Songwriting Tips, News & More

Songwriting Tip: Creating in a Group, The Collaborating Game

Posted by Jessica Brandon on Thu, Jul 14, 2011 @10:39 AM

Creating in a Group – The Collaborating Game

 Pat & Pete Luboff

Here’s a fun way to get your creative juices flowing. Get two or three, or more people in a room to play the collaboration game. The rules are simple:

 

1. NO NOES!

 

You can point to your nose and shake your head to emphasize this rule! This means anything goes! Ignore all your self-imposed limitations and barriers. Utterances such as “I can’t sing,” “That won’t work,” “I’m not good at lyrics,” “That’s stupid,” and all the variations on that theme are NOT ALLOWED. You’ll be surprised how easy it is to eliminate the negative if everyone agrees to this rule.

 

2. NO EVALUATIONS

 

If you judge your ideas before you express them or simultaneously with expressing them, you stop the flow of your ideas. When working in a group, each person has the responsibility to say WHATEVER IDEAS ARE TRIGGERED IN THE PROCESS. If you think to yourself, (trying to avoid Rule 1 by not saying it out loud) “That’s stupid,” and stop yourself from saying it, you have eliminated the stimulus that might have inspired the next person’s thought. Our rule of thumb is, if you really think it’s stupid, you are OBLIGATED to say it out loud. In the early stages of creating, all ideas are good ideas! The time for judging them comes much later in the process. Leave your judge outside the door for now.

 

3. STAY POSITIVE

 

No noes means all yeses! Every idea can be greeted with a “yes.” Every idea will inspire new ideas in other members of the group. Here are some positive phrases that can be used to build on ideas:

 

Yes, and…. Suppose…. Another idea….

Or…. Also…. How about….

What if…. And…. Let’s….

 

These phrases are indispensable tools for expressing respect for all the ideas that flow in a collaboration.

 

 

4. HAVE FUN!

 

Be silly. Make jokes. Say the wildest thing you can think of. Laugh! Aren’t we lucky to be writing songs?

 

Let’s play the collaboration game:

 

You can use any photo as the stimulus for the game. For example, use a photograph of two people kissing.

 

There’s one at http://www.masters-of-photography.com/D/doisneau/doisneau_kiss.html Double-click the photo and it will be large enough to fill one page, which you can print out. Each person in the room takes a turn saying a sentence or two about the story of the picture.

 

The idea is to say anything that comes to mind very quickly and then pass the picture to the next person. Keep going round and round until you really feel you’ve dug that kissing well as deep as you can! Here are a couple of examples:

- She just told him she’s pregnant.

- Their braces are stuck together and they’re going to an orthodontist to get unstuck.

- He doesn’t know her at all. He’s kissing her to distract her while he picks her pocket.

 

There is no end to the ideas that you can come up with. What did s/he he say just before this photo was taken? What are the fellow behind them and the woman next to them thinking? What’s going to happen next? These are the questions you will be asking about the people in your songs, so you are practicing the art of characterization.

 

This game of getting the creative flow going without boundaries can be played with any photograph or curious item. You will have to remind yourself to return to the fun, open attitude of this game whenever you feel yourself getting bogged down creatively.

 

Collaboration business tip: We think it’s best if everyone agrees up front that the song will be shared equally by all the writers who are participating in the collaboration. Mathematics can kill a collaboration. That’s why they call it division!

 

Write On!

 

Pat & Pete Luboff have recordings by Snoop Dogg ("Trust Me," the first single from the platinum-selling album "Top Dogg") Patti LaBelle (gold album and the title song for "Body Language: the Musical"), Bobby Womack (No. 2 on Billboard's Black Music chart), "Hometown, USA" from the John Travolta movie "Experts," on Michael Peterson's new CD, recently charting Miko Marks, and more.  They've been teaching songwriting workshops together since 1979. The Luboffs are the authors of the Writer's Digest new book "101 Songwriting Wrongs and How to Right Them" and "12 Steps to Building Better Songs," which they self-publish. For more information, visit http://www.writesongs.com

Tags: songwriter, song writer, song write, Song writing, Billboard Charts, Songwriting Tips, Billboard Books, Billboard Album Charts, Billboard #1 Hit, Billboard, Creating in a Group, The Collaborating Game, Pat, Pete Luboff

Networking in the Songwriting Business by Doak Turner

Posted by Jessica Brandon on Tue, Jun 28, 2011 @01:02 PM

Networking in the Songwriting Business by Doak Turner 


Doak Turner
You are at songwriting round, open mic, showcase, CMA Week party, Jason Blume BMI workshop, NSAI Song camp, ASCAP Party, 3rd Sunday at 3 event or other networking event in Nashville. You attend the event to meet songwriters and other industry professionals, and want to be prepared and leave a great impression on the people that you meet. 

