ-
many
Many
so
in fact,
(if,
you can
comes from
material
own
their
staff writers or
about new trends and to make sure they're not missing out on any hot new writers,
writer/
artists,
to
do
or writer/producers, though
that.
Most major
negative?
Do
line.
"home"
them
find
less accessible
label,
it's
writers
on other
its
positive or a
labels in favor
own
financial
on
no guarantee that an
(There's also
Is this a
affiliated label?
Though
own
than independents.
of those on the
bottom
many count on
artist
offer
on the
them
the
bonuses to
affiliated
in their catalogs.)
know what
my
What
How
song?
done
publisher
if this
do
is
song by mail.
a rip-off?
What
in the past,
if
you want
be glad to brag about her success. If she wants your song, she should be able to
you on her
She may
tell
to pitch the
may
yourself, or she
as a sign
song
to,
of deviousness.
if
can't
is
do the
THE CRAFT
is
negotiate a reversion
the section
AND
BUSINESS OF
him why he
182
the publisher
You can
back.
If a publisher
mean he
sell
abilities.
you'll get
she
SONGWRITING
less. If
thinks he can
do
good job
is
it
doesn't
for you,
and
serious about
the business, he
II
you want
organizations.
your song
to
Check with
ASCAP, SESAC,
or
who
no "Good Housekeeping
is
who
proval" for publishers except that songsharks (see page 155) (those
else's
own
use your
who
approval, however,
It's
is
SESAC.
that
may
praise the
you have
all
best judgment,
or
The problem
trash a publisher
and choose
to
a publisher
own
feel right, it
ASCAP, BMI,
Seal of Ap-
charge to publish
with
affiliated
talk to other songwriters
and BMI,
You can
of
call
may
Appendix.) There
list
to.
do
as
who
much
intuition,
your "gut"
about
feeling,
just incredibly
you can,
research as
suits
if it
doesn't
*a£
There's a lot to be said
for trusting
isn't.
intuition,
Is it
good
No,
it
don't
for
Q&A
Writer/Publisher
both
scares
feel it's
them
worth
believe in
What
What
give
feel they're
being
set
up
for a lawsuit
It's
and they
also inconvenient
is
It is
and
ethical
at once?
common
practice.
to have.
You have
Who
you
else
all
(Don't
lie.
to
you
walk away. Call other writers they publish and ask about
If
it
If
have a publisher,
is it
OK if
^T
a publisher
their reputations.
Yes,
isn't.
to sign
to think
it
interested.
is
probably
if
it.
a contract immediately,
a song
tell
paranoid about
it
to
you an advance?
out further,
everybody anyway,
your "gut"
about
somebody. Unless
certified mail?
to take a
This
They
to death.
it
by
parties.
May I show my
Yes,
feeling,
your own
whether he
will
gets the
he
let
him know what you're planning so you don't both promise the same song
ent producers. There
may
also
contract immediately,
be a reason
why he may
walk away.
to differ-
it
to
PUBLISHING
183
and he may have a game plan
a certain producer
that you'll
be able to help you get in the door or provide useful info about the producer
may also
you want
to pitch to.
how
stories
not
who were
about publishers
as rare,
know. Though
heard
I've
all
often they give a stock answer: "That's not the type of song we're looking for," "I
More
know who'd
wouldn't
record a song like that," "I don't think the song
though probably
marketable songs.
why
this
is
marketable."
to write better or
more
some
fairly
is
typical responses.
One
more
hassle than
stepped on too
criticized.
On
work
and
know
worth.
it's
many
but
come
a long
a basic grip
thought
me!'
for
He
gave
just
it
it
[a
to write a
to write songs,
to. Besides,
most
wrote
and because he
did,
if I
The
a bridge.
and we published
needs a bridge?
a shot
listens.
good song.
it
we both knew]
writer
way because he
how
wanted
it
it
is
first
time
recorded.
it
felt
Spirit.
would
want
to hear
to
spend
you have
to
do
is
you
find
that
creative
wrong
all
my
AND
didn't say,
sounds
OK to
The
all
to
BUSINESS OF
as
tell
himself or someone
else
you what
to learn
was unthinkable.
the self-esteem
an opportunity
SONGWRITING
once suggested to
it is.
you can
get.
But
THE CRAFT
it
He
you need
184
it's
some publisher
I
the tunes was
it!"
tell
will
we both won."
wanted
and got
Canyon!" To that
wouldn't have time to deal with the songs I'm already committed
change we
but
him one of
told
to help,
"Bob
on how
it all
it's
with. He's
used to do
knew he had
close,
anymore
that.
You need
to learn either
it's
also self-
will stop
your
to be able to look at
(H You can
things:
and
learn
writing
in general or
more commercially
You can
in particular; (2)
even
if you
have learned what to bring or what not to bring that publisher or producer next
time.
you need
In any case,
at least to
it
may
who
will
who
are
want
open
to
to criticism
that
If
know
most industry
talent to begin
many
to rewrite.
There's another angle to this that should also be brought out. Publishers aren't
and don't
the criticism
let their
learn
you do.
Those who challenge you,
of
tastes
you
will
both.
infallible,
will give
to
You may
way
it,
nity to grow.
Uncontracted Songplugging
Songplugging without
wonder how
before they
how
here's
to deal with.
commit
their
it,
to,
want
doesn't
do demos,
He
anyone
let
me
want
to sign
copies,
and
who would
to
mind
that
will cut
it
it).
The
six
months, or
publisher
may
it,
to
if
suggest
and have
money
for the
song and
or his company's
an
you not
artist or
anyone
money
it.
know
he doesn't
if it's rejected,
to take
it
it
to another publisher
recorded.
and
is
allowing you to
The danger of not having
the deal
one of you may forget the terms of the agreement. Make sure you
what happens
not show
don't,
it.
If
do anything with
all
cut
paper
who
forever.
else
about and
3.
me
of reasons:
to
publishers
He
1
2.
Most
is
works.
it
on
a contract
producer puts
else for a
period to give
to
on
clarify
him
chance to cut
it
or decide
if
he
hold the song for longer than you had originally
PUBLISHING
185
agreed with the publisher. Fairness would dictate that you wait, along with the
pub-
makes up
the producer
lisher, until
word
It
Remember
that the
music business
is
gets around
if
like
place
you.
around
word
you
if
know
and
who know
to take
is
it
little
you not
to
show
want
doesn't
to other publishers
like a small
it
They
actually
may
let
publisher 'A' run with the tune for a couple of weeks and
happening,
I'll
told publisher
take
it
"A"
that he intended to
do
to sign
call
if
he'll
also a
good chance
is
mad
you
at
either, they
want
to sign
tell
who may
have worked
for using
him
unethically.
exclusive right to publish
is
the
may
never pitch a song again without a contract.) If you're unfortunate enough to have
sell
the
when you
Would you
a contract, agree
it!
him
hard for you? If you had a contract with "A" and none with "B," then "A"
contract with
artist
own company.
to
tell
that he hadn't
said,
on your
it
me,
told
that.
likes the
the
to cut
at
and wants
look
respect. (See
who
"Ethics in the Biz," chapter thirteen.) I've run across several writers in the past
"I'll let
town, and
to insult
situation as
initial
may
Remember
yourself.
he assumes you
gets
it
it
his
on
know what's
is
at
once.
"Be up
which no one
else will
eleven.)
Single-Song Contracts
Songwriter-publisher contracts covering one song are the ones you'll
most frequently
as a songwriter.
come
in contact
with
different single-song contracts that say "standard" at the top of the page.
Publishers obtain
186
Some come
stores.
NEGOTIABLE CONTRACT CLAUSES:
Songwriters Guild of America's (SGA)
THERE
IS
EVERYTHING
IS
NEGOTIABLE. You
The
WORK
should not attempt to arrange any sort of long-term agreement without the help of
in
in
negotiating contracts
FOR HIRE
that the
phrases "employment for hire" and "exclusive writer agreement" are not included.
Also, there should be no options
for future songs.
2.
rights organization
this
All
If
affiliated
with
should be written into your song contract. (The same goes for any third party
licensing
REVERSION CLAUSE
a commercial
if
etc.),
by you.
4.
CHANGES
lyrics,
5.
THE COMPOSITION
IN
or music, then
If
the contract includes a provision that the publisher can change the
If
sells his
own
fifty
NEGOTIABLE DEDUCTIONS
publisher.
fee
demos and
Ideally,
is
percent (50%) of
all
in
all
publisher's
income on
the contract as a
flat
the Harry Fox Agency collection fee, whereby the writer pays one half of the
publisher. Today's rate charged by
is
4/2%.
WRITER'S CREDIT
9.
ARBITRATION
In
In
is
no time
restriction
every contract.
—The
8.
licenses
the song
in
all
folios,
should be included
title,
should be amended that only with your previous consent can such changes be made.
this
publisher should
make sure
legal fees in
case of a
all
FUTURE USES
as
it
comes
specifically
up.
that
we
is
available for
BEST POSSIBLE
members
CONTRACT!
SGA
we recommend
office
or online at http://www.songwriters.org.
PUBLISHING
187
publishers will get a contract from their attorney and
Some
The only
and
says
How
will
it
"standard," that
it's
how
window
these
are
why some of
all
great
what
feel are
The
all
the clauses
if
one
in
is
will
Here
are
my
it's
at this
can discuss
agreement with
recommended
that
it's
is
here.
difficult to get
is
be judged for
its
to be flexible.
commercial potential
which each
can't advise
I'll
and hope
to have a
is
negotiating so crazy
writer.
What makes
The
less
best advice
mind
gone out
perspective.
is
because songwriters
deals have
SGA's Recommendations
clauses
think this
is
Many
because a writer has been told never to accept this or that deal point.
persists
some
as
things
can't be changed.
to negotiate
Comments on
These
it
common among
is
have
contracts are
to explore. Paranoia
the
it
will
rg£
companies
on
feels he's
is
one
your
in
own
in today's
advantage
which each
party's
been "had."
commentaries on the SGA's recommendations:
been "had."
I.
When
you
the phrases
"employment
for hire"
no options
"work
else for a
which means
which you're
that time
188
to
It still
PERFORMING RIGHTS AFFILIATION
2.
you should be
BM1,
or
SESAC.
All
performance
royalties
same goes
Most
for
this
affiliated
must be received
directly
contracts include this clause to acknowledge that they (the publishers) won't be
directly
ASCAP,
with either
them
REVERSION CLAUSE
3.
The
a commercial
if
two
years, etc.).
The
The
by The
clauses have
it
many
years ago
in order to
remain competitive.
It also
all
publishers accept
if they're
not getting their song cut.
The
It
it
a year
is
another
six
runs as short as
feel that
six
in this clause.
months or
as long,
not always enough time for publishers, for several practical reasons.
commonly
months or
is
artist
may
It
ing or even the release of the record. If that were to happen, then technically,
the writer
could get her song back and take the publishing herself after the record was
leaving the publisher with
no reward
when
producer also
pitching
it
to
may put
anyone
know
That
fact
one or two
and looking
later released,
artists
most
likely to cut
for songs.
is
last
weeks or
The producer
project, whittled
also
may have
them down
fail
to live
to ten,
up
out. Or,
it
actually
might
is
The
and
to return the
song
to the writer.
So,
you
would be
see,
fair
feel
it
to negotiate a one- or two-year reversion clause with the stipulation that the
period be extended for the length of time a producer has the song
on "hold."
(This,
of course,
PUBLISHING
189
would
By
is
and producer
as well.)
had adequate
opportunity to assess the amount of activity the publisher has expended on the
song.
If
the writer sees that the publisher has been taking care of business, she could
grant the
up
some
publishers
on
the song
means
a record, so that
would subvert
stations,
and
by pressing
intent
its
saying,
"OK,
released
is
There
in a contract for a
recorded.
it
The
consent or you also can have the song revert back to you
you or your
most contracts
for either
(2)
request).
letter
They may count on your
Within two
if
would suggest
forgetting to
do
you
you automatically"
"reverts to
by a certain time
that
demand
to
that. Here's
it
(which
an example:
years from the date hereof, commercial recordings of the musical composition must
have been released
(a) sale
CDs
(c)
or other recorded products;
synchronization
in
home
in
synchronization
(b)
in
(e)
other recordings
consistent with this agreement that are released and/or sold to the public.
If
at the
this
Agreement,
release or usage shall not have occurred, Publisher shall have the option to extend
the
additional twelve
months
term of
thirty-six
months).
term of
this
agreement for an
If
released within said thirty-six-month time period, this contract shall terminate.
Upon
thereon
shall
automatically revest
in
all
rights in
shall
all
copyrights secured
all
The
following example
is
in
is
that
it
by having
course, if
also
their
(i)
it's
as
qualifies
own
stated above,
is
What
like
about
it
(a
common
songshark
is
tactic).
Warner
Of
Bros.
Note
790
that paragraph
THE CRAFT
AND
BUSINESS OF
ii
allows
you
SONGWRITING
to
fill
in a
minimum amount
any other
Notwithstanding anything contained
a.
rights in
i.
shall
in this
Agreement,
this
if
Agreement
shall
all
months
in
Composition by an unrelated
third party,
or;
ii.
Any other agreement
payment due
which
use,
synch
because
it
4.
an
artist
Remember
payment
with a previous
CHANGES
to the publisher, of
IN
it
this
which
Top 20
hit or
anything
to
The
it.
song and
Of course,
Your second
verse
I'll
"What
record
but
it,
the hell.
no one
else
still
in.
or music,
tide, lyrics
will
You have
artist.
The
it.
a contract
artist
refuses.
is
all.
get
all
The
compromise you're
artist
artist. I'll
may
to record
it.
it
go for
live
with) or
If the publisher
anyway.
come back
to
you and
just
say,
There have
his
also
make
had refused
If the artist
genuinely
offered the
is
nothing.
is
may
be
been cases in which a publisher/writer with greed and a big ego wants
He may
just
it."
do
artist
weak and
thought you'd be glad to get half of what could be a big writer's royalty." This
wants
famous
this
The
my
opportunity to rewrite
and
at
would want
share of royalties
You can
I'll
integrity of your
first
may
so personalized that
felt
put
it
like
should be amended that only with your previous consent can such changes be made.
verse
I
THE COMPOSITION
The
).
signed to a major
artist
you want
else
needs to be released by an
then
initial
dollars ($
license, etc.
in
as cowriter
and
title,
will
put
it
there
on the
flimsiest
of justifications.
there,
change a
PUBLISHING
191
melody
line,
for signing
some of the
song
is
When
or to go along for
is
to
signed.
is
And
a publisher will
writer's royalties
want
make
how
why
ask
a publisher
if
you
it.
There
to give
The
more rangey
all
for
you and
to
They want
it's
on you
else.
part of a publisher's
name on
know
it
to
do
you
all.
The
if
out so well
(c)
right
the
at the
publisher remembers
she
was written
as a
it
a song,
show
when
number he had
It's
too, to reflect
with anyone
split
little
you
forced
is still
see a publisher's
up an album and
artist is finishing
it
sure
can be
as a cowriter,
cowriter
make
warrant inclusion
if a
You might
made
it
Sometimes
The
last
he's such a
To
are
before the
may
if he's
one of them
still
as a cowriter
also insist
Those
title
it
has to be changed,
calls
the
can't be reached.
The
it
by stating
he'll
make
may
though.
this applies
is
when
it's
lyric.
The
you
Many dynamic
It's
Some
that
and pray
and incurring
right lyric
is
viability
of the
very important,
lyric, let
having to be conscious of "leaving space" for the vocals. Also, without language
barriers,
an instrumental can be internationally successful. So there are a
I
of factors to consider.
believe the original writer, with the input of the publisher, should have the last
on which
lyric, if
word
any, should be written for his or her melody. (See "Lyric Translations"
in chapter eleven.)
192
lot
ROYALTY PROVISIONS
you should
Basically,
(50%) of all
and
sells his
own
flat rate
publisher's
sheet music
The
and
income on
folios,
time
at the
wrote the
systems
digital delivery
first
up.
to figure
out
about to follow.
how
CDs
The
prevail
and
digital
entire industry
and
collect
is
from
audio
files
line here
that, as a writer,
is
Or
if
collects. It's in
now
users.
list,
you should
on your
get
sure your
referred to in this agreement. " If that clause isn't there, the publisher doesn't
you
The bottom
make
interest to
on the
your best
medium
are
the extent that they can. Publishers are at the forefront of the quest.
will, to
for
way
licenses
all
have to pay
f^fr
As a writer, no matter
for,
you
contract.
collects.
6.
NEGOTIABLE DEDUCTIONS
demos and
Ideally,
The only
all
allowable fee
is
the Harry
Fox Agency
collection fee,
Agency
is
charged by the Harry Fox
4'/2%.
tion costs
rate
of mechanical
would be
all
royalties.
in the case
An
all
administra-
writer, in
which
could be
split.
Regarding demo
costs, what's
happening
now
is
that writers are approaching
—complete and
lishers
tion,
costs
song
if there's a
money
to
they'll
is
this
all,
for.
may be weakened
at least
not
less
if
you're
on
front
to
minimize
money
their risk.
believe that a
badly you need the bucks. If you can't get them to pay you for your
demo
point
pub-
In that situa-
reversion clause
how
chance
Most
already paid
depends on
demo
right
demo when
193
7.
Once
least
the song
is
restriction
should
This
is
pretty standard.
Many publishers,
payments
much
is
for a small
The
company, but
by California
try to get
statute,
it's
on your
no time
it
restriction
is
really
adds up.
difficult to get. If
six years in
New York.
you
it,
So they
That
means that if you find something wrong with your statement, you only have that long
to
object.
My
Try
recommendation
you join the Songwriters Guild of America. They
that
is
offer
these contract recommendations and, for a small percentage, will check your royalty
state-
They check
ately.
it
SGA
the
you'd never
first
time!)
The problem
know about
didn't
know
Essentially,
it.
who
and
is
are having
behalf. Usually,
you immedi-
that,
join,
if
out.
an accounting mistake
them the
benefit of
they had, and in one case, did know they had but couldn't afford to pursue.
SGA
performs the same functions for writers that the Harry Fox Agency
performs for publishers in collecting from record companies. They've been doing
long time and do
it
Administrative/Executive
them
at:
it
for a
www.songwriters.org.
SongNews@aol.com
LASGA@aol.com
08
8.
and
it
it's
let
whom SGA
to
try to straighten
it's
it
them on your
will audit
and forward
call
it,
directly),
publisher and
the doubt
them
to
SGANash@aol.com
— (201) 867-7603
Lbachman@aol.com
office
WRITER'S CREDIT
The
publisher should
make
sure that
credit
on
all
uses of the
composition.
Publishers don't object to
this,
194
and
TV synch
it's
uses,
contains
9.
a featured
title
or end credits or
is
gets credited.
ARBITRATION
In order to avoid large legal fees in case of a dispute with your publisher, the
contract
all
if
the Writer
River.
The
arbitration clause.
Any
in
resides
West of the
Mississippi
in
Pick California or
10.
the Writer
may
if
parties
connection
in
of
of or
New
(SGA
Contract
is
this if the contract offered doesn't
have an
FUTURE USES
use not specifically covered by the contract should be retained by the writer to be
negotiated as
it
comes up.
'A
publisher
may
statutory rate without the prior consent of the writer." (See chapter nine,
It's
The
"Where Your
is
called "giving a
"rate" refers to the current mechanical rate effective at the time the license
company
for use
is
of the song.
Here's the problem situation that prompted this clause. Let's say, hypothetically,
that
artist in
The most
us,
but
we
says,
"We'd
is
recording contract, has a "Controlled Composition Clause" (see chapter nine) that
requires her to get a "rate"
from you
if
PUBLISHING
195
.
Remember,
rate.
money
be losing
he'll
to a lot of rent
up could add up
it, is
too, unless
it
up anything
than
full
would be worthwhile
amount of projected
less
sales (e.g., a
statutory
to accept a
compilation of hits
One
Be sure
you
you should
The
three-quarter rate.
as
soon
as
is
may
that they
not be
to notify
you move.
at least get
one that
"no
than the
less
statutory rate
full
should apply to licenses granted to any person or business entity owned, controlled
or
whole or
affiliated, in
Sharing
If
in
low
rate to
an
chance that
there's the
Advances
your publisher receives an advance, for example, for the inclusion of your song in
a
collection for
which he gave
projected to be sold (a
you share
on
in part,
in
all
common
advances based
practice),
specifically
from
They
a foreign subpublisher.
Make
in the advance.
how much
can't
sure
advances
of the advance
is
based on
your song.
w£_
Commercial
Commercial exploitation of your demos should not be allowed without your consent.
You've
exploitation of your
that
as
just
become
a big star
releases
(you think) you are now. (This recently happened to Trisha Yearwood.)
consent.
records
embodying
says,
"No
Watch
it
check
new
with
this clause,
copies disposed
issues
tract; but,
You should
it
of
all
new
of as new
issues.
" It's
is
whom
it
in.
let
them
they subcon-
a clause that mentions not getting paid for promotional copies of records,
common
which your
issues gets
deleted.
2.
."
Watch out
for
vague
should be specifically defined, for example: "In such event, the royalties payable
to writer
shall
196
writer's song)
of
"A
3.
that
which
(folio,
shall
be the
book,
etc.)-"
royalty of
so, forget
mean
it
and those
it.
number
total
."
or copyrighted
deducted
"off the top" (from the gross) before your writer's royalties are paid. If you're
copublishing
the song, though,
it's
demo
after
costs? After
it
theirs.
spelled out.
of all, never quit your day job figuring you'll make a living from advances on
single-
when you
money paid
essentially,
is,
to
you before
it's
"How much
is
of an advance can
because of the huge amounts involved.
in advances, the
But only to
philosophy
An
a point.
may
And
One
is
get?"
more
that the
are to recouping
big questions
may
more money
it,
an advance,
will help us
be the only
will or plan to
money you'll
see
on
company
so naturally they'll
is
^Jr
make a
living
from
advances on single-
song contracts.
puts out
work
harder.
a loser, another
money
on the
is
spend that money doing great demos and other things that
to rely
advance
A
philosophy you'll hear from small independent publishers
you have
One of the
been earned.
An
negotiate any contract (whether a single song, a staff writing contract, or record-
ing contract)
trying.
in the
is
whether you
feel
the publisher
some
are
moot point
reality, this is a
An
advance
the song.
is
The money
you. Despite this
of years
money
down
fact,
now comes
I'm surprised
at the writers
the road
when
their statement
talk to
who
yield
them
check. They've conveniently forgotten that the publisher will pay himself back for
the
advance.
The computer
doesn't forget!
relate to
may
be affected by an advance. So
how
a publisher puts
out in front, before actually getting a record cut on the song, the more he
gambles. So he
is
and lose
the
money
if
PUBLISHING
197
Oh yes,
recorded.
he can
just write
it
off,
earns money, you're not expected to pay back the advance. So he will probably
if
tell
you
Remember, though,
you an advance,
He's
(OK,
less likely to
exaggerate),
you one
give
will
if
in with a good
you go
producing
to decide
offers
much
to
if the
song
reverts.
chances. Based
demo and
in a
much
It's
you
still
may
costs.
advance. Here again, you're reducing the potential income for them because they'll
demo
the
have
enough
an advance to cover
split
as
the cost of
good
him
that saves
demo
Some publishers
expenses on reversion.
you want
You may be
advance
demo
it
You're also in a
enough of
company budget
there's a
above,
for at least
and
Going
not their
for a
doesn't eat
It's
it's
someone working
that if
costs if
you want
Not unreasonable
at
now
ask you to
all,
because
be business partners.
you'll
How much
of an advance can you get?
hundred
song
is
probably
on the top end. Ultimately, everything depends on how badly the publisher wants the
song and
take
it
how much
somewhere
for
he
feels
else if
more
viability
if they're
Be prepared
risk for
him
is
that you'll
it,
a reversion clause are ultimately
commercial
The
of your song
wrong. Bear
it
in
is
mind
game, and
since they're
if
you
bound
to hit a limit at
they lose
some
point.
to be flexible.
become
at
writer/publisher royalty
larly if
During
that time,
all
split,
The
writer
is
common,
THE CRAFT
AND
BUSINESS OF
SONGWRITING
particu-
198
the songs he
The
publisher
.
gambles that
money by
he'll
getting
owe
some
So,
why would
a publisher
gamble
makes
in
prolific.
A
a
is
developed that
good
writer's resulting success attracts other
under contract
and
That
it
street?
Having
is
will
And
writers as well.
from going
to another
continue to be recorded.
company.
Contract Issues
You should
ggr
an experienced music industry attorney. However, you can get a general idea
beforehand
of what the publisher will usually want from you. Here are a few points:
an exclusive long-term
1
The publisher will want to publish all the songs you've already written that aren't
You can
advances in the deal are for future writing services only and that a separate
payment should
be
made
for
if
staff-writer contract
for yourself.
2.
Some publishers will expect a certain quota of songs per month or year (twenty
per year
is
common). Others
feel if
you
now and
then, they
won't be pushy. You both need to have an understanding of your creative habits.
Some
writers need deadlines.
Some need
quota of "acceptable" songs. This
to be left alone.
is
Sometimes
is
they can
if
fulfilled.
For
purposes of fulfilling your quota, they usually consider that two 50/50 cowrites
equal
one song,
3.
etc.
Their options.
Try
amount of
to limit
it
You can
also negotiate to
have
your weekly advances increase every time they pick up the option.
4.
Advances range from $ 1 ,000 to over $4,000 a month, depending on how successful
you've been or (they think) you will be. Advances of more than half a million
dollars
have been
made
future royalties.
that's
These
royalties.
own
money
But
if
there
command
is,
that
or you're better off just getting an
publishing company.
PUBLISHING
199
.
The
may
or
may not be
and
offered by publishers
are listed as
is
great if
2.
to
You're often provided a work space with instruments and recording equipment. This
You're given a weekly "draw," an advance against future royalties so you don't have
rent.
may pay
demo
3.
The
4.
You're in an environment where you're encouraged and expected to be productive.
publisher
for
all
budget.
6. You'll
be
you grow
as a writer.
Your publisher
7.
and collaborators
8. If
he
feels
promote your
TV
and
film
you have
Because of
will
he
artist potential,
may
deal.
his belief in
you and
Development"
do
all
he can to
in this chapter.)
whom
10. Publisher as
as
important
as
Drawbacks of Being a
Staff Writer
Though
the staff writer situation can be wonderful
the best
way
to go for
for everyone.
Many
many
hit writers),
staff writers
and
it's
ex-staffers
they
with
it."
They
later
split
policies that
placed any of
my songs.
I
they signed you because they realized you couldgzt your
have
it's
can deal
It's
often
assume
found they couldn't. Some problems could not have been anticipated
result
a mistake to
got
own
all
cuts. If so,
Maybe
other services beyond securing recordings of your songs. Publishers often can do
their
when
after the
song
is
that the
all
those uses.
company
gets
when
200
this policy
is
that
it
number
in.
The bad
of outstanding writers
own
thing
you can
cowritc with since the best so often have their
up
to give
Most
publishers are
more
more contacts
provides
up
giving
my
has his
You run
company
the
company
into problems
someone
you
to like either
who
company won't
let
It's
What
they risk
is
tactic has
worth
lot in
me
Others
at
more accountable
to
you or your
material,
many
much more
company. Some-
for the
you and
may
it's
it's
cuts yet
figure you'll hit
them
out
aren't getting
times a
it's
let
potential) leaves.
collaborate
can't force
when you
my songs,
It
with the
split
is
recorded.
it
of
half to
belief
to get
liberal,
The
your company.
you continue
It's
to write songs
in to
they legally
own
later since
them. If you're having problems,
it's
talk.
"My company is great with my pop and rock songs but doesn't seem to know
what to do with my country material" (or vice versa). It's possible that you're not
nearly
•
as
good
at
country writing
where
they
may
as
It's
Or maybe he
are
though,
as always,
it
it
to the
know what
and
good
know
not
good country
company's Nashville
office
with a variety of
company.
•
respect,
You need
them
can do
that.
a better writer. If
among
Some
to find
if
you
publishers,
is
feel
that,
you need
it's
not important.
wide spectrum
Among
publishers, as
like or
to
good
don't
don't seem to have the vocabulary or the frame of reference to be specific about
who
you be
criticism.
someone
like,
why
or
PUBLISHING
201
.
Consistently, though certainly not exclusively, the best critiquers are those
who've
been
restructuring songs.
An
plugger, but
make him an
A
f
^jr
An
inability to critique
make
someone a
less
effective songplugger,
it
make someone
O'Day
doesn't
but
does
it
this
"When
syndrome:
you're a
like a nail."
One
orphaned."
you reversion
negotiate for
my publisher doesn't.
believe in but
all
you
if
number of years
developer of writers.
is
that haven't
an ineffective
after
staff deal
will
attempt to limit
Why should I
may
there pitching
them
may
be budget problems.
money
One
possible
remedy
for this
Someone
yourself.
keep writing when they don't even
this to the
that catalogue
aged.
You can
recorded.
it
to give
want
them
in the
may
is
give them?"
It
like a hit to
be several other
minimum of $500
problem
demo what
staffers
turning
that, if a certain
number of "acceptable"
songs have to be turned in each month, you have a clause in your contract that any
songs
rejected
free
and
clear
publisher.
Advantages of Independence
Along with the
relevant advantages
staff writer,
you should
who
can help you place your songs (see "Negotiating," chapter eleven) that,
may
you were
for a
more
potential income.
it's
good investment.
You're never in competition with other writers on the publisher's staff (unless, of
whose songs
producer.
4.
You can
202
THE CRAFT
AND
BUSINESS OF
SONGWRITING
best job.
WHAT
My
Murphy. Nashville
friend. Ralph
hit
writer and
WANT
PUBLISHERS REALLY
ASCAP
is
on the
last
new
The
staff writer.
to 10 (with
in
hit
list."
brackets.]
0.
Track record
9.
8. Living in
7.
Record
[4.9]
or near Nashville
[5.3]
6. Ability
to cowrite [6.2]
perform songs
6.
Ability to
5.
Affordability
live [6.2]
(amount of draw)
[6.3]
was surprised that track record,
("I
higher."
affordability,
— Ralph Murphy)
3.
2.
How
[9.0]
Happen
Staff Deals
writers
a staff-writing deal.
Far be
have
company
Dreamy-eyed
to
qualities:
it
like hits
from
me
me and
all
(or even
is
some)
likely
offers.
PUBLISHING
203
More
let
often, songwriters
publishers
practices
on
you
and
its
own
respect
and who
ability to rewrite,
time.
It's
up your
It
The mutual
when you go
on the previous
page.
come
writers.
