Songwriting Tips, News & More

5 Things You Can Do To Make Your New Year More Musically Successful

Posted by Jessica Brandon on Mon, Jan 02, 2017 @08:00 AM

5 Things You Can Do To Make Your New Year More Musically Successful
by Karen Randle
songwriting.png

As you begin the year, we wish you great music making, prosperity and autonomy…and hope you have your best year yet.

Today, I’ll list five things that will specifically help you meet your songwriting and music making goals for 2017.

1)      Pick your biggest wins. It’s easy to get overwhelmed with songwriting and music making ideas you want to implement. Instead of attempting everything from your book or tape of ideas, melodic lines, lyric ideas, becoming overwhelmed and paralyzed and completing nothing, pick one or two ideas that will give you the biggest wins.  Give yourself a deadline to complete them. Then pick two more. For example, if you run into a songwriting block today to a completing a break up song, try it again in 2 days time, this will give you a new perspective and might give you a bigger win in 2 days time when your mind is fresh. Make your single focus to get to finish that verse or pre-chorus or melodic line that didn’t work earlier in place in the next week. Then move on to your next big idea.

 

2)      Rewrite your song. People often wonder what hit songwriters like Desmond Child do to write iconic hit songs. The answer is simply that words matter and he’s very good at picking and combining words that catches the audience’s ear. He wrote “If You Were a Woman (And I Was a Man)” as a sole writer, the song became a minor hit for Bonnie Tyler in the middle of 1986. Desmond said “I was sore at the record company for not pushing that song”. "I'm going to prove that that song's a hit! So we wrote it again".

Although Desmond was dissatisfied with its success in the US and UK, he did not give up, he rewrote the song and it became one the biggest and most iconic hit song in rock history. Thus, “If You Were a Woman (And I Was a Man)” became “You Give Love a Bad Name” with co-writers Jon Bon Jovi and Richie Sambora. This song also was on VH1's "100 Greatest Hard Rock Songs".

Here is a very important lesson you can learn from Desmond Child: Don't give up, regroup and rewrite your song.

 

3)      Test and Try writing in a different genre.  Let’s say you love Country music but hate writing in the Rock or Hip-Hop genre. It doesn’t mean you should thump your nose at Rock and Hip-Hop styles.

Heard of hick-hop? Country rap is a subgenre of popular music blending country music with hip hop-style rapping, also known as hick-hop or rural rap. Country rap began to form as a genre when Bubba Sparxxx and producer Shannon "Fat Shan" Houchins created Sparxxx's 2001 debut album Dark Days, Bright Nights as an independent release which was later re-released on Interscope Records. The trend continued in 2005 when country artists Big & Rich introduced Cowboy Troy to the country world via 2005's Loco Motive released on Warner Brothers, which reached #2 on Billboard's Top Country Albums chart and the rest is history.

 

4)      Experiment by performing yourself as a music artist. Meghan Trainor was signed by a music publisher in Nashville as a songwriter. She experimented and gave it a try as a recording artist. The rest as we say is history, Meghan’s debut single “All About That Bass” became one of the biggest hit single by a debut artist, hitting #1 on the Billboard Hot 100 Charts, selling over 15 million copies worldwide, #1 on 58 different countries, her debut album debut at #1 on the Billboard 200 Album charts and she went on to win a Grammy award for Best New Artist.

 

5)      Collaboration with other songwriters.  If you look at the Billboard Hot 100 Charts, chances of a song written by more than one songwriter or even multi-way collaboration between songwriters and producers. The #1 song of the year 2016 “Love Yourself” was written by Justin Bieber, Ed Sheeran and Benjamin Levin. The #2 song of the year 2016 is a multi-way collaboration “Sorry” written by Justin Bieber, Julia Michaels, Justin Tranter, Sonny Moore and Michael Tucker.

 

 

Information on the 22nd Annual USA Songwriting Competition, go to: http://www.songwriting.net/enter


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, pitching songs, songwrite, song demo, Desmond Child, collaborations, Co-Writing Songs, Justin Bieber, Ed Sheeran, Meghan Trainor, Bon Jovi

[Songwriting Expert Advice] Writing and Placing Christmas & Holiday Songs

Posted by Jessica Brandon on Wed, Nov 30, 2016 @01:20 PM

[Songwriting Expert Advice] Writing and Placing Christmas and Holiday Songs
by Jason Blume
christmas_holiday_songs.jpg

Imagine receiving airplay and earning income from a song year after year and having that same song be recorded by multiple artists over a span of decades. That is what can happen with a holiday-themed song. For many songwriters and music publishers, landing a holiday recording that becomes the next “White Christmas,” “Jingle Bells,” or “Rudolph, The Red-Nosed Reindeer,” is the greatest gift they could hope for.

While Christmas is likely the first thing that comes to mind when you think about holiday songs, there have been successful songs that relate to other holidays, as well. It would hardly be New Year’s Eve without Auld Lang Syne, and there are Valentine’s Day songs, songs played on Cinco de Mayo, Chanukah favorites, and St. Patrick’s Day songs, such as those recorded by the Irish Rovers and other artists from the Emerald Isle. There are also songs that are associated with patriotic holidays, and of course, birthday songs.

Michael Jackson’s recording of “Thriller” is sure to be heard toward the end of every October, as is “The Time Warp,” from the soundtrack of “The Rocky Horror Show.” But the song most closely associated with Halloween is the “The Monster Mash” (written by Bobby Pickett and Leonard Capizzi and recorded by Bobby “Boris” Pickett and the Crypt-Kickers). Peaking at #1 when it was released in 1962, the song has charted three subsequent times since its initial release and has been covered by artists including Sha Na Na and the Beach Boys, continuing to generate income for decades.

Trivia buffs might enjoy knowing that legendary songwriter and recording artist Leon Russell played piano on the original recording of “The Monster Mash.” Other Halloween perennials include Danny Elfman’s “This is Halloween” (from “The Nightmare Before Christmas”) and Warren Zevon’s “Werewolves of London,” (Zevon, Leroy Marinell, Robert Wachtel).

