Songwriting Tips, News & More

Muscle Music Marketing For Your Songwriting

Posted by Jessica Brandon on Thu, Apr 16, 2009 @04:16 PM

Muscle Music Marketing For Your Songwriting
By Molly-Ann Leikin

Most creative people are terrible at business. We're all very, very sensitive and take it personally when someone is abrupt or rude as we nervously try to promote our uncertain selves.

The guy who makes one more phone call, one more time, gets the meeting. The most persistent musicians are the ones with the deals.

We hate hearing that because we're all looking for fairy godmothers to rescue and discover us, but Toto, there is no fairy godmother. No matter how much we want or need one, it's on each of us to switch gears and become the cool-headed champions of our own art.

Nobody will ever love our work more than we do. Not our mothers, dads, wives, husbands, ex-husbands, ex-husbands twice removed, significant or insignificant others.

The good news is that in my book, "How To Be A Hit Songwriter", there are three whole chapters devoted to the creative marketing your music and lyrics. And in the Fifth Edition of "How To Write A Hit Song", just published, there are two.

One of the best recommendations I can make is to call, speak to and/or meet one new music person every day. Not just when you feel like it. Every day. Keep a list with phone numbers and email addresses. At the end of the year, you'll have 365 contacts. Sure, it's easier staying home under the bed, hoping hoping hoping to just mail it in, unsolicited, but you have to leave the comfort of your creative space and get out into the world where the people are you need to meet. The chances are good that the next Sony CEO won't knock on your door desperate to go potty, hoping for a diet Coke, with shaved Bavarian ice, in the bargain.

Don't you owe it to your music to learn to be as good at business as you are at writing, singing and performing? When you are, you'll have the whole package. Then nobody can stop you.

© 2009 Molly-Ann Leikin

Molly-Ann Leikin (rhymes with bacon) is a songwriting consultant in L.A. with a house full of gold and platinum records plus an Emmy nomination. She is also a Eurovision finalist (American Idol in Europe). Three of her clients have Grammy nominations, another won an Emmy and so far, 5041 others have placed their work, with Molly's help, in movies, TV, on CD's and in commercials.
The author of "How To Write A Hit Song" and "How To Be A Hit Songwriter", Molly's website is www.songmd.com and her toll-free number for the USA and Canada is 800-851-6588. You can also reach her at [email protected]


Tags: Songwriting, how to write a song, hit song, hit songwriter, song contest, songwriting competition, songwriting contest, songwriting partner, writing partner, collaborator, American Idol, Melody, Melodies, writing songs

How Songwriters Can Write Hit Song Melodies, Part 3

Posted by Jessica Brandon on Thu, Apr 02, 2009 @07:10 AM

HOW TO WRITE HIT MELODIES, Part 3, by Molly-Ann Leikin

Molly-Ann Leikin, songwriter

When I write a song, I always write the melody first, one note at a time. While I have limited chops as a keyboard player, I do hear melodies in my head. I keep a recording device of some kind with me all the time - in my car, in my purse, next to the bed, even in the shower - so that whenever I get an idea for something, I just record it, la la la'ing. Sometimes I even call my voicemail, and sing to myself. I constantly revise the notes, going over and over and over them. You may work differently, but just remember that songwriting is a process, and what comes out in the first draft is just that - a first draft - and usually needs several more to reach the finish line. I'm lucky because I feel a little click in my gut when I know something I've written is finished. But I don't have anything to do with chords or programming until much later.

After writing the single notes of the chorus, I work backwards to write the individual notes of the verse, again, one note at a time. When I am finally happy with both the verse and the chorus, I go looking for the chords to put around them. That way, I'm not inhibited by my lack of musicianship or intimidated by the technical aspects of programming. I just write the song. Once the melody's down pat and the lyric I write to the melody clicks and I have the chords that go around the notes, then I start thinking about "how do I hear this produced, what instruments do I feel, what record on the radio sounds like what I'm going for." But it all starts with the individual notes of the melody. I know from working with so many talented, developing writers that they start with too much ambition and too much technology and not enough bare simple note-by-note creativity. So if you find your melodies aren't as strong as you would like them to be, or that the marketplace requires, then I suggest you try some version of my way of writing songs and adapt it to your personality. When you change the process, you can change the result.
© 2009 Songwriting Consultants, Ltd.

