The
second edition
Craft D and
of
i<
^VL
.
Business
S
creating
and marketing rtistically
\nd commercially
uccessful songs
^
Boston Public Library Boston,
MA
02116
PRAISE FOR THE CRAFT AND BUSINESS OF SONGWRITING "Braheny
you
book makes use of plenty of current examples of good songwriting and
s
and surprisingly
a logical
practical path
concentrates on the basics, there are enough important tips to for
gives
toward improving your own. Although
make
it
it
a valuable reference
even an industry pro."
— Dan Fredman, Music Connection Magazine "There
is
such a broad spectrum of usable information
experienced pros can learn something, already intuitively
—
Society of
"In college,
only to learn
how
book
that even the
to explain
wrote a
&
Lyricists
something they
thesis entitled
—Score A
Songwriters Guide to Troubleshooting Songs.
Two
read hundreds of books, journals, and articles.
books stand out firmly
John Braheny's The Craft and Business of Songwriting and Sheila Davis's Writing.
most
know."
Composers
I
if it's
in this
Both books
in
my
I
have
mind:
Successful Lyric
are absolutely essential to the diet of a starving artist
hoping
to
develop into a serious songwriter."
—Lou HefTernan, American Songwriter Magazine "I'm awed by the comprehensiveness of the book! songwriters
—
—
so
much
What
a service you've
performed for
information in one place!"
Sheila Davis, author of Successful Lyric Writing, The Craft
of Lyric Writing,
and The Songwriters Ldea Book
"I
wish
this
songwriting.
—
book was
You won't
Jay Graydon,
"A veritable
available
when
just read
it
I
started writing songs. It covers every aspect of
once and put
Grammy Award-winning
songwriter's bible. This
is
it
away. You'll refer to
a definitive
both hobbyists and career-minded hopefuls.
.
.
.
work on
constantly."
[It]
the subject of songwriting for
delivers the
style."
— Kevin Odegard, National Academy of
it
songwriter and producer
Songwriters' SongTalk
goods with
clarity
and
Digitized by the Internet Archive in
2012
http://archive.org/details/craftbusinessofOOjohn
The Craft and Business of Songwriting
second edition
The
Craft D and Business .
of
Songwriting JOHN BRAHENY
G5 WRITERS DIGEST BOOKS CINCINNATI, OHIO www.writersdigestbooks.com
The
Craft and Business of Songwriting. Copyright £ 2002 by John Braheny. Manufactured in the
United States of America. All
rights reserved.
No
part of this
book may be reproduced
any electronic or mechanical means including information storage and in writing
from the publisher, except by
a reviewer,
by Writer's Digest Books, an imprint of
who may quote
F&W Publications,
retrieval
any form or by
brief passages in a review. Published 7
Inc.,
in
systems without permission
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1
Library of Congress Cataloging-in-Publication Data
Braheny, John
The
craft
p.
and business of songwriting
Includes bibliographical references
ISBN 1-58297-085-8 1
.
/
by John Braheny.
—2nd
ed.
cm.
Popular music
(alk.
—Writing and
MT67.B65
2001
782.42164'
13—dc21
Editors: Jack Heffron,
(p.)
and index.
paper) publishing.
I.
Title.
2001045428 CIP
Kim
Agricola,
and Brad Crawford
Designer: Sandy Conopeotis Kent
Cover photography: David Muir/Masterfile Production coordinator:
Mark
Griffin
Pages 365-366 constitute an extension of this copyright page.
about the author John Braheny
a
is
music industry consultant and mentor/coach
for songwriters
formers. His clients are individuals as well as companies and include
dent
A&R service),
John has been
songwriter organizations, and
Web
TAXI
and per-
(the indepen-
site services.
a musician, songwriter/performer, recording artist, film composer,
com-
mercial jingles producer, and music publisher.
He and Len Chandler cofounded and
directed the legendary BMI-sponsored Los
Angeles Songwriters Showcase (LASS), a national non-profit service organization for songwriters,
from 1971
until joining forces
with the Songwriters Guild of America in 1999.
He
coproduced twenty-two annual Songwriters Expo international education and discovery conferences.
John contributes
column
a regular
music business
at
articles to national
in
songwriting publications and
Music Biz magazine.
UCLA,
Musicians
He
Institute,
Web sites,
including
has taught classes on songwriting and the
and Grove School of Music and
is
a guest
speaker and teacher at universities and songwriter organization seminars around the country.
He
is
past president of the California Copyright Conference, an organization for enter-
tainment attorneys and music publishers, and has served several terms on the board of the Recording
He
show on If
Academy
currently cohosts
you
KPFK fly
(Pacifica
United
(the
GRAMMY organization).
"Samm
Brown's For the Record," a weekly music industry
Radio Network)
Airlines,
you
in
will hear
Los Angeles.
John conducting
in-flight
audio interviews
with hit songwriter/performers on the Salute to Songwriters channel. His
www.johnbraheny.com.
talk
Web
site
is
J
\
--gS~~^-
acknowledgments There
people who, both directly and indirectly, helped to write this book.
many
are
impossible to put them in any order of rank, so
I
do
I'll
It's
in a roughly chronological order.
it
My parents, William and Cecilia, who always encouraged me to do my best at whatever did. My brothers, Dan and Kevin, and my sister, Mary, who did the same. My friend and partner in the Los Angeles Songwriters Showcase (LASS), Len Chandler,
who
generously gave his support and took on an extra workload while
The LASS
original book.
office staff,
and Joy Wildin
who
in particular,
I
worked on the
shared that extra
load with great patience.
The LASS
sponsor,
BMI, and
in particular the late
Ron Anton, Ed Cramer, Thea
Zavin, and Frances Preston, whose support for 18 years allowed us to continue to create
new ways
to help songwriters.
Music Connection magazine publishers Michael Dolan and Eric
column
to write a
and
new magazine
and soulmate, JoAnn,
and her
good
for her
editing that also helped shape this book.
could do
I
ideas
and wisdom. I'm
My friend
made
her
my best
asked
me
and countless hours of typing and
Her experience
She continues
critic.
who
to offer their support
it.
in the
expertise in the creative process not only contributed
education but also
Bettelli,
1977 and who continue
in
Mandi Martin, who convinced me
expertise.
My wife
for their
entertainment industry
immeasurably
to enrich
my
life
my own
to
with her love
a lucky guy.
and agent
for this book,
Ronny
Schift,
who
persistently pursued getting
it
published and contributed her expertise on the print music business.
David "Cat" Cohen, whose "Theoretically Speaking" column he was a fellow Music Connection writer that ing Music."
He
continues to grow
I
as a teacher.
I
admired so much when
asked him to contribute chapter
And Chris
Blake,
of the Listener" in chapter three provides such valuable information on
Many
friends have read various parts of this
They
cher, Jeffrey Graubart,
Dude McLean,
Thomas A. White, and
Kent Klavens, Al Schlesinger, Jack Whitley, and Gary Wishik.
hundreds of other music industry pros have contributed to
the craft
and business of songwriting and the
Judging from the comments of so enlightening.
It
many
ability to teach
readers, they've
my understanding
own) have told
it.
found
this
book
Blume (who
me how much
all
in this
new
inspiring
has written a wonderful songwriting
they appreciated the book.
It
has put
me in
of great songwriting teachers too numerous to mention (and besides,
whom
of
and
helped them pursue their dreams, armed with the information they
needed. Hit writers like Jason
from
A&R exec
attorneys Michael Flet-
Literally
out?)
lyrics are
book and contributed information and
include hit songwriter Alan O'Day, publisher
Neil Portnow, music business consultant
his
how
communicated.
effectively
critiques.
"Writ-
six,
whose "The Imagination
I've learned so
edition in
many
much about both
ways.
the
whom
the topic itself and teaching
book of
company
do it.
I
leave
They're
Special thanks for their expertise in this revised edition go to:
Music Connection magazine and
its
magazine editor Kenny Kerner; Michael Laskow and the great
Tim
consultant
Ken Helmer;
and teachers K.A. Parker, Pat Pattison, and Patty S.
HaLevy of Broadway on
Young
Sunset;
Publications;
who
book
use this
his
Music Biz
TAXI; marketing
attorneys Steve
Wino-
Rothstein; songwriters
Kevin Kauffman and Libbe
Silversher;
Ron Simpson and
songwriting
many
University for their diligent research; to the
including Michael Aczon,
Mark
tax accountant
Bettelli;
staff at
Hank Linderman;
Sweeney; songwriter/producer
gradsky, Jeffrey Graubart and
David "Cat" Cohen;
Dolan and Eric
publishers, Michael
class at
Brigham
other songwriting teachers,
Mary Vandenberg of Hal Leonard
as a text;
and Ronny Schiff and Disc Marketing, who make
it
possible for
me
to
continue to interview legendary songwriters for United Airlines Inflight Entertainment's Salute to Songwriters channel.
With
whom
I
gratitude to
friends at
all
over the world.
at Berklee
and share many
some amazingly
Thanks
have hosted
thanks to those this I
book and also
in
many ways and with
want
who
host
new
writers
and members of
JoAnn and me
Web
for keeping the
to
among
sites for
edition was released.
It
brought
with opportunities to pursue
my love
first
Musicians Institute in Hollywood, and
in Nashville
and
L.A.,
my
and
me hang
others. It let
a panel at events with
talented
to the leaders
who
me
in L.A., the
Summer Workshops
College of Music in Boston,
learn from,
country
me
teaches
since the
presented
It
Grove School of Music
the National Guitar
to
book
has happened because of this
of teaching
me
who
son, Michael Toth,
share the joys of music and technology.
Much me new
my
to be a guest speaker
out with, interview,
songwriting heroes.
who found me
It
the songwriter organizations around the
all
at their seminars,
showcases, and events.
songwriters for spreading the good
community
introduced
because they read the book.
vital
And
word about
and growing.
thank the thousands of hopeful and successful songwriters whose songs
continue to enrich
my
life.
encouraging you to give us
This
all
is
more
a kind of
payback and,
I
hope, an investment in
great songs.
The Gender Question Since both
men and women work
in
all
facets
of the industry, and since
have to write "him/her, he/she" throughout the book,
I
arbitrarily
I
didn't
want
to
used either pronoun.
5
1
table of contents
Introduction
PART ONE:
1
The Craft
chapter one: Creativity and What
Creativity:
Inspiration, 7
Do You Have
and
Is It
It?,
7
Developing Your Creativity, 8 Motivation
— Overcoming
the Barriers,
1
Craft and Inspiration Writers: Philosophies, 12
Developing
a
"Songwriter's Consciousness," 13
Own
Finding Your
Creative Process,
Breaking Writer's Block,
Problem Solving, 22
Stream of Consciousness, 20
8
1
1
Developing
Good Work
Habits,
22
chapter two: Subject Matter, 24 Finding Ideas, 24
— Mass Appeal, 25
The Commerciality of Subject Matter Relatable
Being Believable, 26
Themes, 26
Themes of Love, 28
Crossover Records, 27
Message Songs, 30
Novelty Songs, 34
Cleverness,
27
The Censorship
Issue,
Christmas Songs, 35
chapter three: The Media and the Listeners, 37 The Media, 37
A
Song
Singles,
The
Is
Not
A Poem a Record,
Not
Is
39
a Lyric,
Writing
37
for Radio,
40
Albums, Live Performances, and Video, 41
Listener:
Know Your
The Imagination of the
chapter four: Writing Simplicity,
Audience, 45
Listener (by Chris Blake),
46
Lyrics, 57
57
Focus, 58
Poetic Devices, 70
Titles,
60
First Lines,
Problems With Pronouns, 71
Prosody and Meter, 72
chapter
five
Constructing a Song, 77 Form, 77
Hooks, 89
Repetition, 92
Chorus Construction, 90
Song Dynamics, 93
Writing on Assignment, 101
Rewriting, 97
61
Rhyme, 62
30
chapter
six:
Writing Music (by Cat Cohen), Harmony, 111
Melody, 103
chapter seven: Collaboration,
Why Two
(or
Groove, 118
123
More) Heads Are Better Than One, 123
Can This Marriage Work?, 128
Meeting Your Match, 125 Business Considerations, 132
Writing As
PART TWO:
a
103
Preliminary Business Meeting, 134
Band— Working
It
Out, 137
The Business
chapter eight: Protecting Your Songs,
143
The Importance of Taking Care of Business, 143 Your Song
Is
Your Property, 144
Copyright Registration, 147
Online Resources, 155
Copyright Infringement/Plagiarism, 151
Avoiding the Songsharks, 155
chapter nine:
Where Your Money Comes From,
160
Methods of Payment, 160
Split Publishing or Copublishing,
Mechanical Royalties, 162
The Compulsory
Controlled Composition Clauses, 164
Performance Royalties: BMI,
162
License, 164
Sampling, 165
ASCAP, and SESAC, 166 Music
Synchronization Royalties, 171
in Print,
172
Researching Print Music Deals, 174
New Income From chapter ten: Publishing, What
Digital Sources, 175
177
Publishers
Do, 178
From
Possibilities,
180
Checking Out the Publisher, 182
Finding a Publisher, 181 Getting Feedback
Exploring the
Publishers, 184
Uncontracted Songplugging, 185
Single-Song Contracts, 186
Your Chances
Exclusive Staff Writing Positions, 198
How
for
Staff Deals
Advances, 197
Happen, 203
chapter eleven: Self-Publishing 205
Why
Publish Your
Start
Your
Own
Own
Songs?,
Publishing
205
Company, 206
Business Expenses and the IRS, 208 Casting,
210
Successful Pitching Strategies,
213
Negotiating, 215
1
1
Foreign Subpublishing, 220
"Holds," 218
Administration Deals, 222
Independent Songpluggers, 223
CHAPTER TWELVE:
DeiTIOS, 226
Why You Need Them, 226 Types of Demos, 227 Who Gets What and How Elaborate Does It Need To What You Can Do The Recording
Demo
Copies, 254
Choosing a Studio, 233
Production Services, 252
Presenting Your
Demo, 255
Demo
File,
Using the Internet: Your
228
Choosing the Songs, 245
242
Process,
Arrangements, 247
Tape/CD
Home, 231
at
Be?,
as
Audio
258
chapter thirteen: Marketing Yourself and Your Songs, 260 Where Do You
260
Start?,
Writers, Writer/Artists,
and Writer/Producers
in the
Marketplace, 264
Researching the Music Industry, 265
Getting Ready to Face the Industry, 274
Query
Letters or E-Mails,
Getting Heard in a
"No
279
In-Person Interviews, 281
Unsolicited Material" World, 282
The Options of an Out-of-Towner, 291 Organize Your Song Shopping, 293 Contests,
299
Web
Sites,
Marketing Your
Lyrics,
292
Showcasing, 296
304
chapter fourteen: Additional Markets, 306 Film and Television, 306
Commercial
Stan a Local Agency, 315
Production Music Libraries, 318
Jingles, 31
Children's Music, 321
Musical Theater, 323
Corporate Events, 327
Local Events, 327
Music
for
Games, 326
chapter fifteen: Getting a Record Deal, 329 The
Artist vs. the Writer/ Artist,
The
Live Performance, 332
The
Professional
Why a
Major-Label Deal
Should You
Appendix 349 Bibliography 360 Permissions 365
Index 367
Team, 336
Do
It
329
Marketability,
334
The Campaign, 344
May Not
Yourself?,
The Demo, 33
346
Be Best
for
You, 345
Internet Record Companies,
347
Introduction Welcome to my book. Before right that
I
tell
you why
I
I
start
showing you around the
place,
brought you here. The reason
I
that
is
think
only
it's
know
I
you're
out there slaving over a cold piece of paper and a hot guitar, keyboard, or computer.
have dreams of writing hit songs, becoming a recording
you recognition and/or money
that will bring
buy you
doing what you love to do. You care enough about doing
for
to invest
some time
tricks that
in research
some dumb business move So
thought
I
and development
And you
helped others be successful.
years (which
I
here at once.
that could
that, instead
also help
really),
fears,
it
well that you're willing
it
sure you're not missing any
to
make
you don't make
sure
your progress.
would be much smarter
me buy my own
How did I know you were out your problems,
all
make want
a tuna fish sandwich)
of giving you that information one-on-one for the next few
wouldn't mind,
It will
blow
to
also
producer, or anything
artist, a
(or at least
You
and dreams
tuna
fish
and
I
to bring
you
all
sandwich.
me
with
think I've returned most of your
calls
there? Easy. You've for years,
me
for
been calling and e-mailing
and e-mails by now.
HOW DID LEARN WHAT KNOW? How do you know I'm giving you good information? I
I
Trust me! (This
should accept that answer.) This question deserves a serious answer, so
me
for
about two minutes
I'll
give
you some background on how
this
is
the last time you
if you'll
come with
"music information
junkie" has fed his habit and can help feed yours.
The Los Angeles in
1971,
filled
Songwriters Showcase (LASS), which Len Chandler and
a need by providing a focus for songwriting
(BMI)
activities
I
founded
and information.
Showcase drew song-
Sponsored by Broadcast Music,
Inc.
hungry music industry pros
weekly gathering of the best new songwriting and writer/
to a
for eighteen years, the
performer talent around. Stevie Nicks and Lindsey Buckingham, Stephen Bishop, Karla Bonofif,
Wendy Waldman, Warren
Oingo Boingo, Alan O'Day, successful songwriter,
Zevon, R.C. Bannon, Kieren Kane, Chick Rains,
Jules Shear, Janis Ian, Robbie Nevil, and the world's
Diane Warren,
are
among
the thousands of writers
and
most
writer/
performers showcased since then.
We found that many of the writers we auditioned exhibited raw talent but little understanding of songwriting craft that could writers
whose songs we
rejected
make
wanted
to
their songs
more commercially viable. Those
know why. To
offer
them some
constructive
INTRODUCTION
we looked
help,
for
ways to explain those basic principles that seem
denominators of artistically and
commercially successful songs.
tion about the music business so
making major career decisions.
we
we could
common
needed informa-
who were on
the brink of
Several circumstances helped us to develop the information
needed. (then called the Alternative Chorus Songwriters Showcase) began
LASS
In 1972, the
a weekly music industry interview session.
hundreds of industry pros including record ties,
ers
counsel the writers
to be the
We also
company
program
It
gave us an ongoing opportunity to question
directors, club
Michael Dolan and Eric
attorneys, publishers,
owners and others. Largely because of this experience, publishasked
Bettelli
me
to write a songwriting
biweekly, Music Connection magazine, in 1977. into
and producers,
hit songwriters
executives, recording artists, managers, record promoters, radio personali-
The magazine
column
for their
new
has subsequently developed
one of the country's best music publications.
During the next of the
six years,
I
wrote more than 150 "Songmine" columns on
and business of songwriting.
art, craft,
and focus the information derived from In 1979,
we
this
It
was
all
aspects
golden opportunity to consolidate
a
unique vantage point.
created "Cassette Roulette" at the Showcase, in
which
a different guest
publisher was invited to critique songs each week. "Pitch-A-Thon," an extension of that idea,
brought in a different producer or record company
representative each
week
A&R
(artist
and
to screen songs for specific recording projects.
repertoire)
These weekly
events gave us and our audiences the opportunity to observe the critical processes of
hundreds of publishers, producers, tion,
our friends in the industry,
artists,
who
and record company
believe there
is
generously shared their information with us whenever
LASS
After
joined forces with the National
representatives. In addi-
no such thing
we
as a
years. It gave
Wynnward
me
question,
asked.
Academy of Songwriters (NAS)
(which, in turn, joined forces with the Songwriters Guild of America)
Coast office of
dumb
I
in
1996,
West
ran the
Music, a publishing and production company, for two
the opportunity to get valuable experience from "the other side of
the desk." Since then, I've been a consultant for hundreds of writers and writer/artists on their
songs and careers.
I
have interviewed scores of my songwriting heroes for United Airlines
Entertainment Network division
and continue
Browns For
to interview
the Record
JPFolks.com and
(in-flight audio) as a consultant for
ax.
several
KPFK new
nected to and fascinated by
So
there's
my
music industry pros
(90.7FM)
as
Disc Marketing's in-flight
co-host of the talk
in L.A. I've also
show Samm
been a consultant for TAXI,
publishing companies. All these situations keep
this
me
con-
ever-changing industry.
background. As you might imagine, for an information glutton
it's
an
endless banquet. Because this industry continues to evolve, so does the information. That's
why you and good
I
will never stop learning
start.
THE CRAFT
AND
BUSINESS OF
SONGWRITING
about
it.
But
at least this
book
will give
you
a
SONGWRITING PRINCIPLES There
no absolute
are
song that broke that
rule
and succeeded. The music industry has many "right" ways
do anything, including writing If you
want
at
command
your
a
to
hit songs.
to write successful songs, instead of learning "rules"
of principles, the freedoms and
and have
For every "rule" you'll find a
rules or formulas for songwriting.
restrictions
of the
medium
you need
to be
which you want
for
aware
to write,
wide range of options with which to solve each creative
problem.
This book already
them
know them
you'll
you with
these options. In
most
instinctively but haven't ever seen
them
will provide
commit them more
strongly to
memory and
use
cases you'll find that
you
in writing. In recognizing
them more often and more
effectively.
Writing a great song possess the talent
and
and knowing how
them
only part of being a successful songwriter.
is
craft to write great songs,
to protect
but without understanding the business
your creations and get them heard by those
who
can make
successful, those songs are like orphans.
This book explains in plain language the songwriter, or writer/performer. to a
Unsung thousands
newcomer
how
It will
the music industry works relative to you,
demystify and humanize what can often
feel
monolithic, and impersonal industry.
like a cold,
Success in the music/entertainment industry requires a combination of talent, love for the
an and
dumb
luck.
To
many
all
on dumb
luck,
you need
to be ready
when opportunity drops
be ready for your big break, you have to pull your craft and business
By reading
and analyzing as
capitalize
To
out of the sky. together.
hard work, a tremendous amount of persistence, and a good dose of
craft,
this
book (and others recommended
in this book),
by listening
to
forms of popular music, especially the music you love, and by meeting
people in the business as your circumstances will allow, you'll maximize your
chances for success.
CAN SONGWRITING Can you
BE TAUGHT?
learn to write songs
of songwriter education say
from it's
a
book? Are songwriting
a waste, that "You're born with
you're not, there's nothing you can do to get are usually critics
who
rance.
But
classes a
it."
waste of time? Critics
knowing how and,
if
Since classes in the craft of songwriting
accompanied by some business information, there may be a few among the fear
education because they can no longer take advantage of a writer's igno-
for the
informed writers
most
who
part,
music industry pros recognize that they actually benefit from
understand the business and
how
to
approach
it
in a professional
manner. In terms of craft, tion to music
I
do believe
and language
that,
skills, it's
ment where you were encouraged
though you may have been born with
more important
to explore, read,
musically and were given positive strokes for
it.
to have
a predisposi-
been raised in an environ-
and express yourself verbally and
Some
people with natural talent and
INTRODUCTION
up what they need
drive will pick
Many
go.
know about
to
the craft by
by way of
talent need,
and
trial
error as they
books, and workshops,
classes,
environment and be provided with
to be in a supportive
a base of information to help
bloom.
their creativity
is
a great teacher
and
and books, the time you can waste
in the "school
of hard knocks"
Though classes
much
others with as
the "trial and error"
method
devastating to your ego and your
has been a sad
commentary on too many wasted both
early as possible about starting with
will to persevere. "If
some
craft
and
basic principles involved in being a
putting
it
in a context that helps
good and commercially
need a knowledge of the media properties. Painters ors, the types
need to
you remember in
it
may
also
be
know now"
information
Assuming
years.
as
that you're
successful songwriter that can
you already
instinctively
when you need
which they work,
know about
I
music and/or language, there are
a love for
be taught. Primarily, you'll be organizing material that
much
Getting as
careers.
be replaced by
knew then what
I
and business can save you
talent, imagination,
will never
it.
know and
All types of artists
their limitations, freedoms,
the properties of acrylics,
oil paints,
and
and watercol-
of brushes and canvas, the mechanics of visual perspective. They need to
train their eyes.
As songwriters, you need instance, that
the
way songs
Top 40
and not
situation
and film
know why an
Awareness
Knowledge
For you, all
important to know, for
it's
have different requirements for
many
important to have the choice of
It's
in another.
faster.
ears.
radio, musical theater,
are written.
achieve dynamics in a song, and to
want much
your
to train
serves
is
artistic
and
You
is
the
get
in
to
one
you what you
your inspiration.
Great songs are a combination of substance and form. Substance
and form
work
choice would
a tool that can save time
ways
different
way you communicate
is
what you're saying
it.
can't be taught inspiration or imagination.
touch with what you have to say and
how
You
can be taught ways to get in
communicate
to
it
effectively. It's sad to
me
know
hear songs on the radio with great form and zero substance.
It's
sadder for
could make
me
laugh, cry, think about
that you're out there with
something
in a
something
new way and
to say that
otherwise enrich
my
life,
but don't
know how
to
to
do
it.
This book's for you!
WHAT'S NEW Though
very
IN THIS EDITION?
little
basic principles
changes in the craft of songwriting
still
—
work
artists to
control over their careers has increased. it
reflected here as well as
new
new income from
the
same song
structures
and
the industry has changed considerably. Primarily driven by
technology, the ability of writers and
deals available because
—
And
produce demos
in the process,
has considerably leveled the playing
information on:
digital sources
contemporary radio formats
THE CRAFT AND BUSINESS OF SONGWRITING
at
it's
home and
gain
more
influenced the types of
field.
These changes are
song casting
expanded information on single-song contracts, including sample reversion clauses independent song pluggers
why
a major-label deal
may
not be best for you
online record deals
production music
libraries
online song-pitching services and marketing strategies
Web
sites for a
range of services, from online rhyming dictionaries to the Copyright
Office and pitching services
ONGOING UPDATES TO THIS BOOK AT WWW.JOHNBRAHENY.COM FIND
Because the industry changes quickly, some of the information you get here
by the time you read because
my Mac
because
my
and
my Web
new information you •
are avid
Web
surfers
and information-collecting partners and
fellow information junkies are always sharing
update you via
be dated
That's a big problem with music industry books. However,
it.
I
may
site,
new
www.johnbraheny.com, where
discoveries with
me,
I
can
you'll be able to locate the
need. You'll also find:
updated examples of songs that demonstrate principles, forms,
etc.
where they're
used in the book •
links to current articles
of interest on
and
craft
and current copyright challenges
•
links to organizations
•
interviews with hit songwriters, film composers
•
my own
•
a
It's
way
articles,
for
you
services
to ask specific questions
could keep up-to-date and connected.
amount of information on
we'll get
professionals
get answers
Now we
direct contact
medium
that conveys
connection. That's where you
it,
we'll always
come
were the only ways we
have the advantage of access to an almost
the Internet whenever
we need
our information ten years from now? There's one thing
Regardless of the
human
and
funny how, not that long ago, books and
infinite
and industry
experiences and opinions
it.
Who
knows how
we can be sure of, though.
look to music to make a powerful
in!
INTRODUCTION
part one
The
Craft in
chapter one
Creativity and Inspiration What
Creativity: The
Is
and Do You Have
It
subject of creativity has always been a fascinating one because we, as songwriters, are
so dependent
on the muse, that
some attempt
to control
it.
it
becomes very important that we understand and make
Stimulating creativity and keeping
it
flowing past the dreaded
spectre of "writer's block" are very real battles, particularly for those
depend on constant put forth on
how
by most to you. 1.
whose
livelihoods
Hence, there have been many studies and theories
creative output.
who's "creative," and who's not.
creativity works,
who
Psychologists
study creativity have found there are several qualities that are shared
creative people.
It
may
Don't be discouraged
You're a risk-taker.
be useful for you to see
if you
You
don't possess
don't play
it
safe.
all
how many of these
of them. This
You
is
qualities apply
a broad generalization.
take intellectual and emotional risks
submitting your songs for criticism).
(like
2.
You have
assume 3.
that
It?
it's
You tend
you
a talent in a particular area,
and since you're reading
this
book, we'll
in language or in music.
to think for yourself
—and not
fate, luck,
and make up your own mind about
—
or society
are in control of
nonconformist and you may
4.
You're a
5.
You're playful.
You
like to try
new
your
things.
You
feel
life.
often find yourself going against the grain.
things or
new ways of looking
at or
doing things
in novel or
incongruous
just for fun. 6.
You have
a sense of
situations that others
may
You
8.
You're a daydreamer with a rich fantasy
find
it
9.
You can
humor
easy to entertain yourself and seldom get bored. life.
at
You can
get totally lost in a fantasy
and
else.
function in a state of confusion.
can help you look this
to see the
see.
7.
be oblivious to everything
be
humor. You tend not
more than one
way, but on the other hand
side .
.
You can
tolerate ambiguity.
This quality
of a problem. You find yourself saying, "It could
."
You can be comfortable
in either structured or
unstructured situations in which there are no clear directions or guidelines.
CREATIVITY
AND
INSPIRATION
10.
You enjoy
complexity.
It's
intriguing
and challenging. You have an situations or ideas.
complex relationships between seemingly unrelated 11. You're flexible.
You can
usually figure out a variety of novel solutions for
12. You're self-motivated, persevering, at
something
you
until
ability to see
finish
any problem.
and passionate about what you do. You work
it.
Creative people also have the ability to absorb, digest, and organize external stimuli; reshape
them
into something novel;
and recommunicate them
telephone touch tones are just sounds they hear
may become
they
To
the basis of a
melody
an
in
when
they
that can eventually
The
bye.
The
affair.
make
a
become
To a noncreative person,
call.
To
a creative person,
a full-blown composition.
elevator unlocks the
memory
writer's lover stepped into
an elevator
after a last traumatic
memory
but a song
tide,
conversation not only produced a
Last Time."
form.
on an
a creative person, a combination of words overheard
of an old love
art
The songwriting
process gave the writer a therapeutic
experience. For an uncreative person,
was
it
just
"Going
way
Down
goodfor the
to deal with that
another conversation.
Dr. Roland Jefferson, a psychiatrist, novelist, and screenwriter, believes that there are three categories of creativity.
Some
1.
These
are:
people have genetic predispositions to visual creativity including painting,
photography, sculpture, and architecture.
Others have inherited
2.
abilities to
use words. Lyricists, poets, novelists, and journalists
into that category.
fall
Some have an
3.
ability to internalize
and manipulate auditory
stimuli.
This would
include musicians, composers, and sound engineers.
He says such
it's
not
uncommon
for creative people to possess
as the composer/lyricist or the
composer with the
Obviously novelists and screenwriters,
actors,
combinations of these
talents,
ability to visualize his music.
and filmmakers use
a visual/auditory
and
verbal combination.
frgr
There
Buying into the "us
and
and them" syndrome
you'll
of "those people are
all
creative and I'm not" is
a
self-fulfilling
statement that has inhibited
more
potential than
anything
it is
is
also a broadly held belief that creativity
wear to
a party, or
what
an essential part of being human,
is
not necessary to produce a product to prove
it.
Choosing
a gift for a friend,
what
to eat at a restaurant are fundamentally creative acts that
of us do regularly. Studies of the characteristics of creative people are
uted visibly to the
arts
and sciences and who we
certainly a value in noting those characteristics.
syndrome of "those people inhibited
more
are creative
all
done with those who have contrib-
would agree
are creative.
There
is
However, buying into the "us and them"
and I'm not"
is
a self-fulfilling statement that has
potential than anything else.
else.
Developing Your Creativity Since you're reading this book, you're searching for ways to
and
creativity
you already
the information
THE CRAFT
AND
have. Psychologists have been
you need.
BUSINESS OF
SONGWRITING
make
working
the
most of the
talent
for eons to gather
all
.
Dr. George
Gamez
is
who
Lightning in a Bottle
and author of
a psychologist, songwriter,
Creativity:
How to
Catch
through
specializes in helping people develop their creativity
and visualization techniques.
selr-hypnosis
Self-hypnosis or autosuggestion emphasizes achieving a "state of receptivity" to suggestions
you
give yourself.
Visualization involves picturing yourself being
you want
do the way you want
to
do
to
like
is,
in turn, related to
doing what
to help develop a positive self-concept,
our self-expectations and consequent behavior. Statements
"I'm not a very good songwriter,"
commercial," become
to be and/or
it.
Both techniques have been used successfully
which
who you want
self-fulfilling
never be that good," or "I just don't think
"I'll
because they both reflect and reinforce a negative and
limiting self-image. Developing a positive self-image can help
you not only
in writing
songs, but in being effective in dealing with the industry, something that involves persever-
ance and overcoming the fear of rejection.
Stages
the Creative Process
in
Psychologists
who
through four
stages.
specialize in creativity generally agree that the creative process goes
These
stages
—
as
they relate to songwriting
are:
Preparation: the gathering of the physical tools and the establishment of form,
1
theme, and
In a broader sense,
style.
involves your music education,
it
and the development of your unique viewpoint and 2.
3.
written down, or taped. This
we should suspend
phase
Too
ideas.
often
rhyme or meter. original if
we
we
is
product
—
at
also described as the
the inner
don't stop ourselves before
critic,
be spontaneous, and allow a free flow of self-critical,
by working on
and a tangent idea may be
we can
which we need
—
and detached way
listen
your whole body create a sensory
in the process
memory
listen to?
rewriting, polishing,
The
song
and looking
verification stages
is
as a
for the crucial,
"Aha!"
listen to the radio.
But
following listening exercises help unite
of songwriting. Ever)' time you perform an
exercise,
that goes along with the song you're hearing. Eventually,
you're writing, you can use these memories to help trigger your creative process. start a
of
get to that tangent.
in this phase you'll get another
and what do you
a detail
better than the
to be critical, looking at the
People in the music business always seem to be telling you to
how do you
are initially created,
"Aha!" or "Eureka!" phase. During
meter and rhyme. Separation of the illumination and
though occasionally
which, given the theme
in
which words and music
Ideas flow from each other,
in an objective
experiences,
a solution.
stop the flow by being too
4. Verification: the stage at
right
on
Illumination: the outward stage
life
style.
Incubation: the unconscious process leading to creation
or problem, the subconscious works
this
—
you
when
You can
"groove" going by dancing or by "conducting" the band or imagining the chords
CREATIVITY
AND
INSPIRATION
—
LISTENING EXERCISES some
exercises that will help you listen to the radio
The
following are
will
improve your writing.
Pick
one instrument and
to
listen
the sound of the instrument,
it all
the
way through
tone, timbre, or character.
its
edged, piercing? Can you vocally reproduce
Oooo, uuuu, all
rrrrr, ssss,
mmmm,
a song.
it
or percussive
f,
quite different. Noting a sound's likeness to
Is it
in
ways that
Become aware
of
mellow, hard-
soft,
vowel or consonant sound?
as a
p or k sounds
one of these
(called plosives) are
help you recall
will
it
for later reference.
Also think about the function of the instrument
in
the overall arrangement.
or
sustain function like a string section, providing a chordal
"grounds" and contrasts with
all
single
Is it
a
note "pod" that
the other parts? Background vocals, strings, horns,
and sustained guitar chords often provide that function.
Does
it
provide a rhythm function? All percussion certainly does. Bass, guitar, and
keyboards can provide a combination of rhythmic, chordal, or melodic functions arrangement. Listen to If
you've got
and "assign"
it
how
the
those functions change within each song.
some rhythm
to your right
in
your bones and love to dance, pick out an instrument
in
arm and another instrument to your
to one or both feet, and "conduct" the song by dancing
it
left.
out. Play
Assign the bass
some
air guitar,
drums, bass, or keyboards.
may seem
Pretending you're playing the instrument
But as a creator, to visualize
it
it's
silly
if
you tend to be
your job to stretch yourself. Listen to the melody
as an actual line.
Is it
jagged and angular or
there significant differences between the melodies
in
smooth and
line
—
in
and try
flowing?
the verses and those
choruses and bridges? Sing along whenever you can. Sing or
inhibited.
in
Are
the
some other way
vocalize the instrumental parts as well as the lead vocals.
your "air guitar" senses
we
is
playing. Imagery
is
a
integrate into the process, the
So what good does
this
all
do?
It
powerful tool to creativity, and the more of our
more
gives
easily
you
functions of instrumental parts in an arrangement.
she can also wear arranger and producer hats.
put in and what to leave out of a
we
create.
a valuable perspective
And
demo and have
A
songwriter
it's
is
more
on the various effective if
he or
valuable to have a sense of what to
a ready repertoire of
dynamic musical
"tricks." If you're a lyricist
who
doesn't play an instrument or sing,
for vocal phrasing against a
aware of
seldom
see
available,
10
how your words when
they're
rhythm
track.
What
helps
it's
you grow
essential to get a "feel" as a
songwriter
is
to be
can be stretched and bent in performance in ways that you
on paper. You become more aware of the
variations of forms
of which words do and don't "sing," and where and when to use them.
THE CRAFT AND BUSINESS OF SONGWRITING
.
Motivation To become more
— Overcoming the
creative,
aware of what can
to be
Update
in Context:
conducted many
it's
kill
Barriers
important not only to
know how
to
enhance
creativity but
Psychologist Teresa Amabile, Ph.D., author of Creativity
it.
to the Social Psychology
of Creativity and Growing Up
Creative, has
out the following, which I've adapted to songwriting
tests to find
situations.
Dr. Amabile tested the "intrinsic motivation principle" of creativity and found that
people will be most creative
Among
when
they
feel
and challenge of the work
satisfaction,
motivated primarily by the
and approval, and
it's
and do
exercises to develop skills.
These
skills
will
creative
else will
easy to allow that need to
think of your work.
may
We all
need
become your motivation. You can
from a music publisher
learn about your craft in a classroom situation,
# People
the creativity killers she discovered are:
Evaluation: Concern with what someone
1
love
enjoyment,
interest,
not by external pressures.
itself,
(or
from a book),
be evaluated by your teachers
as
pan
feel
be most
when they
motivated
primarily by the interest,
enjoyment,
satisfaction,
and
of your learning process. But you need to shut out that concern for outside approval while
challenge of the
you
itself,
're
2.
creating.
Surveillance: Like the above,
You
creativity.
someone
tend, again, to
listening or
is
want
if
someone
to please
literally
is
them
watching you work,
instead of yourself.
it
can
kill
work
not by external
pressures.
Even imagining
watching can be inhibiting. But surveillance can enhance your
performance of previously learned motor
skills.
When you're performing live,
the audience
can inspire you. That's obviously different, though, than someone standing over you while you're working something out.
Reward:
3.
When
you focus
entirely
recording deal, the hit single, or the
you a
get
way
it,
you could be robbed of your
On
Competition: People
during the process. Again, else's 5.
your
will if
and minimal exploration
and reward remain be more creative
record, the
work
that
you
to get to the next feel
good about
you should be
The more
restricted
they're less conscious of competing
satisfied
you
is
internal.
when
you're focused on competition, you'll tend to
reaction determine whether
Restricted choice:
the
internal motivation. You'll also tend to write in
the other hand, giving yourself a treat for
positive because the motivation 4.
goal or reward
money
that takes the path of least resistance
reward.
— gold —something dangerous can happen. Once
on the
are in
with your
let
someone
own work.
your choice of ways to achieve
goal, the less creative you'll be. You'll tend to internalize the restrictions rather than
the freedoms rather than
When
you have
in achieving the goal. In songwriting, you'll focus
on the parameters
on the many options within the parameters.
you
whelmed by
get to a point
where you can no longer enjoy the process and you're over-
the externals (thinking, for example, "This song needs to be a hit," or "If
I
don't get this recorded, I'm worthless"), you're entering "creative burnout." You're no longer writing for yourself and you're doing
it
for
all
the
wrong
reasons. If you're a
CREATIVITY
AND
INSPIRATION
11
which you need
professional writer, you're probably in a situation in
Even
else as well as yourself.
when your
be times
at that, there will
"That's good, but could you change this verse?" and you
me and
for
I
don't care
if it
from your heart and your emotional
make vour song appealing
So the operating principle
in
to another artist
all this is:
To
someone
"No,
say,
this
is
you're writing with core, that's the very
and an audience.
operate at peak performance during the
by the
creative process,
vou should be motivated
and
what others might think. You'll have
forget about
have to
when
doesn't get recorded." Sometimes,
that kind of freedom, writing
thing that will
may
to please
publisher will say,
internally
of play and exploration
spirit
plenty*
of time to think about that
later.
Craft and Inspiration Writers: Philosophies I've
asked
many
whether they write from
hit songwriters
writing as a profession, a job, pure
cosmos
to the
as a
source of inspiration.
they read, watch, listen
approach songwriting writing
thesauruses,
"picture." Their
and methods
It's like
and
and experience. They give
a big puzzle in
real life
and
in
them put
writers
ideas, a
when of
and many
I
for industry pros to
is
They had
for their
craft
and
of song-
ways to construct the
them
a goal
another general category.
I'll
rely
on
call first
inspiration rather than craft.
My
that they won't rewrite, feeling that the magic is
sacred,
way of success
and they
will
only write
for these writers, regardless
are.
work with
this
have had short careers because their
to date.
The
should add, doesn't mean that those in the
that attitude that stands in the
wonderful their inspirations
It's risk)'
artists
It's
in everything
credit to inspiration
are several right
they got from the Creator and put on paper
inspired.
refer
kind of word engineering and problem-
writer/artists fall into
of hard-core inspiration writers
how
song ideas
effective construction principles gives
category never get inspired. In this category, they
moment
and never
this picture together clearlv.
"inspiration" writers, which,
profile
little
it
which the "pieces" come from rhyming diction-
which there
knowledge of the most
that help
Most amateur them
to,
actively look for
they would a nine-to-five job that they enjoy.
game of organizing
described as a
is
solving experience. aries,
as
They
Some view
craft or inspiration.
They're very disciplined about
craft.
ten years to write them.
type of writer.
first
Many
"inspiration" writer/
album contained the
When
best of their songs
they need to turn out ten
more songs
second album, they face the dreaded "sophomore slump." They discover that
they're too tired to be inspired
comes time
to get
back
when
they're
in the studio, they
inspiration. If they don't have discipline
on the road
for six
months; and when
no longer have the luxury of waiting
and command of their
it
for the
craft at that point, they're
in trouble.
People the craft
who
down
sit
down and
focus on exactly what they
12
THE CRAFT
AND
write a hit song in ten minutes are usually those
so well that they don't think about
BUSINESS OF
want
to say,
SONGWRITING
and the
rest
it.
of
It's it
automatic.
comes
easily.
They
who
have
get the idea,
"If vou think of a
great
title,
the song writes itself"
who
other hand, pro writers (even ones typically write pages to get
one great
and downplay the
their creative processes
good command of the believe that
I
many
The
who
find
craft involved in their
songs, nonetheless,
it
difficult to discuss
work. They deny making
show organized thought
and
processes
craft.
successful writers have unconsciously acquired their craftsmanship
they instinctively know, for instance, a lyric line could be stronger, etc.
when
When
but behind
"feel,"
a writer plays
"chorus" that occurs only once, and no rhymes
who
for so long that
when
there "needs" to be a chorus or bridge,
They go by
scious analytical process developing.
to a natural writer
the
mediocre-to-good songs for
by osmosis. They've been emotionally affected by so many great songs
verses, a
On
have written a hit in ten minutes) will more
line or will write several
every song they'd consider great. There are also writers
conscious craft decisions.
phenomenon.
a typical statement for that
is
me
there's
it
a nine-line
at all,
has unconsciously learned the craft. I'm
I
been a subcon-
song with twelve
know I'm
prompted
not listening
to ask
whether
the writer has ever listened to the radio.
There
are dangers inherent in
both extremes.
I've
heard writers
to write a well-crafted, formula "hit" that they forget
and end up with songs
that
remind
me
of science fiction cyborgs
On
outside but have nothing inside but machinery.
with great ideas but no discipline or knowledge of
good
the inspiration
is
and "inspiration"
who
look great on the
the other hand, I've heard writers
how
communicate them.
All that
I'm depicting two extremes.
Ideally,
to
writers,
recognized as only the beginning of the songwriting process. Your craft
at the service of your inspiration
to
are trying so hard
inspiration goes to waste.
In contrasting "craft"
is
who
about imagination and originality
communicate those
and
you the confidence and
gives
inspirations in a
way
a dependable vehicle
and
that an audience can easily understand
enjoy.
Developing a "Songwriter's Consciousness" Regardless of which songwriting philosophy you subscribe craft
and inspiration work together when we
There's a popular theory with which that responds only according to the
we
give the
way
I
create.
agree:
it's
computer conflicting messages
The human mind
there
and
says,
"Let
me know when you
complex computer
you grasp some of the
basic principles of what
song!" and "I'm
know how." Your mind
decide." Giving yourself a positive "I
very important to what
is
I
call
"songwriter consciousness."
just
am
a
Once
makes songs "work," the world can become
an endless supplier of ideas that you can then
use.
everything through this network of "idea inspectors"
come down
a
like "I'd love to write a hit
songwriter" program
a big juicy idea to
is
been programmed. The problems occur when
not a good enough musician to be a songwriter" or "I don't sits
how
helpful to learn
to, it's
"Songwriter consciousness"
who
sit
there
filters
on duty watching
the road. They've already been trained to see
CREATIVITY
AND
it
for
coming,
INSPIRATION
13
When
I
asked
Dwayne
Places," he said he
my
wasn't
Blackwell about writing the Garth Brooks hit "Friends
was having
a drink
my
That was Bud Lee,
title.
'Who's going to pay for these drinks title?! Is
that a song?'
And he
so they start getting excited
and they don't
see
it
doesn't seem exciting he's
right away.
I
and
to those juicy ones that are fresh
we can
said,
I
it's
is
what could be
a
that a
low key and subtle
one they're already familiar with and
worn out
their
miss a part of them that's
worthwhile. But
still
"Wait
original, the inspector will say,
a minute,
You may
play awhile and check out your potential.
good song
idea. If
you have
it
welcome and, because
be just the one we're looking for!" In short, "songwriter consciousness" to recognize
say,
'Is
yet!'
ideas have
may
heard him
places?'
"
Sometimes
bored with those, an inspector
'til
When
low
in
they see one. Sometimes an idea
anymore. Some
Juicy, I'm not letting you by
have friends
I
Low
"Bud" Lee. "That
night with his friend Earl
co-writer on that.
if
'Not
said,
when
one
in
is
the readiness
you'll start to find ideas
it,
everywhere.
Being Ready You're lying in bed, half asleep in that twilight zone where ideas just seem to pop into
your head. You've got one! lines,
you
It rolls
out
like a
You've had a hard day
movie at
in
your mind, a great concept, exciting
work and your body
such a good idea," you say to yourself.
"It's
want
doesn't
"No way
next sound you hear
the job.
is
what
it
that
you had an idea
was. Another great idea
hit that paid the rent for the rest
of your
life!
worthwhile to keep a pencil and paper by your bed?
down
Do
Or
for a
song
move forget
it
last
easier yet, a cassette or portable is
that
pencil in your car for those freeway daydreams, too. Driving time
the conscious
when
and subconscious. That's
Every writer
I
know
has
the brain allows the best fertile,
you can
some kind of book or other
process,
you
them from those
reinforce your
ideas or phrases with
There
will
which
they'll
little
pieces
one, too.
When
It's
a
good
idea to
notebook or computer. In the
scraps of paper into a it
pad and
it!
place to store those
You should have
memory of them and make
extra
and those times between
get a chance to write, you've got lots of ideas in front of you.
periodically transfer
also capture
communication between
creative territory. Protect
of paper they collect with lines or fragments of ideas.
night, but
would have been
melody and phrasing.) Always have one or the other with you. Have an
being asleep and awake seem to be
and on
That could have
the tubes.
you think
(The obvious advantage of the recorder
digital recorder?
14
I'll
the alarm clock. You're up, showered, breakfasted,
About noontime you remember
can't quite recall
been the
you
to
one."
The
you
it all.
pen and paper.
to get a this
see
easier to link
them with other
fit.
be times you'll get an idea in a situation where
THE CRAFT AND BUSINESS OF SONGWRITING
it
won't be
socially acceptable
The Tubes' Fee Waybill showed me out individual
lously laid
notebook once.
his
numbered with some crossed
out.
He
said
working on, he'd go back through the book, line
through
them
to
all in
it
so he wouldn't accidentally use
all
lot
was
he could use, and then put a
on another song. He's probably got
it
computer now.
his
whip out your pen and
for the rest
You may
were
lines
for a line for a song he
find a line
start writing. In
those situations, such as formal social gatherings
or in midconversation, use what Len Chandler
head
thick with very meticu-
he did that because he came up with a
whenever he got stuck
of interesting one-liners, and
was
It
pages of finished songs, and the
lines as well as
also
work
room
to
want
to write
beneficial to have a personal
"The Weak Bladder Syndrome" and
calls
in private.
about someone you're with
brand of shorthand.
That's
at the time.
know one
I
who
writer
Many
whole code of geometric symbols that only he could understand.
when
it's
developed a
writers are very
candid in writing about their personal relationships and have difficulty expressing negative feelings a lover
not yet aware
is
something I'm creating from the
of.
You can
"This
say,
memory of another
worry that every time
to have to
about us."
Of course,
us, it's just
relationship," or "It's about a friend's
romance," or "Don't get paranoid. I'm a songwriter and
want
about
isn't really
make
I
this stuff up!
I
don't
write something, you're going to think
I
it's
depending on the circumstances and what you wrote, any of those
approaches could sound utterly ridiculous, so don't quote me. Since you never
you can control
know where
for sure
Finding Your
is
when
or
your readiness to catch
Own
it's
a
good idea
it
is
going to appear, the only thing
when
it falls
on you. Be prepared!
Creative Process
Every writer eventually finds his or her
Though
a great idea
to explore
own
f
process (or
more than one)
many, your own unique personality
will
^rjr
for creating.
determine an
Every writer eventually finds his or
approach It's
that's
comfortable and productive for you.
important not to put yourself down for having a creative
someone
else's.
Don't worry about which
to collaborate with that person, in
following are
some of the more
style
which
life
and need an external force
says, "I
need
this
adrenaline starts to write
case
typical styles
"Deadline" writer: You're part of a very to
works your
for
style that's different
someone
styles
else unless
you want
should be compatible. The
her
own
process (or
more than one)
for
creating.
of writers.
large breed.
make you put
this
You've got a
lot
every synapse in your brain
and rewrite well under deadline pressure
is
going on in your
song on the front burner. Someone
by tomorrow morning. The music supervisor needs
pumping and
from
is
working
it
at
10 A.M." Your
The
full out.
ability
extremely valuable, since those oppor-
tunities happen constantly in the music business. If you get a reputation for being able to
CREATIVITY
AND
INSPIRATION
15
done, but don't happen to have any
Making an appointment
one.
to
show
demo
are great like to sit
until
it
concentration from
you
No
finished.
it's
own
ways to create your
to trick yourself into
new song
or booking
deadlines.
down with a project and devote your total attention
No
diversions or distractions. Straight-ahead
no matter how long
it
takes.
You
polish each line as
go.
You may have
"Scattered" writer:
several songs
with one and work on another, then go back
going
once, get bored or burnt out
at
to the first later,
who
generated by working on the others. You're the kind of writer interest. You'll
work
watch TV, go back
maybe with
work, stop, make some phone
but, in fact, the song
is
fresh ideas
has difficulty sustaining
for a while, look for inspiration in the refrigerator,
to
make
a sandwich,
take out the garbage, back to
calls,
work, stop, read a magazine, back to work again. You it,
way
a publisher or producer a
other projects.
start to finish,
needs deadlines to get things
external deadlines, find a
"Total focus" writer: You
studio time to record a
to
who
get the jobs. If you're the type of person
you
deliver,
may
feel guilty for
getting written in your subconscious as you do
not keeping all
at
those other
things.
"Project" writer: You work best in some kind of framework with an established goal or motivation
You have
pay you
("I'll
a
thousand dollars
framework, and a motive. You
a direction, a
theme
to write a
may
for a play in
two weeks.").
be very creative within that
type of situation, but otherwise you're not very productive. Recognizing that, you need to search for projects or create series, films,
them. People with your approach frequently write for
TV
and commercials.
Some writers
can only write
TV
with the radio and
might be equally adept
going
when
can write in a roomful of people
same time. Some need
at the
at writing
Some
they're alone.
words and music,
are
silence.
Some, though they
more productive
in a collaboration.
Individual Preferences Sheila Davis, in her Songwriters Idea Book, relates creative styles with your personality type as
shown by
the Myers-Briggs
Temperament
Carl Jung. Sheila has developed her
own
on the work of psychologist
Sorter based
version of the profile, and
tool not only for getting better acquainted with
your
own
I
feel it's a
valuable
individual process, but under-
standing those of collaborators.
My wife, JoAnn, how
helpful
is
each of
She
how we
us,
Some
our different approaches or modes
creative process seminars
area she has
on
found particularly
as
being more auditory, visual, or kines-
people simply respond to the creative process with an attitude of "I don't
modes help
but
I
know."
We usually refer to that as
us to clarify the "Aha!"
combination of modes but favor one.
16
One
process information. Conflicts can be alleviated by understanding that
know how I know, these
"Goosing Your Muse"
based on our individual preferences, values a different aspect of the project.
refers to
thetic.
covers this in her
and maintain your productivity.
to stimulate
THE CRAFT AND BUSINESS OF SONGWRITING
when an
What
intuition.
idea surfaces.
Going beyond
that,
Most of us experience
a
shape does the experience of getting an idea
RITUALS Getting ready to "commit" to writing
may
You seem
dler calls "sharpening pencils."
common
involve a
process that Len Chan-
to be doing everything but writing. You're
You
cleaning the house, preparing the writing space, and actually sharpening pencils.
make sure you have your "great idea" hat. This
is
"surefire hit" songwriting pencil and paper and
a kind of ritual that
is
very valuable because
and primes your creative pump. While you're doing
on the song without
ing
You may
think you
craziness or that
unique
ritual,
realizing
it.
must be the only writer
take for you?
someone
preference.
as if It's
.
.
see
Those who
what you mean
me
preference
can
says, "I
."
.
.
how
.
.
."
more
are
or "It looks to
or "I «^r
more
are
what vou mean.
me
we can
on
a
like
.
.
.
,"
When
they are revealing a visual
me
."
or "I hear
might respond with
"It feels to
as if
.
.
.
so that less
we can
recognize the difference
judgmentally and more amicably
as
anyone who
a producer,
move
past
involved in our project,
is
anyone who
is
a "partner" in our
"look" (clothes/hair/image of the band, for example),
(production, performance), or the overall "feel" of the project different
right.
express ourselves.
use this information as a powerful tool to
demo,
is
." .
our creative blocks. (JoAnn defines a collaborator a co-writer, a singer
a
also change with time and
way we
kinesthetic
which preferences we have
with our collaborators, and
How we
may
it
auditory will say, "It sounds to
and those who
."
helpful to realize
project.)
Wrong! Yours may be
to.
usually revealed in the
is
this
Your approach may incorporate
and
between ourselves and our collaborators, we can work
e.g.,
goes through
important for you to realize that whatever works for you
it's
Our
listed here,
who
the world
in
but most writers have one or more.
elements of more than one of those experience, but
gets you ready
you're probably actually work-
it,
you're a real pro, you won't have
if
it
maybe your
is
how we "sound"
valued differently by
members of the group.
To Break Through a Block, Do Something You're Not Find out which modality switch to a
mode
if it's just for
If you're
that
is
is
yours.
Then, when you experience
unusual for you.
Do
a creative block, try to
what does not come naturally
to you,
even
an hour.
an auditory type of person and you have reached
spend the afternoon painting or coloring ideas will appear
more quickly than
if
stay in
your songwriting,
long walk (kinesthetic).
(visual) or take a
you simply
a lull in
your
rut,
hammering
New
at
your
sitting in a
dark
piano or guitar, trying to force them out. If
you
are blocked
room. Indulge
in a
and you
massage
are
more
visual,
or listen to a
then
listen to
music while
good novel on tape. Pictures will form in your
"mind's eye."
CREATIVITY
AND
INSPIRATION
17
.
For a quick way to find which "modality"
seem more
natural to you.
may
apply to you, notice which of these
(Remember, we tend to combine some
of our prefer-
ences, like auditory/kinesthetic or visual/kinesthetic.)
Videotape
1
play fits
a
TV program
back, turn the
it
volume
the action segment.
own
with your gallery
soundtrack, then you
lyrics
developing
by hearing something
in
a musical or
may be more
music. Notice
if
in
you
rhythm track that
Or go
"auditory."
if
easily
it
to an art
you have
a
your head. You are responding to what you see
your head.
some recordings
to
2. Listen
Try to create
off.
you can watch something and respond to
If
and after you've viewed the various art works, notice
melody or
When
that has plenty of action, like car chases.
