Songwriting Tips, News & More

USA Songwriting Competition Showcase At Bluebird Cafe

Posted by Jessica Brandon on Sun, May 16, 2010 @07:42 PM

Inspite of the floods in Nashville, the Bluebird Cafe showcase, presented by the USA Songwriting Competition was a full house! A big thank you to all that showed up to support our songwriters.

Carla Cappa performing:

Carla Cappa

 

Here is a picture of 4 songwriters in a round. This "songwriters in a round" format was orginated here at the Bluebird Cafe. Since then, many showcases around the world feature this "in a round format": Jonathan Ferreri & Carla Cappa facing camera: 

Songwriters In A Round

 

Here is Will Hopkins performing:

 Will Hopkins

 

Here is Anadara Arnold performing:

Anadara Arnold


The Songwriters line-up included:Carla Cappa (1st Prize - Rock/Alt, 14th USA Songwriting Competition)
Greg Trafidlo (1st Prize - Novelty, 14th USA Songwriting Competition)
Sherri Gough (Finalist - 14th USA Songwriting Competition)
Anadara Arnold (Honorable Mention)
Mandee Radford, Alathea (Honorable Mention)
Will Hopkins (Honorable Mention)
Jonathan Ferreri (Honorable Mention)
Lauren Strange

Liz Miller was the host for the showcase. Thank you Liz! She took pictures and videos.Here is a video of Carla Cappa performing with Jonathan Ferreri:

 

 

Click here to see other videos from the showcase:

http://www.youtube.com/user/usasongcomp 


 


 

 


Tags: Sherri Gough, Carla Coppa, Greg Trafidlo, Anadara Arnold, Mandee Radford, Alathea, Will Hopkins, Lauren Strange, Liz Miller

USA Songwriting Competition Podcast

Posted by Jessica Brandon on Wed, May 12, 2010 @10:19 PM

Tune in to the USA Songwriting Competition Podcast.

Music featured in this episode by:

Melissa Greener – Bullets To Bite

Kyler England – You And I

Eric Colville - The End of War

Nicole Morier – Good Boy

Carla Coppa – I’m Not

Anne Simoni – Papagaio

Sarah Lonsert – Dancing Through Life

Jordan Zevon – Home

Ari Gold – Where the Music Takes You

The Waifs – Bridal Train

Kate Voegele – Only Fooling Myself

Listen to the songwriters radio podcast show here: 


MusicPlaylist
Music Playlist at MixPod.com

Tags: Kate Voegele, Sarah Lonsert, Nicole Morier, Ari Gold, Songwriter Radio show, The Waifs, Jordan Zevon, Anne Simoni, Eric Colville, The Rescues, Kyler England, Melissa Greener, Podcast

Songwriting & Composition Tool: NOTION SLE for Miroslav Philharmonik

Posted by Jessica Brandon on Wed, Apr 28, 2010 @11:06 AM

 NOTION SLE for Miroslav Philharmonik

NOTION SLE for Miroslav Philharmonik
Just released today, First Playback and Music Notation Tool Designed Specifically for use with IK Multimedia’s Miroslav Philharmonik. IK Multimedia and NOTION Music have created NOTION SLE for Miroslav Philharmonik™, a special version of the award-winning NOTION3 scoring software that is customized for use with the award-winning Miroslav Philharmonik orchestral library by IK Multimedia.

NOTION SLE for Miroslav Philharmonik features instrumentation and articulation presets that automatically handle all articulation changes in the background, allowing for very realistic playback directly out of the score.   Songwriters and composers no longer need to spend hours programming presets, templates and articulation changes — they can now simply focus on creating compositions.

As you write and articulate your score, NOTION SLE will follow your instructions and automatically change to the appropriate Miroslav Philharmonik articulation patch during playback to accurately and realistically perform your score. Additionally, you can take full advantage of NOTION’s live performance features and conduct the full orchestra with an unmatched level of control.

Also included is a 32 stereo channel. Virtual, full mixing console that facilitates mixdown of the score, eliminating the need for an additional DAW.  Full export controls are included for producing MusicXML, audio and MIDI. For more information, visit:
http://www.ikmultimedia.com/notionsle

Tags: songwriter, song writer, song write, Song writing, Composer, Songwriting & Composition Tool, Notation Tool, Miroslav Philharmonik. IK Multimedia, NOTION Music

GrooveMaker for the new iPad, Great Tool For Songwriting

Posted by Jessica Brandon on Mon, Apr 26, 2010 @06:50 PM

Groovemaker For iPad

Released for the iPhone and iPod touch in August 2009, GrooveMaker has become one of the most popular mobile loop remixing apps. The GrooveMaker Free version has consistently been in the top 100 music apps with over 600,000 downloads, and the entire GrooveMaker family features 11 style-based apps for the most popular genres of music.
 