Start by introducing yourself and ask about the other person. Maybe tell them you enjoyed their songs, or ask how long they have been in Nashville, or other small talk. Take an interest in the other person, and DO NOT tell them what a great songwriter that YOU are, or hand them your CD and ask them to listen to your songs! This is a relationship town, and you need to show an interest in other people, take the time to get to know them, and the time will be right to play your songs for that person. Do NOT meet a hit songwriter at The Bluebird Café or other venue, introduce yourself and hand them your CD. This is a relationship town – just tell them you enjoyed their songs and you look forward to seeing them around town – as you will, at the YMCA, grocery store, another songwriting event or someone’s party in the future. You want them to like you, not avoid you because you hand them a CD and ask them to write with you – which is another Not To Do Thing! Hey – a great book that will help you with those topics is “The Do’s & Don’ts of Music Row” by Liz Hengber. Read that book!

Now, it is time to exchange business cards, and you want to be prepared and do not want to fumble through a pocket full of everyone else's cards you have collected that particular day, trying to find one of your cards that does not have scribbled notes on it. One networking tip is to have Your Business Cards in your Left pocket, and Everyone Else's Cards in your Right pocket. Always have a pen in your pocket and take notes from your conversation, after you have said your, “see you around town¨ or “I will call you next week and set a co-writing appointment¨, or whatever happens during your conversation. 

Speaking of business cards, your card should include your name, phone number, PO Box or address, website AND e-mail address, and be easy to read. Be sure to include your e-mail address on every business card. If you just have your website address, you are asking people to spend the time (most won't take this extra time) to go to your website, find the contact section and then send you an e-mail. Do not have fancy music logos such as music notes on your business card, unless maybe it is your company logo. You should have your personal music business card, not your day job company business card, if you work outside of the music business. 

I mention PO Box and offer this tip for everyone in Nashville. Go to the Acklen Post office in Hillsboro Village (behind the Sunset Grill) and obtain your personal PO Box. About 99% of Music Row receives their mail at this location, and this can prove to be a great networking location. I have made several contacts, a co-write or two appointment after running into people that I met previously, and several acquaintances from standing in line, or just saying hello at this post office location. 

Another unique networking tip for your business card is when you see someone looking for a piece of paper or something to write on at an event, offer your card and a pen that you should always have in your pocket at these events. Tell that person to use the BACK of your business card to write notes. I do this all the time, and got a call one day from a pro songwriter telling me that he had six of my cards in his wallet from the previous evening's event. I asked him if he thought it was a coincidence, “I don't think so”! 

The key to networking is being prepared before you get to the event. Always have a positive attitude at the event, ask positive questions instead of dwelling on how tough it is, how it is not fair, or you do not understand why your songs are not on the radio. I may ask a question like, “What is happening good for your songwriting world¨ or “What is happening good in your life these days¨? This will get the other person off on a good note and they may want to spend a couple extra minutes talking to you. 

I like to arrive early at an event and get a plate of munchies or the food they are serving at the showcases. This prevents you from trying to talk to everyone, shake hands and do the business card exchange while holding a plate in one hand and a drink in the other hand. 

Always strive to have fun at the events, meet new people, learn something new and just enjoy the experiences on this journey of songwriting! Best wishes for your music journey and I will see you networking in Nashville! 
Click me
Doak Turner is a songwriter in Nashville, TN and he has hosted the USA Songwriting Competition's showcase at the Bluebird Cafe in the past. He has songs on independent CD projects, former 6-year local coordinator in the NSAI Charlotte workshop, produced several successful songwriting events. For information on USA Songwriting Competition, please go to: http://www.songwriting.net
 

Tags: songwriter, song writer, Song writing, Nashville, USA Songwriting Competition, NSAI, doak turner, Networking, Songwriting Business

What is 'Podsafe' Music?

Posted by Jessica Brandon on Mon, May 23, 2011 @02:05 PM

What is 'Podsafe' Music? 
by David Wimble, The Indie Bible

David Wimble

As you visit the hundreds of music podcast and MP3 blog sites you'll notice that most them feature something called PODSAFE MUSIC. For this article I have gathered information from various internet sites in order to help clarify what podsafe music is and how it can become another helpful tool to place into your marketing utility belt.

Definition of podsafe music (from Wikipedia 
en.wikipedia.org)
Podsafe is a term created in the podcasting community to refer to any work which, through its licensing, specifically allows the use of the work in podcasting, regardless of restrictions the same work might have in other realms. For example, a song may be legal to use in podcasts, but may need to be purchased or have royalties paid for over-the-air radio use, television use, and possibly even personal use.

The effective definition of "podsafe" for a given work depends entirely on the contract through which the podcaster licenses the work; there is no single podsafe license. The concept of podsafety, in its true form, greatly favors the artist and the profitability of the artist's product, in exchange for only very limited concessions to the podcasting community.

While some works such as public domain works or works under some Creative Commons licenses are inherently podsafe, the only actual requirement for a work to be podsafe is that any licensing requirements it has, if applicable, allow for the work's free use (typical broadcast use in its original form, if in no other form, depending on the specific license) in a podcast or web broadcast. This gives specific favor to podcasts only, allowing the artist to impose more traditional constraints on everyone else. Podsafe licensing can, for example, continue to require non-podcast consumers to pay for the work, require royalties on derivative works, and profit significantly from the work's use in traditional radio, television, or film.