"new
of symphonic,
you tend to "see pictures"
age," or other instrumental
your mind. Sometimes you may
in
only "see" colors or patterns, but this could indicate that you are predominantly
more
"visual" in
how you
receive information.
Think about your favorite places, your favorite experiences, and notice, as you
3.
describe them,
more
how you
fee/.
People
affected by atmosphere,
who
are
more
"kinesthetic"
seem to be
mood, ambiance, or rhythm/movement/dance
and can be repulsed by or enamored of a combination of sensory input. These people might avoid a restaurant because
If you are blocked
and you
on the presenter and the they can't. In
fact,
are
more
Most
material.
it
just doesn't "feel right" to
kinesthetic,
sit in
a lecture or class
kinesthetic people
want
to
by pacing when
they reveal their preference
them.
and concentrate
move when
they
know
they think or talk, and
they tend to gesture with their hands or their whole body. Keep a journal (written or on
"move" you. Describe
tape) of experiences that
much
detail as
you
"When
can, for example,
warm, wet tongue on
my
face tickled
I
me." Lyric
the various elements of the events in as
squatted
down
to
ideas can develop
meet the puppy, from
his
feelings such as
these.
Breaking Writers Block You're sitting in front of a blank piece of paper or computer screen, just knowing that you've
come up with
all
the ideas you'll ever
think of has already been written.
but can't convince still
it
try
that anything
you do
your brand-new pen with the easy glide point
You go through
all
your customary
rituals,
but
nothing happens.
At
this point,
you've landed where nearly every other writer has been
another: the Planet of the Dry. writer in the world
18
You
to write anything.
come up with and
who
It is
has ever
comforting, in a way, to
felt totally
THE CRAFT AND BUSINESS OF SONGWRITING
stupid and useless.
know
at
one time or
you're not the only
.
Though to
there are those
acknowledge that
1
exists.
it
Whatever works! Here
who deny
are
there's
anything such
For some people, denial
some
way
the best
is
deny
as writer's block, to
it is
to deal with
it.
of the other ways writers have dealt with this problem.
Just start writing anything: a grocery
list,
anything to jumpstart
a letter to the editor,
your creative engine and get something on the blank page. Julia Cameron (author of The
Way) prescribes doing "morning pages"
Artist's
and everything
comes
that
which you write three pages of anything
in
into your head without stopping, censoring, editing. Pat Patti-
son (author of Writing Better Lyrics) has a related morning exercise he in
which you
ever
an object
select
memories come up but using
sounds,
and
taste,
have time to do
feelings.
a
maximum
The beauty of these
it.
to be a
it
to
having fun. Remind yourself that nobody hear successful writers say things I
good
stuff."
"If
like,
figure I'm doing great." "I
getting to the
"object writing"
of sensory images to describe the
exercises
Psych yourself out of the pressure
viable,
calls
to jumpstart the process, free-associating
Limit yourself to ten minutes so you'll always
and don't get hung up on needing 2.
room
in the
had
I
how
you
a hit or great
know you
can
something every day
get
one
frequently
I
twenty songs that
in ten to
multiple
hits! I
she could pretty
think
I
hundred bad songs before
to write a
hit,
work of art. Focus on
your bad work.
else will ever see
to write a
create
sights,
"work of art." produce
And these are people with
that once a writer figured out
that
is
what-
I
is
started
used to think, naively,
much
it
every time.
records. Listen to
music that
nail
Wrong! So stop beating yourself up! 3.
Create an atmosphere. Listen to your favorite
mood, and
puts you in a 4.
savor
Find other places to write: the beach, the woods, on
station, a noisy restaurant, a 5.
artist's
it.
dance club. Try writing
a
mountain, in a
at a different
car, in a
bus
time of day.
Just forget about writing altogether. Relax, have some fun, go to a movie, go
bowling, bicycling, whatever. 6.
Try the stream-of-consciousness or problem-solving techniques explained
in this
chapter. 7. If
you're a musician, play scales you don't usually play, play a
normally listen learn a
Bach
to,
and
learn solos
violin solo
from other instruments.
and maybe
try playing
it
back
CD
you don't
If you're a guitarist, for instance, at half-speed or learn a jazz sax
solo. 8.
Write with someone you haven't written with before.
It's little
possible that
none of the above
will
work. At that point
it
may be
useful to dig a
deeper.
Writer/psychotherapist Lynne Bernfield says, "Being blocked doesn't
mean
that
you
don't want to produce, are self-destructive or lazy, have dried up or been deserted by the
muse.
It is
a coded message from your unconscious telling
attended to and, as such,
be attended to
is
is
a blessing in disguise."
you
that
something must be
She believes that one of the things to
"unfinished business" in other areas of our
lives.
We won't allow ourselves
CREATIVITY
AND
INSPIRATION
19
In
an interview by Theresa
Ann Nixon,
my hand
been working on: "So when
my
just said to
down. Even
hand, 'Write! Put
hand to write, no matter what
when we were doing The
it
Girl
book twenty years ago
this
it
didn't
down.
mistakes. Just put
if it's all
was.
is
is.
do the two
In all
.
.
.
When
can't cope. You'll
and going to see like
it if
I
And
you
try to
I
He
ding!
say "hobgoblin"? Yes, there
is
is
said
—
it
he had gotten
fellow explained that
just to create
just
it,
that's exactly
do
The
it.
everyone makes
what my problem
I
spirit
no time. Your brain
by checking your spelling
clever enough? Will the LA Times critic
just
word.
Or
shall
I
"demon"?
just say,
spent half a bloody hour."
to stan
new
business until we've finished that old business.
with
You
willgei through
it.
He
at once, there's just
a better
No. Hobgoblin. No, demon.' And you've
Two
this
know, was trying to get that wonderful
school, you
do everything
the right word,
this
Quincy Jones about
said the biggest mistake
—
it
my
where the
life,
One was
act.
head
of just forcing
method
this
talked with
your enthusiasm and creative
kill all
'Is
in
got
I
Mine' with Michael Jackson.
Is
my
to put on the paper,
doesn't matter what you say, just put
later
And suddenly
at once.
those years with essays
opening.
It
down.'
it
judicial, checking everything.
to try to
know what
that had changed his
there were two aspects to a creative
other was
McCartney discussed a prose piece he'd
Paul
Try
to identify
and deal
it
this!
other effective methods merit
more of an in-depth
explanation. Even
if
you don't
you're blocked, they're great ways to get started.
feel
Stream of Consciousness One
approach
is
the stream-of-consciousness technique.
aged and the "inner used by
Now good
many
ignored.
It's
a great
way
to generate ideas. This
lines
and
is
encour-
a technique
is
successful writers.
ideas.
you think
schemes, meter.
may
is
you're into the "verification phase" of the process. Be
lines that
session,
critic"
used in what was described
It's
phase" of the creative process in which spontaneity
earlier as the "illumination
Write them down, leaving plenty of room
Now
of.
You may
and now they
discover that
is
the time to pay
find that
just
first
is
at a little
all
the
and add other
rhyme
that free-form
more
closely.
You
better as a verse or vice versa.
verse should be the
whole process
out
attention to form, continuity,
need to be rethought and looked
that triggered this
to rewrite
most of those were established during
what you thought was the chorus works
Perhaps what you thought was the
you wrote down
more
critical. Pull
last.
Maybe
no longer nearly
the
as
first
good
as
phrase other
ideas the process produced.
What happens
during the "stream-of-consciousness" process
of ideas and make a
20
lot
is
that
you
pull out a lot
of creative hookups and links that you might not ordinarily make
THE CRAFT AND BUSINESS OF SONGWRITING
—
STREAM OF CONSCIOUSNESS EXERCISE You hear
your hand (or you memorize or whatever
it).
get an attitude going
—
it,
sad, bittersweet,
appear, forget
it.
it
Keep
ideas out there for
situation that you're
when
Don't stop the flow;
going.
this stage.
You can
describing a scene, a setting, or a feeling.
consider your relationship to him. attitude
What
toward him? What does he/she
and what happened
after?
If
you get
out? Rewind the tape and
remembering or
this line?
you'll fix it
it
up
creating.
more you
doesn't just
If it
but get
later,
may be
meter, a better flow,
when
if
a bridge to
If
there
is
another person
in this setting,
on
What do you
say?
a tangent, that's it
What happened
OK
because the tangent
going.
Yes, you'll think
listen.
something better. This
rhyme or make your meter
You
also avoid getting
some
of
total
it is
Some
of
could have smoother
line
how
some rhythms
great lines,
hung up
trying to
make something
of flow and focus. Once you've
tight at the expense
few pages, you'll have a better concept of
good rhymes
before
you changed a couple of words.
you're trying too hard.
come up with some
the
motivates that person and dictates your
nonsense, but did you really think everything you said would be profound? the stupid stuff
all
make much sense or
has to
take you to a better place. Don't worry, just keep
All talked
out loud everything
influence the direction of the flow by
say?
off
romantic
playful, loving,
just say
you're alone, but the
becomes. You want to rhyme
now. Babble on awhile. None of
have any continuity at
may
mad, haughty,
someone, and
strange to hear yourself talking out loud
the less strange
mm
there. Next,
it's
groove going with your
just play a bass line, get a nice
you can think of that relates to the It's
a notepad, napkin,
Later on, you're noodling with your piano, guitar,
picture yourself with that attitude talking to
do
on
it
handy, turn on your cassette recorder, and forget
is
you grab some chords, maybe feet,
and you write
a friend use an interesting phrase
and
to structure the idea
may
that those lines
suggest,
that will feel natural because you'll be writing closer to the
and speak. At that point you can
start a
new page with
stream-of-consciousness exercise in this chapter
is
filled a
you'll also have
and some
way you think
the best lines you've created.
The
a sample scenario of that process, using
Keep
in
mind
married to a
that while you're in the critical phase, nothing
line that's great
throw anything away.
by
If you're
you work with
another area or "save as" always save your tapes.
itself
and use
collection of great lines
the reject. If
new
a
it
but doesn't seem to
fit
the
to trigger another session.
working on paper, don't
word
erase.
is
rest.
As
sacred.
Put
it
a matter
Draw
Don't get
away of
return to
may be
them
your don't
you don't want
version and save your old drafts. If you're working
Not only can you
in
fact,
a single line through
processor, cut or copy sections
ever involved in an infringement case, they
you
Keep
in
mind that
while you're
a tape recorder.
on
to
tape,
critical is
in
the
phase, nothing
sacred. Don't get
married to a line that's great by itself but
doesn't seem to
fit
the
rest.
for musical ideas, but if you're
helpful to
show
the process by which
arrived at your finished song.
CREATIVITY
AND
INSPIRATION
21
Problem Solving Another
creative springboard
arbitrary
"problems"
to solve creatively.
In a way, writing a good solving. This
is
title
The problem
suggests a title
r^ The
fact
that a
substantial
is
mood and
to find a great
styles)
way
the "problem"
is
on finding
to set
amount
of
an exercise in problem
up the
embodied by the
a strong concept
title
and pay
it
Maybe
off.
fact
that a substantial
is
amount of
word and music
it's
architecture
The
some
following problem-solving exercise will give you
on which
ideas
solving anyway. Like
link
putting together a
work
word and music architecture and design.
the
and
design.
you ever run into trouble getting started, just pick one of your premises at
it's
title
the creative process involves problem solving
involves problem
crossword puzzle,
the
Maybe
maintain and heighten the mood.
to
anyway. Like putting together a crossword puzzle,
the creative process
is
suggests a story to develop.
The is
you write the song
before
a pretty typical approach for country writers, since the success of a country
song depends (much more than other title.
which you make up
the problem-solving technique in
is
it
with a
is
from your
lyric idea
Remember
collection.
and
a great exercise of your creativity
if
the exercise only serves to get
Remember,
too, that
which the
accidents in
many
artist
accidentally stumbled across situations requires that
started,
musical and
it
lyrical
has done
to
its
Work
something
to recognize a else.
little
good
idea that she
Taking advantage of those stay flexible.
Habits
consistent writing habits.
schedules that allow for very
a fluid process;
is
job.
innovations have resulted from creative
had the presence of mind
on her way
the puzzle
you into solutions you may not
will force
you maintain an open mind and that you
Developing Good Not everyone can form
you
make
that trying to
have otherwise discovered. At the same time, remember that creativity
and
to build. If
random and
Many of the most successful writers
have
consistency. Developing a regular pattern or schedule for
your writing, however, can have valuable advantages. Say you make a commitment to yourself or, even better, to a collaborator, that you're going to meet every Saturday from
nine
till
noon
to write. First, you'll feel better that you're
second, getting something accomplished every
and
third,
When
it
ideas or to solve a creative
things.
name. You
finally give It
up
until
is
an hour
actually just
to the front because
do
a lot for your self-confidence;
at
last
week,
work when you
later,
when
the
it
THE CRAFT AND BUSINESS OF SONGWRITING
("He's So Shy,"
nine
it
works on
has to have it
while you
remember someone's
name seems
"downloaded" from storage
Tom Snow
at
can't
you had assigned the "search" function
Hit songwriter/composer
22
will
procrastinating;
that's very productive.
problem from
The same phenomenon
mind from nowhere. mind
week
phenomenon
your subconscious knows that next Saturday morning
some new do other
activates a psychological
no longer
to
in the
to
pop
into your
"back" of your
your subconscious.
"You Should Hear
How
She
.
PROBLEM-SOLVING EXERCISE the absence of a "real world" creative problem, simulate one or
In
arbitrary premise or set of parameters.
An
•
eight-bar verse with a nine-bar chorus.
mum
of four notes every
half-note lyric
A
•
in
two
come up
with an
Here are some samples:
A
120 tempo. The bass with a maxi-
bars. Rapid fire sixteenth-note lyric in the verse,
the chorus.
ten-bar verse (two five-bar sections), eight-bar chorus.
A maximum
of five
chords.
A
28 '/2-second
name
to
jingle for a
the bear.)
seconds from the
A
teddy bear, conveying warmth, playfulness. (You'll have
ten-second "donut"
start.
Write the
Create several of these "puzzles" to 1
in
the
for dialogue) fifteen
lyric
female vocalist.
solve.
Tempo
3.
Time
4.
Key
5.
Melodic
6.
Number
of chords per section or song
7.
Number
of instrumental tracks
8.
Density of instrumental parts
9.
Mood
I.
hole
Mix and match information on:
length of sections, bars per section)
2.
10.
I
Form (number and
(a
jingle for a
signature(s)
mode
Rhyme scheme Lyric density
Talks About You") likes to get an idea started at the end of a writing session but saves
developing the idea the idea,
till
the next session.
and by the time he
gets into
He
it,
says
his brain
one of Snow's personal methods of manipulating Learn to develop techniques that
suit
it
your
keeps is
him
excited about working
already cooking.
on
The technique
is
his creative juices.
own
personality.
CREATIVITY
AND
INSPIRATION
23
chapter two
Subject Matter
Finding Ideas Your
subject,
of course,
is
the raw material of songwriting.
sounding "hook" phrase or an idea that hasn't been stated is
important
if
you want
ability to recognize
to be
and generate
viewed
Coming up with
lyric ideas
from
same way before
in quite the
as a creative writer. You'll
that fresh
need to develop your
a variety of everyday sources.
This chapter
will explore some specific places to look for ideas and a few general subject areas with
on how
hints
approach them
to
effectively.
Sources for song ideas are everywhere. Here are a few that are endlessly productive:
News and human
•
interest
programs on radio and TV. Talk shows on radio and
TV are extremely popular and elicit an incredible array of emotional problems and conflicts from
and in-studio audiences. Each day's topic usually
their callers
news events or
ethical problems.
human
interchanges that reflect
These shows involve the general public
conflicts.
See
there are
if
by psychologists discussing personal problems. These radio,
where the
callers are
As you
ior as well.
listen,
deals with current
anonymous. They're
remember
it's
a
any shows
in passionate
your area hosted
in
are particularly juicy, especially
tremendous education
in
human
not just the subjects you're listening
for,
on
behav-
but the
language with which people express themselves.
The networks
present special, in-depth programs
on
a variety of informative
and con-
troversial topics. You'll find yourself agreeing or disagreeing and, in the process, solidifying
your
own
point of view. So again,
it's
not just the topic of the program you're watching
but a distillation of your personal viewpoint, which will work
way
into your songs.
TV soap operas and prime-time dramas. The writers of these shows are also listening
•
to the talk
shows
for ideas.
Listening to music on the radio
•
where your lines
left
brain
is
is
really stimulating, especially
my
pleasure that,
all.
By some
when
on the freeway,
driving and leaves your right brain to daydream. I've half-heard
of songs on the radio and said to myself, hearing
it
again,
it
"What
THE CRAFT AND BUSINESS OF SONGWRITING
a great line!" only to discover to
wasn't really the line
strange approximation of vowel sounds,
could use.
24
its
it
I
thought
had triggered
a
I'd
new
heard after line that
I
Give yourself the challenge of finding one good of conversation from any source.
wealth of material
is
a great
or
a five-minute slice
title in
way to demonstrate
to yourself
what
a
almost anywhere.
available
Examine your own
•
It's
line, idea,
life
experiences. Think about your
feelings
toward your
lover or romantic situations, positive or negative, past or present, and turn those feelings into actual dialogue
or a story.
experience. Don't forget that,
someone
and
else's story
it
Some
like a novelist,
writers only write from personal
you're a creator; and
moves you, chances
are
move
it'll
Once you "program" your subconscious
as possible
them.
You
entertain
to look for ideas,
down on
it'll
automatically do
it.
paper, computer, or recorder as soon
or your subconscious won't believe you're serious. The "idea inspectors"
"We
Why
pick up on these great ideas, but the turkey never does anything with
should
we
bother?"
can be a productive exercise to ignore the song you're hearing and use the rhythm
It
own
section or "feel" to build your
phrasing of lines that you
with the
new
may
song.
It'll
help you to
come up with an
not have thought of otherwise.
It's
also
interesting
important to
listen
maintain a sense of what's happening in the marketplace and to get familiar
to the radio to
artists.
Poetry and books with great colloquial dialogue are inspirations and "triggers"
•
new
for
others, too.
called "poetic license," not dishonesty.
It's
But you have to help by getting ideas
will say,
you hear
move or
can also change, embellish, or totally fabricate a story that will
people just as much.
if
ideas.
Also check these reference books, which contain a wealth of ideas:
Dictionary of Contemporary
NTC's American
and
Colloquial Usage, The Dictionary ofAmerican Slang, and
Idioms Dictionary.
Conversations with friends or discussions you overhear
• titles,
especially if the language
lyricists I've
A
interviewed
tell
me
is
will provide
particularly distinctive or colorful.
some
Most of
great
the great ftf^r
they're "conversation voyeurs."
You should write
The Commerciality of Subject Matter At some point
before, during, or after a
whether the song idea that eveiy
itself
"commercial."
written,
is
Now
it
behooves a writer to decide
don't get defensive! I'm not saying
song vou write must appeal to a massive audience. At the
message too
many
times,
creative impulses trigger. ing,
is
song
— Mass Appeal
I'll
At some point, though,
if
you want
vou've got to develop some perspective on your songs.
second cousin's appendicitis
risk
of repeating
this
say again that you should write everything and anything your
may be important
to
you
to
make
a living at songwrit-
The one you wrote about your
personally, but everybody else will
SUBJECT MATTER
everything and
anything your creative impulses trigger. At
some
point, though,
if
you want to make a living at songwriting,
you've got to develop
some perspective on your songs.
25
say,
"So what?" Decide which songs
are going to be
meaningful
in
some way
to a
mass
audience before shopping them to publishers or producers. Lots of different kinds of songs
can work.
Themes
Relatable
Occasionally a monster will emerge with far more than the basic ingredients.
was
classics
"I Will Survive," the
number
hit that Freddie Perren
1
One
of the
and Dino Fekaris
wrote for Gloria Gaynor in 1979. Along with the great groove and production, the song
had
made
a lyric idea that
would have burnt out by positive
popularity continue long after that groove and production
its
repetition.
from someone who sounded
sounded
story that
familiar.
The like
respect.
^gr
One of the most important functions of
One
The song
is still
she
it
was an anthem
knew what
The message was
treated her before, she didn't have to take
f
lyric
positive:
for
women, something
she was talking about, with a
No
matter
how
popular more than twenty years
of the most important functions of a song
is
self-
to give people a vehicle to express
Songs have a way of uniting us by defining those
When We Touch"
common
strings that
Dan
hate aspects of an intense relationship. Those of us who've been there
hopes, dreams, and
we were
inner conflicts that
else express
inside.
new
hopes, dreams, and inner conflicts that they might otherwise keep inside.
a vehicle to express
keep
a
later.
a song is to give people
they might otherwise
her lover had
anymore because she had found
"Sometimes
Hill's
a little crazy for
them.
bind us together.
expresses the apparent contradictions, the love/
may
have
felt like
having those kinds of feelings and were relieved to hear someone
We were even more relieved that hundreds of thousands of other people
love the song.
The Madonna
hit
"Papa Don't Preach" explored one of the sad choices of a pregnant
teenager.
Often the more "commercial" songs are the ones that not only express more personal
and
but do
way
that everyone else can easily understand
and
Hopefully, the values and experiences reflected in your songs are either ones you
feel
situations
feelings,
it
in a
identify with.
Being Believable
comfortable with or that
reflect
your own situation.
If you're a writer/artist, a
major
part of your appeal will be that people will identify with your point of view. Don't
take a different point of view are. Also, as
comfortable.
an
artist,
on every record
26
THE CRAFT
BUSINESS
who you
to playing
it
for years. If you're a
nonperforming
you can write "for the market" or from the point of
artist.
AND
will never really learn
be leery of recording a song with which you're not completely
You may be doomed
writer, you're not so restricted;
view of the
—people
OF SONGWRITING
Cleverness Beyond the considerations
just discussed, there are
the commerciality or a song. the
home
One
new
or clever wordplay, the
Some examples
twist
is
some
cleverness.
on an old
considerations that affect
stylistic
Country music has always been
cliche,
and the
"turnaround."
lyrical
"Lying Time Again," "Yippi Cry Yi," "Nothin' Sure Looked
are
"
on You," and "Wishful Drinkin.' Night,"
of those
The
old pop tune, "I
Had Too Much
to
another example of the kind of cleverness designed to stick in the
is
mind. The
Good
Dream
Last
listener's
"turnaround" with the surprise ending has wide appeal. The John
lyrical
Michael Montgomery
hit,
"The
Little Girl"
(H. Allen), and the Clay Walker
hit,
"Chain
of Love" (Jonnie Barnett/Rory Lee Feek), are great examples.
To
"Punch
many
times.
a great storyteller
The more imagery, the
The only
and an
trite
and contrived.
quickly, like a joke you've
thing that makes a song like these worth hearing again
up
interesting story leading
punch
to the
conversational and natural the lyric feels and the less
line.
more
vivid the visual
contrived they seem. In other words, the trip should be as rewarding as
The
the destination. story;
welcome
line" songs run the risk of wearing out their
heard too is
may seem
pure "heart" writers, songs built around cleverness
classic
"The Gambler," by Don
and even though the use of a deck of cards
the song's natural, rhymed, colloquial language
as
Schlitz,
is
a very cleverly contrived
an analog)' for
life isn't
and movielike imagery make
it
a a
new
idea,
wonderful
piece of work.
Crossover Records If you're
concerned about
selling records,
buying population. Consistently "crossovers,"
which
A crossover artists
you'll hear a lot
record
is
you must appeal
about
Country
Modern rock
Down will, is
artists
artists like
Limp
cross over;
with certain
Bizkit
though
singles, cross to
based more on the record than the
artists
are
still
of a crossover song, record, and
company Web
may
sites
and
Web
and adult contemporary
40,
Faith Hill,
and Lonestar
charts.
such
as
artists like
the Offspring
Aerosmith, Creed, and 3 Doors
AC formats.
pop and
artist.
radio stations that air the record, the
Video and film exposure
Top
and mainstream rock
Crossover potential, in
fact,
Record companies frequently promote different
songs on an album in different radio formats.
it.
are
Madonna, and Whitney Houston
LeAnn Rimes, Trisha Yearwood,
contemporary (AC) and Top 40
and Metallica seldom
lists
in the recording industry.
(whose records regularly get played on R&B/hip-hop,
cross over to adult
of the record-
one that can be played on more than one radio format. Crossover
include Mariah Carey, Babyface, Toni Braxton,
radio stations).
to a large section
top of the "best-seller" and "most played"
at the
The
more people
principle of crossover will hear
it
is
that the
and be motivated
more
to
buy
other avenues that can further contribute to the power
artist.
Savvy Internet marketing via
artist's
and record
radio can also introduce their music to potential fans
not, as a habit, listen to or have available to
them
who
certain radio formats.
SUBJECT MATTER
27
Themes tejfe
A quick survey of the top singles
in
any
category of the trade charts will
show that
over 75 percent of their subject
matter
of Love
Of all
possible song themes, love
other
human need
is
the
No
most popular.
so emotionally rich, provocative,
other subject
and potentially traumatic.
show
survey of the top singles in any category of the trade charts will
of their subject matter pertains to love or exulting in
To
it,
or losing
illustrate, I've
We spend
lust.
lives
A
quick
75 percent
that over
most of our
no
as universal,
is
looking for
it,
it.
broken the subject
down
into several categories based
on the span of
a relationship, with a variety of samples for each:
Feeling the need: The longing to love and be loved has inspired some
•
pertains to love or
"Lookin' for Love,"
lust.
Pure Love," "You Can't Hurry Love," "I •
I
"When
Will
I
Be Loved?," "Dream Lover," "Looking
think I've just found her (or him): This
you think you might be Something Good,"
"I
Seen a Face," "Pretty
in love already,
Woman,"
The big come-on: A
for
Another
and "Again."
the part where you've just seen someone,
to
Get
to
"I'm Into
situation:
Know You,"
"I've Just
"Sharing the Night Together," "Must Be Somebody's It."
formidable category, since so
Spend the Night Together," "Kiss You
It
many
love
and
lust
games
are
encompasses both the bold and tender:
All
Over," "I'm
in the
Mood
for Love,"
Lady Lay," "Sexual Healing," "Make Yourself Comfort-
"Feel Like Makin' Love," "Lay
"I'm Ready," "Tonight's the Night," "Temptation,"
able,"
for Love,"
and you're scoping out the
played out to a background of popular music. "Let's
is
Saw Her Standing There," "Like
Baby," and "Love, or Something Like •
Would Do Anything
classics:
"Come on
Over," and thou-
sands more.
This
•
is it,
I'm in love: For
"Fooled Around and
"Baby
I
•
better or worse, you've passed the point of
Love," "Can't Help Falling in Love,"
Love You," "Your Song,"
"Nothing's
Over
Fell in
"My
may
return:
True Love," "True Blue,"
possibly be the biggest category of love songs.
The honeymoon
Ice," "Suspicious
•
"My Own
no
So Easy," "Truly,"
Gonna Stop Us Now," "Thank You," "The Way You Love Me," and "Head
Feet." This
is
Minds,"
over:
Or "The
Hanging On," "Say
My Name,"
Cheating: Songs of
Thrill
"We Can Work
That Lovin' Feeling," "You Don't Bring
Me
Girl,"
"It's
Me
It
Gone," "Don't Be Cruel," "Cold
and "Smoke Rings
"You Belong
to
in the
Is
"You Keep
Dark."
and jealousy
drama and everyone can
and experiences: "Lying Eyes," "If Loving You
as
Out," "This Masquerade," "You've Lost
Flowers," "Love on the Rocks,"
infidelity, guilt, suspicion,
their negativity, because they're great
Cheatin' Heart,"
is
are popular, despite
identity with those feelings
Wrong," "Me and Mrs. Jones," "Your
Me," "Who's Cheatin' Who," "What She Don't Know
Won't Hurt Her," "The Thunder
Rolls,"
and "Whose Bed Have Your Boots Been
Under?" •
Leaving: Along with cheating, the trauma of good-bye
is
an emotional minefield,
with heavy pathos: "I'd Rather Leave While I'm in Love," "For the the
28
Time
THE CRAFT
I
Get
AND
to Phoenix,"
BUSINESS OF
Good Times," "By
"Bye Bye Love," "Don't Think Twice,
SONGWRITING
It's
All Right,"
Up
"Breaking
Long,"
to
Remembering how
more
Me Now,"
Do," "If You Leave
Ways
"I've
Been Loving You Too
"My
Your Lover,"
to Leave
Gone," and
Lover's
Gone."
"II You're •
Hard
Is
"I Will Survive," "Fifty
positive
among
used to be: After the breakup and the passage of time, the
it
us tend to fondly
remember
the
good times and
forget the bad. If
we've been on the losing end, there's a profound sense of loss and longing that has created
some
classics: "I
Can't Stop Loving You," "As Tears
"Hello Walls," "Funny
Philosophy:
a rationale
It's
human
and perspective
for
We Do
"The Things
Heart,"
also
My
By," "Tears on
Pillow,"
"San Francisco Bay Blues," "I'm Sorry,"
"Same Auld Lang Syne," "Yesterday," and
"She's Gone," •
How Time Slips Away,"
Go
Be Over You."
"I'll
nature to aid the recovery process by trying to provide
it all.
"All in Love
"Only Love Can Break Your
Fair,"
Is
for Love," "It's All in the
Game," "The Rose," and
"Please
Remember Me." Sex
sells just
about everything.
It is
an international preoccupation, particularly for
those in the prime record-buying age groups. singles chart
shows that outright sex themes
Radio wasn't always
money-making early
even songs
fifties,
ered risque. See
Throughout
as tolerant as
airplay they
how
like
had
it
is
A
are
look
still
now.
any week's Billboard Hot 100
prime song
If writers
lyric topics.
wanted
to get that powerful,
to avoid the subject or be very clever
"Teach
Me Tonight," as tame as
it
Dalliance
Was
in Flower"),
bawdy
balladry.
and
others resurrected volumes of
underground
success.
A
seems to have
because
likely
it
all
it
fit
During the
sixties' folk
McCurdy ("When
to record that never got
fare for the air,
but disappeared. If a song
doesn't sound like a hit than because
stations that fifteen years ago
commonplace
In the
heavy division has always existed between
what can be sold on record and what's considered years, that division
it.
jaded we've become?
history there's been a wealth of
airplay but enjoyed
about
sounds today, were consid-
Oscar Brand ("Bawdy Songs and Backroom Ballads"), Ed
revival,
more
at
it's
would have been shut down
but in the past few getting airplay,
isn't
offensive.
There
it's
are rock
for playing songs that
seem
and clean versions of singles
today. Record companies release both "dirty"
complete with "bleeps" where the words have been censored. Public attitudes are always in a state of change, though, and a songwriter must always
be aware of those changes. If you're going to write about
"How?" matter
Songwriters will always reflect their
how
self-indulgent, sexist, debauched, or
The important
thing
is
that those of
should get your songs to the marketplace ship,
we must make
who
disrespect
immature they may
you who have more as well.
female artists in
women
all
next big question
positive attitudes about sex
Unless songwriters want to invite censor-
and values offered
doing
so, they're
who
^f:
Public attitudes are
always
in
a state of
change, and a
be.
genres seem to be the ones
in their songs. In
is
personal attitudes about the subject, no
sure there are alternative philosophies
sionable minds. Today, artists
own
sex, the
f
to impres-
songwriter must
always be aware of those changes.
counter male
gaining legions of young
fans in the process.
The treatment of sex
in a
song
may
be subtle or
explicit. Explicitness gets
old
fast
and
SUBJECT MATTER
29
ultimately
is
not as stimulating
using double entendre.
It's
Use your imagination and
as a
song that
more
is
been said that the mind creativity to stimulate
is
perhaps
clever, subtle, sensuous,
most
the
sensitive
erogenous zone.
it.
The Censorship Issue Sex-oriented
Those
lyrics
of varying degrees of explicitness can be found in
and R&B/hip-hop and rap
in rock
are increasingly
under
all styles
of music.
by self-appointed
fire
guardians of our national morality. These elements have raised the specter of music censor-
which,
ship,
would constitute
if it materializes,
apparent that warning stickers on
much
as
it's
hurt their
have helped those
made
us aware of the
power
lyricists wield.
a substantial part of their careers attempting to gain
unaccustomed
try, are
song
(after the listener.
I
at least as
Songwriters,
some acceptance by
to imagining a ten-year-old kid singing their lyrics.
a hit) has caused
is
albums
artists sell
It's
sales.
Perhaps the focus has also
spend
CDs
a major barrier to self-expression.
many
who
the indus-
That
reality
writers to reassess their responsibility to the
wish more writers would think about
it
while they're writing the songs. Whether
or not you allow this pressure to influence your creative choices, the responsibility should
not be taken
There
lightly.
who will
will always be critics
pret based
on
that incomplete knowledge.
about drugs without realizing at least
only
it's
listen to part
Some
of what you say and misinter-
have been
an antidrug song. In
known
condemn
to
a situation like that,
a
song
you should
have the satisfaction of knowing that you did write the song you intended to
write.
Sex
our
is
own
conversations.
song topic would be
am
human
not only a powerful It
like
concerned about the
can't be ignored
is
parents
who
and
and won't ever go away. To censor sex
of explicitly sexual, misogynist, and violent
artists
who
kids look
record companies whose primary concern for
in novels,
in
as a
asking songwriters not to write about love. Having said that, effect
from talented and successful
hope
on TV,
drive but a major topic
care
enough
is
their
up
to
bottom
to discuss these songs
and
are heavily
line.
Maybe
and the
I
coming
lyrics
promoted by
the best
we can
attitudes they
convey
with their kids and model the attitudes they want their kids to learn.
Message Songs Most
songwriters, particularly in the early stages of their development,
primarily by the need to express
baby
We
30
left
may
some kind of emotional
turmoil.
me," or "I'm so lonely," or "he/she's cheatin' on me" think our experience
is
intellectually,
our
ability to think rationally
is
Most
all
this situation really
temporarily on vacation.
THE CRAFT AND BUSINESS OF SONGWRITING
is.
often
it's
"my
negative scenarios.
unique, that we're the only ones able to
we know how common
But
—
seem motivated
feel
such pain.
In times of heavy stress,
Consequently, when the professional songwriter we've cooled out, we're amazed
after
songs
are.
Not
how
at
trite
back on those songs
in us looks
and unimaginative those "agony"
agony or other strong emotion doesn't occasionally spawn some-
that
thing profound; but most often,
it
just
spawns self-indulgence. There's nothing wrong
with writing songs during these periods
you wrote something
heavy emotional
in a
don't get the idea that because
as therapy. Just state, it's
automatically going to produce a
Another song genre that grows out of
Even though
the message song.
is
emotional
a strong
positive,
it's
though often a more
state,
may have
it
similar results as
the "agony" song unless you're careful. Here's an example: You've just had a religious
experience and must truth
other strong emotion doesn't occasionally
spawn something
fantastic song.
positive one,
l
Not that agony or
on you and
The
the world about your revelation.
tell
spirits
profound; but most often,
it
just
spawns
self-indulgence.
have laid a great
musician and songwriter, you're uniquely qualified to spread the
as a
word.
So you dash off a song. After to bother
with
all
all,
this
is
a very
important message, and you don't want
rhyme and meter. They seem
those crass commercial techniques like
unimportant next to the innate power of the message. You it,
everyone within earshot will automatically share your
Wrong! Suddenly, street, reality
heard
it
all
as
becomes
a
before and
you play the song
new
and
already shares your belief
you
felt it,
but
move someone who
already
music has to be doubly strong trite lyrics
it
actually to
to
it
person
now
sense
by not presenting
on paper, but
it
for
it.
when you
it.
it
someone on the
it
ever did, or
You've told
it
(c)
the
he
way
the message or failed to
in a fresh,
new way.
their message. If the lyric
The
so
sing
doesn't care, (b) has
(a)
than
someone who needs
communicate
make up
that
feelings.
bored by the way you stated
kncws
Very few "message" songs
one of the most
is
communicate
failed to
realize this
make anymore
doesn't
it
know
for a publisher or even for
You
revelation.
just
Beatles' "All
You Need
is
weak, the
Is
Love"
is
works, thanks to the Beatles' fame, an interesting
melody, a 7/4 time signature, and strong production. Without a powerful musical vehicle, the words have to stand
Len Chandler and kind of stance.
It
I
on
their
own.
have a phrase,
translates to "I, at
"man on
my
tender age, have gone to the mountaintop and
And now, from
learned the secret of the universe.
you unfortunate, unenlightened people how As
a listener,
go to church. If
I
I
the mountain," for a particularly preachy
this lofty perch,
to live
your
have one demand: Don't preach to me! If
need guidance,
I'm not anti-message songs.
I'll
On
I'm going to
tell all
lives." I
want
to be preached
at, I'll
look for someone with credentials.
the contrary,
I
don't think there are enough effective
ones around. I'd just like writers to take their messages seriously enough to devote some
time and craft to ensuring
Now that
I've told
I
receive them.
you what doesn't work, what does? Some people might respond
to
the sledgehammer, preachy "You've got to," "You'd better," "Don't ever" school of
thought, but
more of us would probably
rather be led gently than driven to enlightenment
with a whip.
SUBJECT MATTER
31
w£_
The most
The most effective
I
songs are the ones that
and
involve
me
in
a scene
I'm apart of or one feel is
I
cut so
realistically
from the that
life
could be a part of
it.
greatest hits.
Wouldn't you
feel great if
in a scene
I'm
of the
from each
examples of
classic
The
Sandy.
children,
is
other.
it
we should
message, that
did
a song that
when
it
two thousand years
when
The Chapins could have
and pompous.
all
all
try to
spend more time with our parents
of us have so
many
activities that
My child arrived just the other day He came But
to the
world in the usual way
there were planes to catch
learned
And he
to
and
bills to
pay
walk while I was away
was talkin fore I knew '
it,
and as he grew he d say gonna be
"I'm
Dad
like you,
"
You know I'm gonna be
And the Little
cat's in the
boy blue
"When you
and
like you.
cradle
man
the
in the
moon.
—you know
we'll
have a good time then.
turned ten just the other day
He said,
"Thanks for the
Can you
teach
I got a
the silver spoon,
comin' home, Dad?" "I don't know when,
we'll get together then,
My son
and
me
lot to do. "
And he
to
ball,
Dad, come on
throw?" I
He said
walked away but
said,
"Not
"That's okay.
let's
play.
today,
"
his smile never
dimmed,
it said,
"I'm gonna be like him, yeah,
you know I'm gonna be
And the Little
cat's in
boy blue
like
the cradle
and
the
him.
and
'
man
But
32
we'll get together
THE CRAFT
AND
BUSINESS OF
"
the silver spoon.
in the moon.
"When you comin home, Dad?"
No
Instead, they wrote "Cat's in the Cradle."
HARRY CHAPIN AND SANDY CHAPIN
BY
"I
don
then,—you know
SONGWRITING
keep us away
written a song that said, "You'd better spend time
"Cat's In The Cradle"
WORDS AND MUSIC
later
was written?
type of song comes from the late Harry Chapin and
this
important in a time
general, impersonal,
But
of or one
could ben part of it. Jesus, Buddha,
with your families or the family unit will be destroyed." Sledgehammer!
He
a part
The Good Samaritan was one of Jesus'
you wrote
taught the same message as strongly as
One
and
I
me
the great religious leaders used parables to get their messages to masses of people,
all
to relate those messages to people's everyday lives.
his wife,
I
ones that involve
cut so realistically from the fabric of life that
feel is
still
fabric of
effective songs are the
't
know when,
we'll
have a good time then.
poetry, too
Well he came from so
much
like
a
man
had
I just
to say,
"Son I'm proud ofyou, can you
He shook "What
later,
And the
Dad,
is
smile,
borrow the car keys
to
can I have them please?"
and
and
cradle
cat's in the
boy blue
man
the
the silver spoon,
in the moon.
"When you comin' home, Son?" But
a while?"
sit for
head and he said with a
I'd really like,
see you
Little
his
day
college just the other
we'll get together then;
my
I've long since retired,
you know
son
's
know when,
"I don't
we'll
"
have a good time then.
moved away
I called him up just the other day.
I said, "I'd
He said, You but
"I'd love
hassle
's
and
sure nice talkin ' to you,
And as I hung
up the phone,
cat's in the cradle
and
Little boy blue
the
it
and
man
The Chapins mirror up to did
it
with
life
the time.
the kids have the flu, it's
sure nice talkin to you.
the silver spoon,
in the moon. "I
don 't know when,
—you know
we'll
have a good time
didn't give us any "shoulds" here. that
real-life
made
"
'
boy was just like me.
'
we'll get together then,
"
occurred to me,
"When you comin home, Son?" But
mind.
't
Dad,
My
he'd grown up just like me.
And the
don
Dad, if I can find
to,
my new job a
see,
it's
like to see you ifyou
listeners
They
" then.
didn't have to.
They held
a
think about their relationships with their parents and
dialogue and situations we've
experienced.
all
They
also did
it
from a
first-person point of view.
The point of view is very important in message songs. in terms
of your
own
It's
effective to describe a situation
personal involvement. If you're offering a message, you're really
being a kind of salesman. Testimonials are always very effective
approach
wanted to us.
that
is
to let people in
to tell us
The
about
it.
first-person
makes people want
—what got you
on your own discovery
Your enthusiasm
(I,
sales devices.
will
A
good
so excited that
you
motivate us without your having to preach
we) approach, assuming you put the song together in a way
to sing along with you, lets
your audience internalize the message
by saying "I" or "we" along with you. Another
effective point
of view
is
type of song doesn't moralize because,
of the most powerful examples
is
that of the seemingly uninvolved storyteller. This if
the story
is
told well, there's
Bob Dylan's "Ballad of
Hollis
no need
for
it.
One
Brown," about a man
SUBJECT MATTER
33
who
kills his
family and himself rather than see
Dylan wrote many other powerful songs
a job.
Way
"The
the City,"
It Is"
them
starve to death because he can't find
in this way. Stevie
Wonder's "Living
by Bruce Hornsby, and Eminem's "Stan"
are other
for
good
examples. I
to
What I'm
songs. ily
mean
don't
imply that there are only a few approaches to writing
focusing on here are ways to write for mass audiences
share your point of view.
people
And
who
are already
You can
on your
don't forget that the music
and remember
You can
also
use
humor,
important in helping people to hear the message
it.
somehow become compromised.
If
you can write a
powerful a
little
wide audience.
that song to a
lyric
shaky
the music department, look for
but are
in
the
music department,
music
is
sage
If
In fact,
you can write
a powerful lyric
someone who composes
and
may help
political
but are a
song gain notoriety, but
a
who
and the record that makes a radio
composes well
in
a
ingredients.
contemporary
style.
it's still
the
station play
it.
it
hits.
will
their ability to get little
shaky
well in a contemporary style.
message songs occasionally become
look for someone
message
fear their
they may be compromising
such a powerful vehicle for delivering the message that
lightly. Social
don't necessar-
anything that works.
satire,
Message writers generally choose not to collaborate, perhaps for
frgr
who
use a sledgehammer approach as a rallying song for
side. is
message
effective
in
The
shouldn't be taken
A
controversial mes-
power of the performance, the music,
Your message deserves the
best of
all
Novelty Songs Every writer seems to have fun.
The
spirit
can be
at least
one
crazy, off-the-wall novelty
as infectious
and
as
much
song written
fun for an audience to hear as
just for it is
for
the writer to write.
Novelty songs, however, are extremely a very
few
artists
difficult to place
with an
("Eat It"), and Pinkard and Bowden,
as career killers. If
built careers
an
artist gets a hit
on
radio to accept any kind of serious music
from the it
that
Weird Al Yankovic
on novelty records, most
novelty song, forget pitching
who do them,
for
artists,
new artists,
a novelty record, it's next to impossible to get
got a
the few artists
artist after that. If
you
to publishers. Instead, pitch
it
feel
you've
directly to
their managers, or producers. It's a long shot, but
one
might work.
The Dr. Demento show material from
unknown
Dr. Demento, c/o
is
a nationally syndicated radio
writers.
"Weird Al" got
The Demento
P.O. Box 884
Culver City,
CA
90232
www.drdemento.com
34
who
and record companies view novelty records, particularly
their producers,
Aside from
such as Ray Stevens ("The Streak," "People's Court"), Jim Stafford
("Spiders and Snakes"), Ross Bagdassarian (The Chipmunks),
terrific
artist.
THE CRAFT AND BUSINESS OF SONGWRITING
Society
program featuring novelty
his start there.
Contact the show
at:
Another approach
your song to a non-novelty
to pitch
is
performance. Most
live
up
artists like to lighten
who might
artist
by inserting
their stage act
and the function the material needs
of the artist
manager.
If
so charge
them
Be
they like
chances are (even
it,
a fee for using
though,
careful,
to get permission
it
funny song.
Contact the
you write parodies of well-known songs. Though
if
artists
won't record
in the act), they
it,
it.
considered a "fair use" area, you could is
to fulfill in the act.
they use
if
in a
it
on the personal-
They'll often hire writers to create such "special material" for the act based ity
a
use
from the publisher
The
be subject to a lawsuit.
still
it
safest
may
be
approach
(See "Copyright Infringement/Plagiarism,"
first.
chapter eight.)
Christmas Songs Even' year
I
receive a few Christmas songs to critique
sheets (lyrics with musical notation),
went out of style
sheets
just write
one that manages
past the frosty
snowman
chestnuts and
sit
why
it
What
me
way
like
Maybe
But
let's
.
they figure that
.
when
and decided
Santa's
to write a
set for life. It's
to skate
reindeer, to roast
song about
it.
does the Christmas song market look like?
bigger long shot than trying to get a hit record. Obviously, the
song
they could
coming and ponder
spoke with publishers and other industry folks and the consensus
I
if
assume they did manage
chipmunks and the
fireside as their kids ask .
of them are on lead
"White Christmas," they'd be
to avoid cliches.
year round
all
A lot
these people are novices because lead
in the silent night, past the
by the cozy
can't be this
tells
years ago for pitching songs.
one good Christmas song,
rare to find
which
by mail.
is
seasonal, not the kind people will
become
a record needs airplay to
a hit,
buy year-round. The and few radio
first
is
that
barrier
real barrier,
stations allot that
it's
an even
is
that the
though,
much
is
that
time for
Christmas music. Veteran publisher and industry consultant Jay ing, the radio rotation
is
that right after Thanksgiv-
of Christmas songs begins and escalates until most stations have a
couple days' worth of solid Christmas fare songs
Lowy explains
encouraged by the
stations'
at
Christmas Eve and Day. The airplay of these
ad salespeople to stimulate Christmas shopping activity
for their accounts.
Now, with few sional holiday
exceptions, stations keep playing their regular hits with only an occa-
song thrown
music. Unless major it's
seldom worth
it
in.
They
artists like
for a record
figure their audience isn't tuning in to hear Christmas
Christina Aguilera or 'N Sync record a Christmas
company
pav to have the leftovers shipped back. The space for records that five
major
sell all
artists released
year. In the
retailers
2000 holiday
Christmas CDs, and though
King Cole, The Carpenters,
etc.),
CD,
to ship records for a short period of time, then
would
rather use their stockroom
season, however,
more than twenty-
many of them were
others were debut albums
that
re-releases
undoubtedly
(Nat
will
be
SUBJECT MATTER
35
released again in the future. If the song
radio format,
it's
Christmas," but
One
more it
played on those stations than something like "White
likely to get
would
help
still
who
of the publishers
contemporary rock or other mass-appeal
a
fits
if
you had
contemporary superstar to perform
a
specializes in holiday songs
Songcastle Music, can be contacted via his
Web
Justin Wilde. His
is
it.
company,
http://www.christmassongs.com.
site:
Print:
Ronny
Schiff,
an expert in the
field
of print music, says that she knows of several
Christmas songs that have become successful
in the educational
and church pageants. One of the
choral directors and presented in annual school
examples
Albert Burt's
is
song "The Carol of the
someone recorded
a
"Do You Hear What
Bells,"
New
for publishers in
Christmas"
which was popular
says Schiff,
Christmas songs to recording a Little
Hear?" Another
I
is
best
the Ukrainian folk
as a choral piece for generations before
pop Christmas arrangement.
The "backdoor" method, working
market by virtue of having
These were popularized mainly by word of mouth among
great choral arrangements.
still
gets
York
is
the best for this type of song.
a few years ago, she
Auntie Mame, not only a popular play but a movie, cally.
Schiff adds that Christmas songs
This,
I
sell
buy
continued popularity of an individual song before
"We Need it
was from
got widespread exposure automatiin individual sheet music.
book of standards
a
it
successful.
shows, but since
books and not
best in
suspect, reflects the fact that people will
it
TV
she was
saw many people plugging
knew of was
but not one she
artists,
performed frequently on
When
starts
first,
and
it
takes
being included in the books.
TV: Every year major at
artists
perform on Christmas
TV specials.
Your song may have
a shot
one with some ingenuity, good timing, and contacts, or a good publisher. Otherwise
that
new song
work
that's
needed by the
special
is
written "for hire" by musical directors
who
show.
for the
Contemporary Christian and Gospel: This part of the industry
is
very popular and
Christmas songs with a religious message. Look
may
at
be more receptive than pop radio to
Billboard magazine's
The Contemporary
Christian Chart for artists and labels that specialize in this area. There traditional to
contemporary musical
styles
is
a
wide range of
within this category and a plethora of Christian
radio stations. (See "Radio Formats," chapter three.) If you're a long-shot player
your songs few
who
in July
and
to
and an excellent
work
gets a big royalty
for years to develop a standard,
check for Christmas.
Christmas song "This Christmas" recorded
and
in
2000
era's. It
36
it
writer, if you're willing to start pitching
was included on three
can happen!
THE CRAFT AND BUSINESS OF SONGWRITING
My
friend
you may be one of the
Nadine McKinnor had her
many years ago by the great Donny Hathaway,
different Christmas
CDs, including Christina
Aguil-
chapter three
The Media and the Listeners The Media Let's
assume you're
much
as
you'd
them, the series
a songwriter
who
ultimately wants your songs to reach the public.
wave
that
magic wand and have everyone automatically hear
like to just
reality
is
that, before that
happens, your song must pass judgment by a whole
of people. Publishers, producers, record company
moters, radio program directors, and club owners
medium your music
As
all,
A&R representatives, record pro-
in their
belongs or whether your music
is
own
ways, decide in which
appropriate for their particular
medium.
When we
attend a classical music concert,
several different
movements. In a
film,
we
we
expect to hear long compositions with
expect to hear music that creates a
mood
that
enhances and heightens the action and drama.
When we we know
R&B,
turn on a pop, country,
we'll hear songs that will
contemporary music
rock, or other
hold our attention with excellent production and
arrangements; that have frequent and regularly recurring changes in
rhythmic texture; and have a
fairly predictable
a character sings a song, the lyrics
However, they don't need for airplay. Since theater
and
musical,
lyrical,
form.
In musical theater, the songs reveal the characters' personalities
When
station,
and music must
feel
and help
tell
the story.
natural to that character.
to be structured like radio songs unless they're also intended
is
a visual
medium,
it
already holds our attention
and
isn't as
dependent on the type of "reach out and grab you" dynamics that radio needs.
The
point
is
that every
the function of that
medium
medium,
has both restrictions and freedoms that are created by
the needs of the industry,
audience.
The more we understand
principles
and forms, the
better
the
medium
we can manipulate
in
and the expectations of the
which we want
to work, with
its
f
^jr
The more we understand the
medium
it.
which we
in
want to work, with
A Poem In the print
Is
Not a Lyric
medium, we have an exceptional
legacy of poetry in
that poetry also lends itself to recitation and, in fact,
may
all
languages.
Much
of
its
principles
and forms,
the better
we can
manipulate
it.
be written specifically to be
THE MEDIA AND THE LISTENERS
37
one of
recited. It
is
are certain
words or
if
she chooses
won't flow comfortably
syllables that
knows
she
it,
passionately don't have nearly
much impact on paper. Dylan Thomas's poetry, though
does work on paper, was
it
clearly written to
be recited, and recordings of him or Brendan Behan reciting
tears to the eyes.
The
on
point
is
that there
speech but will work fine on
in
when spoken
paper. Other words that can conjure pictures as
and
a poet's creative options,
it
can bring
media of print and speech.
that poetry lives in the
Lyrics,
the other hand, live elsewhere.
A common
misconception
do work
treasured lyrics
such
as
is
that songs are poetry
put
well on the printed page
An immense number
to music.
of
musical context. Writer/artists
as in a
Jackson Browne, Joni Mitchell, Bob Dylan, Paul Simon, Leonard Cohen, and
as
and writing
others possess vocal
home
right at
styles so integrated that
in their styles, but
an unusually poetic phrase
would not work comfortably
feels
in another artist's style.
How many Joni Mitchell songs can you imagine other artists performing without imitating her style?
Performers such as these are considered "album
albums not because they have
them
perceive
to be.
more "poetic
little
We're
a hit single,
make
a
point,
good
must be sung.
more
license," a little
though some
lyrics
The obvious
lyric.
A poem
but because we
likely to read their lyrics
that we're challenged to figure out.
The
artists." In
We
work
CD
don't
difference
more obscure
mind because we're that a
is
rhyme.
let
It
can use sight rhyme (board, bored).
aren't readily understood, our eyes
them sink
Much
and bounce around
in
of what
is
referred to as "poetry"
accepted metrical rules and structure.
Good
lyrics
Oscar-winning
need
it's
lyricist
think poetry, in
something song, and
else, it's
much room
Dean
is
38
like the
for as long as
is
craft.
actually verse.
Verse
Anyone can
The
really
is
write
is
I
difference
is
good
verse that it's still
it
It
that
is
less.
In an interview with
asked what he
on the page. Maybe when is
between
rhymes and has
felt
was the
he had been a poet prior to becoming a
on the page. Lyric
doesn't read,
it
it's
read,
it
differ-
lyricist:
achieves
only 50 percent of the work of a
Otherwise you don't leave
who
doesn't speak, and a musician could
could become, but a
THE CRAFT AND BUSINESS OF SONGWRITING
to
not poetry.
learned very early on that you don't read lyrics to people
song
the
anything that conforms to
more and
Pitchford ("Footloose"),
form,
if
we need
music to do anything or for the interpretation of the singer,
music industry.
I
It
not expected to
It's
can indulge in abstractions, because
spare. It can't be very full or fleshed out.
in the it
It
and minds can stop
those attributes and
lyric since
but poetry
which
hear
all
final
its
for the
why
necessarily
must function with music.
devoid of substance and imagination,
have
to
ence between poetry and
I
references
in the brain.
substance and form, imagination and
accurate meter, but if
a
written for the printed page alone can use graphic style and unusual
placement of words on a page to emphasize subtleties in meaning.
words
who we
already fans.
good poem does not
that a lyric
is
like
their
and allow them
inserts
abstraction and a few
as poetry,
and
like their style
on the
we buy
other words,
lyric
is
not a finished thing.
aren't
maybe
You
also
have to
resist
like the
and
the temptation to
me
People hand
fill
the corners, to expand to
all
"What do you
these typewritten sheets saying,
Gettysburg Address
there's lots or
— long extended
lines
your space.
fill
think?" and
it
looks
and they're very erudite and smart
thought and inner rhymes and
alliteration,
but there's no space
lor the music.
The
lyric, like a
poem,
Music helps
yet powerful way.
do
it
that.
student to walk across the
classes, asks a
expresses a different idea about
give that spare
lyrical
and
same way
the
moods behind
what that person
is
lean phrase exactly the right or
tendency to minimize the importance of music
are not only impossible to
lyric
rhyme, but
Each time, he
several times.
where he or she
The
right (or
New
wrong meaning.
to be
difficult to sing.
A
sung
well.
lyricist
going.
is
You
wrong) music can lyricists
Words
must be
have a
message.
as a vehicle to deliver their
must be able
in his
the walk. Each time the music
feeling,
phrase with different music, too.
Unlike poetry, the words in a
condensed,
in a
Film composer/teacher Eddy Lawrence,
room
plays different music expressing different
can do that to a
emotion imaginatively
seeks to express an idea or
like
"orange"
able to imagine
t
A
someone singing the words.
we need
In writing lyrics for radio songs,
remember
to
that, in a
quick three to four
minutes, the listener doesn't have time, as in poetry, to wonder what the words really
^jr lyricist
must be able
to imagine
someone
singing the words.
mean.
