Songwriting Tips, News & More

How To Overcome The Fear Of Sharing Your Musical Creations

Posted by Jessica Brandon on Tue, May 31, 2016 @07:00 AM

How To Overcome The Fear Of Sharing Your Musical Creations
by Robert Menne
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Whether you are interested in writing songs as a hobby or want to turn it into a career, you will need to share your work with others. While this may seem daunting, using tricks that have worked for countless others provides a great foundation for facing your fear. Otherwise, your creations will sit tucked away in a drawer, silent.

Building confidence is essential if you are going to have success. Even if you have no desire nor intent to make a career from your songwriting, there are many avenues available to you for enjoying your tunes and sharing them with your friends, family and even people online. As an added bonus, learning to walk through your fears is a valuable tool that can be useful in virtually every aspect of your life.

Confidence-building exercises and workshops are a great method for strengthening your self-esteem. After all, even if a person does not like your song, it does not mean they don't like you or that you are unworthy in any way. Know, deep in your being, that your self-worth is not dependent on others and you will have the confidence you need to prevent negative remarks from ripping at your heart.

When introducing your songs to others, consider the source when they provide feedback. Ask listeners to be honest and to give you constructive criticism. Realize though that people closest to you may have a difficult time finding fault or things they don't like about a song.

One of the best ways to grow your songwriting skills and find others who can give you more accurate criticism is to join a songwriting group or workshop in your area. Interacting with others who enjoy the same craft can be a source of inspiration and you can learn more about the creative process behind professional songwriting.

Of course, confidence without the skill to back it up is not beneficial. You can learn some of the tools you need at your local musician's workshop, depending on what is offered in your community. However, the greater your understanding of the song creating process, the better your work will be, and you will generate confidence at the same time.

Learning music theory is a good start. Many songwriters also learn how to play the piano, which is quite useful when writing a song. Basic music theory is essential for many reasons. You will learn which keys are good for uplifting tunes and the ones you can use to create an emotional and sad song.

Additionally, a good theory course will teach you about melody, choruses and much more. You can take courses at your local community college to gain these skills. Alternatively, you can find a free or fee-based online class though you will need to research the quality and reputation of the site to ensure the lessons are accurate.

Everyone has a creative nature and you can express yours through music whether you want to focus on pop love ballads, heavy metal or techno tunes. When you ask other musicians for constructive feedback, pay attention to their comments. Rather than feeling defensive or tossing the piece, think about the validity of their response and whether or not you need to alter the song. Even professionals with years of experience edit their songs repeatedly before finalizing them. You can certainly do the same.

If you plan to perform the piece, either live or on video, make sure you know it well enough to recite in your sleep. The words and melody should roll naturally from your mouth, drawing listeners into the story your song tells. You will be more at ease and the music can shine for itself.

All artists have a fear of people negatively judging their works, you are not alone! However, if you learn the basics of songwriting and esteem building techniques, you can overcome the fear of sharing. The more you share your tunes and learn about your craft, the easier it will be. Eventually, the butterflies in your stomach will be just another part of sharing a new song and not the debilitating monsters they are now!

Robert Menne writes and plays music in his spare time. He runs a site freesongs.us that shares the latest tips and advice about guitars and guitar playing, as well as the best video guitar lessons to help you learn to play guitar.

  

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, Building confidence, Fear Of Sharing Your Music

5 Things I’ve Learned About Making Music For Film

Posted by Jessica Brandon on Tue, May 24, 2016 @07:00 AM

5 Things I’ve Learned About Making Music For Film
By Ed Gerrard

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A film music supervisor wears many hats. The job involves working with the director and producers to secure numerous legal music licenses needed for music placement. You’re also involved with picking and creating new songs for use in key moments of a film. Perhaps my favorite job as a music supervisor is working with the composer on the film score that, in many cases, can make or break a film’s success and enhance the audience’s experience. Here are five things I’ve learned about making music for film.

1. Listen
Before you write a note of music, pay attention. A director will describe the feeling of the journey for the characters and the emotion of the film that they want the audience to experience. It’s the music’s job to take people there. Listen closely and take direction. That’s why they are called directors!

2. Know Your Audience
There are many different styles of films, from romantic comedies to super herofilled action epics. The audiences that these films are made for vary from middle-aged couples to teenagers and even young children. Each audience reacts differently and at different times to what they are seeing and hearing on the screen. Remember that the music must reflect this.