The licensor of any podsafe work must be legally capable of making it so. An artist cannot distribute his or her own work through a podsafe license if doing so would break any laws or breach any standing agreements (e.g. with the RIAA). The creator of a derivative work may also not claim this work podsafe without express permission from the original copyright holders. (PMN has more specific and stringent terms to this effect in its agreement.) Another point of contention is that not all podcasts are non- commercial works; in fact, an increasing number of podcasts are taking on sponsors and looking to make a profit. In general, no significant distinction is yet made between podsafe for non- commercial use and podsafe for commercial use, but it could easily arise at any moment.

Motives for the podcaster to use podsafe music (from Wikipedia 
en.wikipedia.org)
As podcasting grows more and more popular, illegal use of heavily licensed music (as through the RIAA) becomes increasingly difficult to hide. This is in general of greater concern to podcasters than to the typical sharer of music, because podcasters usually produce their shows for and promote them to the public-a far more overt and traceable action.

Including such licensed music legally has its own set of caveats. Indeed, under many jurisdictions it's currently impossible, but the message from those in the know is that many licensing agencies, if they do intend to allow the use of their music on podcasts, will require not only the payment of royalties but also the use of DRM on the shows. (DRM, because of its proprietary, system- specific nature, would be destructive to the general openness and system independence of podcasts.)

Use of podsafe music instead of more stringently licensed material allows a podcaster to continue to produce an inexpensive, legal program with little hassle. Not least important for an independent podcaster is the promise of being able to avoid the confusing maze of licensing organisations.

Motives for the artist to use podsafe music (from Wikipedia en.wikipedia.org)
Conventional radio (and television) can present a difficult, and not always logical, barrier of entry for a musician or other media artist involving large sums of money and often a great deal of surrender in both ownership and creative freedom.

In contrast, podcasting, an increasingly popular medium for audio programs, is as a whole very receptive, indeed thirsty for artists and input. This is due in part to the creative and economic nature of the largely independent podcasting community and further fueled by its need to avoid repetition. While a conventional radio show may be able to risk replaying a large part of its music selection from day to day, there would be little point in downloading a music podcast whose selection did not vary significantly from a previous show. Podcasting is thus a voracious medium. With a growing and international audience podcasting is now becoming an effective means for inexpensive artist promotion often aimed squarely at the people most like to be interested in that type of music.

What is The Podsafe Music Network?
The Podsafe Music Network (
music.podshow.com) is a comprehensive source for podsafe music. It was founded in 2005 by ex MTV VJ and current podcaster Adam Curry (Daily Source Code). PMN brings a large group of podcasters together with a wide variety of all-podsafe music and the artists who produce it.

According to PMN, podsafe music is music that meets all of the following conditions:
1. Works submitted to the Podsafe Music Network are the property of the artist, and all rights to these works, including lyrics and music, are the property of the artist.

2. All works contain no recordings, lyrics, copyrights, or other elements that are the copyright of any other artist, except under the limited provisions of the Creative Commons License Agreement www.creativecommons.org

3. Despite any recording contracts with RIAA, ASCA, BMI or other recording industry entity, the artist retains ownership of the works and is free to distribute, broadcast, license or sell these works at the artist's discretion.

The licensing agreement between the artist and PMN: 
music.podshow.com/music/artistTerms.htm What are Creative Commons Licenses? (from www.creativecommons.org)

Creative Commons Licenses help you publish your work online while letting others know exactly what they can and can't do with your work. When you choose a licence, we provide you with tools and tutorials that let you add licence information to our own site or to one of several free hosting services that have incorporated Creative Commons.

1. Standard License License your song under your terms. Our set of standard licenses will let you share music with fans while protecting your song from limits you put in place. Or, choose a prepared license for audio works.

2. Sampling License People can take and transform pieces of your work for any purpose other than advertising, which is prohibited. Copying and distribution of the entire work is also prohibited.

3. Share Music License This license is aimed at the musician that wants to spread their music on web and filesharing networks legally for fans to download and share, while protecting the music from commercial use or remixing of any kind.

How does a Creative Commons license operate?
Creative Commons license are based on copyright. So it applies to all works that are protected by copyright law. The kinds of works that are protected by copyright law are books, websites, blogs, photographs, films, videos, songs and other audio & visual recordings, for example. Software programs are also protected by copyright but, as explained below, we do not recommend that you apply a Creative Commons license to software code or documentation.

Creative Commons licenses give you the ability to dictate how others may exercise your copyright rights-such as the right of others to copy your work, make derivative works or adaptations of your work, to distribute your work and/or make money from your work. They do not give you the ability to restrict anything that is otherwise permitted by exceptions or limitations to copyright- including, importantly, fair use or fair dealing-nor do they give you the ability to control anything that is not protected by copyright law, such as facts and ideas. Creative Commons licenses attach to the work and authorize everyone who comes in contact with the work to use it consistent with the license. This means that if Bob has a copy of your Creative Commons-licensed work, Bob can give a copy to Carol and Carol will be authorized to use the work consistent with the Creative Commons license. You then have a license agreement separately with both Bob and Carol.