It's
also
important
your willingness
among the
your songs.
creative output,
up" process
204
that
let
Don't
at a time.
one song
your dreams keep you from getting a day (or night) job so you can afford to
a relationship
Remember, though,
on
knowing
that this
was done
in Nashville,
where writers
Self-Publishing
Why
Own
Publish Your
own
having your
royalties
discussed
what
a publisher does.
publishing company.
could represent a
Songs?
Now let's
It's
lot
who want
to be
your
own
this
chapter
primarily
is
publisher and actively pitch your
own
songs and possibly those of other writers. However, there are a lot of situations
for which
it
that deeply.
the occasion
few songs. You may, by a stroke of luck, get a song recorded and not be
artist,
may
be
Here
are
You
are a
to be recorded
and
artists
one of
it
who
You have
good job
major
and follow-up
always
You have
make poor
your
•
songs and
lot
of contacts
You should
among
producers
in a position to fulfill
Some
aggressive self-starter.
it
yes,
it's
the ability to be
myth
that creative
lets
on
right
song
their credibility.
You have your own production company or record company and you're
own
product.
You
doing part of
some
businesspeople.)
own
very important.
is
You should be an
your
to publish
for yourself.
artists)
are interested in
a publisher's
themselves.
by other
apply to you.
qualities that
•
may
who
is
recording your
releasing
already
a publisher's job.
SELF-PUBLISHING
205
.
You
it is
you
easy for
to
You
negotiate a portion of
this
as his
own company.
is
If
own
your cowriter
also
very
it
company
unless
have great contacts and are aggressive about pitching your songs. In other words,
You
a staff writer
you
is
be recorded by other
sure not to
artists.
You
yourself short
sell
in the
whose
are a writer/artist
style
is
on the potential
your songs,
though.
•
someone with experience and contacts
If you're capable
someone
is
not on the
Start Your
Assuming
that, for
company,
here's
Choose
the
case,
Own
"sitting
how
on the
job.
You
will
calls. If
Company
Publishing
feel
is
Can
name
same name
confuse your
is
is
is
to start
own
your
to proceed:
for
else's
to
royalties. (Yes,
it
does happen, and no, they are not perfect.)
2.
You must
ASCAP,
or
clear the
SESAC. You
tion as a publisher
(b) a
if:
motion picture
(a)
is
a record
is
for
BMI, ASCAP,
or
program
will
that
(d) a radio
(c)
a television
performing
affiliated
rights organizations,
with
as a writer.
The
(warner/Chappell, Sony/Tree,
reason
why
etc.) is that
set
one
is
names
206
clear the
a BMI-affiliated
company
each. Give
is
belong to other
BMI, SESAC),
who may
in each organization
them
three alternate
are
company names
by someone
is
an
(ASCAP,
company
else,
they
will select the next choice that
you
It
company and
signals to
songs,
them
that this
but sometimes
no
fee for
Once
4.
fee for
good
SESAC
is
a "hip-pocket"
it's
is
up
for grabs.
Not
that
being a publisher-member of
BMI
is
fee.
a one-
There
publishers.
the name(s) has been cleared, obtain the forms from your local county clerk's
Business As
).
county clerk
will refer
name" statement
as
it.
it is
a great edge,
$50 annual
is
it
they'll
you
own
re a
own name
vour
is
Then open
you
Name
Statement, also
known
as a
d/b/a (Doing
you
are
now
The
officially
notice
doing business
must be published
once per week for four weeks in a paper of "general circulation" in the county
where the
business
want
to
is
located.
You can
use the
same d/b/a
to
list
etc.
A name
name of
is
The
if
you
name
does not imply other owners, does not require a d/b/a, regardless of the insistence
of some
misinformed bank employees. "John Braheny Music" would not require any
name
registration.
"Braheny
or "Braheny
fictitious
probably would.
5.
to
Copyright
all
the songs
you wish
to have in
your company on a
PA form
assigned
wanted
to sell
Why
your catalog,
it
to
would have
do
that?
to be
Because
if
you
(or
your
as
heirs) ever
your songs.
6.
in a
is
For songs being released on records or for songs that will be or have been
performed
motion
picture, television
it's
If
heirs)
ever wanted to
sell
your catalog,
would
it
your comoan/actually
fill
when
f^fr
is
medium
will
so that,
know who
to
pay, what percentage to pay the writer and the publisher, and where to send the
checks.
Directions are included on the forms and in publisher's manuals provided by the
organizations. All are also available online (See
Web
sites in
its
own
file.
SELF-PUBLISHING
207
Matters such
7.
as
company
(e.g., as
to obtain
license,
you need
for
employees can
be complicated issues and are beyond the scope of this book. Consult an attorney or
accountant for such matters. Regulations vary from state to
8.
Organize yourself
to
state.
both
as a
many
amount of purchase,
The IRS
you
will allow
to
all
your expenses
(receipts
and income
with date,
records.
Use
it's
just a
the
deductions.
Here
is
combined
list
and
good color
You
11
computer programs
printer.
S300-S1000+ per
•
company
S 1 00
between
year.
several.)
Costs vary.
Postage
Web
site
for letters
Photocopies of
lyric sheets,
cover
you
this in the
Stationery
ness cards.
•
•
Good
printer
recording costs
Blank media
will
— Buy
in
files,
busi-
this.
Copyright registration
Demo
long run.
again.
per
are
E-mail and a
letters,
services.
this.
it
to be.
CD
— Costs
Save money and
Audiovisual equipment — cassette/CD/DVD/VCR decks, home and auto
systems —
maintenance, and
of
of
•
Tape and
CD
duplication
invest in a
vary.
insurance,
208
repair
all
these.
burner.
Purchase (and rentals) of
vour songs
CDs and
videos to research
you want
artists
to.
document
to pitch
You'll need to
—
— up
Business meals
Business gifts
also
to
gift flowers,
thank-you cards.
•
Promotion and advertising
Computer
costs
If
you
write,
Pilot, etc.),
ads, fliers.
printer, etc.
tax service.)
Software
for
your
for organizing
Travel expenses
ers,
—
producers, or record companies. Includes airfare, luggage and travel gear, lodging,
and
class.
Keep
wash/wax,
tolls,
Auto expenses
expenses
—based on
home
•
Phones
run $600
and
Check
offices.
travel.
utilities.
it
—home,
repair records.
Home office
DMV, AAA,
Some
cities
rent, interest
payments, property
out.
cell,
per month.
pager,
DSL,
Check out
or cable
modem.
can
second phone for business helps tremendously to document those expenses for the
IRS.
•
Answering
•
Attorney
service or
fees
machine
to
make
sure
sure
Accounting
you
get
all
fees
calls.
and copublishing
in the
contracts.
county
•
activities (including
how
those on
to
city or
clerk.
better).
Web
site
maintenance
etc.,
building, maintaining,
site.
repairs.
SELF-PUBLISHING
209
Casting
"Alanis (or Celine, Ricky,
ignorance behind
Though
But
it's
could sing
etc.)
of
they appropriate?
It's
both the
artist's
point of view,
band or
artists.
Someone had
songs written by
self-
other
artists.
Wouldn't
contained artists
who
skillful
is filled
with
it.
it's
the
The
pop music
the
artists
skills to
who had no
skill is called
"casting,"
this
filled
is
it
history of
skills
The
Are
are excellent.
your song.
to record
music
it
fcjjr
really great!"
it,
song
this
is
it?
who
artist. First,
there's a process
artists.
they wouldn't ever record a song they didn't write; but generally speaking, they're
not
of elimination. Forget about
artists
write their
own
Not
songs.
that
CDs
their
fill
With
with their
Who Not to
own
and airplay on
Pitch
To— Playing
the Odds
If you're playing the odds, you'll leave self-contained artists until last. First,
you'll read
you
You
tell?
look
at the
"Hot 100"
chart
who
and your
You look
writers.)
to the left
name
is
in
may
name
more
Go
up with
list
Tape "countdown"
can
listen
to
Then
if
you
when
know
column
is
a group.
know
the
same
to the
You
Though
if
they're using
artists' bios.
it.
will
be country.
radio or cable
BUSINESS OF
see, in the
the artist
AND
is
list
THE CRAFT
name
first
charts don't
210
the writer.
can
"Hot
who
writers listed,
is
is
is
How
On
tuned
Hot
periodically.
of current
to stay
the
all
hits so
day.
you
Keep
Doing the Research
A
to get
is
all
Your
CDs
buy the
of any
cut
your
artist in
who
style
move
best
is
to
special
following:
Style.
1.
If country,
rock,
If it's
is
it
is it
on the rock
outside of which
may
be
artist
artist
The shaping of an
Those
attitudes
to the lyric
a.
common
show up
find different
song
in their
are, the
choices.
artist's
and
life
love,
image
how
is
lyrics regardless
etc.
listen
Is
factors
Lyric message.
You may
they'll give
futile to venture.
2.
these.
3.
it
side, traditional,
influences in different songs
in the end?
in
first,
losers?
b.
Does the
lyric
have a payoff, a
final
"moral"?
Is it
Is
little
world-weary, sexy?
new
worked
project.
star,
but
it
was about
how
human
for
an
artist
who
lyric,
and
Remember
it
little
artist
looking for
a sex-oriented
country
for
town
want
in defeat because
artist's
to lose
an established
is
singing
self-image.
Songs
Lyrics as vocal platforms. In addition to vocal range, you need to consider whether
room
your
lyric
song
in his/her
unique way,
to sing.
When
it's
going in the
no space
reject pile.
notes (particularly vowels at the ends of lines) and play with them, embellishing
the
melody.
your
It
may
own unique
instance, writes
sounding
like
style that
it
won't work
lyric
in their style.
artists
but
may
A group
would have
be so
like
much
product of
difficulty covering
without
them.
SELF-PUBLISHING
211
Who
5.
is
the
artist's
specific (rock,
pop, alternative, rap, hip-hop, country) and tend to fragment along those
demo
Gear
styles.
in that style or
6.
song that
song with the highest and lowest notes and you've got
show
will
it off.
them
Make
been referred to as a "sweet spot."
there. It's
AABA
Do
the
artist's
AABA
The
artists.
reason
is
that
it's
collect articles
some
more commercial
be preferred.
will
find
(verse-verse-bridge-verse a la "Yesterday")?
may be
Structure:
7.
classic
artist's
allows
Dion? Odds
Does
the range.
a
to the
artist's
Web
sites.
artist
You can
or drug addict your great song about the bottle being your best friend; but the
song
money
father/mother, donates
womanizer,
women
feels
born-again Christian,
Another
level
#;
There
is
feel
the
a point in a
where an
artist looks
adventureland.
where an
artist
anticipate that
is
women
is
a
more
respect, feels
who
artist's
artist
artist
or help to create
familiar
writers
who
my
artist,
or the
if
AND
is
artist's
own
you can
artist,
talk to the
BUSINESS OF
strategy of writer/producer/
SONGWRITING
either
and
still
strike out,
though
major benefit
is
that
listen to
welcome
THE CRAFT
artist
it.
home,
homework you do on an
at
and, in the best case, the ability to produce tracks that
the
common
looks
all
is
A&R
should stay
etc.
move
Regardless of
direction. In
212
is
deserve
familiar
become
know
help to
It
of casting expertise involves projecting, based on past success and
may
demos from
a conversation with
you
so
many
someone
who
by other
Choose
writers.
order of
— new
C — new
B
priority'.
to.
Make
who
a particular song
those
artists
your "A"
artists
Make
list.
list
of
record songs
would be
other
lists
of
artists
artists
and former
who
hit artists
D — recording
— new
F — new
E
artists
hits
artists
Even though
this
a logical priority
is
on
with past
artists
money
day. "A's"
with any
on any given
list
deal.
artist
on any of those
"A's,"
known
lists
for succeeding
overnight.
Songwriters Showcase
at the L.A.
unknown
my
artist
when
them
2.
We
artists.
when
new
artists,
Surround the
act with
is
do
demos. By
that,
A&R
mean
person
get the
at the
this unless
likely to be
may
not be
song to
legal protection,
Go
artist,
many
their
manager,
anyone who
homework
It will
is
a poten-
annoy them
to
feel
no end
song.
wrong
listings in
your
when
local
writer/artists are
With
else
3.
when nobody
tial
giving
new
heard
to
when
artists
who
don't write,
it's
not
as
much
of a problem.
Introduce yourself to some recording engineers at the hot studios in town. Several
of the major trade magazines have sections on who's recording, where, and the names
of
the engineer(s) {Billboard's "Pro
SELF-PUBLISHING
213
f
^fr
offer
You may,
them
Introduce yourself to
some recording
secure for
studios in town.
line.
you
in
Be
You might
good enough
on
royalties
any of the
a recording they
"Negotiating," in this
this.)
write.
your
Maybe
area.
band
a record deal
and keyboard
whatever
offer
material.
offer to
judgment and
best
more information on
chapter, for
5.
good place
is
Use your
make an
in fact,
to look for
have a shot at a record deal. (Look for the qualities described in "Getting
to
fifteen.) If
may
it
result in a
long and
lucrative relationship.
Get involved in every musical project you possibly can, including student
6.
and who
you
best
will refer
ways
or writers, refer
the fact that
7.
sent
in
and
to projects.
What you
creative
When
give
demos
clever,
A&R departments
as a lasting
and
one of the
it's
singers,
it
to.)
are legendary
like
A&R offices
Those
in sealed
and
to
likes
called "networking,"
It's
contacts.
films
likes
helicopters or
Very
them
doesn't always
it
Think of some
stories
to develop a reputation
jingles,
friend of
mine
listed as ingredients.
Some probably
still sit
unopened
around
and usually end with,
in the industry
The
point
definitely
is
make
also excited
cover
know
letter,
to
it's
way
to present
useless to
receive
your song.
Let's
is
whose trademark
hot pink
is
it
out of a stack or basket of tapes immediately. Using good graphics with a logo and
an
artistic
tape/CD
can strengthen your presentation. There are great graphics programs available
Photoshop, Pagemaker,
(See "Presenting
THE CRAFT
AND
Regarding logos, a
214
Illustrator,
common
BUSINESS OF
will give
you spectacular
Adobe
results.
twelve.)
SONGWRITING
like
my own publishing
company,
.
If
letter. If
they're going to
record companies, yes. In sending songs to producers, you have this to consider.
help to get your song through the door, or
usually has his
own
He may opt
owns.
However,
it all
to pass
on your song
how good
depends on
it
company and
publishing
if
may make
song he
might
A producer
It
at least partially
them and
use your
also
company
Be prepared. Never
leave the
to meet.
Negotiating
A
writer
know happened
manager of
to get to the
a major
own
songs.
have the publishing
said,
"No."
me
later
say.
if
they recorded
She
it.
He
He
asked her
said,
if
to record
it
it,
when he wanted
but
The
first is,
recording of
2.
crossover group.
she was totally unprepared to deal with the situation and had no idea what to
was trying
R&B/pop
felt it
manager
is,
group
right!
You did
Does anyone
"My God,
album cut on
especially if
to the
the
seriously
this group's
it?"
The second
for just an
is
let
it
this situation.
it's
a single.
do you know
that group?
So what
it
if
The
who'd
worth thousands,
to a 'real' publisher,
it
their kids
sell
if
you can
get a
not going to give up their piece of the action to that group. Either way, you
wouldn't
It's
just
it'll
help build
your career."
3.
The
know.
or
you
don't, right?"
Let's
look
at
"Why
is,
it.
didn't
"I don't
Wrong!
this
manager
will
The
first is
(or
producer or
it.
If
he does,
it
artist)
it is
might be
good
SELF-PUBLISHING
215
know
that
want
to be
them
song to other
own company.
with your
that you'll
If that doesn't
you
give
will
work, see
if they'll
Even
about
to holding companies) have different philosophies
opposed
with an
give
"I'll
artist
give
up what
How
artist
who
this cut
Would
a lot
important
am
And
always,
how badly do
of his/her catalogue? If
The second
attitude
percent of zero
is
zero. If the
the publishing
it
will
royalties,
might be best to
it
want
more confidence
your
in
own
situation
company
it
is
basically a
ability.
song
in
give this
regret later?
own
publisher,
first
recording.
good song
to
that
make
If you
do decide
to give
you'll ever
if this
It's
the classic
the
holding company and not an active publisher, make sure that you have
That way,
is
good enough
is
them
actually released.
I'll
is
only
Is this
it.
money
that
a lot of
it
him
manager or producer
make you
them have
let
may
This
One hundred
write? If they
depends
also defensible.
is
It
these are
is
They
own
up so
if
it
fast.
all, it
record
doesn't end
is
up
it.
take.
^r
want "the publishing," they want ownership of the copyright. In the "standard"
writer/publisher agreement,
you
gives
publisher
length of popularity.
copyright.
total
income
216
off.
sell it
to
other half going to the publisher. But the
anyone
else if
good businessperson
will always
want
to
own
the
A copyright's value will increase with the song's degree and length of popularity.
you
as writer, the
much
own
as
interests.
You need
to
do the same.
"Mechanicals" arc the income from rhe
As rhe
someone
on
own
This
is
rhe copyrighr
you
srill
own
away and
offer
someone
a berrer deal.
you
of rhe song.
rhe copyrighr so
you can
else larer
You can
ger
Performance
royalries
received rhrough
TV,
is
rhe
all
money
a differenr siruarion
is
one rhat
on the radio long
gets played
after
money
been
it's
you have
a hit,
from
BMI
or
ASCAP,
When
your "performance"
rwo
receive
income on
same song
at the
exisrs
between "mechani-
you
(e.g.,
say, "I
a country
some
X percenr participation
of performance income:
a.
royalries
you
royalries
from "mechani-
quarters in
which
or
b. until the
to
money up
keep in mind
when
released."
maximum
percent of the
is
is
dollar figure
is
performance royal-
X dollars."
Here
you
are
income:
1.
rules.
and
The percentage
You may
srill
2.
or dollar
amount you
offer
is
totally negotiable.
are
no
any percentage of the income from the song that you want to
offer
set
offer
On
an album
DJs
cut,
your performance
royalties
in.
With
won't amount to
when an album
forces the
company
to release
it
much
unless
it's
There
enough
singles.
There
are times,
it
as a single.
SELF-PUBLISHING
217
—
^pr
On
3.
good album
album
single
sales,
performance
mechanical royalties
Remember,
worth a great
deal.
sales,
still
will
royalties if
a CD-single
album
it
CD
On
4.
On
royalties.
here are usually low except for country/pop crossover superstars like Faith Hill
and
sales
But performance
sellers.
These
bottom
the
line
may
5. It
is
which the
artist
as a single,
Make
6.
if it
becomes
or producer to
a single.
whom
This approach
may work
specified record
producers and
that "there's
specified record by a
specified artist
on a
is
sion of the
for a situation
if
your song
is
by
a specified artist
artists directly
in
on
a specified label. If
word of caution
incentive
but
or "participation"
upon release of a
styles,
artist.
chosen
of
relative popularity
radio stations.
be wise to offer one percentage of royalty participation for an album cut and
an additional percentage
in
you
on
(airplay) royalties
number of country
you choose
release
this
is
of a
to deal with
making
upon
mind
negotiable."
whom
bribery.
Check
it
out!
specified label.
<t
Holds"
If a
he'll
song.
He
want
to
another
to
doesn't
on
it.
want you
It
to pitch
want
he'll
it
to
your song
is
anyone
else in the
commonly have
it
exclusive holds
it
may
turn out to be
less
if
would.
Aside from
album.
other reasons
of yours.
Maybe
it
THE CRAFT
AND
BUSINESS OF
SONGWRITING
not end up on an
218
out by
artist) feels
means
It
also
artist
writers' songs
happens that
a
may emerge from
and
inevitably
it
how good
may
they
at the last
There
be.
A&R
producer, or
song
becomes
aren't
enough
ballads, or
fit
his/her
artist,
mind about
the
minute.
Since any of those things can and do happen and because selecting the right songs
crucial to
On
producer and
them
for
we have
artist to
may
for the
is
a risk
down some
own
publisher, this
a situation
is
you'll
There
"If
2. "I
among
my
building
song
keep pitching
it."
as
me on by
know
telling
4. "I'll tell
me
it
worth
it,
always
I'll
let
them hold
him know
let
I'll
me
be honest with
be just a
know
a hold,
but
how
if
he'll
need
to record
one of the
royalties
to hold
album
your song?
to record
performance
it
gets
down
to
it,
Is
it
cut?
I'll
it,
lead
more time."
I'll
this one.
You could
if
one of
it.
to be released as a single or an
newcomer
a lot
—not
but
it,
it
to record
when
have to hurry
give
I
they'll
want him
when he knows
longer
little
let
will
to
it.
them, too.
that if they
if he'll
it'll
know
all
my
depends on
and whether
They
stay in
I'll
it.
interest in the
3. "It
is
up and record
If
is
many
It
be forced to turn
1.
as
finished.
the writer
is
why
Do
more
Is
Is
the song
royalties, as
artist
(good for
royalties)?
How
whether
or
it
it?
If
six
one
months before
tell
him
his act
is
you'll let
you
in
two weeks
in
two
SELF-PUBLISHING
219
Through
and
artists
record companies and producers to pay "option fees" like screenwriters do for
keeping a
script
out of circulation.
writers
and
It's
no way
She has
mouth
a
is.
to enforce
it.
if
we can only
bright light
Now
The only
wisdom
will
put her
is
that
to hold a song.
money where
her
to spread.
Foreign Subpublishing
Foreign subpublishing has become an important aspect of the publisher's business.
estimated that 60 percent of the world music market
fcf§:
The international
market
for
American
tremendously
in
It's
The
A publisher with any chart success at all and a strong catalogue of songs to back
it up won't
miss the opportunity to capitalize on
the
is
in other countries.
it
Most
"A"
publisher "F."
similar to those in
works
it
done research
has
"A"
's
like this:
that
"F"
is
money.
Publisher
ence held
ities,
MIDEM (the international music industry confer-
France each year), and gets together with "F" to play him the catalogue,
in
"F"
listen to
at
's
catalogue,
and
them. "F"
also interested in
is
Assuming
is
and record
current
that
"F"
's
from one
would be
The
artists in his
is
worked
commission
is
the advance
low,
is
e.g.,
viable in
"F"
's
10 percent, in which
number of
"A." (This
no advance
's
is
paid.)
track record,
number of songs
territory.
Check out
new artist
or a translated version
language versions of their
may
by the
original artist.
you'll see
what
mean.
Most major
artists
produce foreign
hits.
and "F"
THE CRAFT
AND
BUSINESS OF
and
220
case,
to
musical tastes of listeners and record buyers can be very different from one
country
to the next.
their personal-
company,
that both publishers are in tune with each other, a contract for a
The amount of
unless
's
is
happen.
r^fr
of "F"
"F"
to feel that
SONGWRITING
new
is
considered to be an author
new
title
make
BO
of translations
is
The
them approval
pay a
flat fee
it's
The
tough to
get that.
Royalty
such cases van' from 90/10 to 75/25 for "A" and "F," respectively,
splits in
BMI
artist
why you
It's
is
to 60/40.
who
by writers
The
may
retain their
own
by the way,
know
about.
good
one of the
It's
international hit if
Next
you have
best
receive
from the
all
hot
deals
make
England,
is
the
is
and
reason
is
ASCAP
or
that trip
There
are
many
by constantly shifting
To
see
which
lar.
You can
lists
there's
no
A creative foreign
the act
on
and songs
radio,
TV,
would work
translators
represents.
own
in his
TV exposure
maybe not
facilitate
if
own writers.
Obviously, the agreement works both ways. U.S. publisher "A" will also become
familiar
's
him
as to
SELF-PUBLISHING
221
get recorded over here,
for
one of "F"
's
maybe
A
tries
good way
"F"
United
assisting
may
in finding
The agreement
also gives
Web
language
sites
to
to learn
royalties in other
is
to
coun-
go to the English
Publishers Association
list
Administration Deals
If
you want
to publish
your
own
want
to
most
cases)
own
is
make
it
someone
all
it.
deal.
He
any other
royalties or
else to take care
of the
An administrator doesn't
is
paid a fee of
percent
you'll need,
Here's the
way
First,
Then deducts
Then
and expenses;
Some major
"full service"
your catalogue
administrators, attorneys, or accountants
hourly
to find
an administration
years. In order to
on
who
for a fee.
will charge
own
There
you
on an
basis.
WHAT ADMINISTRATORS DO
These
1.
tasks vary
(recording) licenses
wisdom
in the
negotiate
of the
2.
on your
issues or
and paying
writers
is
that
and internais
also
some
of your understanding
Digging up
royalties that
to pitch
your songs
4. Collecting
222
THE CRAFT
AND
locally
and
money from
BUSINESS OF
affiliates in
foreign countries
record companies.
SONGWRITING
Most
5.
and
selves. (See
and
artists.
Some
own any
vour catalog, the more income their percentage earns. Since they don't
down
recorded and
make me money
and
the road
"Someday
say,
all
working
this
you on
for
of the
a short-term
off
will
pitch songs actively for an extra overall percentage of the entire catalogue, for a
percent
of the publishing royalties on any recording they secure, or for partial copyright
ownership
if
more than
predetermined amount.
4±
Caution!! Administration
is
a very
While
advise
you
is
a.
it's
great expertise
and
or
service,
all
at
is
experience.
of per-
for collection
them
Administration
www.songwriters
.org/services2.htm#CATALOG.
Independent Songpluggers
who
For writers
don't want to
up
tie
is
their publishing
who would
publishing companies
our
If you're pitching
own
it,
you'll
rather have
projects at hand),
you
writers that
to
it's
good
valuable as a collaborator.
they
know
you'll bring
as
offers
them
(even
You
also
and
from established
income and
if
your
your songs
them
result,
to keep
them
also
call
believe in.
ears, personality,
you
someone,
a viable option.
been a good way to enter the music business for someone with good
lots
to hire
who
to
infinitely
more
if
wrote them.
Indie songpluggers have always been around but have been, as might be expected, a
constant part of the Nashville scene because of the greater percentage of artists
who
record
"outside" songs.
on the
subject.
one of Nashville's
as
Among
her
many
indie
best,
Top
singles
by Garth
SELF-PUBLISHING
223
Gonna Make
Brooks ("She's
("The
Hill
also
the interview:
is
have copub
There
deals.
is
and want
to
worked enough,
is
you
large
How do
from
writers
(staff)
the
Way You
Who
and Faith
It")
if
hires a plugger
demos.
for
first
time?
Most independent
for a
to
new plugger
I
me
new
writers
who
What do you
I
like
am
who
own
have their
who
companies, and
in
town and
It
gives
ways to work
is
It's
believe in
With
incredible.
to be
as to
what
and
catalogues that
The competition
catalogs.
me more freedom
some of
started out,
about plugging?
more
When
catalogue,
love plugging
pitch.
my own
like
get in doors
hit writers
company
no contacts.
name
that has
and
feel
the closings
all
What kind
I
work
I'll
single songs if
on single-song
length to see
how
contracts.
I
prefer a year
an agreement with
my
clients to
you
still
trust.
believe
don't like to
commitment.
believe in
it,
A year
tie
up
is
good
or give up.
have
properly exploited.
Are periodic reports a part of the agreement?
I
keep a pitch
What
log,
but
time especially
am
available
when
there
any time
is
to discuss pitches.
sell
good news!
on
this record,
is
a single
and
its
224
my
talk to
are your fees?
songs.
how many
chart position.
some
do
instances, there
is
own two
ful
and the
guarantee a specific
don't agree to a
will be.
number of
The name of
game
the
own
all
their publishing,
should
get cut.
is
number of pitches?
pitches because
believe
I
not
what
play
how many
usually
maybe up
don't
copies of songs
meet with
it's
that
and
to four.
How do writers
would
find pluggers?
say check
there;
A&R
artists
owns
that
success-
behind them.
Do you
I
Most
other catalogs.
no publishing contract,
writer, with
a miracle,
all, it
starts
how
if it's
new
plugger,
somewhere.
would
it is
going to be
fairly exclusive
very
little
great connection.
version
in
my
zine (www.musicbizmag.com).
SELF-PUBLISHING
225
chapter twelve
Demos
Why You Need Them
Demonstration recordings, "demos," are used to show your songs to publishers,
producers,
record companies, club owners, and other music industry people
look
will rarely
at a lyric
song
them
impractical
is
them
live
or giving
and
inefficient.
To
in
to the writers
my
on our
respect.
know
there are
some
left
just
looking
who
(the recording)
at a lead
to be heard,
is
many
audition of a
feel a live
There's not
staff.
So you're
paraphrase what
it.
end product
to use
full
much time
make
for
me
are referrals
to schedule
appointments
'ears'
for a
publisher and sometimes I'm too busy to see the writer. So in order to be able to
listen
to
new
songs,
need
What I'm
easier for
me
to have tapes or
to hear
it
on
CDs. Then
CD since
your contact
someone
company.
A very practical
reason
why
will
in the
want
will
A demo
itself,
226
is
demo
demo
is
that
at
him (though
THE CRAFT
AND
BUSINESS OF
at
SONGWRITING
if
you can
it
it's
and
allows
them
to listen to
down
certainly been
thirty
known
to
If you're
it
demo
into
is
to have a
seconds into your song while you're looking
happen). So handing them a
when my head
publishers prefer a
It's
is
listen
else at the
can
it
demo
is
an education in
it
together.
own
pace.
the pressure of
The more
you become with the finished product, the better perspective you
familiar
You
learn
or space
easily
and density
your
lyric
become more
writing and
conscious of the role that arrangements play in enhancing a songs emotional impact.
One
of the great
of songwriting
thrills
musical production, to
make
it
fulfill
is
to
it.
Your
a full-blown
failures as well as
On
demos
are efficient.
Once you
get a
hundred
(more
different offices
a couple
later
in
everyone will hear the same top-quality rendition of your song. That's quality
control.
Types of Demos
Different kinds of
Basic song
demos
demos
—A most
its
simplest, a cappella
"dummy demo"
kind of
version; to
show
for musicians or
demo production
in this
the energy
who may do
services
who you
"dummy demo"
maybe
already
know
will actually
money on
"feel" of your
more
more
song
as a
elaborate
guideline
as a
elaborate production; to
demos. Often
demo
finished
or
master.
More
elaborate song
mos
either (a)
and
artists
demos
— Studio demos
by the publisher
more
elaborately produced
home
de-
or (b) produced
or
to pitch to producers
and
artists.
These demos
usually have a groove (sequenced, looped, or live), bass, guitar or keyboard, lead
vocal,
on the
vocals.
What
ways
(strings replaced
demo
—One
by
Also, the
is
based
in several
accommodate
different
styles.