Lee Greenwood’s signature song, “God Bless the U.S.A.” (written and performed by Greenwood) was first released in 1984, peaking at #7 on Billboard’s Hot Country Singles chart. Greenwood’s recording of the song was re-released and gained a bigger audience during the Gulf War and following 9/11. The recording charted a second time, reaching #16 on the Billboard Pop chart and #12 on the Adult Contemporary chart, amassing sales of more than one million copies.

American Idol’s Season 2 finalists recorded a cover version of “God Bless the U.S.A.” that reached #4 on Billboard’s Hot 100 chart and was certified “Gold” for selling more than 500,000 copies. Numerous artists, including Beyoncé, have released or performed versions of the song, establishing it as a true holiday standard, and Greenwood’s version receives extensive airplay and live performances during every patriotic holiday, such as Veteran’s Day, the 4th of July, and Memorial Day, as well as at political rallies. Miley’s Cyrus’ recording of “Party in the U.S.A.” (written by Claude Kelly, Dr. Luke and Jessie J) is likely to receive airplay on the 4th of July and New Year’s Eve for many years to come.

Some radio stations alter their formats and play only Christmas music from Thanksgiving through New Year’s Day. Billboard magazine lists the popularity of Christmas songs on a U.S. Holiday Song chart. Songs on these playlists can generate royalties for their writers and publishers for a lifetime, but there is a benefit for the recording artists, as well.

Artists who record the first version of a holiday song that becomes a standard ensure that they will receive annual airplay, and remain in the public consciousness for years–possibly even decades–after their non-holiday releases are no longer included on current playlists. These artists can extend their careers and earn musical immortality by doing annual Christmas concerts and by performing the song closely associated with them on holiday television shows.

Perennial chestnuts such as “Silent Night” and “Deck the Halls” have been part of the Christmas soundtrack for decades, but more recently, songs such as Faith Hill’s recording of “Where Are You Christmas,” Darlene Love’s “Christmas (Baby Please Come Home),” Alabama’s “Christmas in Dixie,” and Elvis’ rendition of “Santa Claus is Back in Town” can be found on Christmas playlists throughout the world.

I spoke with Justin Wilde, owner of Christmas and Holiday Music which is the number one music publisher of original Christmas, Chanukah, Halloween, and other holiday songs. Wilde’s company represents more than 240 songwriters and has secured holiday releases with artists including Paul McCartney, Barbra Streisand, Glen Campbell, Anita Baker, Toby Keith, Ray Charles, Loretta Lynn, Johnny Mathis and many more, as well as a long list of television and film placements.

Wilde stated that it has always been difficult to get Christmas and other holiday songs recorded because only a small percentage of releases fall into these categories. Most of the songs on Christmas albums are artists’ versions of standards. In some instances, there are no new, original songs included at all. Typically there are not more than two or three original songs included, and with the advent of more artists writing or co-writing the few original songs on their holiday releases, securing these recordings has become even more daunting.

When asked what writers and publishers can do to increase their odds, Wilde responded, “To maximize your chances of a placement, write mid- or up-tempo songs. There are probably ten ballads out there for every mid-tempo song.” While he acknowledges that he has placed a small number of sad holiday songs, he stressed that most listeners don’t purchase or listen to Christmas songs to hear sad messages, such as “My baby left and I’m feeling so blue” or songs about the homeless. Positive, happy songs tend to be easier for him to place. He added, “Appeal to your listeners’ senses with lyrics they can see, taste, and smell. Include at least one great, fresh, original line in each verse.” He also mentioned that in terms of genres, country music typically has the most artists releasing Christmas releases, followed by pop and R&B. So those writing and representing songs in those styles will have the most opportunities to secure placements.

With there being so few slots for original holiday songs, it becomes even more important for writers to find fresh, unique angles and imagery to separate their work from the pack. For example, if you rely solely on cliché Christmas images such as the stockings hung by the fire, the presents under the tree, the carolers, and decorations, it is unlikely that your song will compel an artist to bump his or her own song from the album in order to include yours. Avoiding references to specific geographic locations and keeping your lyrics gender neutral (when applicable) expands the number of casting possibilities.

Hit songwriter and publisher Steve Leslie of SNG Music also stressed the importance of finding fresh, new images to include in holiday songs. In his song “Candy Cane Christmas,” (written by Steve Leslie, Frank Rogers and Darius Rucker, and recorded by Darius Rucker) the lyric includes references to tiny little boots covered in snow, apple cider warming on the stove, and kids twisting like little tops in their beds.

“It’s easy to write trite, but that’s not what we want,” said Leslie. He continued, “We need a new twist on an old theme. For ‘Candy Cane Christmas,’ Frank Rogers (who produced the song) wanted an idea that would be about a physical object, like a Christmas tree or silver bells, but something that hadn’t been done before. I Googled ‘Christmas objects.’ As I looked down the list I saw “candy cane” and I liked the alliteration of ‘Candy Cane Christmas,’ and the payoff line, ‘sweet as it can be,’ knocked it out of the park.”

Legendary songwriter and songwriting educator Marty Panzer (collaborator on many of Barry Manilow’s biggest hits, Kenny Rogers’ “Through the Years,” and more than 100 Disney placements) echoed the importance of bringing a unique element to songs for the holiday market, as well as to all songs. Panzer shared, “It was Barry Manilow’s idea to write “It’s Just Another New Year’s Eve” (written by Marty Panzer and Barry Manilow/recorded by Manilow) for his Uris Theatre run, which was being recorded for his first Live album. We wrote the song on Monday… it was orchestrated on Tuesday… and recorded on Wednesday.

As with all songs we wrote together or separately, the most important point, was to write something that hadn’t been said before. Though New Year’s Eve is generally thought of as a celebration of the coming new year, it is for many, if not most, a time of introspection and looking back over the year (or years) that have passed. It’s often a time of regret, anxiety, and an acute sense of loneliness. There was no song we knew of that addressed any of that.”

Panzer continued, “Barry wanted to write a song of comfort and encouragement for those people who were possibly hurting on New Year’s Eve, more than they were celebrating. Happily, “It’s Just Another New Year’s Eve” turned out to be just that song. Its uniqueness, Barry’s extraordinarily warm and moving performance, and the grace of God, have made it a perennial at radio, where it’s gotten great airplay, for all these years. Barry Manilow Live was Barry’s first Number 1 album. ‘It’s Just Another New Year’s Eve’ was the only single from the album. Barry performed the song on Dick Clark’s Rockin’ New Year’s Eve TV special, for probably the next 10 years.”