3. Create and Connect Themes
Several themes are required within any single movie, potentially including ones for love, hero, villain, chase, tension, and more. Sometimes you need to “sell” these themes in as little as 30 seconds or less. Linking themes together and making them connect is the key to an effective score.

4. More Is Less
The last thing a director wants is a score that competes with a film’s dialog. Whether a movie calls for a big orchestral score or a simple piano melody, the music must support the dialog and not overwhelm it. It must appear that the words are floating over the music, not drowning in it.

5. Enjoy the Process
Too many movies these days have sterile, boring scores. It often seems like composers are disinterested and simply going through the motions of making music for film. (And sometimes it is the movies themselves that are not very good)! Remember that music is the one thing that can make a horrible movie watchable. So create and have fun with the challenge of putting music to picture. Learning your craft is the first step toward winning that Oscar!

[Reprint permission by Keyboard Magazine]


In a career spanning more than a quarter century, Ed Gerrard has managed numerous Grammy winning artists and supervised the music for 20-plus films and television series, including the new Miles Davis biopic Miles Ahead, which stars Don Cheadle and features a score by Robert Glasper. Ed Gerrard is known for his music work in Scream (1996), Scream 2 (1997) and Scream 3 (2000). Find out more at
www.impactartist.com

 

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


 
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Songwriting Radio Podcast, featuring winners of 2015 USA Songwriting Competition

Posted by Jessica Brandon on Thu, May 12, 2016 @02:52 PM

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(Pictured: Distant Cousins, Top winner of the 2015 USA Songwriting Competition)

Songwriters Radio Program, featuring the best new songwriters of today: Distant Cousins, Akon, Brian McKnight, Willie Nelson, Faith Hill. American Authors, etc. Winners of the 2015 USA Songwriting Competition are featured on this podcast.  

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


 
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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

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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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What Is A Music Publishing Deal?

Posted by Jessica Brandon on Tue, Apr 26, 2016 @07:00 AM

Songwriting Tip: What Is A Music Publishing Deal?
by Wallace Collins, Esq

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What Is A Music Publishing Deal? - and Do I Really Need One?
    The term "publishing", most simply, means the business of song copyrights.  A songwriter owns 100% of his song copyright and all the related publishing rights until the writer signs those rights away. Under the law, copyright (literally, the right to make and sell copies) automatically vests in the author or creator the moment the expression of an idea is "fixed in a tangible medium." (i.e., the moment it is written down or recorded on tape.)  With respect to recorded music, there are really two copyrights: a copyright in the musical composition owned by the songwriter and a copyright in the sound of the recording owned by the recording artist (but usually transferred to the record company when a record deal is signed).

     A writer owns the copyright in his work the moment he writes it down or records it, and by law can only transfer those rights by signing a written agreement to transfer them. Therefore, a songwriter must be wary of any agreement he or she is asked to sign. Although it is not necessary, it is advisable to place a notice of copyright on all copies of the work. This consists of the symbol "c" or the word "copyright", the author's name, and the year in which the work was created, for example: " (c) John Doe 2014."

     The filing of a copyright registration form in Washington D.C. gives additional protection in so far as it establishes a record of the existence of such copyright and gives the creator the presumption of validity in the event of a lawsuit. Registration also allows for lawsuits to be commenced in Federal court and, under Federal law, allows an award of attorneys fees to the prevailing party.  To order forms and for additional information on copyright registration call (202) 707-9100 or go to www.loc.gov\copyrights. These days a songwriter can even register on line.

     As defined by the copyright law, the word "publish" most simply means "distribution of copies of a work to the public by sale or other transfer of ownership, or by rental lease, or lending". As a practical matter, music publishing consists primarily of all administrative duties, exploitation of copyrights, and collection of monies generated from the exploitation of those copyrights. If a writer makes a publishing deal and a publisher takes on these responsibilities then it "administers" the compositions. Administrative duties range from filing all the necessary registrations (i.e., copyright forms) to answering inquiries regarding the musical compositions.

     One important function of a music publisher is exploitation of a composition or "plugging" a song. Exploitation simply means seeking out different uses for musical compositions. Sometimes a music publisher will have professional quality demos prepared and send them to artists and producers to try to secure recordings. They also use these tapes to secure usage in the television, film and advertising industries.