Artist
producer.
It
used by an
artist
always a
demo
in the case
show
of an individual
the
artist in
writer/artist, this
is
almost
DEMOS
227
suits
her
style.
This
Master demo
demo
a studio
is
depending on the
but,
—The same
function as an
and
Gets
Does
It
TV or
to
son
to
whom
how
well
would make
it
acceptable for
it
to serve.
film soundtrack.
Need to Be?
In creating your
way
artist
style
of expense.
Who
minimum
it
it
out
demo,
is
to decide
you'll be sending
important to
it's
These
it.
are the
One
major groups of people
demos.
Publishers
Though
it
is
well
still
done
enough
is
Even
if
you have
writing deal, the publisher will probably deduct at least part of the cost of the
your future
One
royalties.
for
it
initial
is
the increased
ten).
and demo
costs
demo from
either way.
a staff
had
to lay out
money
for,
in-house studios for their staff writers to use, but independent companies watch
their
recording budgets very carefully.) If you give
them
a high-quality
demo,
that expense
is
eliminated (unless, of course, you're asking them in your contract to reimburse you
for
them up
front).
Another advantage
is
that your chances of interesting a publisher in a song based
demo
Though some
are slim.
on
through" such a sample, others need more elaborate production to help them imagine
how
a particular publisher
are exceptions.
or piano/vocal demos,
demo
simple
will
cases
demo
like records,
work with
a great lyric.
likely to
and yours
are
still
be sandwiched between
accustomed
to hearing guitar
A word here
comparison.
will suffer in
is
the
lyric, a
they say they'd rather hear a simple demo, the songs they pitch to producers are
typically
answer
songs.
228
is
available.
this
They
they'll
them
trade to give
the "feel"
good
it's
enough rhythm
to have
more pop
is
demos of pop
ballads can
work
if you
have an excellent
melody, keyboard player, and singer. Those are exceptions, though, and no longer
the rule. If
i.e.,
drums or
loops, bass
ballad, or
up-tempo song, you
appeal.
Producers
Record producers come from a great variety of backgrounds. Some evolve into
producers
their skills
who may
players
may
artist,
skill is in
be focused on
how
records
on getting the
focus mainly
right
matter what their backgrounds, their success depends on recognizing great and
when
impressions,
An
expertise.
(though
he'll
engineer/producer
know how
to fix
may
may have
own
particular areas of
A studio
it).
you might
may be more
adept
at
when he
hears
it.
point
demo
sure your
producer
sounded
there.
is
say, "I
technically "clean"
can hear
it
from
—the
a piano/vocal,"
artist is
it.
Of the
we
utmost importance
is
I've
likes
at
recorded
it."
another time
One
artist.
to
skills.
make
say,
"The demo
right
more you
in pitching a
is
hear
the musicians'
know what he
just
order to deal with that diversity, your best approach
that, in
is
—he may
The
demo
an out-of-
at
more
easily
a specific
Do
your research!
If you're
an
artist
or
work
all
the voices
band looking
for
someone
to
produce you,
it's
and instrumental
parts clearly.
well-recorded
most important
He
live
should be able
performance
will
demos
229
Record Companies
most
In
person.
wrote
cases, the
person
company
record
at the
his
own
perform and,
who
like producers,
come from
and
the
is
A&R
in times
A&R
record. For
executives have a wide variety of tasks to
and disadvantages. Some companies want people who know music intimately, such
tages
as musicians,
journalists,
and
critics.
all
may become
Producers
"studio
street,"
the
bound" and
artists,
lose
music
als
philosophy sees an
who
street"
"man on
and
hire an opinionated
young rock
all
may
his life
have trouble
may not
ence,
hang out
in the
to hire
all
A&R
of artists.
his material
department
which may
company
company
who
status
quo
company wants
A&R reps
the
"man on
who
The
basic functions of an
when needed,
is
A&R
philoso-
a change).
people.
A&R
is
company knows
(unless the
used
The advantage
the
who
may
It
But
it.
if he's
the one
talent
and
sign
it;
and
The
artists
legendary former president of Arista Records, Clive Davis, relied heavily on great
who
to find
them
great songs.
country music.
A&R
That philosophy
still
more
and on
his
own
ears
on
their labels
who do
write,
though they may not write enough songs or commercial enough songs. So the
record
company
yourself as an
is
an important target
artist.
whom
AND
artists
or
if
you're pitching
THE CRAFT
if
Again, here you need well-produced demos and the song must be
230
is
etc.)
BUSINESS OF
a song to an
SONGWRITING
artist
who
this
label,
and on
cover letter
opening
it
the
demo. They'll
know
song."
is
song
it
could do
either turn
it
whomever on
over to the
artist's
it
back unopened. (More about circumventing that situation
the package
and in
producer without
in
way
in
is
to
your
go
in with
two
it.
This
know I can do
may
know
exactly
what
is
back.
demo
and
tape/CD. All
had
as
an
artist,
the best
company
regular
make
your cold
till
you
to sign
It's
in order
list
"Our
your session
better to postpone
it's
You
they're getting.
but
better,
it
this
A&R department
an
to
style
bass player
your group
if
if
is
they
possible,
Demo,"
in this chapter);
photos
(if they're really
this says,
serious!"
Club Owners
If you're
won't
looking for a
your
trust studio
band
that
demo should
different
demo should
list
many
Most
stage. It doesn't
live set
with
tape,
club owners
times by hearing a
live, too.
sounded very
be
letters
from owners of
other clubs where you've worked. If it's a "cover" gig where you're playing "the
hits" and
requests, include a
much
list
at
it's
ideal to
many
a live video,
it's
Home
production of the
of the ways
you have
have both.
Once you've decided what kind of demo you need and who
you have
If
demo
money going
itself.
it
to,
is
by doing
their
One
own
recording at home.
Recording
at
home
2 A.M.
when your
has
you
left
many
brain
is
winding down
line.
Sometimes
is
inspiration hits
starting to talk to
demos
231
you. If you've got your studio in the next room, you can plug in your headset, turn
on
the
keyboard, crank
up,
it
gets away!
it
Within hours you not only have a new song, but you've got the demo done the way you
heard
it
your head. You didn't have to teach other musicians your song, worry about
in
solo,
buy lunch
away
for
the band
dollar signs, or
may make
advantages alone
it
at rehearsal,
For what
You
will,
of
watching
in the studio
little
would
it
home
cost
in
your
you
for a
own home
demo
few
studio,
sessions
studio setup.
of getting control of the technology, and the ever-present desire to buy the next
piece of
state-of-the-art gear to
equipment, there
This
will
to
hung up
No
choose from to
let
like
make
it
also goes
it
you
that
with the
just
territory:
own
a trade-off.
studio.
of options
a lot
Companies
how
with equipment to get the right sound.
If you're a
matter
getting
will always
skills,
possible for
you
to create master-quality
is
demos
increas-
at
home.
and samplers (which record any rhythm, chord, or melodic pattern you
to digitally
components become
easier to
reproduce actual
drum
create)
and
sounds, or "samples." As
down and
their
versatility increases.
you
to
studio using your personal computer and specially developed software programs.
Included
in the
new
instruments
is
you sound
is
a great
boon
later
keyboard
little late
on
skills
a beat,
it
melody
its
because
it
at a
entirety at
can make
Other computer-assisted
correct single notes, change pitch, transpose to another key without changing
vice versa),
this
capabilities.
to
232
There are
after
MIDI
it's
recorded.
To
take advantage of
MIDI.
tempo (and
any instrument
A
development
recent
is
software-based instruments
MIDI
that
time
this
will
that exist
provide everything
Developments
fast that
is
in digital
book
to or periodically pick
Player, or Electronic
You might
The
up
a
what
visit to
to
buy
equipment
you can do
best thing
your
the
local musical
Musician or
visit
be obsolete by the
to
instrument
will
retailer,
is
latest
to subscribe
makes
it
if
want
Yamaha,
equipment. They've
disc recording
to
also
developed educational books to help you get the most out of them. The books deal
not
only with recording techniques, but with shaping the acoustic properties of your
home
environment.
It's
possible to record
start to finish in
your
own
home
studio.
digital
instruments that don't depend on the use of microphones and an acoustic environ-
at
home
it
to the
studio tape, and use the studio's selection of microphones and outboard gear
(reverb,
limiters, compressors, etc.) to record acoustic
spend your
lot
of money and
creative, experimental
still
time
at
home without
It
allows
plan the best use of your studio time. If you can get the rhythm tracks
down
you
and
at
to
home
with groove machines and sequencers, you can also give your singer a chance to work
with the tracks before the studio session.
The
digital recording
masters.
Today
it's
technology.
Most
you can do
at
home
it
many components of
is
usually so clean
equipment
to "read"
the old joke about the studio musicians "phoning in" their parts
writers
or
Tl
loss
and producers
lines,
are
now
is,
in fact, a reality.
fact,
Many
adding more instrumental parts or vocals, and mailing them back with no
of fidelity.
Choosing a Studio
Many
facilities
should decide to do
all
work
in a studio
from the
start.
If
you
It's
demos
233
.
services
up
to
do anything
is
amounts of real
to achieve the
have
MIDI production
full
and
enough
Your
you'll
move should be
first
do
there.
to decide
options
1
later.
What
How
is
style
drums, keyboards,
etc.),
some
or commercial spaces.
spend
to
homes
to decide
to be in
If
are
your music
is
some
though
do
in order to
it.
points to consider:
little if
It
may
for vocals
be best to go elsewhere to
A small
roll,
room
is
adequate
if
you play
decide whether you want a big, open concert-style sound, for which you'd look for
a big, high-ceilinged
good
(also
in a smaller, acoustically
by the use of
which
The
are
also give
you
some
may
offer
sound-
The
studio
same
The
effects.
baffles
can also
isolate the
Note
better at
2.
that
are
style, you'll
make
mixing
—two
to find
some engineers
Do you want
want
is
you
to bring in
own
engineer.
and others
are
your
If you're
to
really don't
sound on
good
the sounds of
all
While the
and quickly
capabilities
fix
get
it
"You
is
for"
is
fixes take
THE CRAFT
AND
BUSINESS OF
SONGWRITING
time to tweak,
a master.
good maxim
to
studio time. If you find a studio with unusually low prices, don't feel
234
sound
awkward about
asking
who
happen,
who
it
It
how
determine
of buddies
Ask
they say,
that
might
affect
your
session. If
to you. If
you have
fifteen
musicians
call if anything
you and
just
it's
how
they have a
if
fast
a couple
all
may end up
have another session booked after yours, you're in very big trouble and
Don't book too much time in a single block. Sometimes you can
you book
block of studio time, but there's a "burnout factor" that takes place
a large
after
is 1 1
tions
less
good
(e.g.,
at
if
if
working
your peak.
Make
to
make you
is
also
a studio offers
More
is
not necessarily better. Studios can offer anywhere from two to forty-eight tracks
to serve
many different
demos of bands
Hard
because of
flexibility in editing. It
("tweaked") to
4.
normal
new
center,
new
the
studio. If you
CDs
Compared
that
fail
in
do
that,
if
If
and voices
to be edited
You can
to other expenses,
media
= more
at a
is
first
to find
is
too small
tracks.)
standard, primarily
or too slow.
is
You may
a few),
fix
pitch or to create
is
name
left
you'll need.
It's
better
Studio Deals
you do decide
be careful not to
to
let
work
in a studio,
He
your
costs,
but
you encounter
local studio
owner Harry
demos
235
shot at getting a record deal.
your tunes
This
and
a studio
you
in
just to see
just
is
own
to hear.
to see
A&R people
companies with your home demos and getting nowhere. Even though they
at the record
masters every day and that those probably have a competitive edge. You've been
waiting
You
who
finish the four-song project
way
You're a
he'll get
paid
little
to
Harry
figure
way
that's the
you
a friend helping
is
a deal
understand that
know
You
it,
and recorded the songs with you. You've got no written or verbal
learned, rehearsed,
these tunes.
do
label.
on
all
shocked, but you don't want to appear unhip, of course, and Harry has
been so nice to vou that you don't want to seem ungrateful. You're behaving exactly
the
is
him
answer
is
to.
Now
a familiar scenario
my
publishing?
NO,
He
says
he has a right to
it
calls
me and
asks,
"Do
have to
The
assuming that you made no written or verbal agreement before the sessions
your songs
in
some
Another situation
you'll
money
run into
The
studio
is
when
a studio
record label.
He
hopes
he'll
life
end up
Many
maximum
At minimum, without
impression that
it's
The
retail price
latter
is
your master to a
(c)
"prorated" by the
payoff and
he'll
need a production
artist royalties. If
we assume
artist's
royalty.
retail price is
artist royalty
album
'Ownership of the copyrights and 50 percent of the income from the songs.
number of tracks
(b)
236
sell
it.
producers have been burned so often that they've coined the phrase "Spec
is
as (a) the
to achieve
offers to
royalty
owner
owner "speculates"
is
of 12
typically
number
company would
studio
owner hopes
you'll
"buy out" the masters (with your record company advance) with enough money
the record
for a profit
and
credit
though, to be
rair, that's
ir
tapes.
like you
He
also
that
want
to find
new
develop and produce rather than wait for the record companies to hire him.
it.
Many
artists to
He
will be
his
buyout or publishing.
Unfortunately for
you
as
an
artist
less
like his
unknown
reputable or
but doesn't
producers,
it is
if
the record
who
deal
more onerous "spec"
they choose,
good
company
to
my
will "use
in
best
producer involved. This also assumes that the recording experience was
continue
likes
present the
company
felt
supported
artistically,
to
this relationship.
you with
owner
which
to
work enough
and
facilities,
laid
out
like
Harry Sessions.
The
reality
with you.
The
is,
though, that
if
copies. After
all,
he
figures,
why
He
of his production expertise and time without his being compensated for
the tapes without your permission or
sell
later sign
you
contract to
do
so.
to a label without
with a label
who
it?
results
He can't release
owning the
rights to
If
you
later
him
publish and
Obviously, without a record out, there aren't any royalties anyway, but
writer/artists often
on
to
them
demo
in the future
someone
will
make
a claim based
let it
be
known what
demos
237
The preceding example
made
one
is
come
more than
across
the hard
all
other
an agreement up
many
but
The
fact
that
is
and
enjoyed working with the producer, you don't want those ugly, unexpected, after-
the-fact
business realities to
damage
promising relationship.
Now
let's talk
As
more
said earlier,
you have
to decide
experience for
need
If
to
way
less
money.
you decide
If
you can
if
you can
by with
get
by with lower quality and
get
a less expensive
deal.
you need
that
and engineer, or
more
demo
elaborate
is,
"What do
services,
Maybe
of
a
skill
that
his other
would be of use
in-house productions.
You may
production points
artist,
^jr
If
you
little
more complex.
need a
In the case of an
making
a deal with a
If you're a writer
producers
who
come
song, they
offer
them
need
exception
demo, and
get a budget
demo, don't
can think of
who
artist
mean
may
if
away
you're
may encounter
is
that even
though
basis.
That's
why
it
on that
give
is
record,
they'll
who
would be
some-
needs a
better to
is
handing your song demo to one person, you may want to ask
for a cap
can receive from your mechanical royalties rather than a perpetual participation.
238
an
as
by "participation"
artist,
if you just
The only
equipment or
percentages of
publishing.
a piece of outboard
production or
own
a musician,
also
As
some
or have
to a studio owner.
It
you
re already a
own
with your
work.
It's
only
is
common
fair, in lieu
But
also a
(read)- to
you'll
need a producer
up.
artist
is
of cash,
to offer a
in a
is
what
he's giving
deals,
is
called a
work
involved in which you are returned your copyrights and that you have the option to
months and
eighteen
if
is
The
The
if a
record
own
the actual
to use
something
still
company wants
after
you've already done, they can buy the master, giving the studio or engineer the
opportunity
to get
back
buyout price
you secure
a record deal.
They may
also
want
to be
compen-
sated if the tapes are used to obtain a record deal, even though the masters are
not bought
on
all
facilities to
the
first
be separated into
its
instance,
agree
may
or a combination of the following: a preset rate or price tor use of the studio
be paid out of your advance; best efforts to continue using the producer on
deal; a percentage
if
the
producer "shops" the masters and helps you secure a record deal; and/or producer
points
on your
these agreements,
first
many
contingencies to
You should
also
production company and are more similar to a recording contract than a "spec" or
devel-
company
is
these agreements,
it is
com-
complex
as a
ties.
The
issues
Studio Rates
Whether you're paying cash
some of the
you
their
"book"
rate, so
dig a
When
little
you
deeper.
call
Here
demos
239
BLOCK BOOKING
The more hours you can guarantee them,
I
mentioned
earlier,
the cheaper
when
As
counterproductive.
AND DOWNTIME
LATE HOURS
You can make
owner know
a better deal if
you
book another
helps
it
them
come
at the
on short notice
in
in their
you
someone
if
and
in
the
"downtime" (when
they're liable to
cancels
let
is
too short
session at their full rate or if the studio has to cancel a session because a
equipment broke
piece of
make
(just
sure
Up-front cash
some
bump you
of
when
out
studios.
you
will get
if
better rates.
number of guaranteed
hours, the
RECORDING ENGINEERS
The one you choose
and some
training
will
(if
you can
get
him
for
someone you've
established
may
new
Make
sure
is
than
is
stress
when you
healthy for
it
still
may
have to weigh
in
be
is
you time/money.
studio,
him
it
may
that he
a lower rate for bringing in
may
have
your business.
use any engineer that he hasn't already been working for twelve
human
own
how
recommend independent
during the
engineers
who
have
What you
worked
it).
communication with. Another advantage
hours and
cost
engineers are
admit
to
Some
independent engineer,
favorite
him
costs.
understand
When
how
to record
your
style
engineer, though
and mixed
style
and
are
in that style.
more
in
familiar
Find one
who
of music.
may
Engineer
fees
city,
time
of year (January and February are traditionally slow.), and even project to
project. In other
240
THE CRAFT
AND
BUSINESS OF
SONGWRITING
company
words, the same engineer might change hair his regular record
demo. Engineers
New
and
in L.A.
in
to
to
know
the engineer's
fees
so wide
is
cost
— from
she handle
interact
burtons.
The
as a client
best at
all levels
new
than to find
more than
will
want
my
MIDI
quoting
figures,
more important
it's
it's
easier to
and
fees are
them
figure
ahead of time. In
straight
fact, talk to
working
feel a little
more
relaxed
your
price.
to do.
second engineer
will include a
Many demo
keep you
engineers are usually paid separately, and staff engineers are paid with the
it
does she
is
ones.
How
Engineering
skills)?
to keep
January
Can
skills.
York
rate for a
all
in
— notating
type of
demo you
need. Ideally,
Ask
make
hire a
you should be
what
is
meant by "production
is it
assistance." Is
in business to
will result in
make money
and, therefore,
may
is
it
five
is
how
it's
especially
right.
minutes with
latter,
remember
Being there
specializes in the
least try to
determine whether
appropriate before talking to the studio.
initial
The more
recording) that's
done, the more studio time you need. Playing the instruments yourself and building
the
tracks
one by one
is
most time-consuming.
decide whether
is
that with
good musicians,
it's
less
may
be better
The
than what
EQUIPMENT
The
a piano/vocal,
also
is
would be
need to decide
if
eight tracks, an
studio.
ADAT
recorder,
and
If you're
doing
bare
minimum
a mixer.
Of course
Cheap! The
If you're cutting
demos
241
may want
mixdown
or
capabilities.
You
will
quoted hourly
and
want
you
to
for
many
do
$100
You need
DBX or
Though
others.
equipment
this
that!
many
is
referred to as "outboard"
Dolby
compressors, various
you
studios, discuss
"Oh, you
a thingamajig
one
rent
for
a day!"
that model.
This
rate.
delay, harmonizers,
may
alone doesn't
you
tell
familiar with
if
Gening
all
what questions
to ask
you money
knowing
ahead of time and knowing what everyone needs to make them happy
a studio, engineer,
in
mind
the
Remember
2.
Test your mixes on your car stereo/cassette or
to double
will
CD
have a
CD
(CDs
player.
and
forth
are preferred
the radio or a familiar tape for comparison. Listen for the clarity of instruments
3. If
drum,
you have
which
several days in
guitar, bass,
and keyboard
tracks with a
"Mix"
"EQ"
first
(equalization), the
and do
volumes, placement
amount of treble,
home
and
vocals.
your basic
way of
vocal allows the musicians to create parts that support but don't get in the
vocal.
and
bass,
the
rough mix.
and
performance and with which you can work out and rehearse "overdubs," additional
parts
such as instrumental solos and harmony parts, background vocals, orchestral
about them
idea to
your
rough mix
good perspective on
is
listen to the
do more than
to have a
This
at
this
at the
same
THE CRAFT
AND
BUSINESS OF
parts, etc.
of the studio.
session in
It's
generally not a
which you
record.
It's
good
difficult
242
SONGWRITING
and want
to preserve a
spontaneous
sound, you'd record everything "live"
to have a separate
dav period.
singer(s).
mixing
it
may be
still
and make sure your engineer knows ahead or time what you want
do
to
it.
The
advisable
at
all
it
the
session.
you must do
It
at
best idea
is
to
do and
best
way
to cut
for
some
down on
Choose the
right musicians
demos
aspects of doing
is
you
wrapped up
are too
to
is
it.
a lot of time
and worry.
Some
and expenses
time, aggravation,
in learning their
fits
and
Demos
"show
off."
supports a vocal.
The
choosing musicians
ideal in
is
had an opportunity
that you've
listen to a lot
to
when
other musicians
minimum
left to their
the
same group or
want
What
if
in the past
and knows
goal
is
that
you want
will help
and willing
speculation that
if
to
do
stores, colleges,
play together in
need
own
he's
to rehearse.
to be choosy?
You
to exercise a
lot
with
you don't have that much money and you can't afford
get involved in
music
The
good producer
zines.
creative contribution
to find a
work with or
at least
communication well tuned. Also,
worked with
creativity.
maximum
parts. You'll
own
from
(varies
to
in,
Make
bulletin boards in
in
www.musicianscontact.com
Taxi's Musician's Junction
www.musiciansjunction.com
go through some
trial
own
and
bound
to
to do.
demos
243
When
as possible before
if
them
much
as
you
save
It'll
lots
money
of
in studio time.
much
feel
Agree on the
if you've taken care of business and, psychologically, you'll eliminate bad vibes
and
no
if there's
map" of
changes and
all
instruments enter or
you want
to hear, etc. If
read music should have a "lead sheet" that contains melody line and
The
of Nashville
and
in the studio
instantly
and
numbers
for
is
letters. It's a
To
minute that
Number
key
his
know
the
you
can sight-
They must
and exten-
is
new chord
changes.
It
substitutes
help you learn, there are a variety of books and software packages.
number system"
who
lyric.
(surprise!)
chord
for songwriters.
as a
all
certain
lyric sheet.
Number System
Nashville
sively outside
when
groove written out, bring recorded examples of what you want. Singers
to
or get
System (Corner Music (615) 297-9559), which will teach you several
amps where
and amps
A slight hum
make you
end up spending
lots
crazy
it's
amp
an
in
when
is
that
fix a
who
in the studio.
in a
You may
call
and
mellow or
guitar to be
song or the
session.
biting?
"Tune"
Do
the
rehearsals.
may
or
may
for the
deadened somewhat with pads of cloth and masking tape near the edge of the head.
depends on the
style.
but
it
Those
at least you'll
for each
It's
244
taste.
drum
as well
have a concept to
later
made
when you
start with. If
This
as
is,
much
It
however, a matter of
as possible
before the
you're using a
session.
drum,
not.
Know
advance
in
up anyway,
who
strings,
more
Be
drum
how
on
them
procedure
this
Sometimes
it
don't
but
setting up.
know
thought
included
is
but usually
is,
from one-half to
varies
(It
this
to
do the songs.
Make
session.
know
and
to get there,
exactly
that they
all
Is
it,
take
show
a profes-
I'd
bring
it
just in case.
all.
like to
sional musician
you
running on your
starts
how much
CDs
lor.
in the initial
in "setup
it's
bass, or other
CO explain the
The
and another
to
do them
session.
is,
how
long
it'll
more than
a half hour.
at
home
is
songs to record.
All the songs
of their songs.
You
a
be
they'll
be.
friends,
most of whom
it
(unless
Can
they
Do
Can
they
they
name
Which of your
Which do
Which
the
title
many
defensive.
Keep
that
you wrote
to
it.
the words?
lyrics?
they remember?
as
knocked out
about?
Why?
Those songs
Get
all
remember any
is
will be so
to
do you know?
Can
you present
Many writers
automatically love
and don't
critical,
How
by asking your
start
song that
must
are
to?
opinions
a cool head
and know
is
negative, thank
you
personally.
get
The
demos
245
—
rewards of letting them help you grow and find success in your craft
short-term ego damage. Treat criticism like clothing. Try
What
you write
if
voice and
limit
all
to
You have
and
you
also write
It's
most
feel
at
if you
it
home
good country
easily identifiable
For publishers,
it's
different.
Though
many
you love
of different
lot
CD
they're
rhythm
to sing
R&B
for
styles
demos
to
from one
R&B?"
country or
it? It's
critical
have an
with. If
on
it
outweigh the
it fits.
style.
your
far
see if
response on
is
a recording artist.
on and
become
it
happy
different styles.
So
if
it's
style.
you
specialize,
OK
it's
to present
a plus for
you
Make
to
sure
change
it.
Home
final version
Recording Studio),
done
several
country, so
demos
for.
we decided
to hire a singer
I
this version
perfect for the song. After finding the correct key (over the
we
money
had
was
clear tenor
singer),
constructed a beautiful track, sent out a copy to Walker, and got ready for the
When
vocal session.
the
ready, everyone
The
next morning
Could we
Walker
set
for a
Once
and Walker
up another
reduced
again,
was the
left.
had
were prepared
from Erik
we booked
prepared.
after Erik
mic was
—he had
set up,
the session.
Once
again,
Walker nailed
his
head
it.
me.
When
his
the
Walker
call
He
rate,
we were
Once again,
got a
and
Walker
good
gonna
get this
song right
if it
and
Without skipping
takes every last
dime
you've got!"
The
final piece
Erik and
246
of the story
is
that
R&B
ballad,
cut.
cut,
Arrangements
We'd
melody and
all like
some
in the
lyric
necessary to
may be
cases that
true;
make people
most
in the
it
it,
way.
In recording
demos
or records,
you can do
several
key things to make them clean and
powerful.
One
mental
Demos
tracks.
instrument tracks.
lyric
common
of the most
or vocal that
intentionally obscured.
when
let
many
vocal only"
you
want
also
this
do
it
or
Ask him
problem
effects
if
is
still
is
the
demo knew
the lyric
could understand
it.
One
you don't
gg-
One
of the
most
common problems
demos
is
in
the conflict
is
the
to run a "vocal
up" mix
in addition to the
TV
no lead
is
vocal).
These mixes
page 319).
If you're recording a
you money
will cost
else
instru-
call in
libraries (see
is
Or whoever mixed
artist
and
You may
mix.
the engineer
is
left:
reason so
demos
uncomfortable to
was no perspective
so well, there
in
It
it's
are
problems
band, letting the whole band (or any one member) mix the tracks
in studio
own
instrument to be
loudest.
The arrangement
is
Some important
considera-
tions are:
•
moving
melody.
at the
is
as listeners
is
melody on,
it,
One
of
many melody
to focus
single line
melody.
on the vocal
but a different
distracting.
A slow-
moving chordal "pad" of strings or synthesizer will work fine because they don't
command
our attention
parts
like a single-line
on the instruments
they'll
melody.
Rhythm
aren't usually a
realizes that
keep repeating, you take them for granted. Your body responds automatically, but
why
it's
DEMOS
247
removed
vocal (to be
later)
during production of both rhythm tracks and overdubs. That way you can
"window"
perform
"fills"
are
them and
to create expectation
and
when
and
starting
there.
still
is
"fills"
when
it
make
to
tension.
your
if
If there are
if
tell
Drum
should
ends. In
the diagram below, the top line represents the vocal phrase (with accompaniment),
the
line represents
an instrumental
stops
instance,
beats, the
fill
might
12
•
bottom
work because
will
fill
the
12
Even
melody
if a
vocal
is
for
If,
first five
line isn't
moving.
12
again.
takes the
"fill"
12
Vertical placement of the instrumental parts in the audio frequency range relative
to the range of the vocals. Again, rhythm instruments and parts aren't usually a
problem,
but with melody instruments, you can make cleaner tracks and highlight the vocals
more
in
monly
parts
to
are played.
as the vocals.
diagram of instrument ranges.) Other ways to enhance that window are to mix the
volume
of the instruments lower
midrange frequencies)
in that range, to
in that range,
de-emphasize the
and
to
EQ (equalization,
(place
them
treble/bass/
apart from
you have
There
are always
ways
to
fill
empty
tracks,
but
"less
is
fill
them.
sonically interesting.
Ig£
The emotional impact
I
of a vocal
the
may well be
most important
factor in the
sing
effectiveness of a
demo.
248
Vocals
on
it.
Sometimes
who
it's
Or
it
AND
BUSINESS OF
most important
THE CRAFT
the
it.
It's
SONGWRITING
part of you.
You
figure
Who
You
feel it costs
too
much
could do
it
better?
Even
if
to
feel
you're
not a great singer, you
again,
you can
feel
at least
do
if
it
adequately.
You may be
Then
right.
song
has emotional impact, a very good singer (with your direction) should be able to
put
across.
So the
rule
of thumb
is:
Make
is
OK,
Stylistically,
much on
it
may
must be
but vocal gymnastics that tend to obscure the melody are not.
re-creating your
chorus repeat
at the
end
in
melody
be out of their
believable.
showcase for the performance and not for the song, making
it
till
it
demo
the
What you
difficult for
last
singer's
an
get
artist to
is
hear
performance.
To
to demonstrate
some
stylistic
direction.
If your
song could be sung by either sex, do you choose a male or female for the demo?
to be that
for a
it's
much
male
artist to
DEMOS
249
from a female
Too bad
singer.
Obviously,
cases.
still exist,
if it's
female versions.
There
are a
how
they are,
demo
how
singers
demo
Many
You may
tapes.
how much
own demo. Remind
assist
time and
for
major
artists
barter.
fast
demand
in
Share studio
may
be
just
Intros
How you
demos
They
consider intros a waste of their listening time because they're only listening to
the
intros short.
song. In artist demos to producers and record companies, that's not the case
because you're
and the
The
is
part of
what you're
tempo.
of that intro
creativity
An up-tempo
ment simply by
it's
more
it
selling.
should be
body
will generate
more
slow
excite-
longer.
listener's
It sets
the
first
mood,
impression that
sets
up the
and
ulti-
When
mately,
on a
you go
record,
sets
it
apart from
all
other songs.
unique
intro.