Where are the forms that I have to fill out?
Creative Commons licenses are expressed in three different formats: the Commons Deed (human-readable code), the Legal Code (lawyer- readable code) and the metadata (machine readable code). You don't need to sign anything to get a CCL. Just select your license here: 
www.creativecommons.org/license Hmmm ...what if I change my mind?

This is an extremely important point for you to consider. Creative Commons licenses are non-revocable. This means that you cannot stop someone, who has obtained your work under a Creative Commons license, from using the work according to that license. You can stop offering your work under a Creative Commons license at any time you wish; but this will not affect the rights with any copies of your work already in circulation under a Creative Commons license. So you need to think carefully when choosing a Creative Commons license to make sure that you are happy for people to be using your work consistent with the terms of the license, even if you later stop distributing your work.

Before you do anything, make sure you have the rights!
Before applying a Creative Commons license to a work, you need to make sure you have the authority to do so. This means that you need to make sure that the person who owns the copyright in the work is happy to have the work made available under a Creative Commons license.

Where do podcasters find podsafe music? (from Dave's Imaginary Sound Space 
soundblog.spaces.live.com)
Discovering new music and the ability to use it fairly without fear of copyright infringement is a key issue for podcasters and listeners alike. Artists, composers, producers and consumers can all benefit from clear, fair and flexible copyright licenses that embrace new technologies. 'Podsafe' means non-RIAA audio and video that can be used legally in podcast productions and freely distributed online for downloading. Podsafe music can be found in many locations on the web including: artists websites, MP3 blogs, open source music communities, podcast directories, netlabels, P2P networks and BitTorrent hosts. A quick search for "podsafe" in a podcast directory like PodcastAlley.com reveals a rich and diverse array of productions featuring podsafe music. Unfortunately it becomes extremely time consuming for podcasters to source available music and listen to it. Recommendations by listeners and fans play an important part in the podcast production process.

The definitive list of podcasting safe music sites can be found at
http://soundblog.spaces.live.com/Blog/cns!1pXOS7l93k8mqeQ7FlEEmOSQ907.entry It's always about the music

For an artist just entering into the podcast/MP3 blog universe, the amount of information to take in can be overwhelming. It's not unlike a lifelong typist being plopped in front of a computer and asked to create a spreadsheet with colored charts.

As you watch the internet continue to explode with new technologies, it may feel like life has passed you by and left you lying in the dust. However, the truth is we're all still tightly bundled together. No one is ever left behind. The opportunity to move towards the cutting edge is available to anyone (my father-in-law has just learned how to use a computer at the age of 81). Don't let fear (and the excuses it can conjure up) lessen your attempts to succeed.

Remember, it has always been, and always will be about the music - that unique expression that you have to offer to the world. Podcasts, podsafe music, MP3 blogs, Creative Commons licenses and all that other bounce-off-the-head stuff is simply a collection of new and useful tools to help you get your music heard by more people.

Final thoughts
For the newbie, my suggestion would be to take it slow. Open one small door at a time and get a feel for it all. You'll eventually discover that bloggers and podcasters are simply human beings with a passion for music - a collection of music lovers that are ready and willing to help you get your songs heard by a new stream of potential fans.

 

David Wimble is Editor and Publisher of the Indie Bible - a yearly music directory for recording artists that helps them to gain exposure for their music. The Indie Bible was first published in 1999. www.IndieBible.com

 


Tags: songwriter, song writer, Song writing, Songwriting, Podcast, David Wimble, Indie Bible, Podsafe, Creative Commons, RIAA, licensed music

USA Songwriting Competition Winner Kate Voegele on TV, Releases CD

Posted by Jessica Brandon on Wed, May 18, 2011 @03:20 PM

USA Songwriting Competition Winner Kate Voegele Back on "One Tree Hill," Releases 3rd Album

Knitting Factory

NEW YORK (Billboard Magazine) – USA Songwriting Competition Winner Kate Voegele is back on TV show “One Tree Hill” and has just released her third album yesterday "Gravity Happens" under ATO records. Kate Voegele won first prize in the 10th Annual USA Songwriting Competition in the Pop category. She went on to perform at USA Songwriting Competition's showcase during SXSW (see picture), went on to get signed after winning the USA Songwriting Competition and she hit Top 40 in the Billboard charts with the same song that she won at the USA Songwriting Competition with “Only Fooling Myself”. 


On the May 17 episode of CW's teen drama "One Tree Hill," Mia Catalano -- the character played by Kate Voegele -- returns to Tree Hill feeling refreshed after a brief sojourn to work on her music.


Voegele knew exactly how her character felt: the pop-rock singer/songwriter missed a few episodes of "One Tree Hill" this past winter to finish her third album "Gravity Happens" for ATO Records (May 17).


"It was a much-needed little sabbatical to take because music is really my first language," the 24-year-old artist said. "I've been doing it a lot longer than I've been in this acting world, and I'm so happy that I took the plunge and did it."