     Equally important as exploitation is the collection of monies earned by these musical usages. Particularly in in the digital age, when transactions amount to billions and payments to fractions of pennies, the administration of song copyrights and the collection of revenues can be a complicated and massive undertaking. There are two primary sources of income for a music publisher: earnings that come from record sales (i.e., mechanical royalties from both physical and digital copies) and revenues that come from broadcast performances (i.e., performance royalties).  Mechanical royalties are collected directly from the record companies and paid to the publisher. Performance royalties are collected by performing rights organizations (e.g., ASCAP, BMI, and SESAC in the United States and different entities in each other country) and then distributed proportionably to the publisher and to the songwriter. In addition to plugging and administrative functions, it is also important to know that there is a creative side to music publishing. Since producing hit songs is in the best interest of both the writer and the publisher, good music publishers have whole departments devoted to helping writers grow and develop. The creative staff finds and signs new writers, works with them to improve their songs, pairs them up creatively with co-writers and hopes the outcome will be hit records.

     A publishing deal concerns rights and revenues. If a writer decides to do a publishing deal then the main issue for negotiation is going to be the language pertaining to the calculation and division of the rights in the copyright and division of the monies earned. In the old days, most deals were 100% copyright to the publisher and 50/50 share of the revenues because there was a concept that the "writer's share" was 50% and the "publisher's share" was 50%. This, of course, was an invention of the publishers. Legally, these terms have no such inherent meaning but their calculation is defined in each individual agreement. Most modern publishing deals, however, are referred to as "co-publishing" deals where the copyrights are co-owned 50/50 and the monies are usually calculated at around 75/25 meaning the writer gets 100% of the 50% writer's share and 50% of the publisher's 50% share for a total of 75%. It is best for the writer to insist that all calculations be made "at source" so that there are not too many charges and fees deducted off-the-top before the 75% calculation is made. Keep in mind, however, that the advance paid to the writer by the publisher is later recouped by the publisher out of the writer's share of income from the song. So, the net business effect is that the publisher pays the writer with the writer's own money to buy a share of the copyright (and the right to future income) from the writer.

     Although a writer can be his own publisher and retain 100% of the money, the larger publishers in the music business usually pay substantial advance payments to writers in order to induce them to sign a portion of their publishing rights to the publisher - and this can be a good thing for the writer. Although a deal for a single song may be done with little or no advance payment (provided there is a reversion of the song to the writer if no recording is released within a year or two), there should be a substantial advance paid ($5,000-$100,000+) to a writer for any publishing deal with a longer term (e.g., 3-5 years or more). Moreover, sometimes the length of an agreement is more than just a function of time, it might also be determined based on the number of songs delivered by the writer or, even more difficult to calculate, based on the number of songs that get recorded and released on a major label (something neither the writer nor the publisher may have any control over).

     Publishing deals have to do with more than just the money though. Since every music publisher is different, it is important for the songwriter to assess both the business and the creative sides of a music publisher before signing any deal. Ultimately, the songwriter is trading a share of something the writer already owns 100% of (the copyright) so it is important to be mindful of what it is exchanged for by way of services and money.


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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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
 

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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


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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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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

The Differences Between Songwriting in NYC & Nashville

Posted by Jessica Brandon on Mon, May 09, 2011 @04:02 PM

The Differences Between Songwriting in NYC & Nashville

~written by Cliff Goldmacher

 

Cliff Goldmacher

As a transplanted songwriter from Nashville to New York City, I’ve had the chance to observe, up close, the approaches to songwriting and the songwriting communities in both cities.  While there are of course many similarities, there are also quite a few differences. By the way, I feel I should mention that the following observations are really more my impressions than hard facts.

 

Differences Within the Similarities

In this article, I’ll start with a similarity between New York and Nashville as it’s readily apparent and then explain how, within that similarity, one city differs from the other.  One of the first similarities is that both cities have huge songwriting populations.  The depth and breadth of talent in both places encompass many more genres that the obvious country music for Nashville and pop and rock music for New York.  There are great pop writers in the suburbs of Nashville and extremely accomplished country songwriters living in Greenwich Village. 