Some
(repeating the
demo and
same thing)
Here
are
1.
Use
2.
Work
that
some
a variation or
Use an
To
bore your
first
work
well or
maybe
an
intro.
big
dynamic buildup
to a soft,
as
(e.g.,
by "vamping"
or chorus
250
CD
is
that opportunity
possibilities to explore:
Wonder's "Superstition").
Explore your acoustic or synthesizer instruments tor
4.
sounds.
Introduce a new instrument or part every bar or two to thicken the texture and
5.
unique,
it
rhythmic parts
drums,
bass,
components
might
7.
all,
if
groove by starting with the simplest component and adding the other
you
as
rhythm
start
Sometimes
go.
guitar,
it's
easier to
and other rhythm
Consider the
just starting
them onto
whatever works
line,
best.
first
with
parts,
recorder, experiment
versa,
but
Develop
6.
common,
rairly
is
in or
separate channels of a
You
Try
all
the combinations
of.
at
^f:
Consider the
part.
possibility,
The bottom
line
that,
is
must
it
is
or
Some
to create
particularly in a
ballad, of having
instrumental intro at
all,
Solos
Clapton
is
to be a waste
time in song demos. If they're judging the song, they don't care
commonly
hit the
"stop" button on
demo
know
Don't do
it!
It
demo and
if
get to
show
of
Eric
include long solos only because they don't have enough lyric and want to
some
no
interesting
background vocal
part.
self-
Most people
fill
the space or
That's not to say that a short solo of a couple of bars that serves a definite
function as
a transition or a dramatic tension-builder can't be very effective in a
demos to
sell
a self-contained
They need
band
to a producer or
killer!
Endings
With endings you have two
done
to allow
you
choices:
to keep grooving
Work
on an
down
actual volume.
usually
is
You
and
after a while,
you
band
On
is
a fade,
just
you know
going
they're
DEMOS
251
still
groovin'.
fade works
if
momentum. Commercially
a natural
chorus, or whatever
With
a fade
much
as talking
them do
you
their
speaking,
also give
fade,
go out on that
which
excites
it
it
has
DJs a chance
feels like
remember
to
own
it's
to
It
them
as
also lets
mind
in
that unless you're playing a dance gig, long, repetitive fades tend to get tedious,
so the
is
and showcases.
As
for
times
when
to give
rest
Demo Production
decided that
If you've
is
show your
the care
it
it all
all
originality.
can say
is
is:
I'll
try
of your song.
Services
you want
to
do
is
Demo
a hassle, never fear!
own demos
Music Connection,
Billboard,
Web
sites
all
Only
of time.
a
Only
demo production
deal with
Some
nominal
•
and the
on the Internet where you can immediately hear samples of their work. (Search
etc.,
fee,
send you a
will
but
it's
worth
CD
free tape or
to
it
who
services if
know what
will tell
you
them.
may
charge
exactly
what
should send you a rate sheet that gives you a choice of options from guitar/vocal
to
scale
productions with strings, horn sections, and so forth. Extra rates for lead sheet
preparation, copies,
and other
Some companies, on
•
full-
their
services
demo
to publish
your song
for a fee.
tapes or
By
CDs,
offer to
the rules of
page 155.)
You can
always
to
call
will give
BMI
to
your
or
a choice of singers.
compose music
www.BMI.com
you
BMI
or
www.ASCAP.com
ASCAP
office to
check
databases.
Occasionally there
252
THE CRAFT
AND
BUSINESS
is
OF SONGWRITING
"compose"
melody
that
AsaJPFolks.com mentor,
.com
is
for
me
own
Q. If
If
a tape recorder,
for a
demo and
created
it
for
my
like a separate
it's
song).
it
if
How do
get
song (although
it
"make up," or
guy that
across to this
it
"compose" a melody
highly recommend.
I
£L
If
it's
part of the
"arrangement" of the song? He's a great entertainer and he's not a stupid guy,
but we have argued about this and he cannot seem to understand that he doesn't
own any
A. This
If
is
common
know any
don't
up
clear
this
Can you
lyrics
to a
all?
many
times as a consultant.
demo
producer/arranger for
arrangement IS their service and they deserve to be paid for
legitimate
demo production
it.
they do, they'll soon be out of business. If you hire a guitar player to play on
your
session, regardless
if
writers' credit
is
If this
is
with
is
this
of course.
his philosophy,
a choice to reject
It
me
to help
making/agreement keeping.
front so
want you
time, "I
with you,"
melody and
It's all
To change what
demo
a very
bad business
practice.
has traditionally been the policy that if you write words and music, you've
written the song. That's no longer necessarily true, however. There are those
specialty
grooves.
is
melody or
lyric,
it.
to create a song/record.
Let
lyric
over
The bottom
line,
common way
however,
is
for
first,
hip-hop writers
is
made
me
clarify
demo
an understanding that
quently,
to
they usually receive credit. Lest this get too confusing (since part
it
before
whose
is
share
I'll
about agreement
it
it is
it
itself).
When
consumers or used
in a
TV show or
player's behalf.
fee)
film in
which you
it
as a
master to be sold
fee).
DEMOS
253
Legally, since
is
it
from
right)
why
you
how
receive
release
pay them in
agreement, go to www.johnbraheny.com.
melody
Takedown
because they
Number System
or a Nashville
may need
do
to
it
anyway
Most demo
chart
creative input
repeat business
it
even
let
like
vocals.
your
will let
Most
demo
on
will help
and
a record)
them
on your
zero in
something
They
send
it,
demo.
welcome any
If you like
like
cost
to build
you be on the
services
to sound.
(i.e.,
demo
though many
is
It's
is
some
you've heard
rarely
melody and
doing a "takedown.")
called
is
in order to get a
premises, and
song and
you'll
if)
lead sheet looks like printed sheet music, but contains only the
(Translating your
lyrics.
(or
for you.
it's
for you,
thrive
on
some sound
it
with your
needs.
Tape/CD Copies
When
demo
you've recorded a
make
copies to
send out to the pros, be professional yourself. Today's music industry operates
mostly on
cassettes
have
and CDs.
CD
CDs
turn people
off.
Save
tape. It's a
money
to
them
enough
difference
from brand
to
AND
BUSINESS
it's
noisy,
writers
and buying high-
Put
of each depending on
the
ten-,
twenty-
number of songs
you'll
it
CDs, make
OF SONGWRITING
side.
Know
that
you won't
get
studio.
THE CRAFT
up with other
Remember
Also, if you're burning
for a catalogue
Or buy some
254
and boxes in volume. Find ads for bulk tape in music maga-
or thirty-minute lengths.
bad way
instead by teaming
usually
easier to handle.
or cassette players in their cars where they can listen relatively uninterrupted.
zines
and
price.
Ask
for a
is
a lot of
phone book
local
CD
cassette or
Presenting Your
I
think
to
make
if
a high-
from which you can copy) can be very expensive. Check with the studio
at
rates.
Demo
always enlightening to get a scenario of what happens behind the scenes in the
it's
who
of a person
office
who
that of friends
demos. Here's
listens to
sample from
and eardrums
my own
experience and
They engage
very well.
that one-in-a-thousand
in this
The
to.
some have
is
Some
possible.
What
they do
First,
know
about
Some have
little originality.
lots
The
right
like the
wood
caring
It's
know are
menu and
enough
soon
as
qualities.
The
The odds
still
What
are the
no
on the
thees songs
odds that they're
to find
good song
(or a
good
same way.
as
Though
it
others don't.
professional, neat,
to write a
the
is
going to find a
Most
back of a
and
combination of ingredients
several points
craft
tastes (or
of imagination and no
tapes, they
they find
all
whose
when
that
it's
listen in the
is
they'll forget
bad.
all
of craft but
lots
but they
rare,
even
rejects aren't
I've
is
letter, for
A&R
to find out
how
that matter).
enough
reps
it first
who were
actually intrigued
enough
game with
Remember: With
CD
burners and
CD
players in the
demos
255
.
medium
car, this
to listen to.
mote convenient
in
files,
however, ate the most convenient. (See no. 3 below.) Don't send
cally requested.
The
following checklist will maximize your chances of getting heard and respect the
listener's time.
listeners like to
and someone
it
time to
which
listen,
demo
else's
Demo
quickly as possible.
is
listen to a
on
pile
you send
if
demo with
to
is
ten songs
grow
quickly with one-song demos. There's also the psychology that implies, "I've sent
you the
is
lines,
know
you'll like at least
do
to
one of these, so
that
just pick
less
—songs you
totally believe
When
in. If
you're not far enough along to be able to decide, you're not ready.
CDs
with more than three songs, highlight three you want the listener to focus on
CD
on
is
your cover
in
their player
And
please
and they
letter
first
they have a
the songs
all
sending
and
first
you have
first. If
one,
may
it
on the same
side
a strong
up-tempo
label
get. If
only on the
"play" side. TIP: Put a couple more songs on the other side of a cassette, but
don't
them. If you get a call that they'd like to hear more,
tell
them
3.
4.
to start listening in a
your
When
tape.
bad
mood
first
list
You
song.
again.
it
cassette
decks have an automatic search feature, which finds the silence between songs,
stops the
fast-forward,
CD contains
with CDs. If your
the
on the
5.
is
CD
and printed
insert
and
It's
take
it
seriously."
Some
THE CRAFT
to hear.
is
it all
at
impressive.
at lyrics
once and
sheets (with
at the
It
says "This
while they
listen,
melody and
of
lyric together)
your song and you want to be sure he/she has the correct melody. (Since the
256
problem
mark on
this isn't a
my business
first
AND
BUSINESS OF
SONGWRITING
CDs
anyway.
label
as a
this practice
songwriter over
went out of
so the structure
6.
Make
bottom
who
the upper
etc.) at
left
of the
Cover
avoid hype.
first
but
page of the
it
alerts
lyric sheet
is
"The Copyright Notice," and "Copyright
letters
CD
not
lines
protected, whether
more
presentation will do
know
that
the temptation to
tell
a lot of
money
to impress
someone than
on the
"I
if
and
know
radio," or
Avoid
disease,
fact,
for itself
life story,
be homeless or worse. In
if
registered
it's
A professional
Technically,
label.
these are hit songs because they're better than anything I've ever heard
all
ends of the
at the
"I just
Do
sure there's a copyright notice (® 2001 LB. Cool, All Rights Reserved) on
or not. (See
7.
fifty
the
style
you
also pegs
It
demos, since
When
and
show any
hint of desperation.
only gives the message that you have no confidence in the ability of the songs to
stand
It
on
their
own.
letter:
a.
It
b.
It
should
state
your purpose
in
as
an
Do you
artist?
want the
listener to
attention to your production, your singing, your band, or just the song?
pay special
Is it
targeted
List
any significant professional credits that apply to the purpose of your submis-
sion. If you
won,
at
etc. If you're a
weak
credits: "I
drives you,
d.
what
list
performer submitting an
artist
Keep
it
e.
Ask
f.
feedback
if
you want
and
it.
Odds
writers'
are
names
played." Tell
if
Don't
lie.
it,
but give
them what
artists.
it
a shot.
on the tape/CD.
same order the songs appear on the demo.)
Thank them
h.
and
star)
g.
resist
demo,
attention.
Web
site,
(if
you
have them).
8.
There
are
this.
On
if
the pro
you want your tape or
SASE
side, if
CD back.
to
DEMOS
257
lose
you
those tapes,
all
if
it
CD
a producer's office.
end
is
that,
10.
which
your tape or
letting
such
like
common
do
it,
sense. In fact
but
in
it.
to lose.
seems
lyric sheet. It
your
if
around
sit
it.
lyric sheet.
Use
Once
CDs
to
and home,
it's
so easy to
it
is
risky because
It's
it
stationery envelope.
see
Some
it
it's
The main
thing to
remember
is
to
as easy as possible to
deal with.
that a record
line.
is
Demo
sending your
demo
as Audio File
as
an audio
Obviously,
many
Giant Records
file. It's
A&R Executive,
files.
view, said:
In the future,
I
would
artists,
managers, or lawyers
asking
me
to
— using
Web
site rather
them
than sending
me
to
exactly
up
know
if it's
still
are
CD,
but
it's
close
something that
a letter
enough
for
an
When
is
A&R person to
not
hear
excites us or not.
is
not quite
CD quality
adequate to show them what you do. There are a couple different procedures for
this:
258
me
to the quality of a
send
it's
the music.
—whether
THE CRAFT
AND
BUSINESS OF
SONGWRITING
Send an e-mail with the audio
1.
cover
click
it
file
letter.
and go
directly to
When
it.
Web
site, they'll
site
lyrics.
2. Just
site
and hear
Tim Sweeney
Artists,
& Songwriters)
it's
site
(World
to
spend
at
You can
site
and
Smooth
may
be of most
Beat,
to Internet
any
them.
interest to
on the
Jazz,
New Age)
New World
Music
group.
ONE PEOPLE
The
first
"One
song Franklin ever heard from Val was a reggae tune she had recorded called
People."
He
how we
all
it
They wanted
in
two days
style.
The
singers.
Note
it
this
something important
job.
The
When
to the eyes
to say,
and say
It's
it
you
listen
site also
and
ears
how
what
includes lyrics to
it's
all
about,
why
it
the songs.
lot
It
it!
style,
well.
on the
Ask yourself
if
'M
DEMOS
}sj\
259
chapter thirteen
Marketing Yourself
and Your Songs
Where Do You
Start?
Whether your
to be a songwriter or
sole goal
is
common and
where
Do
to start.
whether you
frustrating
The
first
same
exist.
for everyone
In this section
and
that
cover
I'll
"It
is
You may have developed
unique to
some of
to be
and
if
so uniquely that
you
it's
also
not knowing
all
depends."
No
single
approach works
The
some
best
way
just doesn't
to find
your path
is
to
professional feedback.
performed by other
artists?
a songwriting style that's too lyrically personal or musically
valuable thing
is
for a novice
manager?
for a
Do
problems
have aspirations to be a
first
the
also
perform your
difficult for
own
another
songs.
artist to
The
your
next consideration
own
songs?
vocal identity?
hear him.
Do
to assess
Bob Dylan
Randy
is
Travis,
your potential
talent record
artist.
Do you want
companies require?
but you always
Do
to
you have
know who he
is
for
becoming
perform
a unique
when you
all
have
styles.
an
it.
as
qualities.
Get
specific
feedback about
unique group sound or concept or have fantastic commercial songs. In other words,
to
be a successful
identify
260
artist,
you need
to provide as
THE CRAFT
AND
BUSINESS OF
SONGWRITING
many ways
as possible for the
audience to
Some
may
people
tell
you
that
that
make
people
There
may he
artist potential
hut don't
right,
let
you
different
many
are
fail
their hands.
want
on
one or two
tell
several publishers
they
it,
one
artist
may have
your song
dead song
will give
you
If you're
you can
craft,
learn to write
make
you unique.
The
special
following are
some of the
combination of
may
situation
in the cracks
fall
potential routes
and
talents
aspirations.
you can
They
somewhere, but
it
are,
take,
idea.
Publisher
If you
who
will
may
artists
fill
the
an
bill as
artist,
own
publisher and contact producers and artists yourself, that's another option.
If the
who
is
also willing to
is
them
they
it's
to record labels.
own
and
These
are called
which
"development
they'll finance
as
an
artist.
you
a deal
and
half of the publishing rights to your songs (the standard deal) in the bargain,
gravy for them. In other words, they don't need to go out and try to get other
Many
approach publishers
clout) if not
all
first,
of your publishing
you
rights.
But
in
away
exchange you'll
get: (1)
very hard on your career (since they have a vested interest), (2) a
possibly get
you
artists
and
(3)
someone working
to other artists.
Record Company
If publishers aren't exactly
most people
feel
your unique
style,
to
own
it
when
work
well for
but aren't the kinds of songs publishers think they can place, go for
first.
songs aren't strong enough or you don't have enough potential hit singles
approach a record company, look for great songs from other writers. Though record
The bottom
line
is
that,
is
that
one way
261
or another, you have to have material that's considered hit potential by the
company.
They want
to at least feel confident that there's a radio format receptive to the artist's
One
fifteen.)
own
an
as
artist.
Some
if
labels,
if
make
label
is
you stand
that
you become
successful,
a publishing deal later,
or part of the
all
company
make
on
operates
it
a better
narrow
gamble
satisfied
profit
for them.
it.
Producer
For a
writer/artist, finding
doing
in
artist.) If
he
the producer
may want half the
to secure
still
is
(six to
the masters
record
(if
uncommon, but
months
after
with a writer
restrict
it
who
is
an
to
if
your
money
career,
if
you
fails
is
get a deal
deal, you're
respected by the
he
If
company with
company wants
not
It's
eighteen
an acceptable record
own
later if the
record
is
publishing.
will
an independent producer
company
it
rather than
Be
label. It's
who
as cheaply as possible,
to follow
at the label. If
publicity
seem
acts for
optimum
to be looking after
your best
release dates
its
act,
album
and neglect
amount
that producer
to record the
is
up on your project
if
may
when
the
company
isn't
focusing
all its
interests,
you may be
your deal so you can pursue another one. Your attorney will include "performance"
clauses
that nullify
your contract
if
certain sales figures or other terms aren't
protect
262
Confessions
of a Record Producer:
How
to
Survive the Scams iUid
these deals.
all
visit his
of the
Web
Music
site at
Business.
He
down
runs
a litany of cautions in
www. mosesavalon.com.
Manager
If
Or
Shams
writer/producer,
it
doesn't
and
artist potential
make much
attorney a fee to negotiate your deals rather than pay a manager 15 percent to 20
percent
of your income. As
a
manager only
if
At what point
career
is
in the case
you wish
a
of producers,
if
subject to debate.
manager might
from the
start.
you
tell
an
in
They're right:
it's
or writer/artist's
artist's
manager
take a
it
Also,
If
important for an
manager should
a manager,
artist to
You can do
a lot of it yourself.
They may
advice.
become involved
in
an
artist's or writer/
artist's career
is
subject to debate.
either.
many
record
company
perform some management functions
for
you such
a manager.
It's
is
that?
as securing
you find
will
ment departments,
do
to
^jr
It's
have someone to help make career decisions and to coordinate publicity campaigns
At what point a
Remember
extensively.
point, there
is
you're not
starting, since
to help finance
and
is
willing to
who
what you
your career
most of them
until
are touring
get paid
you
and
if
get to that
However
ment
firm.
is
to look for a
"Where
what they
to start," as
you can
is
manager
artist or
comanagement
good
some of
aggressive about
is
manager
realizes that
artist's career.
deal with a major
and the
artist's
Still, it's
benefits
needs on a daily
of variables, and
good idea
manage-
it's
is
what
by having
basis.
important to
of music business
minimum
management
in
you'll
all
know
directions
need to make
decision.
263
Writers, Writer/Artists, and Writer/Producers
in the Marketplace
You'll often hear songs
how
but you
right,
may
on the radio
You
feel
also be
your
that
own
you
feel are
misunderstanding a basic
fact
making
of
You may be
life.
"A Song
a record. (See
Is
Not
Some
writer/artists
all
record-making machinery" that allows them to put their visions on vinyl and use
production and arrangement to compensate for the dynamic factors that writers
aren't artists
it's
who
much
larger canvas
final picture. In
them
An
by Bonnie Tyler
is
in the eighties
in the
Steinman
heightened tension with that long verse while providing the necessary repetition of
"Turn
a prime
is
because of
its
vocals.
if a
songwriter
who was
in a
minute
not an
artist
"get to the
hook
(which
faster"
it,
may
also
as a
or producer brought
artist
who'd record
have worked
fine).
As
for a rewrite to
a producer,
Steinman
He
continued
as a
it,
Meat
Loaf hits.
demos
a singer (if
and arrangement
on
skills,
you
more limited
enough
If you're a writer
who
canvas.
You
ways
and
to stretch the
to express
work within
your
estab-
to use your creativity to develop well-crafted
concepts and exciting, memorable melodies. Whether or not you ever develop
arranging or production
skills,
song.
264
by learning to produce
fields
as a vehicle,
ideas
up new creative
not themselves)
great
Researching the Music Industry
It
"you were making a cross-country drive on a tight timetable and weren't sure about
get to
thing
to ask
somebody
know
It's
common
just
efficient as possible.
surprising
it's
and marketing
book,
But
for directions.)
sleeping,
and
trip as fast, pleasant,
seem
how many
songwriters will
make
a blind
their songs
is
in the
world
how
to
to
No
how
more about
this fascinating
and
this
ever-
when
they've
policy regarding unsolicited material, over 95 percent of the songs they received
were not
The
fact
is
was
songs.
artist. It
many ways
you
even bother to
company
soliciting the
and
learn about
remaining 5 percent.
in that
are a
is
They
week and
have Internet access.) If they don't have them, gather a group of others to
formally petition
the library to subscribe.
think anyone
to
is
interested.
Most
if you feel
are
on the
industry, they're
Charts not
as strong as
above but
articles, gossip,
and
features.
is
it.
editions.
One
is
R&B/hip-hop
is
the most
"singles" charts
list
the
265
producer, writer, label and release number, distributing label, publisher, licensee
(BMI,
sales charts
popularity of
Album
artists),
don't
list
Kid Audio
(sales report),
and
chart,
Inspirational (including
reissues),
styles
all
most
airplay),
Modern Rock
The
Hot
(children's
Billboard
Top
which
(i.e.,
cuts
Tracks,
Top 40
Hot Hundred
40, Country,
granddaddy of them
(the
Dance/Club
Top Video
also feature
New
Sales
Modern Rock
They
barometer of the
Singles,
a valuable
Note
still
Independent, Internet
Latin 50,
are
records,
artists,
Though
writers
album
all),
Dance/Maxi-
Play,
cuts.)
and Rentals.
Charts are tabulated with SoundScan, which reads the bar codes on every album sold
and online
and
airplay
is
monitored with
BDS
(Broad-
cast
So,
retailers,
First
of
all,
you can
all
that?
of radio and are familiar with the songs on the charts. If you have Internet
access, you
lot
what
artists
clips
and songs
of the songs on
most popular
are
CDNow and
sites.
and which
in their respective styles
You'll see
artists
and
songs cross over between two or more charts. There are also editorial sections
relating to
those styles, providing analysis and news about
and
artists, labels,
artists
There
trends.
is
more
in history.
Veteran record company executive Russ Regan says he studies the charts for the
"gaps."
If
he
a great ballad, or vice versa. Also, once the public has bought and feels at
"sound,"
when
the group
release a similar
sound.
who
created
Though
it
it
may be
it's
time for
home with
good time
a
to
being
its
recorded and released probably wouldn't allow you to take advantage of the chart
information
the
could,
names can
tell
it
gives
you some
idea of the
practical applications
you
if
the writer
is
way
it's
also the
producer or
listing
artist. If that's
of the
the case,
the percentages are against your being able to place a song with him. That, of
course, isn't
266
THE CRAFT
AND
Many
writer/artists are
BUSINESS OF
SONGWRITING
open
to outside tunes,
artist
The
on the
song placement
You
A&R
Though
those people
may
who
show up
consistently
doors.
artists
managers.
with
are, obviously,
to the artist's producers
and
may
intelligently
it
get
shows them that you're paying attention and you're serious enough to do the
may guess
worth
listening
to.
The
now
so important
is
that
it's
always enlightening to
check out the international charts for the types of English language songs that are
popular
in other countries. If you're publishing
know
your
own
to concentrate
popular
is
for a
you
is
on the
artist
charts,
know
good
companies are
when
may
they're hot,
them
to
produce
not be a priority. (But
if there's
the
changes everything.)
important to
like to
it is
it's
for a producer,
their acts
group looking
are an artist or
group that
as a writer or a
recording
artist,
on the
outside looking in and you're not hanging out at any of the industry watering
holes,
keep track of who's who, who's what, and where these people
some
cases,
called "Signing
publisher, etc.,
(See
is
working
"Other Sources,"
name.
If there's
know
this
month. Another
article written
into an
you
see
where your
great resource
Another way
is
the
favorite
favorite),
to just go
so
it's
You
it'll
show
worth another
shot. In a
up.
who
Turntable"
new company
herself.
is
A&R person who liked your act or your songs but couldn't
she'll sign
in the
A&R person,
it
in this chapter.)
been an
that she's at a
people didn't
its
It
are.
complicated by a musical chairs game unequaled in any other business, except maybe
advertising. In
is
it
she
may
Yours might
on her new
at the old
label.
company.
267
Most of
same considerations
the
pany and
mind
on
contract
company
a song
has
and you
made an
new
job, congratulate
forming or branch
company
in a
offices
away
you
lost in the shuffle
a chance to
by
new
president
new
locally,
and
for a
what
studio,
out, as publishers
now
and then.
When
it
out on the
"crossover" that
stylistically
What other
a
game
it's
it
is
If you're
there.
Buy the
your
AC and
new
artist
a hit,
CD
local
show up on both
it'll
show up
on.
retail
Is it
AC?
Pretend
up (or down) the charts over a few weeks. Check out
Album Radio
that.)
if
listening stations at
it's
will
and check
it's
to their play
lists.
What
is
&
it
it?
you because
gets you into
the excitement of second-guessing. By comparing these songs to your own, you can
own song
contemporary
artists
totally
and styles
is
commercial songs.
268
is
new companies
site.
to
you'll
who wants
anyone looking
up
set
make
new company.
may get
also gives
make an appointment.
to
Billboard's "Pro
umns
it
being
It
will be restructured
is
to that
at the
"team." This
more
his attention,
has to represent.
found
your song
your song to
new person
own
call
Occasionally, a whole
was announced.
you should
exit,
it
at
THE CRAFT
AND
BUSINESS OF
SONGWRITING
in
It
gives
you the
inexcusable
is
going on.
when you
To be
Too
ignorant of
claim to be trying to write
'
know how
very sure that your songs arc appropriate for the artist, you'll
It's
music periodicals
as
For your
own
live
trades,
Listen to the
abilities.
critical abilities,
same
to the
in the standard
"CD
new
on
artist
gain
some
song
she'll identify
all, if
charts)
you
critical
long
some thought
to
your own.
see
to write a
and
song
you may
for her,
you write
a particular
important?
is
his relationship
Through
reviews.
performer or group looking for a manager, you can get an idea, through an
what
or she think
own
their
and want
If you're a
interview,
trades
artist (or
that
it's
The
do
to
concerts,
them.
to get to
manager
is
does he
has a
little
different
basic
knowledge
What
Why? What's
like?
and
goals. All
does he
the nature of
all
of the above?
execs,
professionally.
Is
company policies,
and
like personally
for,
their
managers, record
own
There
know
many
are
do almost anything
"right" ways to
I've
freely
about
how
years,
who would
helps to
when you
it
and
in this business
how
they
feel
expressed a desire to
tefl*
There are
many
"right" ways to do
it
helps
know a number of
them.
Tip Sheets
Tip
are in
directed to
all
artists.
Some
on
listings
by producers of major
is
sheet
if this
and
list
some
"Who
are
on the
restriction
and other
artist,
is
this.
For
its
are
or don't
who
know what
you
who
Some
their research
may end up
says,
acts
companies
know how to do
means, they
are
want
to
new
buy
acts. If
the
The producer
then
calls
the tip
269
Are
tip sheets
Some
them, which
lists
is
or the
they'll
hear
it.
hitters,
if
that are so expensive that only the very serious can afford
lists
activity.
money
And
problem
just described.
others deal with
it
Others want
by canceling your
if
With
that
tip sheets,
someone
is
same time
at least at the
The
daily.
remember
as
Any worthwhile
among
publisher will
first to
it
know
before
— or
the
know
some time
way
to the listed
producers. Publishers subscribe to them anyway because they can't afford to miss
anything, and a
field that
made
contact with.
The
not
among
It's
round and
keep looking.
will
the
first,
It's still
to listings.
Every
contain
its
own
songs.
Additional information will also appear on the individual listings like "no
ballads," "one
enting Your
Here
Demo"
are a
to.
For further
five)
and "Pres-
TAXI
www.taxi.com
Tel.:
An
(800)458-2111
Members
labels,
TV
pros,
which
is
instrumentals.
the reason
Monthly
it's
1992.
Web
site).
Annual
One-year subscription
for
all
is
(Highly recommended.)
270
is
also a
is
fee.
SongLink International
www.songUnk.com
23 Belsize Crescent
London
Tel.:
Fax:
NW3
UK
5QY,
E-mail: david@songlink.com
Great international
1993
lists
looking for material and pro writers looking for collaborators. Forty to
fifty
new
each month. Also features industry news and extensive links to industry events,
Six
A class
New On The
leads
sites
organizations,
artists
act!
One
of
sites,
—£185.00/US $285.00.
available.
Charts
www.notc.com
70 Laurel Place
New
NY
Rochelle,
Founded
in 1976,
10801
it
booking agents,
who need
for listings
etc.,
of each
hit.
on the
charts
leads,
subscription
to verify at least
(1
year
— 12
all
genres
and management
signings,
Soundtrack Newsletter
To subscribe, songwriters
issues):
in
must be able
now
of film/TV music
artists,
$365
(plus
$45
Parade of Stars
www.beareware.com/paradeofstars
Chuck Chellman
P.O. Box 121355
Nashville,
Tel.:
TN
37212-1355
(615)352-4848
E-mail: paradeofstars@home.com
lists
gospel
All Songwriters
artists as
well as
R&B,
The
artists.
Network (ASN)
www.tiac.net/users/asn
Box 23912
Ft.
Lauderdale,
Tel.: (954)
FL 33307, USA
537-3463
271
E-mail: asn@tiac.net
monthly
good songwriter-oriented
links.
Requires
demo CD
Row
Web site
States, please
They don't
has
accept
year.
Fax
www.musicrow.com
1231 17th Ave.
Nashville,
S.
37212
(615)321-3617
Tel.:
Fax:
TN
(615)329-0852
producer, recording date, and song description details. Address and contact
information
not given
E-mail/Web
know
that.)
Pitchsheet.com
www.pitchsheetassociate.com
Though done
active.
Streaming audio
listening
files
is
more
it's
A&R private
access ePitching to
A&R representatives
is
six
separately).
that
samples,
file
lyrics,
information, and
Read
others.
make
site.
Still
their
music
others involve
The beauty of
these services
much
and
to
supervisors, ad agencies,
Some
and publishers
film/TV music
believe this
new
fit
way
that's time-
Here's a scenario.