Since joining the show in early 2008, Voegele has juggled her musical endeavors (her last album, 2009's "A Fine Mess," hit top 10 on the Billboard 200 Album Charts) with her filming schedule. She also toured the country with Jordin Sparks. 


While the dual commitment has made Voegele's day-to-day life more hectic, her role on the show has resulted in original songs like "No Good" and "Wish You Were" garnering prime placements on the long-running program.


"Heart in Chains," the first single from "Gravity Happens," will be performed by Voegele on the show's season finale -- the same day the album is released.


Meanwhile, Voegele will showcase her visual artistry in an upcoming sponsorship with Oakley sunglasses: The budding painter designed original artwork for a signature pair of shades that will hit stores this summer. Each pair will include a free download card for "Gravity Happens.""It's all very connected," Voegele says. "Even some of my lyrics are in this design for the sunglasses. Oakley has been an amazing partner and sponsor, and I'm stoked to see come out soon."


In the meantime, Voegele will be busy unveiling "Gravity Happens," which she described as "more honest and raw." The set features sing-along tracks like "Hundred Million Dollar Soul" and "Sunshine in My Sky." She's joining Natasha Bedingfield on the latter's Less Is More summer tour, which kicks off June 5 in Northampton, Mass.


As for taking on additional acting projects aside from "Hill," Voegele says, "I never would have dreamed that we would have such a cool tie-in with a show like 'One Tree Hill.' So you kind of just take it as it comes."


(Editing by Jessica Brandon & Zorianna Kit)

Tags: songwriter, song writer, song write, Song writing, Songwriting, Kate Voegele, One Tree Hill, Billboard, Gravity Happens, ATO Records, CW, Jordin Sparks, Oakley sunglasses

Inspirational Words From Noted Songwriters And Composers (Part 2)

Posted by Jessica Brandon on Mon, May 16, 2011 @04:10 PM

Desmond Child, Hit Songwriter
Desmond Child, Hit Songwriter

"Live life to the fullest, and then write about it. Dare to suck and put your music out there, and just keep on going" ~ Desmond Child, songwriter of #1 hits such as "Livin’ La Vida Loca", "Livin' On A Prayer" and "You Give Love A Bad Name"

 

"I felt a kinship with country music, because country has lyrics that tell stories" ~ Desmond Child

 

"Don't fall in love with everything you write, many of the times it can be improved" ~ Ken Hirsch, Hit Songwriter of songs such as: “I've Never Been To Me”, “If I Could”, etc and First Prize winner of 15th Annual USA Songwriting Competition

 

"Music is structure out of Chaos" ~ Stephen Sondheim, Lyricist

 

‎"I don't recommend analyzing a market or particular artist too much. Write the best song you can and let the professionals figure out what to do with it" ~ Billy Steinberg, songwriter of #1 Hits "Like a Virgin", "True Colors", "Eternal Flame", "Alone", etc.

 

"I guess you could write a good song if your heart hadn't been broken, but I don't know of anyone whose heart hasn't been broken" ~ Lucinda Williams, songwriter

 

"I'd rather write great songs because the word "commercial" is so subjective" ~ Beth Nielsen Chapman

 

"It's not about record companies, it's about finding other avenues to market your music" ~ Mark Mothersbaugh, songwriter, Devo.

 

"You should listen to songs and listen to what works. Listen to why a song is a hit. Check it out--not to imitate it, but there are certain things that work - hooks and melodies. Hear what works through the ages" ~ Diane Warren

 

"I think there's something strangely musical about noise" ~ Trent Reznor , songwriter, composer, former member of “Nine Inch Nails”.

 

"Songs are your best teachers. I try to learn something from every song I hear" ~ Pat Pattison, Songwriting Professor at Berklee College of Music

 

"Music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music" ~ Wolfgang Amadeus Mozart

 For more information on the 16th Annual USA Songwriting Competition, check out: http://www.songwriting.net

 

Tags: songwriter, song writer, Song writing, Songwriting, Berklee, Ken Hirsch, Diane Warren, Pat Pattison, Desmond Child, Wolfgang Amadeus Mozart, Stephen Sondheim, Billy Steinberg, Like A Virgin, Lucinda Williams, Beth Nielsen Chapman, Mark Mothersbaugh, Devo, Trent Reznor, Nine Inch Nails, I've Never Been To Me

Songwriting Tip: In Defense Of The Title

Posted by Jessica Brandon on Thu, May 12, 2011 @12:57 PM

In Defense Of The Title

by Mark Cawley

Mark Cawley, Songwritier Advice

As songwriters we’re all paying attention to lyric, melody, structure, rhyme scheme, groove, track and more. In coaching writers I usually find the last thing a young writer considers is “the idea”. What is the song about? Is it an idea that will make a listener want to discover the song, listen further and get you beyond the dreaded “nice” comment? Is it relatable?

 

Sometimes it starts with a title, I admit to being a title writer. I think if the title gets people to listen to the song, open the book, try the movie then we have a leg up.

 

Not to say that every great song has to have a clever title but it sure can help a co-write get off the ground, give your subconscious something to work on or make a publisher pick your CD out of the pile.