A Song Making the
Is
a record
combined
Not a Record is
a craft in
skills
Their creativity and
its
own
life
of its own.
command
will
It
artists in different eras
Many writers radio, so
recognize
The
why is
Today, the
of making a recording involves
of the technology involved can transform a mediocre song
But
they'll
move you even
with the same
want
never
"My
it?"
a
it
A
a great song.
cappella. It
great song
can be sung by different
song
better than a lot of stuff
is
I
hear on the
They're usually right, but what they've failed to
the difference between a "hit record"
from words and melody;
make
sung a
results.
voice the complaint,
doesn't anyone
if it's
and
appeal of the record may be based primarily
ents aside
craft
of singers, musicians, arrangers, producers, and recording engineers.
into a wonderful sonic experience.
has a
right.
a "hit song."
on any of the combination of ingredi-
powerful vocal performance, an
artist
or group with
a unique identity or sound, a great arrangement, or business considerations such as timing
or promotion. There are a lot of hit records that lyrics;
perhaps
the bass line.
we
just
Those
You can't write a
remember
aren't songs
the
—
hook
we
line.
can't
We
remember
may
the
melody
even find ourselves
to or the
humming
they're records.
record unless you're in control of that recording situation as a producer
or artist (though you can put together a
demo
that suggests the ingredients that give the
producer a blueprint from which to work).
THE MEDIA AND THE LISTENERS
39
I've
bought
CDs
solely
on
my
though
love of their sound, even
melodies or had no understanding of the
but
lyrics,
couldn't
I
hum
the
enjoyed them as a listening experi-
I
ence. If there had been great lyrics to go with that experience,
would have had
I
a
much
greater level of enjoyment.
Those of you who record your own material approach your the
art
and
craft
will experience
more powerfully an audience
Some
producers and
will,
hope, remember that the more you
I
with a desire to communicate and a commitment to excellence,
artists strive for
it.
the best product possible by seeking out the best
songs available, whether they write them themselves or go for "outside" (other writers') songs. Others, uct,
more concerned about
collecting royalties than turning out a quality prod-
would rather record a mediocre song of their
else. It's
up
to the record buyers
whether
they'll
own
than go for a great song by someone
continue to subsidize mediocrity.
Writing for Radio Radio
the music business.
isn't in
It's
will attract the largest possible listening audience.
advertisers will
pay to
sell
everything from
vary widely, from high-energy
Muzak-type to reach a
Top 40
now
classified as
AC
bigger the audience, the
more money
cream
register
MOR
to retirement
homes. The approaches to instrumental
sell styles,
Some
stations seek
that's interesting
and not too
(middle of the road) or "easy listening," but
is
(adult contemporary). Others attempt to pinpoint a specific market
is
fierce
among
radio stations, particularly
Once
among
those with similar
they have you tuned
in,
they
don't want you to go away. Consequently, one of the most important requirements for
of the
most
music on the radio
is
that
it
holds the listener's attention. While
important require-
someone's attention on the radio
ments for music on the
production, you need to start with a song that lends
radio
hard
almost subliminally.
formats. They're obsessed with preventing "dial outs."
^
It'll
of music. (See "Radio Formats" on page 42.)
specific style
The competition
One
zit
The
wide variety of listeners and age groups with music
high energy. This used to be called
with a
do whatever
(or 20) stations, with
where the commercials
stations,
play or
in the advertising business.
is
that
it
holds
chapters will help
you
is
it's
true that holding
accomplished by a combination of song, itself
well to radio.
artist,
The
and
following
create that type of song.
the listener's
Song Length
attention.
The
greatest percentage
Today they
average
of
hit radio
songs used to be approximately three minutes long.
more than four minutes. You
rarely hear
them much longer than
five
minutes because radio wants to play more songs yet keep more space for commercials.
Knowing
this,
few publishers, producers, and record companies want to buck those kinds
of odds by signing/producing/recording a longer song. long songs won't get
song
gets played.
three hours.
40
THE CRAFT
"rotation," that
is,
the
that exceptionally
number of times
per hour or day a
also
They'd rather a short song got played once an hour than
With
AND
maximum
know
They
a higher frequency of airplay, you, as a writer, will
BUSINESS OF
SONGWRITING
a long
one every
make more money
A great story
about country music legend Buck
told
is
had a radio background before
Owens
career as a recording
his
who
("Act Naturally"),
Knowing
artist.
that DJs
frequently had less than three minutes to go before a newsbreak or commercial, too
short to play a three-minute record and maybe too long to fashioned his
he got
to
first hits
those awkward time
lots of airplay in
ASCAP
from BMI,
SESAC,
or
Money Comes From,"
two minutes or under and
down
2:59 on the label of a single that
Mainstream radio personnel
demand
for
that they
it
might
It's
it
again.
Major
artists
these artists.
know
to three minutes, record
may
he
idle chatter, it.
Consequently,
slots.
radio was
much to put
have actually run 3:04,
will play a longer
song
if
when
"Where Your
companies were known
interesting to note that,
just for that extra edge!
there
is
lose listeners to another station.
better be able to hold an audience's attention to hear
the DJs
with
the performing rights organizations. (See
chapter nine.)
tougher about keeping songs
let
fill
from beginning
to
such an incredible public
However,
that
song had
end and make them want
can get away with long songs on hit radio because everyone wants to hear
A common
for the radio single
practice
is
to edit a record for different functions: a short version
and longer versions and
special
mixes for "specialty" radio shows and
the dance club market.
Something
lengths vary, but
of introduction because,
if it
be considered in the length of the song
else to it's
is
optimum. For an upbeat dance
tune, twenty seconds or
these general time guidelines are important,
intro be easily identifiable
and musically
interesting. It
faster
it's
it
It's
a
people find
know how
The
irritating,
but
long to
talk,
it
gets
make
a radio station's
though
on the
CD
it's
back
program director pay
DJs love
to talk over intros.
to radio trying to save
more time
for
about having sound tracks behind their
intros.
of the intro on the DJs' promotional copies, so
they'll
just get excited
to include the time
get those timings
Singles,
it
Some DJs
good idea
that the
than an intro that goes nowhere.
unique, identifiable introduction will
commercials.
more important
developing. Nothing induces
attention. If he pays attention, he feels his audience will, too.
Many
more can work
should involve changing textures,
adding instruments, or other arrangement devices to keep
A
the introduction. "Intro"
grabs your body, you'll keep listening.
Even though
boredom
is
generally considered that for a slow song, approximately ten seconds
easy these days for DJs and programmers to quickly
player. (See "Intros," chapter twelve.)
Albums, Live Performances, and Video
ability to distinguish
forms can eliminate a
lot
between the requirements of these four different media and
art
of confusion for a writer or writer/performer.
THE MEDIA
AND THE
LISTENERS
41
RADIO FORMATS Here's a
of the major
list
new music
opposed to
(as
"oldies") radio formats in the
United States and Canada courtesy of independent radio airplay promoter Bryan Farrish (www.radio-media.com) with his
stations
these categories
in
comments on
each. Obviously, the
number
of
subject to change.
is
Country 2,300 stations. Country
newer
proach
More
"Top 40"
the real
artists,
really
younger
listeners,
and a more energetic approach. The "new" ap-
DJs,
(sometimes known as "Heritage" stations) are
sort of the "oldies" of country radio
.
.
but they also are specific
.
which new
in
they play.
artists
One
special subcategory of
tween rock and country, and
new
its
took hold about the time Garth Brooks began gaining popularity.
traditional country stations
Americana
small.
of the United States because of
"Young country" and "hot country" appeal to the younger
popularity.
using
is
is
country
it
is
the "Americana" format.
has about one hundred stations,
new
an interesting
some
format, with
It is
a cross be-
most of which are
really eclectic artists
and
labels.
Religious 1,900 stations. Includes Christian
in
several music styles, gospel, and
many
stations
with a large amount of teaching content. Although a big format, hundreds of stations in
the religious format offer
less
chance for new music because of the large amounts
of talk, satellite programming, and older songs that they play.
There is
is
no absolute number of
religious stations that play
new
music. Instead,
it
anywhere from one hour to twenty-
a variable, and a particular station can play
four hours of
new
music.
Adult Contemporary 1,500 stations. Also called "AC." Includes "mainstream"
AC, and
AC.
"soft"
capacity for
AC
is
similar to religious in that
new music because
of the
AC, "modern" AC, "hot"
hundreds of stations have limited
talk, satellite,
or sports programming they
carry.
Nevertheless,
By
labels.
for a
this
new
I
artist
AC
still
mean
remains as one of the melting pots for
that there are
enough small
to stand a chance ...
if
AC
promoted
new
artists
stations (that play
on
new
small
music)
correctly.
Rock 800
stations. Includes
know
airplay.
42
THE CRAFT
"modern"
of these stations. Problem
One
AND
thing saves the day,
BUSINESS OF
rock, "alternative," and straight rock. is,
they are tougher for independent
however
SONGWRITING
.
.
.
their specialty* shows.
Most people artists
to get
Spanish 600
stations. All variations included
Top 40 400
stations. Includes
difficult
format for
"rhythmic crossover" stations,
indie artists.
i.e.,
Top 40
with a beat.
A
very
But again, specialty shows (and mixshows*) save the
day.
Urban 300
R&B, hip-hop, and urban AC. Also very
stations. Includes urban,
artists,
but thankfully
it
also offers
difficult
for
new
mixshow support.
Classical 150 stations.
Jazz 150 stations. Includes "straight" jazz is
a viable format for an indie artist.
(i.e.,
traditional)
and "smooth"
Smooth, however,
will
jazz. Straight jazz
be very
difficult.
Kids 50
stations.
These mostly are the Radio Disney
from the home
*A
specialty
a
does not
station normally
Live
and they are
programmed
all
office.
show or
mixshow
station, usually late at night,
It's
stations,
is
a one- or
two-hour show on
and many times on the weekends, and
a
it
commercial
plays music the
play.
Performance
not unusual to have a writer/performer play a mediocre-to-fair song for
critique session)
"The
and be shocked when
people love these songs
when
I
my
play
response
them
is
less
me
(in a
than enthusiastic. He'll
in the clubs and, after
all,
say,
aren't they
my
audience?" Yes, they are your audience and they'll almost always respond to a high-energy, enthusiastic performance, a heartfelt delivery,
personal charisma.
The
be very misleading
when he
The new
in his
to a performer with conviction
from
a club
and
performance can
doesn't separate the performance from the song.
writer/artist often takes his
to songwriting
and
positive response a writer/artist gets
performing
and writing songs
in
which
ability for granted.
He may
be relatively
of himself. The songs,
he's invested a lot
mind, take the focus, so he assumes that people are applauding the songs rather
than the performance.
When we forty
go
to a club with a date
more on drinks and
and drop twenty
food, we're willing to go
us a performer with the qualities
dollars in cover charges
more than halfway
mentioned above, and we can be
and possibly
to be entertained.
ecstatic.
THE MEDIA
Give
Take the same
AND THE
LISTENERS
43
songs on a
demo
and
the performance from the song and looking for a hit,
moved by
they can't see the performance, be expressions
facial
the charisma,
and body language, the song has
true for publishers,
A&R rep who's separating
hard-nosed publisher or a record company
to a
who
have to convince another
and
on
to stand
artist to
a
it's
whole new aren't
situation. Since
communicated
own. This
its
is
to via
particularly
record the song.
Singles
A lot
of music works in clubs that wouldn't work
work
for a
concert crowd to a frenzy; but put it
as a hit single.
A ten-minute vamp will
dancing crowd and a ten-minute guitar or drum solo can bring a club or
in concert
may change
it
on the
and even the same person who loved
radio,
the station. Performance groups like Phish, the
Band, and Widespread Panic
who
records to those concert-goers
sell
Dave Matthews
relive the
concert
experience through the recording, not because the group has a hit single.
more about
You'll be learning
Let's just say here that the
though the reverse
the qualities of hit singles in the following chapters.
dynamics needed
for a hit single can certainly
work
in a club,
not necessarily true.
is
Albums \J£_ I'll
Albums
forgive an artist for
are another
medium
altogether. Generally speaking,
latitude, particularly for self-contained
bands and
albums allow more
writer/artists.
An
creative
artist's hit singles
can
being adventurous on
be a completely different listening experience from their concerts or albums. Both of the
an album, even
latter
falls
if it
short of my expec-
tations, but not for
copping out by giving
me empty
"filler" just
create
much more spontaneous and
tremendous tension with long
time frame of a hit
unpredictable.
repetitive
vamps
They can
stretch the forms
that could never
work
and
in the limited
Longer, more dramatic songs are possible, often coming closer,
single.
Most
in fact, to musical theater.
great performing artists
and bands present an audience
with quite a different experience in concert than on record.
to have an album to sell.
can be
Sound and style
are also
good examples.
are
New
among the selling points
age
bought because they create like
Tom Waits, Joni
artists
is
a
way and come
We get
to feel like they
We'll read the liner notes, follow the far
removed from the attention we pay
attention like a hit single.
Given
that, the
comforting.
Dar Williams, and
of view.
They
album
artists.
Sting and Radiohead
Jim Brickman, George Winston, and Yanni
mood that's
Mitchell,
their personal point
intimate
artists like
for
and
The
appeal of other album
a rapidly expanding
know them and
to
artists
of independent
list
relate to
are
them
in a
more
their songs are old friends.
and generally pay attention
lyrics,
at a concert.
The
in a
songs don't have to
way not
demand our
already have us.
album has an obligation not
to betray the buyer's trust.
We're
all
tired
of having been seduced by a hit single and profoundly disappointed by a mediocre album with
44
mundane and unmemorable songs and performances.
for being adventurous
on an album, even
copping out by giving
me empty
THE CRAFT
AND
BUSINESS OF
if
it
falls
"filler" just to
SONGWRITING
Personally,
short of
my
I'll
forgive an artist
expectations, but not for
have an album to
sell.
Video
I
Somewhere and allow
between
in
which can
video,
is
tremendous exposure over established outlets
artists
With
as well as individual specialty shows.
connections,
much
has
more
fans will be
relevance to your songwriting craft.
little, if
ways
videos primarily based
power
as a
to
on what they
marketing tool however,
feel
it
make
No
artistic level, gives
an
artist
it
in the
where you can actually
see the artist sing (as
.
.)
way, your craftsmanship
that
is
is still
computers.
I
don't believe video
is
about. Record companies
make
Because video has so
much
radio.
artists
mix of ingredients they look its
being
who
for, it
can
about the songs." Video,
"all
an opportunity to create images for their music that can
mind. Another factor
.
show
CMT
visually exciting, often creating scenarios
works best on
stay in a listener/viewer's
show everything but
and
matter what kind of song you write,
be a determining factor despite what they say about
on an
MTV, BET,
has influenced record companies to sign
and great looking and,
are visually exciting
their
what the song
any, relationship to
like
live
growing number of broadband Internet
a
watching videos on
creative video producers will find
that bear
some of the excitement of a
deliver
it's
at
work, particularly in performance videos,
opposed
to "concept" videos that almost
possible for the viewers to "get" the lyric faster. Either
extremely important.
The Listener: Know Your Audience Most new
writers give
little
whom
conscious thought to
write primarily for themselves
they're writing for.
and automatically reach an audience of
They may
their peers
share their emotional problems, social scene, political concerns, colloquial language,
musical
They're a reflection of what
styles.
because of
it.
They
keep an audience
who grew up
maybe
younger
thirty years
If you
who
write about the
still
want the
(see
is
and groups
demographic group. They are
like the Rolling
Stones
may not
only
with them, but also continue to appeal to an audience can
still
identify with their attitudes.
same things they wrote about
On
the other hand,
thirty years ago.
creative challenge of writing songs for artists in different styles of music
than the one(s) you've been most challenge
and
happening around them, and they're popular
aren't deliberately writing for a target
that group. Self-contained writer/artists
the Stones
is
who
at
to analyze the appeal of
"Casting," chapter eleven).
home
an
Then
with,
artist
you need
and the
to
do some
characteristics
write a song in that
stretching.
The
of his or her audience
artist's style.
in the artist's work. Listen to the radio stations that play her records.
Immerse yourself
Buy some of them
yourself, especially recent successful ones.
Be
about the songs.
make
careful not to
I
style.
asked
I
counseled a writer, for instance,
who
his favorite
listen to country. In fact,
than pop and more
motivation was
quick, stereotyped judgments or harbor any negative attitudes
all
I
artists
country
artists
don't even like
it!
who
expressed interest in writing country
were, and he said, "I don't know.
It just
seems
like
record songs they don't write."
I
it
would be
told
him
I
never
easier to write
to forget
it.
The
wrong.
THE MEDIA
AND THE
LISTENERS
45
enough
It's difficult
come up with something worthwhile even when you know and
to
Having the wrong
love a style.
with or made a thorough study of can easily get you for instance, that
don't work
in
music you haven't
attitudes about a kind of
way
lyrics that
You have
off track.
complex melodies and chord changes, while
country songs. Abstract
might spark
may
jazz fans
a
really lived
pop or rock
know,
to
love them,
would
piece
turn off a country audience.
One of die most common problems in targeting listeners comes from
inappropriate combi-
nations of music and subject matter. For instance, heavy metal appeals to primarily young,
A
white males age twelve to eighteen.
make
it
heavy metal; rebellious
in
romantic
lyrics
lyric like "I
do. Attitude
is
Will Always Love
You"
very important in rock and
doesn't roll.
A
hard, frantic edge in the music needs attitudes that aren't soft, mushy, or tender. Artists like
Down
Creed and 3 Doors their
appeal to both
need to understand
who
an
artist's
Visualize the audience for
involving a
man
audience
whom
Even
feel great
if
we assume
would be most drawn
—
wives
friend.
—
it's
a
still
material
what
style
where
lyric
was
it
a
in love
with
mellow pop
with
his wife!
The
other
negated the very audience that
it
who I
how
audience would
a pitchable song.
you want
else, if
they are and
how
started writing this I
his
found him
it
to sell
they will respond.
book and discussed
to be even
more obsessed
was, to the degree that he had spent a lot of time in research. see
how
was important enough
in country,
still
song
being asked to identify with
in love
effectively
with him what makes songs "work" for an audience. I
is
song for yourself or for someone
important to have an idea
was even more pleased to
is
well he articulated that research
to be included here.
king,
I
feel this
of music you're involved
Though
information
is
is
mostly
extremely valuable no matter
in.
by Chris Blake
Imagination plays a large part in our perception of a song.
The imagination
converts
words into experiences, turning songs into old friends that we want to hear again and
again.
46
it
THE CRAFT
The
hit
song
lyric
is
one which, one way or another, gives the imagination
needs to do that job, simply,
AND
BUSINESS OF
SONGWRITING
easily,
I
and decided that the
Chris's experience
The Imagination of the Listener
what
in
you
the song was obviously directed to a
he had thought about
interviewed Chris Blake around the time
with the subject than
room that
not going to enjoy a song in which the
is
hearing the song, he would not have considered
I
reminds her he's
The audience
So the song
to the musical style. If
Whether you're writing
is
she liked the guy and was flattered by the come-on, she
category of potential record buyers
to an audience,
He
women, and
about hearing him say he was
husband propositions her best
there's
point
A writer once played me a
think about getting too involved. Musically,
the song had a few obvious flaws.
the best friend.
would not
The
to write effective material.
is
you're writing the song.
ballad, a style that appeals primarily to
woman. But
as well as rockers.
propositioning his wife's best friend.
his wife, so she shouldn't
feel
young men and women because
image and repertoire to do romantic ballads
and completely.
—
The
theater or the imagination performs twenty-four hours a day.
cannot wor function, but of acting and reacting
Much
—
as a
mechanism
has certain characteristics
it
need
that we, as writers,
human
remains to be learned about the
but a review of some of what has been found so
work that
much
in
ways
of the scientific
But
thing, see the bibliography.
how
it
works,
could make a difference to your
who
For those of you
literature. I
do want
to point out
some
^L The theater of the imagination performs
about.
imagination and
far
certain
I'm going to spare you the specific references and "technical" talk
as a lyricist.
is
know
to
—
literally
It
enjoy that sort of
specific characteristics
twenty-four hours a day.
It literally
not function, but as a
mechanism
it
ways of acting
certain
relevant to the job of the song lyricist.
and reacting
acted upon, at which point
What
talk
more
will act (or
stimulates the imagination
we can
simple,
it
about "cues"
is
just
to internal cues.
While
cannot originate a stimulus, All of us sits
who
it
and
it
perceives.
To
keep
—from
important to notice that the imagination
it's
know about.
it
thoughts, associations,
good examples of the imagination
are
—that we,
as writers, need to
external.
from within
and memories. Fantasies and daydreams sponding
about any "cue"
as internal
Internal cues are those that originate
properly, react) totally automatically.
has cer-
tain characteristics
of the imagination that have been confirmed by scientific research and are totally
The imagination is a stimulus-response mechanism. That is, it will not act unless
cannot
can and does respond to
its
own
images
all
re-
itself
the time.
have ever been guilty of daydreaming (while that half-finished
lyric
unattended in front of us) have been caught up in what the people in the lab
jackets call
an "associative response chain"— really, an instance of the imagination
taking off on
This
its
ability
as a lyricist.
own
material and going
on and on.
of the imagination to entertain
For now,
just
know
that
it is
itself is
a relatively
one of your major concerns
weak phenomenon.
It is easily
interrupted by external stimuli that, because they exist in present time, appear to
hold a
much
phone, with
stronger all its
demand
for the attention
who might
potential for
of the imagination. That ringing
be calling, will stop a daydream every
time. Sometimes, that's a shame.
External cues are just what they sound like sensations
them
in
—
our
the whole world
own
we
—
the sights, sounds, smells, and touch
perceive outside us.
experience, giving
We
them
take
them meaning and order
in
in
our
and interpret
own
"reality."
We then attempt to communicate our realities to one another using a set of mutually upon sounds we
agreed
call
"words." These words,
powerful external cues to the imagination
—
when spoken and
the cues we, as
heard,
lyricists, are
become
primarily
concerned with right now.
Nowhere
is
the stimulus-response characteristic of the imagination clearer than
in the
domain of words. The imagination
Were
it
can't resist them. Indeed,
ourselves, for it
a
good
thing!
not for the ability of our imaginations to convert words into images,
simply could not communicate with each other.
keep
it's
it is
in
our imaginations that
we
(Nor could we communicate with
we put
the world together.) But,
let's
simple.
THE MEDIA AND THE LISTENERS
47
6:30 A.M., and Larry, fanatic that he
It's
(who has run the new route
down
Larry goes
But not
thing.
Watch
dog?
running
head
out?
we
find out
after the
become
best
him
Max was
what happened,
dog warning.
It
may seem
is
a
why
he's
for the dog."
doing
imagination
his
As
this crazy
Dog? What
talking about.
into an
he's got to
what went on
a dry exercise, but as a
way of thinking
a well-practiced
—
And
take a look at
let's
and
off
is
enormous amount of
—what,
remember
inside Larry's
had
lyricist, this
for you.
What
touch on the highlights. "Watch out for the dog." automatic
"watch out
to
he always does,
Larry has been hooked.
mind now launches
Larry's
as
wondering what
as he's
Why?
Max
than Larry, probably).
(faster
Before
hard
going out jogging. This morning
is
before), yells after
the steps he wonders,
as
is,
route and, as he heads out the door, his roommate,
new running
he's trying a
but
activity,
does that mean?
let's just
not just
It's
"watch out" mean, and what
exactly, does
"dog"?
Well, Larry's no
dummy. He
now somewhere
is
ballpark in his mind, with a vague kind of picture of
him.
And
there he
one, and because
would remain
if
dog"
for the
what those words mean
to
he didn't have an imagination. But he does have
an automatic response mechanism,
it's
"watch out
in the
reacts automatically to
it
the words.
Now,
the imagination
for us. It
exactly
is
programmed
what
it's
told to
not a selective machine; that
is
from the
to retrieve
— no
And what
less.
in
our
files
—our memory—on any and impulse
given subject? Only every experience, thought, fantasy, emotion,
had
we
that
however
associate,
with that
loosely,
Dog.
Yessir,
coming
Tin-Tin (excitement) by Mrs. Smith's
lawn (happy)
right up.
— German
Doberman
—Fido grew
old
as all this
it is
Hmm,
"dog"
.
.
—
old Fido
pain, anger) to
.
ah, here it
is, it's
Lassie,
Rin-
being bitten
and me playing on
the front
—your parents bought
—and
just a fraction
—
is
—memory of
be put to sleep (sad)
be housebroken (disgust)
information
route. Let's listen
built to do:
let's see,
and had
to
new running
a
police dogs, big, teeth (fear)
(fear,
you a new puppy, but he had
As much
what
we've ever
subject.
Poor Larry! All he ever did was decide to take in while his imagination does
choices
and project on our "screens"
files
is
make
doesn't
is, it
so
on
.
.
.
of what Larry has
filed
away
with the word "dog." But, his roommate wasn't just talking about any "dog."
was talking about
Hmm,
let's see,
a
"watch out" kind of dog:
—
"Watch Out"
said just before I burned to
my hand
do because Santa Claus
is
just before the baseball hit
were about
to
oh, yeah,
on the stove
coming
me
it's
to
in the
right here (pain, anger)
(fear,
pain)
—
—what kid shouted —what a roommate would
town (confused)
head (pain)
go running past a man-eating dog
them together and begins
THE CRAFT
AND
BUSINESS OF
— what Mom
what you're supposed
it's
(fear,
that
.
.
me
.
files
on
to feed Larry the following kinds of images:
SONGWRITING
at
say if I
anger)
So now, Larry's imagination has "watch out" and "dog"
48
He
tap. It puts
Rabid wolves chasing starving children through Smith's
Doberman
— Cujo
dogs, led
by an evil-minded
All this sounds a
The
at the time.
and waiting for me just around
crouched behind the next bush, waiting
(fear)
wild
resurrected from the past
the Russian woods (terror)
little silly
point
is
little
mutt who
—Mrs.
the corner
— The Big Bad Wolf—packs of
looks suspiciously like Fido.
.
.
.
seem
but, to Larry, these kinds of images don't
silly
enormity and the complex variety of the
to notice the
information that becomes available to Larry's imagination from just a few words.
And
he can't help himself. Notice that nothing about Larry's wild imagining was
voluntary. Unless he particularly enjoys being afraid,
probably wished he could think of something
demonstrate
is
matter what.
It is
in the
in
You need
to
it is
which you intend
Larry, the imagination will
gets further directions.
conditions
—
The tendency of for reasons
arbitrary reasons,
Experiment
thing,
its
to
no
you who must bring it
in the
discipline
in order to keep
it
to be.
it
the specificity in your words.
is
—
and
it
we
The
and adverbs
adjectives
—
It's
tools
shall see
the whole crazy "file"
quality of the image will be generalized
—
is
to quit the job
and
under these
realize that
you set
off
same crazy
process
in
listener's
the
head with
and
it is
you who must
bring discipline to the listener's imagination.
or to re-create only one particular image for
may or may not be the image you want the listener to
for yourself.
You, the writer, must
every word you write;
come up with
the imagination
ggr
f
this
who, what, where, when, how, and why.
As we saw with
nonsensical.
hoped
same crazy process
impose controls on
invented nouns and verbs and modifiers
to specify exactly
it
domain
do
I
"wild" and has no discipline to
set off this
tool for this job of channeling imagery
why God
unless
literally
head with every word you write; and
somewhere
Your
is
you
realize that
to the listener's imagination.
What
mechanism.
a stimulus-response
You, the writer, must
listener's
to think that Larry
that the imagination (given appropriate cues) will
But please notice that the imagination it.
we have
while running.
else
experience.
How intensely can you become involved with the follow-
ing words?
Car
Book Musical instrument
Not
huh? You may have chosen
very,
meaning
in your experience.
on one image
to focus
The problem
is
that
I
meant you
that
had personal
to see:
My great 1982 Porsche 928 with the broken right tail light My paperback book with a blue cover and the words "Gifts
of
God"
printed in
gold on the front
My old white Telecaster guitar with
the broken B-string
and the missing volume
knob
While the examples may seem
You want
arbitrary, the implications for
the listener's imagination to re-create
your work are
what you want
it
to;
THE MEDIA
and
direct.
for that,
AND THE
LISTENERS
49
te£_
abandon you, your words, and your
to be specific, or the imagination will
you need
song and wander off down God-knows-what corridors of its own.
You want the
attention to other more specific and immediate information
listener's imagination
fight he
to re-create
what you
want
it
that,
you need to be
to;
specific, or
and
for
astonishing
But what
will
words, and your song off
down
God-knows-what corridors of
its
how
own.
ahead, the
The imagination
tasks?
good intentions and no
all
it
and
it
bore listeners away from our songs by refusing
we simply
often
specific items to imagine.
distractable child, full of
busy with specific
is
a restless
self-control. If
and highly
you want
its
tasks.
Read on.
The imagination
abandon you, your
and wander
them
to give
-the car
his wife last night, or whatever. It's called "getting bored,"
had with
attention, you'd better keep
the
imagination
is
may pay more
It
—
is
an "analog information" mechanism
—
that
is,
it
can only
create pictures out of the information already stored in the minds experience. Larry's
"dog" emerged pictures.
as a
Nothing
composite of
many
new was
really
past real
and imagined
and
events, feelings
a part of that image, save possibly
some new
combinations of old information.
The
phrase "floating in space" can only be imagined by memories of experiences
we've already had
— none of which, of
feeling of semiweightlessness we've
scenes from
sci-fi
movies
—perhaps
(because we've heard space
and sensations occur, but that we've already had.
is
all
course, include really floating in space.
had floating
in
the sensation of
empty,
and
vast,
water
room and freedom around
infinite). All sorts
Nothing new. The imagination
create the experience out of old bits
it
and
tries
hard
literally
(as it's
real
and imagined
cannot deliver to us
designed to do) to
pieces of information available to
experience of the words can only be "imaginary" because
we
us
of images, feelings,
of them are taken from experiences
the experience of floating in space, but
The
—various remembered
it.
re-
Our
cannot come up with
the real thing.
This
is
the primary reason
songwriter,
why
songs must be built on universal themes. As a
you simply cannot write about things
experience and expect
them
that are outside of
—
to be able to relate to
song through their imaginations.
If they
cannot
to
most people's
become involved
in
—
the
relate at the level oftheir imaginations,
the song becomes meaningless simply because they don't have the machinery to deal
with
Their reaction, of course,
it.
song doesn't get listened It's
I
wish
amazing I
how
is
one of instant frustration and
turnoff.
And
your
to.
often songwriters seem to believe they can get around this one.
had a dime
for even-
song
the commercial market and yet
I've
who
heard from people
who want
to crash into
write about such obscure items as working on
the floor of the stock market, the intricacies of shifting through ten different truck gears, It's
and the
tactics
one matter
employed
in nineteenth-century sea battles.
to use specific detail to contribute to a universal
(plot).
another to write your song exclusively about something with which you're famil-
iar
but about which a large block of listeners would have no experience or
knowledge.
50
emotion
It's
THE CRAFT AND BUSINESS OF SONGWRITING
little
Just in
remember
about the
to be very careful
your song, and keep
metaphors, and images you use
ideas,
you
a ruthless eye out for the possibility that
large blocks or people from participating in your song.
One
are excluding
of the chief villains here
You have
are songs that are totally about marriage or totally about divorce.
remember
to
that lots of people have neither been married nor divorced.
Mental images are complete neurophysiological
meaning
events,
that they
occur in the brain and throughout the body simultaneously.
"Unreal" of
imagined experiences
as
reality. It's a
just
testimony to
how
they actually can produce the experience
are,
powerful the imagination truly
"imagine" the sensation of weightlessness; we
and physically
to
ondary sympathetic responses"
feel
And
it.
that
we
don't
Indeed we react emotionally
bodies produce what scientists
call "sec-
mental imagery. The word ra/ causes "red"
to
the parts of our eyes that react to color; the
ity in
tion.
Our
images in our mind.
is
word ouch
activ-
causes muscle contrac-
nerve endings truly react to the phrase "the touch of your hand."
Notice for yourself the number of song
titles
and
use images that
lyrics that
suggest or involve physical action:
"With Arms Wide Open" "Jumpin' Jumpin'
"
"We Danced" The
list
obvious
would be
nearly endless.
when you
physical sensation
imagery hook the
The
usefulness of such physical action imagery
consider the fact that
and
listener
automatically to words.
You
as well.
We
Remember
demands
in their
literally tell
it
what
that the imagination responds
to
clear, simple, precise directions to
don't have images;
do and it,
it
is
helpless not to
you can produce powerful
listener.
Are you beginning to understand lyric?
is
mental images with actual
not just from the standpoint of their beauty or cleverness
emotional and physical events in the
good
react to
action. In short, lyrics that involve such
but from a physical standpoint
respond. If you give
we
just
how
we do them.
totally listeners are
We
"hooked" by a
imagine with our whole
selves.
We can produce audio "images," feeling and sensation "images," and so forth. We can, in fact, "image" just about any experience we've ever had, think we've had, or imagine we've had; and are clear in
you
as the
songwriter can direct us to do that
your directions and keep
in
mind
if
only you
the response characteristics of the
imagination.
But you must
realize
some of
the imagination's limits. Chief
inability to re-create conceptual abstractions.
An
among
these
is its
abstraction, for our purposes,
is
a
subjective, usually very general, piece of information.
An
abstraction just floats there.
when, or why). does, doesn't
It is
nonspecific,
know what
to
It's
not grounded in
specificity
and the imagination, because
do with
it
and
isn't
(who, what, where, it
works the way
it
interested. Try to imagine such
THE MEDIA
AND THE
LISTENERS
51
and
external cues as "decency," "belief," "transcendent," "wonderful," "beautiful"
so forth. Abstractions lack focus.
On
the face of
abstractions of
which So
is
an alarming problem for songwriters. For the worst
this creates
it,
them
body of words
are the
all
that refer to the emotions,
one of
"love."
how do you
Your
write a song about an emotional state such as love?
goal
is
to involve the listener as deeply as possible by writing words that are usable by his
imagination so that he can re-create the words of the song.
would think the
The key to want "the
wants to hear
listener
hurt me," "I need you"
—
—
all
dilemma
is
very words you
about "love," "sad," "sorrow," "you
are abstractions the imagination
resolving this
The
simple enough.
First,
cannot process.
remember
information accessible to their imagination
real thing,"
that listeners
as
they
listen.
Second, notice that abstractions are convenient for organizing and labeling our
most
experiences, but they are
For the fun of
it,
let's
definitely not
look
at the abstract
offending the romantic poet in at
They
all.
are only a
for each of us have in love" (the last
all
of
time
it
happened
being able to think of nothing feeling lightheaded
•
losing
•
daydreaming about us together
•
making plans
•
wishing time would go
•
having
•
loving the smell of her perfume
more
real
Life
is
Even
on.
bill
remember
I
which we put what I
is:
except Betsy
when
I
was around her
that
faster so that
list is
it
is
that
on
not too
my experience
you beginning
could be with her
I
quadruple
my
sweater
specific,
of "falling
but
know
I
in love"
it
brought you into a
than the phrase
itself
ever
to get the drift? It is
when
moment
to
moment
—
the imagination re-creates
with specific and concrete images. So,
mind
what
into
When remember "falling
our future
for
my phone
so
else
slightly dizzy
not an abstraction.
And
crete.
and
file
real experiences.
appetite
contact with
could. Are
those words don't really refer to anything
to me),
•
And on and
life itself.
phrase "falling in love." At the risk of
kind of organizing label system, a
been unique and very
•
my
us,
life
when you
the kind of cues and information
it
real, specific, life,
it
and con-
can only do so
write lyrics, you must give the
needs to do
its
job or
it
won't bother
with the information. Abstractions simply do not
turn
it
And
work
in the imagination. They, in fact, serve to
away. yet
it is
true that songs are about abstractions.
It's
been said that there are
seven possible "plots" to a commercial song: love, hate, loneliness, happiness, sadness, jealousy,
52
and revenge. Every one of those words
THE CRAFT AND BUSINESS OF SONGWRITING
is
an abstraction
—
every one
of
them
what
is
unusable by the imagination
basically
way
write about abstract emotions in a
that engages
How do you
can participate in the song? it
How
does present an apparent contradiction.
it
The answer
needs to kick into gear?
them
every one of
refers to
commerciality.
at the heart of universal
is
Nonetheless,
—and
does the writer
and involves the
listener so
he
give the imagination the concrete specifics
lies in
writes about abstractions through the use
those questions. The successful
of detailed,
lyricist
concrete, specific (nonabstract)
information.
Two
classic
and
examples of what I'm talking about are in the songs "Miss
fine
Emily's Picture'' and the country classic
"The Gambler."
"Miss Emily's Picture," recorded by John Conlee,
and missing "Miss Emily"
blue,
The
vehicle
—
the
medium
terribly.
is
man
about a
who's lonely,
But notice how dry that description
—through which
De
the writer, Hollis R.
is.
com-
Laughter,
municates those feelings are simple, repeated descriptions of the act of looking
Miss Emily's picture. Notice that that
and
Remember
participate.
one very
special to you.
nowhere
in the
lasting. It
is
idea
a very
which you can imagine
and
of some-
at pictures
easy to re-create in your imagination. Absolutely
is
song does the singer
or anything else like that;
a physical act in
number of times you've looked
the
The
is
at
talk
about missing Emily, or
how he
emotional song
in
which not one emotion
is
loved her,
is
profound and
ever
mentioned by
yet the impact of those emotions
word.
"The Gambler" had gone
writer, If,
at
whole philosophy of
outlines a it
directly,
instead of telling us about
said
something
It's
it
living.
And
if
Don
Schlitz, the
could have been one of that year's ten worst songs.
when
"hold 'em" and when to "fold 'em," he'd
to
like:
important
to
know when
to persist in trying to
achieve your goals
and when
to
give up.
You have
to
know when
know when
to
to
decide to give up
what you 're doing gradually and
give up quickly.
You should never make a judgment about how your There'll be plenty
Those statements
to
of time
to look
back
to see
how
life is
it all
going while
went
it's
after your life
are an attempt at a straight, conceptual description of
what we
bler's" philosophy. It's
all
know he meant.
going on. is
over.
"The Gam-
But, obviously, the words are
simply poison in terms of retaining our interest and involving us in the song. As ludicrous as the examples seem, level
say.
of abstraction.
The
many
songwriters actually write their lyrics at this
lyrics are accurate.
They
They have meter and rhyme. But they
say
what the songwriter wants
are extraordinarily uninvolving
to
and
boring.
Examine your songs settling for abstractions
rigorously to be sure you're not falling into the trap of
when you could
express your abstractions in a
THE MEDIA
way
AND THE
that
LISTENERS
53
—
would be
and imaginable
alive
—
Notice that "The Gambler" got
for the listener.
one of the very few that went three
is
its
of action
done by delivering the
job
metaphor of a poker game. Also note
abstraction but doing so using the action
the song
some kind
preferably in the form of
verses before
that
got to the chorus, a
it
tribute to the fact that action held our attention anyway.
The imagination is addicted to action. Notice in your imagination the difference between "the red brick" and "the brick flew toward the store window." the imagination cannot handle the idea of "the red brick."
has a color.
It
You can
feel
examine
it
has a form with which we're
it.
You can
see
it.
You might
OK as
It's
not that
It's
images go.
It
familiar. It's concrete (so to speak).
all
turn
it
around
in
your imagination and
and (with some encouragement) spend enough time
to really get into
its
"brickness." But chances are, you'd get bored fast and lose interest. fcjjr
That
because mental images have a rapid decay
is
Mental images have a
last less
rapid decay rate.
picture in your "mind's eye"
is
Research shows that
picture) with best definition
and
images
of that image away from the center. So
last less
than a
clarity in the center
time and they are not too clear to
speaking, are not too
one instant So
we
image
a
start with.
enough
number of times
tion quickly gets bored with the
imagination gets bored,
it
This
is
true for
to
produce any involvement, one must
in succession.
Re-creating the same image it
and
And when
again.
is
The imagina-
you'll see.
same item over and over
in
an image
—
new image each
window
is
a cue for a
whole
Here's another experiment. Try to
the
usually
is
action.
The
—and
that allows the
movement
reason
is
time. This keeps the quality of imagery
in action.
image
of images the imagination cannot
series
remember
Notice whether or not your imagination
the last blue-eyed person
re-creating that person in
is
The only way
and notice how
fast
the imagination can sustain an image
Among
abstractions: There's
other things, this
no
action.
is
They may
is
it
if
one image or
action itself nor does
it
what you want
AND
the problem the imagination has with
suggest action, cause a desire for action,
is
word does not
If the
a fairly specific abstraction, but
image of sorrow
—
refer to
SONGWRITING
it is
not truly useful
the imagined experience of sorrow
to deliver, try "falling teardrops
BUSINESS OF
some
describe a specific action.
"Sorrow," for example,
producing an image.
fades away.
that image involves
or even describe a whole series of actions, but an abstract
THE CRAFT
resist.
you saw.
Are you not remembering your blue-eyed person doing something!' Try the
in "freeze-frame" (no action)
sort of action.
54
for that
and our involvement more complete. The image of the brick headed toward
that store
is
one image,
wanders (away from your song).
demands change
imagination to re-create a
for
television
of the picture and degeneration
keeps the imagination on target and involved
that action
snowy
The
"see" our images for only a very short
not something the imagination does too eagerly. Try
What
like a
first place.
in time.
to stay with that brick long
re-create the
fresh
Research shows that images
somewhat granular (something
second and, visually
clear in the first place.
rate.
than a second and, visually speaking, are not too clear in the
.
.
.
aching feeling," "breaking
and so
heart,"
make your
Such action words
forth.
lyrics
come
—seem
alive-
produce the experience of "sorrow" and
will
—
lifelike
in the listener's imagination. In a sense.
because of the mental and physical effects of images, the good writer will allow the
do sorrow.
listener to
Hit writers understand
this
double need for action and abstraction and
strive to
combine the two:
When You Go"
"Take Your Memory With You "Stand Inside Your Love"
Away From Me"
"Falling
Each
tide
doesn't
mentions the abstraction
itself
do anything, obviously; but
Go," Vince
Gill said
Have
to
You."
to
how much more
alive that line
"field
of image"
—
with simple images. This
at its best
An
image
lasts in
the
the vision of the "mind's eye"
the edges. For these two reasons
—
implicit in
for only a short time.
true field of
—
its
short
"memory" and
it
limited field of clear
does
It
its
job best
when
can place right in the center
of vision. Notice the ease with which you can produce the image: "Lipstick
field
on Your Collar"
vs.
"The Marks of Cheating Are
While some would-be
if
mind
is
— resembles our
the imagination engages best with simple images.
requested to produce one, single object or action that
image
than "I Don't
with objects being clear toward the center and increasingly indistinct toward
vision,
of its
is
the action that hooks us.
It's
the examples we've already seen.
vision
Memory
When You
"Take Your Memory With You
Think About You Anymore" or "When You Go, I'm Gonna Miss
The imagination functions
The
action metaphorically.
it
something that the imagination can do something with and
thereby hooked the listener. Notice
Want
in
but gives
it is
hit writer
overly complex.
the image
imagination
might
far longer
try her
Over You."
hand
One "broken
than "a flock of
many
second
at that
The tendency of the imagination
too complex and varied.
is
All
line, as
abandon the
to
is
an
task
white feather" stays in your
colored seabirds." Specific, simple
images get more mileage out of the imagination than groups of things do.
It's
why
songs that deal with "I" or "you" (meaning a specific person) work better than
"people" songs too
much
— "everybody"
songs.
Such message songs run the
because of the specific setting of a conversation between the old
When free is
and
specific
imagery becomes too complex and varied, the imaging process
experiential but rather
Look through your
know
becomes more
mind when
like
—one
you're trying to
specific instance
sum up
all
mental work.
she turns
songs to find those places
images to one single item I
man and
it
mostly
the singer
imagery of a poker game.)
not what the listener has in
time.
of providing
("The Gambler" got away with
for the imagination to handle.
and because of the
risk
of
life
on the
And
is
no longer
mental work
radio.
where you could narrow your
—one emotion—one moment and capture
it
in
in a three-minute
THE MEDIA
AND THE
LISTENERS
55
—
me, your goal
pearl of wisdom. But, believe
song.
A
song that
tells
experience of living
With
rageously simple. it.
So keep
The
more
vividly than
it
to
all
Cut narrow and
risk to the writer
you
if
in
try to
do
it
in
one
time can deliver the
the writings of philosophers over the ages.
you poets out
The imagination knows
simple.
you
moment
the truth about one simple
due deference
all
will elude
there,
it.
—moment
life
The listener knows
to
it.
—
moment
is
out-
Everybody knows
cut deep.
(and one of the reasons
many
writers avoid simplicity)
is
that simplicity and specificity render one vulnerable. Your simple song could be
and may be
—simply awful
theme, plot,
etc.). It's far safer to stick
that
"sound
really
no
So, say at
when
you're trying out an unusual story,
with tried-and-true banalities and abstractions
like" other great songs you've heard.
The problem is
(especially
safe
that,
is
while there
is
much
to be learned
from other songs, there
harbor for a songwriter. If he/she hides, so will the song.
what you've got
how few lumps
to say directly
there are
when you
and take your lumps. You'll be surprised write "straight."
It's
part of growing
professionally.
But don't write listen
in code.
Write "user-friendly" songs and remember that the users
with their imaginations. Let them.
Enjoy.
Chris Blake has been a professional songwriter with
and has served as manager ofNashcal Music,
many
credits,
Billy "Crash " Craddock,
of this book, he has immersed himself in the imagination.
56
THE CRAFT AND BUSINESS OF SONGWRITING
teacher,
ofthe Nashville-
Moe
Bandy, Joe Stampley,
and others.
Since the first edition
based Fischer Music Group. His songs have been recorded by
John Conlee, Johnny Carver,
a songwriting
the West Coast subsidiary
university research in the study
of the mind and
chapter four
Writing Lyrics
When we
think in terms of the world's population, there are very few people
who
have the opportunity and talent to communicate their feelings and opinions to
anyone beyond
their
immediate family,
friends, or co-workers. Politicians use the elec-
tronic media. Actors do, too, but they're usually speaking ists its
and
Radio, tion
when
journalists,
numbers
are
still
TV, and
from the
rest
they're allowed to speak freely,
someone
may
reach a large audience, but
films have
become
the vehicle by
which most people
all
over the planet: music. As a skilled songwriter, you wield a
your desire to prove to your
do your
you can make
relatives that
realization (along with
a living at this) should
make you
best.
In this chapter
your
receive informa-
of the world. These media share a form of communication that reaches
tremendous power to communicate to millions of people. That
to
thoughts. Novel-
fairly limited.
and influences people
want
else's
I'll
discuss various techniques
and
principles that will help
when you
lyrics as effectively as possible so that
you express
get that opportunity to talk to the
world, they'll love listening.
Simplicity I
asked hit producer John Ryan what he
denominators of successful songs. reply
is
It
was
felt
common
was one of the most important
a question
I
had asked many
others,
and the
almost always the same:
Simplicity doesn't
—
in saying
know
to an artist or
quite
something that everyone experiences
how
to say. You're taking a
performing
it
yourself.
Then you have
receive your communication. You're not doing else to feel
When
what you feel about
life,
maybe
hit songwriter/producer/publisher
in his or her
life,
but
song out of your head and giving
it
to try to get
just for yourself.
someone
it
else to
You want someone
challenge them.
Jack Keller was critiquing songs one night,
WRITING LYRICS
57
he remarked to songwriters several times, "You've got too
and build your song around
idea,
We've
when
they could say "put the thread through the hole in the needle" or "thread
more than you need and not saying
whom
didn't
up
Instead of setting
game
is
you
Sorry, but
it?
to
make
know why
nowhere
in
played
Some of
that Geraldine
lyrics.
a
this so
it's
who
for
a
you
in
two words
Made you
feel clever,
whole idea
heard them?
into the songwriting game.
that excludes everyone else, the big
listeners as possible.
none of which made any
me.
I
a friend
sense.
She wanted
read her back a few lines and asked what
me
the
song called "Geraldine" that made no sense until she told
me
was the name of a
She seemed
many
five songs,
work
problems are saying
her explanations were worth whole songs in themselves, but
writer was intelligent
her
else
communication
what she had written could
background. She had
The
me
the songs didn't
they meant.
anyone
yourself understood by as
common
you could convey
that
can't bring that friend with
a very private
A songwriter once to
to
two
what you mean. Have you ever had
clearly
you communicated so well
would mean absolutely nothing
that
on one
it."
the needle." Applying that example to lyric writing,
with
ideas here. Focus
read how-to manuals that say things like "insert the strand in the elliptical
all
aperture,"
many
and
truck.
make
I
I
the connection until she told
told her
"How
to be saying,
challenging to listen to?"
I
thought
it
was
was playing an
talented, but she
a lesbian love song.
intellectual
game with
obtuse and clever and abstract can
The songs were
I
so challenging, they weren't
make worth
bothering to figure out. Ironically, the
most
decipher the message. But a
dance
floor, a
I
"No
said,
like
when we
thanks,
interesting, enjoyable
^jr
You should be
"What about
we seem
fine if
you
just
at the
to
want
for as long as
we needed
music to focus on and the song
art?
lyrics
only
Do you
make
think
I
us feel as
is
to
presented
though we're
should write commercial
have an overstock in that department. Think about
communicate an
idea or a feeling in a unique,
communicate, you're operating
to write for yourself.
one word, to describe
personal diary, but
the emotion or mental
their messages easily to others.
if
words
way."
If your lyric doesn't attempt to able, in
abstract lyrics in her other
also have
the art of songwriting as the ability to
t
much anymore. Those
jukebox, or a car radio, tricky
missing something. She asked, crap?"
song, which she said was
we could look
songs might work as poetry, since
on
first
was her
accessible lyric of the five
"too simple" for her and she didn't
you want
to
make
You can
derive
some
in a
vacuum, which
benefits
from keeping
a living writing, your songs have to
is
a
communicate
state that a song
expresses.
Focus Another
critical
to describe the
58
aspect of effective lyric writing
emotion or mental
jealousy,
and resentment
THE CRAFT
AND
BUSINESS OF
are just
state that
a song
is
focus.
expresses.
You should be
some of the emotions we've
SONGWRITING
able, in
one word,
Happiness, sadness, love, hate, all felt.
Any of these
could
EXERCISE Several basic questions will help you brainstorm an idea or bring the idea into after that
Who What
inspiration:
initial
singing the song? Male? Female?
is
Someone who's
Who
is
public?
As
A
a philosophy?
a
if
how many
they believe
a
in
Having said
that, It's
it
work
can
is
or
expressing? For example,
attitudes,
like
artists will stay
that
away
or make them appear
to say, "I've done something terrible.
how
they
Won't
men and women, made the
biggest
did him/her wrong.
Then do
about.
this a subject
a staple of country writing, since both
when they
lives
Is
thoroughly despicable person," you have
Listen to a few songs on the radio and write
what the song
The general
recording artists would want to record a song
seems, never get tired of hearing someone sing about
mistake of their
ask:
about themselves. Generally speaking,
it
you please forgive me?" it
to meet?
like
Arouse?
Criticize?
from songs that are depressing, express negative unlikable.
leaving?
express love or other emotion?
would be interested
song with the message "I'm
to ask yourself
even
To
commercial consideration, you should also
a purely
you write
Someone you'd
Teach something?
attitude an artist, other than myself, if
lover?
the singer want to accomplish?
Give people
Someone who's
God?
friend?
What does
left?
else?
sad? Angry? Lonely? Happy?
the song being sung to?
A
You? Someone
Someone who's been
the point of view?
is
FOCUS ;t^_j focus IN
down one
with your
it
own
line for
songs.
If
each that expresses
you have trouble con-
densing them, they're not focused.
be, in a
broad sense, the subject of your song, provided you focus on
songwriters tend to it's
want
to settle
focused or not. While
on
eventually zero in
it's
But
if
two,
first
idea to write
all
your thoughts down, you need to
"Themes of Love,"
I
what
Attitude,
which
a
song in a
is
away
from songs that are
successful songs don't follow a linear "story line" or
depressing, express
a feeling,
make
it
negative attitudes, or
just one.
listed several subject areas as
what the song
is
about. In chapter
they related to love relationships.
found her (him)," "Remembering how
describe
Generally speaking, artists will stay
to express that idea as a story or just
You may want
Many
Beginning
thing that comes out of their heads whether
also be able, in a short phrase, to describe
"I think I've just all
it.
you do write about
You should
good
a single idea.
explore different aspects of plot.
a
on the
specifics.
it
make them appear unlikable.
used to be," and "Cheating"
about.
songwriting context means an aggressively stated point of view,
another factor that requires consistency and focus.
Though we most commonly
is
find rock,
WRITING LYRICS
59
and hip-hop songs that express an
rap, (I,
me, my) of any
Bonnie
Raitt's
style.
"Something
to
Keep Her," and one of my attitude
Talk About," Tobv Keith's
"How Do You Like Me Now?,"
Women," Mary Chapin Deana
favorites,
"He Thinks
Carpenter's
"Did
Carter's
an important ingredient of your song,
is
lyrics
very important in first-person songs
it's
Alanis Morissette's songs have attitude. Listen to the attitude of
Destiny's Child's "Independent
by the
attitude,
1
Shave
My Legs
He'll
for This?" If
needs to be consistently maintained
it
and supported by the music.
Titles
A
strong
title
public will
don't have to have a great
10 songs and you'll see
imaginative and intriguing.
For the most
very intriguing
and
are so
title
wedded
Sometimes,
if
you have the
Pretend you're a publisher, producer, or called "I
Love You" and another
Look
at
up
live
way
many
a very
It's
common and
with two demos
called "Silent Partners."
it's
guessing right away what the song's about. If a radio If
program
"She Talks to Angels," "Tears
the Fire," "Kryptonite."
Some
"Mandolin Rain" and
Not
only
is
something
titles
A
in
Which one do you
think you'd this
month.
interesting to you,
it
might
start
also interest
some
embodies
a concept,
Me
the
it's
easier to
hit titles that are intriguing in
them-
Heaven," "Cleopatra's Cat," "Standing Outside
stick in the
mind because of unusual word combina-
its
memorability
some
if it
poetic
—"We Can Work Out," Need of —"Achy Breaky of vowel "Boot — Meaning of Being Lonely" — rhyme "Okie From consonants)
or assonance (repetition
"Show
to
of you, one
"catchy" tide has a combination of a pleasing meter and
—
Boogie,"
way
practical
itself.
"Silent Lucidity."
device like alliteration (a repetition
Know"
it's
in a
Concept
in front
the concept q/~the tide important, but you'll increase
sounds "catchy."
to their
an interesting concept that makes you
a short title phrase that
focus your lyric from the beginning. Here are
tions:
of
director.
you can come up with
selves:
list
writers don't even begin to
song practically writes
artist
to say
in the process.
be most interested in hearing? You've already heard "I Love You" twenty times
You've never heard "Silent Partners," but
any
as well as titles that are
have failed to
be) for a
country music,
right tide, the
hit song.
an imaginative tide
write a song until they have a great tide/concept. start.
and the general
lyrically.
likely to arrive at
that, particularly in
titles
you should
part, if you're searching (as
and unusual way, you're
have a
and ordinary,
that are dull
titles
Some
to
title
promise in the body of the song musically or
fresh
that industry people
remember your song.
Of course, you Top
way toward ensuring
can go a long
It
sounds)
Heart,"
(both)
"I
to
Scootin'
or
Muskogee."
Common
phrases from everyday language also
Always Somethin'," "Knock on Wood,"
60
THE CRAFT AND BUSINESS OF SONGWRITING
"I
become more memorable
Heard
It
Through
in songs: "It's
the Grapevine," "She's All
That.
Twists of
common
phrases also work: "Stop! In the
Name
of Love," "You Ain't
Hurt Nothin Yet." Aside from the benefits derived from
most successful songs the
and
supported by the
is
dane
Newman's
Sometimes This this
is
down
core.
A
title
comes from the way
name
titles
a
My
Mind" does
the same.
emotional intensity of the music
riff,
melody make you think
or
good groove can be hypnotic, put you
good
of?"
a process in
It's
and
record buyer
that
knows what
will
it
will be
it
lack of an obvious
title
remembered.
gets
Many
trigger ideas
and phrases
of your chorus (or verse, depending
You can
If
easy to remember, a potential
it's
on the radio request
potential hits
line.
may have been
This
lost for
in the right place.
to craft a
unique
title is that,
mixed up with another song through computer or
royalties
"What
test:
which the musician
at a piece of paper.
to ask for at the record store or
Another commercial reason Love You"
suggests a
be repeated several times during the song.
an important commercial consideration.
your
itself
gets very close to his emotional
mood, and
in a
in the strategic first or last line
title
then practically guarantee
else gets
Randy
case in point.
spontaneous process that resembles a sort of musical Rorschach
on the form), ensuring
like "I
with the music
"New York State Of Mind" could make someone
Billy Joel's
that very practiced intellectual approach
Place that
good
are a
you might never come up with while you're staring
that
it fits
That combination can make an otherwise mun-
state
a musical figure or the
chord,
shuts
is
lyric.
phrase that's catchy, clever, and conceptual, in
whether they'd been there or not. Hoagy Carmichael and Stewart Gorrell's
"Georgia on
title.
of the
rest
Love L.A." and
"I
feel nostalgic
does
magic of the
seem profound. City and
title
classic
real
a
human
occasionally, a
common one
Love You" and someone
called "I
error. That's a fate neither
you nor
the other writer deserves.