 

Finding the Songwriters

One difference between the two songwriting communities is how easy they are to locate.  Because Nashville’s artistic community is predominantly made up of singers, songwriters and musicians, it’s much easier to find the music/songwriting community there.  New York, on the other hand, has a wonderful songwriter population, but it’s mixed in with the countless other artists and creative types that live there and is thus less obvious.  In other words, it takes a little more effort to find the songwriters in New York, but believe me, they’re there.

 

Before moving from Nashville to New York, I’d taken several writing trips a year up to New York and, by a process or trial and error, I found a core group of NYC songwriters that became my go to people on every trip.  This way, when I eventually moved to New York, I felt like I was instantly part of the community even though I had to discover it little by little.   I highly recommend this approach for anyone considering a move to New York as it eases the transition and makes the entire process much less overwhelming.

 

Co-writing

Although both New York and Nashville have large numbers of songwriters, co-writing is much more a part of the day to day routine in Nashville.  It’s not unusual for a Nashville writer to have five co-writing appointments in a week where they meet with a different cowriter every day in a publishing company office on Music Row.  This happens for several reasons.  First of all, as a hired staff songwriter for a Nashville publishing company, you are given a yearly quota of songs that you need to fulfill. The more songs you write,  the more quickly you’ll fulfill your quota.  Publishers make a real effort to connect songwriters they think will work well together and go as far as to set up co-writing appointments for their writers.  As a result, it’s fairly common in Nashville to be set up on a “blind date” cowrite. Secondly, even though you’re only credited with half a song for a cowrite, it’s easier to motivate yourself to write if you’ve got someone to collaborate with.  The act of scheduling appointments and being expected to show up significantly eases the stress of having to create on a schedule.  This approach seems odd to a lot of New York writers who are either artists themselves and used to writing with their own bands or are songwriters used to working with artists whose schedules are much less predictable.

 

Lyrics

Staying with the generality that you’re writing country in Nashville and pop or rock in New York,  I’ve noticed  that the rules of lyric-writing between these genres and cities differ significantly.  In Nashville, the story is king.  This means that the lyric has to make perfect sense, the images are concrete and the story has a logical flow from beginning to end.  There’s not a lot of room for poetic, impressionistic lyrics that don’t have the arc of a story.  New York, on the other hand, while it certainly has its share of great songwriter/storytellers,  has a broader tolerance in its pop and rock genres for words that “feel” and “sound” good together.  Please don’t misunderstand.  It takes just as much skill to write a great pop lyric where the words convey the emotion of the song and carry the nuances of the melody as it does to write a great story in a country song, but it’s a different skill set.  I’ve found that switching from one approach to the other can be creatively liberating and quite a bit of fun.  Also, it’s interesting to see how one city’s lyrical approach can bleed into the other’s.  In this way, you can end up with country lyrics where the words in the story sound good next to each other or pop lyrics with the arc of a story to them.

 

Labels

Speaking of artists, another similarity in the two cities is that they are both home to major record labels and their signed artists.  This alone attracts a huge number of songwriters to both cities.  The difference here is that country music artists are still largely dependent upon outside songs for their projects.  In New York, bands tend to write their own material and it is less common for these artists to go looking for outside songs.  Occasionally songwriters will be paired with these bands/artists in New York allowing the writers to end up with cuts on these acts.  Of course, all of these distinctions are lessening as more country artists write and cowrite their albums as well.

 

You Can’t Lose

At the end of the day, both communities are great places to work and create.  Ironically, after living in Nashville, working as a staff songwriter and writing for the country market for twelve years, my first cut was with a New York writer and was recorded by an Irish tenor on Universal Records named Ronan Tynan.  In my opinion, it was the blend of our New York and Nashville songwriting sensibilities that came together to create that song.  What I mean by this is that somewhere between the soaring melody more suited to pop and the lyric that had more of a country attention to detail, we came up with a classical crossover song.  So, if you’re a Nashville writer thinking about working in New York (or vice versa) I’d highly recommend it.  Sometimes it’s the differences that create the best art.

 

Good luck!

 

Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter and his company http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos. 

Tags: song writer, Song writing, Songwriting, Nashville, Music Row, co-writing, Differences, New York City, NYC, SongCircle, songwriting community, music publishing, collaborations, Universal Records, Ronan Tynan