My friend, Steven McClintock, hit songwriter and former staff writer
272
THE CRAFT
AND
BUSINESS OF
SONGWRITING
a publisher
dropped the
ball
on
a film
son£ license that Steven had
about
all
causing
initiated,
He
started thinking
the songs he'd written that were sitting unused and unpitched in publishing
companies
ways
him
and similar
same
situation.
do something about
it.
He found
Here
a financial
are a couple of
own song
Id
like
you
to
User needs song, goes to database, and searches under whatever parameters are
needed
listens to
Gets
a list
at lyrics to
narrow
it
down,
what looks most promising, contacts the writer or publisher, and negotiates
Each of the
new
services has
its
own combination
Web
sites for
up-to-dare info.
Pump Audio
Songscope.com
PublishSongs.com
www.publishsongs.com
www.pumpAudio.com
www.songscope.com
SongCatalog.com
LicenseMusic.com
Soundartist.com
www.songcatalog.com
www.soundartist.com
www.licensemusic.com
SongPitch.com
Songnet
www.songnet.com
LicenseMusic and
www.songpitch.com
Pump Audio
music
Web,
libraries for
sourcing and
fifteen.)
Other Sources
Besides the trade magazines and tip sheets, other sources of information are:
CA
90046-3418
USA
769-0990
A&R Registry,
phone and
fax
TV
also publish
their assistants.
The only
Songwriter's Market
www.writersdigest.com/catalog
An
unsolicited material,
how
listings
of industry pros
who
are
open
to receiving
they want the material submitted, and what types of music the
273
company
open
are
how
who
industry pros
listings of
Managers
&
Booking Agents
&
& Awards,
articles
on the
and
craft
Billboard's Talent
annually
hundreds of
list
artists, their
contacts.
some
idea about
world and
real
start
how
way
to
knowing what
to get
making some
contacts.
you need
Even when you
you
a lot
No
who you
feel physically
is
matter
decide to
a professional
approach the industry, and the more professionally you present yourself, the more
Discussions about ethics in the music business frequently expose a great variety of
feelings
about
it.
many
gance draws
people to
it
who
are greedy for those
to
want
to keep
most
seem
its
"The Biz"
at a distance.
"Famous
for
I
Last
exactly
know about
what a
that! Just
number of
itself
and
go ahead and do
it!"
Both
all
the
say, "I
music
Words."
an attorney"
lot
they're certainly
in the
draws
me
etc., etc."
him out
before
told
me
we'd
split the
publishing;
a record deal; we'd get paid right after the gig; we'd split
(and a
list
lies).
But
it
wasn't
In
many
of those
274
THE CRAFT
AND
cases,
wanted
BUSINESS OF
give
anybody the
benefit of a doubt,
who
talking to others
who show
people
says,
tor
once
it.
at least.)
Save yourselr a
on
lot
interest in you.
may
yourself! This
feel
obligated to
work with
so glad
you
me.
like
Show me where
out,
first
Get
to sign."
if
you go
him
the
a grip
r«||r
Don't
feel
obligated to
first
who show
interest in you.
legal advice.
Also make sure that there's a "performance clause" in the contract, which states
that
if
Without
performance
more
five or
off.
it's
someone
amount of money
According
someone
possible for
to
else
may want
to sign
to
you but
the
to pick
up one-year options
for
his gig.
He
some
exorbi-
you
do. Meanwhile,
tant
clause,
save
literally,
him
consider
to be ethical,
Not
everyone, of course, does business this way. There are lots of straightforward,
reputation will
who
successful than a
bad one.
No
Some
illegal.
people follow "situational ethics" or "It seemed like the right thing to do
Some
I
they do
it
else
is
is
doing
likely to
to get to
be doing to
for you.
The
to
and
"Do
it
industry
at the
gets
time."
me what
you do turn
it
done.
Remember
that they
to
work
for them.
type of people you associate with in the industry can have a great effect on
it
it"
good
good people
to
work
it
last in
if
he
felt
that
Ken
"Nice guys
Ken
finish last."
Kravitz of
"Maybe
nice
there is."
Ego
Also keep in mind, as you approach industry pros, that though your songs
may
be very
personal and expose delicate parts of your being, people in the business must look
at
them
275
They, in turn, must try to
as a product.
of
its
feeling that
it's
him
sell
understandably
It's
else
on the merits
keep from
powerful songs written are very personal statements and confessional revelations
that make
when
show your
f^l
critic.
it
a song
and
try to look at
program
this a
away
it
as
for a
Sometimes,
self-
fresh look at
put
it.
yourself the same questions that, consciously or unconsciously, others will ask:
Can
to say
what
Doing
this
better songs.
kind of self-critique
It will
that
you
in
much
easier to
important ways.
perfectly
happy with
sounded
trite
until
it
you some
gives
It
song
you write
will help
which
songs, those
make
it
easier to look at
clothes or anything
it
easier to
most
are the
else.
you
own work
your
In accomplish-
Play your songs for friends before approaching the buyers. Even
criticism,
Is this
you honest
more powerful,
there a better,
among your
Is
will help
as a product, like
Is
people can relate to? Will the people most
many
It
good
age group?
give
become
There's a point during or after the writing of a song where you must step away from
Ask
self-critic.
in to
wares.
Before you can successfully pitch your songs to the industry, you must
good
at the
it
if
else
and
it
was
suddenly
on the other
helps in dealing with rejection if you can sympathize with what happens
It
they publish a song they're not genuinely enthusiastic about and in which they see
to invest in
promoting
it
and
they'll
if
little
have to put up
with your continued questions about what they've done with your song. They'll have
to
keep
telling
When
as a
calls altogether.
to publish
they can't
it.
it.
me
that they
THE CRAFT
if
they get rejections on your song, you want them to retain enough enthusiasm for
276
So
AND
BUSINESS OF
SONGWRITING
spite
had songs
of
that,
in
they
Sometimes songs or
instance,
was
it
styles are
common
"country" songs
were "too country" tor L.A. and "too pop" for Nashville (the Eagles, for example).
There
have also been black
artists
R&B
for
major money-maker.
likely to
at the
wrong
time with the wrong song than vice versa. Probably 99 percent of those reasons have
nothing to do with you personally, but with the marketplace, your product, and the
buyers
and inclination
ability
a certainty that
It's
some
don't adopt
to deal with
it.
you
discouraged to persevere.
And
if
you
are,
you can
quit,
get too
will always
common knowledge
It's
the risk
.
that rejection
buy
to
it.
The
sale" sign
payoff, however,
is
it
in perspective in his
will
be
rejected.
the Heart:
a regular occurrence in
is
wanting
From
a certainty that no
inspirational
ggr
It's
on your
worth the
risk.
Show
talent
—you
risk
The payoff is
no one
the world
by radio
rejection. Rejection
into, rejection
of individual records or
styles
by consumers.
Every day, for hundreds of different reasons, people in every different facet of
the
industry are facing rejections.
rence, but
it
is
They may
accept
it
as
an
inevitability,
never really easy for anyone to deal with. Egos are bent, reputations
lost,
and friendships
are
artists.
damaged
company. The
major
after
artist
an
an everyday occur-
list
down by twenty-two
down by
every major record
would venture
artist is successful
fact,
»J>
hundreds of different
reasons, people in
even
again face those rejections. There's even an industry joke about being fortunate to
be
turned
that
down by
For songwriters
isolation,
and
it's
it's
if
many
successful artists
difficult to find
good
critical
277
.
comes from
friends
are so
you
thing they'd do
last
would be
your
to criticize
efforts.
in that
world" of the music business. Songs that your friends liked because they saw you
reflected
in
like you),
they?") are meeting with "Sorry, not strong enough," "not appropriate,"
other standard
When
lines.
ask a writer
if
he or she has been making the rounds of publishers,
me
they told
to
my songs.
all
stuff to show.
good chance
there's a
Don't
word.
let
If you call
don't
off,
you'll
let
after hearing
have something
is
it.
Keep
every rejection
you
tell
that the
it
door
it's
talent. Believe
be interested in publishing.
it
seems
With
be nice." They
yourself believe
often get
have no
feel
your songs,
a rejection keep
know
I
It's
it
really gets
putting you
like they're
where
line.
at their
is
tough
in danger.
The
following are
totally losing
some ways
who
ideas
who
is
whole thing
love
is life
far
fail
to take
vision.
That
cross-fertilization
of experiences
2.
will trivialize
your smallest
happen
successes or surround
hit,
in the
It
You
isn't
you've done
it,
make you
you're
when
always enough to
comfort in
you can tap into some other worlds and keep yourself from
understand what you're going through and can help you get back up
you with
you from
your self-esteem.
your families and friends
Stay
you can
rg£
that
feel like a
just writing a
somewhere
valuable
human
it
in the
unseen future,
feeling
good about
it.
But
of others and a dependence on a timetable and circumstances over which you don't
have
much
control. So
it
278
mundane
as
you
a sense of
positive payoff.
Don't
3.
pitching and
don't like
this,
you
one
more
a better writer or a
may
written yet
this one,
workout
now
twice. You're
is
might
as well
hang
The
or, at least,
more
up because
it
you continue
make you
feel
if
writing.
good about
they
one cut."
may
be
interesting to publishers.
get this
till I
Stay healthy.
physical
"This
important things.
several
says,
they won't like anything." So you stop writing "just
it
happening with
much
it
little,
it
you from
rejection stop
let
else
you've
yourself.
to help
you
Only the "yes" is important. There is an old line that salesmen use to keep
themselves
5.
"It's
only another 'no' on the way to
'yes'."
The "no"s
aren't important.
6.
the areas
to discipline yourself to
work on
no matter how
small, to keep
you
moving ahead.
Have
7.
something
additional plans of attack. If you strike out on one, you're ready to try
else right
JoAnn, worked
son of depression
Development
A common
My
to counteract
by giving them information about the next project so they had something
this
wife,
to look
that
them your
stuff.
One
of the
easiest
your submission,
it
to mail
barrier. If
makes sense
still
if
you
live
to inquire
and show
they'll accept
call.
Otherwise, send a postcard or e-mail before going to the expense of sending a tape
or
CD.
If
you
some
Here
are
Send
a letter
options:
with a
self- addressed
any
credits
279
you might have or anything
live
this
band doesn't
get a deal,
that
might
Not
I'll
interest
them
in
the whole thing, just a few high octane blurbs like "If
run
biggest thing since the last biggest thing" obviously with the
won
experience.
Add
(State "Battle
("OK guys,
all
look
it
posed
Make
is
at the
in action.
Not
camera and
"Who ARE
it
your personality.
reflect
smiiiile!").
Create a
little
intrigue,
something
("Honey, we need a shot of the band looking stupid. Could you do a Polaroid so we
can
send
to the record
it
them know
company?")
on
you use
snail-mail,
on the
Yes,
I'd like
Address
it
to the attention
E-mail an audio
We only
it
will
You should
style as best
you
A&R
already
person
back
lie
know
who
file in
MP3, RealAudio or
to unsolicited
now. Try
They
the styles of
mention
uses.
as
shown on
make my
it
sent
it
easy to reply.
company
it
day.
demos when
Or would
your: attorney/manager/producer/Uncle
Herman from
Date
Company
It
return
format.
us:
let
up. (There
OTHER COMMENTS:
280
it
to them.
of:
listening to anything
listen
know
front so
for.
to a specific
to
more.) Don't
of your band,
CD
Send: cassette,
We're not
I
much
it
CDs
SoundScan numbers
style
thousand
them to
us.
in.
(.Know that the light nature of
make em
is
They
not unprofessional.
love
it
when you
smile!)
and send
this letter
photo
own
For your
as
Web
an "attachment,"
site
URL
to
send them
to,
letter
possible.
if
Card sent
to
In-Person Interviews
We
size
and
a song. That's
assuming
people.
it's
them
for
whose
writers
who
just
is
into
you should
call
to be able to call
and
town and
are able to
name
good impression
credits. Let
remember
a strange town,
it'll
If
make
sure
unknown
success
that
you
It's
But
see them.
on the
initial call.
Be nice
a long shot
if
to
you
the following:
If they
're
be more accommodat-
get
good
directions
may have
you don't
you
to be
how much
by someone
personality,
referral
still
try to set
meet with
do with self-confidence,
lot to
respect
my
to cancel
up
ahead
to let
me and
didn't call or
show
up.
It
shows
me
time.
on the
call
meeting with
song on a separate
if
without a
come
that
to be able to
that
you
this.
Appointments
long
helpful for
It's
it
cassette tape or
allows
me
you
to
know
the
a ballad,"
is
at the
end of
your tape, you'll have to do a stop-and-start search for that song while you're
saying, "No,
that's
not
it. I
spend
•
his
think
CD)."
it's
When
and on and on. Or
"I think
available,
it's
the next
to
time listening to your songs, not waiting while you look for them.
tell
281
he's free to turn
whenever he
CD
likes.
Be prepared
to give
him
or live performance)
lyric sheets
and go
to the
next song
Take
Be sure that your name, phone number, and address are on each
it.
cassette or
CD and lyric
sheet.
•
it
you want
If
it.
If not, don't. If they give
and you
rewrite
them
you'll try
them than
When
that
Do
it.
it
you won't or
a chance
surprise
like the
you
Once
to
don't
them
in
at
how
"No
a
in
forming
as a
working
rash promises.
for a
relationship,
tell
It's
better to pleasantly
broken promise.
assistant.
Send
thank-you card or
letter
you've written that great song or completed your writer/artist masters or demos,
of getting heard by the music industry. You take off your creative
to you,
make any
them remember you
Getting Heard
you
do
can't
to let
leave,
If they like
it
much
gets
it
some of you,
this
an exciting
is
else,
less
though,
start
by
Why
I
To
producers, record
nent
and
In the
problem
company
way
first case, if
tapes
effectively,
look
at
it
A&R representatives,
targets.
cost-efficient
demo
Is It
possible
or managers
who
are your
most promi-
lawsuits.
and CDs. In
fact,
still
deluged with solicited demos (those referred by other writers or industry people
they
respect).
The
biggest
problem
for those
with open-door
is
they receive are totally inappropriate for their needs. Usually this
are sending in tapes haven't
listening to
demos
already
done
know
their
that
homework on
that
is
producers
because writers
who
assistants
will
be wasted.
who
can screen
demos.
Time
282
THE CRAFT
is
AND
BUSINESS OF
SONGWRITING
demos. Music publishers
development
will
work
advise
ment
if a
and who
legal barrier
them
suits.
is
who
most companies'
departments
legal
A key factor in
determining infringement
is
copyright infringement suit goes to court, the prosecution has to prove that the
accused
why
is,
much
are
who
prove
sent
it
and
itself
to his
that
it
Is this fear
No.
still
womb
in the
from a demo
of lawsuits
Of course
it
line
line
that Joe
ask
you
So why
it.
and asking a
conclusion:
They want
to
know
worth hearing,
of a "survival of the
like, "I
fittest"
to
it?
On
way
to get to
pay
me
that, like
a couple
it
or
that
He
be dealt
submit a demo
demo by
Not
that there
it
isn't
the law
come
to
one
philosophy
enough
do
to
but
of industry people,
they'll find a
you
lot
an
is
quality.
is it
of questions of a
lot
and commercial
its artistic
can
resources.
to have an attorney
whose musical
your demo. But most industry pros do not believe that submission of
and
many
in
you
love
'I
last
is
and
uses
it
suits
These are
most infringement
hit
for you?
that
new
'I
publisher/producer/A&R rep
know
has
may wonder
song called
company
at the
more than
solicited material?
someone
odds
to
more time
take
are
may
It
future success
The
just
songs they receive because they're listening for more than whether the song
to evaluate the
will
have
who may
I'll
if
someone
or not, has
some
merit.
They
is
is
sort
figure
enough
for
them
to listen to.
is
research.
serious
is
the key.
Become aware of
One
them,
artists
label,
—
find out
who produced
283
company
the package,
and get
call
his
artist in
phone and
fax
If the
numbers of the
from the
artist's direction. If
new
artist,
Whenever
company
artist's
producer
artist's
it
to find out
the
possible, try
if there's
change
in
get information
who
they've
buy them
something
new
You've
Though
new
an
also read
article
single.
songs.
You
A&R on
"Other Sources"
offices, call
how
to
the
is
to read the
CDs
yet
talks
names, so you
call
Hot
title
to "outside"
the project?"
you seem
as the
Do
you have
number
for their
(See
names and
their
it
You
know
you've also seen their names listed as writers under the song
to spell
to
who
on the
nies?
You need
charts with a
where she got them,
project,
producers.
style.
for her.
on her new
your musical
far,
calls.
in
worked with. By
If
compa-
Music Business
Registry's
in this chapter.)
Hot
at
Stuff or
someone
in the producers'
and ask about the musical direction of Bonnie's next album and
directly
for
It's
it.
good idea
to ask if there's a
code you
should use on the package. They often use a personal code so their assistants or
mail room
personnel
know
that
it's
may focus on
cities
folk,
of infor-
a treasure
are
Germany,
emerging
etc.
as
as
Minneapo-
and
The
artists,
who
signed
whom
retail sales
284
and
and
airplay information
much more
than
was thought
to he true.
It's
new avenue
artists
for exposing
and
anyone with
accessible to
and
film
provides up-
on
their catalogs
the Internet.
by the performing
MP3
and
www.MP3.com. Browsing
at
and can be
rights organizations
are
and
selling music,
now
modem. New
chart.
Among them
are:
the music-related
and
Amazon.com
Web
sites
filed via
selling
(the big-
on the Internet
all
Think of your
yourself with
list
of current
listening to
you can
site
and find
of the
contact.
Web
artists
who
also
your
with an
CDs
more advantages
atist's style,
else.
may
also give
is
CD
invite
research center.
Web
listed
But
CDs
who
at the store to
is
the best
way to
familiar-
you need.
at least
it.
Of course,
(if not,
who
is?)
and how
the next
album may
call
the
office address
(Let's see
it
right,
Napster
all that!)
record store as a
you
local
CDs.
be produced by someone
give
who
yourself, ask to
in
and the
they
have listening
^J§:
Think of your
information on a monitor and look up
are obviously
stores
Familiarize
There
style.
ize yourself
Many
You can
sites for
artist
your favorite
posts
Record
hits in
and
events.
Most
If
to speak
and
listen to
histories,
call.
listen to a
names
song they
talk
it
about and ask questions about something they've done that you're
"Hey
285
How did you
it
get that?"
Don't
b.s.
know
right away.
Support those organizations that produce the events with your membership and
voluntime and you'll often find yourself surrounded by opportunities. Organization
news-
teer
letters also
interest to
songwriters.
Making the
If
you know up
who
Calls
call. It lets
you
because, for
more
also
If
you can
let
all
likely to take
you
seriously.
unprofessional.
artists
call
Don't beg
actually say
know
for a
it,
serious
The
boss
is
very
is
They
deserve to
be heard."
Regardless of the "we're not listening" policies and the reasons behind them, most
publishers and
A&R people
They want
weed out
to
still
do
listen to
the writers
who
new
songs and
artists
how
business works or the hobbyists with two or three songs taking a quick shot at
then retreating.
the
first
The
raw
level
all
the
and
it
why
artist
it's
odds are
They know
still
minimal
important to them to
up
set
On
the front lines of that process are receptionists, secretaries,
May
if
help you?"
to the
Even
something
you do have
like,
"May
The worst
name,
tell
assistants.
call
Unless
is
and
is,
to save the
to a secretary or receptionist
is
She
"Sorry,
you
main man's
can't help.
(or
need to
woman's) time.
talk
How
or not your
gets heard.
Here's a scenario:
would be
Could somebodv
286
Twain. Actually,
there listen to them?
I've written
Writer: No,
Receptionist:
Writer:
Who
got your
man
in charge?
This
is
What do you
you.
you
referred
How
do
to us?
much of an
name
to the
important part
from
is
tell
just as
is
it's
pretty
much up
to their discretion
who
to accept
first
encounter
you
An
think are the odds that the caller will get through?
much
songs?
the
they
my
steal
name out of
are
vital. If
is
their chances
rank amateur,
as a
they'll
are zilch.
aren't likely to
know
name of
the
a person at the
company name.
insulting the
stolen.
If
You
You
in charge.
research doesn't
know
If you've written
them protected
first
so
also haven't
Do
of the
odds
do outside songs.
can't be
to resort to the
woman
in favor
own
if
phone book
in charge,"
to
you
just
for the
might be
calls.
ask
company how
when
in a
the
month.
tells
company
is
I've
will
company
is
be listening (and they seldom ask), she
tells
them
to call
back
persistent, professional,
to follow
It
up the
serious!
gained a lot of insight into this process by going from being a struggling
songwriter
to being
on the other
my
learned
some important
lessons that
We always respect persistence, even though we may at times find annoying and
guiltWe know that no matter how talented you are, you need persistence to succeed.
it
provoking.
The
yourself to
become
is
bitter or desperate
from
it
287
A
to
secretary
me
that this
someone
their last
is
my
believe in yourself
open
you
difficult for
highly
ography.]
We
and
if
you
to find people to
can't recognize
mention
phone
No
matter
who
more than
There's somewhat
to,
is
Music
the
phone
fact,
the boss,
them with
respect.
will initially
listening to
be
your
who
will initially
gets
call,
you into
you need
they
may
be
their office. If
to think years
ahead
who
secretaries. Treat
Treat them
secretaries.
be
will
with respect. There's a better than average chance that they are the ones
by asking
it
and
"I'm God's
attitude,
you're a Neanderthal,"
it,
you
nice to assistants
it
scripts.
abilities
typical
fc^r
direction. If
gift to
(I
and
and
to criticism
or whatever.
very unprofessional."
It's
guts out
spill their
bills
you must
get permission to
may
but you
much
not have
"Query
efficient. (See
to
It's
described
earlier,
more
on page 279.)
demo.
If
Follow Up!
a series.
back and
to
tell
do now
you have
to
is.
figure that
you how
all
Know
know someone
listening to
them
is
is
for
them
rid
first
to call
of
you
you
at worst,
weeks
He may
around
just wait
in that time.
it
is
Two
a great
it
cases.
mean he
of tapes to hear,
and
of the tape/CD. At
best, a
calls
it
hasn't happened.
After calling to
frame
to
check back.
make
a pest
when
to
THE CRAFT
sure they
You might
of myself, so
check back."
"
288
make
AND
BUSINESS OF
received
say,
sure
call
you get
back in
SONGWRITING
it,
"Look,
I'd appreciate
Make
suggested
've
it
if
know you
name
are busy
a couple
to
and
me some
when you
don't want to
guideline about
say,
No
so that
call
one
in the
don't
music business
let it affect
Stay in touch.
someone
and
research
it
my
name
lists,
will
and you're
good
singer
if
is
will
be frustrating,
it
have no time to
just talked to a
couple
will
what an impact
periodically.
It's
realize
no matter how
that
is
know who
If
to
doing
it
get to
Though
for persistence.
me
calls
you
let
her
know
this
has.
Other Avenues
If
you plan
artists,
own
logo,
and
letterhead.
Don't choose
makes
(Jojac for Joe Jackson). This
own
you
it
it
them
You
name
for
company who
it
has
doesn't give
to pitch
letterhead. They'll
if
it
know you
you decide
that business edge here. If
ing
to record
own company,
your
to pitch
is
send-
can send your letterhead packages to record companies, producers, and managers.
on
not be deluged
Keep
demo and
company
lyric sheets
with you
A&R and
it
to
and may
producers.
at all times.
You
someone such
never
know when
you'll get
them
else
limo
with
of the income on whatever song they are responsible for helping you place. (See
"Negotiat-
ft^T
this
is
a "people" business.
memberships
for
in organizations that
As
new
in
most other
business, maintain-
is
a "people"
business.
your colleagues, researching the trade magazines, and being ready to immediately
take
all
289
.
Survival
Getting through the door involves continuously and consistently making contacts and
being able to support yourself while you're doing
as a
and family
Get
to survive
it
it.
If you're a writer
who
money
Try
for
working
isn't
till
day job so you can spend your evenings writing with others
who
it.
to get a job in
some
else
wants
those jobs, too. Don't be afraid or too proud to start on the bottom rung. If you
have
agencies that
Dan
In
SIX
Be an intern for
IN
a label.
2.
Develop computer
3.
4.
5.
Write
level
who
skills; you'll
labels
on the
publicity
department and
they'll
soon have
Beyond
basic
is
greatly enhanced.
local
I'll
find
and regional
articles
meet the
6.
offers:
If
you're what
computer
skills,
call
this
in
clips of
rate.
If
your writing.
you're optimistic,
department.
Volunteer!
Do
volunteer
work
put you in action centers where you can keep in touch with what's going on.
Volunteer
to
work
in recording studios in
working volunteer
for a
tion
and
likes
just
might be considered
first
paid posi-
290
first
knowing
of a
deal that
that
you
The Options of an Out-of-Towner
The
music center:
New
as a songwriter
about a career
The
to
is
move
is
major
to a
move
to
to a
not-so-major but active music center. Periodically, places like Austin, Seattle,
Minneapolis/
when
St. Paul,
when
seem
spawned
may
area
local
producers and
also
based on what those particular producers have had success with. Find out
srvle
The
successful acts.
if
you migrate
to or live in
one of those
who
those
areas.
have a philosophy about what takes place to bring music industry attention to a
bands
local
two
a local act or
bring
will always
city.
more industry
attention to a scene than competition between bands. I've noticed through the years
that
point
is
promote each
What's
other.
A&R rep,
for example,
They're great!
What
work
says,
band
is
my friend's
good, too)
is
to
band.
that the
rep starts to feel the "buzz," the energy in the place, saying to himself and his
company, "Hey,
and we'd
everybody
late eighties
else
and
is
early nineties
was a scene
When
it
on
better get
industry contact
and
Somebody makes an
interested in a band,
is
A&R
at
their contacts
it
we
if
because
this place
in Seattle,
who
due
to the
wisdom and
enough success
information to themselves or
around
to spread
to
it
signals
an advantage.
they'll lose
is
deadly!
It's
Anyway, back
to
business.
If you stay in
publishers,
your
own
if there are
specific
This
is
who
good way
to
you
deal.
let
to the record
refer
you
them
anyway.
You may
trip to
is
at
people
to local
recording centers. If you're not a performer, have a hot local act record your
pitch
them know
demos and
a shot
it
been looking
packing
air they've
greener pastures.
"But," you say, "I have a good day job, a wife (or husband), and five kids, so
relocating
is
291
Try
a vacation trip
some
get
info
some
Do some
first.
from your
Try
till
they
know
remember you
they'll
When
$k
When
you're far
away
from recording
centers,
it
becomes
establish
identity by
way of your
much
it
contact
easier to
you're far
up
call,
Maybe
or
when
for
that,
in trying to
later.
Those
is
that
solid, in-
centers,
it
know (from
across the
(See "Successful
is.
it
when you
better
set
The point
appointment
to get an
you
If you're
at a
frequently so people don't have time to forget you. Better to send a couple songs a
correspondence,
six
packaging, and
be more accommodating
graphics.
and would
like to
months.
you
for
you
if
call
as
an out-of-towner
schedule an appointment.
by doing
in L.A.
the
It's
of the
flip side
"No
matter
is
used to
me
tell
seem
month
in
town
few days
for a
how tough
writers
it
to
was
to get
are,
you
any respect
can't get
else.
your
in
On
up long-term business
writers set
feel as
San Francisco
area.
asked
lots
of people
and how
success
relationships with
it,
make
it
work.
when he was
you
He
there,
are
any time.
lives in the
when
persistent
at
it
Me")
are,
it
all
gets
down
actually
to
how
it.
side,
know
it's
necessary for
you
to collaborate to
sound
like a plus,
its
positives
As
a lyricist,
restrict
292
insist
on writing both
lyrics
if
you're a prolific
and music,
in
lyricist,
number of
my experience,
negatives.
On
the plus
have a suitable melody for your words.
but
Those who
and
of
styles
finding several
finished songs.
without needing to
do many writer/performers.
On
to be
minus
the
extraordinary
.in
And
no melody. There
a lyric with
Check with
You
really
have
lyricist
on
you
it's
virtually impossible to
what
make
a single-song deal
commission
lyricists to
what can
a lyricist do?
who
cowriters
ahead
are further
in their careers
new bands
Good
locally.
still
some industry
and keyboard
lead singers
may need
who
are already
contacts with
on
staff at a publishing
such
artists,
as studio
worth
equally
company. Find
With
all
make
the above
you have the advantage of writing with people who could get good demos made
at a
and so on.
Buyers Guide.
Make
The
for,
Caution:
and
Do
in the countries
many
stores, schools,
pay a
is
is
enormous.
contact with as
and
lyrics to
fee to
companies
will
who
grow
quickly.
lyrics.
(See "Avoiding
you plan
on. You'll
to actively "plug"
want
own
your
songs,
it's
music publishers
who
gies"
list
may
file
on each of them
prefer,
you make
for the
contact,
artists for
file
they're producing,
they're recording,
what kind
file
for
If
them.
293
Here
are
inefficiency of
Go
to their sites
file
you
make
sense
in detail.
The
Songtracker.com
www.songtracker.com
The
CA
Valley,
93062-0976
SongTracker 3.0
studio owners, DJs, radio music directors,
PRO
SongTracker
3.0
is
artists,
list);
and
is
$2000
management,
legal
departments, and
list.).
Yeah Solutions
www.yeahsolutions.com
P.O. Box 163507, Austin,
347-9324
Tel.: (512)
TX
78716
Fax: (512)
USA
347-9325
Windows
only. Featuring
A&R,
$1,800 (2000
price).
Network Marketing
www.musreview.com/musicdata.html
P.O. Box 41635, Nashville,
If
you want
download
to
to
promote your
daily.
—$79.95 1500
All
— $139.95
Book
Data Bases—
$269.95.
Visit
www.johnbraheny.com
for updates
on
prices
prices.
Information on the
to gather regardless
artist
of your system:
from the
and
TV
style
he or she prefers,
artist personally.
2. It's also
as
and so
294
forth.
This type of information
is
useful in
all
is
important.
up
set
lets
when you
It
call
someone or
them know
many
by
a brief
them
and
ice,
producers have
It
little
climate for you to get feedback on your songs and help you develop as both writer
and
publisher.
3.
phone
call,
keep
if
the
demo
hook was
make
like
'Do
to
name)
in
September
start writing."
up fde
4. Set
good idea
to
name of each song
if
you have
song (alphabetical by
for each
a database
if
title,
it is
you have
Each
several songs).
rewrites,
•
mark them
If there are
numbers on
•
letter
on
that song
AND their
their
you
respective
•
affiliation
and
drafts
performing rights
•
accordingly, so
receive
photocopy
(If a
for each
file.)