When asked whether there are special melodic considerations for holiday songs, Justin Wilde stated, “Melodic simplicity is probably more important for a holiday song than for a non-seasonal recording. You probably want something the average person can hum along with, not something that only a professional singer can sing. For example, songs with a two-octave range or octave interval jumps that are so challenging, vocally, that you’re not going to hear it by carolers or in school productions.” He suggested, “Write those Great American Songbook-style songs that stand the test of time and work in various genres. Songs that can be arranged and recorded in a variety of styles–as opposed to songs that rely primarily on a current-sounding musical track to hook the listeners–will have the best chance of becoming a perennial favorite.

Wilde added, “If I listen to your song three times and I can’t sing back at least half the melody, it’s not a song that can be a standard.” He stated that the repetition of a short (i.e., two to six note) melodic or rhythmic motif helps a melody to be memorable. By weaving the rhythm or the interval established in that melodic phrase throughout the fabric of the song, the melody becomes embedded in the listeners’ brains.

A technique sometimes used in holiday songs is to weave in melodic snippets of classic holiday songs that are in the public domain. An excellent example of this can be found in Barry Manilow’s “It’s Just Another New Year’s Eve” (written by Manilow and Marty Panzer), which includes melodic phrases of “Auld Lang Syne.”

When asked what the biggest mistake is writers make when writing the Christmas and holiday songs they submit to him, Wilde stated, “Failing to workshop a song; not getting professional feedback and failing to rewrite their song before demoing it.” When asked about placing Christmas and other holiday-oriented songs in television shows and movies, Wilde shared, “For holiday-themed television and movies, songs are like audio props or set decorations. For example, when you open on a Christmas episode on TV you want to see Christmas trees or decorated shopping malls that tell you that it’s Christmastime. Songs for Christmas episodes have the same function. They need to help establish that this is a Christmas episode. If it’s an original song the public will not recognize it as a Christmas song unless the lyric includes many mentions of Christmas and Christmas images upfront and throughout.”

The first step in pitching holiday songs is to learn which recording artists, and film and television productions, are seeking this type of material. This information can be gleaned from tip sheets (such as RowFax, for those who are focused on the Nashville market) and through establishing relationships with A & R executives and music producers, as well as film and TV music supervisors. While Justin Wilde’s Christmas and Holiday Music publishing company specializes in holiday songs, any successful publisher should have the necessary contacts to learn which artists are looking for holiday songs, and should have access to the decision makers.

Traditionally, the best time to pitch Christmas music has been from January through July, with most artists’ holiday projects being finished by or before mid-August. This was necessary to allow sufficient time for physical product to be pressed, album covers to be designed, and copies to be shipped to distributors and placed in stores. But in today’s world of digital releases, artists who are releasing material only in a digital format might record and release a holiday single only a few weeks prior to the holiday.

Whether your goal is to write and place the next holiday standard or to have a non-seasonal smash hit, the keys to success remain a combination of exceptional, fresh melodies and lyrics with persistence. Justin Wilde estimates that he pitched one particular song more than 2,000 times over a period of twelve years before finding it a home with an artist.

Wishing you a wonderful holiday and hits and happiness in the coming year!

 

[Reprinted with permission by BMI (Broadcast Music Inc)]
 

Jason Blume is the author of 6 Steps to Songwriting Success, This Business of Songwriting, and Inside Songwriting (Billboard Books). His songs are on three Grammy-nominated albums and have sold more than 50 million copies. One of only a few writers to ever have singles on the pop, country, and R&B charts, all at the same time—his songs have been recorded by artists including Britney Spears, the Backstreet Boys, the Gipsy Kings, Jesse McCartney, and country stars including Collin Raye (6 cuts), the Oak Ridge Boys, Steve Azar, and John Berry. After twelve years as a staff-writer for Zomba Music, Blume now runs Moondream Music Group. For additional information about Jason’s online interactive critiques and webinars, latest books, instructional audio recordings, and workshops, visit www.jasonblume.com

Information on the Inaugural Christmas Songwriting Competition, go to: http://www.songwriting.net/xmas


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, pitching songs, songwrite, song demo, Jason Blume, collaborations, Co-Writing Songs, writing christmas songs, X'mas song

(EXPERT MUSICIAN ADVICE) Find & Work with Music Attorneys

Posted by Jessica Brandon on Wed, Nov 30, 2016 @01:03 PM

(EXPERT MUSICIAN ADVICE) Find & Work with Music Attorneys

By Glenn Litwak

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This article on music attorneys will discuss principles that apply whether you are a recording artist, songwriter, music producer, manager, independent record label or music publisher.

  1. What do music attorneys do?
    Music attorneys generally fall into two categories: litigators or transactional attorneys. Litigators are hired to represent individuals and companies involved in the music business in court, arbitration and mediation. For instance, if you are owed money on a contract or you have a copyright infringement case.

Transactional attorneys prepare and negotiate music industry contracts. Some examples: recording, music publishing and songwriter contracts, management or music producer agreements, and touring and merchandising agreements. Some music lawyers do both litigation and transaction work, but most are one or the other.

A few music attorneys may be willing to “shop” an artist, meaning they will look for a recording or music publishing agreement for you and, if they are successful, they will take a percentage of what you get (generally five percent). In my experience, it is very difficult to find a music lawyer willing to do this if you are a new artist.