 

I have to share one instance with you of a title really working. Years ago I moved to Nashville and while most of my success was in Pop music, especially in the UK at that time, I was getting country cuts. I was writing with Hall Of Fame songwriter Kye Fleming, still one of my best friends and the best pure lyricist I know. So.. we were stuck and she suggested we take a break in the middle of the day and go see a movie. We went to see Jerry Maguire. You remember, the “show me the money” movie.

 

The theatre was mostly empty aside from a few songwriters and music folk we both knew. Midway through the movie René Zellweger looks at Tom Cruise and says...."you had me at hello”. Kye elbowed me and said, “watch this”. Sure enough 4 people got up and made their way out, in the middle of the movie. They knew they had found their idea, or the perfect title. In her wisdom Kye told me that they would all go write it, a couple will demo it, a few publishers will get it to producers and one will be a hit in 6 months!

 

Around 6 months later Kenny Chesney had a number one called “you had me from hello”.

 

I still keep a running list of anything that remotely sounds like an opening line, great title or just a good idea.

 

One Nashville writer I know always cautioned me to “make sure the journey was worth the destination.” Don’t just depend on the twist or the hook to carry a song but make sure every part of lyric is seamless leading up to the big idea. In other words, a great title on it’s own is not a great lyric. Good advice!

 

Mark Cawleys’ songs have appeared on more than 15 million records. Over a career based in LA, London and Nashville his songs have been recorded by an incredibly diverse range of artists. From Tina Turner, Joe Cocker, Wynonna, Diana Ross and Chaka Kahn to The Spice Girls, Tom Scott, Kathy Mattea, Paul Carrack, Will Downing and Pop Idol winners in the UK and around the world. He has had #1 records in the UK and throughout Europe as well as cut’s in Country, Jazz & R & B. His groundbreaking website “Song Journey” created with Hall of Fame writer Kye Fleming was the first to mentor writers from around the world one on one online. He is currently writing and publishing as well as helping writers and artists in the US, UK and Australia with a new one on one co-active coaching service. Visit www.idocoach.com for details.

Tags: songwriter, song writer, Song writing, Songwriting, USA Songwriting Competition, Mark Cawley, Tina Turner, Joe Cocker, Wynonna, Diana Ross, Chaka Kahn, The Spice Girls, Tom Scott, Kathy Mattea, Paul Carrack, Will Downing

Songwriting & Lyric Writing Tip: Prosody

Posted by Jessica Brandon on Thu, May 05, 2011 @05:07 PM

Prosody

by Pat Pattison

 
Pat Pattison, Songwriting Professor

Songs are your best teachers. I try to learn something from every song I hear. I try to see what's working, and why where the song connects with me where it makes me feel something. Then I look under the hood to see how it was put together, to extract tools that I can pass on to my students. I¹ve found great advice for writing in Aristotle's Poetics, where he says that every great work of art displays the same quality: Unity. Everything works together, everything in the work belongs and serves the purpose of the work.

Aristotle's may have been the first statement of Prosody: appropriate relationship between elements, whatever they may be: melody and words, chords and message, rhyme scheme and emotion, and many others. This has become the guiding principle in all my writing and teaching. In Leonard Bernstein's brilliant lecture series at Harvard in 1973, "The Unanswered Question," he shows how both music and poetry use the same fundamental principles. True indeed, for all the arts -- they are all fundamentally the same, just having different avenues of expression. Painting is different than song, but at the deepest level, they all use the same principles: tension/resolution, symmetry/asymmetry, etc. This has allowed me to teach poetry to musicians, using a language they know and love to explain how poems work: counter-pointing, rhythm, syncopation; constructing tonic, subdominant or dominant functions at the ends of lines.

They get it instantly, and it allows them to look at the other arts the same way. Paul Fussell's Poetic Meter and Poetic Form is a marvelous book, especially chapter three where he talks about poetic use of rhythm, and the emotional effects of various syncopations within a line of metered poetry. The relationship between lyric and melody works in the same way. The combined effect of the three works creates compelling reasons to have a huge toolbox to draw from, and to select and use these tools in support of the central idea of your song: its number of lines, lengths of lines, rhythm and phrasing of lines, rhyme scheme, and rhyme types. The structure you create acts as a film score would adding additional emotion to the message, even controlling how the listener perceives it.

Looking at writing through the eye glasses of Prosody focuses everything. It keeps the message and emotion central, and organizes the elements of structure to support them. I've learned a lot by reading and paying attention tot songs, and I've tried to pass those ideas along in my book Writing Better Lyrics, now in its second edition.

Pat Pattison is a professor at the famed Berklee College of Music in Boston, MA, USA. For more information on the USA Songwriting Competition, go to: http://www.songwriting.net

Tags: songwriter, song writer, Song writing, Prosody, Lyrics, Pat Pattison, Paul Fussell, Berklee College of Music, Harvard, Leonard Bernstein, Songwriting Coach

Songwriting Tip: Creating Cool, Daily Content for Your Fans. Easily.