~Molly-Ann Leikin (rhymes with bacon) is a song marketing consultant in California, who, for a modest professional fee, works one-on-one to help you find the right writing partner and then helps you market your finished work to all the right people. A Eurovision finalist (American Idol in Europe), Molly is the author of "How to Write A Hit Song, Fifth edition", (June, 2008) from which this article is excerpted, and "How to Be a Hit Songwriter", both published by Hal Leonard. She has a house full of gold and platinum records plus an Emmy nomination, has written themes and songs for over four dozen TV shows and movies, including "Eight is Enough" and "Violet" that won an Oscar. From the USA and Canada, you can reach Molly, toll-free, at 800-851-6588, or from anywhere in the world, at www.songmd.com. Please note: Molly does not accept unsolicited material. © 2009 Songwriting Consultants, Ltd. For more information on the USA Songwriting Competition, please go tp: http://www.songwriting.net 


Tags: Songwriting, how to write a song, hit song, hit songwriter, song contest, songwriting competition, songwriting contest, songwriting partner, writing partner, collaborator, American Idol, Melody, Melodies, Molly-Ann Leikin

How Songwriters Can Write Hit Song Melodies, Part 2

Posted by Jessica Brandon on Wed, Apr 01, 2009 @02:42 PM

HOW TO WRITE HIT MELODIES, Part 2, by Molly-Ann Leikin

Molly-Ann Leikin, Songwriter

In writing a melody, it's critical to keep your audience surprised.  Since we speak English in iambic pentameter, it's natural to assume we can write in the same meter.  Unfortunately, it's deadly boring.  So I suggest you deliberately vary the lengths of your lines, and the number of notes in each, along with the number of lines or bars per section, to avoid your song sounding predictable.  After all, it's your job as an artist to tell your audience something they aren't expecting.    

The range of most contemporary singers is an octave and three - the interval from middle C, for example, to the E an octave above it.  If you write a tune with a range greater than that, you'll be hard-pressed to find a singer with the chops to handle it.  My song, "An American Hymn", which I wrote with Lee Holdridge, was only recorded once in twenty years until Lee figured out how to revise the bridge melody, reducing our octave and five to an octave and three.  Now the song is recorded at least once a month.    

Most hit "power" ballads, such as Daughtry's "Home," end their verses on notes lower than the ones on which the choruses start.  To create tension and drama in their melodies, I urge my clients, and you, to go up into the chorus, not sideways or down.  Doing the latter is like letting air out of a tire.  So go up and stay up.  And although some contemporary songs break the rising-into-the chorus rule, you can bet their rhythmic hooks at the beginning of and throughout the choruses are strong enough to overcome the melody's drop, and keep us listening.  

~Molly-Ann Leikin (rhymes with bacon) is a song marketing consultant in California, who, for a modest professional fee, works one-on-one to help you find the right writing partner and then helps you market your finished work to all the right people.  A Eurovision finalist (American Idol in Europe), Molly is the author of "How to Write A Hit Song, Fifth edition", (June, 2008) from which this article is excerpted, and "How to Be a Hit Songwriter", both published by Hal Leonard.  She has a house full of gold and platinum records plus an Emmy nomination, has written themes and songs for over four dozen TV shows and movies, including "Eight is Enough" and "Violet" that won an Oscar. From the USA and Canada, you can reach Molly, toll-free, at 800-851-6588, or from anywhere in the world, at www.songmd.com.  Please note:  Molly does not accept unsolicited material. © 2009 Songwriting Consultants, Ltd. For more information on the USA Songwriting Competition, please go tp: http://www.songwriting.net 


Tags: Songwriting, how to write a song, hit song, hit songwriter, song contest, songwriting competition, songwriting contest, songwriting partner, writing partner, collaborator, American Idol, Melody, Melodies, Molly-Ann Leikin, Announcements, Product Information

How Songwriters Can Write Hit Melodies, Part 1

Posted by Jessica Brandon on Tue, Mar 31, 2009 @10:57 AM

HOW SONGWRITERS CAN WRITE HIT MELODIES, Part 1, by Molly-Ann Leikin

Molly-Ann Leikin

After the title, the tune is the most important part of the song. The way our brains are wired, the melody is the first thing we hear. If we like it, we'll stay tuned and listen for the words. If the tune doesn't get to us, it's over.