GrooveMaker for the new iPad offers the same smart features and streamlined workflow as the iPhone/iPod version for making music with loops, but also takes advantage of the new larger multi-touch surface to provide enhanced operation with an integrated, advanced controller.

Users will find a convenient mixer-like environment with large slider controls for volume, pan and master volume of the 8 controllable loop tracks, plus instant access to tempo, solo and mute functions all on the same screen.  

Also, GrooveMaker for iPad adds even more control when working with loops, providing a new level of creative flexibility.  Users can now switch “snapped” grooves with a single touch, plus control the number of loops that are automatically combined during a random mix. GrooveMaker iPad is the perfect addition to a DJ set, providing unlimited creative flexibility in live remixing and DJ applications.

GrooveMaker House, Hip-Hop and D’n’B contain over 300 loops each and are only $9.99/€7.99 from the iTunes App Store.

For more information on the new GrooveMaker for iPad apps, please visit:
http://www.GrooveMaker.com/ipad

Tags: songwriter, song writer, song write, Song writing, GrooveMaker, iPad, songwriting tool

Songwriting Tips: Four Steps To Writing A Hit Chorus

Posted by Jessica Brandon on Tue, Apr 20, 2010 @06:40 PM

Four Easy Steps to Writing A Hit Chorus

by Molly-Ann Leikin, Songwriting Consultant


How To Write A Hit Chorus

Want to learn to be better in songwriting? No matter how sophisticated our technology, a melody is still a series of single notes. Nobody ever sings chords or tracks.  They sing individual notes.


While creating music, some of us might hear melodic and/or rhythmic ideas in our heads, then high-hurdle the sofa en route to the keyboard to play and record them right away. Others may not hear anything specific, but will feel that lightning urge to create and hope they'll find some magic hidden between the black and white keys. But no matter where we find our music, or where it finds us, a melody is still a series of single notes.
You can't hum a track.


When there are problems with a melody, ( and most of them can't be fixed in the studio), they can be solved very simply by going back to the individual notes. Never mind how good the drum fills or harmonies are, or how cool the sax sounds in the bridge. If you find you have melody problems, and your hooks aren't strong enough, go back to square one - note one, and let's see where the trouble is.


I think of choruses as nursery rhymes for adults - short, repetitive, irresistibly singalongable, easy to remember. This may sound silly or disparaging to those of you with Julliard degrees, or who've been in bands all your lives. But if you aren't getting where you thought you should have gotten by now in your careers, you could change all that for the better in ten minutes.


When my clients are having melody problems, I assign them the nursery rhyme game. That is simply choosing five different nursery rhymes - doesn't matter which ones - "Mary Had A Little Lamb", "Humpty Dumpty", "Jack and Jill", "Itsy Bitsy Spider", "Ring around a Rosie" - any five. All nursery rhymes have just one musical section, which I call the verse. This exercise will show you how to write a simple, repetitive chorus to each of those verses, and that is basic melody construction.


Step One : from the last note of the verse melody, go up a major third to the first note of the chorus. (eg: C to E). Notice I said note, not chord.


Step two : tap a rhythm on your knee or on your desk - a rhythm that is dramatically different from the rhythm of the verse melody. Try several different rhythms, - don't stop with the first thing that pops into your head. Record everything. You never know what'll come up and you may not remember some of the good stuff.


Step three : once you have a rhythm that you like that is unexpected, starting on the note a major third up from the last note of the verse, add individual notes to create a short chorus. Make sure you repeat your chorus's first line somewhere in the body of that section. Beginners will write lines one and three the same, two and four the same, but you can write your choruses however you like. Be sure you don't simplify the process too much, and write predictably. And be careful not to borrow someone else's melody.


Step four : test your chorus with your verse. Is it surprisingly different? Or is it too similar? Could you tweak it a little? Change even one note? Remove two? Vary a rhythm pattern? Record everything and put your files aside for a day or two. Then listen again. If your new "melody" makes it through the night, chances are it's right. And although it's "just a nursery rhyme", you'll have very deliberately constructed a note-by-note melody with a strong hook. When you're 100% happy with it, THEN add the chords and the track.