Posted by Jessica Brandon on Tue, May 03, 2011 @04:58 PM

Creating Cool, Daily Content for Your Fans. Easily.
by Tess Cychosz

So you’re an emerging artist. That means by now, you probably feel like you’ve seen about a million articles from industry reps talking about how important it is for you have daily interaction with your fans. You need to be on Facebook getting “Likes,” Youtube getting hits, tweeting until your hands are raw, etc. etc. You get it. But unless your last name is Gaga, your life probably isn’t that fascinating on a daily basis.

So the question is, how can you create content that’s actually cool and interesting to your fans on a daily basis? Well, I’m here to try and help answer that. Here are a couple ideas and tools to capture your daily activities and make them look pretty nifty too. Added bonus: these apps and tools all allow you to immediately share via Twitter, Facebook and more.

Take “Vintage” Digital Photos. Typing “Making my morning coffee” on Twitter doesn’t sound that rad… when you say it like that. But using a photo is a fun and easy way to share something simple from your day. To make it even more exciting, there are a few fun “vintage photo” apps out there to make your morning coffee even look cool. See my super-awesome examples below. Voilà! An ordinary coffee cup is turned into a photo that could qualify for the wall of your local Starbucks (ok, that might be stretching it, but you get the idea). If you’re a Droid user, my favorite app is Retro Cam. iPhone users should check out Instagram.

From boring coffee to cool coffee

 

 

Mix Daily Video Clips with your Tunes. You’ve seen it a million times: A person sitting in front of their computer, the backdrop is a bedroom or basement, and it’s just another talking head. This is fine every once and a while to give several updates at once (a nice alternative to a newsletter) but it’s easy to expose daily activities in a more creative way. Check these out: Taking a ski trip? Pidgeon eat your lunch? Or maybe you’re really happy about a Snow Day? Putting together a few clips taken with your data phone and using some of your music as a soundtrack can be a clever way to showcase a new demo or bring back an old tune you released a few years ago. Apps with cool video effects: 8MM Vintage Camera app for iPhone and Videocam Illusion for Android. Edit clips together on your phone with apps like Reel Director or Qik.

 

Make Gig or Studio Photos into a Mini Production. Sonicbids Product Manager (and pal) Lou gave me this idea and I’m a fan. Once you’ve taken all of your cool content in the ways listed above, use it to create a quick and easy mini production. Play a gig last night? This is a great way to showcase your favorite photos from the evening in a snappier way than your average Facebook photo gallery. Animoto, lets you create quick 30 second productions (which you can throw together in minutes) for free and seems to hit it out of the park. But you can also check out Masher, too.

So there you have it. A few ideas to make that experience waiting in line at Guitar Center staving off the headache from the florescent lighting an opportunity to engage your fans. Don’t forget to show me a photo (@SonicbidsTess) when you do. This article is written by Tess Cychosz from Sonicbids

Tags: songwriter, song writer, Song writing, Songwriting, sonicbids, EPK, press kit, electronic press kit, Reverbnation, Rootmusic, Myspace

Photos From USA Songwriting Competition's Showcase During SXSW

Posted by Jessica Brandon on Thu, Apr 28, 2011 @08:06 PM

In response to all of you that have asked, here are the pictures of our songwriters showcase during SXSW Week in Austin, TX at Barnes & Noble book store:

 

Dave Merena Performing at songwriters showcase during SXSW

Dave Merenda (2010 USA Songwriting Competition)

 

 

Drew Jacobs

Drew Jacobs (2010 USA Songwriting Competition First Prize Winner, Novelty category)

 

Jacinta

Jacinta (2010 USA Songwriting Competition First Prize, Dance/Electronica)

 

Raleigh Hall & Ian Holmes

Raleigh Hall & Ian Holmes (2010 USA Songwriting Competition First Prize, Gospel)

 

Shane Cooley

Shane Cooley (2010 USA Songwriting Competition, Finalist)

 

Melissa Greener

Melissa Greener (2008 USA Songwriting Competition First Prize, Folk)

 

For videos of the showcase, please click here:

http://www.youtube.com/usasongcomp

Tags: songwriter, song writer, song write, Song writing, Melissa Greener, USA Songwriting Competition, sxsw, Songwriter Showcase, Shane Cooley, Raleigh Hall, Ian Holmes, Jacinta, Drew Jacobs, Dave Merenda

Strategies For A Successful Career In Songwriting

Posted by Jessica Brandon on Tue, Apr 12, 2011 @05:24 PM

Strategies For A Successful Career In Songwriting
By Sara Light

Before landing my first staff writing deal and major label cut, I served as the membership director of the Nashville Songwriters Association International (NSAI). Over the course of four years I worked with, talked to and counseled new and aspiring songwriters and I began to recognize certain similarities between those songwriters who continually realized their goals and those who didn't. As I watched people move to town, leave town, reach goals or give-up, I learned some important strategies to achieving long-term success as a songwriter.