First Lines The
first
words from
a singer's
you've ever heard from that
about whether or not you
how
strongly
you can
it
doesn't
sell
are critical, particularly if they're the first
artist. It all
goes into that evaluation you
like the record.
interest the listener
or producer hears that too. If
mouth
first line, she's
So with your
with that
we
all?)
sittin'
looking at the ..." or
or other equally uninteresting cliches.
get your
motor running, when you
writer's hat on, think
first line
or lines.
about selling
prey to the temptation to start with "I'm just (c)
as a listener
When
get
down
here
"Woke up
Though
it
(a)
to an artist.
it
off,
Don't
fall
writing this song, (b)
this
these
about
a publisher
deciding whether to keep listening or turn
her, she's not optimistic
thinking about you, or
make
words
mornin' ..." (didn't
might be penciled
to a rewrite, they should be the
in to first
things that get penciled out.
WRITING LYRICS
61
.
Your
fcjjr
Your first
line
should
set the tone for the
comes
want to hear what
comes
next.
1
should
You can
next.
Where
tone for the whole song and
set the
your
set
taking place?
is it
Is it
make
us
want
to hear
what
scene by asking several questions. Their answers will
first
what you want your
contribute to
whole song and make us
first line
lyric to
accomplish.
important to the song?
What
kind of a place
is it?
Are
there evocative features? If you allude to a particular country or city, the mountains, beach, etc.,
be careful of passive picture postcard openers that don't carry with them action, emotional charge. "Ten miles west of Houston," "In a dirty
flavor, attitude, or
doorway," "At
home
in
your love," "Halfway into Heaven" are
all
downtown
about places, either
geographical or emotional.
Can
2.
the hour, day, season, or year offer a flavor that enhances the emotional
impact of your song? Think of the number of songs that use "morning" or "night" to evoke a mood. song
3. If the
song
4. If the
addressed to someone,
is
is
there something arresting
you can
say?
about someone, can you say something that immediately gives a picture
is
or a quick personality sketch? there an active image
5. Is
you can
use? (See
"The Imagination of the
Listener," chapter
three.)
you're expressing an emotion, can you do
6. If
out of place," for instance, just kind of
feel so
Gobel's old
line,
"The world's
a
tuxedo and I'm
that type of cleverness isn't always the
answer
it
in a poetic or
lays there.
just a pair
—
it
dramatic way? "I
Contrast that with George
of brown shoes."
Of course,
depends on the tone you want
to
establish.
A
listener
of the
should have the answers to the "who, what, when, and where" by the end
first verse, as
well as
know
the song's attitude and
the listener should be persuaded to keep listening,
your
lyric,
your music, or
better,
mood. But most importantly,
no matter how you accomplish
it,
with
by both.
Rhyme I'd guess
more than 99 percent of all commercially
so important?
What
There's a reason
rhymes
are strong
is it
why
that
people
still
nothing rhymed?
memory
Rhyme
sense of symmetry and completion, and
of
a line
by giving
it
62
THE CRAFT
AND
it
is
solid
trigger.
and consistent. Rhyme and
How many
BUSINESS OF
To drop
it
lyrics
has other values as well.
offers
It
Rhyme
deliberately just to be different or to
SONGWRITING
do you think can create a
an opportunity to enhance the power
an established "stage" to deliver a payoff.
can't afford to ignore.
is it
remember the nursery rhymes of childhood. The
and predictable and the meter
if
Why
makes rhymes work?
meter, together, serve as a powerful
you'd remember
successful songs use rhyme.
is
a tool
assume
it's
you not
important
isn't a sensible
Not
writer.
someone who's
attitude for
trying to be a successful song-
that there aren't exceptions to the rule, but
when you want
the odds in
your favor, you use every tool you have.
rhymes
In musical theater, the
wouldn't rhyme perfectly).
how
but of
are expected to be perfect (unless the character
It's
not so
much
by
critics
who
they're judged
question of whether the rhymes work,
a
hold the power of
life
and death over
a
production. Musical theater boasts a long history of exceptional craftsmanship, and they aim to keep to
it
come up with
Whenever you
that way.
rhymes
perfect
think
start to
in a context that
too hard or impossible
it's
makes them
feel perfectly natural,
study the masters. For instance, listen to the songs in the Barbra Streisand fdm,
work of lyricists Alan and Marilyn Bergman.
"Yentl," for the to
remind us that
rhymes without
it's still
possible to put in the extra effort
We
need such standards
and come up with perfect
ftf^r
Whenever you think
it's
start to
too hard or
impossible to
come up
with perfect rhymes
in
a context that makes
sacrificing naturalness.
them
feel perfectly
natural, study the
Types Of Rhyme
masters.
Perfect: Stressed
sound
that ends the line
is
identical,
god/quad, action/fraction, variety/society. This
rhyme you can
There
use.
My feeling
only form of rhyme to be used. perfect
rhyme without having
opt for the next
pop music.
It
rhyme
be called
at
all,
but assonance. Anyway,
rhyme
to
fit
as in port/fourth, loss/wash,
in
meaning of the
line. If you can't
it is
the
effort to find a
find one, then
Common
and quite acceptable
approximates rhyme, and some would argue strongly that
Masculine or "one rhyme":
word
whether
writers about
you should make every
oblique, or half-rhyme:
false, slant,
just can't find a perfect
rhyme
that
among
best.
Imperfect, near, in
to alter the
is
different:
is
without question the most powerful
is
an ongoing debate
is
preceding consonant
which the
last syllable
let
it
shouldn't
the nitpickers argue. Sometimes
you
your meaning and you do find the imperfect "near"
around/down, shaky/aching.
Single-syllable
rhyme,
as in
pack/rack or a multisyllable
rhymes, as in compromise/idolize.
Feminine or "two rhyme": Two-syllable rhymes, with the vowels and inner consonants must match,
stress
on the
first.
The
maker/shaker, masquerading/
as in
degrading.
Three rhyme: The differ, as in
last
medium/tedium,
Open rhyme: Rhymes on notes
three syllables
that don't
end
the consonants that precede
them
in
hard consonants. Use them wherever possible
that are to be held, as in glow/snow, fly/try.
Closed or stopped rhyme: Rhymes
makes
rhyme and
facilitate/rehabilitate.
us close our
sustained.
V,
f,
z,
mouths and and
s
that
end
in a
consonant
that can't be sustained
when
(b,
sung.
p, d,
M,
t,
n,
q, L,
and
and
can be sustained but don't sound very pleasant. 5's
r
k) that
can be
(sibilants)
drive recording engineers crazy. Pay close attention to these "singability" factors as you
write your
lyrics.
WRITING LYRICS
63
.
Internal, inner, or inside
rhyme: End rhyme, of course, occurs
rhyme occurs within
Internal
the line, as in
"The fate of the
at the
end of the
line.
great state."
Rhyme Schemes memory
To make rhyme work
as a
rhyme scheme
verses,
for
your
verse pattern in the choruses to establish
bridge.
it's
best to use the
It
Once you
consistent.
same pattern
for the verse,
one
in
all
for the chorus,
introduce a subtle element of surprise this
predictability of the song.
delay the rhyme.
you must be
establish a
the verses. That same
and bridge, however, could get monotonous, so
one rhyme scheme
You can
tool,
Another way
and yet another
way without
to surprise the listener
it's
for the
affecting the
to either precipitate or
is
can be used with any rhyme scheme and the rhyme can occur
of the underlined positions in the
better
at
any
last line:
TUM Ta TUM Ta TUM Ta TUM Ta TUM Ta TUM Ta TUM Ta TUM Ta TUM Ta Ta TUM Ta TUM Ta TUM Ta TUM Ta TUM Ta
Ta
Here 1
2.
are the
most
common rhyme
a
(Rhyming
a
score
dictable.
a
floor
a
door
a
trust
four
lines.)
Usually too pre-
fast.
(b)
line.)
Has
and the element of predictability
flexibility
hurt
c
all
This gets old
(Rhyming second and fourth
b guess
3.
schemes
more
without the boredom.
b
mess
a
luck
(Rhyming
a
stuck
fourth lines)
b
brave
first
and second
lines, third
and
b save 4.
5.
a
able
b
still
a
cable
a
stable
a
making
b good
6.
64
taking
b
could
a
friend of mine
a
send a sign
b
try
AND
first,
(Rhyming
first
third,
and
and fourth
third,
BUSINESS OF
(Rhyming
SONGWRITING
first
lines)
second and
fourth lines)
a
THE CRAFT
(Rhyming
and second
lines)
The
following
is
an excerpt from Pat Pattison's Writing Better
alternatives to perfect rhyme. (For a
Lyrics,
See Bibliography.)
types, read Pat Pattison's Songwriting Essential Guide to Rhyming.
Remember,
in
lyrics
And
vowels.
are sung, not read or spoken.
When
rhyme
lyricists
since
a
is
vowel connection,
ways other than perfect rhyme. Here are the most
you can
sing,
you exaggerate
make
sonic connections
useful:
Rhyme
Family 1.
which offers
complete and detailed exploration of rhyme
The
syllables'
vowel sounds are the same.
2.
The consonant sounds
3.
The sounds before the vowels
after the
vowels belong to the same phonetic
families.
are different.
Rhymes
Table of Family
Here's a chart of the three important consonant families:
PLOSIVES
FRICATIVES
NASALS
Voiced:
bag
vTHzzh
rn n ng
Unvoiced:
p
t
k
Each of the three boxes
When a word ends
in
f
—
of the family to find perfect
th S sh ch
plosives, fricatives,
consonant
a
—forms
a phonetic family.
substitutes.
members
Rub/up/thud/putt/bug/stuck are
and nasals
one of the boxes, you can use the other members
in
rhyme
j
of the
same
family plosives, so they are
family rhymes. Lovelbuzz/judgelflufflfuss/hush/touch are
members
of the fricative family, so they
rhyme. Strum I run Isung rhyme as members of the nasal Say you want to rhyme
Tire tracks across
my
line
family.
two, below:
face
I'm stuck in a rut
First,
look up perfect rhymes for
The
trick to saying
the Table of Family
rut, cut, glut, gut, hut, shut.
something you mean
Rhymes and introduce
is
to expand your alternatives.
yourself to
Ud
uk
ub
up
Ug
blood
buck
club
hard up
bug
flood
duck
hub
makeup
jug
mud
luck
pub
cup
stud
muck
scrub
plug
thud
stuck
tub
shrug
truck
Look
at
t's relatives:
unplug
snug tug
Continued on page 66
WRITING LYRICS
65
Continued from page 65
Much
better. That's a lot of interesting stuff to say
Tire tracks across
my
There's nowhere
feel safe
First,
I
Now
to.
Now, how about
this:
back
look up perfect rhymes for safe
Not much.
no
your rhyming dictionary.
in
look for family rhymes under
fs
we get
All
family, the fricatives.
is
waif.
We add these
possibilities:
av
as
az
aj
case
behave
blaze
age
ace
brave
craze
cage
breathing-
cave
daze
page
space
grave
haze
rage
shave
phrase
stage
face
slave
paraphrase
disgrace
wave
praise
chase
aTH
embrace
bathe
grace
ath
lace
faith
resting-place
space
Finally, nasals.
comes out
The word
means what you
think
it
means.
All
the sound
of your nose.
Tire tracks across
Pounding
like
a
my head
drum
Look up perfect rhymes
Go
"nasals"
for drum: hum, pendulum,
to the Table of Family
un
numb, slum, strum.
Rhymes and introduce
yourself to m's relatives:
ung
fun
hung
gun
flung
overrun
wrung
won
sung
jettison
skeleton
Finding family
to
tie
yourself
When
66
THE CRAFT
in
rhyme
isn't
sung, the ear won't
AND
hard, and
its
rewards are amazing. So there's no reason
knots using only perfect rhyme
BUSINESS OF
know
SONGWRITING
the difference.
when
family
rhyme sounds so
close.
a
U •I't'H
a
then
a
men
c
know
(Rhyming
first,
second, and third lines) or
(First,
b stand
PLUS
second, and third
last lines
adjoining verses)
band
b
b land
show
c
There
are other variations.
of their functions
may work.
is
These forms
to help us
in
In the English language, though, there
rhymes come
at
the ends of the
more important
any consistent position is
in the line
an expectation that the primary
Because they're in a powerful position,
lines.
enhance or
that they
Given that one
are often doubled, for instance.
remember, rhymes
at least don't distract the listener
it
becomes
from the
mood
and meaning of the song.
Some Common Problems With Rhyme A common
failing
among
songwriters
is
to say
what you want
to say in the first
two
lines
and, instead of finding an equally strong statement to finish the verse, settling for a weaker line for the sake
of the rhyme. Sure, you save some work, but you've also effectively
weakened your song. Better
up with an end word
rhyme
if it
dilutes
to have written several versions of the
more rhyming
that offered
your
efforts,
possibilities.
first
two
lines to
Don't reach
and beware of these possible rhyming
come
for the easy
pitfalls:
INVERSIONS Inversions involve twisting the order of words to use a
occur
at that point. It
almost always
feels
rhyme
that wouldn't naturally
awkward. Here's an example:
/ never knew how much I'd missed Until your candy
lips
I kissed
In this situation, I'd go for "lips" as the end rhyme, even though
of "missed/kissed." "Till
I
kissed your
candy
lips" just feels
more
it
lacks the perfection
natural.
IDENTITIES Identities are not rhymes. Identities are: the
same words, words with the same consonant
preceding the same final sound (buy/ good-bye), words that sound identical even though spelled differently arrested for
doing
(homonyms)
parallel constructions like
it/There's
like
"bear" and "bare," "no" and "know."
this; it's just lazy writing.
no doubt about
"Gonna it,"
talk
which
Common
You won't
get
exceptions include building of
about it/Gonna shout about it/Gonna sing about
uses the "shout/doubt"
rhyme before the
last
word.
WRITING LYRICS
67
Also acceptable
is
downtown,
the repetition of a variation of a line for emphasis: "Goin'
way downtown."
goin'
SLANG Slang
is
new rhymes, and many
The only drawback is
expressions. years
of
a great source
hits are
trying to write a song people will record twenty
if you're
from now. By then, the slang we use today may sound
record a song today with the
"Groovy" puts
it
thirties'
squarely in the
based on slang words and
"the
cat's
meow"
really
dumb. Would anybody
or "twenty-three skidoo" in
it?
sixties.
COLLOQUIAL PRONUNCIATION Colloquial pronunciation has a problem similar to slang. Here the drawback in fashion, tailor a
but the reduced ability of other
song to a particular musical
common
in that style (e.g., to
artists to
record the song.
country or
style, like
rhyme thang
R&B,
styles
good
not change
to be able to
and use the pronunciations pain and again). But
(thing) with hang, or
bear in mind, you're limiting the coverage of those songs to
with those
It's
is
who
artists
are comfortable
and pronunciations.
The Exceptions We hear more songs these days that don't rhyme. In most cases, they're from self-contained bands.
They
write their
own
material
and
aren't that interested in having other artists
record the songs. Because they aren't exposed to the same industry scrutiny, they have a
more wide-ranging If
you can
More power
to paint their songs.
your message across to your audience without the use of rhyme,
get
rule that says
from which
creative palette
you have to use
Be aware, though,
it.
that laziness
to them.
there's
no
not a good enough
is
reason to ignore a powerful tool.
Even
in
pop music there
"Moonlight
in
Vermont"
him and Kenny Rogers
is
are examples of songs that don't use rhyme. a
good example; Lionel
in the eighties doesn't
The
standard
Richie's "Lady," a major hit for both
rhyme. So,
why do
they work? There are
several possibilities: 1.
They're both exceptional melodies;
2.
one of rhyme's functions
lyrics,
out
especially
"Moonlight
to help us
is
in
Vermont,"
remember the are simple
and both of those
to
remember with-
it;
3. in the case
of "Lady," the melody's construction
rhythm and meter,
The constant
set
up
a rhyme expectation, so
creative challenge
is
If
you read the
Every line presents
THE CRAFT
AND
a
new
BUSINESS OF
lines aloud, they
challenge and
SONGWRITING
it
may
is
we don't
to find the best
the flow of natural speech patterns, while at the
and mood.
68
lyric,
enough
such that ever miss
it
doesn't, through
it.
rhymes possible and
still
retain
same time not compromising content
should
feel as
natural as conversation.
be that, after exploring the possibilities,
need to choose
you'll
a less-than-perrect
mood, or
naturalness,
rhyme.
It's
more important
that
you opt
of content over convenience or cleverness for
clarity
for
own
its
sake.
Rhyming Dictionaries and Thesauruses Some
rhyming
writers look at
dictionaries as a crutch, as
one. If you've been writing for any time at
rhyme. But when you're
possibilities for
somewhere you can go quickly I've also
to
make
though
were cheating to use
it
you probably know the most natural
all,
really stuck,
always good to
it's
know
that there's
sure you have the best rhyme possible for the
line.
run across rhymes in these sources that instigated a whole new thought pattern.
The human mind
has such wonderful facility for "connecting the dots" between seemingly
unrelated images and words that anything you feed
it
can become an ingredient for
something new.
A
mine once put
friend of
just ran
them through
do
And
for you.
possibilities in
up your own words,
Gene
lyricist
good
sources.
If
you use
available.
line.
head." This
more you
is
use
The
were often comical,
results
coming up
difficulty
one of the things a good rhyming dictionary can the
it,
more you develop
a storehouse of
words that you'd never use
dictionaries contain thousands of
You'll also be able to
by pro
blank in a
in the
rhyme
your mind.
rhyming
All
his
the
few hundred descriptive adjectives in his computer and
a
fill
and usually words that he would have had
occasionally profound,
with "off the top of
to
come up with
so don't let yourself get too attached. The Modern
Lees and Clement
make
Rhyming Dictionary
Wood's The Complete Rhyming Dictionary are both
a computer, there are very fast
Among
in a song.
colloquialisms that aren't in the dictionaries and
and
rhyming
efficient software
dictionaries
the best are:
Rhyme Wizard www.rhymewizard.com
A
Zillion Kajillion
Rhymes
&
Cliches
www.eccentricsoftware.com
Find others by searching the Internet under "songwriters rhyming dictionary."
When
you're looking for a particular
somewhere that
mean
well as
in the
the
neighborhood, you need a thesaurus.
It will
give
a
word
that's
you words or phrases
same or almost the same thing (synonyms) or the opposite (antonyms)
words and phrases that
are only remotely related. It incorporates slang
words by part of speech. Using discovery can send you International
word and can only come up with
is
my
on
a thesaurus
is
like a treasure
yet another exciting journey.
favorite.
Microsoft
Word and
It's
other
hunt
in
and
as
lists
which each new
an indispensable
tool. Roget's
word processing programs
also
contain thesauruses.
WRITING LYRICS
*£_ Using a thesaurus like
is
a treasure hunt
in
which each new discovery can send you
on yet another exciting journey.
It's
an indispensable
tool.
69
Poetic Devices The
great poets have used
by songwriters
many
devices throughout history that are regularly put to
of a great
in the service
unnoticed, like the subtle spices in a
you know
right away,
when
the chef
tells
that without
you what the
their best, these devices
dish.
do you
identify
taste nearly as
them
good. Only
and recognize them
start to separate
what poetic devices should do. Our attention should
not be pulled from the overall meaning and flow of the
overused or too obvious, our attention goes to them. this!
go consciously
Though you might not
them the dish wouldn^t
spices are,
in the overall taste. That's ideally
At
lyric.
gourmet
work
lyric to these devices. If they're
They
say,
"Look
here, see
how
I
did
Clever, eh?"
The
of contemporary writers
skill
and using the devices Alliteration
is
in a subtle
is
in achieving the naturalness
common
common
way. Here are some of the most
the repetition of accented consonants. This
of
is
speech
ones:
a device that can get
ridiculous if carried to extremes, but if used with taste, can be subtly effective.
Dan
Fogelberg in "Same Old Lang Syne" writes "She would have liked to say she loved the
man, but she didn't
Assonance do
not, as in
is
like to he."
when
the stressed vowels in a
word
agree, but the preceding consonants
"You won't be going home."
Similes are comparisons using the word "as" or "like." "Straight as an arrow," "hard
and "sleeping
as a rock," If
something comes
Metaphors
Am a
a
Rock"
Rock," but
to
are also
like a log."
it
settle for these
It
would have been
would not have been
you can
tell a
"Ebony and Ivory" used allegory for racial
is
is
story
I
human
an obvious exaggeration to drive
is
saying the opposite of what you
Simon used irony
sets
two opposing
levels.
Paul McCartney's
"When
the
in
is
home
a point.
The
Beatles' "Eight
Days
both hyperbole and a metaphor.
mean
or pointing up the incongruities of a
"7 O'clock News/Silent Night" by juxtaposing the
"It
ideas against each other for contrast.
Never Rains
in
Southern California"
Michael Hazelwood ("it
pours") worked
way.
Characterization
is
the creation and representation of convincing characters. Always
look for a line of dialogue or an image that says a
70
an abstract idea with concrete imagery.
over news reports of war atrocities.
and Albert Hammond's effectively this
treat
heard the buildings scream."
Irony
Antithesis
"I
had been written "I'm Like
characteristics to inanimate objects:
an example. "You're a hurricane"
classic
if it
on both material and symbolic
is
Christmas
a simile
nearly as effective.
Week"
situation. Paul
one.
the image of black and white piano keys working together as an
attributing
started rolling,
Hyperbole a
new
though.
harmony.
Personification
ground
try a
cliches,
comparisons that don't depend on "like" or "as." Paul Simon's
Allegory is a device that allows the writer to In other words,
commonplace
your mind that you've heard before,
an example.
is
Don't
THE CRAFT AND BUSINESS OF SONGWRITING
lot
more about
the character or situation.
In
Lennon and McCartney's "Eleanor Rigby," we "Mr. Bojangles"
studies. Jerry Jefi Walker's
is
sec three beautifully concise character
a beautiful
Janis Ian's "At Seventeen" was a masterful character study.
personal details, the
way
Ian wrote
it
example of characterization.
Even though
it
contained very
allowed us to experience once again the often
agonizing process of growing up. Eminem's "Stan" creates a believable interaction between his character.
Slim Shady, and a
fan.
Problems With Pronouns One
common problem
of the most
common nouns "principals."
areas in lyric writing
(songwriter, city, canyon).
Here
the use of pronouns. Pronouns
is
nouns (Paul Simon, Los Angeles, Laurel Canyon) and
take the place of both proper
The words pronouns
are five rules for the use of pronouns,
all
replace are referred to as
established in the interest of
clarity: 1.
Make
2.
The
it
clear
pronoun stands 3.
must be
close
by so the
represents.
not wise."
Was
is
a substitute for.
listener doesn't get
"When John
close by, or the listener
Was
won't
know which one
the
talked to Joe, he realized that he was getting old but
John or Joe who was getting old?
it
Avoid having one pronoun represent two principals
was poor."
confused about what the
for.
Avoid putting two principals
pronoun
4.
what the pronoun you're using
principal
principal no.l rich
at once.
and principal no. 2 poor, or
is
"He was
rich,
but he
there only one principal
involved? 5. If possible,
avoid placing the pronoun before
he delivered but didn't believe the messenger." the connection that "he"
is
It
its
principal.
"She heard the message
takes the listener a few seconds to
make
the messenger.
r^f-
Be very you can
about the number of pronouns you use in a song. Without realizing
careful
create a
maze
in
which only you know who's saying what and
said she thought he loved her
that he
move
in."
you can read the
There
line at
whom. "She
more than she loved him, and she wouldn't recommend
are at least three different
your
to
it,
leisure,
ways that
you can probably
figure
line
could be interpreted. If
them
out; but
when
the line
goes by in seven seconds in a song, you're in trouble.
On
the other hand, pronouns serve a valuable function
They can
who
is
Be very careful about the
number of
pronouns you use
realizing
create a
when
they're used properly.
help to guide the listener away from vagueness by letting
them know
exactly
saying or doing what.
in
a
song. Without
only you
it,
you can
maze
in
which
know who's
saying what and to
whom.
Point of View
I
Pronouns
are important in establishing point of view. Certain creative decisions need to
be made by the songwriter. 1.
The
Relating the song in the "/
was on
my way
options
first
are:
person
(I,
me, we).
" to
nowhere.
WRITING LYRICS
71
Having the
2.
singer address the song to the second person (you). "
"You Are So Beautiful.
Third person
3.
is
relating a
"He was a high
The
him, she, her,
me") or
are based
from the
on
and impact. For
clarity
heavy philosophical message
in the third person, in
own
the message in our
listener
"
school hero in a one horse town.
you make
choices
effective to deliver a
singer
else (he,
they, them).
it,
to
song about something or someone
which you
tell
in the first
a story about
instance,
someone
usually very
and we understand
else
way. Second-person messages ("You should
by implying
it's
person ("Here's what happened
.
.
that "I don't need this message bur:
can alienate the
.")
you do"; but second-
person positive sentiments ("you're wonderful," "you deserve the best") are very powerful.
Some
writers use
you do when you I
do
... ?"
"you"
fall
The approach
"you" instead of
with someone you can't have?"
to create the
tejfe listener
sings along, he
is
We
no wrong or
along, he
is
It's
always a good idea to check out
most powerful emotional statement.
singing about himself rather than an
The most commonsense
rather than an
listener's place,
anonymous "you."
sonal feelings. to
"I can't pretend that
rule to follow in
all
a difficult thing to
do
of
this
in the heat
more
closely, try the point-of-view exercise
For an in-depth look
and
all
I
when
is
the possibilities
may
don't hurt"
the listener sings
to try to put yourself in the in expressing
at
it
more
objectively.
your perit's
To
best
study
on page 76.
at the psychological principles in the effectiveness
figurative language, see
pronoun you
of passionate inspiration, so
put a song away for a few days to allow yourself to look
this
the
anonymous "you."
no matter how emotionally involved you may be
It's
"What do
The impact of
right here.
be better than "You can't pretend that you don't hurt" because,
singing about himself
"What do
puts distance between the singer and a hurtful problem by using
"I." There's
choose can vary with each song.
When the
of way.
read this as
as a substitute for "I" in a rhetorical sort
in love
"The Imagination of the
of visual imagery
Listener," chapter three.
Prosody and Meter Prosody
would
the agreement of lyric
is
of pain, longing, despair,
in songs
Ideally, It's
and music.
generally be unwise to use a
"Move On Up"
the
72
an "up," positive message,
Minor chords
as a series
factors also contribute to
it's
and sadness. to
enhance the message of the
to the line
"Up,
lyric.
just the opposite
"Mack
the Knife."
Up and Away" or Curtis
Mayfield
of descending notes, the result would have sounded a graphic
example of the importance of prosody.
good prosody. Watch
THE CRAFT AND BUSINESS OF SONGWRITING
it
are used better
not an accident.
melody
ludicrous. That's the extreme, but
Other
key.
with Bertolt Brecht and Kurt Weill's
a conscious choice,
Webb had written
to the line
minor
your message might be enhanced by doing
feels natural, for effect, as
But that should be If Jim
loss,
If the lyric has
in a
you want the emotional tone of the music
possible, however, that
of what
melody
for
combinations of words that
could be heard as other words.
wind
hold," "Let the
"What do Scuse
stay cold,
guy" (which became the
kiss this
And
This Guy:
title
I
know?" "What
me
while
of a very funny book,
'Scuse
Me
.
.
me
end and begin with the same sound.
that
phrases "teach children" and "strange journey" will give a
my point. Make
I'm sure you get
and
that the singer can easily sing
The
best
way
make
to
good
what you
listener hears
singer an anxiety
tempo
Sing your
lyrics at the
slow tempo but will
words
they'll tie
be performed.
is
to sing
awkward
in
what you want them
them
Words may look
a singer's tongue in knots
feel at all
is
Anyway,
write.
sure your lyrics will sing well
easily at a
If the
what a
certain that
to hear
little.
I
While I Kiss
.
attack unless there's plenty of space in between to allow the tongue to recover.
even a
while
Other Misheard Lyrics by Gavin Edwards).
A similar problem exists with adjoining words The
wino?" "Let the winds take
a
kiss the sky," " 'Scuse
I
as
on paper or
fine
when you
you write them.
increase the
sing
tempo
your mouth or don't sing smoothly,
Some words like "long" and
One allows
and
If
rock
you
emotional meanings that
out of place in a slow ballad but right
feel
to emphasize natural speech patterns
make
on the wrong
the words
syllables or
you were paying attention star,
at
home
Why
fit
do you need
it,
to
tie
them
feel
wrong
know
So
let's
We
usually heat
and
lyric are:
them
of Foot
in
meter.
Its skilled
into too
little
write.
use
musical pulse
musical space.
of daydreaming about being a follows.
You
just didn't think
meter?
You may not need
to
remember
that they are options to be considered
go back to English
Few
things are
the
and
names
that they
more deadly than an lyrics
entire
don't usually save
class again.
unstressed syllables and words are called "metric feet."
groups of two or three. Those most
commonly used
In-sane, good-by, to-night, for
r
trochee
,
w
anapest
w
w
r
dactyl
r
w
w
spondee
,
r
w
f
heal-thy, I6v-er,
v
in poetry
Accent
Examples
Scansion
w
what you
by the way, that you heard someone use iambic pentameter
The groupings of stressed and
amphibrach
lyric
iambic pentameter, and the melodies to those
in a conversation?
singer can easily sing
in a high-intensity rocker.
is
effectively to the
many words
in English class instead
know about
When was the last time,
Name
and
squeezing too
can be used for emotional effect and for variety.
iamb
what you want them
right?
of the patterns, but you should
lyric in perfect
certain that
comfortably with the music without putting the
you would probably already know about what
you'd ever need to use
them.
own
of the most important tools in the service of prosody
melody. It helps
accents
"cool" carry their
over short, choppy notes. Action words like "jump," "run," "crash," and
may
"flash"
Make
what a listener hears is
to hear and that the
change them.
when sung
r^
good
ta
TUM
TUM
mo-ney
ta
go-ing out, ma-king sense, un-der-stand
ta ta
TUM
po-e-try, ul-tT-mate, I'm 6-kay, you're 6-kay
TUM
ta ta
down-town,
TUM TUM
star-ship, head-long
be-liev-ing, con-cern-ing,
I
love
it
ta
TUM
ta
WRITING LYRICS
73
The emotional impact of Spondees
(TUM TUM)
a
song can be greatly influenced by your choice of meter.
is
the
most commonly used meter and has
history in English poetry, probably because
So
seriousness.
are dactyls
lightness about
TUM/ta
ta
Though
them
TUM/ta
(TUM
human
closest to
speech.
It's
good
Three-foot meters, particularly anapests, have a
them
for particularly
heavy subject matter (Ta
you need
up
for a
ta
dynamic change of meter.
way
to repeat the metric feet in a
that not only
makes them
comfortably with the musical pulse, but emphasizes the intended meaning of the
As an
for
overuse of the same meter can be monotonous, just enough repetition can
In songwriting,
its
it's
a long
TUM).
create tension to set a listener
fit
ta ta).
that doesn't suit ta
TUM/ta
have a very deliberate feeling. Iambic pentameter (Ta
TUM/ta TUM/ta TUM/ta TUM)
illustration, let's take a line that
could have several meanings and "work
lyric.
find
it" to
best setting:
I
need/you in/my
A
life/
duple meter (two syllables per foot)
emphasizing "need," "in," and
(Iambic)
"life."
"In"
doesn't take the emphasis particularly well
because
weaker word.
a
it's
or I
need/you in/my
life/
Another duple meter emphasizing
life/
A
"you," "my." Feels more natural.
(Trochee) I
"I,"
need you/in
my
triple
meter (three
syllables per foot)
emphasizing "you" and
(Anapest)
"life."
or I
need you/in
my life/
Emphasizing "need" and "my."
(Amphibrach)
Depending on
the length of notes
and
rests,
these versions could be
done
in either
4/4 or
3/4 time.
Try your own melodies with
these variations. Sing
them out
loud. You'll find your
melodies changing with each variation to accommodate the meaning of the line musical meter. This a
melody
is
a process that
to lyric, lyric to
melody, or
and
the
should happen regardless of whether you're writing lyric alone.
Once you
get used to
it,
the process goes
very quickly. Let's try a straight
4/4 with equal emphasis on each note.
12
3
4
1
1
1
1
/
2
3
4
/
/
/
It feels
4/4
1
this I
need you
in
my
a
long
little stiff this is
a
little
THE CRAFT
AND
BUSINESS OF
"life" held
make
life
"life" a beat shorter
74
way and
strained. Better to
SONGWRITING
and end
in a rest.
How
about emphasizing
1
4/4
I
3?
2
3
4
12
3
4
N ot
-
I
-
I
-
I
-
to hold "life."
in
my
/;/r
wed' you
I
and
1
emphasizing
and
1
3.
it
would again be awkward
You can
add
also
to the
emphasis of "vou" bv raising the melody
on
Still
bad. but
vmi can use
that word.
a "pickup,"' starting the lyric before the
downbeat.
12
3
4
12
3
4
This gives vou the chance to use the accents
I
I
-
I
I
-
and maintain vour choice
need you
in
my
and
2
4 '4 /
I
2/4 /
I
-
-
need you
I
-
my
1
4/4
-
/
Still
3
I
-
"lite." It also gives the line
4:
12
3
4
We're
I
-
I
de-emphasize
my
and
still
accenting the "in
need you
let's
and
4
in
my
life
and
12
3
12
3
/
-
-
/
in
my
lift
I
-
need you
2
3
I
2
you
in
3
I
2
3
-/.-/--//
This one
here, but can
by raising the melody on "life."
try a\\
feels
"
eighth note
good
feel
again.
too.
switch to 3/4 waltz time:
-
/
it
both "need" and
lift
3
and
2
you can emphasize
more urgency.
I
in
us ing eighth notes,
"need" and
--/-../Now
3/4
Rv
lite
4
needv»
/
3/4
and
4
-
accenting the backbeat, you can delay the line and
I
4/4
2
and
3
on the backbeat, 2 and
Let's try leaning
or emphasis.
lire
and
in
-
need
my
— too predictable
A
little stiff
A
little
smoother with more room
tor a
singer to play with the words.
lift
WRITING LYRICS
75
2
I
3
2
I
3
need you
I
interesting, less predictable
I
my
in
More
I
il-ll-
3/4
lift
or with a pickup
2
I
3/4
12
3
Again, more interesting with
1
--//-/
/
you
need
I
3
in
my
singer to
room
for a
move.
life
In this chapter, I've explored the major areas that concern you as a lyric writer. There's a lot
more
to learn. If you're serious
can on the subject faster
way
to
(see the
about being a songwriter, you'll read everything you
Bibliography for some suggestions), but there's no better and
improve than
When
to write constantly.
examples and encounter problems that
you do,
you'll create
will give a practical context to
your
what you
own
read.
EXERCISE Look
your favorite songs.
at the lyrics for
or third person.
If it's
in
If it's
third person, change
it
in first
to
first
person, change
or second,
etc.
it
to second
Think about
which one seems to have the most impact for you. You'll usually discover why the writer chose to do
76
THE CRAFT
AND
it
BUSINESS OF
that way.
Now
SONGWRITING
do the same for your own
lyrics.
.
chapter five
Constructing a Song: Words
No
how
matter
on
take
The song
is
and Music Together
a
creative
whole new
and powerful
life
greater than the
and
or melodies
lyrics
may
be by themselves, they
whole new power and magic when
a
sum of
its
parts.
Whether you're
they're together.
a specialist at
one or the
how
other or a genius at both, an essential aspect of your craft
is
the parts
cover the elements of songwrit-
fit
together to create that magic. In this chapter
I'll
understanding
to
make
ing that relate most to words and music as a whole.
Form The form,
also called the
In this section,
how
1
I'll
"format" or "structure,"
is
a song's basic shape or organization.
examine and explain:
a song's basic
components
—
verses, choruses, bridges,
and pre-choruses
—work
together to keep a listener's interest; 2. a song's basic 3.
how
In the
forms and variations and their best
fifties
and
early sixties, there
them, the odds were heavily against perpetuated themselves.
of
hits like
also
(2 bars)
becoming
The l-6m-4-5
as
(1 bar)
it
A
laid the (1 bar)
Those old progressions and new
its
(e-g->
If a
song didn't conform to one of
a hit, so the
C Am
chord progression formulas
F G) progression spawned hundreds
"26 Miles," "Silhouettes," and "Earth Angel." The twelve-bar blues format
popular
B7
trends.
were hardly more than three different chord progres-
any kind of popular music.
sions (formulas) for
was
uses;
form so you can keep up with contemporary
to analyze
artists.
foundations for rock and
E
but the basic shape of the songs will
E
(4 bars)
A
(2 bars)
E
(2 bars).
are familiar
They're predictable:
forms and variations
roll (e.g.,
is
continue
enough
The
to
us feel at
home
with
new songs
chords, the words, and the tunes are different,
the same, so
as
make
we can
they have for many,
learn
them
many
quickly.
Some
basic
years for a simple reason:
They work. People have an unconscious desire for symmetry, and the repetition of rhyme, melody,
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
77
rjgThe repetition of form sets
up a degree of
and form
satisfies that
The
need.
repetition of
and comfortable
that's reassuring
form
also sets
up
to a listener. It sets
up
a degree of predictability
on which we can
a solid base
create surprises without taking our audience too far into uncharted territory.
The manipulation of form
predictability that's
form
comfortable to a
make conscious
listener.
the elements of form,
beyond the
important game to know. Classical musicians learn
a very
of their training; and for you,
reassuring and
as a basic part
is
choices about form
familiar as
to be in control of your art.
is
what they do and why, you
popular songwriter, to be able to
as a
own
write your
Once you understand go
you'll be able to challenge yourself to
songs.
The Components of Form VERSE The
verse
is
the major vehicle for conveying the information of the song.
function, both lyrically and
musically,
another verse, or a title/hook
line. If
it
is
up"
to "set
other major
Its
(or lead to) the chorus, the bridge,
doesn't do one of those things well,
not working.
it's
Verses have certain basic characteristics:
The
1.
from verse
lyric,
each time.
It
may
to verse,
is
new information
different or contains substantial
contain elements of previous verses (such as the
title line if
the song
has no chorus).
The melody
2.
variation
the
same
is
and some
essentially the
flexibility to
same each time we hear
accommodate
because that familiarity makes
is
it
the
lyric.
The
it,
although there
is
room
for
reason for keeping the melody
easier for the listener to focus
on the changing
lyric.
CHORUS In contemporary songwriting, the chorus (sometimes incorrectly referred to as a "refrain")
and meaning of the song into
focuses the essence, emotion,
Can Love You
statement, like "I
Meant
for
Me." The chorus
the "hook"
is
Like That,"
also usually the
concentrate on detail, the chorus can
The
The melody
2.
The
song's
3.
The
lyric
is
is
the
title
segment of the song often referred
to as
part of the song).
While
a broader statement that bears
same each time we hear
usually appears in the
usually the
verses usually
more
repetition.
first
it.
and/or
last line,
commonly used
in
A
Union of Souls'
"I
to use
some new
good example of
that
country music, where the "twist"
chorus.
example of a song with a chorus that changes every time but
Blessed title at
last
and possibly more.
same each time, although you may want
a "turnaround": a tactic
not revealed until the
An
78
remembered
Were
information in subsequent choruses to develop the story.
would be is
easily
basic characteristics of the chorus are:
1.
lyric
make
and
Problems," or "You
memorable
the catchiest, most
(i.e.,
a simple
"Mo Money Mo
Wanna Be
the beginning of lines
There."
1, 2, 4, 5,
THE CRAFT AND BUSINESS OF SONGWRITING
and
8,
It
still
works well
is
has an eight-line chorus that repeats the
with the
rest
of the chorus
lyric
changing
—
.
in
even- verse.
to sing along
A
title
many
repeated that
with and can
times guarantees that a listener has something
change other informa-
easily learn. It also allows the writers to
tion in the chorus without worrying about losing their listeners.
Even though
there
may
be reasons for you to change the
reason for you to keep at least a substantial part of
your song quickly and
easily. If
can go away singing
If you
you make
it
it.
the same:
it
there
a very practical
is
You want
listeners to learn
they hear the same chorus three times during the song, they
change
or even
all
some of the
lyric
and music on each chorus,
harder for the listener to remember. If you have information in the verses that
you want people
to think about, the chorus should let a listener relax with
allow the verse information to sink divided between the
even
lyric,
when you
particularly the
feel
lyric
and the music, making
you need
title line
Be aware
in.
extra important to retain simplicity.
it
change the chorus
to
—should remain
simplicity to
its
that, in a song, the listener's attention
amount of
a substantial
lyric,
is
So
frjjr
You want
listeners to
learn your song
quickly and easily.
If
they hear the same
chorus three times during the song, they can go away singing
it
it.
the same and be repeated every time.
BRIDGE Also called a "release," "break," or "middle eight," the bridge provides a variety of important functions in a song. Musically, reason,
it's
"boredom
helps to relieve the
it
usually placed about two-thirds of the
chorus in a verse/chorus form), which
is
way
factor,"
and
for that
into the song (after the second
normally when people
may
begin to
tire
of
melodic repetition. The bridge zaps the listener back to attention, helps her to refocus on
and can add drama
the song,
many
in
other ways. Musically, you can employ any device
used to achieve contrast described in the "Song Dynamics" segment that we'll get to
The
bridge can also be purely instrumental.
sounding
possible without
like
opportunity to change gears.
way by changing from
specific
Its
belongs in a different song. Lyrically,
You can
reiterate the
The
is
different
you the
versa), or using
it
as
an "aside"
basic characteristics of a bridge are:
may
be used in the bridge.
doesn't contain the
and/or hook, but
title
that's certainly
not the law.
That decision may depend on how many times you have repeated the title/hook song. If 3. It
you haven't done
a,
b. 4. It
piece in
it
much,
it
might be wise to use
usually occurs only once in the song, but
chorus form. it
Two
constructed correctly,
title its
may
be two bars, two
in the
again.
can be repeated in an extended verse/ like a chorus:
and/or hook, and
melody
rarely over eight bars long. After
itself. It
it
it
things prevent that kind of bridge from sounding
usually doesn't contain the
if it is is
new
from the verse and the chorus, although occasionally a portion
of the verse or chorus melody 2. It usually
offers
philosophy of the song in a whole
imagery to something more abstract (or vice
melody
it
later.
as different as
the "person" (going from "they" or "you" to "I," for example), going
or for outside commentary. 1
it
The melody should sound
leads
all, it's
lines,
back into the verse or chorus.
supposed to be a diversion, not a whole
or whatever
is
needed
to fulfill the function
of breaking up the song. 5. It is entirely
optional.
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
79
.
You're most likely to want a bridge
and choruses. The more
verses
bridges are great
"boredom
you have a
if
lot
of melodic repetition in your
more you
repetition, the
inducing boredom, and
risk
busters."
PRE-CHORUS Pre-choruses are melodic segments that are different from the verses, chorus, or bridge.
They
are
known by many
other names (climb,
lift,
channel, B-section, pre-hook, setup),
of which give you clues to their function. They're used extensively
all
music
—
primarily in
pop and R&B/hip-hop
in country/pop. Producers
seem
—although
in
contemporary
they've been gaining popularity
to favor pre-choruses to help create
an additional
level
of interest to keep a song exciting, particularly in up-tempo or dance songs where extra length and faster
When until
there
you
tempo make
first
a straight verse/chorus
hear a pre-chorus,
you hear the chorus
it
are:
"End of
the Road," Boyz
II
Men
John Lange, Shania Twain); "I
Can Love You
(Sheryl
Crow,
hits that use a
by Kenneth "Babyface" Ed-
of Mine," Shania Twain (Robert
Like That," All-4-One, John Michael Is
a
Wind-
Jeff Trott, Brian Macleod).
They
directly precede the chorus.
2.
They
usually precede each chorus, but
may
you can find a way (musically) to get back 3. Lyrics
The
be dropped after the
to the chorus without
first
couple of times
it.
can be the same each time or different. Melodies are the same each time.
length varies, like the bridge, from one line to four. Pre-choruses usually
no longer than 5.
where
basic characteristics of pre-choruses are:
1
4.
going to be the chorus,
Diamond, Jennifer Kimball, Maribeth Deny); "Every Day
Road" Sheryl Crow
The
if
(Steve
too repetitive.
it is
Some examples of
(written
Man
monds, Antonio Reid, Daryl Simmons); "Any
Montgomery
feel
as if
that follows. It should increase the tension to the point
a great sense of release going into the chorus.
is
pre-chorus
ing
form
almost sounds
last
eight bars.
Musically, they build tension to increase the feeling of release in the chorus.
Here's a classic example of a country/pop crossover hit by Faith Hill that uses a prechorus.
"This Kiss"
BETH NIELSEN CHAPMAN/ROBIN LERNER/ANNIE ROBOFF Verse
I don
't
want another heartbreak
I don
't
need another turn
I don
't
want
Baby
Hello, oh no, goodbye
to learn the
But you got me
like
to cry
hard way
a rocket
Shooting straight across the sky
80
THE CRAFT AND BUSINESS OF SONGWRITING
.
.
.
.
Pre-cbortis
way you
It's
the
It s
a feeling
like this
It s centrifugal
—
motion
It s
perpetual
It's
that pivotal
bliss.
moment
ahhh, impossible
It's,
Chorus
me
love
This Kiss, This Kiss
Unstoppable This Kiss, This Kiss
Verse
Cinderella said to
How does
Snow White
love get so off course?
All I wanted was a white knight
With a good Ride
me
heart, soft touch, fast horse.
off into the sunset
Baby, I'm forever yours
Pre-chorus
It 's the
—
perpetual
blis.
that pivotal
It's
moment
ahhh, unthinkable
It's,
Chorus
me
love
like this
centrifugal motion
It's
It's
way you
a feeling
It's
This Kiss, This Kiss
Unsinkable This Kiss, This Kiss
Verse
You can
On
me
kiss
in the moonlight
the rooftop under the sky
You can
me
kiss
with the windows open
While the rain comes pouring inside Kiss
me
in sweet slow motion
Let's let every thing slide
You got me floating, You got me flying.
Pre-chorus
It's
the
way you
love
me
—
It's
a feeling
It's
centrifugal motion
like this
It 's perpetual
bliss.
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
81
that pivotal
It's
ahhh, subliminal
It's,
Chorus
moment
This Kiss, This Kiss It's
criminal
This Kiss, This Kiss
Several different factors
make
this
work:
Each section of the song's three sections has a separate melody. This
1.
fact
diminishes
the need for a bridge because there's already a variety of melodic changes to hold the listener's interest.
Each section has
2.
a totally different lyric
meter
(see
"Dynamics"). Again,
this gets
the audience attention with each change.
The pre-chorus
3. sets
up
made up of a
is
series
of short
lines.
a tension that begins to release in the last line
meter changes, "setting up" the chorus, signaling for us are three repetitions of the two-line
make
particularly powerful setup to
melody the
The
repetition of those lines
of the pre-chorus where the to join in.
in the pre-chorus.
last line
lyric
Notice that there
Groups of three
are a
of the third repeat pay off strongly.
Analyzing Form Before getting into the forms themselves,
you
To The
I'll
explain
how you
can analyze the song forms
hear.
consider the
start,
first
melodic segment you hear (not including the intro)
next complete melodic section that has a melody different from
the third "C," etc. Repeats of any melodic segment get the
Count
bars or measures starting at the
downbeat
For 4/4 time: 1-2-3-4, 2-2-3-4, 3-2-3-4, 4-2-3-4, For 3/4 waltz time: 1-2-3, 2-2-3, 3-2-3, 4-2-3,
When
same
"A"
letter
is
as
"A."
designated "B,"
they got the
first
time.
as follows: etc.
etc.
the next melodic segment starts, begin counting at bar one again. Enter the total
number of bars
run. You'll
in
each segment. Be sure to include any instrumental breaks, using "inst."
some other shorthand
or a dash or
to designate
end up with a diagram that looks
them, along with the number of bars they
like this:
A-8, A-8, B-8, A-8 or
AABA 8888 Here's a
make
82
notes.
THE CRAFT
or
ABC
ins
ABC
888
2
888
more graphic way Each of the
AND
BUSINESS OF
to lay
it
out quickly so you can easily add extra bars and
slash notes represents a beat (in
SONGWRITING
4/4 time).
INTRO A
1///2///3///4///5///6///7///8///
B
1
C
1///2///3///4///5///6///7///8///
INS
1
Try and,
/ /
1
/
/ / /
/ / /
this exercise
2
2
2
/ /
/
/ / /
3
3
/
/ / /
4
/ /
/ / /
/ / /
with songs on the radio.
more importantly,
it
will
music between
extra bars of
4
/ / /
show you
sections.
a
It
will give
you
a repertoire
of basic forms
wide range of variations that work, such
Even though
you'll find the
forms
falling into
predictable patterns, the variations often give the song the sense of surprise that
and
special
as
makes
it
exciting.
Note how the form contributes
to
how memorable
a song
balance between predictability and surprise, repetition and
commercially acceptable time
is
new
by helping
information,
it
achieve a
all
within a
ag:
r
The form contributes to
limit.
how memorable
song
The Basic Forms
it
between Title/hook in
first
or
unless there
last line
is
a repeated chorus with the same
melody
A A
by helping
achieve a balance
AAA A
is
a
predictability and surprise, repetition
"
and new information,
"
all
within a
commercially
This
interest.
are
an old form, used commonly
is
in traditional folk
contemporary songs, because there
results in
The
title line
two repeated
any number of
usually appears in the
lyric phrases,
verses.
is
one
in the first
You might
music but
no chorus or bridge first
or the
and one
use this form if
last line,
with good
melodic
but occasionally there
in the last line.
you had
rarely
to help sustain
acceptable time limit.
a lot
The form can have
of important
lyrical
content, but wanted to eliminate the time spent repeating choruses. In the absence of a
chorus that "sums up" the song, you'll want the verses to end with a dramatic kind of
"payoff"
line.
examples
are:
Often
they'll
Walk
end
in a refrain, a line that repeats a couple
Johnny Cash,
"I'll
Bette Midler,
"The Rose" (Amanda McBroom)
"By
the
Time
I
Get
to
Some
the Line"
Phoenix" (Jimmy Webb)
Bob Dylan's "The Times They Are
The
of times.
following examples are
AAA
a Changin'
"
form melodically, although they contain a chorus
lyric that repeats:
Bruce Springsteen's "Born Billy
in the
USA"
Ray Cyrus's "Achy Breaky Heart" (Don Von
Goo Goo
Tress)
Dolls' "Iris" (John Rzeznik)
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
83
Variations: There are variations of this form, like
which uses
a short refrain
Don
between every couple of verses.
It's
Henley's "Dirty Laundry,"
and the
the refrain isn't a part of the basic melodic structure of the verse,
chorus because
it's
hook
very short and does not contain the
AAA because
not a standard
line
(which
refrain isn't a
is
contained in
it
has a chorus,
the verse).
Musically, Bruce Springsteen's "Born in the its
melody
is
the
same
USA"
is
an
as the verses. That's very unusual,
instead of "The Boss"
and you weren't already
AAA: Although
and
if
you had written
song
this
a successful artist, your publisher probably
would have demanded a rewrite. Without a powerful performance, the song would be musically uninteresting.
Another variation of the
AAA
title line.
A short
form
on
the last line. This special focus
is
an extension created by repeating part or
that line, however,
makes
important that
it
hook can be used
instrumental section or melodic instrumental
it
all
of
be the
to break
up the potential monotony. Caution: You need
to be very careful to
"The Rose") without making
it
make
A ABA A Title/hook in A
Title/hook in
B
New
A
Title/hook in
to see
first
or
last line
first
or
last line
melody and first
what
interesting as possible (like
— Four
two melodic
last
This
easily.
of each
lines
is
generally
Hum
verse.
mean.
I
8-bar sections
lyric (referred to as the
or
melody as
too complex to be remembered
accomplished with a melodic variation in the
any of the examples mentioned
the
"bridge" or "middle 8")
last line
Variations
A A
As above
B
New
melody and
lyric
A B
Repeat B section with or without Sting did in "Every Breath
A A
or
make up
a totally it
a
new
"C"
bridge as
section).
Repeat first A or part of first and part of second A or part of first A and new lyric. Repeat second A
AABA
is
remember.
mid-tempo
84
lyric
You Take" (which would make
a classic
song form with
considered the ultimate song form:
at fast
new
It is
used in
all styles
ballads, because
its
a long
It's
and popular
history.
of music and
all
it
was
and easy
to
tempos, but most frequently in slow or
32 bars (four 8-bar
sections)
make
tempos. Variations have developed that can accommodate
THE CRAFT AND BUSINESS OF SONGWRITING
At one time,
short, concise, melodically seamless
for a very short faster
song
tempos and the
need
more room
tor
placement (like
is
to
the story. You'll find your
tell
usually in either the
last line
"Yesterday"). You'll hear songs in which the
section, although the objective
and
or
first
is
to
go
to a totally
own
as the
need
of the verse, but title will also
new
it
arises.
Hook/title
can occur
in
both
be recapped in the "B"
place in that section both musically
lyrically.
Note
that despite
most commercially perform them.
it's
illustrious history, the
Most of
viable.
When
AABA
form
is
not usually considered the
the ones you'll hear are written by the artists
who
given a choice, most producers will choose to record a song with a
repeating chorus. Examples are:
The
Beatles' "Yesterday"
Billy Joel's "Just the
(Lennon/McCartney)
Way You Are"
Bruce Springsteen's "Fire" and "Streets of Philadelphia" Shania Twain's "From This
Moment On"
VERSE/CHORUS FORMS The or
varieties
more
#
A
of this most popular form provide a
verses to
tell
1
Verse
vour
maximum
of chorus repetition and two
storv.
#2
#3
#4
#5
A
A
Chorus
A
Verse
A
Verse
Verse
B
Pre-chorus
Verse
B Chorus
B Chorus
B
Verse
A
A
A
A
Chorus
B Chorus
C
Chorus
A
Verse
Verse
Verse
B Chorus
B Chorus
B
Verse
A
A
C
A
Chorus
B Chorus
B
Pre-chorus
B Chorus
C
Chorus
Verse
B Chorus
Bridge
B Chorus
Version #1 gives
you
you have a
section
made up of three
line,
a
maximum
verse
and chorus
repetition.
A
potential
of melodic repetition within each verse or chorus, such
that, if
lot
Verse
problem as
is
an 8-bar
2-bar melodies with a slight variation in the fourth 2-bar melody
you may have too much
repetition. In that case, Version
a bridge for the third verse helps to break
it
#2 with the
substitution of
up. Version #3 with the chorus
first
can give
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
85
you more a chorus
repetition of the chorus in a shorter time.
depends on the
dynamic opening interest
on
If
to the song, try the chorus first unless
this
and chorus positions Version
choice of whether to start with
development of the song.
lyric
and suspense and
used variations of
The
form.
to see
#4 with two
up" the chorus
"set
It's
verses in front
is
is
a
much
song because of the additional time
it
Many
it
a test
much-used form.
greater
first
and second
problem
in a
Its
to use since
variation of the
you should have
first
verse
melody
could also consider using your delay in reaching the
a very
you may want
verses,
hook
verses to offset the delay in
slow ballad than an up-tempo
is
may not
some arrangement
first line
You'll also occasionally hear an
second
(AAABAB
Schlitz).
AABAABB
or
AAABAAB)
are rare.
Both have such exceptional
unwelcome
An
unless you have
Clay Walker.
another good way to
only two chorus repeats.
interesting variation
Version
It
#5
way
on up-tempo
has such strong lyric continuity that
offers the
the segment that
it
makes the difference
here. This
Many
you
that
"Chain of Love" recorded by
was a
hit as
an
excitement of three different melodic segments.
where the three segments go by quickly.
is
songs.
to sustain the listener's interest.
the beautiful message story song
is
lyric
intrusion.
variation, particularly
don't delay the chorus unless you have another good
Don't delay the chorus
is
You
verse.
of the chorus to avoid even further
Again, those choices will be different for each song, but the guiding principle
interest.
you do
examples that come to mind are The Eagles' "Lyin' Eyes" (Don Henley/Glenn Frey)
continuity that a chorus any earlier would be an
sustain the listener's
If
devices or write a
line.
and Kenny Rogers's "The Gambler" (Don
lJfc_
same
be the best
important reason to delay the chorus.
to look for
the
to propel
deadly. If both verses cover the
Variations of this form opening with three verses
Two
word has
to help sustain musical interest in the
title in
hits
workability depends
information in a different way and don't depend on each other, this
need to use two
Motown
by switching the verse
takes to get to the chorus. Every
the story forward. Repetition of information
form
verses to build
sixties'
best.
also a
a very strong lyric continuity between the
getting to the chorus. This
important to generate a
you want the
as a "payoff."
always a good idea to give
which works
it's
form works best
in
AABAABA The
with
pre-chorus
up-tempo songs
variations are possible with this
form
including repeated instrumental versions of any of the segments and instrumental breaks
between segments. Here are some examples:
•
AABCABCBCBC ABCABCDBC or
•
ABC ABCD ABCD,
•
or
the
"D"
being a bridge with a
new melody, with
or without
lyrics.