Change the process, change the result.
For more suggestions on easily strengthening your music and lyrics, please refer to my books, How To Write A Hit Song and How To Be A Hit Songwriter. Both are available in paperback.

© 2010 Molly-Ann Leikin www.songmd.com    
Molly-Ann Leikin (rhymes with bacon) is a songwriting consultant with dozens of gold and platinum records plus an Emmy nomination. The author of “How To Write A Hit Song, Fifth Edition” and “How To Be A Hit Songwriter”, and the producer of “Molly-Ann Leikin’s Master Class in Songwriting”, Molly consults with talented writers and artists all over the world, with a view to helping them market their material. She also matches lyricists with composers. And she’s very good at it. Three of her clients have Grammy nominations, another won an Emmy, and so far, 5068 others, with Molly’s help, have placed their work in movies, on TV, CD’s and in commercials. Molly also writes articles for USA Songwriting Competition e-mail newsletters. Her website is www.songmd.com, and you can reach her at songmd@songmd.com. If you live in the USA or Canada, you can call her toll-free at 800-851-6588. However, please check her website first so your conversation is as productive as possible.

For more information on the USA Songwriting Competition, please go tp: http://www.songwriting.net 

Tags: songwriter, song writer, song write, Song writing, Songwriting, lyric, hit songwriter, Lyrics, lyric writing, Molly-Ann Leikin, how to write a better song, hit song writer

Five Steps To Improve Your Songwriting

Posted by Jessica Brandon on Wed, Apr 14, 2010 @12:43 PM

by Ira Greenfield

I have been asked so many times how do you write a good song. Here are five main ways you can use to your advantage:

1. Song Structure
We have received many songs at the USA Songwriting Competition. Many songs received are free-formed and hard to follow. Every good song has a good structure such as AABA or Verse/Refrain. Structure such as: verse leads to the chorus back to the verse and then chorus, bridge and lastly chorus is probably the most popular. Let’s stick to what works and then break the rules once you are good at it.

2. Compose Good Lyrics
I like songs with a good story or lyrics that actually say something. Avoid cliches such as “I’ll never break your heart, I’ll never tear you apart”, words like that has been done before and you want to say it in a different angle. Write lyrics that would bring imagery to the listener as well as a hook to it. You want a theme to begin with it. A good idea is “Unbreak My Heart”, this shows great sense of craft and artistry even in the title itself. In this case, the writer “created” a word “Unbreak”. If it was “Don’t Break My Heart”, it would have been quite ordinary and would not have the same effect.

3. Compose Good Melodies
Many songs we received sound more improvisational than actual composition. You have to sit down to sculpt out a melody for the verse and a melody or hook for the chorus. You want to make the melody chorus sound memorable and sound a little different from the verse. Good melodies are found in the current hit “Need You Now” by Lady Antebellum. The bang on chorus is catchy and well thought out.

4. Developing good chord structure and background music.
You need a good chord progression to go with your melody. It doesn’t matter which come first and it doesn’t matter if you collaborate with someone who is a keyboardist, guitarist or producer who writes a great chord progression or produces a music “bed” for you to write your melody. There is no secret many hit songwriters/artists do it this way: Jason Derülo, Beyoncé, Mariah Carey have all written songs this way by going over a piece of background music.

5. Artistry And Intangibles
This is probably the hardest to come by. Iconic songs such as “Boom Boom Pow” by Black Eye Peas, “Poker Face” by Lady Ga Ga, “Californication” by Red Hot Chilli Peppers, “Believe” by Cher, “Angie” by Rolling Stones, “My Way” by Paul Anka are examples of songs that have been composed and re-composed over many times before the song can be recorded. Love them or hate them, there is a sense of artistry in each an every one of these songs. I would suggest focus on what you are good at: If you are good at say writing music but not so good at writing lyrics, I would suggest hooking up with a lyricist, someone who can write good lyrics.

Ira Greenfield works in business development at USA Songwriting Competition. For more information on USA Songwriting Competition, please visit: http://www.songwriting.net.

Tags: songwriter, song writer, song write, Song writing, Songwriting Tips, improve your songwriting skills

Songwriting Tips: Seven Easy Steps to Write Hit Lyrics

Posted by Jessica Brandon on Sun, Mar 28, 2010 @09:19 AM

by Molly-Ann Leikin, Songwriting Consultant


How To Write A Hit Song

I've written poems and I've written lyrics. I've learned if you can do one, you can usually do the other. As a poet, I've enjoyed the pure creative process, and the occasional publication of my work.