Photocopies or printouts of any contracts that pertain to that song (for example,
ment) or any
legal
documents
who
ties to
your knowledge.
•
The
copyright registration certificate (or the letter saying you've sent for
The performing
it)
or any
services.
rights clearance
forms (BMI,
ASCAP,
or
corre-
Any
correspondence or forms from the Harry Fox Agency or other agency collecting
your mechanical
The
value of these
files
and cards
will
whether
it
was producer
X or Y who
become apparent
call
or
visit
after
these).
already passed
to present.
Aside from the obvious value in being able to keep track of what you have or
haven't
done with
is
295
.
as
in pitching
It
takes a
little
many
Once more,
don't
industry people.
and your
you
titles
on
each.
Have
lyric sheets.
insert, the
box,
someone
asks
if
for a copy.
3"
to keep
some
Palm
It's
also a
down any
good idea
info
X 5"
Pilot,
street."
Handspring,
The
etc.) at all
or matchbook covers because they don't get lost and are easier to
you pick up
tion
act
who might
site
or service.
is
you or
PDA
file.
little
scraps of paper
The
street
informa-
on the ground
give
to get in
floor, or a valuable
Web
Showcasing
own
Performing your
is
yet another
way
songs on
live
them
to expose
1
2.
3.
To
4.
To
as a
way
to
publishers).
Most
songs.
audition for booking agents and club owners to get live performing gigs.
regardless of
cities,
Though most
own
few of your
In most big
You
which ones
cities
you may
the talent
money
showcases.
a
few original
is
good way
to gauge audience
them
a few
somewhere
show up and
They
are
it
how
is
You
at
late
for
two
3 A.M.
to
in these
club owner might split part of the admissions collected at the door with the
performers,
somewhere
296
it.
If you're a
to give
up
want some assurance
paying gig
that
someone
—
worthwhile
will be listening.
be enough.
The deciding
It
you do
factor
it
just tor
is
industry people are always worth playing at (and attending regularly, even
Networking
plav).
is
may
it.
if
draw
you don't
chance to meet and be heard by industry pros, but meeting, hearing, and being heard
artists
career opportunities.
For example:
Someone
want them
or you
Someone
likes the
way you
to play
likes
sing
on
to play
demo
or master session
on yours.
your songs,
lyrics,
you
them
to collaborate with
or vice versa.
•
You
You
friends
and other
your
career.
projects needing
material.
You
inspired
are inspired
creative people
who
are being
and motivated.
One
person intro-
duces you to a few more who, in turn, introduce you to others. All these contacts
increase
your odds of finding whatever you're looking
companies,
original material.
do them
in a totally
to see if
company
in a set
set.
pay
for
If you're
them (Good
who
list
gig,
him
of
know what
hits unless
you
the
time you'll be doing
of appro-
list
should be invited.
working
luck!). Tell
working a "cover"
Hopefully, by now,
it's
Make
your original
priate
unique way.
for.
its
own.
list.
owner
to help
to
at
put one
when
Consultant/author
your
Web
site
address
Tim Sweeney
on
it.
Give
it
suggests that
Web
If you're
1
Make
you have
a rubber
they enter.
It
home.
is
listed
on
at a club
before:
promotes
itself generically, it
may
it's
not mention
specific acts.
297
.
Check with
2.
who
the people
Remember,
win or
come
help you
and
you have
ments, amps,
a band,
make
big
is
enough
accommodate your
to
instru-
etc.,
yourself to best advantage. If there isn't enough room, look for another club.
4. If there
is
it.
sound person you work with regularly and the house system
sound person
sound system
If the club's
riskier.
room with
who
for the
a record
there and
Make
5.
instrument
sure
7.
Make
9.
Know
10. If
1 1
tailor the
sound output
room. Volume must be tailored according to the
is
important, so
sound check
is
to
adequate. Will
you need
a piano,
how much
make
sure
work out
all
the problems
it's
and
see
whom
stage.
looking
you or
telling
everyone you're
like
to
make
you want
for
lists
lights?
Make
sure
set
and
you
work
sets carefully,
as a
it.
It's
the difference
tell
everyone
beforehand so you'll
at the
know
door involving
to be in a receptive state
policies
stick to
losers.
and guest
No
14. Plan
your
to set
in tune.
at the club,
13. Dress
on
start
what arrangements
guests
size
come and
12.
to the
sound person.
between your coming back to the club or not, between having the employees
to
is
they're aware of
if
sound out of the room.
it.
you have
Show up on
See
better for
it's
levels.
6.
8.
mix around
you have
adequate,
is
I've seen
is
if
isn't
how you
make
it
look individually or
it.
group
as a
set,
to change.
going to be the
last set,
put
strong material at the beginning of your performance. Record people frequently have
298
THE CRAFT
AND
BUSINESS OF
SONGWRITING
less
commercial tunes
to
open
and think
you
11
find
when you
hit the
Make sure
5.
If
some
all
is
conveyed
list
to the
whole group.
additional questions to ask that will help you tailor your performance to the needs
or the club.
Top 40
What
will
R&B,
all
Top 40
stuff,
drinking crowd?
singles' bar
Pick a club that wants the kind of music you enjoy playing or you're wasting your
time.
make them
like
we do"
dig what
The
attitude "We'll
is
you do.
Contests
Contests provide songwriters, singers, and bands with an opportunity for
validation/ac-
knowledgment of their
talent as well as
an opportunity to win
different reasons
and
it's
prizes.
important to be able to
competitions for a
theme song
new
open
to writers
The
do
from
all
raise
Many
Most
at all.
up
contests are
several
is
to find
talent.
Seldom
contests translate directly into commercially successful record deals, hit songs,
etc.
are,
assess
There
however, a wade range of potential benefits, depending on the scope of the contest.
The
long-defunct American Song Festival and Music City Song Festivals offered, by
virtue
who
phone numbers
was
list
the}' particularly
a valuable
door opener
for
on
many
their
own,
writers to
Beyond
prizes
and
validation,
prizes
as contest winners.
This
299
5
Submission Procedures
Each competition
common
An
entry form
is
before
all
cases,
to
its
own
all.
Fill
acceptable to
is
it
some work,
yourself
you
will give
as
in
though
each category
it
make photocopies of
there
(if
is
more
To
save
fill
so
you have
all
to
add
song
is
titles,
writer(s), if different,
and
categories.
A fee
required for each tape submitted in each category. Fees can range up to $ 1
is
or
category. Entry fees are certainly justifiable.
a contest
it's
is
who
believe that, if
know
don't
just wasn't
entrants
someone
anything.
who
last
Some
must
tasks. In
a rip-off
as a
way
them up
for a critique."
Nonsense!
their
song
way
a rave review as a
to
for an
fee.
and tracking of
to protect writers
heard, and
is
have actually advised writers not to pay a fee for submission to contests,
additional
year will
sessions;
some
set
last
good enough.
inquiries;
is
entered
The
not cheap to
is
because
It
make
lyric sheet
it
is
among
facilitate easy
to be
listening to a verse
remainder of the
lyric.
Many
the possibility of favoritism should the judge recognize the writer's name.
300
THE CRAFT
AND
BUSINESS OF
SONGWRITING
fill
It is
especially
and
lyric sheet,
tape.
initially
will black
out themselves. In
it
or lor
it
If
fact, it's
owner) on each
you send
though.
it,
lyric sheet
no matter where
what purpose.
Categories
There
between contests
in the areas
amateur and professional. Some contests
ings are
of categories.
you
member of a performing
be a
that, to
on record. In
though
reality,
likely to
happen
Another method
enter
One method
are a
is
it
may
is
to disqualify
SESAC
or
method
1992. This
importance
you
of methods
a variety
amateur category
in the
if
rights organization,
impractical to belong
if
song released
talented
is
a record
enough
that
in the future.
is
that used
if
one can
in
still
be an excellent professional
is
that
if
they've
had
song released on a recording before a certain date, usually the deadline date. This
method
has caused great problems, at times requiring notarized affidavits as proof and
delaying
the final disposition of prizes based
still,
Your
to take
best strategy, if
you
way
you
on objections of amateur
entrants.
However,
this
is
to divide categories.
feel
you
are
an exceptional
writer,
is
any
amateur group.
Stylistic categories,
though more
fair for
R&B
or rock, country
from
folk, etc.
They
having
it
choice.
The
can afford
best approach
it,
is
after getting as
it's
to play
much
same songs
in several
safe
feedback
as
writers
and
if
you
friends
Some of
Here
to enter involves a
it
who knows
may
it
may
be
are a few:
301
..
A song without
2.
The
3.
Cliched
title
4. Little
a chorus
first
or
last line
of the verse.
lyrics
its
is
well-produced demo.
it.).
clean,
it
yourself
if
It
does
mean
that
clean.
Prizes
You
money
the
overall
winner and
first,
more
may
make
awarded
prizes
is
awarded
to an
felt
the finals.
Cautions
some
for
makes
it
you recognize
legitimate contests.
Here
are
some
been
list
in operation for
more than
of previous winners.
they offer you merchandise prizes, they should be able to prove to you that they
have either purchased them or with an affidavit from the manufacturer that the
merchan-
dise has
but
may work
in conjunction
in consideration
3. If the
is
contests
will
may
once a contest
4.
The
Web
to
make
it
money with
the honest
gamble because
music store
contest offers a cash prize, they should be able to offer proof that the
to promise prize
is
local
of publicity.
in
with a
it is
fails
hope
all
A common
money
that
to provide prizes
on
time,
its
money
downfall of
many
very risky
entries,
and
site
on
can be reached.
5.
The
and
their families
should be
302
THE CRAFT
AND
BUSINESS OF
SONGWRITING
of winners and awarding of
contest's
Web
prizes
in
listed
site. If a
should be clearly
implemented.
New deadlines
must be
clearly stated.
Judges of the contest should be music industry professionals with proven experience
judging and critiquing songs and, hopefully, in a position to further your career.
8.
fact,
in
Your
purposes.
it,
it
doesn't.
or use your
contest. In
is
promotional
for
wj>»
Don't enter contests in
of the contest.
There
is
new way
who want
and finance
to find songs
company and
If
imagine
you
is
two main
believe in the
2.
they'll
form
is
to
a record
reasons:
music publishing
their businesses
owned by an
means of financing
company and
finding songs
It is
is
new
to hold a contest.
would want
say the
least.
to publish
else.
So to
set
themselves up as someone
who you
"automatically"
may
be writers
is
who
arrogant, to
should not
may not
be in their best
interest.
Finding Contests
There
•
are
One
Among
•
some
comprehensive
fairly
list
of contests.
The Unisong
International
Song Contest
www.unisong.com
•
The
www.billboard.com/songcontest
•
303
.
The Mid
www.saw.org/sawa.htm
USA
Songwriting Competition
www.songwriting.net
Web
Sites
If you're a songwriter
If you
check
and not an
artist/band, having a
Here
are
Pros
1
If
you want
Web
address
can work
it
on
it
personal information.
2. If
you have
link to their
3. If
you have
rators to
telling
your
you
5.
give
site to
site
it's
It
site,
and you
the writer.
your
site,
too.
saves time
stress
to
of someone
you who do
like
A Web
you
like to
your music
might
fans
4. If you're
sites, their
new song
posted on your
if
site
every
to
week or every
other week. Failure will produce incredible pangs of guilt, which, depending on
your
Cons
URL (Web
good
at
graphic design, want to invest in the software, and want to take the time to build
it
cost about
1. It'll
yourself,
go
If you're
good
for
it.
to register
your
at learning
want
to add,
site,
and
other compatible
2. Just
ally unless
if
work
sites
it's
that way.
it
doesn't
it's
searchable by
mean anyone
to invest in a
site.
lyrics
all
site.
by
info
you
actively linking to
will automatically
want
to visit. It
send person-
know what
you're up
to. If
you're an
songwriter just trying to get people to notice you, there are probably better
304
lot
unknown
own
to the extent
just doesn't
address). If you're
It
audio
demos
or great
files
Web
to create a
of
your songs on
To make
it
it
more
you
My
like.
good enough
are
or other writers
to
interesting,
explaining
you're a prolific songwriter, and you can upload
site,
it.
life,
Make
it
a piece to
what you do
to
back.
go with
where you
information.
you're a writer/artist or band, there are
If
more
benefits:
1.
2.
You can
post:
and audio
video clips
band members
3.
tion could be
Promote
The con
time and
assets in building
and
contests, events,
Regardless of
all
to
make
that,
it
work
feel that
hats, etc.)
money
4. Sales
5.
for
all
benefits
it
It
takes
provides.
for
the work.
I
feel it's
this
book
Web
site.
topic
itself
topic.
There are a
lot
could.
like
www.johnbraheny.com
(See the
Appendix
to get into
also
how
Web
to build
sites
books and
sites
about the
my Web
you
site,
to keep up to date.
for a
list
Web
sites.)
305
.
Additional Markets
different markets.
With
friend of
little
song about
lovers.
He
it,
his
dog
it.
It
was
The
following are
at each,
seem
ro think in
some
"Who would
and resources
interested in
still
makes
and he knew
be?"
more of an in-depth
it
magazine.
in the
www.johnbraheny.com,
framing via an ad
a song a publisher
look
writers
dog
money from
Though most
He
skills
in
all
visit
my Web
site,
these areas.
television,
The
success of
TV
television producers
to hire, or contract
on
a project basis,
music coordinators
and music supervisors with record company and music publishing experience
to
make
sure
they get the best contemporary composers and songwriters for their projects.
of music usage
areas
2. the
song written
Songs
will either
TV are:
as "source
They
the screen.
306
and
for a film
used
in film
THE CRAFT
AND
BUSINESS OF
SONGWRITING
prominendy
in strategic places) or
on
Skills
If
vour goal
know how
is
to
to arrange
current synthesizer,
orchestrate.
also pays to
It
composer
to create
kevboard-oriented.
The
and record a
and
demanding of
skill,
all
discipline,
a finished
who
have the greatest
as possible.
prices.
TV
The
with the
it
least
series,
^L
The best opportunities
are available to those
who have
is
a successful scorer
and songwriter
for
variety of skills
producers want a
finished product for as
little
hour-long film.
Then
up
it
takes a
Then
the greatest
and speed.
He
TV producers want
money
little
and recording
software,
manpower
in this area
substantial
you
if
most
week
to choose a
work on
to
and sound
been booked
effects are
for, say,
an
who
are
six
mixed
and
if
it,
transfer
to the film at
six
possible.
do the music
money as
are a lot
you're in deep
trouble.
With TV,
Sometimes
too.
Koz and
is
especially cartoons
for a
I'll
work
thirty-six
a partner usually
is
it's
almost
all
music,
digitally.
is
The
it's
a rough situation,
a crazy job.
other
method of scoring
copyist to write out the complete score
where
sometimes
a faster
and record
is still
it
great.
Learning
Colleges and universities with film and
TV
by professional
ence with a
tional,
minimum
if
your
credits, skills,
your
local cable
and
availability
TV station
on the department
if
and posting
music on each show or new shows being produced that may need theme music.
Cable "public access" shows are low-budget shows created by
ADDITIONAL MARKETS
307
production interns. They
access.
few of
these,
done
CD
containing
Whenever you
demonstrate your
ability to "spot"
know where
important to
as
it's
taste
as
not
that can
Finding
You may
assistants
who
move
is
as
enough
successful
a great
way
to get
and
show
has
own
its
where
it
more
to yet
skills,
TV
in
network on which the show
is
office, so
you on
will turn
studios
broadcast. Each
As soon
for a pro
own
their
friends
lucrative jobs.
working
Work
win
also
TV music
agent,
you
contact.
who
is
TV studios
and film
composers. Most prefer to deal with established writers, agents, music publishers,
or record
exist at
them
temporarily to establish a
songs). If they use
you
will give
is
to present
leads
on what
mood
it
with a current
them
as
or set a dance
"temp
common
hit.
tracks"
right
(i.e.,
and
hit songwriters.
strategies
But
may
may
not
title
song.
go wrong. The
feel that
hit
song
they'll
on
to negotiate
artist
in a film
look
first
or record
can
for hit
company
artist's career,
a final decision
308
because they
and
be a major marketing tool for both the record and the film, so
may
but you
editors, producers,
One
accessible,
backdoor approach
is
more
coordi-
all.
artist.
from the
The
film
sing
artist to
repeatedly (even
belongs there.
Ir
it
it.
other strategies
happens predominantly
begin to
rail
mid-
in
may
to low-budget
reel as
it
Major big-budget
films.
though
film producers
don't leave anything to chance. There are so few great film vehicles compared to
publishers will even split the copyright to a song as an investment in
what
TV
that
a successful
It's
extremely
cases,
"know what
producers, directors,
are, in
stars, agents,
and others
nephew who's
One day
Or
good and
song
is
most
who
can be
it's
out.
On
Wrong.
tell
The music
If
tion
TV, look
to write for
for
TV series
SESAC
shouldn't compete with the visuals, but complement and support them.
you want
You have
much
It's
it's
you watch
supervisor. Film
and
TV
songs.
representatives at
Web
unknown
sites to get as
much
information
it's
feel
that
It's
much better to
express the emotion of
Paid and
TV ranges
and
from ridiculously bad
Writers often
the scene.
as possible first.
The pay
teg:
to incredibly
projects.
credits.
good based,
as usual,
and
want
it
to be a
"work
to write a
own
it
outright.
Either way, you'll probably get an advance, retain 50 percent of the performance
royalties
from
airplay,
on
screen. For
from
BMI
or
week
ASCAP
TV,
or,
the biggest
theatrical
scores
on American
royalties
if it gets into a
The performing
rights organization
rights organizations
do not pay
if
the film
is
shown on
television.
ADDITIONAL MARKETS
309
.
of an entertainment attorney
who
specializes in film
son
who
"Motion
Business
as this
(see Bibliography),
will
do
is
complex
company, and
you have
In
and TV,
area. If
you
if
self-
it.
and Performing" from The Musician's
Mark Halloran
(a
founding partner
at Erick-
& Halloran law firm and former vice president of Feature Business Affairs at
Universal
and Thomas A. White
Pictures)
ing industries) give the following picture of writer royalties for a chart-oriented
single
from
a film
Let's
at
in
2001.
title
You
Paramount
title
retains the publisher's share.
is
9% on
singles.
Your master
is
number one on
Billboard's
in
sells
3 gives
retail U.S.,
500,000 copies
in
you an idea of
be.
Exhibit 3
alert
best to be
accurate).
A. Writer
1
2.
3.
From
(ii)
in
Theaters
Foreign
$20,000
(b)
Radio Performances
(c)
Home
(d)
Pay
(e)
(iii)
AND
Video
*
TV
U.S.
(ii)
$ 00,000
TV
Free
(i)
THE CRAFT
Film
United States
(i)
310
$25,000
Network TV (two
U.S. Syndicated
TV
Foreign
BUSINESS OF
$3,000
runs)
(two runs
50 stations)
$600
$5,000
SONGWRITING
4.
5.
Mechanicals
(a)
United States
(i)
(ii)
(b)
3
(
cents/copy)
$4,000
statutory)
(1,000,000x2.831 cents)
CD
$28,310
(500,000x2.831 cents)
$14,155
(750.000X3.00 cents)
$22,500
Foreign
(i)
(ii)
Single
CD
(375,000x3.00 cents)
$11,250
Total
B.
$233,815
Recording Artist
1.
2.
3.
4.
(a)
(b)
CDs
$25,000
,000,000 copies)
$76,500
(500,000 copies)
$49,401
$47,812
(b)
CDs
$27,225
(375,000 copies)
$222,938
Total
* Figures presently unavailable.
highly
and
's
Business
and Legal
is
TV from Todd Brabec and Jeffrey Brabec's book, Music, Money & Success at www.asca
p.com/filmtv/filmtv.html.
Commercial
Here's
recommend
Jingles
some background on
creativity
also highly
the
making of commercial
skills,
jingles
needed by
and the
a jingle
qualities,
beyond
music producer
to be
successful.
To
air a single
thirty-second commercial
on
a prime-time
and
effort to create
it.
network
TV hit
show may
who make
would not
exist.
not
those agencies
it,
whom
why
it's
of making music for commercials. Like the old Catch-22, "If you're not already
successful,
ADDITIONAL MARKETS
311
With
sounds
the stakes so high, ad agencies can't afford to gamble. If they choose music that
less
risk losing
So a composer must not only understand the advertising medium and be thoroughly
professional, but
must be
a composer, vour
feel
So you need
to
may be compounded by
problems
may
become adept
He
You
know your
what
Where do
they
also learn to
are their needs as a group?
What
style
them
— they
How old
How much
live?
request a
want something
or song ("I
artist
like Metallica,
He may
You must
business.
want something
or musical terminology.
of like Madonna's
and
What do
are they?
disposable income
What do
they like?
do they have? In
they
general,
the questions agency personnel will be able to answer. They'll usually have a
storyboard
already
worked out
comic book)
way they
or an animated
see the
computer
Each section
to end.
is
timed.
They may
also
lyric
or slogan to
work from.
the emotional
feel for
lyric yourself,
will
lyric,
or
but
some
of each.
You and
get
demo
costs,
but occasion-
be asked to do the demos on spec (your money). Synth demos are usually not
maximum
It's
good idea
something they
like,
to
you can
to give
you have
them
a choice. If
you
Ad agencies prefer to do business with music people with whom they have good
rapport,
who
are professional,
who
else.
They
who
also like to deal
hired
done
at that level.
you have
client
to apologize for
He wants
come
your bad
at least,
312
It
who
it
to
deliver the
with people
goods
who
at
an equal
are personable
way
competence
in this business,
his
business
good
but in
is
taste.
this case,
The Audition Demo
Because the competition
your
skill
and
more than
versatility
five
commercials
in
is
create
it,
both vocal
jingles for
If
first
insert,
you have a
on not
new
talent because
Agencies look
on the demo.
Do
of atmospheric background
Many
different styles.
in the jingle.
commercials only
some
CD
and
address,
and
Web site.
site
done, you're ahead of the game; but you also want them to have an actual
Rom
shows
that
and don't
demo
insert
more than
on the
If
jingles
with
The
some
after a
on
CD.
minutes of tape or
some composers,
is
CD
or videotape) with the actual commercial and resume that they can keep
(or
on
CD-
file
and
Making Contact
Everyone
got started
when an
on
jingle sessions,
in a different way.
it
Some
arrangers. Personally,
to see if I'd
more
do something
like
for a
it
I
on
Toyota commercial.
bl0178.html) and
it lists all
"Red Book"
(http://library.diaIog.com/bluesheets/html/
and who
offices.
These people,
and
screen
who
production
produced commercials for radio and TV. (Some were print only.) The
first
question
asked was whether they ever used or were open to using original music in their
spots.
Some
artist,
to hear
(see
and eager
music
who
at least
something new.
coproduced
my own
(I
who were
in
most
made appoint-
I
cases quite
I
was
open
a recording
brought copies to
been good
at
promoting
ADDITIONAL MARKETS
313
.
The competition
f^fr
In advertising,
it is
any
to go in with
all
your
don't
fierce! I
know how
you
card to thank
them
On
competition
fierce!
if I
hadn't had
get a meeting, take copies of your audiovisuals. After the meeting, send a
eager they
all
credits.
When
absolutely necessary
is
it is
3.
4. their
5.
keep track
of:
names of
the
presentation
and
their secretaries
and time
You'll probably
make
there
comments on your
6. a date
change)
make
assistants
to call
several calls before
you
who
talk to
important because
is
your
after
first
file
you'll
you valuable
call,
You're
them
known
to the agencies as a
a finished product. If
to kid yourself
own
about your
well.
to deliver
or most of
it
yourself, fine.
though. This
is
all
Depending on what
It's
important not
filling
do
you may
Most major
don't
is
live
jingle activity
near those
cities,
is
in
New York,
you need
to pursue
some other
office.
Since audio
files
are
Web
site.
Among
Make
those options
that
your online
Here
options.
if you
for finding
you can do
work
as
a lot of business that way.
as
Adweek (www.ad
Contact your
state film
commission and
music resource
in the
catalogue they send to companies to solicit film projects in your state. These
catalogues
are also sent to
•
Most major
sionals, clients,
you can
cities
The American
in that region.
advertising professionals.
They have
valuable opportunities to
THE CRAFT
AND
BUSINESS OF
They
Advertising Federation
314
advertise.
state.
SONGWRITING
also
is
www.aaf.org
site:
DC
Washington,
898-0089
Tel.: (202)
Fax: (202)
NW Suite 500
20005-6306
898-0159
CA
94108
(415)421-6867
Tel.:
Fax:
302
Street, Suite
San Francisco,
(415)421-0512
is
to
or will
do radio
you have
ads. If
script, get a
home
If
you
lay
on them
how
down
whole
it,
thing. If
it
of
tracks,
you can
good plan
to
is
sell
and
likely
can do
with the ad
alliances
Your advantage
it
drawback
play
on them
have to do
yourself,
your
it
is
is
sales
that
Go
it.
There
and periodically
They have
own
company
You would
you do non-union
create
cost. You'll
new
list
and
"buyout"
to create
him.
jingle
agreement
you
get started.
a great
deal,
spots
hope
jingles for
some other
When
are also
sell
with an original
you do not
to http://musicoffice.com to see a
to negotiate
client
and how
whose salesmen
creative fee
lyrics
approach
to this
much
jingle.
just
the jingle to the client and have the station's announcer write
you'd pretty
own commercial
form
potential
you approach.
do
some of
Your competition
and
be surprised at
some
another alternative
is
to
hook up with
a jingle
music production
or "jingle house." These are established businesses that usually represent several
composers.
the potential to
make
as
much money
if
you choose
this
ADDITIONAL MARKETS
315
route, but
many
as
Yellow Pages and on the Internet, usually under "music arrangers and composers,"
"music
producers," "jingle production," or "commercial music production." Also, check out
the
doing
What
If
Compile
it.
Your odds
to an agency?
ucts
pay a
of
lot
production
jingle
to
for
is
is
them.
jingle or
Remember, ad
money
it
You Have
If
any
if
copy
writers in their
who
agencies
company
to
sell it
come up with
those ideas.
There's a good chance they don't want to hear yours. If they do, you risk that
they'll
What you
can copyright
is
without paying you. Ideas are not
it
it's
compatible with the product image already planned by the agency, the odds are
against
the
company using
enough
in
your
it
no matter how
you should
idea,
give
Having
it
The
a shot anyway.
said that, if
best shot
is
you
believe
them
to present
a finished product.
The Money
Today's commercials use a
lot
of recent or oldies
hits
ad agencies
will negotiate a
the writer doesn't have a clause in the writer/publisher contract preventing the
song from
The
and publisher
writer
split the
synch
fees,
new
assume
commercial
song
now
jingle
residuals,
You can
and publisher will
lyrics
amount of
You
rate, figuring
THE CRAFT
AND
it's
performance
creative fees,
royalties
SONGWRITING
to
$50,000
it is
in
any
(nerve). It
BUSINESS OF
316
it:
business.
also receive
rights royalties.
At any
must
there.
that we're not dealing with a previous hit but with the writer of a
with
cases,
hit,
and
if
little
difficult parts
of the
on
spots, variations
to
do the
variations.
representative
the other
My
a basic theme.
would
and
me why. The
tell
was to be
a job that
my
wasn't
it
till
two years
my
amount. The ad
psychology of "If
changed
my
costs more,
it
man
tried to
decided that
client
convince the
them
let
tell
you
it's
too steep.
like, "I
new
may
hint at
if
what
has since
jingle,
If you play
me
see if
I
them
get back to
you have
a solid relationship
on
opposed
advertising, as
You
let
commercial
studio so
etc. If
"Well,
say,
with something
company
my
could
but the
client,
it
if
negotiating tactics.
how
it
because
figure,
competitors, both well-known pros, were charging that much, he didn't see
possibly deliver for half that
way
agency
in the
a series of thirty-second
can range from $1,500 to $15,000 per spot, depending on your clout,
how
big
is
It's all
is.
available to
negotiable.
or, if
you
scale
sing,
payments,
even higher
(AFTRA)
Artists
or the
Screen Actors Guild (SAG). At the end of every thirteen-week period in which a spot
same union
scale
is
original
session.
The
from your
local
The performing
ties for
music used
rights societies
own
AF
in
of
M and AFTRA
They're
protection.
their rates
offices.
for current
updating
payment
schedules.
nearly
all
music written
only be paid
if
all
for
commercials
is
performance rights
may
the writer obtains a licensing provision from the agency/ client that excludes
from the
rights
organizations for a license that protects your right to receive these royalties.
In the above-mentioned
is
income sources
used in the
jingle,
whether
it's
amounts paid
are based
on the
ADDITIONAL MARKETS
317
it's
and
in
it is
it's
how
often
played.
own
hits.
artists
Production music
Problem
TV,
for video,
Here's
at once.
film producers:
isn't just
generated by their
it
need songs,
it's
also don't
like to
projects, video
Problem
for
calls
who
unknown
in
writers:
little
new low-budget
It
would
who
hire them.)
Solution: Production music libraries. These companies secure the rights (more about
they
the
all
too expensive.
is
if
works.
feel
on
style;
CDs and
to
them
that
send them to
all
mood; instrumentation;
or group vocal; and any other attributes that allow an audiovisual producer to
target the
They
mation on
how
the song
is
used,
how
it,
and
fill
out a cue sheet for the
long,
name of the
includes infor-
piece, composer(s),
and owner
of the copyright.
•
Some of the
them but
will occasionally
own
in the past to
fill
They
in
will also
have
lists
of independent
or if they can't provide a unique style their clients are looking for. That's where
you have
How good
does
it
have to be?
Since they can only use "master quality" recordings for film and television, they
have
to be excellent. If you're submitting instrumental pieces, they
318
THE CRAFT
AND
BUSINESS OF
SONGWRITING
mood
themes but
that
to create
is
It's
also a
good
idea to
It
in
many
irrelevant,
Tape TV shows
back and make
number
different ways.
(try a
lists
of
will
Sometimes the
lyric
is
important. Sometimes
drama and
authentic.
is
comedy) with
just an
all
underscore, and
vs.
how many
are
under the dialogue. Are they using different mixes of the same track for different
cues? There are actually cases of entire
in
in
in
this
used to creating songs and you want to compose underscore, your knowledge
If you're
mony and
Never
as
much
as
an understanding of har-
grooves.
lose sight
So think of
how
a single five-minute
how
of the
fact that
The
film
your music would sound with dialogue and sound effects over
is.
it
and
in
two
How do
you
get paid?