Dance Music With
the increase in the
R&B/hip-hop Dance
86
charts,
number of dance songs
we
see
much more
in the
four-minute range on the pop and
experimentation with these extended forms.
records are developed for pop, rock, and urban radio and singles for the dance
THE CRAFT
AND
BUSINESS OF
SONGWRITING
.
The
club market.
way
records are usually formatted in a
means
edited or remixed. This
that allows the record to be re-
that, originally, a longer version
recorded with more
is
segments that can be removed to make a shorter version for radio or
left in for
the dance
club market or for radio stations that like to play the long versions.
Records earmarked specifically for the dance club and "rave" market, and not for radio, can break more
rules.
Since there's a captive audience and you don't need to get their
attention and since records well over four minutes are the norm, there can be long,
slow-building intros, additional sections, and long instrumental breaks that would be too
monotonous on
radio.
dance groove. Beyond
The
record's
major appeal
that, there are
no
dropping out and bringing
tricks like
of room for creativity
in vocal
arranging and producing
new
stars
in instruments or repeating "loops," there
Dance music
then other instruments, loops, vocals,
based on having a relentlessly exciting
Aside from a few conventional arrangement
rules.
and instrumental
skills.
is
usually "written" with the groove
is
added
etc., are
them
to seamlessly keep the
first;
DJ/producers have become the
later.
of the dance scene by virtue of their use of new
that allows
a lot
is
textures particularly for songwriters with
digital "turntable"
technology
music going by segueing between songs with
different tempos, their choice of recordings,
and the creation of
their
own
digital loops
to provide transitional grooves.
EXERCISES Write
1
2.
a
song adhering
one of your
Pick
have a
new melody
a.
exercise and
new
lyric
You may even
Have a collaborator create
a
to
its
melody. This
commonly used by
it's
to write to. Try to write the
feeling as the original.
FORM
to each of the standard forms mentioned.
favorite hits and write a
"dummy melody"
the
strictly
IN
lyric
try to use the
lyricists
called
is
who
don't
with the same emotional
same rhyme scheme.
new melody without
letting
know
him/her
the
melody you used. 3.
Analyze the forms of ten current with ten
new
and discover
songs.
radio for country and 4.
Write songs
in
a great
It's
why you
hits.
way to
Do
stay current, explore
think they work.
R&B
exercise about once a
this
There are
also
month
new form variations,
weekly countdowns on
music.
the standard forms using
new
variations of those forms.
Choosing a Form Even when your songs come spontaneously, there which form After that you'll
first flash
need
effectively.
to use. Usually writers will
to
is
a point at
which you need
to decide
come up with a single verse or chorus idea
first.
of inspiration and an exploration of what you want the song to
have an idea of the type of form you'll want to use to help you say
You may do
it
say,
more
that unconsciously, as a natural result of having listened to the
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
87
radio
your
all
life
—you
just feel
where there ought
a conscious evaluation of the reasons. it
to be a
change without
That approach often works
doesn't, like a beginning guitar player
who
writes
really
making
but sometimes
just fine,
monotonous two-chord songs because
he only knows two chords instead of learning a few more chords. You have to remember that
what you already know or
Another problem
in
You might
yourself into a corner."
you wanted
It's
now
much
on
—
work
if you
do have
knowing your
the basis of
is
form with many sections a
it's
(like
it is
to set
up
it
—make
to be three
better in the
those decisions
options.
your choice of form?
in
an
it's
with the music,
If you're starting
an up-tempo song, you
may need
a
ABCABCDC or AABABCB) to help you sustain musical
slow or mid-tempo ballad, you can use either the longer or shorter forms.
If you're starting
from a
lyric,
the
mood and
subject matter will dictate the
the music. In other words, "Genie in a Bottle" wouldn't
and the
wanted
idea halfway through the song
a major factor in dictating the form. If
interest. If
really
song because the form you chose didn't
to restructure the
you had another
or
you
faced with a rewrite that might include a restructuring of the whole
So what do you consider
tempo
lock into a form that, by the time you've said what
harder to get out of a corner like that than
beginning. Even quite
the songwriting equivalent of "painting
is
to say, has resulted in a five-minute song that
minutes. You're song.
about form could be limiting.
feel
choosing form by "feel"
lyric to the Titanic
theme,
"My
Heart Will
work very
Go On,"
tempo of
well as a slow ballad,
wouldn't be
as effective in
a fast dance song.
Tempo
is
usually arises
also
determined by the ease with which the
when
there are lots of words. If the tempo's too
your tongue trying to get them
all in.
If you
sixteenth note lyric, be extra careful that the
want
words
Experiment with a metronome by singing the
against the rhythm.
you can have
a
There
slow-moving
are other
lyric
minute
you may
fast,
are easy to
tie
knots in
is
-
pronounce and sing together.
lyric against various
tempo
tempo
settings.
Fewer
to phrase them in an interesting
variables available,
due
to the fact that
and melody over a double-time groove.
Whichever way you choose, once you've lines will
can be sung. The problem
a rapid-fire one-syllable-per-eighth or
words generally pose fewer problems, but the challenge
way
lyrics
set the
tempo and determined how many
lyric
be in each segment, you've begun to lock yourself into the form. If it takes one
to get
through a verse and chorus and you're looking for a three-minute song,
your options have already shrunk. Also consider the amount of idea to condense, the as
I
mentioned
earlier, it's
three- or four-section particularly if
lyric
needed to
tell
the story.
AAA form gives you the most room
Though
it's
always a good
to stretch lyrically, even though,
not a good form from a commercial standpoint.
Any up-tempo
form can give you plenty of lyric space with strong musical
you use pre-choruses
for
(AAA) and two-section (ABABAB) forms
new
lyric
at fast
interest,
information each time. One-section
tempos, though they allow for a
maximum
of lyric information, can be melodically boring because the melodies repeat so often.
With
88
THE CRAFT
a spare,
AND
condensed
BUSINESS OF
lyric,
you have many options. You can
SONGWRITING
lay
them over
either
an up-tempo trade or a slow ballad and,
in either case,
have plenty of room to accommo-
You can
date the individual phrasing styles or different singers. a
maximum amount
slower tempo has
of both repetition
more
for that lyric to unfold,
and musical
had
it
else,
better be
is
initiated
by
need to find
is
the listener wait
true of the music.
once you've worked with these forms,
will find creative solutions.
a
a spare lyric at a
making
worth the wait. The same
second nature to you. You'll also find that you
which you
use any form and insure
However,
or an obligation to be interesting. You're
and
Eventually, like anything
for
interest.
a graceful
A
will get yourself into
substantial
problematic situations
amount of innovation
way out of a jam.
If
become
they'll
you already have
in
music
a repertoire
of solutions, you're ahead of the game.
r«8: A substantial amount of innovation in music is
initiated by a
find a graceful
Hooks "Hook"
is
the term you'll hear most often in the business
maybe not
much
as
as "Sorry,
more you hear about hooks now,
The hook
we
and
can't use
of commercial song-
your song," but
the less you'll hear
has been described as "the part(s)
craft
"we
you remember
possible
it's
can't use it" later.)
after the
song
over,"
is
"the part that reaches out and grabs you," "the part you can't stop singing (even
you hate are
and "the catchy repeated chorus." Some of the world's
it),"
commercial
Here
way out
of a jam.
writing. (Well, that the
need to
greatest
hook
when
crafters
How many times have you had a jingle stick in your mind?
jingle writers.
[«& Some
are several categories of hooks.
of the world's
greatest hook crafters
The Structural Hook
are commercial jingle
In this category, part of the structure of the song functions as the hook. is
the
title
"hook chorus."
or
"hook
It
repeats several times during the song,
line," usually the first or last line (See
also consider
memorable "B"
the chorus
almost universally referred to
is
and
it
The most common should contain the
"Chorus Construction").
sections, particularly in
AABA
an
We
may
form, to be hooks; but
writers.
How many
times have you had a jingle stick in
your
mind?
"the hook."
as
Instrumental Hooks There are melodic phrases our minds after
though they were. In the
"Don't want
figure that If
as
in songs that
to leave her
may
not be part of the vocal melody, yet stick in
of the chorus of The Beatles' "Something"
last line
now, you know
I
believe
and how
we think of whenever we think of the melody, though
we heard
that figure
by
itself,
we'd be able
to
"name
.
.
." is
there's
that tune."
The
a melodic guitar
no
lyric
over
it.
repeated
riffs
or
loops that introduce and run beneath Stevie Wonder's "Superstition," Michael Jackson's
"Beat
It,"
Too
and Jay-Z's "Can
often,
I
I
Get a
.
.
." are as
memorable
is
the job of the arranger, producer, or studio musicians.
if
those are the hooks that
and
as
any other parts of the songs.
think, songwriters tend to believe that creating those instrumental hooks
artist if you create
sell
them
It
the song to the public, they'll
should be kept in mind that sell
the song to the producer
first.
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
89
Story Line Hooks Have you
ever heard a song
exact words, but
and evocative that melody.
One
and afterward couldn't quite remember the melody or the
you could remember the it's
great
Sometimes the story
story?
mind
the thing that stays in your
example
so powerful
longer than the exact words or
"Goodbye
the Dixie Chicks'
is
itself is
Earl."
Production Hooks
I
Production hooks aren't always possible for a songwriter, but today more writers than ever
The sounds on
before have access to sophisticated instrumental and recording technology.
both demos and master recordings have become very important. Experiment with the way various instruments sound in combination. Experiment with electronic keyboard synth
combined with
"pre-sets"
acoustic instruments or natural sounds.
sound sources or buy them on
MIDI
disks, tapes, or
(Musical Instrument Digital Interface) technology has
infinite variety
You can
digitally
sample
ROM cartridges and modify them yourself. made
possible an almost
of sonic combinations.
Early recording techniques such as "phasing" and "flanging" were later incorporated into electronic boxes that
you could use
any sound modification device used
form that you can use
digital
at
emotional responses. Use them
mood and
can be so
No
thing.
One
Hooks interested
much
matter
home
you
is
a
lyric
and melody
to create
get into the technology of creating sounds, is still
make up
exciting those sounds are, they won't
the most important for a
weak song.
commercial music. They are points of reference that keep us
and focused on the song. They're devices
different types of
some portable
sound no one has ever heard
fun that you can easily forget that the song
tainment in themselves. Part of your job
many
along with
how
are essential in
to
or on stage. Certain sounds will evoke certain
as artistic tools
that once
of a button and today virtually
been converted
of the most effective hooks
Remember, however,
before. it
emotion.
at the tap
in the studio has
hooks
that help us
remember and an
commercial writer
as a
enter-
to be able to use as
is
as possible.
Chorus Construction The
part of the song people
Effective choruses are a
The
remember
couple of
best, after the first
listens, is
the chorus.
magic mix of lyric, melody, and phrasing.
majority of choruses adhere to certain guidelines.
songs that ignore some of the guidelines and
still
I
say "majority" because there are
win by the strength of their performance,
arrangement, and/or production. 1.
The
title
should appear in the chorus in
the chorus and/or
other than the
title
when
they
the
title
This
90
is
its
degree of repetition,
a
way
that,
we know
it's
by virtue of its placement the
title.
If
words or phrases
repeat in the chorus or in strong positions, the listener won't call
the radio station to request
why you sometimes
see songs with
THE CRAFT AND BUSINESS OF SONGWRITING
two
it
or ask for
titles, like
it
in
know
at the record store.
"Untitled
(How Does
It
.
Feel),"
"Blue (Ba
someone
that
felt
Da
Dee)," or
the song's
"C'mon 'N Ride
title
two hooks and they're covering buy or request
can't
song
a
if
was not
(The Train)"
It
by putting both
their bets
you can't remember
that usually
hook or even
strongest
its
—
in the title.
name, these
its
that the
means
song has
Since you
are very important
commercial considerations.
Keep the information simple enough
2.
literary genius, it.
is
They need
you may tend
to think
most choruses
are too simple.
If you're a
easily.
Don't worry about
to be simple!
3.
They need
to distill
4.
They need
to stand repetition.
5.
The words of the chorus need
and focus the song.
to be easily
remembered.
also helps if the
It
melody
fun and easy to sing.
The
6.
action of the verses should not pass the action of the chorus chronologically.
Choruses can run from two to eight
Here
are
some common
is
fun to sing or shout
it
interesting (like
(depending on your definition of a
possibility of
power
(like
"Take
line the same,
and
and shove
it is"),
and/or
sung with
it"), it's
second and fourth
Brandon Barnes); Paula Cole
"I
Way
Don't
It Is";
Want
Brian
a style that
makes
lines different. This offers the last line in
to be strong
it
and
the chorus satisfying.
McKnight "Anytime" (McKnight/
to Wait."
and third lines the same, second and fourth lines the same. and makes the chorus very easy
repetition of both lines
unless that line
musically exciting.
it's
there are high expectations for
Examples: Bruce Hornsby's "The
3. First
this job
monotonous
get
having a strong "payoff" line to end the chorus. The
position,
line).
lyric constructions:
"Whoomp! There
and third
2. First
a
lines
Repeat the same line two or more times. This can
1
is
remember
for people to
to
Provides
maximum
remember. Example: Eagle Eye
Cherry's "Save Tonight."
three lines are the same, fourth line different. This has some of the potential
4. First
monotony of lines
makes
no.
1
and the payoff advantage of no.
2.
The
repetition of the
for a powerful setup, so the payoff needs to be strong.
first
three
Example: Steve Win-
wood's "Higher Love." 5.
All four lines different. Doesn't risk
expectation for a powerful
last line as
Examples: Larry Henley and Chicks'
Dave 6. is
no. 2
"The Wind Beneath
"Wide Open Spaces" (Susan Gibson); Mariah
Hall,
The
David
first
Porter); Natalie Imbruglia's
or last part of each line
in tribal
common
is
doesn't set
up
as
much of an
and no. 3 (but give them one anyway).
Jeff Silbar's classic
one of the oldest and most
songs
monotony and
Carey's
My Wings";
"Dream Lover"
Dixie
(Carey/
"Torn" (Thornalley/Cutler/Preven).
repeated (and
is
structures. It goes
almost always the
back
to "call
music and Gregorian chants. Examples: The Irene Cara
hit
tide).
This
and response"
"Fame" (Dean
Pitchford/Michael Gore); Ace of Base's "All That She Wants"; Shedaisy's "Little Goodbyes"; "Still the
One"
(Shania Twain, Robert John "Mutt" Lange).
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
91
— The
7.
you
gives
Huey
first
last line
These are
hook
few
just a
common
and third are each
Roll."
There are many more. Chorus structures are
structures.
standardized than song forms. Pick up a contemporary songbook at your local
music store or
listen to a fact, a
Macy
Top 40 countdown and what
good share of hits
you'll find
a
is
an incredible degree
are successful because their choruses are unusual
Gray's "I Try."
Melodic construction of choruses roughly follows the is
different. This
both the beginning and the end. Examples:
line at
"The Heart of Rock and
of diversity. In like
the same, the second
a chance to repeat the
Lewis's
far less
and
tremendous variety of rhythmic and phrasing options
keep in mind that there
is
great flexibility in
pop music
however, there
lyric structures;
A lyricist should always
available.
in the
ways
spaced, and positioned relative to the music. Looking at a lyric
can be stretched,
lyrics
on paper only
gives us
part of the story.
Repetition frjf: Repetition
One is
a key
part of learning almost anything; so
if
you
want someone to learn
of the most important ingredients of successful songs
key part of learning almost anything; so
you
can't afford not to use
to learn
made showing
that
most
listeners
As
and tend
They
feel
writers
and musicians, we
are always looking for
new
but whose audience polls
The more
them and
the
on
voices
tell
it's
really
fresh
more personal
listener polls
not
and new
and
styles,
an unfamiliar
like to
add
a
new
record by a
established hits
more comfortable people
feel
with
nostalgia they generate. Since radio stations are relying
more
and feedback
new
to
program
artists
you have an edge, because or Garth Brooks
their
writer/ artists are
can write songs for established
Whitney Houston
is
a
music and since
listeners can't
between a rock and
with already familiar and
new and
a hard place.
easily identifiable
unfamiliar song by
Madonna
or
going to get played before an unfamiliar song by
artist.
Whether you're writing against you. Since your
for yourself or
someone
problem with a new song
else, is
you need
to
minimize the odds
to break through that resistance to
something new, repetition of melodic themes, choruses, or instrumental will build instant familiarity into a song.
Write a chorus that
is
totally
figures (riffs)
and
instantly
understandable, simple, easily remembered, and that touches their hearts and/or their
92
a
need for change.
them they should keep playing
they repeat those old songs, the
request what they haven't heard, If you
may be
It
comfortable with the familiar and uncomfortable with the unfamiliar.
artist,
heavily
something
to forget that the public, generally speaking, doesn't share that
This poses obvious problems for radio stations who'd
instead.
a
have some resistance to
disappointing to learn that most people are so unadventurous, but
surprising:
is
your song quickly,
hearing something unfamiliar. They'd rather hear a song they already know. little
it.
repetition. Repetition
is
you want someone
it.
Several studies have been
your song quickly, you can't afford not to use
if
THE CRAFT AND BUSINESS OF SONGWRITING
feet.
By the time the song
know
it
The
and want
general objective
sometimes
and the
finished
is
and sing
to hear
is
and even
is
not doing their job properly.
On
the neighbors have
that
you can
get
it's
Wit
It,"
and "Livin' La Vida Loca"
merely be annoying
if
you hear
Repetition of melody,
melody changed follow the
lyrics.
in each
A it
is
just groove.
That mental
set or
use depends
on the purpose of the song, what
on the radio while you're stuck
why is
in traffic.
more on
the melodies in country music have such
let
mind
the listener's
rest. If, as
longer.
When
over, you'll
it's
the chorus
drum
a great tension creator in a song.
another psychology-of-learning princi-
any
fills,
little
figure or chord change,
We like
at that.
a Little Tenderness,"
However,
"You got it's
to,
a release
part of a familiar
in order to
got
to,
a relief
and
got
and
first
to,
work,
it
songs like that. Pay attention to the ones that do the
same
those
feels
short, repeated phrase
it
to
melody or
has to pay
got to" and
when
lyric, is
off big. Otis
when he
finally hits
good.
However, too much repetition can wear out your radio welcome
made up of
your mind
to get ready to concentrate again."
us to choreograph ourselves.
Repetition of words or short phrases, or the
"Try
rest
you'll only
of the need, in both writing and production, to have "pickups"
They help
Redding was great
"OK,
says,
comes back, you can
know just when is
a writer, you're giving
or something that telegraphs ahead that there's going to be a change. dance, too.
If the
lyrics.
on the words.
before choruses and verses, intros to songs,
we
the
very lyric oriented, and the familiarity helps
preparation to pay attention
ple. It's really the basis
catchy and fun
of the sections and never repeated, we'd be too distracted to
little
When
it's
Lupe Lu," "Gettin'
"Little Latin
information in the verses, a repeated chorus coming up
have to concentrate a
and
This supports the theory
meter, phrasing, rhythm, rhyme,
its
believe, allows listeners to focus
Lyric repetition also serves to listeners
about
ten-minute dance song can light up a dance floor but
because country music
the listener concentrate
feel guilty
have those "catchy" qualities about them.
all
think one of the reasons
I
simple familiarity
I
arrested.
Choo Choo,"
amount of repetition you
Obviously, the
him
"musical" by virtue of
audience you're trying to reach:
can make them
repetition of a short lyric phrase if
assonance, and alliteration. "Chattanooga Jiggy
It's
the other hand, a musician who's just found a great
away with more
to sing, in other words, if
boredom.
too much. Lyricists, in general, seem to
a very little repetition
groove will tend to play
it till
three or four times, they'll
it
repetition without inducing
how much
determine
difficult to
get bored very quickly
enough
to have
have heard
listeners
again.
it
you and
fast.
figure out
throughout can be death.
should have a good balance of predictability and surprise without too
We
why.
know
all
A
chorus
Ideally, a
song
much of either.
fcjjr
A song should have a good balance of predictability
and
surprise without too
Song Dynamics Among
much
the most powerful tools
to impress industry pros
you can use
with your
to
command
of either.
make your songs more commercial and of the craft
is
the use of contrasts
and
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
93
.
variations that
call
I
"song dynamics."
observed that
I've also
overlooked and underused by amateur songwriters. In
you should have
devices
There are
your bag of
in
my
Len Chandler (my partner
make
it
records
a
company
I
had
I
were asked
a very
that regularly tested
demographic groups (divided into
groups) sat in a theater and turned a dial on the to a given
song ranging from "don't
in the theater, lyrics
arm of
we could
see
responded
at
any given
and
racial
As the song was played
were shown on the screen, and, simultaneously,
how they
age, sex,
their seats to indicate responses
like it" to neutral to "love it."
combined responses of each demographic group drew
so that
radio.
on behalf of producers and record companies. Even' Saturday, four hundred young
potential record buyers of several
the
on
effective
Los Angeles Songwriters Showcase) and
in the
at several
information about these factors.
produce demos of some strong commercial songs by
to
look
which the audience's attention must be
at
dramatically and positively captured in order to valuable experience that confirmed
commonly
the tool most
and why they work.
tricks
during a song
crucial points
it's
this section, we'll
a
computer
a
totaling
graph of that group's reaction
moment
of the song. From watching
those reactions and from the director's interpretations of what
we
saw,
we
learned the
following: Intros for ballads should be shorter in order to get the listener into the
1
song more quickly. Intros
for
up-tempo songs can be longer because people and don't need
physically almost immediately
more
passive way,
which
increases the
lyrics in a
a blockbuster chorus.
when
generates a positive reaction. People always feel
on ballad
to wait. People reflect
need for
People will try to identify the voice
2.
body of the get involved
it's first
heard. If
familiar,
it's
more comfortable with
than one they don't, because they have to decide whether or not they
it
usually
a voice they
know
an unfamiliar
like
singer.
This phenomenon also contributes to an
A
exposure.
who
voice
good example was an unknown male
got a negative audience reaction.
turned off because they didn't
know whether
immediately establish a gender).
both of
whom
voice in
itself; it
The
3.
of the
was the lack of gender
reaction at the
through the
first line(s) is
first
The
rest
longer
94
artist,
and
starts to sing, just as there
AND
male or female (the
The problem
BUSINESS OF
here wasn't the high
identity. is
critical to
the audience's continued
takes to respond positively, the harder
is
there's is
SONGWRITING
is
it is
to build
lyric
content
the audience's
first
an automatic tendency to pay attention when
when someone
starts to talk. If
said, the reaction will
another
lyrics didn't
that this wasn't Michael Jackson or Prince,
of the song. In the absence of a familiar voice, the
The "hook" chorus
THE CRAFT
it
concluded that the audience was
to identify a
sound of a voice
stand, hear, or like what's being 4.
finally
getting radio
with a beautiful but very high
very important to the audience's response. This
exposure to the song and
someone
Remember
We
artist's difficulty in
artist
have readily identifiable high voices.
reaction to the record. interest
unknown
critical
people don't under-
be negative.
place in a song. If audience interest doesn't
and increase throughout, continued
increase perceptibly at the chorus's beginning
remainder of the record
interest in the
is
unlikely.
In television, the pros say that there should be a
even
least
-
seconds to keep the viewer's
fifteen
new camera
interest. (In
considerablv shorter.) This principle has an analogy to radio.
we
of what
hear
compared
so easily distracted
radio
to
when we
what we
One of the main components of the now
being used in the West
of theit voice frequently
you can use
a
the
is
same
this principle
feel in
Change chords.
battle for people's attention get.
Now
we're
on the
that
we
the excitement that solves the problem?
effect
you want
to achieve in
and pitch
your
listeners;
Try some of these:
a straight
"on the beat"
feel in
the verse to
the chorus or vice versa. In other words, go from emphasizing
Initiate a
—
like a reggae beat.
whole new chord progression
for the chorus
Modulating up or down or playing the same progression
for the bridge.
why
by increasing and releasing tension, thus achieving
"1-2-3-4" to "l-and-2-and-3-and-4" 2.
understand
that teachers vary the tone, intensity,
is
Change the groove. You could go from
more syncopated
to
"SuperLearning" techniques developed by Russian
contrasts between different segments of the song. 1.
is
they deliver the material. Those changes continue to stimulate
as
the student's attention. This therefore,
The
music videos, that time
ammunition they can
how can we create
understand what has to be done,
educators
the
all
angle or other change at
We remember only a fraction
we begin
see; therefore,
listen to the radio.
heavy, and songwriters need
is
positive
and another
in a different
key
arrangement devices that can be built into your demos.
are
Change
3.
time. Don't change tempo or pulse
market record.
Queen's
"We
It's
been done by major
Are the Champions"), but
break into an up-tempo dance groove. pulse of a song,
it's
a solid base
you can go from 4/4 time Beatles did
It
Out."
it's
(Paul
if
you're going for a radio or dance
McCartney on "Live and Let Die,"
a very risky business, even to start slow
Once
on which
to a couple
on "We Can Work
and chorus,
verse
artists
and
you've engaged a listener or dancer in the
to build other dynamics. Against that solid base
of bars of 3/4 time to increase tension It
like the
can make for an interesting transition between
for example, but be careful not to continue for
more than
a bar or
two
or you'll ruin the groove. 4.
Change melody.
dynamic you can use
want
you'll
of the
chorus
a
not a
rule,
probably the most effective song
song memorable and commercially
melody by
viable. Generally,
starting above the last note
however, and there have been rare songs that have achieved
by dropping down from the
verse.
A change in chord progressions will automati-
you work out new chords. Try playing and singing your is
supposed to come
listen to
5.
make
is
induce you to change the melody in the chorus. Also, change the chorus melody
before
can
to
the chorus
to "lift" out of (up from) the verse
verse. That's
a contrast cally
it
A melodic change in
it
Change
in,
verse
melody
until
then stop playing and continue a cappella. Tape
it
your
so
you
f^fj:
A melodic change the chorus
the most
is
in
probably
effective
song dynamic you can use to
make a song
memorable and commercially viable.
away from your instrument. lyric density.
The term
"lyric density"
is
about
how
close together the
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
95
—
words
are over a given
tempo. You might have rapid-fire
lyrics
with one syllable per
sixteenth note during the verse, then change to one syllable per fourth note in the chorus.
Or
do the opposite while keeping the tempo the same. Many
just
The
technique.
of the chorus continues in the same pattern, giving our minds another
rest
subconscious cue to remember the
One
hit songs use that
lyric
and melody.
of the factors that makes Lenny Kravitz's "Fly Away" work so well
in vocal phrasing
and
lyric density,
the change
is
going from short choppy phrases in the verse to the
stretched-out words and the Beatlesque "ahhhs" of the chorus.
Change the
6. is
one of the most
lyric meter.
common
Changing
meters from line to line or section to section
lyric
techniques used in successful songs and
by novice songwriters. Though keeping the same meter through
when you change
tension that can be released
You can
predictable.
within the same
line).
also alternate
There
can subtly build
a risk
is
of being too
between two different meters every other
many
are
in the chorus, there
it
the most underused
is
a verse
line
(and
options.
TIP If
you can
sing
your verse
lyric
your song could benefit from
to your chorus melody,
new chorus
a
lyric
it's
a
good
indication that
meter to help generate
a
new melody
and provide more contrast.
Listen to any of Diane Warren's hits:
Me,"
"I
Don't
Wanna
her lyric meter and density in the middle of a in
ways that
feel natural
natural rhythms of others.
We rarely,
if ever,
way you speak and pay
own
and
attitudes
to create a
in
(five
else,
metric
feet)
by
you have an opportunity
synch with each other. As
ideas in a
way
unique song or singing
whose words
If you're a lyricist
and rhyme scheme so contrasts.
someone
is
an-
attention to the
— because yourself,
to
marry
it
feels
whether
lyric
and
uniquely conversational way. Collaborations can also have a very special
magic when writers are your
changing
hear people speak in iambic pentameter
When you write lyrics and music together,
for yourself as a singer or in a
at
the choruses, or at the bridges
line, at
"da-DUM da-DUM da-DUM da-DUM da-DUM"
music
You Loved
Heart," "Because
and conversational. Matchbox Twenty's Rob Thomas
other writer who's great at that. Listen to the
so stiff and predictable.
My
"Un-break
Miss a Thing," and many others. She's a master
Writing
will
that's natural for
you
is
one of the best methods
style.
be
that, eventually,
lyrics against a
a lyricist, the ability to express
set to
music, employ changes in
your composer has a head
metronome
lyric density,
start in creating
pulse or groove machine will help
meter,
musical
you hear
those patterns in a useful context and have fun experimenting with the phrasing. 7.
Change the rhyme scheme. You can have
a different
rhyme scheme
in
your verses
than in your chorus and/or your bridge. Try not to use the same end rhymes in more
than one verse. (See
96
"Rhyme Schemes,"
THE CRAFT AND BUSINESS OF SONGWRITING
chapter four.)
These devices have
and
infinite variations
your creative muscles. They
wont
all
work on
on each song. Arrangement devices such and changes
silence,
in intensity,
you
its in their imaginative use that
songs, but they're options you can try
all
dropping out and bringing
as
exercise
in instruments,
volume, and texture can be used to further give your
when you
songs drama. These are devices to explore
record your demo.
while you're listening to your favorite songs: Instead of singing along with
Try
this
the
lyrics,
pretend the words are part of the rhythm and just speak them, maybe
words so you can get
substituting "da-da-da" for the
a sense of their
meter or
rhythm.
L_M
Rewriting Before demoing any song, be sure
it's
the best
can be. Usually the
it
song can use improvement. So before your ecstasy about finishing
spend your hard-earned cash on able to look at the song
more
is
you'll have to
a guarantee that
it
demo, put your song away
may
objectively
publisher or producer say, "This
and knowing
a
is
spare
you the
draft of
first
it
for a
any
compels you to few days. Being
frustration of hearing a
good, but the second verse needs a rewrite,"
really
spend even more to re-record the vocal. Not that
won't happen anyway, but
at least you'll
know you
a rewrite
gave
it
your
best shot. It's
often said that writing successful songs
ing. In interviews hits
came out
song the
first
all
10 percent writing and 90 percent rewrit-
is
with hundreds of hit songwriters, at
once
in their final version.
time around have been
faculties practically
work
in unison.
at
Even
it
have rarely heard them say that their
I
The ones who can
get close to the finished
so long that their creative flow and critical
relatively inexperienced writers
write a song in fifteen minutes that's practically in
its
can occasionally
finished form. But for
most
writers,
It's
often said that
writing successful
songs
is
10 percent
writing and 90 percent rewriting.
those times are rare.
One
fcjjr
of the differences between a pro and an amateur writer
is
that the pro usually
recognizes from the beginning that he or she will probably be able to improve the song
with rewrites. The amateur thinks that everything coming from the original, inspired is
wonderful and shouldn't be tampered with.
The
latter attitude
is
the
enemy of
professionalism.
stage of development with great difficulty. a
state
The
first
song and suggests a rewrite, the writer usually
criticize
my work? Nobody knows
better than
I
Most
writers go through this
time a publisher or producer rebels, thinking,
when
it's
"Who
are
rejects
you
to
finished or not!" I've watched
many
writers go through this stage, take the suggestions, rewrite,
admit
that they really liked the
changes they made and
felt
and be forced
the songs had
to
become
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
97
much open
Once they have gone through
stronger.
to change, particularly if the
end
result
that experience, they are
getting a song recorded or published.
is
This doesn't mean that every criticism you receive called authority.
valid because
is
it
open mind even
necessary, though, to keep an
It is
much more
comes from if
a so-
you eventually
decide to leave the song unchanged.
Although
considerations,
you want
may
it
be important to your livelihood that you rewrite for commercial
most important
it's
to create
to satisfy yourself that this
something that
will
been a
little
Sometimes
1.
some
are
Make
Words need 2.
know
that if you'd
it.
valuable to imagine your toughest critic reading your lyric or hearing
You may
apart.
it
notice flaws that
you hadn't noticed
before.
areas to view for possible rewrites:
sure your lyrics
on the wrong
your song and
to hear
harder on yourself, you'd be proud of
it's
your song and picking
Here
your best work. Hopefully,
be enjoyed for a long time. Five or twenty years
from now, you don't want to be embarrassed just
is
and music work well together and you haven't placed accents
syllables or tried to
to be easily
The
many words
too
together in a short musical space.
sung and comprehended.
Can you substitute an
the song's impact?
fit
less
image, action, or dialogue line that will condense and heighten
wordy
a lyric
is,
the
more room an
artist
has to phrase
it
in
his or her style. 3. Is
word
every line important and every
necessary? If
without affecting the meaning and flow of the line
lyric,
you can omit
replace
it
a line or a
word
with a stronger one. Every
should contribute to the overall meaning.
4.
Does your song contain
all
the dynamics necessary to hold a listener's attention?
Does your chorus stand out melodically from your
verses?
Can you
rearrange
rhyme
schemes or meter to enhance the difference between sections of your song? Try some alternate
melody
lines
while imagining an appropriate singer performing them.
find something better than your
Jack Segal, hit
lyricist,
You may
first idea.
super craftsman, and teacher, lays out
for rewriting in his lyric class: reduction, inversion, insertion,
some worthwhile
and rhyme
tools
relocation.
Reduction Reduction
is
fewer metric
And there
the shortening of sentences or lines; specifically, feet. Let's
I was
Take out the
/
98
was hang
take a line that's seven metric
just
useless
—ing on
hang
—ing on
words and cut
to all
those
THE CRAFT AND BUSINESS OF SONGWRITING
it
those
to all
down
worn
making fewer
syllables
and
feet.
worn
out lines
to five feet with a one-syllable pickup:
out
lines
Always look
ways
for
your
to streamline
musical pattern that accommodated the to a variety of
new phrasing
first
lyrics.
If the
above
line
was locked into
version, the reduced version
would lend
a
itself
possibilities that the first version didn't offer.
Inversion Inversion
is
a tricky
form of rhyme
rhyme word emerges from
relocation, reversing part of the line so that a
the interior to the
end
position.
It's
natural, conversational flow of the line. If the inversion appears to have been to achieve a
rhyme,
it
"I loved you then, I love you
still,
" will.
That's an example of a mediocre line gone bad. "I love you inversion of "I
still
love you," but the last line
Obviously, the most natural line
word
to give
you
new
If that
to the first line
and look
for another
end
choice of rhymes. In doing so, you might use another form of
work
instead of "still," though
first line
to "I love
you
still, I
loved you then,"
with. In this case, you're also reversing the natural time
it
element for consideration in it's
You could
"They
order of "then'V'still," which weakens the
Sometimes
an acceptable
in conversation. say,
inversion by inverting the order in the
giving you "then" to
still" is
one you'd never say
You'd then have two complete thoughts.
up your meter, go back a
is
"They'll never break us up."
is
try to break us up, they never will." possibility messes
done only
awkward.
feels
Break us up, they never
new
important to preserve the
line.
You could
also say, "I love
does have a slightly different meaning
— an
you now" important
this jigsaw juggle.
better just to start over!
Insertion Insertion
means
filling in
when
the blanks
the desired meter,
number of
syllables,
lyrical
concept are known: You've got your verse or chorus written, your meter
lished,
you know what you want
that could be replaced.
Now you
You
to say.
have a
Here's an example in something
I
realize that there's a
week ago she would have fixed her
The
I felt I
was
too far in the
ozone
the desperation the
man was
first draft:
hair.
now
needed to replace the third
middle
look.
I could see that the spark had vanished from her
And she
line in the
and
estab-
real jigsaw puzzle.
wrote.
She drifted past the mirror but she didn 't even
A
weak
is
eyes,
to care.
line
with something about the emotional impact,
feeling.
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
99
She drifted past the mirror but she didn 't even
A
week ago she would have fixed her
I was fading from her
But
I
trying to hold on
now
she was too far in the ozone
Even
that line
needed
to break
which
and
life
to care.
went through the same
process,
from "She was shut out of
through" to "I was fading from her
more vulnerable,
felt
look.
hair.
to the final choice,
which
life
felt
and
my
life
and
needed to break through,"
I
vulnerable but also
more
helpless.
Rhyme Relocation Rhyme
relocation
is
the flip-flopping of the rhymes to strengthen the
power of the
and rhyme. The stronger rhyme-word of the two should come second whenever Inversion strongest
others pair
—
word
as the
You
relocation.
end rhyme. There
are
words that
first,
are obviously
to escalate
line,
won't always work and, ultimately,
power of the word, meaning, and
toward the most powerful word,
The
flow.
a
weak
is
a
power position because
George Michael's
in
each
it's
it's
middle of the
classic
(Wham)
where the tension feel let
verse. In the case hit,
a juggle
between the is
always
or idea.
line,
chances are that the listener will
line,
brilliant line in the
word
overall principle
If you're writing a story song, save the payoff until the last verse.
section
more powerful than
strongest emotional response in the listener. If you have the strongest
reverse them. It
power of the
possible.
more power out of placing the
get
said/dead, had/bad, dream/scream, well/hell. Obviously, the second
would evoke the
word
form of rhyme
actually a
is
lyric
is
released. If
down enough of
lines,
The
to
last line
of every
you blow
it
with
have forgotten that
an interesting example
is
in
"Careless Whisper":
To the heart and mind Ignorance
If
is
kind.
you turned the
lines
around, you'd get a slightly more natural, conversational
but you'd lose considerable impact because "Ignorance If you're writing the lyric restriction.
same meter
However,
if
in the rest
first,
is
kind"
the real payoff line.
is
these changes without
you have the luxury of performing
the change gives
you
of the verses or the
feel,
a different meter, follow through with the rest
of the choruses
(if that's
what you're
changing). If you don't, you'll give your melody writer a nervous breakdown. At times, it's
actually easier to
When a
word
make
you're able to sing
reductions
it,
or two and give the singer
when an
insertion
might help
in the right place could help
There every
100
are obviously
AND
BUSINESS OF
to
more time
the
melody and
awkward to
little
make
lyrics are already
spots
lyric.
married.
where you could drop
hang onto a word.
enhance the rhythm of the
It's
also easier to feel
Adding
a
word
or two
the song "catchier."
no hard-and-fast
word should perform
THE CRAFT
when
you'll notice the
rules
about
this,
but the general principle
a valuable function for the song. If a
SONGWRITING
is
that
word does nothing
to
enhance the rhythm, meaning, or sound of the
lyric,
shouldn't be there.
it
Once
you're
used to working with these techniques, you'll find that you'll use them very quickly to
new
explore the
2L If
a
word does nothing
to enhance the
possibilities they provide.
rhythm, meaning, or
sound of the
Writing on Assignment companies are often
Staff writers at publishing
even
upon
called
on assignment; but
to write
you're not in that position, you'll hear about recording projects you'll want to
if
write
lyric, it
shouldn't be there.
If you're a "project" writer (See "Creativity,"
for.
specific guidelines, this
is
who works
page 7)
best with
whether or not you've actually been given a
a great exercise,
project.
Tailoring songs for a specific
down
have written
what
the light of
new
with a whole the producer
is
some
or taped
you'll learn
calculated
artist is a
perspective. Let's say
you have
artist
my
had
"I've
of the
of each song
lyric
problems with other
think I'm crazy to love you but
want,"
I
women
but
don't care,"
the successful ones
—
"They
but
she'll
I
know
want you but
all
There
artists
all
When
trade or fan magazines.
notes and style them?
stylistic
who
are artists
over
me and
I
a
lots
if
friends
know what you
I
—
particularly
don't like "weak"
don't care.
I'll still
have practically built their careers on
of
Does
lyrics
you hear
their records,
Does he/she have
artist.
check out the kind of melodic
a great voice that loves to
the artist not have a great voice,
and
short,
choppy
lines?
hold onto long
coming off better doing
Does the
the artist seems to prefer a particular form.
minute
choruses with
to
story
phrase well or have a
artist
lots
Once you've
of repetition or four different
listened to
and melodies, and
it
to write a follow-up
you
Some
feel
Does he
like a
"jam" on the hook during a fade? Does she prefer
song for a group with more involved vocal
factors
"My
him,"
trademark that you'd do well to accommodate?
Notice
them
and
often get additional information from reading interviews with the artists in
passages the artist sings well.
songs with
get over
I'll
be different,"
songs with that attitude. Pay attention to the established image of an
You can
you
that
can, get
has previous albums, get them.
me
the songs the artist records
if
"You can walk
you no matter what you do." Other
artist
left
know
I
into a consistent pattern.
fall
artist. If
vocal range, point of view, attitude,
"He
(See "Casting," chapter eleven.) See
etc.
or "victim" songs that say, basically, love
like,
You know
a "prescription" to write.
artist's
in
or project, you'll look at the ideas
looking for positive, up-tempo love songs for an
philosophy. If it's not convenient to do that and the a synopsis
now,
great ideas during the heat of inspiration; but
about your target
information from the producer about the
Make
and methodical approach. You may
enough of the
will
artist,
become much
song to an
contributed to
parts,
short, four-line
with a strong "payoff"
needing
you can
parallel lyric lines to
visualize
line? Is the
intermesh?
him/her singing your
easier to write for the style.
artist's last hit,
its
lines
form that allows
A valuable
taking into consideration
all
lyrics
exercise
is
the artistic
success.
writers hate this approach to writing because they feel
it's
calculated, uninspired
CONSTRUCTING A SONG: WORDS AND MUSIC TOGETHER
101
hack work. Other writers love
because they welcome the
it
something that comes from them but
is
parameters as an architect would look
Matching form with function
is
at
tailor-made for
artistic
someone
challenge of saying
They look
else.
at the
building a house for a family's specific needs.
coming from
the challenge. If the music
approach
this
seems uninspired, the writer has no one to blame but himself. All those great inspired
you wrote on
ideas
all
those
scraps of paper or sang or played into a tape recorder
little
should inspire you again.
Norman Gimbel had
the phrase "killing
me
softly" in his
notebook long before Lori
Lieberman (who he and co-writer Charles Fox were producing) told him about her emotional reaction to experiencing
They used Lori's
own
(1) the
Don McLean
need to write
song to
a
("American Pie," "Vincent") her
fit
style, (2)
in concert.
the inspired phrase,
and
(3)
experience to put together a fresh and original classic that was later a hit by
Roberta Flack and more recently by the Fugees (featuring Lauryn writers I've interviewed have
that
felt
some of
their best
Hill).
Many
successful
work was done under deadline
or for a specific project. If you write primarily for yourself, else
and not be
wouldn't hurt.
state
identified with
it
for yourself.
it
can be
your words,
to be able to say
You can expand
For nonperforming writers
someone
artistically liberating to write for
something
in a
the parameters of your craft,
who depend on
way
and
that
you
that can't
others to record their songs, tailoring
is
a valuable discipline to develop.
A
possible criticism of this approach
only one artist
artist. If
102
that
that artist doesn't record
could hear themselves singing.
you'll find another artist to cut is
is
it,
I
THE CRAFT AND BUSINESS OF SONGWRITING
you may have
don't agree.
even
a great song!
it,
you may write
if
I
you have
a song that's too tailored to a great
believe that to rewrite or
if
it
song that no other
really
re-demo
is
it.
a great song,
A great
song
chapter
six
Writing Music by Cat Cohen
Melody Writing melodies
some
commercial songs
for
an
is
unto
art
The
different.
basis of
most
classical
writing
is
Though
itself.
similarity to classical composition, the priorities of
may
there
pop melody writing
be
are very
building melodic ideas over an extended
period of time. In pop writing, short melodic ideas are usually repeated and contrasted
much development and
without short
amount of
time.
The
essence of
enough contrast and variation
melody
is
its initial
lead to the
main chorus or hook
pop composition
section in a relatively
repeating these ideas with
is
to keep the listener involved.
The
starting point of
any
idea or phrase. In 4/4 time, this can be anywhere from a half-
measure (two beats) to two measures (eight beats) long. Occasionally, one may find a melodic idea that
is
four measures long in a slow romantic ballad, but usually this
a feature reserved for art
most people
to
song and
classical writing.
is
Short melodic ideas are easier for
remember.
Try tapping out one of the short melodic
ideas
running around in your head. Most
songwriters seem to be blessed (or cursed) with these great place to start, since
little
bursts of inspiration. This
what often has hooked your unconscious mind
tendency to hook others. The challenge of pop melody writing into song sections
and then into complete songs. You can
learn
will
is
a
have a
expanding these ideas
is
how
to
do
this
by using
the techniques of repetition, variation, contrast, and development.
Take Here
a look at a couple of melodic ideas
are
M
and
mm
~
first
how they
can be expanded into songs.
two examples:
fe
^m The
see
example
is
long, unfocused,
r
r
r
ls
j
?
£
and unworkable; while the second one
is
short
and
WRITING MUSIC
103
memorable, easy
to develop into the
basic reason that the first
melody
is
kind of catchy, hooky phrases that
unmemorable
phrase, either notewise or rhythmically. See
notes of the
Now,
how
is
sell
The
a song.
complete lack of repetition in the
a
the second
melody
takes the
first
three
measure and repeats them?
first
how
take the second idea and see
it
can be stretched out into eight effective
measures. Start
with a one-bar phrase and simply duplicate
m If
it's
^¥
mm
T
duplicated four times, though,
might get
it
simple-minded.
a little too
^m
^m ^p
te
i Some
it.
^
people confuse being "commercial" with being mindlessly repetitive. Yes, you
need enough repetition to get immediate recognition and
but
familiarity,
Top 40
stations
play the same songs over and over, and a song must have enough variety to withstand
repeated listening.
melodic
A better way to
expand melodic fragments
is
to alternate
between two
ideas.
Actually, the technique of alternating between melodic ideas
is
nothing new.
It
was
derived from religious services where the priest, preacher, or cantor alternated singing
with the choir or congregation. Contemporary gospel music "call
folk
and response." The same structure and square dancing
to the
is
also
found
"Hokey Pokey"
to
is
in blues.
a great
front
and
(with repetition) and contrast
(with repetition). In variation, the second or "response" phrase
from the
"call" or original
melodic
melody from becoming too
ini
idea.
But
this difference,
is
only slightly different
no matter how
g
i THE CRAFT
p
AND
BUSINESS OF
slight,
predictable.
r
* i
J>
=
J
a'
104
left,
steps.
Two ways of using this alternating technique are variation
the
this
contemporary dance records, has
always been based on this foundation, alternating between right and
back
example of
Up-tempo music, from
SONGWRITING
r
r
i
j>
J
p
j
keeps
melody
In contrast, a completely different alternation of the
two ideas serves to link them quickly
A
lor
b
^m
of pop recordings, especially dance records, are structured almost exclusively
"We
way. Listen and try to analyze
dance records of the
Here
^m pg
PUF
%m
mind,
in the listener's
a
M this
paired with the original, and the close
is
it is
late seventies,
and
Are Family" by
see
how it
is
Sister Sledge,
one of the
composed of variation with
in
classic
repetition.
spread out over an eight-measure section:
'We Are Family' BY NILE ROGERS
AND BERNARD EDWARDS a
fly*
j>
v
j
We
i
n
j fam
are
-
i
GaddA
- ly;
F/G
IV
>j I
J
J
J
got
all
my
J
j
j
with
me.
j
sis-ters
GaddA
tHii We
fam
-
ly;
i
F/G
Hi Get - up
Some pop
styles use
arach to Michael
ev - 'ry
bod
and
- y
sing.
more complex phrasing than simple
McDonald
to Barry
Gibb
to
Luther Vandross, there
more
sophisticated approaches to commercial writing.
some
classical
and
insert
new
like juggling
alternation.
Most of
From Bun Bach-
is
a
whole range of
these writers have
had
background, the kind of instruction that encourages the writer to develop material. It rakes a lot
with three or four
more
craft to
balls instead
develop more melodic ideas, somewhat
of just two.
It is
easy to
fall
into the trap of
f
^fr
Inexperienced
songwriters have a
tendency to lose their audience by trying to say too
much through
taking a melody too far away without enough repetition to keep the listener involved.
melody or
Inexperienced songwriters have a tendency to lose their audience by trying to say too
song.
much through melody
lyric in
one
or lyric in one song.
WRITING MUSIC
105
The song
that follows here, "Torn,"
is
an excellent example of a more complex melodic
composition:
" "T 'Torn
SCOTT CUTLER, AND ANNE PREVEN (NATALIE IMBRUGLIA)
BY PHIL THORNALLEY,
IjyJ
]>|,J
k\>
i
I
I'm torn,
how
ideas,
get a handle
Do With
A
"What's Love Got
to
BY TERRY BRITTEN
to craft
Grammy
I
.
What's
got
love
to
but
Gm •'
got
love
a
will
be within
in 1984.
to
do
with it?
e -
« At/F
E?maj9 •
*
sec-ond hand
mo-
tion?.
E?maj9
PS to
do.
Fadd9
jot
to
E?maj7
when_
a
heart
can_
with it?
do
IP?
needs_ a heart
still
"What's Love Got to
F
got
*
Who
is
Song of the Year
iE=£ What's
^ shamed.
and developing melodic
song sections that
do
Gm/F
^^
am
I
tic
E':>maj9
Gm/F
Gm
and
cold
J'J
LVLE (TINA TURNER)
Gm/F
F
love
J~3
j
i
It"
^^ g^g
i_
I
distinctive
for Best
Gm i-u
>
the
*
i
t
this
alternating, contrasting,
more
AND GRAHAM
What's
on
ked
-
J
faith
I'm
Do With
Gm
of
*
J
J
song that combines these techniques
which won the
It,"
out
t
on duplicating,
you can combine them
the commercial ballpark.
all
,1
na
ing
-
m
J'J
feel.
I
ly
Once you
jh
jlJ'j
J'J
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I
J
be
—Fadd9m
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bro - ken
Completing Songs
106
Once you
are able to write
expanding
it
THE CRAFT
an
effective eight-bar
into a completed song. This
AND
BUSINESS OF
SONGWRITING
is
song
is
then
to get stuck.
One
section, the biggest challenge
where most songwriters seem
.
of the best
ways
of writing
an interesting, complete song
do you need more than one song "I'm Henry the Eighth
I
Am"
section in the
first
by using contrasting
is
place?
To
keep a
listener involved for a full three
Coming up
more, vou must depart from the main melodic material. contrast appropriate to the song
perhaps the most
is
difficult
and
minutes or
with the amount of
crucial aspect
of
effective
writing.
A good analog)' to
you
home
stay at
another place or environment brings
A
trip
how
help understand
section to a vacation. If
home.
With tew exceptions (remember
bv Herman's Hermits?), the record-buying public does not
respond to simple one-section songs.
melody
Why
sections.
without
much
relief
contrast functions
the time,
all
to
is
compare
can get a
life
a
second song
little dull.
A
trip to
from monotony and the pleasure of returning
and back)
contrast (such as a dash to the supermarket
gives
neither the enjoyment of leaving or returning. Similarly, a song with melodic departure
and return keeps us involved and
Here
are
some
Change
1
ideas to help
A
interested.
you get more contrast
the level of your melodic line.
and we tune
lack of change,
Make
your song
in
the
length. If your verse
is
then write shorter ones or vice versa. Nothing verse
and
a similar four-line chorus,
all
more boring than
keeps us involved and interested. A lack of
change, and
etc.).
made up of long phrases (two is
hook
section (the
notes instead of eighths and quarters, use long half-notes instead of eighths,
Change the phrase
departure and return
change to mostly sixteenth
section) higher in pitch, or use different time values (for instance,
2.
out.
sections.
more important
fegr A song with melodic
bars or longer),
we tune
out.
a cookie-cutter four-line
with the same pat phrase along the
lines of:
/ think that I shall never see
A
thing as lovely as a tree
La, dee, dah, dee, dah, dee,
dah
La, dee, dah, dee, dah, dee,
dah
Change the rhythmic
3.
.
.
pattern. If the verse has straight-ahead rhythm,
make
the
chorus more syncopated or try the opposite. (See "Song Dynamics," page 93.) 4. is
Define your sections with an appropriate transition. The use of musical "punctuation"
very important to give the listener a clear sense of where the song
this
with a break, a stop, a build, or a musical turnaround.
into a
hook or second
Exceptions to
this are
musical challenges.
verse, the effect
album
Top 40
seems puzzling in a song it's
better to lead
cuts
may
first.
you
"at."
You can accomplish
try to
jump unexpectedly
be "arty," but you'll tend to lose your
from established
artists
whose
fans look to
them
listener.
for
new
radio audiences figure out
what
Unless you are purposely going for an unusual song
style,
formats don't have the time to
at
If
is
let
your audience carefully from one song section to the next.
Other considerations important
in
melody writing
are range
and
scale context.
WRITING MUSIC
107
Range
I
Every singer has a vocal range within which he or she can sing consistently and with professional control.
Here
a guideline for ranges
is
of different song
styles
and
for different
vocal abilities:
MODEST Less than an octave. This
is
for the less-skilled singer, talk singer, or sing-along style
performer. Country music and simple rock styles often feature performers whose personalexceeds their ability to sing. Material written for them should never push them
ity far
beyond
their limited range.
I AVERAGE Octave and
most pop
a third or fourth.
singers
and
styles.
Two
or three notes above an octave
There
is
room
is
the typical range for
few dramatic leaps or high notes, but
for a
nothing too demanding for the average performer.
I WIDE An
octave and a
fifth
Houston or virtuoso Boyz
II
Men
or
The
and beyond. This
singers like
Lou
is
for divas like Barbra Streisand or
Gramm
Whitney
or Larry Gatlin. Sometimes groups like
Backstreet Boys can handle a song encompassing a wide range.
i Scale Context Another important consideration retical discussion,
is
scale context.
note that besides the key a song
actual scale tones that are used in the
Here
Without getting
melody have
is
into an involved theo-
written in (C major,
a great deal to
G
minor), the
do with the song's
are a few examples of scale contexts:
MAJOR 7-TONE
i i
"I Will Always Love
BY
108
You"
DOLLY PARTON AND RECORDED BY DOLLY PARTON, WHITNEY HOUSTON
THE CRAFT
AND
BUSINESS OF
SONGWRITING
style.
'
"/
Knew
I
Loved You
BY SAV \GE
GARDEN
MAJOR 6-TONE
i 2
1
3
4
6-8
5
"I Don't
Want to Miss a Thing"
BY DIANE
WARREN (AEROSMITH, MARK CHESNUTT)
"All Star"
BY
SMASHMOUTH
MAJOR 5-TONE (PENTATONIC) *)
*>
«*
1
2
~
3-5
6-8
"ATy Girl"
BY WILLIAM
"Streets
BY
"SMOKEY" ROBINSON AND RONALD WHITE (TEMPTATIONS)
of Philadelphia"
BRUCE SPRINGSTEEN
MINOR 7-TONE (NATURAL)
i e)
:« 1
o~ -9o-
*>
o
2
4
5
l>3
I
m»
fro
"
l>6
l>7
8
"Livin'La Vida Loca" BY
DESMOND CHILD AND ROBI ROSA
(RICKY MARTIN)
"Be My Lover" BY
DONALD LANE MCCRAY, GERD AMIR
SARAF,
AND MELANIE THORNTON
(LA
BOUCHE)
MINOR 6-TONE \>Q
1
*>
!>3
4
2
\>o
5
- b7
» 8
"BiWeJean" BY MICHAEL JACKSON
BY
HOKENSON/ESPOSITO/SUDANO/SUMMER (DONNA SUMMER)
WRITING MUSIC
109
— MINOR 5-TONE (PENTATONIC)
-
1
°
4
5
\>3
i?Q
*>
i>7
8
-
Woman"
"Witcby BY
*»
DON HENLEY AND GLENN FREY
(THE EAGLES)
"Woodstock"
BYJONI MITCHELL
(J.
MITCHELL; CROSBY, STILLS, NASH, AND YOUNG)
RAGTIME
I
o
o 2
1
3-5
!>3
6-8
"Signed, Sealed, Delivered, I'm Yours"
WONDER.
BY STEVIE
"Take BY
Me to
L.
GARRETT.
S.