But I've never made a dime writing a poem. Ever.

On the other hand, I live very comfortably on my lyric royalties. And it beats working.

In my practice as a songwriting consultant in California, I hear almost every other new client tell me he or she can't write lyrics. To help them, I've developed a seven-step system, and it works.

If you're a poet who's tired of being broke, and would like to occasionally use your gifts to write more commercially, this article can help you make that transition. It can also help lyricists who are stuck, composers who claim they write music only, plus the entire world of left-brain computer types who ache to create something romantic—like a song.

When writing one, be aware that melodies are open to interpretation - so when you write a tune, what you feel or intend is still safe in your heart.You don't have to reveal yourself or stand completely naked in front of the world. But once you put words to a tune, your feelings are totally out in the open and everyone knows what's in your heart. Therefore, it can be very inhibiting to write lyrics, which is often why writers get stuck.

But here is the process I use with my clients to make lyric writing simple. I suggest you use all seven steps. Cutting corners is usually why a lyric doesn't work.

Most poets and beginning songwriters make the mistake of writing acres of lines of iambic pentameter and then set out to look for someone who can turn that dreary rhythm into an exciting melody. Almost nobody can, no matter what the words are saying. So don't write your lyrics first. ]Get the tune, then write the words. So let's assume, for this exercise, that you have a melody but no idea of what to say in your lyric. Don't worry if you don't have a tune. I'll give you one.

STEP 1. Sing or play the tune of a nursery rhyme. Any of them will do: Baa Baa Black Sheep, Humpty Dumpty, Ring Around the Rosie - it doesn't matter which you choose. Use this melody for practice. As you listen to it, scribble down some non-rhyming prose. Ignore the exact notes, but listen to the feelings. Let your words be a stream-of-conscious exercise to warm up your imagination. Don't use rhymes or logic. Try to be visual, silly, playful and have fun with it.
Here's an example of some lines I scribbled down after listening to "Itsy Bitsy Spider":

A former tooth farmer from Fluffy, South Apricot, dug through Exxon's banana shoe hairbrush section for kangaroo lingerie, after the De La Hoya/Pope Potato wrist rake from Western Tire Cough Drops slid unnoticed into burping toenails.

STEP 2. Now please write a silly, visual non-rhyming lyric to your tune. Match each note with one syllable. Fill your non-rhyming lyric with ridiculous pictures. Again, don't be logical, don't make it make sense. Every line can be about something different. The first might concern shoe repair, the second, airport parking. In this draft, try to keep all the rhymes OUT. Here's an example of a nonsense lyric I wrote, to the tune of "Jack and Jill".
Lizards frying Jaguars
All hum Hawaiin shoe trees
Disneyland will hiccup in
The mayor's purple phone soup.

STEP 3. Now write an uncensored list of silly titles that will fit with the stresses of the first line of your nursery rhyme. No matter how many notes in that line, keep your title to seven syllables or less. Shoot for twenty or thirty possible titles. Don't write anything you've heard before. Let your imagination roll. Don't say, "Oh, that's dumb." Write it all down. You might find one of these nonsense titles could actually turn into a real one later. "I Love You" is fine, but Jewel's "Swallow The Moon" gets you in the gut. A good title will write the whole song for you. A mediocre one will leave you stranded in line two.
Here are some nonsense titles I wrote to the tune of
"Jack and Jill":

Santa knit a Hershey Bar
Orange dancing astronauts
Drinking bricks can make you skate

STEP 4. Write a few real titles with the same number of syllables as your silly ones. Here are some I wrote to
"Jack and Jill":
Sundays with the London Times
Do you ever think of me
Moonlight over Lake O'Hare

STEP 5. Choose one of your real titles. Write the story it tells in prose. Just a couple of sentences will do fine. Writing the story as a letter might be easier for you. If any lines come out rhyming, change them so they don't. That way, you'll be able to express yourself with complete freedom, and without the constraints of rhyme or meter.
When you finish this step, you'll know the beginning, middle and end of your story before you start to write the lyric. Most songs have two verses, a chorus and a bridge, so allow space for them in your story. By writing it first, you'll be able to see if you have enough information to fill a whole song, so you won't get stuck half-way through with nowhere to go. You can always cut out words and lines later.