Melodies need hooks. Without them, nobody will ever hear your work, no matter how brilliant the lyric. I know lyricists won't be happy to hear this, but it's true and knowledge is power.

In constructing a melody, there are several guidelines to follow. I recommend to all my clients, no matter where in the world they are writing, to get to the hook/chorus, within twenty-five or thirty seconds. I advise them, and you, to keep their introductions short. The intro is usually instrumental, and the song doesn't officially start until the verse begins. So keep the intro to eight bars or less. Often writers who are in love with their software wail on and on for sixteen or thirty-two bars before beginning the actual song. Don't. Eight bars are plenty. The audience will only give you a few seconds of ear time and then move on to something more accessible. You worked hard to get ‘em. Don't let ‘em get away.

If we like a melody, it usually isn't until we've heard it several times that we finally hear the words. You can write a brilliant lyric, but if it has a weak melody, nobody will ever hear any of it because the tune hasn't done its job. The function of the melody is to grab us in an unguarded, primitive, totally emotional state and hold our attention long enough for the more civilized and intellectual lyric to take hold and give us some words to sing. Leikin's Law is give them what they want. Express yourself as only you can, absolutely. You have a fingerprint as a writer that nobody else has. But don't expect a lyric to do the melody's job.

~Molly-Ann Leikin (rhymes with bacon) is a song marketing consultant in California, who, for a modest professional fee, works one-on-one to help you find the right writing partner and then helps you market your finished work to all the right people. A Eurovision finalist (American Idol in Europe), Molly is the author of "How to Write A Hit Song, Fifth edition", (June, 2008) from which this article is excerpted, and "How to Be a Hit Songwriter", both published by Hal Leonard. She has a house full of gold and platinum records plus an Emmy nomination, has written themes and songs for over four dozen TV shows and movies, including "Eight is Enough" and "Violet" that won an Oscar. From the USA and Canada, you can reach Molly, toll-free, at 800-851-6588, or from anywhere in the world, at www.songmd.com. Please note: Molly does not accept unsolicited material. © 2009 Songwriting Consultants, Ltd. For more information on the USA Songwriting Competition, please go tp: http://www.songwriting.net 


Tags: Songwriting, how to write a song, hit song, hit songwriter, song contest, songwriting competition, songwriting contest, songwriting partner, writing partner, collaborator, American Idol, Molly-Ann Leikin, Announcements, Product Information

How To Find the Right Songwriting Partner

Posted by Jessica Brandon on Thu, Mar 19, 2009 @07:06 PM

Written By Molly-Ann Leikin

Here's what I look for in a musical collaboration:

l. A great idea, one I have NEVER heard before.

2. A co-writer who is as committed as I am to making great music. This isn't a hobby. It's a life.

3. What can a potential co-writer bring to the table that I can't? If I write music, how are his lyrics? Just okay? Or do they tell me something new, something I've never heard before. How are his tunes, his production chops? Passable? Or cutting edge and original? How's his voice? Will his vocal fingerprint turn heads? Y'gotta turn heads, no matter what you contribute to the project.

4. Is this potential co-writer reliable, respectful of my time and talent? And does he/she really have a magical gift to enrich the literature of music, rather than just filling up letterhead and mp3's by recycling what other people have already said/sung?

Bottom line: don't settle too easily. Honor your work. Respect what you do and never stop looking for the best people, the very best, not just the closest or the most available, on your creative team. They are out there looking for you, too.

5. Where do I find them?

Fifty times a day, every day, I hear from bands, lyricists and composers passionately looking for the missing pieces of their songs. Once I've heard what you do, in a consultation, I've been extremely lucky hooking up writing teams. When you're ready to set up a consultation, I can help you, too.

© 2009 Molly-Ann Leikin

Molly-Ann Leikin (rhymes with bacon) is a songwriting consultant in L.A. with a house full of gold and platinum records plus an Emmy nomination. She is also a Eurovision finalist (American Idol in Europe). Three of her clients have Grammy nominations, another won an Emmy and so far, 5041 others have placed their work, with Molly's help, in movies, TV, on CD's and in commercials.The author of "How To Write A Hit Song" and "How To Be A Hit Songwriter", Molly's website is www.songmd.com and her toll-free number for the USA and Canada is 800-851-6588. You can also reach her at [email protected]

Tags: song contest, songwriting competition, songwriting contest, songwriting partner, writing partner, collaborator, American Idol, Molly-Ann Leikin