WRIGHT. AND
LIL
HARDAWAY
the Pilot"
ELTON JOHN AND BERNIE TAUPIN
"The Weight"
ROBERTSON (THE BAND)
BY ROBBIE
BLUES
1
-
l,o
<»
bo
!>3
4
[>5
"7^* Sunshine
^
?o
i
5-1.7
«>
8
Of Your Love"
BROWN, JOHN BRUCE, AND ERIC CLAPTON (CREAM)
BY PETER
"Fever"
BY EDDIE CODLEY
MIXOLYDLAN
^—
AND JOHN DAVENPORT (PEGGY
MODE
— —"
=
w ?o
123456 «*
<*
LEE, LITTLE WILLIE
l>7
8
'You Learn" BY ALANIS MORISSETTE
"Norwegian BY
110
AND GLEN BALLARD
(ALANIS MORISSETTE)
Wood"
JOHN LENNON AND PAUL MCCARTNEY (BEATLES)
THE CRAFT
AND
BUSINESS OF
SONGWRITING
JOHN)
DORIAN MOP!
V
~
M
2
.--3
1
5
4
6
-»<>
o
?7
8
"Eleanor Rigby"
lOHN
BY
1
NNON AND PAUL MCCARTNEY
I
"Parsley, Sage,
(BEATLES)
Rosemary and Thyme"
TRADITIONAL. ARRANGED AND RECORDED BY SIMON & GARFUNKEL
To
summarize, pop melody writing
We
contrast.
can do
this
a specialized craft
is
by duplicating,
alternating,
of balancing repetition and
and developing melodic
ideas.
We
then craft our ideas into contrasting sections. Writing within a suitable range and scale context helps pinpoint a song to
you
enables is all
its
to write for specific styles
potential audience.
and
artists,
which
is
A
knowledge of these aspects
what professional songwriting
3E Writing within a suitable range and scale context helps
about.
pinpoint a song to
its
potential audience.
Harmony A
knowledge of harmony
song includes not only is
is
lyric
very important to a professional songwriter.
and melody, but
a chordal
accompaniment
based on the concept of uniting pleasing musical sounds.
accompany and arrange our songs bring out melody and
lyric as a
The
its
completed
Harmony
as well.
chordal sounds used to
their colors, their emotions.
Think of a
plain
black-and-white sketch, a song with harmonization as a full-color
what
gives
down
into
the half-step.
You
drawing or painting. Very often, the imaginativeness of its harmonic setting a song
A
is
distinctive appeal.
Intervals In order to understand intervals.
The
how
chords are constructed, they should be broken
basic unit of measuring intervals in
Western music
can find a half-step easily on the piano by simply going up or
is
down
the keyboard to
the next note, whether a black key or white key (C-C;-D-D;-E-F-F; etc.). All intervals are
measured multiples of
half-steps, thus indicating the specific distances
between
musical pitches.
Here
are the intervals inside the
Unison half-steps
t
major
scale, called diatonic intervals:
Major 2nd
Major 3rd
Perfect 4th
2 half-steps
4 half-steps
5 half-steps
i
I-
Iw
WRITING MUSIC
//7
—
:
Perfect 5 th
Major 6th
Major 7th
7 half-steps
9 half-steps
1 1
i
i C
If
you examine
this chart,
There
are gaps in the
These
are the
minor
major
you
scale,
12 half-steps
half-steps
i c
A
-
Octave
have been skipped over.
will see that certain intervals
tones that are considered to be outside the major scale.
used to form minor and exotic scales and
intervals, colors that are
chords.
Here
Minor 2nd half-step
1
major
are the intervals outside the
C
Db or
-
C
-
Minor 3rd
Aug. 4th/Dim. 5th
3 half-steps
6 half-steps
C
Ct
C
Eb or
-
Minor 6th
Minor 7th
8 half-steps
10 half-steps
C
The
-
At or
C
intervals
-
C
G|
on the unison,
they rarely change, even
and 7th
intervals are
tone colors.
more
Bb or C
-
4th, 5th,
- Dtt
-
C
coloristic,
and octave
Ht I
scale scale
minor
(dark),
uses.
C
Minor
Perfect
&< Perfect
Minor third
fifth
fifth
Three Levels of Chord Construction
colors simply by
harmony
building chords out of
simply by building chords out of various combinations of intervals.
various combinations
may choose depend on
you play three or more pitches simultaneously, you have played
and
(or
disharmony)
is
created.
You can
create a
a "chord,"
and
whole variety of chordal colors
The harmonies you
the level of chordal sophistication your song requires. Rock, coun-
folk styles use
styles are written
mainly simple
triads (three-note chords),
while jazz-influenced
with more complex chords. Most pop and crossover
made up of chords midway between
112
3rd, 6th,
depending on the
(bright) to
When
try,
F§
minor or modal. The 2nd,
variety of chordal
of intervals.
-
are called perfect intervals because
BE
You can create a whole
Gb or C
changing in order to form more interesting
Major
Major third
-
Af
the scales change to
They change from major
formula that one
C
when
chromatic intervals
scale
THE CRAFT AND BUSINESS OF SONGWRITING
these
two extremes.
styles
tend to be
FIRST LEVEL
OF HARMONY— TRIADS
The most common
pop music
triad in
is
the major triad,
which has
a specific
formula of
halt-steps.
Major Triad
+
4 half-steps
3 half-steps
(minor 3rd)
(major 3rd)
Q
,y
. ,
§
g
"
. .
A Major
C Major
5th scale tone
,
°
"
'
"
? E\>
3rd scale tone
Major 1st scale
Another regularly used
triad in
pop music
is
the
tone
minor
which lowers the middle
triad,
tone, the 3rd, a half-step.
Minor Triad
3 half-steps
+
4 half-steps
(minor 3rd)
Q
. .
V H ?
.
.
-
..
.
[l
yQ ?
A Minor
C Minor
A
.
(major 3rd)
-
2
5th scale tone
1st scale
third type of triad
common
especially
is
which "suspends" the use of the 3rd and
Suspended Triad 5 half-steps
+
tone
in rock music, the
replaces
it
suspended
triad (SUS),
with a 4th.
2 half-steps
(major 2nd)
(4th)
5th scale tone
_q
6
<>°
°"
II
Many Boys' "I
/^o^MI
Want
I
It
D
1st scale
made up of
tone
triadic
harmony
like
The
Backstreet
That Way" (Max Martin and Andreas Carlsson):
A
Another example
Ic
4th scale tone
Ei>sus
songs use chord progressions
F#m
If
l l
A sus
C sus
I
3 rc[ scai e tone
(fl at )
E? Minor
I
is
F#m
I
D
in the chorus
If
A
I
F#m
I
D
A
of the Eurythmics' "Here
Ic
If
\
c
I
F#m
Comes
Id
I
E
A
I
the Rain Again."
Ig
I
WRITING MUSIC
113
SECOND LEVEL OF HARMONY— 7ths For simple
more middle-of-the-spectrum
in
may
styles, triads are all that
styles
be necessary for effective harmonization, but
such
as
country-pop,
need more sophisticated chords. For most of these
may
triads
give a fuller,
styles,
more polished sound and
R&B, and MOR,
adding
a
you'll
7th tone above the
lead the ear to a
more
interesting
resolution.
Here
some formulas
are
for building 7th chords:
i A
dominant 7th chord
minor
triad
major 7th. sus
with
a
for
Gi.
I
more
I
minor 7th chord
a
major 7th chord
a
is
a
major
is
a
triad plus a
sophisticated song passages to be harmonized using
chord progression from Diane Warren's song
Love You":
B,m7
I
minor 7th,
triad plus a
as illustrated here in a
Dion "Because
Dt
major
a
is
7th
minor 7th added, and
common
It is
and 7th chords
for Celine
I
Major
Minor 7th
Dominant 7th
A»sus
I
Fm7
I
I
G>maj7
I
I
THIRD LEVEL OF HARMONY— 9ths, Iths, AND COMPLEX CHORDS When you want to write in jazz-influenced harmonies such as R&B-pop, jazz-rock-fusion, I
Broadway, and pre- 1950 pop standards, then even more sophisticated harmonies are called for.
These include chords
built
on 9ths and above,
(with raised or lowered 5ths, 9ths,
1
lths, etc.).
as well as
This
is
chromatically altered chords
much
demanding
too
a subject to
cover here, but don't be overly concerned. These chords are never used in 90 percent of the music
on the
charts.
They
are a specialized
sound
for a specialized
For those interested in studying jazz harmony, there are subject, such as the
John Mehegan
complex harmonies and Weil, and
Tom
-
I
I
The
Al>add2
is
used
in
Jazz Pianist series.
The
many
excellent
books on the
following song passage features
songs like "Through the Fire," by David Foster, Cynthia
Keene (Chaka Khan).
13
9
C7
I
Fm7 Ekm7
Al.7
I
Dkmaj7
Cm7 Fm7
I
Btm7
EMI
I
Creating Chord Progressions true art of harmonization
is
more than knowing which chords
often the order in which they progress through the song and
melodic shape and emotion that determine
how
urban audience.
their effectiveness.
how
To
to choose;
it
they relate to
is
its
get a better idea of
chords work together, you need to relate them to a scale context. Chords can be
built diatonically (using only tones inside a scale) or chromatically (using tones inside
and outside the
114
scale).
THE CRAFT AND BUSINESS OF SONGWRITING
DIATONIC CHORDS Most songs can be harmonized monies
formed
are
$ g
C
inside a
u
§
it
11
iii
IV
n
§
i(
I I
vi
vii°
I
6
7
12
3
4
6
7
12
5
5
2
3
4
5
6
7
1
These diatonic chords
i »
b
IV
V
I
s
n II
u
§
n
in
vi
3
two groups, primary chords and secondary chords.
into
fall
diatonic har-
scale:
4
The primary chords
how
is
1
major
§
Here
entirely with diatonic chords.
most people
are the ones
refer to
when
describing three-chord
rock songs such as "Twist and Shout,'' country-western classics such
Walk
as "I
the
Line," and traditional twelve-bar blues. Secondary chords are minor triads formed
within a major
emotion and to
and they provide generally darker, more serious shadings of
scale,
color.
They allow you
harmonic contrast
to give
in a
song without having
change keys. Diatonic secondary chords can help achieve a sense of departure
our second song section without having to
travel too far
for
away harmonically. Diatonic
secondary chords are used effectively in song passages like the chorus section of "Believe" recorded
I
V
I
I
bv Cher.
IV
I
I
MINOR DIATONIC CHORDS You can do
&>\*
the
Roman
iio (7)111 7
1
2
3
4
6
7
12
1
2
3
4
5
6
7
is
But the IV chord
on E> (an
major or minor.
vii°.
Roman
in analyzing
triads.
scale degree that
— F-A-C—
is
a
A
degree sign
This triad
is
fifth
is
triad in
major
exotic harmony),
than a perfect
iii
it
HjfcM
(1>)III(->)VI(!>)VII
i
is
after the
built on; etc. iii
The
chord
"Capital" numerals are used for major triads and "lower case"
C
to be a
major chord, the
triad automatically. as
A
iii7
» iii
or
Roman numeral
between the root and the
made up of B-D-F
^
some way; whether a 7th or 9th has been added,
would be notated
used
m
IU
the root of the chord. For instance, in the key of C, a
is
made up of E-G-B. For the
scale.
chords to show at a glance which scale tone the chord
major, minor, or altered in
triad
^
(1>)VI (?)VII
5
numerals for minor
be the
v
6
numerals are used
less
iv
(?)§
4
numeral corresponds to the
is
§frfa
3
would be an e-minor
there
chords in the minor
5
whether the chord
built
tc the
^' § m* w
i
1
same thing
"fifth"
(while a perfect fifth
numerals can get rather complicated, but
this basic
would s»
III
to
G
would have
consist of
to be raised to a GS.
E-G-B-D.
If a
chord were
depending on whether the chord were
show
a diminished
of the chord.
would be
chord
An example
B-FI).
in
—one C
in
which
Major would
The whole system of using
knowledge of conventional symbols
will suffice for
the examples cited here.
WRITING MUSIC
115
Many
make
songs
use of
minor diatonic harmony
as
analyzed in the following chord
progression from "Genie in a Bottle" recorded by Christina Aguilera. This gypsy-like
sound
minor diatonic chord
actually a simple four
is
»VII
vm7
,VI
I
loop.
I
CHROMATIC CHORDS To to&_
get even
more
and more unusual sounds, you may want
contrast
chords that use tones outside your scale context. Here
The Beatles were
outside," that use only one nonscale tone
masters of using one
were masters of using one
slightly outside
for
chord
is
a
list
to
experiment with
of chords that are "slightly
and do not take you too
far out.
The
Beatles
chord for temporary "shock value"
slightly outside
in their
songs with otherwise straightforward harmonization.
temporary "shock
value"
in their
songs
Major
with otherwise
II, III,
Minor VI,
VII, iv
t
IV,
II,
t
ii
straightforward
harmonization.
Song passages using
slightly outside
"Dock of the Bay"
ing's
I
I
I
III
I
VI
in tunes like Otis
Redd-
respectively):
IV
I
II
I
I
I
III
I
I
VI
I
I
I
II
I
IV
I
II
I
I
VI
Harmony
Exotic For harmonic
I
harmonies can be found
and chorus follow
(verse
effects that are
even "farther out," try using one of these chords. They
contain more than one nonscale tone and take a song into strange, unexpected places.
However, they have
and
to be used carefully
5g§
"Do You
G Bm I
116
may
get confused
iii
VII
5*
Hi
(b)iii
progressions using these unusual harmonies are not Really
I
Em vi
Want
I
to
G Bm I
iii
*
3*
bVI
?#
tv
!>v
Chord
bv
^iii
;§
> >
a
3^
.ii
I
listener
lose interest.
i # I
and sparingly or your
uncommon
in songs like
Hurt Me?" by Hay/Moss/Craig/O'Dowd (Culture Club).
Em
I
vi
I
C G IV
THE CRAFT AND BUSINESS OF SONGWRITING
I
I
Am ii
I
Bm iii
I
B» ,111
I
B> bill
I
A. ,11
I
A, ,11
I
Gm i
I
—
—
—
Vertical or Horizontal Construction
Now
that you've seen
how
a variety
don't overlook the fact that
of chords can he used
many pop
to
accompany pop melodies,
recordings, especially dance records,
on harmony
as
chords
Instead of the traditional vertical construction of a
at all.
an important element. In
fact,
some contemporary
do not
rely
records hardly use
melody with underlying
chords, you will find the horizontal construction of a melody accompanied only with a
strong rhythmic background, countermelodic just
riffs
and bass
lines.
That's right, no chords,
riffs!
Here
is
an example of a song that uses horizontal instead of vertical construction:
"Livin'
BY
La Vida Loca"
DESMOND CHILD AND ROBI ROSA
1.
y
L »M
She's
in
——
t
t
j
•
to
k~i
l
su
-
per
_JJ m
sti
(RICKY MARTIN)
black
tions,
-
*«^*
cats
voo-doo
and
dolls.
~J^
J>
|
Edr:
J
t^fr Think of chords as
As you can
more
see in this section, there are
effective.
Think of chords
as
many ways
simplicity or sophistication of harmonies to write.
see
A
good way
to get a handle
to use
on
this
which ones play songs mostly using
is
match the
style
to
make your songs
music and targeting the market audience
triads,
it
of music you're seeking to
to listen to radio stations in
your area and
which ones play 7th chord songs, and
which ones play songs using complex 9ths and above. In appeals to
we
coin a phrase and
the
more you know about chords and how they work
call this
harmony
coloring agents and learn to choose the appropriate
is
business, identifying a style of
called demographics.
"harmonigraphics"? Whatever we
call
together, the
it,
Why
you can
more
don't
see that
versatility
coloring agents and learn to choose the
appropriate simplicity or sophistication of
harmonies to match the style of music you're seeking to write.
you
can achieve in your songwriting.
WRITING MUSIC
117
Groove Musicians have long referred to "groove" cially
when
it
feels right.
Got That Swing,"
or
when
song the kind of groove or
of a song, espe-
feel
Mean
a
Thing
on American Bandstand
hit because "It's got a
they were talking about groove.
gives a
describing the basic
wrote "It Don't
that infamous dancer
thought a particular song was a it,"
when
When Duke Ellington
If It Ain't
said that she
good beat and you can dance
absolutely essential for a songwriter to learn
It is
feel that
has "hit" written
all
over
to
what
it.
Rhythmic Elements In
more
technical terms,
you can
by examining
better understand groove
rhythmic
its
elements: pulse, tempo, meter, rhythmic subdivision, syncopation, and texture.
PULSE A pulse
is
simply a regular, recurring beat. For instance, a march (hup,
pop music, an obvious example
pulse. In
is
drum
the bass
beat
2, 3, 4)
(1, 2, 3, 4)
is
based on
of the disco
style.
TEMPO The tempo this
is
the speed of the pulse, the
by comparing any music pulse
to
number of pulses
per minute.
your heartbeat. At
rest,
You can understand
our hearts beat
at
72
to
80
times a minute. But get us excited (through up-tempo dancing, aerobics, or whatever)
and watch our pulse
race to
relationship of various
1
50 times
tempos
to
a
minute and beyond. Here
pop music function and
Heartbeat = 72 beats per minute:
is
a chart
showing the
activity:
BPM
60BPM
90
Slow
Mid-tempo
Up-tempo Dance
Hyper Drive
"Crazy for You,"
"Smooth"
"Livin' La
by John Bettis and
(Santana)
(Ricky Martin)
"I'll
Ballad
Make Love to You"
(by Boys
II
Men)
BPM
1
20
BPM
150
BPM
Vida Loca"
Jon Lind (Madonna)
and
"No
Scrubs"
(TLQ
METER Meter
is
the
way
in
which pulses
grouped into 4/4 meter
—
are
grouped into measures or
Almost
all
pop music
is
four pulses (quarter notes) in each measure (or bar). Occasionally,
one finds a 3/4 waltz meter with three pulses (quarter notes)
118
bars.
THE CRAFT AND BUSINESS OF SONGWRITING
in each measure.
Other meters
like 2/4, 6/8. 2/2,
music and
classical
jazz,
or
more complicated ones
11/16 or 7/8
like
exist in
but are seldom used in pop.
RHYTHMIC SUBDIVISION The 4/4
pulse or a
pop song
today. What's important
and easy
stations, soul stations,
how
to learn
A 4/4
the basis for 95 percent of
how rhythmic
listening stations.
You may need more
J
J
3
4
2
and a
a
Swung
R&B, 2
R&B,
a
2
e and a
3
e and a
4
4
e
and
a
2
e
and
is
usually notated in regular
swing or shuffle the 16ths.
1
It is
left
out. This
is
and
a
4
e
and
very difficult to read. Consequently,
6ths with an instruction above the
counted the same way
as
"one potato, two potato, three potato, phrase "seven potato"
often refer to this groove as
fills
the potato groove because
in the it
first line
I6ths but
rhythm, not an even rhythm. There happens to be a nursery rhyme
The
c
played in a subdivision of six notes to the beat shuffled with
the middle 16th of each group of three
seven potato more."
3
(hip-hop, alternative)
alternative)
in this beat:
a
e and a
Hybrid swung I6ths over 8ths
The swung 16th groove
counted
a
3
reggae, half-time rock)
Hybrid I6ths over 8ths (dance,
and
4
I6ths (hip-hop, rap)
1
e and a
and
3
4 and a
3 and a
16th groove (funk,
and
2
latin)
('40s, be-bop, country, blues, gospel)
1
is
know-
Shuffle groove
3
3
and a
and
1
Triplet groove ('50s, blues)
it is
country
technical
MOR,
8th note groove (rock,
12
1
stations,
subdivisions help to define a song's style.
disco
J
i
1
what we hear on the radio
rhythms played on rock
measure can be subdivided into any of the following:
March,
\
is
to differentiate the
is
felt
we
of music to
with a staggered
all
know now
that
four; five potato, six potato,
whole
triplet
of that beat.
I
can only be done while swinging
the I6ths.
Both regular I6ths and swung I6ths This
results in
two grooves
at once,
are often played
which
I
call a
on top of
hybrid groove.
a full 8th note
Much
feel.
of the pop music
of the nineties has been played over hybrid grooves. Examples of straight I6th-8th hybrid include "Genie in a Bottle" by Christina Aguilera with the Backstreet Boys' "All
I
Have
WRITING MUSIC
119
.
to Give."
Hip-hop grooves
in today's
R&B and alternative styles.
cuts
by Lauryn
Hill
are usually based
on
a
swung I6th-8th hybrid and
Examples include
"I
are
common
Try" by Macy Gray and various
and Alanis Morissette.
SYNCOPATION Once you determine that defines style
the rhythmic subdivision of a groove, the next most important feature
is its
on the weak inner
syncopation. Syncopation occurs
when
there are rhythmic accents
Dance music
beats of a groove, the beats between the pulses.
full
is
of
syncopated patterns that use one or more of these accents to create rhythmic drive. Syncopated patterns can be found in the rhythm tracks and in the actual melodies of most of today's recorded music.
Examples within each of the
six
rhythmic subdivisions are
listed
below:
8th Note Groove
"Smooth BY ROB
"
THOMAS AND ITAAL SHUR AND PERFORMED
BY
SANTANA
lift
Triplet "I'll
BY
you
up.
my
could change
I
bet- ter
to
life
JU
J
'
i i i mood
your
suit
Groove
Make Love
to
You'
KENNETH "BABYFACE" EDMONDS AND PERFORMED
>i»jj I'll
make
BOYZ
BY
II
MEN
\nv njii^~i\jn^n: love to
you
like
me
you want
and
to
I'll
hold you
tight,
ba
Shuffle Groove
"With a BY
Little
Help From
My Friends"
JOHN LENNON AND PAUL MCCARTNEY
What would you
do.
i
y* would you
120
if
stand
THE CRAFT AND BUSINESS OF SONGWRITING
out
sang.
I
d
m
up
and
* walk
m.
j>
-by, aD through the night
of
m
m
out
on
tune
=
^
me.
*
16th Note Groove
"No Scrubs" K\
KEVIN BRIGGS, KANDI BURNS, AND TAMEKA COTTLE (TLC)
—•—t— A
scrub
is
—
t i-
—t—
a guy who thinks he's
44
'
and
fly
—
'
al
is
-
so
^
known
as a
bus-
ter.
"You Learn"
MORISSETTE AND GLEN BALLARD
BY ALANIS
Moderately
fast
(«T
»«M)
J31 rec
i=r an
-
y
-
-
om mend -
get-ting your heart tram-pled
'
on
to
»
IP!
one
j>
yeah.
"/ Knew I Loved You "
BY SAVAGE
GARDEN
Hybrid Swung I6th/8th "I Try"
BY
MACY GRAY
TEXTURE Once you understand how syncopation the finer points of
creates a danceable groove, you'll
what makes one dance beat
distinctive
want
from another, even
if
to study
they are
made up of the same rhythmic subdivision. This can be a complicated study, but here's a simple concept that can
Each groove has
rhythm
tracks
move
its
make
it
easier to understand.
own unique
"texture,"
from sparse
to
moderate
the beat along with just a few notes while others use
and
are examples of sparse
full
to full.
Some
many more. Here
grooves in eighth-note and sixteenth-note subdivisions:
Sparse 8th bass line
<>>--hhi
t ,
jlj
1
t 1
jlj
n
La Vida Loca"
As
in
BY
DESMOND CHILD AND ROBI ROSA
"Livin
n
(RICKY MARTIN)
WRITING MUSIC
121
^S
Full 8th bass line
As
in
"Like a Virgin
lap
"
BY BILLY STEINBERG
AND TOM KELLY (MADONNA)
Sparse 16th bass line
iH As
in
m
m£
"Purple Rain"
BY PRINCE
Full 16th bass line (techno)
"Heart of Glass"
As
in
BY
DEBORAH HARRY AND CHRIS STEIN (EURYTHMICS)
People in the record industry are looking for songs with the groove already built
Knowing how
to place
your song
competitive edge that says, "Play
David "Cat" Cohen board
and
teacher,
Hubbard), he
is
and
author.
a member
The Rat Pack and Extension
enjoys
THE CRAFT
AND
its
me on
best rhythmic setting will give
the radio!"
A
songwriter with major credits (Cheryl Lynn, Syreeta, Freddie
ofASCAP and NARAS. He
has also placed songs in the
Universal Pictures' Undercover Brother. Cat teaches
the Musicians Institute in Hollywood.
BUSINESS OF
in.
your writing the
a multifaceted career as a songwriter, independent producer, key-
songwriters in the L.A. area.
122
in
He
can be reached at his
SONGWRITING
He Web
regularly coaches site
classes
and
HBO film at
UCAA
consults for
at www.catcohen.com.
K' chapter seven
Collaboration
Why Two A
Than One
(or More) Heads Can Be Better
substantial percentage of the world's
the wealth of classic material that's
most popular songs
come from teams
like
are collaborations.
Consider
Lerner and Loewe; Rodgers and
Hammerstein; Kander and Ebb; Bacharach and David; Rodgers and Hart; the Gershwins;
Mann and Weil; ney; Goffin
Holland, Dozier, and Holland; Gamble and Huff; Lennon and McCart-
and King; Leiber and
Stoller;
Fleming and Morgan; L.A. Reid and "Babyface"
Edmonds, and on and on. 2001 edition of Billboard magazine: the Hot Country Chart showed
In a January
two of the
were cowritten and of the remaining nine,
sixty songs
Hot R&B/Hip-Hop
six
were
fifty-
writer/artists;
on
Chart, eighty-eight of one hundred were cowritten and seven of
those remaining were writer/ artists; of the
Hot
100, eighty-three were collaborations and
of the remaining seventeen, nine were writer/ artists. Today's song market
so competitive
is
r
aE
that professional writers can't afford to settle for less than the best, so they often elect to
Today's song market
team up with other
so competitive that
Though
this
specialists.
chapter
is
always the best or the only
Than
"Bluer
devoted to collaboration,
way
it
should be noted here that
it
isn't
Randy Goodrum ("You Needed Me,"
to write. Hit writer
Blue") has successfully written with and without a collaborator. Here's a
quote from an interview
I
is
professional writers can't afford to settle for less than the best,
so they often elect to
did with Randy:
team up with other specialists.
First
of
years
on
by
me
all
I'm not a collaborative writer
my own. Most everything that
except for this year (1987)
Sherrie," "Foolish Heart,"
collaboration.
At
least
I
was
Than
I
thought,
Blue,'
not
not use
'closet.'
in a
Well,
'closet'."
We
started off writing for years
how if
I
is
and
have ever had that was big was written totally
[Goodrum
six others
my
I
collaborated with Steve Perry
on an album]. But
experience,
it
can water
seminar one time and somebody
uniqueness.
'it,'
and
from
I
as a rule.
he going to rhyme
it
lose a sense
"Gee when
I
'closet'?" I said, 'feel like
had been cowriting, chances
would have thrown
there are dangers with
down and
said,
out, yet
are
it's
a
on "Oh
we would little
bit
of
heard 'Bluer it.' I
have
rhymed
said, "Let's
more unique of a
COLLABORATION
123
.
line
than other songs that
I've cowritten.
Sometimes the
art
has to have a linle bit of
a rough edge in there, in a charismatic sort of sense. There has to be to
You
it.
makes
You know,
Or
that's incredible.
yourselves. ...
am proud
we came up at
just this litde
think with collaboration,
I
jump up and down, and
I
it's
on or anything, and
a business suit
So
and rewrite and rewrite and sometimes
just rewrite
greatness.
cowriting
Though
it's
if
it
tickles.
it's
good
muse .
.
not logical what
it's
He doesn't
have
something that makes you
just
that
comes
along.
.
to get
can be better than what you can do on your own,
if it
you can
arrive at a place that neither
McDonald
wrote two songs with Michael
I
some abandon
of you can get by
for his solo
album, and
two songs
to say that neither of us has ever written anything like the
They were
with.
totally in
another place. So that's a nice way to look
also.
not the only way to go, there are several other good reasons
why
writers
collaborate: 1
A writer may have more talent as a lyricist than as a composer or vice versa.
important that you objectively a
good
lyricist
may need or
song must be
Many is
your strengths and weaknesses. Obviously,
with marginal musical
just as
skills,
you should look
your name on the "words
to see only
maybe you
assess
want
good
as
all
it
&
music by"
for a
who
can possibly be, regardless of
It's
you're
composer. Your ego
line at the top
The bottom
the royalties yourself.
if
of the page,
though,
line,
is
that the
did what.
talented musicians/arrangers can put the music together but don't feel the lyric
important enough to warrant a collaborator. They
risk seriously limiting the artistic
and
commercial potential of the songs. f
^fr
2.
Writers often tend to get trapped in their
When
own
musical and lyrical cliches, and
Writers often tend to
a collaborator can supply fresh ideas.
get trapped in their
automatically go through a familiar and comfortable set of chord changes, picking
own
musical and
lyrical cliches,
and a
or rhythm patterns.
Out of
you've written before.
It's
you pick up your
chord book and work out some new chords and progressions,
supply fresh ideas.
discover
grooves, or find a collaborator
Even professional writers writers.
to
They may
3.
if
whose
write great ballads, but need to team
you do
that well,
Writing with someone
style
aren't always productive and
up-tempo songs or another
songs that
style. it
your fingers
come melodies much
these established patterns
easy to get into a creative rut. At that point
collaborator can
some new
guitar,
styles,
like those
you need
to get a
listen to the radio
you
like.
may need
the input of other
up with someone when
In fact, there's always such a
and
demand
for
it
comes
up-tempo
should be relatively easy to find cowriters.
else disciplines
your writing habits. Many people seem
function better on deadlines and always wait until the
last
minute, while thinking up
to all
kinds of other projects to avoid the task ("I can't possibly create with a dirty house/broken guitar string/out-of-tune piano."). This avoidance
priming the subconscious to
124
start
syndrome
working on the project
THE CRAFT AND BUSINESS OF SONGWRITING
at
is
a
way of
signaling
and
hand. At the eleventh hour,
when you have
to produce, the brain sends a signal to the subconscious that says, "It's
time to download
Many best
on
all
those ideas," and, like magic, they're there.
writers will avoid writing altogether
find a collaborator
and plan on
if
there are
up deadlines
that kind of "crisis" basis set
a regular
no deadlines. Those who function
One good way
for themselves.
day to get together and write. You know
is
to
you'll
have to come up with some ideas to work on before that deadline, and that subconscious preparation process will operate on an ongoing basis
if it
knows
that every
week
(or every
day) that deadline will arrive.
A
4.
partner will furnish a constant feedback and critique. You're stuck for a rhyme
and eager say, "It's
OK.
something
A
together the
conscientious collaborator
Maybe
else."
first
heard stuff on the radio that rhymes
I've
guy'll cut it."
want
You put
to finish the song.
you're a
lyricist
is
thing to
'rain'
there to say,
with
we
is
Maybe some
Let's see if
a singer
The more
5.
collaborators
the song recorded. Let's face
and can
has several industry contacts for
find
say, "I'll
use another word instead of 'garbage'?" artistically.
could go either way.)
this
on a song, the more people there
it.
British
we can
This feedback can keep you at your best and help you both grow commercially and
(Though based on the above Goodrum quote,
and
into your head
'again.'
"Wrong!
and your collaborator
to hold this note in die melody, so could
come
are
networking to get
[^
There's also a political strategy to cowriting. If each writer
The more
whom
collaborators on a
he can play the song, you'll have that
many more
more people
opportunities to get the song published or recorded as well as extend your reputation and
song, the
your network of writers and industry people.
there are networking to get the song
recorded.
Meeting Your Match Finding the perfect partner can be a it,
you'll have the
walking into a
same odds on finding the
singles' bar
common. You're
At
best,
no matter how you go about
perfect collaborator right
and finding a marriage partner. The two
away
as
you'd have
situations have a lot in
dealing with a whole range of personalities, personal habits, expectations,
previous experiences, egos, and literary influences, business
But there
difficult process.
are a
lifestyles.
With
know-how, and
collaborators
you can add musical and
aggressiveness.
few ways to get started and narrow the odds. Like a
where other people are looking,
too.
You put an ad
singles' bar,
you go
in a music-oriented periodical like
to
Music
Connection or the newsletter of your local songwriters organization. Placing an ad in your local
newspaper
there.
is
A better bet
probably a waste of time because readers don't generally look for cowriters is
to
make
little
signs that
you can put up on
bulletin boards in
music and
record stores, the Musicians Union, or clubs that feature your kind of music. If you're a lyricist, it's also
a
good
idea to put your signs
so composition students can find you.
on
Computer
college
music department bulletin boards
bulletin boards are also a
under "song collaboration" or "music collaboration." Since exchanging audio obviously not
as
files
on
the Net, distance
spontaneous
as
is
it's
good
bet.
Search
possible to collaborate
no longer much of an
obstacle,
though
by it's
being in the same room.
COLLABORATION
125
The ad
or message should include the styles with which you're most comfortable, the
instrument(s) you play, yout favorite lyricists/composers, and your credits,
looking for a
and
lyricist
working band, have a production
are in a
deal,
publishing, or have an exclusive publishing deal, mention that, too. This lyricists that
you have
Another approach
list
listings
your
containing relevant style and bio information).
own
information and be sent a
TAXI's www.musiciansjunction.com
collaborators.
the serious
tells
through professional organizations and services (www.musiciansco
is
you can
fee
do your own
serious prospects for their work.
ntact.com has composer/lyricist
For an annual
any. If you're
if
Web
of songwriters' service
is
list
of potential
Appendix
a free service. (See
for lists
sites.)
In Nashville, attend the weekly critique sessions by the Nashville Songwriters Association International
among
(NSAI) or any of the many "writers nights"
the best opportunities to screen a writer's
work
at local clubs.
In any of these situations,
but whose
lyrics
would consider
or she
you may hear
are weak, or vice versa.
to
a singer/songwriter
You
song-
local or national
make
contacts.
whose music
excellent
is
might, diplomatically, ask that person
if
he
collaboration.
There's a definite advantage in writing with
and the industry.
to the public feel are as
good
It's
also
someone who's out
and
to their publishers.
One
than you. This strategy
you wrote Try
to
together, particularly if
meet
as
many
they seldom sign staff
who
called "writing
in as
an independent writer get a cut
on
a song
you can keep your own publishing.
often like to
all
areas
of the industry. Publishers, though
know of good
with good composers or with other writers on their
bands
is
provides entre to other pro caliber
good publishing company and
people as possible in
lyricists,
it
of the best positions to be
to cowrite with a staff writer at a
there exposing those songs
advantageous to your growth to write with those
or, preferably better, writers
up." If you've cowritten with an established writer, writers is
way
"Writing Up"
I
you
also a great
is
are
before meeting in person. All
workshops, clubs, and showcases offer that opportunity. Joining writer organizations or music associations
These
could use the services of a strong
staffs.
lyricist.
lyricists that
Producers
they can
may
hook up
be working with
Recording engineers are
also
good
contacts.
A substantial number
I
Writing With Artists and Producers
of successful
A
collaborations today,
hip-hop, happen at the source of the project. That encompasses three typical situations:
particularly in
pop and
substantial
number of
writing with the
artist,
successful collaborations today, particularly in
pop and
R&B/
writing with the producer, or being a writer/producer yourself.
R&B/hip-hop, happen at the source of the
WRITING WITH THE ARTIST
project.
This
is
a great strategy if you can
do
it.
Assuming you come up with an exceptional song,
the artist has a financial interest, as a cowriter, in recording the song.
126
THE CRAFT
AND
BUSINESS OF
SONGWRITING
On
an
artistic level,
on
the process can include: talking with the artist about what's going
getting song ideas from the conversation; taking the structure
them and
finish
Here's what Jeff Trott (cowrote "Every
"My
Happy," and flight
own
them; initiating your
Day
Is
and
in his/her life
artist's lyric ideas
and helping
to
ideas lyrically or musically.
a
Winding Road,"
"If
Makes You
It
Favorite Mistake") told me, in an interview for United Airlines In-
Entertainment, about his collaboration with Sheryl Crow.
My
relationship with Sheryl
pitcher
and
is
kind of
I'm really good
a closer.
finishing them. Sheryl's strength
and
They have
a starting
but I'm not so good
at instigating ideas,
at
being able to complete an idea. That's very
is
of discipline. That's where our chemisty works.
difficult to do. It takes a lot
the ball rolling,
like baseball pitchers.
I
get
she's the closer.
These collaborations come about from personal relationships with
and other industry pros
publishers, producers, managers,
as well as
artists, referrals
other
by
artists.
WRITING WITH PRODUCERS The producer
also has a financial stake in the success
for the artist's
sound and the type of material they want
along with collaborating with the specific type
good
strategy.
artist,
of song. If you're a
Madonna's
artist
and usually a concept
to record.
So the producer may,
of the
look for cowriters
who
have experience writing a
teaming up with
writer/artist,
a writer/producer
is
a
successive (and successful) collaborations with writer/producers
Stephen Bray, Shep Pettibone, and Patrick Leonard are good examples.
BEING A WRITER/PRODUCER Having the
ability to
produce
produce songs and shop them
artists
puts a writer in a great situation.
to specific artists.
There
is
a distinct advantage to
master quality tracks because there's a good possibility that
end up
tracks, you'll also
Frank, and
Pam
and R&B/hip-hop
that
they like the song and the
"The Hardest Thing" and Dream's "He Loves
different collaborators, this
knew
producing
producer. That was the case with Steve Kipner, David
as a
Steve about the process of writing "Genie in a Bottle."
With "Genie
if
write and
Sheyne's Christina Aguilera breakthrough hit "Genie in a Bottle"
well as 98 Degrees'
with
You can
writers
who
in a Bottle,"
(as
interviewed
I
Though he says he writes differently
was a process that seems
to be pretty
common
for
pop
often start with groove tracks.
it
was more of a track-driven song where David Frank
Pam Shayne was coming
morning, went into
U Not").
his studio,
and
into town, so he got up, literally, at
just started
two
coming up with very strange,
in the
interest-
ing music. There's a kick-drum pattern in that song that's a very fast kick-drum. So
what happens then and around and
it
is
that
you take
that eight bars of
just doesn't stop. It just plays
music and
and you turn
it
just
loop
it
around
up loud and
all
of
COLLABORATION
127
you
a sudden,
anyone about
I'll
sing something or
David would sing something. You're not
Pam would
concentrating on
really
—stream of consciousness. You're not thinking
but you just sing stuff
else,
Whatever comes
it.
something. So,
just start singing
sing something,
And someone
out.
And
grab onto something.
you
so that gives
"What was
will go,
a
little
melody and
and you
that?"
of a sudden,
all
slowly but surely, everyone starts sort of like singing relatively the same melody.
There
no words
are
someone
you're walking around and
someone line
says,
"Wow,
but just sort of got a
at that point,
Wow,
that's
way."
right
good
.
Wow,
Someone
that's interesting."
.
.
let's try that.
there
you
you
keep
just
literally
And
be a
—
first
of
all,
namby-pamby
if
new
line.
when
sort
of a
convey here? So
to have, has to believe in,
and what actually
it's
in that thing, ya
know, then
keep working and
you
it
done
until
and
And
of a sudden until you
all
of a sudden
all
production, but
it's
not that quick.
and you customize
it
good
a
strategy.
And
it.
you get an idea
can't just
it
it
gonna
has to be about
sitting
OK,
down and
When
live in that little
Then
world
go by and you
just
after that's finished,
right to the end.
and produce
You gamble your time and money on
it's
it's
then you think,
a couple days can
also find a great singer, write for (or with)
record companies.
the
song about. What's the attitude we want to
this
is
takes a long time,
actually start to record
You can
it
can the verse be about? So the verses can be more of a
at the lyrics
me
you've got the idea of "there's the right
something that people would want to be bothered with.
looking
you
so
it
has to have an attitude that whoever's
lyric. It
and
.
again and
gotta rub
try
an up-tempo, aggressive sort of a song,
it's
end up singing the song has
now what
"You
else said,
something doesn't work, you change
Once
.
I'm a genie in a bottle."
a genie.
And
.
then
and then the next
will grab that
"I'm
knocking things around and molding
of what the song can be about. attitude"
say,
And someone
go, there's a
almost like chiseling stuff away.
you wanna be with me"
will go, "If
would come and then someone would
And
melody.
little
you shop the
her, then
shop her to
the quality of your writing and artist,
you're also shopping your
writing and production for future projects.
Can This Marriage Work? After finding a collaborator who's stylistically compatible, task of developing a
One
good rapport and business
successful songwriter says,
"My
ego
is
you have the sometimes
relationship with that person.
my
biggest
problem when
have to keep reminding myself that I'm collaborating with respect her work; and to
accommodate
when
a lyric,
I
she offers a suggestion or asks
should give
it
difficult
a shot."
this lyricist
I
collaborate.
because
me to change part of my
The ego problem
in this
I
I
really
melody
example was
caused, in part, by the fact that the writer had written both words and music to his songs
128
for years
and found
THE CRAFT
AND
it
difficult to readjust his habits.
BUSINESS OF
SONGWRITING
A
negative and quarrelsome attitude can destroy any type of partnership, especially
who
with people
vulnerable psyches. is
ugly.
We
Remember
When
important because criticism a flaw. It
you
really
do
why you
think
it
If
is,
new
someone
a necessary part of the process.
is
may
becomes doubly
A
good partner won't
it
goes.
to leave
Alan and Marilyn Bergman's
With
it
in.
If
can destroy any type of partnership, especially with people
who are
sensitive
and
involved with such
emotional issues as
you find yourself
rule
is:
If
exposing their vulnerable psyches.
one collaborator
like.
mind
is
that you're both trying to create the
and response should be directed toward that goal rather
than to protecting your ego. Don't defend something just because you wrote you'll get a bigger percentage if split
quarrelsome attitude
nearly endless alternatives, they're confident they'll
thing to keep foremost in your
best song possible. All criticism
50
let
rf A negative and
be more productive to spend the time and energy looking
lyricists
eventually find a line they both
The one
of professional-
a quality
one of the primary benefits of collaborating.
in fact,
it, it
doesn't like the line,
is
that professional attitude
else,
already perfect.
us, it's
Even when you're writing
pretty.
your song objectively
works may convince your partner
Famed
line.
at
you your "baby"
tells
strongly about a line a cowriter has rejected, a few calm reasons
feel
fighting too hard for for a
make your song
and look
you're working with
you ignore
baby comes from
to believe that because the
that you're both trying to
alone, the ability to step back ism.
who
not always easy to deal with someone
It's
want
all
and involved with such emotional issues as exposing their
are sensitive
you contribute more
(a
good argument
it
or because
for a straight 50/
of writers' royalties from the beginning (see the following section, "Business
Considerations"). You'll need to learn not only to accept criticism graciously but also to give tively.
Critiquing
is
an
any criticism be given
you
get
art in itself.
and
as gently
more comfortable and
When you're
beginning a relationship,
positively as possible.
it
it's
construc-
crucial that
As your routine develops and
trusting with each other, you'll probably
work out some
shorthand to speed up the process. As you communicate better, you'll also get to
know
dumb
line!"
an unqualified putdown. The
latter
which buttons not
and
"Let's
make
acknowledges a
your partner.
ideas. Criticism
you find few causes
for
becomes much
are
some of
how your
important to find out right away
able
easier in
an atmosphere of respect.
compliments, you should be writing with someone
to collaboration are as varied as the
It's
1
is
important that you continuously acknowledge your partner's talent and
compliment good
Approaches
The former
could be better, offers a challenge, and implies faith in you and
line
It's
between saying, "What a
to push. There's a big difference
that line stronger."
If
else.
combinations of individuals involved.
prospective partner likes to work. Here
the variables:
Writing lyric or music alone and getting together later. Some people are uncomfort-
.
when
open
Some
their partner
to criticism lyricists
is
in the
and change
would
It
and
Some who say,
"Take
disturbs their creative flow.
They may be
but they need to get something to work from
rather write to a finished
suited to correspondence. writers in succession
same room.
later,
melody and
write this
way
will
vice versa. This
method
send a melody or
this lyric (or tune) for a
week and
see
is
first.
well
lyric to several
what you can
COLLABORATION
129
come up
with."
chance to hear several versions of
gives a writer a
It
And
his material.
—
saves the hassle of waiting endlessly for a collaborator to finish a song
it
common
a very
problem.
To make of time that
r^ It's
unethical to give a
lyric
or music to more
Otherwise,
won't be it is
complete song unless you both agree on the finished product.
a
a complete work.
more than one
to
not.
collaborator at the
ful
should also mention that
I
it's
unethical to give
same time without
potential collaborator at the
their
They may choose
spend
to
more productively elsewhere, and
their time
disrespect-
it's
of you not to allow them the choice.
same time without
if
anyone
assignment you've been given. Publishers have been
known
For yourself,
and writers
tion 2.
always a good idea to ask
it's
rightfully resent
else
They enjoy
both
and music,
particularly
It's
so ideas can be stimulated
and shared
in
of collaboration, your compatibility becomes more important.
Can you work
intimidated (though a
feel
every day or once a week? tension
little
is
that writers
may
also
want
part of the musical culture
and
He
Didn't Trust
Language" by
Me
part.
The
devastating.
weakness.
is
To
One
Do
good
for artists
both
areas.
What
you
like
stylistic
is
who
With
your most creative
each other and not
understood
other writers, particularly in Nashville, where
first
88 Songwriting Wrongs
& How to Right
Them and
on Snoop Dogg's "Topp Dogg" album;
single
write.
have
avoid the
about collaboration:
this to say
latter,
of our cowriters
The
relationship with a creative partner
may
is
You should
"You have
says,
collaborate to
by yourself."
is
that you're writing because
The most important
AND
I
BUSINESS OF
see
security to
make
thing to keep in
you love
Muppet
it
to feel you're very let
it
better,
mind while
good
to be able
things go. If you're not secure
not because you
Don
can't
do
line
all
of
writing alone or collaborating
and the purpose
character
SONGWRITING
the
be pleasant or
important to collaborate from strength, not
it's
you won't have the
it
THE CRAFT
hit
So Much," a No. 2 chart recording by Bobby Womack; "Body
easy to deal with.
go crazy every time
it's
Wish
"I
your writing, you get that ego thing of trying to prove yourself with every
you
write
this type
compatibility and also need to decide
give-and-take process can be stimulating, which
to collaborate, or in
the
Patti LaBelle)
The paperwork hard
Me,"
happen
business.
Pat and Pete Luboff (authors of songwriters: "Trust
love the give-and-
to collaborate with others. It's generally
many
collaborate with
way
not necessarily a bad thing)?
Regardless of the approach, you'll need
whether you or your partner
this
the excitement and high energy level that can
collaborators really start to groove.
time of day?
working on the same
it.
when two lyric
is
not to volunteer that informa-
Writing together in the same room. Writers who work
take of instant feedback.
130
ahead
in writing
knowledge. They should have the option to agree to that type of speculative situation or
than one potential
their knowledge.
it
legally,
music
a lyric or
you should have an agreement
that situation work, however,
is
to have a
good
Music, songwriter on Sesame
time.
I
Street,
banging
head into
his
that line."
piano keys and screaming,
his
many
been there so
I've
never do
"I'll
Don
times myself. Fortunately,
Frog to help him over the rough spots. All we have
it,
never get
I'll
has Kermit the
our sense of humor and
is
lots
of patience. a useful technique to play records
It's
song. This way, you create your
trying to write the next
one
is
Hit songwriter Harold Payne,
Snoop Dogg, among
You can
artist
Check
you
are writing a
among you
it
song
make
to
while warming up to a
make
the label to
sure the
artist's latest
no
If there's
who
that's
artist,
Stewart,
and
words of advice:
You should
basis.
you do, what
artist
decide at the
could record
more production-oriented, do you have
demo
that song needs? If
we do
research, listen to
the kind of
it?
the facilities
we have
a particular
something
like
it,
and
album.
be enthusiastic before looking a particular one.
Bobby Womack, Rod
has written for
particular assignment,
doesn't work, so
to take on.
to be commercial. If
assignment to write for an
buy the
good job
on an assignment or an organic
you want
if
a
others, has these
collaborate
beginning
on
of a specific
assignments.
does sing songs written by other writers. Playing the current hit single and
artist
If
own
at
we might work from
each other's ideas.
You should have
someone doesn't
It's
a
title.
Both
parties
a few different ideas, in case your
feel
work on something
forced to
must
chemistry that makes us go choice
first
they're not
interested in.
Or you
can just get together and have a conversation casually.
organic approach.
and If
It's
establish rapport.
something
for the pleasure of
it.
Take whatever comes
It's
as a result
gets done, that's almost extra.
It's
together or not to write that particular idea. saying,
"That doesn't turn
if there's
A this is
no
progress.
good way
me on."
Some
on the "up"
to the
side,
way people
to write
because
relate to
an up song or
we want
a
to be
to
have a
title session.
happening
each other.
down
one.
about
a week; don't be afraid
just getting together.
is
bit
not to write
by
We
in the news,
Then we might
Most of the
time,
we
do
what
decide decide
commercial, and positive songs tend to
Then we might
two people who have gotten back together unique way of expressing that
that the
to be comfortable
Meet once
in general, what's
be more commercially acceptable.
to find a
You have
has to flow.
to start the collaboration going
whether we want
call
of the interaction, no pressure.
OK if you decide
also
obstacles are dislodged
by talking about the world
happening
It
I
an opportunity to stretch out a
idea.
after
decide on a general area, like
being
split up.
Then, we have
We might throw around some titles
of songs that have already been written on the subject, just to give a clearer idea of where we're heading. Or,
from
lists
that we've
we might just throw around
made on our own. Or, we might
titles
talk
on various subjects
about something that
COLLABORATION
131
EXERCISE
COLLABORATION
IN
You can
your friend next door. admire.
If
want to
How? Take
you want some
try out
any song that has been a
new
rises
placed,
and
falls,
or that you simply
hit
lyrics
to the melody.
your melody writing, put a new melody to those
The advantage
missing part.
you learn about
new
lyric-writing practice, write
what you've created to another writer without write the
title is
you approach
practice collaborating with the world's best writers before
how
how
telling
is,
how many
did
it,
you
take
and
she'll
that while you're writing,
where rhymes
successful songs are structured,
long the song
is
Now,
lyrics.
them how you
of this trick
If
bars to each section,
go,
where the
where the melody
know your finished product
and other things we've discussed. And you
based on a successful structure.
is
happened
make
conversations over dinner
another task to
sit
we
of a friend that
in the life
down
feel
would make
a
good
These
story.
writing a pleasant social thing, rather than just
to after a
hard day of earning
a living.
Business Considerations assume that you've found
Let's
the magic ingredient
together and, publisher!"
company,
may
first
you need
Your partner
If
says,
"Oh,
I
guess
I
forgot to
whether your partner's company
at all
tell
You
is
song with
a
you may agree
in this situation,
split the
for
more on
I
my own publishing in trouble.
months or
a year,
all
of
that, if
You
your partner's
he give up
You might
his publish-
also set
up
publishing, but jointly agree to the time limit.
Or
it)
to the
which point you both
new
will give
an equal
party. (See chapter ten, "Publishing,"
this subject.)
The Splits
You
also
may
have supplied a
need to agree on a division of the writer's share of the title
for a song,
but you wrote the
rest
royalties.
Your
of it. You might
collaborator feel
most of the work and should get 90 percent of the money. Your partner may
132
find a
publisher.
you might request
to bring in a third publisher, at
share of the publishing (or
let's
to get the song recorded? You're better off
good
doesn't get the song recorded in six
own company and
"Great,
capable of properly promoting the
ing interest and the two of you look for a publisher together.
your
you can work well
say,
you. I've got
feel like
than to have the song tied up with an inadequate one. At
free to place the
you find yourself
company
find that
At that point the song may be
Does the company have the connections
you'd be
You
to write great songs.
thing you know, you've got a fantastic song.
not having a publisher least
and/or composer whose words or music
so I'd like to publish the song."
rightfully ask
song.
a lyricist
THE CRAFT AND BUSINESS OF SONGWRITING
you did feel that
.
without the be
which supplied the premise, there wouldn't be
title,
Its generally agreed that establish an
you
anyone
one of you
arrangement.
more
some of
the other
the
wants to record
and each of the
touchy
little
if
why
it's
50/50.
Each
are split equally.
writers
empowered
is
to
a pretty straightforward
it's
each of you writes music and
more room
for
lyrics
or if the
argument about who
on individual songs, but they
one undoubtedly contributed more than
tunes,
generally agreed
that
if
you get
together with the intention of writing a
always best to agree on equal shares ahead of time.
Lennon/McCartney
J^_ It's
it.
difficult to quantify. There's
contributed the most. That's
On
and percentages
rights
and the other writes music,
tends to get a
It
contributions are
all
split the writers' royalties
of the copyright,
a lyricist
is
you
to the contrary,
who
effort.
get together with the intention of writing a song or to
relationship,
owns an equal portion
grant a license to If
if
ongoing writing
Without an agreement writer
You may both
a song.
but that kind of bickering could destroy a very promising collaborative
right,
want
just didn't
to fight over
song or to establish an ongoing writing relationship,
you
split
the writers' royalties 50/50.
every time, so
it
they divided the royalties equally.
Here 1
are
some other
possible situations
You've written the song and you take
that person contributes a
You
this
volatile situation, Is this
he wants
the song's direction. to the writer,
who wants
writer's credit.
This
Any
recording credit
b.
How extensive
a very
artist,
may
artist, there's
to
up on
it.
a hit album.
therefore be important to you.
are the changes? "Personalizing" the
accommodate him,
you can about what the
offer to
artist
is
make them
song by changing a "she" to
him
him
Get
the credit.
may
as
much
informa-
lose the cut unless
You can swallow your
walk away with your pride (and your empty pockets), or
can't change this song but suggest that
extensive changes
looking for and present several rewrites. If the
allow
to rewrite or just give
more
yourself.
artist
just a
potentially
no question about
the song could be a major hit or end
seems unreasonably resistant to your changes, you
it's
work
and changes
it
common and
a "he" does not warrant a writer's credit. If the artist wants
to the bank,
try to
with several factors to weigh:
But even with a new
tion as
How much writer
you should
to "personalize" is
an important cut? With an established
and you want
up," and
else to "tighten it
to contribute.
take your song to an artist
something. For
a.
him
to deal with:
someone
to
new hook or changes
out based on what you want 2.
it
At the time you bring your song
credit will he get? it
you may have
tell
the artist
you write something together from
matter of financial incentive for the
artist to
the publisher's share of the royalties to offer if
you
pride and walk
you
scratch. If
record the song, you also have
you publish the song
yourself. (See
"Negotiating," chapter eleven.) c.
How badly does the artist want the song?
If
he thinks
it's
good enough,
he's torn
between wanting the writing credit and money and possibly blowing a potential You're in the same position, too, except that you
someone would have the nerve While many
artists
to
demand
may
credit for
also
hit.
be motivated by anger that
your work.
wouldn't think of asking for undeserved credit (and
royalties),
COLLABORATION
133
do
others
in a
New
York minute. You ultimately have
your career to give up
to
it
it
a portion
to decide
of those royalties and
the publisher's job,
the contribution
is.
It
can get a
would depend, of course, on how substantial
ask. It
touchy, but
little
you've already written with someone.
Is it
worth
Generally speaking, this
should he your decision.
it
decide later that for some reason you want a
Maybe you
4.
and she shouldn't
it's
credits.
3. A publisher suggests changes and wants a writer's credit. is
whether
new
lyric to a
song
OK to change? Not without your cowriter's
written permission. 5.
you
What if your melody writer or publisher wants
still
get paid?
music by
A
decision has to be
,"
or
the
lyricist's half.
In the
commission
In the former,
if
lyric is reprinted,
graph
six
you both
and know
Do
" In the former, if a
a lyric translation, the percentage granted to it's
deducted from
you're sued for lyric infringement, you both get sued.
of the song, both writers get paid; in the
also vice-versa
lyric?
"Words and
you're going to say,
royalties equally. In the latter,
the lyricist gets sued. In the former,
latter,
new foreign language
and music by
comes out of both your
the translator
made whether
"Words by
foreign subpublisher wants to
a
if there's
latter,
a successful instrumental version
the lyricist doesn't. In the former, if a
get paid; in the latter, only the lyricist.
that these questions can be
of the Collaborators' Agreement,
in the
worked out
Note
that
all
these are
contractually. (See para-
following section, "Preliminary Business
Meeting".)
All these potential problems point to the need for collaborators to get straight before they get into the music.
the business
all
There are few things more frustrating than knowing
you've written a winner but can't do anything with
it.
Preliminary Business Meeting KA.
Parker
former at
is
a professional lyricist, a five-time
staff writer for
UCLA,
and
Festival winner, lyric
writing
Musician's Institute, and throughout the United States. Her suggestions for
conducting a business meeting and
list
in her classes)
With
more
American Song
Motown's Stone Diamond Music who has taught
is
the best I've seen.
of considerations for collaborators (which she uses her permission,
I
offer
them
to
you minus the
extensive discussions of the ones I've already covered.