STEP 6. Using the information from your story, write a non-rhyming lyric to the nursery rhyme melody you've chosen. Should rhymes mysteriously appear, delete them.

STEP 7. Now write the "real" lyric, with the story and the rhymes.


I suggest you do all seven steps. Not four, not two. Seven. My clients who don't are still claiming they can't write lyrics. But many of my songwriters who do are climbing the charts.
The more lyrics you write, the easier it gets. So please do this exercise five times, each with a different nursery rhyme. Once you learn how to map out a lyric, and write it to a melody, you're 90% there.
© 2010 Molly-Ann Leikin
www.songmd.com
Molly-Ann Leikin (rhymes with bacon) is a songwriting consultant with dozens of gold and platinum records plus an Emmy nomination.  The author of “How To Write A Hit Song, Fifth Edition” and “How To Be A Hit Songwriter”, and the producer of “Molly-Ann Leikin’s Master Class in Songwriting”, Molly consults with talented writers and artists all over the world, with a view to helping them market their material.  She also matches lyricists with composers.  And she’s very good at it.  Three of her clients have Grammy nominations, another won an Emmy, and so far, 5067 others, with Molly’s help, have placed their work in movies, on TV, CD’s and in commercials.

Her website is www.songmd.com.  You can reach her at songmd@songmd.com.  If you live in the USA or Canada, you can call her toll-free at 800-851-6588.  For more information on the USA Songwriting Competition, please go to: http://www.songwriting.net

Tags: songwriter, song write, Song writing, Songwriting, hit song, hit songwriter, Lyrics, Molly-Ann Leikin, emmy, platinum records, how to write a better song, hit song writer

USA Songwriting Competition's Showcase During SXSW

Posted by Jessica Brandon on Wed, Mar 24, 2010 @07:15 PM

 

Anne Simoni, 14th Annual USA Songwriting Competition 1st Prize winner performed at SXSW showcase at Borders on March 19, 2010.

 

 

 

Wendy Colonna, 5th Annual IAMA (International Acoustic Music Awards) 1st Prize winner performed at SXSW showcase at Borders on March 19, 2010.

 

 

Tags: songwriter, USA Songwriting Competition, swsx

Keeping Things Cheap As A Musician

Posted by Jessica Brandon on Fri, Mar 05, 2010 @04:03 PM

by Brandon, Sonicbids Member Relations Representative

I’m a pretty cheap guy. This doesn’t seem to help much in the dating scene, but can quite useful as a musician, instruments cost hundreds of dollars a piece and unless you’ve reached a certain level of success, it’s difficult to pay that back quickly, if at all. So, when starting out you’ll want to minimize your costs as much as possible while gradually increasing your presence both locally and (inter)nationally. I’ve found quite a few ways to do so, and thought I’d share them. Obviously the possibilities are endless, so feel free to comment here and share your ideas as well.

 

TAKE ADVANTAGE OF FRIENDS AND STUDENTS

Hiring big names for collaborations is great for quick exposure, but if you’re short on cash, there are alternatives. Friends, local contacts and students are great ones for several reasons:

 

1) They (in most cases) know you already, so you can form a personal relationship in addition to a professional one.

2) They may even be more motivated to help out (students in particular – see below).

3) They are less expensive to hire.

 

If you have a brother who’s a marketing genius, for instance, perhaps try to get him on board to help you with marketing your project and creating your brand.

 

I also mentioned this in my last post, but colleges are a cesspool of many things, including budding young talent. Aspiring art students are looking for their big break in graphic design, photography or illustration — hire a student who understands your branding goals to do your artwork for you. Since they’re just starting out, they won’t be as expensive to hire as a renowned artist, and may do equally great work.

 

EMBRACE TECHNOLOGY WITH YOUR WEB PRESENCE

A couple of ideas here:

 

1) Email your Electronic Press Kit. It’s free to do with your Myspace or Sonicbids account, and you can track when the recipient actually opens the electronic press kit unlike in a normal email. This is a good way to save cash while getting that closure you need.

 

2) Build a cheap website. While sites like Sonicbids, MySpace, Facebook, etc. allow you to promote your band and its identity, you’ll want a home site on the internet, which helps secure that identity at an easy-to-find location (yourbandname.com, for instance). Building a website seems daunting at first, but there are tons of cheap/free services out there to help make this relatively painless, both on your brain and your wallet. I’ve personally found Wordpress, known for its blogging capabilities, to be an immensely powerful site-building tool as well, and it’s totally free to use. Check out a great example of a Wordpress-powered site for Sonicbids band Stereogrove here.