There may be
The
other income
organization based
is
received
is
fee for
media come
music that
is
used in
company up
on the information
in audiovisual
how many
how many
is
rights
aired. If
your music
is
used in a television show that later goes into syndication, you get paid again. If
your music
is
theaters in the
is
shown on
United
United
television
anywhere
in the
world or
in
motion picture
States.
(No,
it's
not
fair,
you submit.
It's
is
also
music used
in
story.)
an up-front
fee
paid for
you
who
You
recording, a license
control
all
must be granted
on
ADDITIONAL MARKETS
319
.
which you
for
that, if the
get paid, it
is
recording
clear
how
is
used for
(or even
if)
they will be compensated. Cover yourself with a release agreement with your
musicians
spelling out
what
even
they'll get,
if
you
get a
on
that
done
but you'll have
them when
it
TV show.
Frequently, the license with the audiovisual producer will combine both the "synch
fee,"
and
purpose of
for the
compensating musicians, you'd consider the "master use fee" to be half the total.
Though
want
They'll
to
may
all
the publishing
its
to be able to use
your music
a
result for
own
on the
its
forever.
They
also
defend
it
to
accomplish
restrict their
own
this,
CD
or
One way
this position
involvement to audiovisual uses only, so you can also use the song on your
pitch
They
it's
and they want
by saying that
uses
own
is
for the
your music and re-register the compositions under their publishing com-
library- to retitle
pany. This allows you to continue to market your music and collect any royalties
earned
efforts
is
2.
societies
listed
on how
Some
offer their
will offer
use.
its
fees to the
music
composer
"royalty- free,"
the last
money
the
which means
royalties are
composer
sees.
they
may
royalties.
for the
is
to
$1,000 depending,
determined by
resist
how much
giving advances at
libraries
all.
performance
royalties generated.
rights thereafter
and
that's
composer
will
to substitute
allow the client to buy out the performance right as part of the deal.
320
sheet. Obviously,
payments
end" performance
all
Some
in addition to the
for the
Or
you an advance of Si 00
Other companies
composer
own name
listed
3.
their
is
titles
some
under separate
you.
Some companies
Advances.
as always,
library- to collect
Make
Try the following
of production music
libraries:
u^v.cftech.com/BrainBank/COMMUNICATIONS/MusLibSrc.html
Or,
just search
Children's Music
One
of the
many good
a stable market.
you
is
products. In
many
it
lot
if
is
that
it's
money
of
for children
slow but sure and doesn't burn out overnight. Walt Disney
well
a million copies)
on
releases because
sell
you
body of work
make
you can
on the radio
to
more
won't matter
kids.
There
is
if
to you.
R&B, and
toward
a million
Styles of children's
it
in this market,
a strong
push
country
and novelty
for nonsexist,
down
intelligent individuals.
Children's music
is
home
entertainment
The home
entertainment market
is
Sesame
as
involved in children's
educational market to
Children's Television
Workshop (Sesame
sons,
Street);
HannaBarbera
(Flintstones,
many
children's games);
who
little
Pig,
Yogi Bear,
Jet-
Daffy Duck);
Little People.
make your
presenta-
Also included in
and
stage shows.
Lithgow,
etc.
this category
will
live
performers
who
Go
would be
on where
to
own
Tom
Chapin, John
CD liner
sleeves,
and send
for
ADDITIONAL MARKETS
321
information about submitting material. Your local library
a children's record
department.
Educational record companies specialize in records that have a direct educational
value
for developing children's language,
The
are sold
skills
through ads
in parents'
and
likely to
is
done
teachers' magazines
and
education conventions and are used in workshops, day care centers, parks and
recreation
departments, public and private schools, and preschools.
Writers such as
and
are
is
Hap
others breaking
in.
it
to this field,
may sound
but there
deceptively simple,
experience and
an
is
all,
A
as
ing magazines such as Early Years and Instructor for ads of companies that supply
these
records.
The
Buy
a few
educational music market. This category deals primarily with printed music and
includes easy choral pieces (two or three part) for grade school
DVD-ROMs,
and Internet
Web
and
sites.
is
in teaching
come with
suggestions for
music
to children
is
Resources:
The Childrens Music Web Guide
www.childrensmusic.org
The
Children's Music
Network
www.cmnonline.org
Children's Entertainment Association
www.kidsentertainment.com
National Association for the Entertainment of Young Children
www.naeyc.org
MENGThe
www.menc.org
322
CD-ROMs,
children's
is
wonderful collaborative
working
it
composer and
lyricist
and
moment. Once
the
art
is
as to
moves
written and
what
is
team
all
of whom
will point
out problems, discrepancies, and needs from their particular perspective. For
songwriters,
it
demands
constant rewrites to
ties
accommodate running
who
and patience,
since
it
work on
The
fast
come from
hits to
is
num-
specific to characters
and plot
points and usually cannot "step out" of the show, though within context they can
provide
thrilling theatrical
Launching
moments.
written
is
is
—
a key step
financial
CD
to potential producers,
you
accompanist; lease a
I've
attended
version of the
hall;
many
show
common means
will
demo
is
the
show
interesting a producing
come
is
Once
in to support
and
all
recording, sending out script and tape/
a presentation/backers audition
negotiate contracts;
partners.
singers,
and
of your
director/
and
tells
the story
most
while actor/singers read the dialogue leading into the major musical numbers.
Sometimes
the music for those
numbers
is
who
its
sending a video,
it is
ADDITIONAL MARKETS
323
Training
Most
writers
know
know who
all
may
and
who
many new
see as
is
a great place to
many
It's
Read every
libretto
the strength,
tive
and
theatrically they
libretto.
to
sell
book shows
theater world
practiced
is
who
librettist
to
Without
the
book
and
(i.e.,
a strong book,
full
book show. In
songs,
addition, they
do.
filled
is
one that
fail.
if
line.
tend to be a harder
The
will inevitably
just
more
viability that
often
a hit.
script)
you might
libretto.
emotional complexity,
clarity of the
You can be
of the
is
lies in
clarity
community
The key
The
attend shows that you think you'll like or that are well reviewed. There
learn
and
rg|r
it
the musical scores. They've been "going to school" in musical theater for a long
by few scriptwriters
in these
is
understands your musical vision and whose dramatic vision matches your
own, nurture the working relationship and consider yourself very fortunate.
Traditionally,
the
book
what
is
script
a fully integrated
New
While
development
is
fit
in
New
York.
BMI
Los Angeles,
ASCAP
written.
—one of
the goals of
in Chicago;
theater,
of which
is
an increasing amount of
helping
Librettists,
much
organizations involved in
Tuners
is
Broadway on Sunset.
Canadian
book musical.
tion,
New
moment
and descriptions of
Lyricists in
new musical
New
in
New
LA. and
York. Other
organizations follows.
Broadway on Sunset
to find out
in
The Annual
BMI
list
and
ASCAP
in
New
York and
good
places
to collaborators.
publishers looking
Take
324
THE CRAFT
AND
BUSINESS OF
SONGWRITING
community
theater,
and summer
many
These
There's no better
ideas.
way
to learn.
The Money
Those
to
your
make
The Dramatists
know
there's a potential
model contracts
of
production.
On
now
lyricist,
and
librettist
minus running
The composer,
costs.)
minimum
contract,
first-class
still
moves
show
is
profits.
local, regional,
and
Road
college
productions, licensed under a play publisher such as Samuel French, Music Theatre
International, or Dramatists Play Service, the
pay
is
on
This
may not sound like much, but when you consider the ticket prices charged for stage
schools
fee.
and
your
sixty years,
still
makes
several road
companies performing
albums on top of
efforts.
that, you're
in countless
looking
at
community
high
a formidable
in
after
almost
which include
theaters.
234
W. 44
Street
New York, NY
Tel.: (212)
10036
398-9366
Consult the Appendix and Bibliography for several excellent books and
Web
sites
on
the subject.
ORGANIZATIONS
ASCAP—Michael Kerker,
Tel.: (212)
621-6000
BMI—Lehman
1
Lincoln Plaza,
New York, NY
10023
www.ascap.com
Street,
ADDITIONAL MARKETS
325
New York, NY
10019-3790
www.bmi.com
586-2000
Tel.: (212)
Broadway on Sunset
North Hollywood,
CA 91601
www.broadwayonsunset.org
508-9270
Tel.: (818)
Street,
E-mail: Broadwayonsunset@cs.com
CA
Glendale,
Tel.: (818)
New
Tuners
Theatre Workshop
Blvd.,
91203
502-3309
The Theatre
c/o
Building, 1225
West Belmont Avenue,
Chicago, IL 60657-3205
Tel.: (773)
Association
of Canadian
Librettists,
Composers,
— Robert
and Lyricists
Asselstine,
ACLCL
Vice President
Tel.: (519)
www.adamczyk.com/newtuners/
327-5252
572-3575
Fax: (519)
884-8452
www.geocities.com/canadiamusicaltheatre/aclcl.html
E-mail: innisfun@nonline.net
Valuable
Web Sites
www.Playbill.com
www.Broadway.com
and
many
rise to
component
in the
visit to
become
a major
you'll
find games that have originated from comic books, feature films, television series,
and
rock
artists.
Games
for
both
home
use
and arcades
in a great variety of
hardware and
music featured
to
don't
know
feel it's
it's
within
my
(in case
DMOZ
and
326
Open
you'll get a
money
titles
though there
is
also
want you
available.
good
is
scope here to go very deeply into this area, but
growing industry
There
Go
great resource
is
the
attention but
little
is
There
products for
retailers.
shows
in
writing
IBM
their
salespeople, etc.
They
is
meetings
of, say,
Toyota
instruments, health food products, automobiles, baby products, hospital and health
care
products, furniture and appliances, building materials, electronics for
entertainment and
industry.
The
list is
endless.
in
facilities
who
find out
who
If they
the coordinators
skills
and contractors
who
and decorating
are,
of outside indepen-
your special
list
or independent
new
it
will usually
them
CD
and resume.
fact,
create the jingle for broadcast. You'll be required to write, arrange, produce,
These are
play.
first-class
and magazines.
If
and
is
TX 75244-5903
Special Events
Fax: (310)
and record
own
trade organiza-
of the opportunities:
Tel.:
its
Suite
1200
(972) 702-3000
www.mpiweb.org
702-3070
Magazine
a better picture
Fax: (972)
deliver sheet
you want
Dallas,
know
have done that so successfully that the corporation actually asked them to
317-9533
www.specialevents.com
(When you
Local Events
You
really can't
city,
make
ries
it
skills, feel
few hundred dollars here and there writing special material for company
and retirement
parties,
more
if
you can
anniversa-
The
ADDITIONAL MARKETS
327
more
skills
subcontract decorators,
etc.,
just get
THE CRAFT
least
AND
CDs out
expect
it'll
it.
BUSINESS OF
SONGWRITING
If
done. So
who do
to
do
all
would
you can
that yourself,
come from"
if
to those
when you
328
florists,
situations
It's
one of
record deal.
ing contract
It's
is,
Remember, however,
of paper.
fortune,
At
which
its
best,
It is far
approaching
artistry.
a guarantee
to
an audience
The
who
The
record-
of fame and
this or
as
much income
will translate their
record deal
When
not the
it
from
a major
is
is
as
is
only part of
many ways
they
as
as possible.
important to get
it's
as
much
I'll
company
is
at
how
artist
a record
And
company
it
as
an
artist,
Beatles couldn't get a deal), we'll also look at the very viable
"do
you
looks at
when even
the
yourself option.
The Artist
vs.
the Writer/Artist
fifties
and
sixties,
however,
with the increasing exposure of country music, black music, and the birth of rock
and
roll,
their writers.
With
the
phenomenal success of the Beatles, record companies began to discover that they
could
get publishing rights to the songs the artists
potentially
to keep the
profits.
The
self-
contained act was an attractive package because, though they would (in most cases)
pay
writers
rate)
329
They could
publishing rights, they could keep that other penny "in house."
performance
in the
Today,
from
royalties collected
company
BMI
has a publishing
want the
artist
own and
operate on their
on
have
lots
is
artists
affiliate.
and
also participate
and ASCAP.
their publishing
companies
they
if
many
sell as
records.
The
they receive from the ownership of the publishing rights, along with record
royal-
sales,
can
the deal. In that situation, being a self-contained act with publishing rights to
offer
is
an
asset.
For both the major labels and independents, an even bigger advantage of the
contained
artist
or group
is
that
it
who
come up with
A&R staff
company
is
many
self-
outside material.
enough time
producers (sometimes several for the same album) to write (or find) and produce
songs
for the project.
have been
Though
doomed by
on the
skills
particularly for a
One
One
of the
most
exciting attributes of
artist
is
the potential
to create a consistent
unique.
is
new
quite
Having
of
style
know
said that,
major
labels
One drawback
artist is
nonwriting
artists face is
a specialty of signing
delayed
rather
to the project,
and
a nonwriting
much more
style, it's
at J
artist,
difficult
The
flip side
nonwriting
of that problem
artists.
is
O-Town and
song comes
felt
first"
that those
as Clive Davis's
(Davis formed a
Records with
many
still
artists.
Records, in 2000.) His roster at Arista included
among
the material
would
have access to the best writers in the world. Certain companies, such
made
projects that
With
Arista Records
all
and
quite unique
is
know of many
artist.
artists
opportunity to get to
material that
hits.
who
a consistent fusion
the self-contained
gamble,
writer/producers
new
label,
Franklin,
Luther Vandross,
for the
artist.
330
artist will
most
likely
be the
first
choice of a record
company, each
situation
The
company
weighed
many
unique, and
is
all
Remember,
all"
it
is
almost nonexistent.
The
reality
and
is
that
somehow
they take the best combination of ingredients they can find, try to compensate
for what's missing,
in the
the dice.
roll
The Demo
One
how
pan of
the
a record
company, with
the
demo and
is
or why.
need
know
to
to
make
but
I'll
it if
numbers on the
less
I'm
first
as excited
still
album
want
to
want
know
that you're
do
working
to
and
you and
my
Before
my
and
The
act?
know
was when
If
spend
to
don't
album,
a follow-up
me because
of your
live
want
to hear
visuals?
for
listen to that
new songs on
CD.
and videos
it
takes
are
demo,
know what
I
I
want
want
know
know
to
make
to
to
that
the most of
want
proven to be the
know
on
their live
fastest
exactly
my money on
else
whose
taste
to
tells
Phish,
three.)
They're
cost-effective
way
a "one-hit
wonder" with
little
number of
known as album
me
respect.
and most
to hear:
spending
star.
a regular basis.
do
to
and
make you
to
received your
me
Arrangements? Concepts?
artists,
around waiting
risk
if
as
my
in
need
It
I'll
Also,
if
record deal, so
dollars to record,
spend
I'll
first
a decision
to
promote an
liked
it
hit singles
were not
artist.
just
an
again. Otherwise,
chance of recouping
my
investment.
331
I'm looking for identity.
to be able to recognize
you
hearing
after
your record once or twice. If your voice doesn't have a distinctive character, what
you do
with
it
stylistically
tal
isn't
happening,
know
should
that
producer can continue to re-create that sound once the public has grown to love
way you
the
sing your song.
want
know
to
want
and unenthusiastic.
it
you
why
move my body.
to
I?
If
it's
know
to
that
it.
moved by
to be
what you're
should
If you've
want
that
it,
want
danger that
they'll
at
sound
every time
you
perform them.
will
to hear
this
me "That
tell
When
know.
I'm spending
I'll
for
me"
or
How
If
it
me
won't bother
Elaborate Does
you show
me
me
It
a record
Need
career,
you have a
I
demo.
sign
realistic
you or
I'll
do
it
better
on the master."
final record, so if
for
it's
demo
Be?" chapter
to
it;
as well,
it
a convincing
up
to par
Gets
What
isn't
"Who
ten.)
it
tells
me
be more impressed
I'll
you've sold a few thousand records. I'd like to see a good, well-maintained
in
need to
whether
"It's just a
is
this
and
it
demo
performance,
if
on
Web
site
touch with the fan base you've developed with frequent e-mails,
know you
better.
a record
company
make money on
prestige
gig
executive,
this artist?"
and contribute
on the
to the
my
Other
(I
artists at all.)
liked
what
Those
my company
enhance the
be a hero or lose
my
need
assume
Now
also
significant:
that
332
all,
nonetheless, very
•
few
How
is
your
performance?
live
would impress me
It
some
years as a live
know
to
that
preferably by recognized critics (your high school or college newspaper won't quite
do).
But most of
all,
want you
tough audience
to excite a
So Id prefer to
my
you perform
see
in a
me and my
office for
your friends
all
if
you
be impressed.
•
memorable
look,
in exposing
vou
If
it's
ears,
which
is
Do
attend your concerts and see your videos.
I
is
component
a major
to potential fans.
identity?
TV
when
a time
is
at least
are
and
like
to
that
who
you or
more information
retain
you have
we
them enough
pieces of yourself in
your musical visual presentation to create an intriguing mystery that makes them
want
are.
If you're a
not your
style.
But
do the
to
do want
it.
placement
•
I'll
also
splits,
you
want
to
know you're
at
For example,
me something and
in person?
live.
I'll
want
to
know
if a significant
their
dress.
it
your
in
and
live
me
based
is
performance. Though
it's
you
giving
between the
own
world. That
all
each in your
like robots,
liked
to see
be looking
in the set,
want
I
group members that inspires your music.
enjoying
to
I'd like to
know
some
that
try
it
Do you
love to perform?
experienced professional
want
know
know
to
that, ideally,
Live performance
sells
it
that in spite of
and
helps us to keep your
know what
a lot of records
is
It
sacrifice?
gives
you
Though
magic of a great
live
in front
there's
no
performance.
name
be working with an
I'll
It
gives us
local
you'll
it
may
333
opening- acr
status,
(as
can concert
who
don't
Marketability
Now
my best
tools
brother or
though
if
is
sister,
of the
album wears
first
who would
on your
does give
That's what
background
make
need:
own
PR
record.
It also
That
artist,
who
really like,
your
life?
by
tips in
San
New
York
I'd
from the
him.
like
in
"Oh,
association.
hit?
front to
be quite a few
he must be something
live in the
may
their curiosity
signed, but
now coming up
is
you
get
of an incentive.
their start
you're the
off,
as a
his/her
Maybe
it
jail?
circles that
Do
you
automati-
press?
What
incidents, experiences,
on
life,
your
life?
as a
want
to
human
know
things about
make
to say? If not,
I'll
that
ideally, all
reveal
you
of the above.
sure Letterman
you don't do
that
with
you personally
interviews. If
to
invite
you
to talk to
them
after
to be
on
do radio and
show
TV
appearances?
Those things
know about
334
work
with.
to let people
More
important, though,
music has
album
album and
to
is
when we do
show
still
companies
company
no doubt
will
Why
a record
R&B
artist
to sell half
and
best
release
ask,
if
R&B
single
Of course, we
do want you
we
to grow;
on you?
are
to blend
your
stylistic
don't want
same
If
all
it
from
can
of each and
a little
country music
in trying to
is
what
same
artist
from
album to album and
still
show
artistic
as
to be trying
market you
we going
&_
It's
style.
really?" If
R&B
artist
them
it's
style.
just
identifiable artist
give
you want
marketing problem.
hear
like to
don't
an
artistic
itself. It's
style to the
Maybe
and
point
you know
identifiable.
Personal Factors
Considering the tremendous investment the company
tant for us to
lack of
commitment or other
factors that
I
know
make
it
in
down
your
career,
else
you'll die
enough
be glad to
I'd
impor-
to
all
drugs will ruin your health or your relationships with your group. I'd like to
responsible
it's
have to weigh.
(and everyone
and that
will
to
show up
know
for gigs
you have
that
and
know
you're
interviews.
wife/husband/live-in can deal with your being on the road or that family problems
won't
interfere in
artists
Do
you
and musicians.
career.
like to
Do
Do
industry contacts?
Ideally,
like to
I
enjoy
want
to like
you since
we'll
probably be spending a
my
lot
of time together.
neck on the
line for
someone
members and
there
want
that each
the band.
anything
else.
So,
everything,
do more
need to get
involved, but
Money changes
knows and
also
and
to break
a sense
know that
if you're
if they're
successful
expect that
lose
as individuals
interact
335
As
is
and
know I won't
if I
some
take
I'll
trade-offs,
but
all
will
is
very
my
important for
me
to consider
be impressed
likely to
assumed
whose work
momentum on
company
that if
lots
will
it
and
of
First
let's
all,
me and
assume that
all
my
believe in you,
attention through
important things:
(1) that if
my
sign you,
I
knowing
now
and an
as a writer
is
(2)
will.
questions until
your favor
Let's talk
my
to
and producer.
who
attorney,
me
tell
you come
respect. If
satisfaction
impress
your behalf,
have
will
executive,
if
company
role as a record
on your team.
the people
that
me
my
artist.
Another thing
you have
as the record
that will
competent manager
company
and, conse-
Your Manager
A
manager,
among
and production
TV
deals;
know what
clubs or concerts
shows you should do and when. She should oversee or coordinate the
buffer between
is
who
has
artist. I'd
for coordination
if
all
and teamwork.
What
be more impressed
managed other
successful acts,
the
I'll
component
want
to
is
the
alter
also excited
of
manager,
and
and
activities
radio
if
she
one
is
is
dedicated to
manager with
who knows
the record
parts of the talent
know
that your
is
machine
manager knows
development of your
record and
career.
not knowledgeable
is
willing to learn
and take
direction,
know
know
the business.
It's
336
is
advisable, but
THE CRAFT AND BUSINESS OF SONGWRITING
lots
of
who do
Inexperienced managers
whom
good working
already have a
on
how
if
suffer
manager so
to argue
superstar
is
hook her up
the
artist to
may have
already
might even
in a
comanagement
and you wouldn't have
I'd rather
to
could help
a fresh,
brought a new
manager with
you find
you had
rather
we've learned
at least
would
for a
company.
GENERAL INFORMATION
Managers get paid between 15 percent and 20 percent of your gross income,
sometimes,
of your
net,
Management
do your homework on
is
good
source.
And,
it.
Don
at the risk
to
and
recommend you
but not impossible to get a good, experienced manager unless you already have a
record
deal.
The
no accounting
for
human
But
a career totally
from
it's
you've got star quality, she just knows she can get you a deal!
Some
artists
need
on
relate to
need a manager to take care of their business and stay out of their personal
should
before
you
will ask
you
start
looking and
let
him
or her
life.
You
know what
One
they can
behalf.
live
make
There
deals
will
and sign
to
do
be occasions in which
it's
give
checks, hire
and
so
fire
you
to sign every
performance contract and power of attorney might be valuable. You should, however,
be sure about the scope of this power.
It's
good idea
You
in
is
is
limits,
one of those
find an established
you have
to
you
manager by looking
may
also
have a
list.
to certain types
if it gets
is
it
easy to
yourself.
do with
on CDs of
like to diversify).
power
lishes a list
if
to limit that
artists
who
are
an
artist
who
the
337
they might see you as competition) or
who
company
used
and
the
Your Producer
demo
If the
listened to
first
and the
to radio
me
bring
call that
you
find
great remixer,
ity
is
who
I'll
be competently
even necessary to
It's
a fresh set
produced masters
it's
I'll
want us both
to be airworthy.
it
else)
to
to find a
is
One
of the
love,
you or someone
judgment
will
isn't
If you've
it
who
producer
problems
want
I'll
of the product
of the package,
as part
possible that
It's
me
gives
demos produced by
If you bring
it
package and don't have to worry about your having problems with your producer
(though
the potential for
on
close eye
you
to be less objective in
him
then
will
make me keep
it).
know
I'll
to allow another
at
who
either have to
that producer, convince
all.
as
strengths
commercially viable
for
how
as possible.
GENERAL INFORMATION
Producers have a dual responsibility: to deliver the record
and
best
components needed
from the
artist
music and
listen to the
is
listed
on the
338
all
styles
THE CRAFT
BUSINESS OF
is
way
to send
is
to
it.
lists
on the Charts
SONGWRITING
can
sell
studio(s),
the responsi-
listen to
Also, Billboard
New
buy records of
record. If
worked on and
it
of the record.
you
like
artists in
it,
your general
try to find
of
company
A&R
or artist relations
(see
style
of music, and
AND
best
sound of the
address
artistic quality
to find a producer
a record
company
on
its
charts
their
own
ror tree at
it
feels
work
come from
Producers
need
a stylistic direction,
is
may
you
suit
Some
many
who went
are engineer/producers
in
which they've
writer/artist/arranger with a
So beyond
better.
to "producer school''
may
If you
favorite
producers have
artist
Some
www.billboard.com.)
characteristic style
of the
records.
ideas,
your vision
as studio
and benefit from the same exposure but from the other side of the
and hooks
that
may
Many
who
material
like to cowrite
and
with the
artist.
That producer
like to collaborate.
They'll excel in
glass.
will also
if
you need
Regardless of his background, a producer needs to be able to choose the best songs
for
other writers.
cial
songs
is
Some
see,
a producer
who
to
artist
can
make up
are slim.
it'll
may
own
is
essential in finding
that approach,
you should
first hit(s).
It's
also
more
booked
Though
check the charts for new producers
not booked so
far
^jr
own
strengths and
weaknesses
is
essential in finding a
commonly,
An assessment of your
commer-
deal,
They
ahead and
for
without a record
who
for you,
an assessment of your
and
problem area
As you can
As an
own
a project
sales,
weaknesses and
enhance your
strengths.
Attorneys
As
a record
artists
company
executive,
will frequently be
are negotiating
the labels
many
of
happening more and more frequently. Since attorneys
is
artist.
in a position to
way around
yet.
From
know
if
and when
the record
manager or
company
it's
made good
a
easier for
them
point-of-view,
contacts at
company
want
is
looking
to
doesn't
"shop
know
to deal with an
339
When
me
my company
or
we
end up engaged
will
in needless hours
at
he comes to
your expense.
For instance, you're presented with a production or record contract and you
uncle,
is
slow
this
nephew being
to
an entertainment
how
hard could
it
thing he objects to
is
may
He
be unaware that
it's
royalties.
He
thinks
terrible
(it
want
him
to negotiate with
at
actually
make one
The
him
Entertainment law
all.
not enough to
is
at all or eat
the hell,
and the
first
terrible,
is
but
and decides he
record
company
is
good attorney
would
recording costs
all
it
"What
company wants
it's
your
call
in that field.
knowledge of the
policies
negotiate for
to have
this
is
my own
know
we'll
team member
well.
want
later
advantage, but
successful,
if
that
means
it's
both
be renegotiating.) So,
as
you can
parties.
unfair to you,
are equally
whose philosophy
deal.
Obviously,
know I'm
(Though
if
is
I'll
going
you're
GENERAL INFORMATION
In relationships with attorneys, fees are always a major concern. Attorneys in this
field are
expensive, and fees range from
to
They'll log
all
the time
spent on your behalf on the telephone, in meetings with you, with the record
company, or
whatever, and
to
bill
you
Some may
life
consider that
ship and
in a couple
is
AND
good
BUSINESS
on
it
income
On
part of your
attorney working
THE CRAFT
in a sense, operate as if
like a
for 5 percent
original 5 percent
An
Make
may seem
maybe
want
of the deal.
want
also
340
Some
income
a percentage
OF SONGWRITING
that
may
also
deal.
Here's a simplified scenario for the sake of illustration: In negotiations, the
attorney has
by trading
artist,
it
$350,000 advance.
on
to act
tell
may have
"Great news!
say,
You should
could happen.
it,
let
you make that
artist royalty
is
all
If the attorney
for you,
decision. This
he gave up for
it,
is
ask and they should inform you about the pros and cons of
their negotiations.
they'll
keep track of their time spent on your project but defer payment until they've made
a
deal for
do
likely to
you with
present
at a deal. It
lot
this if a
is
collect their
accumulated
fees
good
new
ears
and
feel
a very high risk for them, though, because they could conceivably spend a
to find a
attorney who'll do
may
is
risk
this.
have to go past
Here
1.
you an estimate up
are
some
Never sign
but I'm
people
so nice
,"
additional tips
"They
it
looks like
attorneys:
legal advice.
number of unfortunate
would
said they
on dealing with
without some
appalled by the
still
let
it.
a contract
who knew
they'll
,"
They
say something
but, unfortunately,
come
like,
which
across in
what they
this before,
said they
would
2. If
said.
are discussing
verbal points they're offering you. Relay this information to your attorney so he
can
incorporate
it
own
good reason
selectively forgets.
(Your attorney
about deals
talk
years
from
their
own
broad
legal battles,
for hiring
in
company
is
own
that he's
terms.
had
to
341
and
company,
particular
is
If
and your
money.
Don't ask the company with
3.
Never go
contract.
whom
To
who
you know
4.
how much
who
attorney.
are offering
you a
avoid conflict of interest, your attorney should have no connection with your
An
recommend an
you're negotiating to
the service
at least
with
else
whom
you
are
doing business.
that,
and
fees are
cost. It will
try to get
some
sometimes be hard
sort
to
of estimate of
tell
you
exactly,
way you can determine whether
it's
confidential unless
offering you).
6. If you
your
new
one, the
new
attorney has
files
files.
Communicate
7.
in writing
It
man
error.
8.
Keep
a
you consent
is
it is
of
memory and
hu-
because
to lapses
possible to
add
before
you
you return
sign
it
it.
You do
this
not be able to prove that you didn't consent to the added clause.
9.
you
he's
done
lately. If
in negotiating that
Shop
10.
many
specialists
to find
recent experience
for an attorney
want
among entertainment
done
it all.
film
in.
Booking Agents
Back
to
my
role as a record
company
exec.
Even though
record
me
"discover"
new
artists.
I'll
get
booking
342
artists in
may be
relationships with
your manager's
artists
essentially
it's
don't have
much
they help
for work.
They may
also
be
talent. If
may
because you
If you're
an
regularly,
a plus for
it's
me
artist
who
booking agent
is
team. The decisions you and your manager make with her about where and when you
play could be very important to the success of an album. In the coordination of
releases
album
critical.
is
GENERAL INFORMATION
Booking agents
who
those
as
opposed
to personal
money
managers) are
performance
for live
unknown
gigs, film
without record
artists
managers,
deals,
it's rare.
new
If you're a
act,
or medium-sized agency that deals with unsigned or newly signed acts because they
regularly deal
your
at
level
of
development.
Booking
career.
assist
development plan
by bringing you
in
mind, can do a
however,
it's
also to the
It's
independent
who
is
you
them
label,
truly
represent
may need
www.aftra.org),
of those agents
to find
who
an agent;
advance your
career.
to
week may
find
will
you have
loss.