Conducting the Business Meeting Setting
up
until
it's
it
the songs
a business meeting
too
late.
The
is
like
buying
fire
you write with your collaborator turn out
recorded, and released.
Of
course, there's
no way
working together. But, assuming you believe collaborator (and there's
134
THE CRAFT
insurance:
AND
BUSINESS OF
You may not
think you need
things that you'll be discussing will only be necessary
no reason
SONGWRITING
to
in
to be
to
your
good enough
know
own
this until
potential
work with another person
if
and when
to be published,
you
and
unless
actually start
in that
you
of your
do),
I
am
.
going to assume char you agree that before you begin
Don't
work on music
meeting or the minds on business matters
a
matters.
into the trap of thinking that just because your potential collaborator
fall
Most of us
"nice," that ironing out the business will be a snap later on.
we
But greed does amazing things
are trying to impress others.
about money,
after
all.
Ego, dreams, and
money make
Many
Never conduct a business meeting
childlike to be creative.
Don't
who were
the time frame (usually not
not going well.
at the
same time
Come
more than an
Of course,
if
things
You may
prepared.
meal
a
is
as a creative meeting. You'll
Make
reference.
draw
a letter of
meeting
a checklist or
agreement
Go
same time
hour), and makes well,
it
it
helps to
are.
resources.
because your potential collaborator
"nice," that ironing
a day
Make
when
whole
be a snap later on.
open,
you're not
affair, limits
easy to exit if you see that
bond
the relationship, too.
new
partner
copies of information
agenda of the items you want to
for signature at a later date, based
will
won't work.
it
discuss.
on the
if
she
is
you want her for future
Be prepared
discussion.
to
A business
the meeting
is
over.
in with a positive attitude. Don't enter the meeting with tales about
there.
direction.
on
—
flexible,
Take notes or tape the meeting
got screwed before and you're doing this to protect yourself.
from
into the trap
not a good time to be under the influence of alcohol or drugs of any kind.
is
Have your drink when 3.
at the
a nice idea. It softens the
do go
fall
of thinking that just
is
very well end up educating your
Back up your opinion with
to read.
be both
try to
informed about the business than you
less
to
left
£L Don't
out the business
in a neutral place, like a coffee shop,
planning to write together. Sharing
2.
is
successful
business meeting has three basic rules:
Conduct your business
it's
when
and business
to people,
need to be organized, closed, and tough to do business. You'll need to be
and
is
between two "nice," talented people.
sort out the disagreements
1
are "nice"
a powerful brew.
songwriters have ended up giving their royalty income to the lawyers
The
necessary
is
Assume good
how you
will
and go
You're building a team and every team needs goals, guidelines, regulations, and
Don't be defensive. More than anything, the session should be an information-
gathering interview. If you conduct
well,
it
should save you from any hostile confronta-
it
tions in the future.
Specifics
Now that you know to eliminate 1
.
Is
some of these
date a
and
The minute you
on
this
I
discuss? Here's a
some of your own, but
all
phone numbers,
address,
list.
You may want
the basics are here:
Social Security
remember
finally passed
(i.e.,
vividly
fill
a song) together,
how
I
felt
when
you must keep up
a publisher greatly
when my collaborator could not be
found.
not be interested in publishing half a song. Keep in touch! Note:
know
want
to
work with someone
before
I
to
out the copyright forms on your
ers will I
num-
(ASCAP, BMI, SESAC) of your partner should be up and be used when you
create a copyright
information.
song of mine, but
files
do you
specifics
points or include
affiliation
This will go in your
songs.
what
your information current? Name,
ber, birth date,
date.
the rules,
Most I
to
wanted
publish-
wait until
I
ask for his/her address and Social Security
COLLABORATION
135
number. Some people may be touchy about giving
How does your partner
2.
company?
about publishing? Does he have
feel
working with the major publishers
if
acquaintance.
own
his
How
active? Does he want your publishing as well?
Is it
new
this info to a
does he
they offer a contract on the tune?
publishing
about
feel
he interested
Is
in
working with a small, untried publishing company?
Does your partner have
3.
of you want to keep
many
the best songs for yourself? This
all
Do
aspirations to be a recording artist?
you? Will either
a source of major conflict with
is
and should be thoroughly discussed before the work begins. There
collaborators
is
nothing more frustrating than holding back a great song on the chance that your partner
might get signed with 4.
When
of you
in
your best songs go to another person,
all
Be frank about
isn't a perfectionist
you rewrite
5.
or seeing
after a critique session? After the
demo
is
complete, will you be willing to go
of the two.
Do
prolific
melody
middle, no
matter who does what.
When a third
party
is
called in,
everything into thirds.
is
divided
When do you it's
inspired, that can be very frustrating for the
How
more
long will you
on her
part?
the song finished and the other one doesn't
want
bring in a third party to
when you both
often this
activity
work on
the song?
Who
is
to
done, and
What about
will
you bring
agree you've reached a dead end. Again, in an ideal situation, this
thoroughly.
work on a song without telling your partner. You'd be surprised
means the end of the partnership.
usually
it
many
relationships
where
one party writes both words and music and the other parry only writes one or the
other.
a third party 8.
splits?
This
is
a major
is
called in, everything
pays for them and how? split exactly like the
down
individual matter, regardless of
What
how
Who
work
THE CRAFT
if
Do
AND
Who decides which songs to do? Who
one partner owns a studio and can play
either of
BUSINESS OF
for the
demo
costs?
This
should agree with whatever arrangement
is
is
all
an
made,
out.
one of you more aggressive?
Nashville on a regular basis? or artists?
what
connections do each of you have? Is
When
does what.
produces, engineers, plays, sings? Generally, the fees are
parties it
who
thirds.
them?
Does he charge the other partner
and both they
in
the middle, no matter
divided into
song, 50/50. But
the instruments, etc.?
9.
is
bone of contention
What about demos? Where do you do
using them?
136
times do
one of you writes every day
your partner before you expect to see some
to
Professional writers split everything right
down the
If
should be a mutually agreed-upon third party. But you need to discuss
7.
everything right
your partner?
is
you or your partner need deadlines? Pressure?
Never bring in a third party
split
disagree?
or can't?
it,
in? Ideally,
Professional writers
How many
you
and make major changes?
to finish
how
OK if one
if
What do you do when one of you wants
teg:
say so. That's
What
give a lyric or
it
when both of you
it's
a set of rules.
and one of you only writes when you're
6.
you're the one
or a procrastinator. Clashes of temperament will be a sore spot
come up with
How prolific are you? How
prolific
if
this issue.
a song completed? Ideally,
is
here unless you
back
—
artistic aspirations.
How will
you belong
SONGWRITING
Would
Do
either of
either of
you
you go
you get your songs heard by
to
feel
LA,
comfortable in
New
York, or
publishers, producers,
to professional organizations such as the Nashville
The Songwriters
Songwriters Association,
Guild, or
to write
New
Nashville, or 10. fee
goals die quickly.
and demo your songs
York
Once you spend
— then what? Are
to better
Would
axi?
either of you be willing
producers and publishers, and so forth?
to join to get professional feedback, pitch songs to
Most partnerships without
1
either of
and money required
the time
you prepared
move
to
to
LA,
promote your work?
How does each of you feel about songwriting competitions? Who pays the entry
and how
winnings be
will the
split?
Creating music successfully with your partner will depend on the ness to
work
things out that each of
produce are great, the incentive to
you brings
work out
flexibility
and
willing-
to the relationship. If the songs
be greater.
the snags will
adopt the belief that people are more important than songs.
If
might help
It
you don't
if
you you
believe that,
then maybe you should write alone.
Washington, D.C.,
in
if
you know the
dealing with a writer acting in violation of the agreement
As
act.
to
companies and individuals
in the
original copyright registration
number. This provides "constructive notice" of the agreement
such a wrongful
It
might help
adopt the
Agreements regarding copyrighted musical compositions may be registered Copyright Office
te^T
to the public so that
is
deemed
who conduct
anyone
to have notice of
an actual search of
if
you
belief that
people are more
important than songs. If
you don't believe
that, then
maybe you
should write alone.
copyright office records, a record of the agreement will discourage any transfers or licenses in violation of
its
terms.
Writing As a
Band—Working
It
Out
Occasionally you'll pick up a record by a group and see five or six writers (group members) listed after a title.
You
think,
"Do
they expect
me
uted equally to the writing of that song?" There
music together; but
create lyrics and/or
usually contributes sible for the
Many
more than
bands are formed around a
members contribute
their
So why, then, should those
the
melody, or someone
members don
financial, the
't
second
own a
rest.
in
to believe that
are, in fact,
most group
Maybe
all
those writers contriball
members
one writer
(or two)
groups in which
situations,
the lead singer or keyboard player
else has the lyric
is
respon-
concept or writes most of the words.
writer/artist or team.
There are bands
in
which
several
songs or write with another group member.
group decide
to share writing credit
contribute to lyrics or melodies? For two
with
all its
main
members
reasons: the
if
first
artistic.
Financial Reasons
On the financial side, there are five major areas in which a group member can make money: (1) record royalties (2) live
performances
(3)
merchandising
(4)
songwriting royalties
(5)
publishing. 1.
In record royalties (not writer/publisher royalties), the cold reality
costs, advances,
is
video production and other expenses are recouped by the
that recording
company from
COLLABORATION
137
.
The
following
own
situation.
comments
a cowriters' contract with
is
(There
to help you tailor
to your
it
a copy of this agreement at www./ohnbraheny.com.)
is
COLLABORATORS' AGREEMENT Agreement
This
entered into on
is
20
The undersigned songwriters have collaborated
in
with respect to the following musical composition(s):
the creation of the aforementioned song(s) with the following
understanding: 1
No songwriter shall
be responsible to any other songwriter for expenses incurred
in
the preparation or presentation
of the song(s) unless agreed upon. 2.
All
sums received from exploitation of the
Writer's
song(s), as well as
name
all
approved expenses incurred,
all
composed
If
the writers have
made
varying contributions to the music and
responsibility for each, an attempt to identify individual contribution
4.
If
all
and there
the music to the song(s).
is
no precise
there
is little
purpose to
[One or more of All of us shall
money
this clause unless
of virtuality no use.]
-
-
we
lyrical
the creator thereof.
and musical contributions
[NOTE: is
Again,
clearcut.]
whatsoever of the song(s).
[or]
have equal rights to issue licenses for any use of the song(s), but must pay appropriate shares of any
received as specified
of the writers]
song(s) and
the division between
made by
the wrrters] shall have the only right to issue licenses for any use
Paragraph 2 above,
in
only after obtaining written approval of
[One
split in
respective creative contributions to any song(s) not meeting such requirement, and the
other(s) shall have no remaining claim to income from any use then
6.
is
lyric,
of the lyrics to the song(s).
the song(s) are not [signed to a publishing agreement/commercially recorded/commercially released] by
may each withdraw our
5.
be divided as follows:
Percent share
_ wrote
[NOTE:
will
[All
of us]
may reduce the
such creative changes.
Any
[NOTE:
If
Any
all
there
is
of us
may
grant licenses for any use of the song(s), but
of the others.
of us with approval,
shares of
original writers, reductions for
all
[or]
of us
in
etc.,
may authorize changes
to the
equal proportion to compensate any
a definite division
between
lyrical
new
lyric
or melody of the
songwriter(s) adding
and musical contributions among the
changes may be appropriately categorized by the type of change and assessed against
that writer.] 7.
[One
of the writers]
is
hereby granted
full
power
of attorney
[or] [All
of the wrrters] are each granted
attorney to assign any rights or grant any licenses respecting the song(s) to give their approval for any period
138
in
excess of
days.
THE CRAFT AND BUSINESS OF SONGWRITING
in
full
power
of
the event that the others are unavailable
COLLABORATORS' AGREEMENT CONTINUED [NOTE:
some
In
circumstances,
where one writer
insists
where one writer may be
on reserving
a
song for
his
far
more knowledgeable
music industry matters or
in
or her performing group's use only,
it
may be appropriate
to
grant that writer the exclusive right to grant licenses and assign rights without approval of the others.] 8.
In
the event of any dispute between us regarding the song(s) or this Agreement,
arbitration
(the largest nearby city)
in
association
we
will
submit the matter to binding
under the rules of the American Arbitration Association or any
upon which we otherwise
local arbitration
agree.
Signature
Soc. Sec.
Number
Address and Phone(s)
Although
it's
not
critical,
states, notarization
as to
how
you
may wish
to have this
document
notarized. In
many
required for any power of attorney. Check your state laws
a power of attorney
your meager royalties
is
artist royalties.
is
legally granted.
So most group members never end up receiving any
artist
(from the record company) beyond the original advance unless they're very, very
successful. 2.
least
Regarding
money in
live
performances, even subsequently successful groups usually take at
two years from the
start
of a recording contract to begin making any kind of decent
performing. "Opening act" status and at least two hit singles are needed to bring
enough revenue
to
do more than pay touring
that can tour constantly, or
who
bills.
The
exceptions to this are the bands
got their record deal because they had already built a
following by touring. 3.
Merchandising of T-shirts,
takes time to build
etc., at
concerts can be lucrative, but this business also
and the band may have
to help defray their costs.
to
sell
merchandising rights to get advances
Concert venues and promoters
also get percentages of
merchandising. 4.-5. So, the
only relatively reliable sources of income
income generated by
self-publishing.
songs are published by a
own
company
The songwriting
The second
to publish
its
splitting the publishing half
option, setting
are
from writer
royalties will
outside the group or by a
group and
songs.
left
up
royalties or
be earned whether the
company
a publishing
the group sets
company
of the income with the band members,
is
for the
a
members of the band with mechanical and performance
way
to reward nonwriting
ties.
In that case, an individual or
company
is
up
good royal-
hired to administer the group's publishing
COLLABORATION
139
company
for a fee (see "Self-Publishing"
and the remaining the
to give
up
the group. This, of course, assumes that
their publishing as part of the record deal.
the artistic side, the philosophy
credit.
The
final
and unique sound of the group
But, you might
"What
ask,
if
concept of the songwriter. Instead
we know
it,
sound would be audibly
hip-hop. So
it's
I
To
and melodies,
not only important what the
sound modification devices he chooses voice sounds,
He may create
how
he uses
it,
an instrumental hook
word
one member
left
altered.
How
group may not be writing
to use
and when. parts
he creates riff
and
he plays
If he's also a singer,
form of a bass
just a
important to the
how
bass player plays, but
and what in the
as
particularly in pop, rock,
identity or serves as the basis (so to speak) for the
written a
if
answer that we have to ignore our traditional
reiterate that the
as lyrics
own
not dictated by the writer/ artist/lead
but creating a sound, an element frequently
commercial success of a record
how his
is
the bass player doesn't write lyrics or melodies?
does he justify receiving royalties?"
as
his
and therefore deserves a share of the
but by the interaction of all the members. In other words,
the group, this philosophy says, the
song
group contributes
that everyone in the
is
individual talent toward creating the final product
singer, etc.,
eleven),
Reasons
Artistic
On
among
royalties are divided
band didn't have
and "Administration Deals," chapter
it's
R&B/
it,
what
important
for the vocal arrangement.
that gives the tune a unique
whole song. So although he hasn't
or a note of actual melody, his contribution can be extremely important
to the success of the record and, ultimately, the group. It
may
occur to you that, depending on the situation,
and often
tions can be are
all
whose
are
made by
others.
paid in other ways and are free to
commitment
first
is
to the
The
solicit
all
work with anyone
who
rolling in.
feel their
So
contribution was
if you're
especially if you
want
else.
A
group member
group doesn't always have these options.
Dividing writer royalties doesn't work with everyone and those
the above musical contribu-
studio musician, arranger, or producer
more important,
writing with a band,
it
rise to
jealousy from
especially after the big
may be worth
to attract creative people to
may give
money starts
considering sharing the credit,
your band and
if
everyone can perceive
each other's contribution as being equally important.
As you can
see,
collaboration
is
positive advantages, both artistically ible partner
THE CRAFT
and commercially. The
and keeping your business
increased productivity
140
an option to be seriously considered.
AND
and
BUSINESS OF
quality.
SONGWRITING
It
offers
difficulty in finding a
many
compat-
straight can be more than compensated for with
part two 1
The Business
742
7oa&
fi
<$.
53^;
chapter eight
Your Songs
Protecting
The Importance of Taking Care of Business Now that you've put so much
soul
and perspiration into writing those great songs,
book and
you're not looking at the rest of this I
don't have a business kind of mind.
who
can take care of
all
that."
I
think
"Oh,
saying,
I'll
hope
that's just the business stuff.
Or "I'll just get a manager
skip that part."
Those words have
I
a sad echo for a lot of people I've
met
over the years whose creativity has been drained and their careers put on hold while they tried to
undo by
There was
a
legal
means the damage caused by
time not long ago
when
some
you everything, but
teach
business that
you don't have
might have suspected, are business
it
ill
music business.
you plenty of
it
can
sense
You can
Your songs and
feel just as
talent are
your creativity every
pay your rent
in
your old
show you many options
one or two. There situation
Many
may
are
you
know
You want them
age.
as
much by
when
you
figuring
a song,
and
they go out in
to be protected, to be
do something good
Reading the
that
rest
in the world,
of this book
is
a
with people
and
if
they're
major payment
in this section, just in case
different
r^ You can exercise your
ways
much by figuring out fresh approaches to
getting your songs
recorded as you can by writing a song, and
to those babies.
to deal
you thought
there were only
with your business, and your personal
succeeding at feel just as
it
can
good.
use a combination of them.
wonderful, honest, hard-working people exist in this business
you succeed and who for
many
as
creativity every bit as
your babies. You want to
on an insurance policy you owe I'll
bit as
you can by writing
as
all,
forget that the music
good.
care about them, to have a chance to
special, to
doesn't pretend to
streetwise information about the
and human nature. Don't
exercise
the world, they have every advantage.
who
It
Ph.D. to understand. At the bottom of it
to be a
out fresh approaches to getting your songs recorded succeeding at
ignorance.
Now you have no excuse. The following
basics of the
give
common
also very creative.
is
v
own
no books from which someone (who
there were
wasn't an attorney) could learn about the business. chapters are an introduction to
their
are motivated every bit as
much by
who want
seeing their creativity pay off
they are by the financial rewards they'll receive by helping you do
great pride in their
work and go through
as
much
to see
frustration
it.
They
and aggravation
take
in their
PROTECTING YOUR SONGS
143
jobs as
you do
some
get
idea of
what happens on
of this book will help you find those people and
rest
end of your business. That knowledge
their
the best kind of business deals, the ones in which everyone
you make efforts
Reading the
in yours.
and knows how
and poor business
work
to
team.
as a
And
will help
it
is
you avoid the dishonest people
Is
Your Property
One
of the most important business considerations
may
be emotionallv attached to your "baby," you have to think of
—an
enacted so that an
A
own
his
artist
A
work.
his
purposes.
product or
as a
it
(and others around the world) have agreed that an
ownership of
copy"
protecting your songs. While you
is
"intellectual property."
Our government retain
for his
deals.
Your Song
commodity
will help
rewarded
creations.
To
artist deserves to
encourage creative expression, legislation was
could expect to be compensated by whoever sought the "right to
creator can assign different rights to different people for different
sculptor gives a gallery "the right to display."
song
assign) the rights to her
to a
music publisher
A
songwriter can license (or
to obtain recordings of her song,
reproduce those recordings, and distribute them to the public.
Now we
come
you
acquire something from
show me
need
to the
"his" car, even take
until they are sure
me
for a ride in
we would need
regarding that car,
to see
it
works or depended Years
later, as
and
successful songs totally
on someone
these songwriters
Anyone can
yours to begin with?
if
there were ever any legal questions
some proof of ownership.
who
either did not else to give
have written some of America's
know how
to register their
them proper payment
own
as the creators.
became more educated regarding copyright protection
procedures, they realized they had blindly signed over
from
can someone
is
but
it,
Countless stories have been told about songwriters
most famous and
How
for a "right to copy," or copyright:
of their rights to earn any income
all
their songs.
Fortunately, today there are books (like this one), songwriters organizations, classes,
seminars, and other learning opportunities available to help people learn about their rights as creative artists.
When
a songwriter puts so
seems irresponsible not to Before received
was
I
knew
my new
better,
I
know how had
to protect
a fantasy
He'd
say,
worry, and love into his
it
for
all
I
prayed that
(who
"experts" say,
I
"Wait
knew had heard
everything)
I
144
this
have that fantasy, you can
it's
OK.
would shake
now wipe
THE CRAFT AND BUSINESS OF SONGWRITING
Let it
it
pass,"
when
make
and
One by
pan
and somebody
No,
was home
out in favor of cold
it
one, the copyright
their heads
I
they
sure
one before?" In the
a minute! Play the last four bars of that bridge again.
might have been 'Earth Angel,' but If you
which,
hadn't accidentally written
of something I'd heard on the radio or in a club somewhere.
would
in
the employees just to
"Hey, have you guys ever heard
fantasy, I'd break out in a cold sweat as
art, it
it.
about the Copyright Office
song, a piano player played
really original.
much work,
reality.
I
thought
it
free.
The Copyright
more than 600,000
Office processes listen to
those songs, but they
out correctly. see
If
the song
it
you haven't,
is
registrations every year. Needless to say, they don't
do check over the forms
they'll
to
make
sure you've filled
them
send back your application. They also don't check to
original, since the copyright registration
only a proof of the date of
is
According
to the
Copyright Revision Act of 1976, which went into
effect
on January
1978, original (original with the creator of the work) songs are entitled to copyright
1,
on paper or "phonorecord," which includes At the time
written or recorded,
it's
song "live" for an audience (before Technically, it's
a
good
it's
compact
date of registration.
audio
disc, or digital
when
it's
it is
not automatically protected.
recorded or written. Consequently,
and put the copyright notice on the tape/CD with the
date and even better to obtain a copyright registration before performing Ideas, concepts, titles,
only a proof of the
considered to be created. If you sing your
in "fixed" form),
it's
only considered protected
idea to record the song
vinyl, tape,
it's
is
medium of expression. This means
protection from the time they're "fixed" in a tangible
file.
^L Copyright registration
registration.
chord or rhythm patterns are not protected
—only
in public.
it
the specific form
of their expression.
Length of Copyright Protection The
length of copyright protection
is
described by the Copyright Office as follows:
WORKS ORIGINALLY CREATED ON OR AFTER JANUARY A
work
1978,
is
that
is
created (fixed in tangible form for the
automatically protected from the
a term enduring for the author's
In the case of "a joint the term lasts for
and
for
70
life
moment
of
time)
first its
plus an additional
creation
70 years
work prepared by two or more authors
on or
after
and
ordinarily given
who
is
will
January
1,
did not work for hire,"
works made
(unless the author's identity
Copyright Office records), the duration of copyright
120 years from creation, whichever
is
after the author's death.
years after the last surviving author's death. For
anonymous and pseudonymous works
1978
I,
is
for hire,
revealed in
be 95 years from publication or
shorter.
WORKS ORIGINALLY CREATED BEFORE JANUARY
I,
1978,
BUT NOT PUBLISHED OR REGISTERED BY THAT DATE These works have been automatically brought under the copyright protection. in the
same way
The duration of copyright
as for
works created on or
120-year terms will apply to them as well.
of copyright for works
after
in these
statute
works
January
The law
1,
and
are
now
given federal
will generally be
1978:
The
computed
life-plus-70 or 95/
provides that in no case will the term
in this category expire before
December
31, 2002,
and
for
works
published on or before December 31, 2002, the term of copyright will not expire before
December
31, 2047.
PROTECTING YOUR SONGS
145
WORKS ORIGINALLY CREATED AND PUBLISHED OR REGISTERED BEFORE JANUARY
1978
I,
the law in effect before 1978, copyright was secuted either
Under
published with a copyright notice or on the date of registration in unpublished form. In either case, the copyright
from the date
was
was secured. During the
eligible for renewal.
last
eligible for a total
work was
the
work was
registered
for a first
The Copyright Act of 1976 extended on January
first
term of 28 years
term, the copyright
the renewal term 1,
from 28
1978, or for pre-1978
Uruguay Round Agreements Act (URAA), making
copyrights restored under the
works
endured
(28th) year of the
years for copyrights that were subsisting
47
to
it
if
a
on the date
term of protection of 75
years. Public
Law
October 27, 1998, further extended the renewal term of copyrights
these
105-298, enacted on
still
subsisting
on
that
date by an additional 20 years, providing for a renewal term of 67 years and a total term
of protection of 95 years.
Law
Public
102-307, enacted on June 26, 1992, amended the 1976 Copyright Act to
provide for automatic renewal of the term of copyrights secured between January
and December 31, 1977. Although the renewal term
is
1,
1964,
automatically provided, the Copy-
right Office does not issue a renewal certificate for these works unless a renewal application
and
renewal
registration
is
no
longer required
in
order to extend the original 28-year
copyright term to the full
tration
registered in the
no longer required
is
95
full
and
Law 102-307 makes
Public
rjjfr Filing for
fee are received
Copyright Office.
renewal registration optional. Thus,
in order to
renewal regis-
extend the original 28-year copyright term to the
However, some benefits accrue from making
years.
filing for
a renewal registration
during
the 28th year of the original term.
For more detailed information on renewal of copyright and the copyright term, request Circular 15, "Renewal of Copyright"; Circular 15a, "Duration of Copyright"; and Circular 15t,
"Extension of Copyright Terms."
95 years.
The Copyright Notice
I
FORM OF NOTICE FOR VISUALLY PERCEPTIBLE COPIES The 1.
notice for visually perceptible copies should contain
all
the following three elements:
The symbol ® (copyright symbol), the word "Copyright," or the abbreviation
"Copr."; and 2.
The
year of
first
publication of the work. In the case of compilations or derivative
works incorporating previously published material, the year date of the compilation or derivative
work
pictorial, graphic, or sculptural
duced
in or
article;
and
3.
on greeting
sufficient.
THE CRAFT
AND
BUSINESS OF
year date
may
if
any,
cards, postcards, stationery, jewelry, dolls, toys, or
recognized, or a generally
Example: ® 2000 John
The
publication of
be omitted where a
work, with accompanying textual matter,
The name of the owner of copyright
name can be
146
is
first
Doe
SONGWRITING
in the
known
is
repro-
any useful
work, or an abbreviation by which the
alternative designation of the owner.
.
The "C of
works
ies"
in a circle" notice
—
and phonograph disks
notice
work
is
used only on "visually perceptible copies." Certain kinds
example, musical, dramatic, and
for
but by means of sound
tapes
is
in
literary
works
— may be
fixed not in "cop-
an audio recording. Since audio recordings such
are
"phonorecords" and not "copies," the
"C
as
audio
in a circle"
not used to indicate protection of the underlying musical, dramatic, or literary
that
is
recorded.
FORM OF NOTICE FOR PHONORECORDS OF SOUND RECORDINGS* 'Sound recordings
are defined in the law as
"works that
result
from the
fixation of a series
of musical, spoken, or other sounds, but not including the sounds accompanying a motion
Common
picture or other audiovisual work."
drama, or
lectures.
A sound recording
examples include recordings of music,
not the same
is
as a
phonorecord.
The
CDs, LPs, 45
notice for phonorecords
is
The word "phonorecord"
the physical object in which works of authorship are embodied.
includes cassette tapes,
A phonorecord
r.p.m. disks, as well as other formats.
embodying
a
sound recording should contain
all
the
following three elements: 1.
The symbol
2.
The
3.
The name of the owner of copyright
year of
(the letter first
P
in a circle);
and
publication of the sound recording; and
which the name can be recognized, or
a generally
owner. If the producer of the sound recording container and
name
shall
if
sound recording, or an abbreviation by
in the
no other name appears
is
known
alternative designation of the
named on
the phonorecord label or
in conjunction with the notice, the producer's
be considered a part of the notice.
Example: 2000 A. B. C. Records
Inc.
Form of Notice
for Visually Perceptible
Copies
Copyright Registration In general, copyright registration
is
a legal formality intended to
the basic facts of a particular copyright. right protection.
Even though
right law provides several
make
registration.
Among
However,
registration
is
registration
is
make
a public record of
not a condition of copy-
not a requirement for protection, the copy-
inducements or advantages
to
encourage copyright owners to
1
Registration establishes a public record of the copyright claim.
2.
Before an infringement suit
be
filed in court, registration
is
copyright
registration
is
a legal
formality intended to
make a
these advantages are the following:
may
# In general,
public record
of the basic facts of a
necessary for works
particular copyright.
of U.S. origin. 3. If
made
before or within five years of publication, registration will establish prima facie
evidence in court of the validity of the copyright and of the facts stated in the 4. If registration
is
made within
three
months
after publication
an infringement of the work, statutory damages and attorney's
certificate.
of the work or prior to
fees will
be available to the
copyright owner in court actions. Otherwise, only an award of actual damages and profits is
available to the copyright owner.
PROTECTING YOUR SONGS
147
5.
Registration allows the
owner
or the copyright to record the registration with the
U.S. Customs Service for protection against the importation of infringing copies. For additional information, request Publication
No. 563
"How
Your
to Protect
Intellectual
Property Right," from: U.S. Customs Service
P.O. Box 7404
Washington, D.C. 20044
www.customs.gov
Registration
when
before 1978,
make another owner may
may a
(for online publications)
made
be
at
any time within the
work has been
registration
when
of the copyright. Unlike the law
registered in unpublished form,
the
not necessary to
it is
work becomes published, although
published edition,
register the
life
the copyright
if desired.
Registration Procedures
ORIGINAL REGISTRATION To
register a
work, send the following three elements in the same envelope or package
to:
Library of Congress Copyright Office
101 Independence Avenue S.E.
Washington, D.C. 20559-6000
1.
2.
tion.
A properly completed application form. A nonrefundable filing fee of $30 (effective through June 30, NOTE:
Copyright Office
fees are subject to
2002)
change. For current
for each applica-
fees,
please check
the Copyright Office Website at www.loc.gov/copyright, write the Copyright Office, or call
(202) 707-3000.
3.
A nonreturnable deposit of the work being registered. The deposit requirements vary The
in particular situations.
general requirements follow. Also note the information under
"Special Deposit Requirements." a.
If the
work was
first
published in the United States on or after January
two complete copies or phonorecords of the best If the
b.
work was
first
published in the United States before January
complete copies or phonorecords of the work c.
If the
work was
first
phonorecord of the work d. in the
If
deposit.
Whenever
THE CRAFT
AND
all
1978, two
as first published.
applications, deposits,
If possible, applications
possible,
BUSINESS OF
1,
as first published.
SONGWRITING
and
fees
should be sent
should be attached to the appropriate
number each package
processing.
148
1978,
published outside the United States, one complete copy or
sending multiple works,
same package.
1,
edition.
(e.g.,
1
of
3,
2 of 4) to
facilitate
.
WHAT HAPPENS
IF THE THREE ELEMENTS ARE NOT RECEIVED TOGETHER
Applications and tecs received without appropriate copies, phonorecords, or identifying
and ordinarily
material will not be processed
without applications or
fees ordinarily will
deposits received without applications
and
be returned. Unpublished deposits
will
be returned, fees
can be immediately transferred to the
collections of the Library of Congress. This practice
may
Library of Congress
be used for registration only
the prescribed application
After the deposit
and
fee.
you wish
for the collections
the deposit
of the
"accompanied by
is
.
is
appropriate copies,
phonorecords, or identifying material will
not be processed
and ordinarily
.
it
received without
to another service unit
no longer
available to the
of the Library for
will
be
returned.
Copyright Office. If
work, you must deposit additional copies or phonorecords with
to register the
your application and
if
with section 408 of
."
and transferred
received
is
collections or other disposition,
its
in accordance
is
which provides that the published deposit required
tbe law,
In most cases, published
also.
2L Applications and fees
fee.
RENEWAL REGISTRATION To
register a renewal, send: 1.
A properly completed application Form RE and,
if
necessary,
Form RE Addendum,
and 2.
A
nonrefundable
of $45 without Addendum; $60 with
filing fee
each application. (See previous note on Copyright Office
fees.)
Addendum
for
Each Addendum form
must be accompanied by a deposit representing the work being reviewed. See Circular "Renewal of Copyright."
15,
NOTE:
Complete the application form using black ink pen or
type.
copy blank application forms. However, photocopied forms submitted Office must be clear, legible, for automatic feeding
on
good grade of 8'/2-inch X
1
Copyright
1-inch white paper suitable
through a photocopier. The forms should be printed, preferably in
black ink, head-to-head so that directly
a
You may phototo the
when you
turn the sheet over, the top of page two
behind the top of page one. Forms not meeting these requirements
may be
is
re-
turned, resulting in delayed registration.
SPECIAL DEPOSIT REQUIREMENTS Special deposit requirements exist for
many
types of works.
The
following are prominent
examples of exceptions to the general deposit requirements: 1
If the
work
is
a
motion
picture, the deposit requirement
the unpublished or published motion picture
and
is
one complete copy of
a separate written description
of
its
contents, such as a continuity, press book, or synopsis. 2. If the
work
is
a literary, dramatic, or musical
the deposit requirement
is
work published only
in a
phonorecord,
one complete phonorecord.
PROTECTING YOUR SONGS
149
LOW-BUDGET COPYRIGHT REGISTRATION The
f ^jjr
The
least expensive
way to
expensive
least
Here
title.
way
to register
are the guidelines
your unpublished songs
is
combine them under one
to
the Copyright Office:
from
register your
unpublished songs to combine
under one
is
Under
them
the following conditions, a
a "collection,"
title.
An tents
The
all
but under the
title
identifying the collection as a whole;
same author,
or, if they are
by
of
practical application to initiate a search
of the song
if
is
the
different authors,
not indexed under the individual
they don't
this last
information
is
to each element. titles
of the Copyright Office for
know what you
someone
that if it,
of the con-
hears your song
they won't find
it
under the
titled the collection. Also, if someone
and you give them the
existing copyright
be for the collection; so be clear on the contract that
will
is
of the collection.
to publish the composition/song
number
title
the elements and in the collection as a whole
the elements are by the
unpublished collection
and wants title
bear a single
copyright claimant in all
as
fee:
one of the authors has contributed copyrightable authorship
at least
form
collection are assembled in an orderly form;
The combined elements
same; and
registered in unpublished
with one application form and one
The elements of the
The
work may be
included in the collection called "y," registration
#
it's
wants
number, the
for a specific
song
"y."
Effective Date Of Registration
A
copyright registration
is
effective
on the date the Copyright Office
required elements in acceptable form, regardless of application
and mail the
to process
an application
certificate
varies,
how
long
it
receives
all
the
then takes to process the
of registration. The time the Copyright Office requires
depending on the amount of material the Office
is
receiving. If
you apply
for copyright registration,
you
will
not receive an acknowledgment that
your application has been received (the Office receives more than 600,000 applications annually), but
you can
expect:
A letter or a telephone call from a Copyright Office staff member if further information is
ftfjjr
needed or
a certificate
of registration indicating that the work has been registered, or
the application cannot be accepted, a letter explaining
The poor man's
why
it
if
has been rejected.
Requests to have certificates available for pickup in the Public Information Office or
copyright is the
to
process of sending
have
certificates sent
The poor man
yourself your song by
mail.
registered mail.
possession,
It's
It's
's
by Federal Express or another mail
copyright
is
you could have opened
it
the least reliable
burned down, you may have no proof at
"protection."
above the "poor man's" method
150
THE CRAFT
BUSINESS OF
cannot be honored.
the process of sending yourself your song by registered
the least reliable "protection" since
AND
service
is
SONGWRITING
and all
it
could be argued that, with
altered
its
contents. Also,
that those songs were yours.
to send the registered letter to
if
it
in
your
your house
The
someone
next level else
who
can swear to keep register
it.
it
in their possession.
Another option
is
to use
an online service to
Several companies including www.copyright.net are developing those
services.
WHY IT'S BEST TO REGISTER WITH THE COPYRIGHT OFFICE No do
matter
how
reliable or unreliable
any of these methods may
what they don't
be,
is:
1.
Allow you
registered
to sue
someone
for copyright infringement in Federal
your song within three months of the date of
first
infringement occurs. Otherwise you'll have to pursue
it
Court
if
you've
publication or before the
in Civil
Court.
Tough
to
prove the date of creation and very expensive and difficult to obtain compensation for
damages. 2.
Allow you
damages
to automatically collect statutory'
and court
plus attorney fees
much
win) of up to S100,000
depending on the type and degree of infringement
costs
decided by the court. (See "Awarding Damages"
So, in the long run, you're
(if you
as
later in this chapter.)
better off dealing with the
government on
this one.
Copyright Infringement/Plagiarism One it's
common
of the most
happened, plagiarism
would
fears
of songwriters
less
is
common
is
that they'll have a song stolen.
Although
than the paranoia would indicate. Publishers
rather publish a song than plagiarize
it.
They'd rather be
in line for
your next
hit
than be in court defending themselves in a copyright infringement case.
The more
concrete fear
is
that another writer will steal an idea. Since neither an idea
nor a tide can be copyrighted, the an idea or
title
and use
Throughout the
it
possibility'
as a basis for a
history of literature
is
greater that another writer
new song.
and music,
There's no real protection for lyric ideas.
and musicians have borrowed from
writers
each other quite blatantly with no apologies for doing literary
to
forms are well documented and the forms are
have a choice of thirty-six basic
idea itself
is
not
as
imager\ are what r
it
important
make
you do come up with
is
unlikely that
it
how
Beyond
he develops
The
still
originators of musical
in use.
The
that, he's dealing
The
it.
a
new
and
is
said
with variations.
The
storyteller
language, characterization, and
idea or an unusual variation, but don't craft
will spark interest.
you had
a
There
to develop the idea in her
own
it
well,
however, the chance that another
is,
good idea but you didn't do
have the craftsmanship and perseverance to make
direction
it.
a story or a song special.
If
writer will realize
as
plots.
might borrow
it
it
justice.
That person may
work and would have every
right
way. If the writer took your idea in a totally different
and used none of your actual language,
it
would probably not
constitute
copyright infringement.
PROTECTING YOUR SONGS
151
.
Copyright Infringement Copyright infringement
a federal crime that occurs
is
exclusive rights are violated.
Those
when any of the
copyright owner's
rights cover reproduction, adaptation, publication,
performance, and display. In order to prove copyright infringement, two things
must be
1
who
2.
whether the alleged infringer actually copied the song.
A
copyright registration
admitted
has ownership of the copyright
as
number
for that
song from the Library of Congress can be
evidence that the song belongs to the person filing the
Whether type of
established:
the copyright
is
damage compensation
plaintiff also
must prove
suit.
registered before or after the infringement will influence the
which the
for
plaintiff (the
song was infringed upon.
that the
one suing)
If a witness
is
eligible.
cannot
The
testify that
he or she saw the defendant actually listening to and copying the song, the plaintiff has to prove (1) access
and
(2) substantial similarity.
ACCESS Access it
is
really
"the opportunity to have heard" a song or a "reasonable possibility that
was heard" by the defendant.
will
If
assume the defendant heard
Where
particularly hits.
it
you prove
it.
that a song
"Widely known"
gets really sticky
is
in a case
is
was widely known, the courts obvious with recorded songs,
where a writer/performer
is
traveling
around the country singing his/her songs. Though no publishing or recording deals are involved,
it's
possible that the song could be taped or taught to another writer/performer
and a chain of listeners created over which the
original writer has
no
control. If you played
a concert in the defendant's town, he could have both "opportunity"
but
it
would be
difficult to find
and
"possibility,"
any kind of proof.
SUBSTANTIAL SIMILARITY The
crucial question
plaintiff?
rǤr A popular myth says that
more than four
bars need to be copied
before
This
is
of another work.
it
constitutes
it
is,
how
of course,
similar
where we get into the question of whether
A
it's
constitutes infringement.
OK to copy "a few bars"
Not
true!
On
the one hand, there are probably a lot of songs
with four-bar passages that are technically the same, but they sound so that
much
different
one would not remind you of the other. But there are other songs that are instantly
recognizable in just four notes, such as the
which
true!
"substantial taking."
establish the identity of the
The
court uses two
as musicologists are is
to that of the
popular myth says that more than four bars need to be copied before
infringement. Not
the
tests to
first
four notes of the old "Dragnet" theme,
song so strongly that using them would constitute a
determine the degree of
brought in to
testify
similarity.
same and whether the general idea of the two works
THE CRAFT
AND
BUSINESS OF
SONGWRITING
Expert witnesses such
about whether the actual melodic construction
a jury to decide whether, after listening to
152
was the defendant's song
is
similar.
both songs, they sound
The
other test
alike, or close
is
for
enough
.
one could be mistaken
that is
similar.
he
you
It
tor the other, or that the
George Harrisons
listen to
"My
impression to "the reasonable person"
Sweet Lord," you
that Harrison didn't deliberately plagiarize the song, he
mean
do
to
was
still
found
was decided
it
guilty. "I didn't
not a defense.
it" is
Sampling
another potential area of infringement. (See "Sampling," chapter nine.)
is
The New Infringers
Illegal File-Sharing:
The
Though
infringement suit by the owners of "He's So Fine."
lost the
why
understand
will
protection of all kinds of intellectual property
ated by ease of
is
an ongoing
communication provided by the Internet
battle.
Challenges gener-
are the latest. People
who
use
Napster and other file-sharing technologies that allow the downloading of songs without
compensation to the creators and without of how they
less
may
We're helping
1
their permission are copyright infringers regard-
The
justify their actions.
to
promote the
artists.
rationales
go
like this:
Answer: In some
cases, particularly
new
with
indie artists, that has, in fact, proven to be true. "Viral marketing," the concept of
fan turning several others effective technique. It
on
to the artists
and those
same
few other ways, aside from constant touring, for independent
airplay has left
a very
is
companies' control over distribution and
also true that record
is
friends doing the
one
artists to
promote themselves.
Having
said that, the key issue
determine to releases
whom
an audio
and how
file
2.
labels,
What
industry.
pay
marketing job
their
for the
3.
the
The
make
effectively.
90 percent they
or owe. You'd be surprised at
millions of records.
own
Most music
songs and
that's his
Answer:
it
to
do
difficult to
making them aware of the
as a result
it
be an apologist
the economics of the music
that goes into
They want
aE
The key issue is
is
that
it
the right of the
creator of the music to
find
I
f
artists they're successful
of the
labels
determine to
and how
his
whom
music
will
be distributed.
having
with are the ones
who
on.
and don't mind. Answer: You don't know how much they
artists are rich
write their
off.
The
CD,
has that right.
money
money
lose
the right of the creator of the music to
know nothing about
they love and want to download.
artists
done
is
is
of a campaign to promote his
else
but most music fans they don't see
it
will be distributed. If that artist intentionally
as part
nobody
Record companies are ripping us
major
for
music
his
of a song
prerogative, his right. If not,
that
is
when
how many
artists are still in survival
fans are also ignorant of the fact that fans
download those
mode
many
after selling artists
don't
recordings, they're depriving
artists'
writers of their royalties regardless of the success of the artists. 4.
Music should
time, effort,
perform
and
their
success, or the
and those is
all
be
free.
Answer: Only those
promise of
music
it,
that artists
business will
like that. It
is
and sanity
to create
and
only because of commercial
and songwriters can afford
to continue to create
continue to invest in the gamble. Intellectual property
one of our main exports, valued around the world.
artists
have never spent substantial
creativity at risk to their well-being, livelihood,
music could make an argument
in the
who
and songwriters, there may be nothing
When
left that's
it is
worth
no longer
able to support
stealing.
PROTECTING YOUR SONGS
153
The Copyright
Office, the Recording Industry Association of
America (RIAA), the
Songwriters Guild of America, National Music Publishers Association, songwriters and
who
artists
When
are fighting illegal distribution of intellectual property will,
they do, everyone
who
music
creates
will
believe, prevail.
I
be able to enjoy the rewards that
new
distribution technologies are creating.
Domain
Public
Often, a defense in an infringement case song, but copied part of a "public
A
song.
song
in the public
is
is
that the defendant did not
domain" song
domain
if,
domain when
their copyright
works and traditional folk songs,
Posting your
work on
downloading
others'
work does not
who wrote
it
them. They're
term has expired.
Posting your work on the Internet does not put
[Jgr
plaintiff's
that existed long before the plaintiffs
like classical
was composed before there were copyright laws or no one knows also in the public
copy the
it
into the "public
domain" and
constitute fair use.
the Internet does not
put
it
into the "public
Fair Use
I
domain" and downloading others'
work does not
Some
uses can be
made of the works of other
These are covered by the doctrine of reproducing part of a
lyric in a
writers that don't constitute infringement.
"fair use."
record review),
These include
criticism (for example,
comment, news reporting
(using a small
constitute fair use.
portion of another's to
work
as a basis for
an editorial
comment
or a news story that relates
scholarship or research (using portions of other works for a thesis or term paper,
it),
and teaching. The
for instance),
latter
is
the fair use area that most concerns songwriters
and composers. Several major music publishing and music educators associations have
worked out guidelines
for the
photocopying of sheet music for classroom
Four guidelines help define what constitutes 1.
the purpose
and character of the
use.
fair use:
use, including
whether
it's
for
commercial or for
nonprofit educational purposes; 2.
the nature of the copyrighted
3. the
amount and
4. the effect
Parody also
is
is
work
itself;
substantiality of the portion used in relation to the
of the use on the potential market
another category that can be considered
and
subject to the above qualifications;
original work,
of parodying
for,
you may be on shaky hits
legal
if,
THE CRAFT
AND
fair use. I
for instance,
of action. In some
else,
but
say "can be" because
it
you use too much of the
precedents in future cases.
BUSINESS OF
SONGWRITING
cases,
it
amounts
to
more
at least you're covered. Fair use legal
problems are decided by the courts on a case-by-case
154
whole;
but always obtains permission of the copyright owners for the use of
of a professional courtesy than anything
as
as a
ground. "Weird Al" Yankovic has made a career
their melodies. It's clearly the safest course
then be cited
work
or value of, the copyrighted work.
basis.
Decisions of the courts can
Awarding Damages What
can the plaintiff expect to receive
how much
established
has been done,
it
can
profit
she wins an infringement case?
The
plaintiff will
proven that the person willfully infringed than It's
it
can be
probably fare better
if it
can be
was unintentional.
if it
verv difficult to prove damages, though, so the plaintiff can elect to seek "statutory
damages," an amount if
It
was made by the infringer or how much monetary damage
be recovered.
all
it
set
by law
to
encourage copyright registration. (They figured that
they offered a cash reward, they could keep you from being your
own
worst enemy.)
The amount can range from $200
to Si 00,000. In order to be eligible to collect statutory
damages and recover the attorney
fees
spent on the
trial,
the copyright registration must
have been obtained before or within three months of the date the infringement occurred.
What
I've discussed here
this further or
tion
and
a simplification
is
of the subject.
If
have other questions answered about copyright,
locate a copyright attorney.
Legal Guideby
Mark Halloran,
I
you would
call
your
like to
local bar associa-
recommend The Musician s
also highly
(see Bibliography) or
pursue
Business
and
contacting the U.S. Copyright Office
for the circulars listed.
Online Resources •
The
It's all
U.S. Copyright Office: www.loc.gov/copyright/ here: forms, basic info, legislation updates,
also presents
and international copyright
info. It
updates (in nonlegalese) of the ongoing court cases and Copyright Office
rulings regarding use of
music on the Internet, Webcasting, challenges to copyright laws,
and more. •
The Copyright Web
Site:
www.benedict.com
Includes resources, famous court cases, and other fascinating info. •
A
Copyright and Fair Use: http://fairuse.stanford.edu Stanford University Library
site that's
an amazing repository of
facts, articles,
opin-
ions on copyright, multimedia, intellectual property in general, Cyberspace law.
Avoiding the Songsharks "Songsharks" are companies and individuals collaborate with you,
most commonly
who
to write
charge a fee to publish your song or
music to your
lyric,
which they
like to
refer to as a "songpoem." Others, under the guise of publishing companies, ask you to
submit material, then inform you that project that your song to another
is
song
is
just so
happens that they've found an album
perfect for. Actually, the "publishing"
branch of their
to say that the
it
own company
perfect
—they
just
that
is
the "record"
company sends your song
company. The
need some money from you
first
latter writes
to
make
sure
they can do a good job. You're "double teamed" to make sure the sharks get your money.
PROTECTING YOUR SONGS
155
Many
"songshark"
cerned about getting ripped
them
a letter asking is
the
common
"record
The most common story is
off.
submit material
to
company" who
wants to record
common
is
story
either case, they received a letter I've seen
Only
the
find out about
me?"
They're always flattered that someone
your name and address from the via the
Freedom of Information
then available to the public). is
that the writer responded to an ad in a magazine. In
much
like the
one that follows, a composite of
from "record" or "production" companies. Their
catch phrases.
con-
out of the blue from a notorious
letters
their material.
who were
songwriters
out of nowhere, they received
"Where did they
you copyrighted your song (and
Act, that copyright information
next most
that,
to burst the bubble, but they get
Library of Congress, where
The
for "review."
question from writers who've received
knows about them. Sorry
me from
have been forwarded to
letters
names have been changed.
several
offers usually contain the
most
I've highlighted the
same
common
statements and sales pitches:
As
you 've probably considered having a song recorded
a songwriter,
another. Ifyou've been disappointed and you're about to that song
it
one time or
that decision to just let
unrecorded, Songshark Music Productions would
sit
submitting
make
at
you
like
to consider
to us.
Recording companies need new songs. Without them, they would cease to
how many new songs you
Just think
hear on the radio, television, and records.
day one of them may be yours! Just compare your
Many may
popular, country western, gospel, rock, ballads,
We that
employ
good
really
songs. Your song
We are interested in ALL types
and worthy of recording.
professional arrangers, musicians,
vocalists to help
commercial production that was, before, out of reach. Best of all,
and
record stores
and pay you a
Songshark Music Productions
melody
of material:
etc.
and
Music Productions records your song on a commercial disc jockeys
Some
with songs on the market today.
produce some
writers, perhaps like yourself,
be excellent
efforts
exist.
record,
ROYALTYfor each
will record songs
we
you accomplish after
Songshark
will ship records to
record sold.
of any
style,
(leadsheet). Ifyou have lyric only, it will be completed with
with or without a commercial tune
by our professional arrangers. If you have a completed song, rest assured our arrangers will
adhere to your
sure
it is
accompanied by the
envelope for
Productions
is
in sending us
a recording
poems. However, and/or send real ability
if you
THE CRAFT
it
much
as possible. If
you send
a tape,
self- addressed
make
stamped
your uncopyrighted songs or poems. Songshark Music
company and
Mail through
is
not in the business of stealing songs or
the United States Post Office.
You may have
and you must act now, today! Let us look over your work, so that we may opinion.
Don't
recorded.
AND
as
or leadsheet along with a
wish to stay on the "safe side," have your material notarized
Registered
you our honest
you get
156
it
lyrics
return.
its
Have no fear
give
and melody
lyric
BUSINESS OF
SONGWRITING
just let
your poem or song
sit
around. Let us help
What to save
your
you off to First
Songshark Music Productions came along
a great offer!
creative
But take a closer look
life.
at this letter
just in the nick
and
of time
you'll find clues to tip
their questionable business practices.
thev use "If you've been disappointed" as an attention-grabber.
Who
hasn't been
disappointed? Sounds like they're going to get your song recorded for you!
Next the pitch isn't a
writer alive
radio,
my
song
is
gets heavy.
who
The
hasn't heard a song
Notice that the
radio
assuming
(they're already
you
tells
it
this
two DJs and two record albums, along with
all
this.
The
stores.
—and
effective.
There
can get on the
said, "If that
your song on a commercial record
is
record (containing several different singers).
album and
it
on an unknown
from major record
If they will play
unknown
artists,
will
it
to
buy the
Songsharks have
it.
artist
on
a compilation
that even if a radio station did
got good listener response,
because the listeners couldn't buy an album of that instead of the superstar product
on
are included
They know
DJs and record
promise by sending
hoping that you
that they're
ability to get airplay
play one of the cuts from this
fulfill this
whose songs
a phrase
is
behind the times.
is
they'll ship records to
They could
reality
the other writers
about their
They wouldn't.
and
company
be good enough),
will
probably actually do
real illusions
typical
is
makes no mention of R&B. "Country Western"
letter
actually promise that after they record
stores. They'll
no
on the
line
a cinch!"
seldom heard anymore. That alone
Next they
compare"
"just
artist.
it
would go nowhere
So why should they play
labels they're
it
being pushed to play?
they'd rather play
new
artists
from
bonus, as
how if
Songsharks capitalize
real illusions
about
their ability to get
airplay on an artist
unknown
on a compilation
record (containing
"ROYALTY"
though
in the letter as
an added
it's
singers).
they want very badly to prove to you that they're really honest and wouldn't
think of ripping you
and
Songsharks have no
several different
legitimate small independent record companies.
Notice
fcjjr
off.
Receiving royalties for each record sold
is
a matter of course,
specific percentages are always negotiated upfront.
Many
writers are confused
by people who
them
tell
that if they can't write musical
notation, they haven't "written" the melody. Songsharks
want you
ody" means "lead sheet" or the melody written down. In
truth, if
melody
in his
else essentially
writer credit
head and can sing
it
to believe that "mel-
someone has
into a tape recorder, he's "written"
it.
created a
When someone
puts chords to the melody, writes a chord and/or melody chart, and wants
and half the writers
royalties for
it,
the
first
writer
must decide
if that
contribu-
But Songshark
isn't
looking to share the royalties with you as would a legitimate
who
A legitimate
collaborator works
believes her contribution
is
valuable
enough
a melody
in his
and can sing
it
head into a
company
"written"
it.
to deserve a royalty split.
on your song because she honestly
a potential hit together, not because a she's
someone has created
tape recorder, he's
tion warrants cowriter credit.
collaborator
fcfj: If
believes
you can make
pays her to write a melody for "any" lyric
not otherwise motivated to work with and for "any"
lyricist she's
never even taken
the trouble to talk to.
The Songshark
letter assures
you the company
is
"not
in the business
or poems." Songsharks often refer to lyrics as "songpoems,"
knowing
of stealing songs that the
world
is
PROTECTING YOUR SONGS
157
think their poems could be used as song
who
of frustrated poets
full
be quite sincere about not wanting to irresponsible about right," sending
weak.
You
The worst
it.
possible protection
your work to yourself by
notice they didn't suggest
you
that
The
last
to think
about
this
really
is
just as easily
when you send
nervous
it
have given you the phone
it
in their best interest
It's
or check with anyone about this let
an exclusive
though you have to be good enough
them help you. This deal.
This actually makes
make
to be able to
letter.
a prime setup
is
it
sound
as
use of their services. You're
hoping against hope that you have something
in,
legally
actually obtain a legitimate copyright registration
paragraph urges you to hurry and
makes you think
worthy
been proven to be
It's
of the Copyright Office. But they don't care about you.
you don't take time
that
the so-called "poor man's copy-
is
registered mail.
through the Library of Congress. They could
number
They might
lyrics.
your song, but they're being tremendously
steal
think
they'll
to record. is
Congratulations! Out of
all
(title)
the country. Just send
$400
creative
a
second
the hundreds of songs
on our new
to appear
you
that they send
Typically, the next step
album which
we
letter that says:
receive, (title) has
been chosen
will be distributed to radio stations
around
to cover production costs so that our experienced
and
team ofsingers, musicians, and producers can record your song with the
best
possible quality for commercial release.
There's the zinger.
$400
much
(or
You
you're gullible.
would ever charge you record company, or
Demo
services,
be a part of the i
Some
jfc
In
the legitimate music
a record.
and record companies
charts.
gamble their money
ples
on your lose,
If
you
lose. In
the
talent.
they
to
there's yet another
you send more money. Once you send your you're not aware that
NO
are legitimate businesses (and
demo
a
may
Demo
No legitimate publisher,
demo
much
practice,
don't gamble.
publishers
service,
but charging for
is
you should hear sam-
Production Services, page 252.)
new ways
to separate
you from your
large "screening" fees,
a standard practice in the industry. Screening
it
is
is
a standard
considered unethical. In the legitimate music industry,
and record companies gamble
In the songshark "industry," only
their
money on your
you
lose.