 

  1. Do you need a music attorney?
    How do you know if you need a music lawyer? If you are sued or someone is threatening to sue you or you need to sue someone to collect money, then you will need a music litigator. And you would need one if you are going to be involved in an arbitration or mediation. You would retain a transactional music lawyer to give you legal advice or to prepare and/or negotiate a music industry contract.
  1. What to look for in a music attorney
    Let’s say you are a new up-and-coming artist. You have built a nice social networking presence; you are doing bigger and bigger shows and have even started licensing your music for film and TV. You have finally been offered a deal with an independent record label. What type of experience and qualifications would you look for in a music attorney? First of all, you need to find someone who has recent experience in negotiating the type of deal you are being offered. Secondly, find someone you are comfortable with and feel you can trust and communicate with. Thirdly, research the background of the lawyer: How long has he or she has been a music lawyer, who has he or she represented, has he or she spoken at music industry conferences, etc. And you should look into the lawyer’s reputation for honesty and integrity.
  1. How do you find one?
    Most of the music attorneys are in New York and Los Angeles, but you can also find them in places like San Francisco, Nashville, Miami, Chicago, Minneapolis and Toronto. One of the best ways to find a music lawyer is by referrals from friends and relatives or from people you trust in the music business. You can also research music attorneys online. Check out Music Connection’s Directory of Music Attorneys.
  1. Attorney fee agreements
    Entering into a written attorney/client fee agreement is important. In fact, in California it is required if the anticipated legal fees are over $1,000 or if the matter will be taken by the attorney on a contingency (percentage) basis. The fee agreement will spell out what the attorney will be working on, how the fees are calculated and what will be expected of you i.e., cooperation, communication.

Music attorneys are paid in several different ways:
A. By the hour: Under this arrangement, the attorney will bill you by the hour (or part of an hour), with an upfront deposit (retainer)

  1. Flat fee: This would be, for example, where the attorney bills you a flat fee of $5,000 to negotiate a recording agreement with a major label.
  2. Percentage: Music lawyers generally charge 5% when they are willing to work on a percentage. It is more likely an attorney will agree to this with an established artist or producer. Or if a new artist has a deal on the table that looks like it will close and substantial money will be due when the deal closes. But if for any reason the deal does not close, the attorney is paid nothing! This may be a good deal for the artist who does not have the money to pay the lawyer up front.
  1. Working with a music attorney
    Once you find a music lawyer you should try and give him all the information and documents he or she needs. This means giving your lawyer the good as well as the bad news about your matter. And you should decide how you will communicate. Nowadays, most of the communication is by email, text and telephone. You can agree that you will be copied on all communications sent and received by the attorney on your case.
  1. Terminating a music attorney
    When you have retained an attorney you may generally fire him or her whenever you want. You can terminate your music attorney for a good reason, a bad reason or no reason. But you will be liable for the attorney fees up to the date of discharge. If you decide on termination you should do it in writing and make arrangements to pick up your file.

 

Disclaimer: This article is not intended to be specific legal advice for any particular situation. You should retain an experienced music attorney to advise you about any specific matter.

 

Reprinted with permission by Music Connection Magazine.

 

GLENN LITWAK is a veteran music and entertainment attorney based in Santa Monica, CA. He has represented platinum-selling recording artists, Grammy-winning music producers and hit songwriters as well as management and production companies, managers, music publishers and independent record labels. Litwak is also a frequent speaker at music industry conferences around the country such as SXSW (South by Southwest) and the Billboard Music in Film and TV Conference. See glennlitwak.com.

 

Enter the 22nd Annual USA Songwriting Competition, go to: http://www.songwriting.net/enter



 
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Songwriting Expert Advice: Writing Songs to Pitch

Posted by Jessica Brandon on Mon, Sep 19, 2016 @12:15 PM

Songwriting Expert Advice: Writing Songs to Pitch

by Anika Paris
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Award-winning songwriter and instructor Anika Paris gets right to the bottom line when it comes to setting your sights and crafting your songs to pitch to publishers and film & television music supervisors. Here are some great do’s and don’ts...

1. Defining Your Goals—what kind of songs are you pitching?
It all begins with a song, and a great song should be able to stand on its own. What creates that pure and unexplainable “magic” that resonates with audiences? And how can we get those songs working for us, heard on TV, in ads, in films, on famous artists’ records and over the radio?

There’s no secret ingredient on how to write the perfect song, it’s often timing and luck. But, we do have control over defining our goals when pitching songs. Whether you are writing songs in hopes of a publishing deal, or representing yourself with songs to pitch directly to music supervisors, sync houses and ad agencies, having clarity on the kind of writer you are and where your songs fit is key. You must pick and choose writing styles to match which avenue you decide to take when pitching your music; whether as an artist, a songwriter, writing for TV commercials or for film. Let your contacts know where you envision your songs, and whether you are a one-stop shop. The more prepared you are, the more seriously you’ll be taken.

2. When Writing as the Artist, be current with a twist.
Oscar Wilde said, “Be yourself; everyone else is already taken.” There should always be something definitively unique about your songs, so your voice and style stand out. Everyone is looking for the next craze of music. A “sound-a-like” with non-descript vocals can become dated and get lost in the pile. Be relevant, but hone your own artistic signature.

3. When Writing for Another Artist, uncover something personal.
Listen to the artist you are pitching to, and make sure your song matches their style, their vocal range and timbre. To be clever, read articles, Google them and try to find out what the artist may be going through in their personal life and write about it. Record labels will mention song styles the artist is looking for, but rarely a subject matter or lyrical content. So, touching upon something personal can only help. After all, you are competing with producers and top liners who write directly with that artist.

In addition, make sure to have a great production and write as radio ready as possible.

4. When Writing for TV/Film, familiarize and customize.
Getting a song licensed to television and film is mostly up to a music supervisor. However, a publisher can pitch on your behalf. Pull something from your catalogue that may fit a specific storyline of a show you’re watching, or go ahead and write something for a show to send in. Make sure to identify the current sound they are using before writing something that doesn’t fit. For example: Grey’s Anatomy often features ethereal ballads and love songs, versus something featured on HBO like Bloodline, which gravitates more toward quirky underground songs. When it comes to songs for films, it’s unknown territory. But independent films, versus blockbusters, often choose unknown artists over big names, because the budgets are smaller and the music palettes broader.

5. When Writing for Commercials, investigate products and brands.
There is definitely a formula for big box stores and major brands. Cathy Heller, songwriter and founder of Catch the Moon Music, has a lot of experience and placements. Some of her clients include giants like Walmart, McDonald’s, Kellogg’s and many more.

“It’s all about the vibe,” she says. “80% of the time they want music that is feel good, happy, playful and lyrically about being young, free and on the go. But, be sure to marry that with a hip, indie, fashion forward vibe, so you’re not just writing a jingle but a great standalone song. The other 20% of the time, there will be brands that have a different sonic palette. For example, Subaru gravitates more toward a Boniver and Lexi Murdock sound. Something slow, moody and melancholy. So, be sure to research brands before submitting.”