 

BE SMART ABOUT PROMOTIONS AND TOURING

When The Seedy Seeds came by the Sonicbids office recently, I had a good conversation with Brian, one of the masterminds behind the band, who mentioned their small, incremental touring method, rather than going all-out on a massive national tour. This is a smart way to approach touring: there’s no sense in blowing all your cash on a great tour and then not being able to afford another one after that, losing that expanded fanbase you just got in a matter of weeks. Try a shorter approach to touring, by doing short, frequent trips to very specific targeted regions. Also take some time to study the music scenes of those regions: there’s no sense in playing metal in a city where indie rock is all the rage.

 

Again, there’s a ton of possibilities here. This is just a start, so please comment away, or feel free to reach me and the Sonicbids Member Relations Team.

Tags: sonicbids, Myspace, cheap musician, indie musician, music promotion, twitter, facebook, purevolume, soundclick

How To Be Professional As A Songwriter In The Music Business

Posted by Jessica Brandon on Wed, Feb 10, 2010 @10:40 AM

Molly-Ann Leikin

How To Be Professional As A Songwriter In The Music Business

By Molly-Ann Leikin, Songwriting Consultant

    

The music business is a business.  The people we need to connect with on a professional level may look street and talk street, but when money is at stake – especially big money, which is often the case in our industry – we serve ourselves best by acting and doing business like the pro’s. 

    That means conducting ourselves as we would in any other business - whether it’s selling seashells,  stocks or sour cream cinnamon raisin coffee cake, nuts optional.   It’s not about what we want.  It’s what the guy on the other side of desk needs, and, assuming we have it, trying to determine how best to present it.   

    Say you’re a pretzel baker and I’m the World Distributer.  I would expect you to approach me the way my already established clients do.  Remember, as the Pretzel Honcho, I have thousands of people coming at me every day with pitches.  Therefore, to get my attention, what you’re selling has to sound as good or read as well as, if not better, than everyone else’s.  Notice I didn’t say your product, I said your pitch, because, since I’m Pretzel Queen, if you don’t catch my ear or eye, you’re out.    

    Only if your pitch is interesting, will I be willing to try your pretzel.  I didn’t make that up.  That’s how business is conducted, no matter what the product.

    The initial part of your pitch is the presentation. 

    Fancy jewel cases containing photos of your dying iguana lying on a copy of your past-due rent slip, or dancing adorable treble clefs breaking out as rashes all over your letterhead, don’t cut it.  Use a simple jewel case, include a short letter stating your goal, plus a professional, accurate business card identifying you as your music self.  Leave out the jicama franchise and your muffler academy.  We’re only talking music here, okay?

    Further, if you want to be taken seriously, don’t send anyone an unidentified CD or a lyric scribbled on a used paper towel.  Nor should you send a CD in a collapsed tangerine box stuffed with toilet paper, no lyric, and no contact information.  Please - put your name, address, email address, and phone number on each item, making sure your spelling is correct and the information is easy to read.        

    Remember, perception is everything.  

    You deserve to be successful.  And I’m confident you’ll see that by taking the time to make a thoroughly professional presentation, you’ll already be halfway there.   

© 2010 Molly-Ann Leikin
www.songmd.com

Molly-Ann Leikin (rhymes with bacon) is a songwriting consultant in Los Angeles. She has dozens of gold and platinum records, plus an Emmy nomination.  So far, Molly has written themes and songs for over five dozen movies and TV shows, including “Violet”, that won an Oscar. The author of “How To Write A Hit Song, Fifth Edition”, “How To Be A Hit Songwriter”, and the producer of “Molly-Ann Leikin’s Master Class in Songwriting”, Molly consults with talented writers and artists all over the world, with a view to helping them market their material.  She also matches lyricists with composers.  Six of her clients are Grammy winners, eleven more are Grammy nominees, and so far, with Molly’s help, almost 7000 other writers/artists have placed their work in movies, on TV, CD’s, in commercials, and their tracks are downloaded all over the web. Her website is www.songmd.com. You can reach her at songmd@songmd.com.  

For more information on the USA Songwriting Competition, go to: http://www.songwriting.net


 

Tags: Molly-Ann Leikin, music business, professional music, emmy, platinum records