AFTRA
is
through your
AF
local
of
M (Ameri-
nk.net/-agvala/agval.html), or
an agent
as
(at
of the best ways to locate a reputable agent
Another way
you
career development
because they can then charge more for your appearances. However, acts
list
who
ftfffr
lot to
run, the additional fees the agent will be able to charge once
up-to-date
companies
advantage of smaller agencies that you get a record deal even with a small
Those agents
advance your
Artists
if
are
One
lot to
them
is
SAG
who
is
who seem
good way
to
go
to
work
if
you
their regulations.
regularly.
just
want
Finding
to play
some
You can
Agents charge 10 percent of the gross receipts from the jobs they secure for you.
sign exclusively with an agent, they'll
want
that percentage
on
all
the gigs
you
If you
get, regardless
of whether you or they secure the job for a period of one to more than three years.
If you
343
.
own
in the past,
percentage. If
you can
with a specific
list
to exclude
them
get
them from
need
of excluded clubs.
On
more you
of the contract
if
for a
Some
styles.
you work within
manager,
who
will
may
never book
Some
who
also
music. This
is
an area
that, ideally,
Some
also represent
by your
dealt with
is
TV
your contract
in
musical
it
be and
they can get their percentage from, the less enthusiastic they'll
put
to
and
TV
if there are
TV
who
and represent
whose
is
no.
The Campaign
If
you want
a record deal,
you
companies
in
which you're
A&R people
at record
campaign
it
to find you.
make
to
you
sure
get heard
by those
interested.
random
at
never heard before. They'll respond to a "buzz" (talk on the street or in the
industry about
a hot,
new
demo
they've heard. Except for the
personal
their
band). They'll also go to see a band whose songs and sound they liked
life),
such a thing
as a
and
Send or
style
him. Staff
deliver
344
time
isn't) that
close to this:
It's
in the record
company
A&R department
A&R representatives
may
be
much more
THE CRAFT
AND
efficient
kit,
knows
of music.
the showcase,
4.
as little
photos,
bios.
3.
reviews,
your
it's
A&R
on a
2.
artist
if there's
1
most aggressive
BUSINESS OF
is
whom-
appropriate for
accessible.
after delivery
who
SONGWRITING
who
to be there. Again,
5.
demo,
(b)
they liked
If
showcase. If so,
like to
job
an e-mail
tell
later
them you
with phone
if
(c)
it,
you'd
else
like
will do.
will
list
they're
if
put their name(s) on the guest
coming
to the
list.
6. If
phone
find out
call to
You can
do
either
cut
them
work
is
the
first
You
time.
will
name
have to
in front of
again. Persist!
it all
Know
try
Web
Your
Also, sometimes
you can
let
Site
more
it's
a Critical Factor
Is
list.
And
keep your
your
Why
a Major-Label Deal
Though
it's
years, the
Web
site
and
expand
their
own
It's
and
possible,
fill
sure
reviews.
you attach
still
with a
lot
own
You
for
equipment
a lot to level the playing field for
of work, for an
Many
good enough
Make
updated.
recent availability
Though
site
next,
Web
every e-mail.
been possible
more
your
to
where you're playing
see
a link to
site in
them
effective to bring
it.
artist
artists are
At
or
band
own
to develop
and
no longer the
careers,
may
be making a
profits
themselves, rather than risking the following problems of signing with a major.
1.
2.
The
allegiances of
major
employees of those
It's
labels
who
one
in ten.
bottom
line.
That
is
and only
to artists
artists
basis that
they sign.
makes them
345
of the most
prioritize in favor
from those
beast.
many
just a bit
He ended up working
happen.
He
finally couldn't
The music
their
all
handle
industry
dreams
in the
it
full
is
of the
window of time
artists to deal
what may be
aren't, despite
having too
each.
who
moment and
succeed at the
likely to
on
for artists
anymore. This
of horror
hands of major
own
his
make
is
stories
and
labels
artist,
full
with
to deal
felt
betrayed by them.
To
be
some
fair,
company
can
list
tion,
own
costs
as
if
you market
yourself,
be getting
all
number of albums
costs,
the profits after recouping
the required
other
5.
recoups video costs and costs of tour support, and anything they
4.
from your
You
your
recoups,
delivered,
and
Also, until the requirements are met, the artist's contract can be assigned to any
company
So the
artist
may end up on
without anyone
at the
new
a different
label
who
has an interest in her career. This can effectively keep the artist out of the
marketplace
many
for
years.
Should You Do
For
many
years, as
labels, a grassroots
good candidate
•
it
it's
It
Yourself?
been increasingly
movement of independent
for this
approach
if
you
company
doesn't see
what radio
You
"fall into
THE CRAFT
stations
would play
it
as
artist) or,
"This
is
AND
sell,"
good, but
and so do
BUSINESS OF
really
(meaning that
I
don't
know
it."
Innovative
346
fall
In the process of pitching yourself to major labels, you constantly hear, "I really
like
SONGWRITING
in
others.
You
sort
two or three
of
years.
You're an excellent
important
if
live
own
record because,
if
you don't
very
is
get radio or
video plav or create a style of music with an established marketing network, you
must
relv
on
live
someone
but
good
is
if
It's
and market
a
labels
is
very impor-
new
artist's
a sort
done
well.
album
it
They have
to the public.
to
sell
However,
that's
is
recoup. That fact makes major labels very cautious, so they sign only
fit
a lot of records
released ever
artists that
do
appear
is
skills.
and
to
walk into
just
press
to record
artist
at delegating,
my
The
You're an ambitious
labels that
own
markets success-
labels.
Apart from that development, new networks and avenues of exposure and distribution
have developed, particularly for focused genres such
new
a
as
women's music,
children's music,
age music, blues, reggae, and other non-mainstream genres that are already served
by
network of fans,
clubs, magazines,
Web sites,
labels
music
festivals,
Web
site links,
CDs,
lists,
astute
and
Internet
ad placement, exposure
street distribution
and promotional
labels.
When you
"street
teams" of fans
likely that
some
excellent
all
artists'
contribute to
at a
own
records (depending
conventions and
may be able to recoup your investment after sales of as few as one thousand
on how low you keep your recording
at
major
fact, it's
quite
money
^
It's
is
in a state
major-label contract
odds at a major
otic relationships
services as well as
new
and
MP3
The
label
capability of deliv-
347
completely out of the picture. This
stores
relationships.
still
increasingly comfortable
Online
employ
new
the
sharing of
2. a
as traditional record
Money
own
all
income from
sales
50/50
sharing of a defined net (a company's operating and other costs taken out
and then
3. a
And
artists online.
the following:
list
1.
new
Brabec
independent recording
careers.
new ways
to actually see the merchandise and shop, though a new generation of fans
will be increasingly
For
is
pay
50/50
first
split)
a specific
amount
in lieu
of
5.
is
shared
pages with
all sales
going
to the artist
6. a
all
7. a
weekly
8. a
9.
fee to
have a band's material available for download
number of downloads
Many
pricing
company
contract, etc.
of the arrangements are nonexclusive or are exclusive only for a short period
becomes
successful
rights
if
an
artist
or
will definitely
contract.
348
artist
company
Appendix:
Songwriters' Resources
he following resources
will
be updated continually
at:
www.johnbraheny.com
www.artistpro.com/Sourcebase.cfm
listings in
rates, credits,
and
is
titles,
phone,
fax,
BILLBOARD DIRECTORIES
(800) 344-7119
www.billboard.com/store/directories/
The comprehensive
The
Radio PowerBook, Billboard International Latin Music Buyer's Guide, The Nashville
Guide
to
Touring
&
Promotion. For
many of these,
Musicians
and data
www.musicregistry.com
This company, headed by former Arista Records
A&R
Registry, a
comprehensive
listing
of record company
assistants.
The only
APPENDIX: SONGWRITERS' RESOURCES
349
They
also publish
supervisors, publishers,
music
journalists,
and regional
companies, publicists,
Web
A&R reps,
and
sites,
label
promotion
schools.
POLLSTAR
(559) 271-7900
www.pollstar.com
music
industry contact directories, trade news, and unique specialized data services. In
addition
to publishing the concert industry's leading
also
agencies; biannual
Record
Agency Roster
Company
thousand
for ten
Rosters, including a
list
artists
and
their
Its
contact
booking
and theme parks; Concert Venue Directory, Concert Support Services Directory, and
Connexions, an annual directory of ten thousand music industry company
Though
its
it,
listings.
An
innovative dp-sheet/independent
labels,
A&R service.
by industry
pros.
Covers
all
two
Members
styles
and bands.
and
All submissions are prescreened
350
THE CRAFT
AND
BUSINESS
OF SONGWRITING
film/TV music
and publishers
supervisors,
to
make
their
music
ad agencies, schools,
etc.)
via a searchable database.
charge based
on
the
Some
the
site.
Read
by the
site.
Others
SongCatalog.com
Licensemusic.com
www.songcatalog.com/
www.licensemusic.com
Songpitch.com
Pitchsheet.com
www.songpitch.com/
www.pitchsheetassociate.com/
Songscope.com
PublishSongs.com
www.songscope.com
www.publishsongs.com/
Pump Audio
Soundartist.com
www.pumpaudio.com
www.soundartist.com
Organizations
Throughout
list
magazine
list
them
list
all I'll
at the
(see
local
songwriting organizations
Muse's Muse
page 355).
(see
Some of the
www.austinsongwriter.org
www.saw.org
www.nashvillesongwriters.com
Founded
in 1967,
it's
primarily,
though not
exclusively, focused
on country music.
Check
to see if there's
It
one
near you or for info on starting one. Offers professional and general memberships.
Produces
many
Camps
in
August
in early August.
(201) 867-7603
Nashville: (615)
329-1782
The
It will assist
ideal
from publishers.
351
It
among
other services.
Its
writer/publisher
its
members
and
critique sessions to
members.
its
writer/artist
regional
and
an international songwriter
local
newsletter,
online music industry mentors to answer questions and post articles and an
opportunity
to
promote
yourself. Free.
Performing Rights Organizations:
ASCAP, BMI, and SESAC
Their basic responsibility
(radio,
TV,
is
clubs, restaurants
that,
new
They
also,
music
commu-
Web
Via their
in the
sites
income of music
you can
creators
get information
and
publishers.
on copyright
legislation,
showcases and
educational events around the country, grant and scholarship applications and
search their
catalogs for songs, writers
songs).
They
and
BMI
New York:
(212) 586-2000
Nashville: (615)
401-2000
www.bmi.com
ASCAP
(800) 952-7227
www.ascap.com
SESAC
New York:
(212) 586-3450
Nashville: (615)
320-0055
www.sesac.com
352
TV and
film uses.
Online Songwriters' Resources
Whether you're looking
to the industry in a
Web
out there
sites
time pit so
is
good informational
U.S.
copyright, a
I've
in particular. Several
THE
new
as starting
it, it
Web
can be a bottomless
sites relating to
songwriting
sites.
COPYRIGHT OFFICE
www.loc.gov/copyright
If
you want
copy two
straight answers to
bars!)
and
free
it's
not
OK if you only
to protect yourself,
go to
the source.
An
online magazine featuring the same variety of craft and business articles as most
paper magazines.
LI'L
Good
stuff.
www.halsguide.com
Hal Cohen has put together
for singers
a great service
cities
and
from industry
stories
JEFF MALLETT'S
from other
with his
from
inviting info
and business
articles
SONGWRITER SITE
www.lyricist.com
One
sites.
Don't miss
this!
Extensive links.
THE MUSE'S MUSE
www.musesmuse.com
A great site!
The
pioneer of songwriting
Web
sites.
A pretty comprehensive
Web
links, articles
lists
on songwriting,
and helpful
room,
classifieds,
and an
e-zine.
353
THE RECORDING ACADEMY
www.grammy.com
The
GRAMMY organization.
your
band competitions,
grants,
area.
AND MUSIC
BUSINESS PAGE
www.mindspring.com/-hitmeister
and
resources, musical
gear and supplies, recording, publications, music law and copyright, marketing and
songplugging, songwriting
labels,
and
Web
rings.
news
this
South Australian
site features
and
services
songwrit-
worldwide.
TONOS
www.tonos.com
The
slick
Disneyland of songwriter
sites is
They're a
class act
opportunities for
with great
new
articles, interviews,
and
lots
Edmonds.
talent discovery.
from the
artists.
Juicy
major
stuff.
Also
pros.
Tipsheets
Tipsheets provide information about
who
is
SONGLINK INTERNATIONAL
www.songlink.com
Great international tipsheet established in 1993
lists
looking for material and pro writers looking for collaborators. Provides 40-50
each month. Also features industry news and extensive links to industry events,
classic songwriters, publications, songwriters' resources, portals to
354
artists
new
leads
sites
European industry
of
sites,
much more. A class
organizations, and
six
and three
month
act!
One year
(10 issues)
— £185.00
U.S. $285.00.
subscriptions available.
in 1976,
on the
of each
label,
hit.
— 12
issues)
all
who need
be able to verify
year
artists,
publisher and
leads, a
it
at least
$365
one nationally
(plus
$45
deals.
To
must
subscribe, songwriters
ROW FAX
www.musicrow.com
The
sent to
you every
Row
Magazine and
producer, recording date, and song description details. Address and contact info
not given
(if
know
that.).
year.
PITCHSHEET.COM
www.pitchsheetassociate.com
Though done
active.
Streaming audio
Listening
Room where
files
is
more
artists in
money
A&R
it's
Private
basis),
check
order every three months $43, six months $81, one year $150. Direct access
ePitching to
A&R representatives
is
available for
an additional $1 /transaction
(billed
separately).
sites
sell
your
independent CDs.
AMAZON ADVANTAGE
www.amazon.com
Best place to
click "Join
sell
your
Advantage."
own CDs. Go
It'll tell
you how
to proceed.
Sells
INDIESPACE
www. indiespace. com
The
first
to
promotional
sell
independently produced
efforts
on behalf of their
art
Internet.
Good
clients.
The
Net's
first, free,
high-fidelity
music archive.
LOUDENERGY.COM
www.loudenergy.com
Artist
development
site.
MP3.COM
www.mp3.com
Another good place
to
sell
your CDs.
THE ORCHARD
www.theorchard.com
Distributes your
CDs
to online stores
and
your money.
collects
Good
promotional
programs.
AMAZON.COM
www.amazon.com
An
them
heavily
discounted. You'll also pay postage/handling which will offset the savings in
but
it
you.
They
place to
also sell
sell
most
cases. If
CDs, games,
town
it's
electronics,
independent CDs.
356
out of print
and
just
about everything
many
cases
Amazon
will
else.
An
online music
book
store in
much
Canada with
its line.
www.billboard.com
GAVIN
www.gavin.com
HITS
(818) 501-7900
www.hitslosers@aol.com
MUSIC
ROW
(615)321-3617
www.musicrow.com
www.musicconnection.com
Songwriters Periodicals
AMERICAN SONGWRITER
(615)321-6096
www.americansongwriter.com/
www.
O0-free-magazines.com/magazines/country-song-roundup. htm
357
THE PERFORMING SONGWRITER
(800) 883-7664
www.performingsongwriter.com
may
if you
want
field.
BACKSTAGE.COM
(800) 634-6810
www.backstage.com
Mosdy
for performers/actors
coverage.
DAILY VARIETY
(323) 857-6600
www.variety.com
WEEKLY VARIETY
(800) 857-6600
www.variety.com
The
all
business.
FILM MUSIC
MAGAZINE
(818) 729-9500
www.filmmusicmag.com
"The
Professional Voice of
monthly meetings
in
Music
for
New
They
also
you do
FILM SCORE
also excellent
with
to help
is
offering
TV Music
business.
MONTHLY
www.filmscoremonthly.com
of great
music
358
articles,
interviews
Picture
fans.
www.hollywoodreporter.com
Their online subscription services are $9.95 per month with additional
news
stories,
story,
and production
fees
of $.25 per
month
and/
or download).
MILLIMETER
(212) 477-4700
www.millimeter.com
Picture
and
TV
Industries.
SOUNDTRACK.NET
www.soundtrack.net/
"The
An
359
Bibliography
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New York:
.
Westview
Growing Up
Creativity in Context:
al.
Update
rev. ed.,
Todd
New York:
Creative
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ed.,
2nd
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Creative:
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& Success.
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L.,
Copperud, Roy H.
Jeremy
1992.
P. Tarcher/Perigee,
Chapman, Robert
ed.,
eds.
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40
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Strategies to Excite
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Other Books
Beyond
There
the above books referenced in the text, there are others I'd like to
are obviously
worth reading.
many
suggest
you go
have a
ily in
lot
more
Amazon.com, read
to
visit
my Web
site at
many
to
mention
recommend.
here, that are
www.johnbraheny.com, where
(not necessar-
order of preference):
CREATIVITY
Bayles,
the Perils
(And Rewards) of
Goldberg, Natalie. Writing Down the Bones: Freeing the Writer Within. Boston:
Shambhala
Publications, 1998.
Selling, Bernard.
to Creativity
Writing.
Hunter
SONGWRITING
Blume, Jason.
Comprehensive Guide
to
Ways
to
88 Songwriting Wrongs
Concrete
Improve Your Songwriting and Make Your Songs More Marketable. Cincinnati:
BIBLIOGRAPHY
361
Lewin, Esther, and Albert E. Lewin. The Thesaurus ofSlang. Wordsworth Editions,
1998.
Oland, Pamela
Phillips.
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MELODY WRITING
Writing Music for Hit Songs: Including
Josefs, Jai.
Corp.,
2nd
ed.,
'90s.
Music
Sales
2000.
Melody
Perricone, Jack.
New
in Songwriting: Tools
Songs. Mil-
Rooksby, Rikky.
How to
Guitar-Playing
and Songwriting
Course.
500 Songwriting Ideas: For Brave and Passionate People. Mix Books, 1997.
Lisa.
J.
Money
Chords:
iUniverse.com, 2000.
MISCELLANEOUS
Bond, Sherry The Songwriters and Musician
Carter, Walter. The Songwriter's
Guide
's
Guide
to Nashville.
to Collaboration.
ed.,
1997.
MUSIC BUSINESS
Avalon, Moses. Confessions of a Record Producer:
the
Kohn,
Music
Al,
Business.
How
to
and Shams of
Licensing.
Aspen
Publishers,
supplements).
Krasilovsky,
to the
M.
Music
William, and Sidney Shemel. This Business ofMusic: The Definitive Guide
Industry.
Business.
ed.,
An
2000.
Insider's
MUSIC PUBLISHING
Poe, Randy. Music Publishing:
A
Songwriter's Guide. Cincinnati: Writer's Digest Books,
1997.
Whitsett,
Success.
FILM
Mix Books,
Road
to
Music Business
AND TV
Churchill, Sharal. The Indie Guidebook to Music Supervision for Films. Filmic
Press, 2000.
362
Miller, Lisa
How
to
Make Money:
Scoring Soundtracks
to
Television
Rona,
Jeff.
SELF
Pictures.
Music
Industry.
New
Etiquette for Social
and Business
Success.
McGraw-Hill, 1996.
Pinsky, Raleigh. The
cassette).
Spellman, Peter. The Self Promoting Musician: Strategies for Independent Music
Success.
MUSICAL THEATER
Frankel, Aaron. Writing the
Broadway Musical.
Da Capo
Press,
2000.
Green, Stanley. The World ofMusical Comedy (4th Edition, Revised and Enlarged).
Capo
Jones,
Da
Press, 1980.
Informal Introduction
to the
World ofMusical
Theatre.
How
to
1999.
Stanfield, Jana.
The Musician
Guide
to
Making
CDs
&
Cassettes.
Mark
Geller.
Tim
INTERNET MARKETING
Novak, Jeannie, and Pete Markiewicz. Creating Internet Entertainment. John Wiley
&
Sons, 1997.
to
2000.
HOME RECORDING
Mclan,
Peter. Using
BIBLIOGRAPHY
363
Rona,
Jeffrey.
The
MIDI Companion:
to
Using
MIDI Synthesizers,
Samplers, Sound Cards, Sequencers, Computers and More! Milwaukee, Wise: Hal Leo-
364
to
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Studio:
I'LL
Used
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TN
Inc.,
Babyface.
Music. All
LIVIN'
ECAF
rights reserved.
LA VIDA LOCA
(BUMA), Universal-Polygram
Rosa. ® 1999
rights for
International Pub-
Phantom Vox Publishing
Warner
Miami, FL 33014.
NO SCRUBS
By Kevin
Briggs,
Kandi
L. Burruss,
and Tameka
Cottle.
WB
EMI
April
Music
Inc.,
Down
Music, Inc. (ASCAP). All rights for Air Control Music, Kandacy Music, and Tiny
EMI
April
Music
Pepper Drive
administered by
Tim
All rights
SMOOTH
Words by Rob Thomas. Music by Rob Thomas and
Publishing Corp. (BMI), Itaal Shur Music (BMI),
Bidnis, Inc. (BMI). All rights o/b/o Itaal
Itaal
EMI
Blackwood Music
Inc.
Publishing Corp. All rights for Bidnis, Inc. controlled and administered by
wood Music
(BMI),
&
EMI
Black-
Used by permission.
permissions
365
THIS KISS
Words and music by Annie
Lerner.
© 1997,
administered by
Anwa Music,
Nomad-Noman
Songs and
Used by
permission.
TORN
Words and music by
BMG
Music Publishing
Ltd.,
Colgems-EMI Music
BMG
by
All
Inc.
WE ARE
FAMILY
All Rights
LLC
TN
Administered
37203. All
rights
Britten
and Graham
IT
WB
Single
Music Corp.
All
WITH A
Lyle.
LITTLE HELP
Miami, FL 33014
FROM MY FRIENDS
Words and music by John Lennon and Paul McCartney. © 1967 Sony/ATV Songs LLC.
Sony/ATV Music
TN
Publishing, 8
rights reserved.
YOU LEARN
By
Alanis Morissette and Glen Ballard. © 1995 Songs of Universal, Inc., Vanhurst
Place,
Corporation. All rights for Vanhurst Place controlled and administered by Songs of
Universal, Inc. All rights for
sal-MCA Music
366
Inc.,
Miami, FL 33014.
Used
1
n d
AAA
Form
also
AABA
(Artist
&
of,
Form
Repertoire) personnel,
cappella, 95,
227
Ad
USA
Born in the
(Bruce Springsteen),
84
A&R
ex
own, 315-318
343-344; responsibilities
343
for,
Todd and
Bridge, 79-80,
175-176
82
70
Careless Whisper
70
47
Assonance, 60, 70
Attitude, 46;
deals and,
339-342;
vs.
managers,
forming
266
for,
322-323
vals,
114-116. See
also
inter-
of,
95,
Harmony; Song
in,
in,
in,
194;
194-195
dynamics; Triads
of,
193;
clause in, 195-196; reversion clauses
90-92;
of,
dam-
Use" and,
for,
35-36
263;
in,
191-192; per-
examples
in,
Censorship, 30
(Janis Ian), 71
no change clause
Chapin), 32-33
Charts, the,
At Seventeen
Artists,
(CMRRA), 163
Casting, 210-212
70
Antithesis,
333-334
thors,
Albums, 44
Alliteration, 60,
Con-
Allegory,
clauses in, 187; reversion clause,
Brabec,
rates for,
of,
Audio
Chromatic
files,
258-259
112
intervals,
Radio station
for-
mats
"B"
Bad
Girls
Be
(Hokenson/Esposito/Su-
renewal
My Lover (McCray/Saraf/Thorn-
Collaboration; agreements
138-139; benefits
114
similarity,
of,
124-125, 293;
338-339
Blake, Chris,
46-47
macy
of,
302-303; prizes
300-301; submitting
ers of,
Cover
re-
228-229; clever lyrics and, 27.
technique
legiti-
for,
to,
letter, for
demos, 257-258
8-20,
22-23; stream-of-consciousness
302;
150
Country music; audiences, 46; publishSee also Radio formats
152-153; unpublished
collection,
for,
147-149, 150-151;
231
for,
of,
dano/Summer), 109
ton),
istration, 137,
300
Creative
fees,
for,
20-21
316
1;
devel-
oping, 8-9
INDEX
367
,
1;
Crossovers, 27-28
ca-
108
in,
307-308; magazines
330
Demo
production
Demos;
artist
services,
252-254
245-246, 256;
for,
letters for,
of,
fol-
lowing up submissions
home
recording
of,
288-289;
231-233; intros
of,
scores in,
316
for,
242-245; recording
at
home,
for,
235-238; types
as masters,
227-228; using
of,
253-254; vocals
247-250. See
in,
Chords
of,
250-251; length
99
70
Irony,
commercial, 311-315; ad agen-
Jingles,
cies
315; costs
Killing
Rhythmic
of,
ele-
Me
352
(Norman Gimbel),
Softly
102
Kimpel, Dan, 290
Kozinski, Richard,
ments
317; royalties
and, 317
Just Plain Folks, 253,
Sheyne), 127-128
for,
311-312; demos
of,
(Don Schlitz), 53
Games, music for, 326
Gambler, The
trasts,
94
of,
Inversion, of rhyme,
also
Studios
also
Self-publishing
Imagery, 51, 55
components
clauses, 228;
24-25
Ideas, generating,
54-55
279-281; recording,
Iambic pentameter, 74
to
Edmonds), 120
sic
for,
Make Love
skills
243-244; pre-
for,
307-308;
for,
Focus, 58-59
228; musicians
358-359;
Flanging, 90
choosing songs
for,
310-311; scoring
royalties and,
I'll
face"
Lead
Librettist,
Sound
Recordings Act of 1995 (DPRSRA),
Harmony, 111-116;
175-176
Heavy
231-233
to
(Otis Redding),
46
Stewart), 113
1
Hollywood
Hook,
Reporter,
the, 78,
also Licenses
308
Pre-hook
Hyperbole, 7
file
sharing,
Don
Knew
153-154
368
to
Leonard, 177
43-44
for,
327-328
AND
Wanna Be
There (Hedges/Pence/Sen-
BUSINESS OF
Lyric sheet,
(Martin/Carlsson),
113
THE CRAFT
Pre-hook
atore/Sloan), 78-79
Want
109
/
't
Warren), 109
242
Fair use,
"Lift." See
(LASS), 1-2
111
(equalization),
"EQ"
16
Michael, 277
Electronic
254
323
Moss/Craig/O'Dowd), 116
Dolan,
113-114
of,
cal,
Digital recording,
Do
sheet, 226,
Lyricist,
96
256
47-48
SONGWRITING
of,
1
98-99; repetition
of.
91. 92-93;
324-325; workshops
re-
for,
324
21]
My
bilities of,
folio,
change
clause,
licenses, 160,
162-164,
167. See also Licenses; Royalties
No
290
Business,
191-192. See
also
One
Owens, Buck, 41
243
107
chee),
Middle
73-74
Laughter), 53
173
Personification,
Web
349-350
Self-publishing
sites,
MIDI
Copy-
Queries, 279-281
storyteller's,
Pollstar,
for,
63; organiza-
(Adult
MOR),
AC
350
177
independent,
Contemporary, formerly
355-356
lyric
and, 269-272;
development and,
70
325;
33-34
Music
tip sheets
writer/artist
12
Registry,
split
Poetry, 37-39
Music
and, 203;
rights
Mix, 242
ternal,
Con-
tracts
Plagiarism, 151-155. See also
Mitchell, Joni, 38
folio,
abilities
350-351
Mixed
198-204;
220
181-182; of
Phasing, 90
MIDEM,
indie,
songwriter
65-66
Pattison, Pat,
178-180; evalu-
Performance
feet,
(tra-
ditional), 11
of,
major versus
Parsley, Sage,
Metaphor, 70
Metric
178-179; duties
lines,
"On
Melody
Public domain,
110
71-72; problems
of,
with, 71
Contracts
173
318-321;
319-320
by,
Pronouns, use
Masters, 234
libraries,
289
No
Production music
126,351
263
appeal, 25-26
Matching
337-338;
Mass
Number
ternational (NSAI),
vs.
comanagement
sponsibilities of,
Nashville
Magazine
Hook
live
174-175; types
of,
publisher
173-174
split,
172-173; writer/
Producers, 229, 262-263;
demos and,
Record
329-331;
at-
INDEX
369
6
for,
live
for,
345-346; writer/
major
labels and,
artists
and, 329-331
Record
label,
Recording centers
(cities),
29 1
visiting,
292
of,
costs,
240-241
ment
235-238; negotiating
Similes,
Stylistic variety,
Reduction, 98-99
lyrics,
276-277;
44
lyrics,
92-93
mic elements
Song
ideas, finding,
Song
registration services,
Song shopping
Song
Tempo,
293-296; or-
293-296. See
of,
Songpluggers
titles,
60-61,90-91
syncopation, 120-121; tempo, 118;
elements
121-122
message
in,
gies for,
213-215
and
also
Song dynamics
Themes
SongCatalog.com, 273
232
24-25
(pitching),
ganizing records
texture,
sion
also
96; types of, 63-64
(John/Taupin),
to the Pilot
pulse, 118;
Me
110
fees,
68
Synch
319
335
in,
239-242
Bruce/Clapton), 110
57
277-279 reasons
Rejection, handling,
of,
70
Simplicity of
Slang,
deals,
(single-song)
Records, 39-40
in,
30
Singles,
steen),
208-209
Showcases, 296-299
ties of,
Streets
SESAC, 166
Sex, as a song theme, 29,
40-41;
of,
Thesaurus, 69
This Kiss (Chapman/Lerner/Roboff),
80-82
Through the Fire (Foster/Weil/Keene),
Songtracker.com, 294
Tip
Total Eclipse
trolled
composition clause,
per-
SESAC
Schiff,
Ronny, 172-173
for,
sheets,
269-272, 354-355
Of The
man), 264
Triads, 113. See also
Chords
357-358;
Variety,
308
of,
80, 81
Video, 45
Songwriting, principles
of,
3
Vocals,
demo production
and, 247-250
ers
370
for,
Scoring, 307-308
of,
353-354; periodicals
Ryan, John, 57
114
of,
200-202
of,
199; draw-
Warren, Diane, 96
We Are Family
Web
sites for
(Rogers/Edwards), 105
songwriters,
304-305
1
Webcasting, 175
Weight, The (Robbie Robertson), 110
to
Do
cial jingles
Writer/artist
Woman
With a
Little
with
(Henley/Frey), 110
Help From
My Friends
(Lennon/McCartney), 120
Woodstock (Mitchell), 110
artist,
Writing Better
Writing
106
commer-
and, 317
compared
as a
Lyrics,
65-66
band, 137-140
253
121
INDEX
371
BOSTON PUBLIC LIBRARY
^
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Srighton Branch
40 Academy HiBRojd
MA 02135-33to
Brighton,
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