Furthermore, songs should have variation and dynamics, so there is plenty of room for dialogue if needed, and a production that builds up to the chorus.

6. One-Stop Shop, get everything in the clear.
One-Stop Shop means you’re legally setup to send your songs out without potential complications. You need to complete the following:

• Writers/Publishers Shares: Register all your songs with either ASCAP, BMI or SESAC. Make sure all writers splits are documented and agreed upon.

• Master/Producer Rights: Establish and negotiate Master ownership with your producer.

• Control: Get all creators on your team to give you control for songs to pitch.

7. Getting Past the Gatekeeper, personal relationships are key.
Breaking down the industry wall is overwhelming, and unsolicited emails often go unanswered. But, there’s always six degrees of separation, somebody knows somebody, who knows somebody.

So, exhaust all your resources to find a connection to an in-house person. Because personal relationships are always best. I worked for two celebrities, and I was the “gatekeeper.” I only let people through who bonded with me. I suggest you call before emailing to make sure they are accepting new material, and ask what format of music they prefer. And, whoever answers the phone, get their name, establish a connection.

Create a good email signature with a picture, keep it brief and specify why you’re sending your music. Don’t send 30 songs! Send your top three, and let them know there’s more. Michael Eames of PEN Music Group says: “I get so many emails with attachments. I prefer streaming links. I usually write back that I’m very busy, and that they should follow up with me in a couple of weeks. That eliminates those who are not serious. Most don’t write back. But those that do, I will listen to their work.”

Remember, it’s still a two-way street—music publishers, supervisors and ad agencies need music as much as songwriters need them.
 
(Permission reprint by Music Connection magazine)
 
ABOUT THE AUTHOR
ANIKA PARIS is a published songwriter with Universal/Polygram and has had songs featured in major motion pictures via Miramax, Century Fox 21, Lionsgate, Universal Pictures and on HBO's Sex in the City,Desperate Housewives,American Idol, MTV, Oprah's OWN and many more. She is a coauthor of the book Five Star Music Makeover published by Hal Leonard Inc. See: www.anikaparismusic.com

Information on the USA Songwriting Competition, go to: http://www.songwriting.net

 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, pitching songs, songwrite, song demo, collaborations, Co-Writing Songs

Songwriting Tip: Melody Is Like A Fingerprint or Signature

Posted by Jessica Brandon on Tue, Jun 21, 2016 @07:00 AM

Songwriting Tip: Melody Is Like A Fingerprint or Signature

by Harriet Schock

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In my songwriting course, I cover melody and chords as well as lyrics. I’ve learned so much about songwriters this way. Melodies don’t always reflect the actual personality of the composer the way handwriting might, but it certainly stays within a certain box with his or her name on it. Some songwriters in their melodies stay very step-wise, using notes that are close to each other most of the time and with a lot of rhythmic repetition. Some love leaps of a particular nature leading to an unexpected chord. Some composers write the melody over the chords but think of the chords before the melody. Some add chords after the melody is written. Sometimes it’s hard to figure out one’s on chronology since the chords and melody affect each other so intimately. One thing I’ve noticed for sure: If a writer can’t hear chords and pick out other people’s chords by ear, his/her chords will sound arbitrary and will have to be “thought out” rather than “heard” when he or she is composing a melody.

There are signature sounds to certain songwriters. I’ve discussed before the way Richard Rogers used non-chordal tones, often outside the scale, referred to as “the Rogers wrong note.” It’s what we wait for. Non-chordal tones in melodies are frequently the best part, but it still has to have an inevitability to it in its entirety, not sound like the chord was pulled out of a bag or placed there because it had a note in common with the melody.

Now let’s take the example of collaborations. I used to think that when part of a lyric was written first and the composer was brought in to write the melody afterward, that the lyricist had dictated the rhythm of that melody. But I’ve noticed that so many different rhythms of melody can result from the very same lyric, I no longer think that. I do believe, though, that the second verse should be written to the melody the composer writes. Counting syllables never works well because it’s really beats that must be counted and accents followed for the prosody to be right. It’s just much easier to write the second (and third) verses to the melody. That’s what we do when we start a song writing melody and lyrics together. It always amuses me when a songwriter will say “I just write melody and lyrics at the same time, so I can’t write lyrics to an existing melody.” I always remind them that yes, they write the 2nd verse lyric to an existing melody. They have to admit that it’s true.

Try discovering the melodic fingerprint of certain composers. Some are quite versatile and it might be hard to know, especially in the beginning when they’re still searching for their styles. But after a few decades of writing, it’s interesting to listen to a lot of one great composer’s melodies and discovering his or her fingerprint or signature. And if you’re still looking for your style, it might be advisable to play their songs by ear. It could beneficially affect your own compositions in the future and one of those swirls you become known for might have come from some great composer’s thumb.

 

Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films and starred in “Just 45 Minutes from Broadway.“ Jaglom’s recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. Harriet teaches songwriting privately, in classes and a popular online course by private email. For her performance schedule, list of credits and samples of her work or information on her book (Becoming Remarkable, for Songwriters and Those Who Love Songs), and her new up coming book, her songwriting classes, online courses and consultation, go towww.harrietschock.com

  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Harriet Schock, song demo, collaborations, Co-Writing Songs

5 Simple Truths I Learned About Songwriting

Posted by Jessica Brandon on Tue, May 10, 2016 @07:00 AM

5 Simple Truths I Learned About Songwriting

by Jessica Brandon & Ron Van Dyke

 songwriter.jpg

I thought I knew a lot about songwriting when I first got involved with co-writing and writing with other songwriters and producers.

I was dead wrong.

I had a transformation of sorts. While helping to write this article together, I discovered the real truth about songwriting. I found out how to write a song without having to feel uncomfortable and feel like I was forcing the issue, plus a heck of a lot more.

Here are five simple truths I learned about songwriting, and myself, after being involved with writing songs with other co-writers.

 

  1. Nobody is a natural songwriter

When I started in songwriting I got three words of advice from my band member “Go get ‘em.” Most musicians and songwriters seem to think that you can go out there and just write. When that doesn’t work, and you come up short too many times, you start thinking you are no good at songwriting.