Strategy 1: Find your team
From the day we make the decision to pursue our dream of becoming a professional songwriter we're beginning a long and often frustrating journey. Like Dorothy on her way to Oz, we need help reaching our destination. At first, our family and friends may be the ones to give us the emotional support we need to keep going. Eventually, however, we must expand our team of supporters to include industry professionals who can keep us moving in the right direction. Performing Rights Organization representatives (in the US: ASCAP, BMI, SESAC, in Canada: SOCAN, in the UK: ALCS), publishers, professional songwriters, producers and even major label recording artists, all may eventually become part of our team. Attending songwriting workshops given by local, national and international songwriting organizations is one way to start. You never know if the unknown guy you bump into today might be the Garth Brooks of tomorrow. Just a few of the hit songwriters and artists who have attended songwriting workshops include Mark D. Sanders ("I Hope You Dance"), Mike Reid ("I Can't Make You Love Me"), Carolyn Dawn Johnson ("I Don't Want You To Go") and Dianne Warren ("How Do I Live"). By continually improving our songwriting craft and expanding our knowledge of the industry, we let our potential team know that we're serious and motivated. In addition, by having the patience to form honest relationships and showing appreciation when someone helps us, we earn the trust and respect that we need to add members to our team little by little. Rarely is success achieved overnight. It usually takes years of hard work and persistence. Take for example, Mariah Carey and Luther Vandross who were both given a helping hand by the artists for whom they had been singing backup. Trisha Yearwood, Garth Brooks and Vince Gill made contacts by singing demos while looking for their label deals. Luckily, we don't need everybody in town to like our songs, but we do need a strong team who does.

Strategy 2: Stay Focused
Most of the aspiring songwriters I've met actually begin with some kind of plan. For some, it is to take frequent trips from their hometown to a major music center in order to write and establish relationships. For example, Northern California songwriter, Steve Seskin ("Don't Laugh At Me"), and up-state NY songwriter, Hugh Prestwood ("The Song Remembers When"), both have had great success writing for the Nashville market. However, one thing most "out-of-town" writers would probably tell you is that making and maintaining contacts from a distance takes an incredible commitment of time, money and energy. For other songwriters, the plan is to move to a major music center and find an alternate means of income until the ship carrying their hit song comes in. Don Schlitz ("The Gambler") tells the story of how he wrote songs while working as a computer operator at night. Garth Brooks had a variety of jobs when he moved to Nashville, including selling boots.

Strategy 3: Set Goals
Even if we're living in a major music center, it's easy to get sidetracked or discouraged if things aren't happening as quickly as we might have hoped. Organization and goal setting are key ingredients to persevering and moving forward on our journey. In his book, Life Is A Contact Sport (William Morrow and Company, Inc., 1994), manager Ken Kragen, whose past and present client roster includes Lionel Richie, Kenny Rogers, Travis Tritt and Trisha Yearwood, discusses how using a step-by-step approach has made him and his clients successful. Instead of looking at a desired outcome as an overwhelming task, Kragen sets smaller goals. He helps his clients create a road map beginning from where they are and the steps they need to accomplish to reach their ultimate goal. By reaching intermediate goals along the way, the payoff is constant and the journey is satisfying. I followed Kragen's advice and over the years some of the goals I set for myself and reached included: I will take guitar lessons; I will host a show at the Bluebird Café in Nashville; I will get meetings with five music publishers this month; I will write everyday; I will save enough money to demo ten songs this year; I will get a major artist cut.

Strategy 4: Take chances
In an industry as competitive as this one, we cannot afford to let our fears of failure hold us back. To "take a chance" means something different for everyone. We all have different strengths and weaknesses and different "comfort zones." What might feel like a risk to one person, might be a piece of cake to another. But, as my favorite T-shirt says, "you miss 100% of the shots you don't take." I've been told that Jodee Messina walked right up to the head of Curb Records, Mike Curb, and told him that he needed a redhead on the label. If she hadn't done that, who knows if today she'd have several number one singles and a platinum album. So keep in mind that if you're not writing a song today, someone else is. If you're not calling a certain publisher, someone else is. If you're not booking a gig - well, you get the point. If we never step outside of what feels comfortable to us we can't learn the skills we need to succeed. We must be willing to accept possible rejection or failure and keep going in spite of it. A good example of this kind of perspective and persistence is exemplified by what Thomas Edison said to his wife while watching his laboratory burn down - "that's a good way to get rid of all those mistakes I was making in there."

You've already taken a huge step, just by allowing yourself to pursue your dream. It's not always an easy thing to do, but don't let yourself give up too easily. You can do it!

--Sara

Short Bio:
Songwriter Sara Light Sara Light
is a Tony-Award nominated, hit songwriter and co-founder of www.SongU.com. SongU.com provides multi-level song writing courses developed by award-winning songwriters, song feedback, mentoring, one-on-one song coaching, co-writing, unscreened pitching opportunities and more. For more information on the USA Songwriting Competition, please go tp: http://www.songwriting.net 

Tags: songwriter, song writer, Song writing, Sara Light, SongU.com, Songwriting Teacher, ASCAP, BMI, SESAC, SOCAN, NSAI, SongU