The simple truth is no one is a natural born songwriter. And songwriting is a learnable skill anyone can master given the right tools, strategies and learning. There are hit songwriters such as Harriet Schrock, Jason Blume, Ralph Murphy who are songwriting teachers that are helping budding songwriters.

 

  1. Rewriting Your Songs

The first draft of your song may not always be the best. Sure, you have heard hit songs written in just 5 minutes. However, rewriting lyrics and music can be a rewarding experience. Especially if you are not satisfied with your first draft, writing songs is like sculpting a sculpture, a piece of art.

Also, when you return to your song an hour or a week later, you’ll have partially forgotten its details—and assuming you documented the draft carefully, that’s a good thing!

 

  1. Don’t wing it, learn song structures

When I first started songwriting many years ago I had no form. I didn’t know what AABA form or verse, chorus, bridge was. I had no idea what a verse refrain structure was. There was no preparing in advance and no real order to what I would say or how the melody or chords would be. I knew what I wanted to say in the song well enough and could wing it. But since I didn’t have a set way to write, it was hard to learn the various structures for writing a song. I was leaving my songs to chance and letting the many songs go incomplete. Learning structures of various songs is important – it lets you control the songwriting process so you can steer your lyrics, melody, chord progression, and have a better chance of completing the song.

 

  1. Songwriting should come naturally

If you learn structures of songwriting, the momentum you build and the objections you eliminate will make your audience eager to hear your song, which makes the songwriting a pleasant and rewarding experience.

Also, listening to new songs on the radio can provide sources of inspiration. There were times where I had the dreaded “Songwriters Block” where no music or lyrics were coming from my head. I took a 15 minute break by turning on the radio and Voilà – I had a hook for the chorus! My ideas for the verse, pre-chorus and bridge came quickly and my song was completed within an hour.  

 

  1. Co-writing credits can sometimes be misinterpreted

If you look at the Billboard charts you’ll notice that many of the songs have more than one writer credited. This may not always be as it 1st seems as some of the co-writer’s listed may not have written a single word or a note. In these cases it could be a producer, an A & R manager or an artist who worked a writing credit into the deal with the songwriter. The more famous or well known an artist or producer is, the greater the chance of having a hit song and, therefore, the more leverage they have in getting these kinds of "co-write" deals especially with hungry songwriters. A famous example of this was Elvis Presley who indicated that he wanted to cover Dolly Parton’s song “I Will Always Love You”. Parton was interested until she realized that Presley’s manager expected her to sign over half of the publishing rights. She declined and the rest is history.  The song went on to be one of the best selling hits of all time when it was covered by Whitney Houston with Parton keeping all of her royalties.

Many of the great songs out there have been written by more than one writer, which goes to show that co-writing can be a fruitful and wonderful thing. If you are looking for co-writing opportunities it’s important to know your strengths. Are you better at the music side of things or are you stronger with the lyrics? Knowing this can help you identify co-writers who have strengths that you may not have, therefore, making it a potentially better match and hopefully avoiding disappointments. If you are able to hook up with writers who are better and more experienced than you, even better. Collaborating with other songwriter’s is a cool thing and definitely worth trying. This is just one of the many fascinating topics that are covered in our past blogs posts.

 

Enter your songs in the 21st Annual USA Songwriting Competition, enter online or by mail. Enter now... But you must enter by midnight, May 27, 2016. Go to: http://www.songwriting.net/enter


 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, song demo, song structures, collaborations, Co-Writing Songs, Music Publishing Deal, Music Publishing Contract, Record Contract, Rewriting

Songwriting Tip: Don't Explain Too Much

Posted by Jessica Brandon on Tue, Apr 19, 2016 @07:00 AM

Songwriting Tip: Don't Explain Too Much
 

Book_Big.jpg

This book excerpt explores the challenge of properly communicating feelings and emotions with listeners through one's lyrics, and looks at how a songwriter can structure their work in such a way as to clearly get their intended message across without excessive exposition.

____________________________

Guest Post excerpted from the newly released e-book Songwriting: Get Your Black Belt In Music & Lyrics

Don’t Explain Too Much

tricky situation:

In order to communicate a feeling, you could take the quickest path and just tell listeners what you’re feeling, but that usually doesn’t create the best results. 

Key Word: PORTRAY

One result of merely telling the listeners what you’re feeling is that your story won’t leave anything open to their imagination. You’re placing the listeners off to the side of your lyric, since you’re not inviting them in to think for themselves, draw their own conclusions and read between the lines. Try not to tell so much — open the lyric up to people’s interpretations by portraying emotions instead.

Consider this:

There are two important ways to portray: 1) Portray by using imagery: Instead of saying I’m so in love with you Shawn Colvin says ”I never saw blue like that before, across the sky, around the world” in her song Never Saw Blue Like That. 2) Portray by letting something happen as a consequence of the emotion. Let’s say that you want to convey how much someone is missing someone else. Missing someone who has just died. Someone who has committed suicide by jumping of a bridge, to be more precise. Like in Bobby Gentry’s song Ode To Billie Joe (1967). In the end of the song you could let the main character (a girl) explain how much she misses, and longs for, the person that no longer exist. Another, and much more efficient, way of letting us understand, and drawing us into the story, is to portray her feelings by letting her do something:

“And me, I spend a lot of time pickin' flowers up on Choctaw Ridge,

and drop them into the muddy water off the Tallahatchie Bridge.”

–  excerpt from “Ode To Bille Joe” by Bobby Gentry

  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
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Songwriting Tip: Walking that Line

Posted by Jessica Brandon on Tue, Apr 12, 2016 @07:00 AM

Songwriting Tip: Walking that Line
by Harriet Schock


Walk-the-Line.jpg

There’s a line between art and commerce and for some people, it’s wide enough to walk. Finding a way to do it is an art in itself.

I know some of the best songwriters walking the earth but you might not know their names. That doesn’t mean they’re not great. And I know some really successful ones who are also exceptionally good. Today, even in a city as known for songs as Nashville, there’s a feeling that “formula” is taking over. And the pervading attitude is that merit doesn’t necessarily accompany success, and certainly vice versa.

When I was in Nashville one of my meetings was with a former promoter from the record label I recorded three albums for in the seventies, in L.A. He’s been very successful in Music City since then and when I recorded my last two CDs, I sent them to him. When he heard the newer songs, he announced that he was still a fan. This was my opening to ask him a question I didn’t dare ask the strangers I’d been meeting with all week. “Could co-writing here actually hurt my writing?” He gave me a candid “yes.” I thought about it long and hard. I took “could” to mean if I wrote with the wrong attitude, it “could” harm me but I would make sure that didn’t happen. Some of the greatest songwriting I’ve ever heard is coming out of Nashville, in my opinion. So I decided to adopt the attitude that I could learn from anyone or anything I admire. But I wouldn’t let it dilute the style I’d become known for in my own writing. I had found another thin line to walk.

My first writing session was with someone who also teaches songwriting and that was really fascinating. It was like speaking “shorthand.” I just sat in the library where we’d found an available grand piano and played endlessly to a drum track until we found a melody for the chorus. We discussed the lyric direction and he wrote the lyric to the verse with my minimal participation. I took the tape home and wrote the verse melody which I sent him.

This particular collaborator also helped me learn some of the unwritten rules of Nashville collaboration: The B writer (the one with fewer hits) brings the concept to the A writer (the one with more hits).

Therefore, in my next songwriting session, I brought the concept. I had no sooner said the last syllable of the title than my new co-writer had the guitar up, playing and singing a melody that made me feel totally at home and enraptured. I began to realize the reason this multi-hit-writer was so successful was that he’s really good. Melody and harmony fell out of this playful creature like a fountain overflowing.

This brings to mind another kind of thin line, one mentioned by Irving Berlin, who spoke of the thin line between familiarity and plagiarism. Berlin walked this line deftly and attributed his success to it, and my collaborator was walking it like a trained gymnast. When I heard the melody and chord changes, it was nothing I’d heard before and yet it felt completely familiar. Every note went where I wanted it to, like when someone finds that place on your back that itches.

Another interesting line I encountered that trip was between hanging out and becoming a drinker. I noticed a lot of networking going on at songwriters’ hangouts, which happen to be bars in many cases. I don’t know how they spend day after day there without liver damage, but the “whiskey flows and the beer chases their blues away.” And since I was drinking water and trying to say in “The Zone,” it didn’t have much effect on me except as an observer. I understand legal sobriety is now determined by Breathalyzer tests, for which I understand Listerine can cause a false positive. So it’s not easy to find where demarcation is sometimes. But I still try to walk the line. All of them.

 


Harriet Schock wrote the words and music to the Grammy-nominated #1 hit, "Ain't No Way To Treat A Lady" plus many songs for other artists, TV shows and films. She co-wrote the theme for “Jakers! The Adventures of Piggley Winks,” currently showing in 30 countries. She and her band were featured in Henry Jaglom’s film “Irene In Time” performing 4 of Harriet’s songs. She also scored three other Jaglom films and starred in “Just 45 Minutes from Broadway.“ Jaglom’s most recent film, “The M Word,” features Harriet’s song “Bein’ a Girl,” performed on camera at the end of the film. Karen Black wrote the play, “Missouri Waltz,” around five of Harriet’s songs, which ran for 6 weeks at the Blank Theatre in Hollywood as well as in Macon, Georgia. In 2007, Los Angeles Women In Music honored Harriet with their Career Achievement and Industry Contribution award. Harriet teaches songwriting privately, in classes and a popular online course by private email. For her performance schedule, list of credits and samples of her work or information on her book (Becoming Remarkable, for Songwriters and Those Who Love Songs), and her new up coming book, her songwriting classes, online courses and consultation, go to: www.harrietschock.com
  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, Harriet Schock, song demo, collaborations, Co-Writing Songs

Songwriting Tip: Legal Issues With Songwriter Collaborations

Posted by Jessica Brandon on Tue, Apr 05, 2016 @07:00 AM

Songwriting Tip: Legal Issues With Songwriter Collaborations
by Wallace Collins, Esq

MusicianArt-1

Under the US copyright law, an author or creator owns a copyright in his or her work the moment it is “fixed in a tangible medium” (i.e., the moment the expression of an idea is written down or recorded in some manner). When it comes to the recorded music business there are two primary copyrights of interest: one in the musical composition or song; another in the sound recording of that song. A copyright extends for the life of an author plus 70 years, and in the case of collaborators on a copyright it extends for the life of the last surviving collaborator plus 70 years.

This article will focus on the collaboration between and among the co-writers of the musical composition or song which is generally comprised of the music (e.g., melody, harmony, chords, rhythm, etc.) and the lyrics (i.e., the words). The essence of collaboration is working together to create a single work regardless of how or what each party contributes. Collaborators may work together in the same room at the same time, or not. The creative contribution of each co-author may be equal in quality or quantity, or not. Both authors may work together on the music and lyrics or one might write just music and the other lyrics. The long history of collaboration has shown that there are endless combinations. Co-authors do not need to have a written agreement concerning their joint work, but it is probably a good idea to do so given the myriad issues that can arise and become a problem under such circumstances.

             Co-writers can divide copyright ownership in whatever proportion they determine, and that ownership concerns both rights (ownership and control) and revenues (income generated). In the absence of a written agreement, under current case law concerning both copyright and partnership law two or more collaborators are generally deemed to share equally on a pro rata basis. This might be so even if it is clear that the contributions of the authors were not equal since the Courts generally prefer not to make decisions about the value of each author’s contribution to a copyright and simply divide it by the number of authors (and we probably prefer that Courts not be making decisions about whether the hook or chorus lyric has more or less value than the chorus melody, etc.). Therefore, without a written agreement two songwriters would be deemed to own the song fifty-fifty, three songwriters one-third each, etc. A typical music business guideline for dividing ownership has been to designate the music as 50% and the lyric 50% of the song copyright. Under this scenario, if one person creates the music and two others write the lyrics, they may agree to divide the ownership 50% to the music creator and 25% to each of the lyricists. However, this concept does not have any legal significance so if there is no written collaboration agreement then under this scenario each author would own 1/3rd of the song copyright.

             Beyond the issue of just dividing the income there arises the issue of copyright ownership and control (sometimes referred to as the administration right). Many songwriters prefer that there be separate administration among the various writers and their respective publishing companies, if any. In other words, each author retains control over its respective share of the copyright. In this way each writer retains some control over what happens with the song, the scope of the licenses and how much is charged. Under US copyright law, each joint copyright owner can exploit the song and also grant non-exclusive licenses to third parties subject to the duty to account to the co-writers for any money that is generated. Each writer could also transfer some or all of their respective share of the copyright (e.g., to a publishing company) without affecting the ownership interests of the any other co-writer’s share in the copyright (although no one writer can grant an exclusive license nor transfer copyright ownership in the entire song without the written permission of each co-writer).

             All of these issues can be addressed in a written collaboration agreement. There are endless variations depending on the circumstances. Each author may retain his or her share of revenues and ownership but grant the administration rights to one party (e.g., the artist/co-writer and/or its label) so that the artist would have the right to record and exploit the song and grant third party licenses. Particularly in the world of synchronization licenses (i.e., using the audio with visual images such as in film, television or video games), it is usually more convenient for one party to have the right to grant licenses and to collect and divide all the income. Licensing can become complicated when a licensee has to seek the approval of, and document permission from, multiple writers and their respective publishers. However, each different scenario and the co-writers involved will need to determine and negotiate what arrangement works best for themselves in that particular situation.

             A collaboration agreement can be as simple as a pie chart drawing made on a napkin at the dinner after the writing session or as complicated as a writer’s publishing company dictates that it be. Over the years there have been many stories of writers agreeing, however reluctantly, to acknowledge a “co-writer” who did not even make a contribution to a song (e.g., featured artists, producers, record executives, band members, etc.). The exact contribution to a song is always a somewhat subjective measurement and if the price of getting a song on the record of a multi-platinum artist is to share writing credit then this pressure can be difficult, if not impossible, to resist. However, keep in mind that once a “co-writer” is acknowledged in writing it can be very difficult to undo. Most successful songwriters rarely, if ever, share credit in this context and every writer should try to follow this practice.

            At the end of the day, if you believe in yourself and your talents, give yourself the benefit of the doubt, and invest in good legal representation - all the successful songwriters do. Your lawyer can create a fair collaboration agreement for you to use or “translate” the documentation presented to you and explain its terms and then help negotiate more favorable terms for you as appropriate. My advice: never sign anything - other than an autograph - without having your entertainment lawyer review it first.

[Article used by permission from Wallace Collins]

Wallace Collins is an entertainment lawyer and intellectual property attorney with more     than 30 years of experience. He was a songwriter and recording artist for Epic Records before receiving his law degree from Fordham Law School. T: (212) 661-3656; www.wallacecollins.com


  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, song demo, collaborations, copyright a song, Registering a copyright, U.S. Copyright Office, Co-Writing Songs

Songwriting Tip: Why You Still Should Register A "Copyrighted" Work

Posted by Jessica Brandon on Tue, Mar 29, 2016 @07:00 AM

Songwriting Tip: Why You Still Should Register A "Copyrighted" Work
by Justin M. Jacobson, Esq., The Jacobson Firm, P.C.

copyright_stamp

While many creatives in the entertainment industry believe (and are partly correct) that a work is copyrighted as soon as it is fixed in a tangible medium it still pays, often literally, to formally register the work with the U.S. Copyright Office, particularly where legal issues are concerned.

A common misconception in the entertainment industry is that an author has a “copyright registration” in the work upon completion and the publication of the created work. However, this is not true. Although the Berne Convention, which the United States is a signatory to, creates a “universal copyright” or copyright upon creation and publication of a work, the work is not “registered” until it has, in fact, been registered with the U.S. Copyright Office. Truth be told, all of the benefits of copyright ownership are not available in America until the Copyright has been registered.

Registering a copyright is as easy as preparing and submitting an application to the United States Copyright Office with the appropriate filing fee and a copy of the copyrighted material. Once the work is registered and the certification is issued, the benefits of the registration begin immediately and are retroactive to the original filing date of these elements.

While it is established that a copyright is automatically created in a work upon the completion of the original work of authorship, when it is fixed in a tangible medium of expression; a formal registration of the creative materials with the U.S. Copyright Office within three months of public release provides additional, valuable benefits to the creator of the work. Some of these benefits include that the work now becomes a matter of public record and is available for search within the U.S. Copyright Office and the Library of Congress. This makes it easy to search and verify the ownership and extent of an existing, copyrighted work. This permits an individual to quickly find and contact the creator in the event that the individual desires to use or license the copyrighted material.

Additionally, in order to bring a copyright infringement lawsuit when an author believes that one of their copyrighted works has been infringed upon, the work must be registered with the U.S. Copyright Office prior to instituting a lawsuit. A valid registration certificate constitutes prima facie evidence of valid copyright ownership in the work after five years. Also, if the owner has filed for registration prior to the infringement or within three months of publication of the work, the author may be entitled to recover actual damages incurred, statutory damages as well as attorney’s fees. These fees can exceed the actual damages incurred by the copyright owner.

A valid registration also defeats a defendant’s defense of being an “innocent infringer” and provides increased statutory damages for infringements found to be “willful.” It also allows for the owner to easily license and catalog the various rights in the works.

Therefore, while there is no requirement to register a work to receive a “copyright” in the creative work, the existence of a valid copyright registration certificate provides numerous benefits to protect the work as well as provides monetary and licensing benefits that would not exist without the certificate.


[Article used by permission from Justin Jacobson]

Justin M. Jacobson has helped bring in numerous new high-profile clients, including Celebrity DJ/Producer Joshua “Zeke” Thomas and his Gorilla Records label; international live art competition, ArtBattles; G-Unit Records recording artist, Precious Paris; former NY Jet Donald Strickland; Warner-Chappell producer, J-Dens; celebrity jewelry designer, Laurel DeWitt; and BMI Latin award-winning producer, Carlos Escalona. He also spoke at Cardozo School of Law as part of “Beyond The Billboard: Advertising Law in the Fashion Industry” presented by their SELSA & IPLS Fashion Law Committees. He is a lawyer at The Jacobson Firm, P.C.: http://www.thejacobsonfirmpc.com/
  
To enter the 21st Annual USA Songwriting Competition, go to: http://www.songwriting.net

 
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Tags: songwriter, song writer, song write, Song writing, Songwriting, songwrite, song demo, copyright a song, Registering a copyright, U.S. Copyright Office, Co-Writing Songs