Songsharks usually do operate within the
letter
lose.
production seems to
cheaper elsewhere with your participation,
money. They'll "publish," "promote," "record," and charge you
only you lose. They
company
legitimately charge for arrangements, lead sheets, or chord
Songsharks are very inventive in coming up with
explaining that screening
money, they
legitimate record
of your song under the guise of releasing your song on
However, before dealing with any demo production
of their work. (See
first
album you
service writes melodies for a fee.
can usually be done
songshark "industry,"
158
you
of this songshark company).
make
services
tell
have your song released on their record.
demo
activities
Demos
though demo
if
They know
by the way,
sharks will
industry, publishers
something might happen and you send your
more). Another letter arrives to
could get your song on
know
actually think
THE CRAFT AND BUSINESS OF SONGWRITING
talent. If
you
lose,
they
They don't gamble. of the law. Strictly speaking, they usually
do what they promise. But everyone
in the legitimate
unethical because what they promise and
worded
letters create
deliver
an illusion that bears
is
little
resemblance to
music publishing works. They prey on ignorant people information or
who would
The songsharks
music industry considers them
not what you think
who
don't
it is.
how
Their carefully
the real world of
know how
to get
good
rather harbor their illusions than deal with hard reality.
argue that those people don't want to deal with the music industry.
Songsharks say they're satisfying a need for people to hear their songs in a "finished" product.
If
and authors, another legitimate
for poets
anything
produce
then sharks are essentially the equivalent of a "vanity press"
that's the case,
a master of
your song,
what you want with them. you
it
will cost
X amount
Legitimate promotion single. Just
that
your
and
calls
believe in
You'll receive
or
to press
you want them
it
costs
X number of records,
to actually
X amount
to
and then you do
promote your record, they'd
tell
//they thought the record were promotable. is
is
to totally lose
expensive.
Major
the quickest
your
is
way
labels regularly
spend SI 00, 000+ on a
not promoting a record. Promoting records to get radio
program
directors not to take
credibility.
small stations in small markets that typically play your song at 3 A.M.
no performance royalty because the
station can't log the airplay.
BMI
don't recognize songsharks as legitimate publishers, so songsharks can't put
ASCAP
next to the
said they'd "get
it
tell
title
on the
promoters for major they'd
one that doesn't pretend to be
songsharks promise to get your songs played on the radio, they deliver that, too.
They buy time on
ASCAP
If
X amount
sending records to radio stations
you don't
When
business, but
songsharks operated like vanity presses, they'd say
else. If
of your song on their record.
radio," they
artists,
You thought
that,
meant everywhere. No one can promise
and
BMI
when
they
that,
even
unless they're also delivering payola. If they were honest,
you exactly what they do and how they do
it,
but songsharks are not in the
honesty business.
PROTECTING YOUR SONGS
159
—
chapter nine
Where Your Money Comes From One
of rhe most confusing things to
Though
their songs.
most of us want
much money" may
is
it
may earn
millions throughout the
quite simple. There are four major
slice
how
of the
the source of income from
not important until one of your songs gets recorded,
it's
life
many
get
variables.
income sources from songs
How we
mechanical, in this chapter
and others who may
these sources relate to the songwriter
"How A song
it.
of the copyright.
The Royalty Sources Flow Chart
performance, synchronization, and print. illustrates
is
impossible to predict because there are so
earn nothing or
get paid
writers
know how much money we can make and how we can
to is
new
also get a
pie.
Methods of Payment Mechanical, synchronization, and print royalties are collected by the publisher, his share
and sends you your
royalties are collected
They will send the
share, usually quarterly or semiannually.
by the performing
a quarterly check
amounts divided according For example,
if
you have
a
rights organizations
and statement
to the terms
directly to
who
takes
The performance
— BMI, ASCAP, and SESAC.
you and one
to
your publisher,
of your publishing contract.
standard 50/50 writer/publisher
split,
the publisher's half
of the performance royalties will go directly to him, and your half will go directly to you. If you have a 50/50 cowriter total) will
"traditional" and
is
is
the other publisher the total).
half of the writers' share (25 percent of the
go directly to you, the other half to your cowriter. Maybe you're splitting
the publishing as well. If you have a
r-ffc
The 50/50 division
split,
would
50/50 copublishing split and you're the only
Your own publishing company would get
not an absolute,
publishing (25 percent of the
though the writer
writer's share (50 percent of the total). In the
should not accept less
percent of the
than 100 percent of
The
total).
As the
writers, based
160
THE CRAFT
AND
writer,
a
check for the other half of the
you'd get
a
check
for all
of the
end you have two checks comprising 75
total.
following diagrams illustrate the
the writer's share.
writer,
get a check for 50 percent of the publishing (25 percent of
on contract
BUSINESS OF
clauses that
SONGWRITING
way income
may
limit
is
divided between publishers and
what the
writers actually earn.
Keep
in
mind
that the
50/50 division
should not accept
less
is
"traditional"
and
not an absolute, though the writer
is
than 100 percent of the writer's share.
because the publisher's share
is
200 percent
as a basis
nearly always referred to in terms of 100 percent,
"100 percent of publishing," "50 percent of publishing," be divided between anv
use
I
number of
writers
and
The
etc.
"writer's" share
the "publisher's" share
may
i.e.,
may
be divided
between any number of publishers.
472% Collection
100%
100%
WRITER'S
PUBLISHER'S
Figure get
when
The
A
97V«%
97 3 /<%
WRITER'S
PUBLISHER'S
NET
NET
the contract calls for a 50/50 split of gross
4Vi percent
Fox Agency
B
represents a 50/50 split of gross income. Figure
shown here
for collection of
as
an example,
is
income
is
the royalty split
you
"less costs of collection."
the current fee charged by the Harry
mechanical income only. Other mechanical rights organi-
zations charge different fees. Ideally, for the writer, this cost should be paid by the
publisher (Figure C).
1
Collection
0%- 5% Administration and out-of-pocket costs 1
and 100%
administration
WRITER'S
expenses absorbed by
WRITER'S
9272% to 95% PUBLISHER'S
NET
NET
9272% to 95%
PUBLISHER
Figure
D
represents a 50/50 split of gross
income
"less
pocket costs (copyright registration, photocopies, postage,
administration" and out-of-
etc.) directly
connected to the
exploitation of that specific composition. In this example, those costs are shared by the writer
and publisher by being taken "off the top" before
royalties are divided.
However,
the publisher should absorb those costs as in Figure C.
WHERE YOUR MONEY COMES FROM
161
Split Publishing or Figure
most
E shows
common
Copublishing
the division of income for a writer
who
gets "half the publishing." In this
of collection and
situation, the "other publisher" usually absorbs costs
administration. In other cases, such as nies split the income,
when two writers with
own
their
an independent administration company
publishing compa-
may be
hired. In such a
case, the writers' companies should both share those expenses.
OTHER PUBLISHER 50% 100%
WRITER'S WRITER'S PUBLISHING
COMPANY 50%
Mechanical Royalties Mechanical
compact
royalties
discs,
mechanical of January
come from
2000,
is
— audio
records, tapes,
The
to the general public.
current
7.55 cents per use for compositions that are five minutes or
for songs over five minutes, the rate
playing time, whichever ten songs
—
"statutory rate," set by the Copyright Royalty Tribunal as
rate, called the 1,
the sale of things mechanical
and, more recently, video discs
is
is
1.45 cents per minute or fraction thereof of
greater (the rate
is
updated every two
years). So, if
on an LP, the record company owes the publisher 75.5
2002 through 2003, the statutory
less;
you have
cents.
For the years
rate will be increased to 8.0 cents per
song (or 1.55
cents per minute).
At times, you may be able
to negotiate a contract for part of the "publishing" (the
frfjr
traditional 50 percent publisher's share in addition to
Because the agencies
This can occur most often
collect
many
on behalf of
publishers, they
success record.
A
your songs,
in
is
if
your 50 percent writer's share).
you're a recording artist or a hot writer with a proven
publisher will
make
that kind of split if he's excited
enough about
competition with other publishers for your songs, or
if
you can
have some power, and
convince him/her that you'll personally be very aggressive about pitching the tune to
they audit the record
producers and
companies regularly to
make
sure the
publishers get
all
royalties they've
one. the
artists.
Collecting the
Most
collect
money is
a very important part of the publisher's job
publishers contract with agencies such as Harry Fox,
who
both domestic and certain foreign mechanical royalties for a
Because the agencies collect on behalf of
earned.
they audit the record companies regularly to
162
THE CRAFT
AND
BUSINESS OF
SONGWRITING
many make
and often a
difficult
issue licenses
and
fee.
publishers, they have
some power, and
sure the publishers get
all
the royalties
The
following are the commissions retained by the Harry Fox
payments to
its
Agency on
royalty
publisher principals (as of 1/2001):
Mechanical Licensing: 4!/i% of royalties distributed.
On
Synchronization Licensing for Motion Pictures: 10% of royalties distributed
with a
maximum
On
Other Synchronization Licensing (Broadcast and Standard Cable TV,
All
of $250 per composition.
Video, Commercial Licensing,
etc.):
5%
of royalties distributed with a
Home
maximum
of
$2,200 per composition.
On
On
Background Music,
Electrical Transcription Licensing (Syndicated Radio,
5%
flight, etc.):
of royalties distributed with a
4%
Import Licensing:
they've earned.
There
is
In-
of $2,200 per composition.
of royalties distributed.
a lot of "creative
ing companies. Their objective
is
to
can make a substantial amount of
The major mechanical
maximum
bookkeeping"
hold on to the
money from
in record
money
the interest
companies and publish-
for as long as they
on your
rights organizations that publishers will
can so they
royalties.
most often work with
are listed here:
NMPA/Harry Fox Agency 711 Third Ave.
New York,
N.Y. 10017
Tel: (212) 370-5330 Fax: (212) 953-2384
Web
site:
www.nmpa.org/hfa.html
In L.A.: (323) 466-3861 In Nashville:
(615)242-4173
Canadian Musical Reproduction Rights Agency Ltd. 56 Wellesley
St.
(CMRRA)
West #320
Toronto, Ontario Canada
M5S
2S3
Tel: (416) 926-1966 Fax: (416) 926-7521
Web So seller
site:
www.cmrra.ca
how do
CD
you can
the
numbers work out?
A little arithmetic shows
or CD-single will bring a total of $75,500.
figure
it
will
be on the
When
that
one song on
you have
a
song
a million-
as a single,
CD album, too. Often a CD-single will also contain several
mixes. For example, the Ricky Martin hit, "Livin' La Vida Loca" CD-single contained the
following remixes: (1) (3)
Album
Track Masters remix,
(4)
version, (2) Scissorhands
push
Pablo Flores English radio
Dub-apella. Each of those remixes are also licensed
at the
&
pull English
edit, (5)
house mix,
Pablo Flores Spanish
same mechanical
rates. (5
X 7.55
WHERE YOUR MONEY COMES FROM
163
=
37.75 cents) unless some are over If
you have
five
down
a hit single, then
minutes, in which case
you may
the road
Hits" and other compilation CDs, the record clubs, and
of 2002,"
etc.
you
sales
—
a
will
be more.
TV packages like "The Top Hits
Producers of these will usually want you to give them a lower "rate," (%) that song's rate. Their philosophy
commonly three-quarters for
it
be involved in "Greatest
also
bonus
—and
they
may
is
that
it's
an extra market
hundreds of thousands of records
sell
after the
peak
period of your original release. (See "Publishing," chapter ten)
The Compulsory License fr^T The
first
time a
composition
is
first
who
records the song and
time a composition
recorded, the copyright
is
what
do.
copyright owner has
who
records the song and
what they're charged.
by
That
first-time control
a publisher
is
owner has
total control over
they're charged. Theoretically, copyright
charge even more than the current statutory rate for that
recorded, the
total control over
The
owners could
recording, but they never
first
the reason a producer and artist can be granted a "hold"
and promised that no one
be allowed to record the song before
will
they do. After a record of a song has been manufactured and distributed the
copyright law allows anyone else to record the song as long as
it
first
time, the
avoids changing the basic
melody or fundamental character of the work. In other words, no one can do an arrange-
ment of your song and the
get their
own
copyright on
it.
Those who record the song
after
recording must obtain a "compulsory license" and agree to pay the statutory
first
maximum
mechanical rate unless they can negotiate a lower rate with the copyright owner.
Failure to obtain a
compulsory
In addition, they
must
file
license constitutes piracy.
a "notice
of intention" with the copyright owner and the
Copyright Office before they can distribute the records. The licensee
is
required to
make
payments and accountings (signed by a Certified Public Accountant) each month
made and
records
the copyright
distributed during the previous
owner or agent on the record or tape
and not remedied within
The
thirty days, the license
licensee doesn't have to
pay
if
there
is
is
month and
name of
to designate the
label or container. If this
is
for
not done
defaulted.
no record of copyright
registration filed at
CDs
primarily intended
the Library of Congress.
Compulsory
licenses are
only granted for records, tapes, and
to be distributed to the public for private use.
Controlled Composition Clauses If you're a self-contained writer/artist,
deal,
group, or writer/producer looking for a record
you should be aware of the almost universal practice of record companies
demand
a reduced mechanical royalty rate
on "controlled compositions" (songs and
other musical material in which the copyrights are controlled by the practice
164
is
to ask for
75 percent of the statutory
THE CRAFT AND BUSINESS OF SONGWRITING
to
rate or less.
Your
artist).
The
current
ability to resist their
"take
it
attorney
or leave s
it"
approach
is
dependent on your or your manager's or
entirely
assessment or your bargaining power in that particular situation.
are particularly vulnerable
better than
no
and frequently give
in
New artists
with the philosophy that any deal
is
deal.
Record companies may
also
tell
an
artist
or producer that even
if
they choose "outside
material" (songs controlled by a publisher or writer other than themselves), the record
company
will
pay only 75 percent of the statutory rate and often limit that to ten
still
from the other "outside" publisher
songs, forcing the artist to negotiate for a lower rate
and writer or make up the difference from songs over the ten-song limit.
producer and
artist to
his
The obvious
own
effect
rather than use possibly better-written songs
cut expenses any
From your
artist
by other
the record company's point of view,
promote a record,
to reduce the willingness of the
record "outside material," possibly reducing the quality of music
on the album because the producer or the recording
From
pocket on those in addition to any is
money
that royalty;
company makes
their
own
for a video.
material
They want
have to deal with either
money from
to
selling records.
and without that song, there wouldn't be a
though writers and publishers unanimously condemn the will
their
can.
point of view, the record
You make yours from
on
rely
expensive to produce, market, and
it's
particularly if they have to front the
way they
must
writers.
as writer/artist
practice,
record!
a reality that
it's
So
you
or as an "outside" writer.
Sampling In addition to the above, be aware that if your "outside" song
is
on an album that
contains samples (pieces of compositions and/or sound recordings used from other songs), the artist will have to pay another copyright
owner and record company addi-
tional licensing fees, further reducing their ability to for
pay additional mechanical
fees
your song. Sampling of yourwoik,
in general, could
be looked
at as
an additional source of revenue.
For example, in the early days of the sampling craze, publisher Jay Warner, realized his writer, funkster
capitalizing
on
this
new
soon
as
he
Rick James, was being frequently sampled, began sending
compilations of James's recordings to rap
provided them with forms to
as
fill
out
artists,
Sampling of your work,
in general,
could
He
also
be looked at as an
they sampled, length of samples,
etc.,
additional source of
inviting
listing the cuts
teg:
them
to
sample them.
source of income.
If you're a recording artist
who wants
to
sample someone
else's
recording,
you must
contact both the owner of the copyright on the song (usually the publisher) and the owner
of the recording (usually the record company) for permission before you release your record. Samples aren't subject to the
compulsory
license (the previous page), so you'll
have to negotiate based on the length of the sample, times
it's
used,
and the importance of the sample
how
you're using
it,
to the potential success
the
number of
of the recording.
WHERE YOUR MONEY COMES FROM
165
For example, tant
and
if
Vi%
royalties
on the
the criteria above,
permission until after
record
your record
You could be sued
is
all
and/or performance
cal royalty, is
whole chorus of someone
credit the writer
Depending on
you wait to seek
a
you'll have to share
and probably
If
you use
released, you're in
song,
else's
obviously very impor-
it's
with the writer, publisher, and record company
record.
you may be required
royalty. If
you wait
deep trouble and are
for copyright infringement
to
pay a
flat fee, fee
plus mechani-
to seek permission until after
in the
your
worst possible negotiating position.
and the copyright owners could even
get
released, you're in
an injunction against distribution of your record. So you must negotiate for the use of
deep trouble and are
samples before releasing your record, and preferably
in
the worst possible
negotiating position.
them
use
in a specific song. If the price
something
at the
time you decide you want to
too high, you'll have time to replace
is
it
with
else.
Performance Royalties: BMI, ASCAP, and SESAC Performance with the are
major source of income for a writer. They're not to be confused
royalties are a
money a performer makes
directly
from public appearances. Performance
monies the copyright owner(s) and songwriter(s) receive when
publicly.
According
to the copyright law,
nobody can
in a club,
The most common network and
local
TV,
your songs are played
owns
jukeboxes, music services like
in
any of these venues, you,
Do you
you heard someone play your song
How
there in the
first
do you get them place?
The performing
there?
to pay?
The mind
SESAC
pean Stage Authors and Composers) you.
mean
if
you sing
Through membership
in
its
use.
Do
live
performances.
When
and the publisher (whoever
The obvious problem
is
how
to
TV stations all over the country
and
you send
a
to a club
bill
owner because
How do you find out how many times they How do you give them permission to play it
boggles at the enormity of the task.
rights organizations
Authors and Publishers) and
Muzak, and
as the writer,
the radio
call
pay you each time they play your song?
it?
doesn't
It
uses of music in public performance are familiar to us: radio,
the copyright) are entitled to get paid for
played
performed
is
you have to find him and ask permission. See below.)
go about collecting the money. to
song
publicly perform a copyrighted song
without permission of the copyright owner. (Don't panic!
somebody's song
their
royalties
— BMI, ASCAP (American
Society of Composers,
(no longer using their original
—
ASCAP
title,
Society of Euro-
are the entities that take care of these
or affiliation with
BMI
or
problems
SESAC, you
grant
for
them
permission to license nondramatic public performances, "small rights," of your compositions.
(Dramatic performances, or "grand rights," are those contained
ballet, operas, operettas, etc., in
costumes, props, and so forth.
A writer
or publisher
may
You may only belong from one organization that organization.
166
THE CRAFT
AND
which the story
The
collect
line
of the song
licenses are granted directly
in musical theatre,
dramatized with
for the
to one organization at a time in the United States.
to another
sets,
by the copyright owner.)
from only one of these organizations
same song.
You can
switch
depending on the length of your contract period with
You may, however, simultaneously belong
BUSINESS OF
is
SONGWRITING
to a U.S.
and
a
European
organization such as
PRS (United Kingdom),
though you generally have countries tor
How
it
to
SACEM
do these organizations
be generating a substantial amount of airplay in those
money?
collect the
TV stations and networks pay annual
negotiated by the performing rights organizations
members. Blanket
fees give radio
the compositions. Fees are based stations or networks.
and
on
The philosophy
local
list
on behalf of
and network
"blanket license" fees
their writer
TV permission
and publisher
for unlimited use
of
a percentage of the advertising revenue received by the is
that if a station has a 50,000-watt clear channel signal,
reaching millions of people, enabling
For a
(Germany),
to be worthwhile.
Generally speaking, radio and
it's
GEMA
(France), or
them
of performance revenue sources, see the Royalty Sources Flow Chart. to their
maximum
Blanket fees give radio
and
local
and network
TV permission for
to charge top dollar for advertising.
Revenues collected from dance clubs are charged according
teff:
unlimited use of the legal
compositions.
ROYALTY SOURCES FLOW CHART MECHANICAL SYNCHRONIZATION CDs, Tapes, Digital Downloads
Films and
TV movies
TV shows Commercials Home Video Video Jukeboxes Video Games
CD-ROM
PERFORMANCE
PRINT
TV Airplay
Piano Copies (Sheet Music)
Radio and
Folios
Airlines
Choral Arrangements
Cable Clubs Concerts Conventions Health Clubs
PLUS:
Band Arrangements Lyrics reprinted
in
books/greeting cards
Multimedia
Hotel/Motels
Jukebox Karaoke
Museums
Record Company
Musical Greeting Cards Print Publisher
and
Harry Fox Agency or other collector
Distributor
Music On Hold Pagents Restaurants Retail Stores Sports Events Theatrical films outside
the
US
Trade Shows Trains
MUSIC PUBLISHER
Web Web
Radio sites
Wired Music Services (and many other sources) (Optional) Songwriters
Guild of America collection for Writer
from Publisher
SONGWRITER
COMPOSER LYRICIST ADDITIONAL SOURCES Grand Rights
-
for
musical theatre performances
WHERE YOUR MONEY COMES FROM
167
.
room occupancy. Other
on
clubs are charged a fee based
expenses. Concert halls' charges are based
their annual entertainment
on seating capacity and
ticket prices.
The American Symphony Orchestra
can Hotel and Motel Association,
The Ameri-
League,
The
Amusement Machine Operators of America, and The National Ballroom Operators Association
all
negotiate for their respective types of licenses. There
jukebox. That
money
goes into a
TV,
organizations also license cable
many
is
and
colleges
is
an annual
fee for every
divided between the organizations. universities, airlines, retail stores,
The and
other music users.
How do
they
know how many
Each organization has
BMI
fund and
times a song
played?
is
own method of determining
its
the
number of performances.
chooses a representative cross section of stations to sample each quarter.
supply a written record
computer system
(log)
of
all
that multiplies each performance listed
by
them
stations
a factor that reflects the ratio
of stations logged to the number of stations licensed. They then make a tion that gives
The
music performed. The logs are put through an elaborate
a figure to approximate the
number of "plays" on
statistical projec-
all
stations. Differ-
ent types or classes of stations are weighed in different ways.
ASCAP
uses a
method involving
stations for a given period listeners pick
out the
a combination of station logging
ASCAP
songs, tally them,
Both methods have been developed by effective
on
ate
distributed to their writer
statistical experts,
local
TV,
all
network
statistical projections.
with the goal of finding cost-
strive to
spend
less
money
so that
TV performances
members
by
all
money
direct census
not used for overhead.
from producers' cue
sheets.
they use a combination of sampling, cue sheets, and program. All organiza-
performance
tions distribute foreign
performing rights determine
selected
and publisher members. Both organizations oper-
a nonprofit basis, distributing to their
Both monitor For
and make the
ways to get the information. The organizations
more may be
and taping
of time, sending the tapes to a central place where expert
societies.
royalties, the
royalties
Though
through reciprocal agreements with foreign
there are differences in the
methods of all three organizations
way they monitor and
are constantly evolving as they
each attempt to compete with each other for writer members.
SESAC,
the smallest of the three,
is
a for-profit
company and pays based on
a formula
that factors in singles chart positions, nationally distributed releases of albums,
and
TV
performance data. They also have a method for computing and making "post chart" payments.
SESAC was
the
first (in
1993) to directly monitor airplay with Broadcast Data
System's (BDS) computerized tracking system.
A
visit to
Broadcast Data System's
Web
site at
www.bdsonline.com [(800) 688-4634]
will give you: 1
the reporting stations for specific genres;
2.
the top artists scanned in each genre;
3. direct links to
168
THE CRAFT
AND
more than
BUSINESS OF
fifty
SONGWRITING
record companies.
a
How much Ic
do you make each time
varies in
BMI and ASCAP
both
it's
played?
according to the amount of income generated from
sources during the year or the quarter. Each has an equation that gives
all
per-plav figure based collected
on the type of
station,
number of
plays,
and the
overall
from user organizations based on periodic negotiations of blanket
formance income
for publishers
and songwriters
more than the money earned from mechanical
many years).
All organizations have
amount
will generally
royalties
an overall
it
amount
licenses. Per-
to a great deal
(which can continue for many,
embraced Internet technology
that facilitates licensing,
TV uses.
including online filing of cue sheets for film and
giving
were
(collectively)
in advance of earning
if
they
and other
effort
earn in the future.
you
it
and
literally
know
It is
factors to
possible, in
there's already
major or
cases, to
artist,
if
to
know
have
BMI
in the pipeline for a
or
ASCAP
song
and
songwriters will
amount
great deal the
to a
more than
money earned
from mechanical royalties.
if
there was a major
how much performance income
determine
some
money
a
new
between
a fine line
shortchanging other writers
by advancing you money that may not be recouped. They had
your song was a single or album cut with promotional
They walked
a risky business for the organizations.
you your money
for publishers
generally
Do performing rights organizations give advances to writers and publishers? BMI and ASCAP are not officially giving advances. The advances, based on anticipated airplay,
&_ Performance income
you'd
co-sign a loan for
that's already generating
considerable airplay.
How else
do the organizations help songwriters?
The more songs
money
licensed by an organization that are receiving airplay, the
that organization can
more money they
command
receive, the
in negotiations
more they can
from the various
distribute to their
users.
more
The
members. Conse-
quently, the three are in competition with each other for actively productive members.
So
it's
in their interest to try to help
you before you need
to join. If your material merits being published or
ual writer, writer/artist, or a self-contained
to decide
which organization
produced, whether you're an individ-
group writing your own material, they can
help you connect with publishers, producers, or record companies. Their representatives are
always looking for great
new
songwriter, writer/artist, and film composer
talent.
All three organizations sponsor local industry showcases, seminars,
most popular music genres that can be very helpful
for generating
ties
and industry attention. Contact the organizations or go
list
schedules of their events around the country,
informative articles
on the music
industry,
FAQS
and workshops
in
networking opportuni-
to their
Web
where they
sites,
(frequently asked questions),
and interviews with
and
their writer
artist
members.
Which
is
the best?
That's the toughest question to answer because there are so
most important being your own needs. The big question
is
usually
complicated question that depends somewhat on your unique Believe me, they'll leave
many variables
"Who
situation.
no questions unanswered. But remember:
—one of more?" —
the
pays
Talk
to
How much
them
all.
they each
WHERE YOUR MONEY COMES FROM
169
pay may be the biggest question, but
someone
there
Those
you
your decision alone.
is
(if
even
known
that they prefer filling out so don't let Is there a
There affiliate
What
^r
anyone
your making money
$10 annual
a
BMI
with
else
at
make
treat
The
all.
publishers will automatically put
publishers to
it
do they
you?
feel
that choice for It's
you
one or the other
you
organization
one or the
in
paying more
is
mere reason
for the
an important decision, however,
for you.
do
I
or
fee for a writer to
SESAC. (Membership
be an in
ASCAP member.
SESAC
is
There
is
no
fee to
by invitation only.)
need to know?
Report any new songs that you have published or recorded to the clearance depart-
ments of your performing
make
published or recorded
if
sure
it's
rights organization.
The
publisher should also do this, but
done and done with the correct cowriting or copublishing percentages,
applicable.
BMI
and
ASCAP members may
both organizations, each
performing rights
involved in a song, a
organization.
ance
BMI
will
pay
cowrite with one another. If the song
its
own
writers
and
publishers. If there
writer can collect the full writer
is
licensed by
no publisher
is
and publisher share of perform-
royalties.
Be sure to you'll
notify
your organizations immediately of any change of address so that
be sure to get your royalty checks!
ASCAP New York— One Fax: (212)
Lincoln Plaza,
New
York,
NY
10023
Tel.: (212)
621-6000
724-9064
Los Angeles—7920
W.
Sunset Boulevard, Third Floor, Los Angeles,
Tel: (323) 883-1000
London— 8 Cork
Street,
Fax: (323)
London
CA
90046
883-1049
W1X1PB
Tel: 01 1-44-207-439-0909
England
Fax:011-44-207-434-0073
Nashville-Two Music Square West, Fax:
Nashville,
TN
37203
Tel.: (615)
742-5000
(615)742-5020
Miami— 844 Tel.: (305)
Alton Road, Suite
673-3446
1,
Miami Beach, FL 33139
Fax: (305)
673-2446
Chicago— 1608 West Belmont Avenue, Suite 200, Chicago, IL 60657 Tel.: (773)
Puerto Rico
472-1157
Fax: (773)
472-1158
— 510 Royal Bank Center, 255 Ponce de Leon Avenue, Hato Rey,
Puerto Rico 00917
Tel.: (787)
281-0782
Membership—Manx.* PMB, 400 541 10th Tel.: (404)
170
Is
charge to join?
is
Report any new songs
departments of your
Some
How
comfortable calling with a question?
feel
one form over another.
make
else
that you have
to the clearance
Do
you
you're not already affiliated) because they
at that time. I've
C
relate to?
are the considerations that precede
join
other
you can
there
not the only one.
it's
THE CRAFT
AND
635-1758
BUSINESS OF
Fax: (404)
SONGWRITING
Street
627-2404
Fax:(787)767-2805
NW,
Atlanta,
GA 30318
BMI New York— 320 West
57th
New
Street,
NY 10019-3790 TN 37203-4399
York,
Nashville— 10 Music Square East, Nashville, Los Angeles
Tel.: (212)
586-2000
401-2000
Tel.: (615)
—8730 Sunset Boulevard, Third Floor West, CA
West Hollywood,
90069-221
Tel.: (310)
1
London—84 Harley House, Marylebone
Rd.,
659-9109
NW1 5HN,
London
England
Tel: 011-44171-486-2036
Miami--5201
Blue Lagoon Drive, Suite 310 Miami,
Atlanta—-P.O.
Box 19199 Adanta,
Puerto Rico
—
Suite A-262, East
GA 31126
FL 33126
Tel.: (404)
Tel.: (305)
266-3636
261-5151
Wing, Royal Bank Center, 255 Ponce de Leon
Hato Rey, Puerto Rico 00917
Tel.: (787)
754-6490
SESAC
— 55 Music Square
Headquarters
Tel: (615) 320-0055
SESAC—421 W. SESAC— 501
Tel: (310) 393-9671
Fax: (310)
—6 Kenrick
7486-9994
For more in-depth
10019
489-5699
analysis,
I
London
90401-2430
W1H
3FF, England
7486-9929
recommend and
CA
393-6497
Place,
Fax: (020)
& Success (see Bibliography)
Money
37203
Santa Monica Blvd., Suite 450 Santa Monica,
SESAC International Tel.: (020)
Fax: (212)
TN
329-9627
New York, NY
54th Street
Tel: (212) 586-3450
East, Nashville,
Fax: (615)
Jeffrey Brabec
and Todd Brabec's Music,
investigate each organization direcdy.
Synchronization Royalties Another important area of income to record the
music or song
and publishers
for writers
is
the licensing of the right
in synchronization (timed to the pictures in a film or
movie) and the right to perform publicly (that
is,
show
in theaters, etc.) the
music
TV
that's
recorded under that "synch" right.
The
film or
TV
producer
is
responsible for negotiating the synchronization
and per-
formance license with the copyright owner (usually the publisher). The Harry Fox Agency, Inc., in
New York; The
with expertise in
Clearing
House
this area negotiate
in
Los Angeles; and
many independent
attorneys
synchronization rights between film/TV producers
and music publishers.
How much money can It's
the
totally negotiable
way
it's
music. Next
to be used. is
be made from synch royalties?
and depends
largely
At the bottom rung
on the previous popularity of the song and are instrumental pieces used as
"source music," the songs that
come from
background
a recognized source in the film
WHERE YOUR MONEY COMES FROM
171
such
as a car radio or
we watch
music
band
a rock
in
an elevator. Then there are featured performances
in the film
perform a song or
theme
listen to a
that's
and
featured over the intro or end credits. If the song has already been a hit selection for that particular film,
soundtrack album
as well,
may
it
it's
worth a
lot. If it's
an
which
in
prominently it's
a perfect
unknown song and
there's a
be perceived in the negotiation that a lower "synch fee"
might be worked out because the fdm's exposure of the song may benefit record print, or other
whether
The
promotional
based on the length of the song and
used in a network or syndicated program.
it's
negotiations involve a producer's desire to obtain rights to as
for the longest possible time
them
areas. Fees are also
sales,
in the
many
possible uses
copyright owner negotiates to limit
The
most territories.
or obtain higher fees for additional time and uses. If you need an in-depth discussion
of synchronization licensing, including the information on foreign usage, consult Music,
Money
& Success (see Bibliography).
The most common "work
or songs as a
situation
is
for hire" in
and publisher and which
that a film or
also automatically gives
mean, though, that you won't receive screen part of your contract negotiations.
possible, but very
difficult, for
unknown
an
writer to
for
an unknown
will fight
them.
That and the
credit.
will also receive
performance
writer to retain publishing rights for
hard to get them and
From
and
You
them the "synch
TV and performances in foreign movie theaters.
and foreign It's
TV producer asks you to compose a score
which the production company becomes the "author"
their point
them
may not
use the song at
money
uses
rights for music in a
Most of the
film.
those in which a well-known writer was approached to
cases
I
This doesn't
you
receive are a
fee
royalties for
domestic
possible, but very difficult, in a film.
all if it
looks as
Film companies if
they can't get
of view, having the rights saves them future negotiations for future
retain publishing
gives
It's
music
rights."
of extra
lots
know
in
"clout" helped or the film
if their
movie helps
which the writer retained
company
at least
to
make your song
some publishing
rights
a hit.
do the song or score and
were
his/her
neglected to negotiate rights before mixing the music
into the film, leaving the writer in a great negotiating position.
(For
more
info
on marketing your songs
to film
and TV,
see
"Film and Television"
in chapter fourteen.)
Music Most
in
writers
Print
know
little
about print music.
If
you write mass-appeal songs,
particularly adult
contemporary, pop, or country, you'll be able to take advantage of a potentially lucrative print market.
With
the possible exception of the education print market, though, the songs will
have to become very popular records to other print buyers want them.
worked
for
some of the
Ronny
make
Scruff,
all
those piano bar singers, cover bands, and
an independent agent for print
biggest print companies, including
Warner
Bros.
projects, has
Music and Hal
Leonard Publishing. Here's her rundown on the types of print music publishing: 1.
Sheet Music: piano/vocal arrangements, often with chord designations for other
instruments, and "easy piano" sheet music.
172
THE CRAFT
AND
BUSINESS OF
SONGWRITING
Personality Folio: collections based on a
2.
"The
.
.
name
Songbook." These involve an additional contract
.
which allows the print publisher
contract,
to use the
someone wanted
to
do
3.
may 4.
Matching
Mixed
Folio: music matching a particular
"name and
.
.
likeness"
name and/
likeness" contract
wrote but
that his picture
on the
Folio: collections based
," etc.,
album or musical
theater show.
These
likeness" contract.
on concepts
"Easy Piano Tunes," "Greatest Hits
like
involving songs from several writers.
Educational: included in
5.
is
," .
that book.
sell
also involve a
of 200
"name and
The philosophy
of
"name and
or writer/artist's
a personality folio that included not only songs he
songs by other writers that he'd popularized. cover will
called a
artist's
or picture. For example, Carlos Santana could negotiate a if
"The Songs
artist, e.g.,
this category are
arrangements for choruses, marching
bands, concert bands, jazz bands, and orchestras. These are obviously sold to schools,
drum and
bugle corps,
How many times
etc.
in school
This market gives music great exposure beyond actual
have you heard the same songs being practiced by the chorus
or band? Multiply that by the
number of
and/or attending sports
listeners in schools
and you get an idea how much exposure
events,
sales.
available there. Writers also
is
might
receive royalties if their songs are used in a televised event or parade.
The
educational print market can be very lucrative, especially for jazz and pop writers;
one thousand copies realize that
for a
marching band
a big
is
sell. It
arrangements go for $40 to $50 and a song will earn 10 to \2 /i percent of l
the retail selling price. Choral arrangements of songs can be a too.
Some
choral composers can
even been recorded!
of $1.40
retail
There are
It's
good source of revenue,
thousand copies per year of songs that haven't
sell fifty
not unusual for popular choral writers to net $7,000 (10 percent
X 50,000)
for a single tune.
compose and arrange
also freelance opportunities to
you need an understanding of the proficiency
levels
and
for concert, jazz,
marching bands. Schools regularly buy arrangements of original songs for this
you
doesn't sound so big until
as well as hits,
but
of different student groups
so the parts aren't too difficult for them.
Another area of the educational market guitar,
combo, and
has teaching
is
"how
electronic instruments. This
skills to use.
There's also great
is
to" books, especially in the areas of
a market for the songwriter
demand
for guitar
and
who
also
bass note-for-note
transcription books with tablature. 6.
MIDI
create
Sequences: an area handled by both print publishers and companies
and market
MIDI sound and
song
files.
Often,
are packaged on disks along with the print versions.
MIDI
who
sequenced versions of songs
Some may
also
be
full
professional
arrangements that can be used in performance.
What
does the publisher get in print royalties?
Retail prices for print music, like everything else, continue to rise. Currently for sheet
music, print publishers will pay your publisher up to 20 percent of the
retail selling price.
WHERE YOUR MONEY COMES FROM
173
Folio publishers will pay about 12 /: percent of the retail selling price. In cases where the 1
folio contains
songs by various writers, this income
number of copyrighted
What
is
prorated according to the total
songs.
does the writer get?
Often, she gets the short end of the
stick.
The longtime
ing contracts has been to offer the writer a "penny" value
about 6 to 10 cents per copy. This means that with the print company
be getting pennies a sheet from
Try
fcjjr
new
after a
royalties received
That way you remain equal partners
sales.
percent of all royalties
on
received by your
to you, the print deal should reflect the
publisher from all your
you
print sales.
lay out
than a 50/50
less
some
his deal
you may
still
in
by your publisher from all your print
royalties received.
all
The 50
percent
is
based
but should you be able to negotiate one more favorable
split,
on your
split
sheet music sales, currently
your old deal while his share goes up.
Try to negotiate 50
a standard writer/publisher
on
your publisher can renegotiate
if
version of your hit becomes popular,
50 percent of all
to negotiate
practice in "standard" publish-
same
Publishers have
split.
some
print deal. In
legal fees to negotiate a difficult deal
the expense of running a publishing
company,
no
justification for giving
may
situations, a publisher
with a print publisher, but
producing demos
just like
is
have to
that's part
yours. If
of
you
50 percent of publisher's print income, check the Songwriters Guild of America's
can't get
guidelines for print royalties. (See "Negotiable Contract Clauses," chapter ten.)
Researching Print Music Deals If you're a self-published writer or a
how
to
go about looking
for
and
music publisher,
sizing
up
you'll
need to have some idea of
a prospective print publisher. In the early days,
the primary avenue of exposure for songs was selling sheet music
"big bands" and to sheet music
publishers in print
and
artists
who
sang
live
on
radio.
With
style
Print expert
1.
and
and education, which
orchestras, school jazz groups,
Ronny
print publisher
How
folios;
is
to
drop
in
on
and the
new
and provides them with
method
print
company keep
marketing
areas:
list
in looking for
You want
sheet music in print, or does
a print publisher
hits.) it
let
it
174
3.
Do
they use the song in a variety of book and educational formats?
4.
Do
they supply
THE CRAFT
AND
BUSINESS OF
with promotional
SONGWRITING
an effective
of the latest acquisitions. (There's
lapse after the
song has peaked on the charts?
retailers
pop, which
and ask some questions:
heavy competition between print publishers for the rights to new
Does the
in print
like.
hit songs?
a
interested
two major
a few sheet music stores
frequently are they serviced with
less
deals with arrangements for chorus,
Schiff believes the best research
that calls the stores weekly
2.
became
music and began to contract with those equipped to specialize
marching bands,
pop
of the recording. As music
in the recording industry, they
distribution. Print publishers are further specialized in
includes sheet music
to the
the growing popularity of records,
became dependent on the popularity and
became more involved
and arrangements
aids, displays,
and so
forth?
From an
artistic
standpoint, you'll want to consider the accuracy of the piano/guitar/
Compare them
vocal copies or guitar tablature copies.
with
company
a
that grants
is
if
To
it.
Don't hold up
you're out of town.
possible to negotiate an educational print deal separately
It's
work
to
consistently accurate. In negotiating a print deal, try to get a clause
you approval of the arrangements, but be reasonable about
production
tract.
that
want
to the record. You'll
from the pop print con-
research the effectiveness of those educational market specialists, call
on some
high school and college band and choral directors and ask them which companies provide the best service nies,
ask
if they
and the best arrangements.
When you talk to the educational
do marching band and choral arrangements and ask
to see the
print
compa-
promotional
packages they send to the schools. You'll want to be sure they'll promote your music aggressively.
A print
maze of deal points can be negotiated companies have structured
a variety
in
both pop and educational markets, and
of deals for a variety of situations.
It's
to
all
your
advantage to find an attorney or publisher who's knowledgeable and creative in the print area to help
you negotiate your
New Income From One
deals.
Digital Sources
of the upsides of the changes wrought by
possibility of
more income
right legislation.
Money
Here
is
new
for songwriters, publishers,
digital distribution
and recording
Todd
an excerpt from Jeffrey Brabec and
systems
artists via
Brabec's
is
the
new copy-
book Music,
& Success that explains the legislation.
The Digital Performance Right in Sound Recordings Act of 1995 (DPRSRA) and the Digital Millennium Copyright Act of 1 998 (DMCA) The 1995 DPRSRA created a public performance sound recordings when they
nies in certain
are
right for artists
and record compa-
performed by audio transmissions.
Previously only songwriters and publishers enjoy the performance right. This right
is
a limited
one and covers subscription (statutory
transmissions but exempts transmissions by
FCC
DMCA.
resulting
non-exempt-, subscription
artists
from
Web-
was included under
this
License rates and terms are to be decided by
voluntary negotiation or compulsory arbitration. for the fees for
and on-demand
licensed broadcast stations.
casting (audio streaming of recordings over the Internet)
limited right by the 1998
license)
new
The
first
digital services
residential services in the U.S.
with
CARP
royalty decision
was 6.5% of gross revenues
50%
of the royalties going to
(45%), nonfeatured musicians (2.5%) and non-featured vocalists (2.5%) with
the remaining
The 1998
50%
going to record companies.
DMCA
implements the
Copyright Treaty and the
WIPO
WIPO
(World
Performances and
Intellectual Property Org.)
Monograms Treaty
that deal
WHERE YOUR MONEY COMES FROM
175
with copyright protection for works in a give protection to foreign
domestic works.
The
works no
DMCA also
digital
form and that require countries
to
less favorable than the protection afforded to
creates civil
and criminal
penalties (up to a
one
million dollar fine and 10 years imprisonment) for the circumvention of the technological
measures used by copyright owners to protect their works as well
tampering with copyright management information owner, conditions or terms,
etc.).
Limitations
of OSPs (online service providers)
must follow when they
is
(title
of work, author, copyright
on the copyright infringement
also included
as the
with the steps
liability
set forth that
OSPs
either detect or are notified of infringing transmissions.
These include disconnecting repeat offenders; removing infringing material on the internet
176
and identifying
infringers to copyright
THE CRAFT AND BUSINESS OF SONGWRITING
owners based upon subpoenas.
chapter ten
Publishing
The Copyright Law
broadly defines "publication,"
as
refers to songwriting, as
it
the reproduction of a song in the form of any kind of product, printed or
recorded, and the offering of those products for sale to the public.
concept of music publishing, however,
is
a lot
more complex than any
The
practical
legal definition
or theory.
Mention "music publishing" associate
it
with print
in the
someone outside the
to
of music publishing in America did, in sheet music copies
business,
and they're
likely to
same way they'd think of a book publisher. The business
and piano
rolls for
fact,
begin with the manufacture and sale of
player pianos. But through decades of social,
economic, and technological changes, the business continues to evolve with the times. Currently, the sale of sheet music
and
actual manufacture to print
sale
is
only a small part of music publishing, and
its
carried out by a handful of "print publishers" licensed
is
and distribute by music companies whose
duties, as we'll see, are
now much
broader.
Leonard
Feist's
book, Popular Music Publishing in America, traces the fascinating
from the
early
York's "Tin Pan Alley," where most of the music publishers had
their
history of the business. Feist chronicles the role of the "songplugger"
1900s in
New
offices. In
those days, they performed the songs for vaudeville troupes
who were putting
together shows for their tours; for employees of music stores who, in turn, performed the songs for potential sheet music customers;
and
for
anyone
else
who might
influence
sales.
Today, songpluggers are
still
in the front lines, only
mainly around records and
films, they're playing
producers, recording
record
Today they're ers."), It's
artists,
called "professional
and songplugging
is
all
if
demos of songs
for managers, record
personnel, and film music supervisors.
managers" (Don't confuse them with "personal manag-
one of their
just
important to understand
your songs to their contacts or
company A&R
now, since the business centers
duties.
that publishers do, whether
you want them
you pitch your own songs but want
to pitch
to avail yourself of
the other services publishers provide.
PUBLISHING
177
.
What Many At
Publishers Do
best,
its
ness sense. believes in.
tejjr It's
a special
combination of
it all.
demands imagination,
situation,
label
of "publishing."
creativity, intuition, tenacity,
and good
busi-
A publisher must be willing to make mistakes and face daily rejection of songs he A knowledge of how the music industry operates and a familiarity with the work artists
(both established and new) are also required.
combination of ingredients that makes
you may not need
Publishers' activities
fall
all
of these
a great publisher,
and few have
services or a publisher
with
all
It's
a special
own
In your
it all.
those qualities.
into four categories: creative, promotional, business,
and
administrative.
publisher, and few
have
publishing
of a great variety of recording
ingredients that
makes a great
and types of activities come under the
different levels
Creative endeavors include screening
1
concerts, going to night clubs
and established
artists,
new songs, meeting with new writers,
and recording studios
critiquing
and working with
to hear
attending
and make contact with new
and upcoming indepen-
staff writers
dent writers, reviewing songs already in the catalogue, producing demos, initiating or suggesting collaborations between staff writers or lyricists and producer/writers or
and conceiving new
Promotional duties include contacting producers, managers, agents, and
2.
to learn
what songs they need
for their artists; reading music, film,
magazines, periodicals, and tip sheets to discover projects that
demos; conducting casting meetings with professional
which songs
are appropriate for certain projects;
and
files
how
reps
material; mailing
writers to determine
on producers, the songs
long;
making
calls to
radio
companies, and managers to work out ideas for promotion.
On the business side, publishers also hire personnel; establish company policies; negotiate
3.
contracts with writers, subpublishers, music print publishers,
or film/TV production companies; initiate
make
decisions
Among
4.
CAP,
or
administrative duties, they
SESAC
and producers,
managers,
file
licenses to users.
copyright forms;
for songs released for airplay; file notices (for sales
artists,
and maintain contacts with foreign subpublishers;
on "holds"; and negotiate and grant
mechanical royalties
file
notices with
BMI, AS-
with agencies that collect
of recordings) or make collections from record companies
themselves; do general accounting, financial planning, and tax accounting;
pay
A&R
and advertising trade
may need
staffers
maintaining
they liked (or didn't), the songs they're "holding" and for stations, record
artists,
uses for songs.
compute and
writers' royalties.
Additional Activities
I
There
are other tasks that warrant a little
more explanation:
CATALOGUE EVALUATION AND PURCHASE This
is
nies
merge or one major company buys another. Companies
the level at which the "heavy-duty" deal-making machinery gets into gear.
(groups of songs
178
owned by one company)
THE CRAFT AND BUSINESS OF SONGWRITING
Compa-
also acquire the catalogs
or estates of individual writers.
Some
catalogs
make money
contain "standards" that will probably
radio, you'll hear "oldies" that are obviously
Companies
own
that
Any
time you turn on the
generating lots of performance royalties.
still
those songs are always being assessed by experts to determine their
power and looked upon
future earning
forever.
as potential
investments not only by other publish-
ing companies but by international financiers. I'll
one of the great tragedies involved
editorialize here to say that
company
that the purchasing
combining
In practice,
staff.
company, the very ones who catalog.
To
on
who
staff
see the
too often looks at the
all
it
are
name of a song
actually
(including the actual
The people assessing
some
company's database
in a
remembers the song.
into databases that can be searched
new
by
now
to get audio
cast, history
company's
in that
this
MP3)
files (like
as style,
problem
tempo,
of past recordings,
for the
of the songs lyric
content
etc.
who
involved in mergers and acquisitions aren't generally the ones
talent off the street (so
by
staff at the acquired
impacting
number of criteria such
a
to cut expenses
is
not the same as having a person
is
New technology is
male or female
lyric),
way
and the songs
familiar with the history
though. All companies are attempting
better,
as a
means the termination of the
often
most
move
in catalog acquisition
are
you won't have much contact with them), though
"street" experience in evaluating the
commercial potential of songs
is
valuable to
those predicting the future value of any catalogue.
WRITER/ARTIST DEVELOPMENT Investing in the production of master recordings and the signing of new writer/artist talent is
another
who
of activity
level
can afford
it.
that's
becoming more and more
The companies look
to sign
bands. They'll produce masters and shop get a record deal, they'll their artist records,
the songs to other
own
part to
all
promising
them
common
for those
and self-contained
writer/artists
to record
companies. Obviously,
(usually half) of the publishing
which guarantees them an
companies
outlet for the songs
on
all
if
they
the songs
and helps them expose
artists.
In a case like this, a publisher
A&R
is
often acting like a combination manager, producer,
many
and
publicist
own
A&R representatives since most of the duties described here are the same as those of company A&R reps. Trying to find the right producer for an artist involves a
and
person
all
rolled into one. In fact,
publishers have their
record
knowledge of the work of many producers, playing the for
preliminary tapes
writer/artist's
them, scheduling the project, negotiating the contracts and choosing the songs, studio,
and musicians ments
if
necessary. After the masters are completed,
to play the tapes for
putting together press
key record company
kits, setting
it
involves
A&R people and film
up showcases, and following up.
making appoint-
music supervisors, It
can also involve
finding the artist a manager. Writer/artist
who
development deals
most often
a strategy limited to
major publishers
have the cash flow to be able to afford to gamble.
Development get
are
deals usually involve a
100 percent of your writers
50/50
split
royalties plus half
on the publishing (meaning
that
you
of the publisher royalties = 75 percent
publishing
179
and the publisher has
for you),
masters to get you
months
six
to a year
and a half
after
completion of the
a record deal.
These publishing/production deals can be a viable alternative group, depending on your situation. (See
"Where Do You
for a writer/artist or
Start?," chapter thirteen.)
WRITER/PRODUCER DEVELOPMENT This
of publishers. With the advent of sophisticated and
also a successful strategy
is
reasonably priced learn to produce
experience.
home
recording technology, prolific songwriters find
and arrange
At some
their
own demos.
may
point, they
decide to find
strategy that can pay off massively if they
among
makes as
artists
who
it
cost effective to
produce a successful
they can write for/with, a
artist.
Writer/producers are
who
the world's most successful writers. Naturally, to have a writer
get their songs onto a succession of successful
it
In the process, they get valuable production
albums because they're
an appealing package for a publisher to invest
inside those projects,
In this case, publishers can act
in.
an agent to help their writer/producers find hot new
can perpetually
produce.
artists to
WRITER DEVELOPMENT As opposed lishing
to writer/artist or writer/producer, this
company's work. The most
exclusively to their staffs. (For
common way
more information,
is
another important aspect of a pub-
do
that publishers
this
is
to sign writers
see "Exclusive Staff Writing Positions"
in this chapter.)
Exploring the Possibilities There
are
major companies
that must, to
some
in effect, serve as
who
degree,
do
and have no gjf:
others
"holding companies." This
or film/TV production companies
f
staff or
do individual
hire people to
it all. Still
who
is
seem
tasks,
and small independents
to be publishers in
name only
and,
often the case with managers, producers,
use a song once with a particular artist or project
time to exploit the song beyond that
first use.
Uses of songs are limited only by lack of imagination and perception. The bottom
Uses of songs are
line for
limited only by lack of
song. Obviously the big ones are through sales of records, tapes, and
imagination and
tion (the use of songs in films,
perception.
in these areas, sheet
any publisher
is
to
make money by
finding as
many
TV, and commercials); and
uses as possible for the
CDs; synchroniza-
airplay. If a
song
is
successful
music can be an additional source of revenue. The song might be
suited to a choral or
band arrangement
have value in advertising
as part
audio equipment, and the
like
for high schools
of a radio or
and
TV commercial.
compile special
CDs
to
colleges. It also
might
Manufacturers of autos,
demonstrate auto sound and
stereo equipment. Public places such as restaurants, hotels, doctors' offices, elevators,
and supermarkets use collections of songs
for
which
royalties are paid.
Manufacturers
of music boxes, musical toys, and video games are also licensed to use appropriate
180
THE CRAFT AND BUSINESS OF SONGWRITING
and electronic melodic
songs. Greeting card manufacturers use song lyrics
more
there are It's
uses
and
on the horizon.
not always enough just to be aware of those possibilities.
will initiate uses for
A
creative publisher
songs already in the company's catalogue and even generate
songs. For instance, the publisher might hear of a
and have
devices,
new
book being written
children's
album
his writers or outside writers tailor songs for an
new
that
would be
compatible.
New
technology has introduced uses for music that were not even dreamed of a short
time ago.
A
good publisher
keep abreast of
will
new
these
all
uses. It's
up
to you, with
the help of some advice, to assess your needs (they'll differ at various points in your career)
and determine which kind of publisher works best
for
you or
if
you should consider
self-
i^J^
New technology
has
introduced uses for
music that were not even dreamed of a
publishing. (See "Self-Publishing," chapter eleven.)
short time ago.
Finding a Publisher Though
finding a publisher
who
believes in
your material can be
difficult,
it
could be
your most important music industry contact.
"Checking Out the Publisher."
Several organizations are listed in the following section,
Beyond tions tors
that,
even outside the major music centers,
if you
and events and college music business seminars,
and fellow songwriters. Read the trade magazines'
College
Music Journal,
for
example)
list
hang out
at
songwriter organiza-
you'll get information
(Billboard,
from
instruc-
Radio and Records, and
of publishers of hit songs. Songwriters Market
(published by Writer's Digest Books, available online and through most bookstores) will give
you
what
profiles
of companies open to listening to
they're looking for,
and how
Major Publishers
vs.
In looking for a publisher, the credibility,
whether he or she
to
submit
new
tapes.
Independents
most important elements
is
songs, including contact names,
to consider are the individual's
independent or works for a major publishing company,
and your own relationship with that person. Has she earned the respect of producers by consistently bringing them high-quality, appropriate songs
for their projects?
she respect you, love your songs, and believe you'll be successful?
Those
Does
are the key
questions.
Sometimes
it's
on "professional")
easier for a professional
to
open the doors of producers and
major company behind them. the development deals
The debate
manager (with the emphasis, when you say artists if
A major publisher may also
mentioned above
if
they have the
it,
name of a
have the cash flow to invest in
you're a writer/ artist/band or writer/producer.
over whether to go with a small or large publisher usually gets around to the
well-worn axiom that get lost in a big
"A
small
company can
give
company." That's not always the
you more individual
attention. You'll
case.
PUBLISHING
181
Depending on
the ratio of professional staff to staff songwriters,
major companies
ual attention at
r^Jr
company may have
Depending on the ratio
with you on a personal
There
of professional staff to staff songwriters,
you
are
experience.
to
it).
By
the same token, a small
do that they don't have much time
basis. It all
to
spend working
depends on the company and the individuals
there.
independents formerly worked for major companies but wanted the
can get individual
autonomy of making
attention at major
They may not have
companies.
by-song
their
own
business decisions or got laid off after a corporate merger.
the cash flow to hire staff writers, but can
do
a great job
on
a song-
basis.
Major publishers
"new"
much
you want
get individ-
small but aggressive independent publishers with great contacts and
many
Many
so
in fact,
(if,
you can
are also interested in hearing
comes from
material
own
their
new songs even though most of their
staff writers or
in their catalogue. They're interested in
from re-demoing old songs already
keeping in touch with the "street" to get a feeling
about new trends and to make sure they're not missing out on any hot new writers, writer/ artists,
to
do
or writer/producers, though
that.
You may, however,
Most major negative?
Do
line.
"home"
them
find
publishers are affiliated
the networking of their
less accessible
label,
it's
writers
on other its
positive or a
labels in favor
own
financial
on
the publisher will certainly attempt to get songs to artists
in his best interest to aggressively pitch
no guarantee that an
(There's also
Is this a
No. Each of those companies has
affiliated label?
Though
own
than independents.
with record companies.
the publishers hold off pitching songs to artists
of those on the
bottom
many count on
though there are companies who
artist
offer
on the
them
the
to other artists, as well.
affiliated label will record the songs,
bonuses to
affiliated
producers to record songs
in their catalogs.)
Checking Out the Publisher Maybe you've submitted
You're offered a contract by a publisher.
Questions rush through your mind. doesn't do anything with to
know what
my
What
How
song?
done
the publisher has
publisher
if this
do
I
is
a
song by mail.
a rip-off?
What
find out about her? Relax! If
in the past,
you have every
if
you want
right to ask. She'll
be glad to brag about her success. If she wants your song, she should be able to
you on her She may
tell
you who she wants it
to pitch the
may
yourself, or she
Don't necessarily take reluctance
as a sign
song
to,
but sometimes she won't. She's
not be able to reveal privileged information.
of deviousness.
clause in your contract (see "Negotiable Contract Clauses"
"Single-Song Contracts") so that it
if
can't
is
just getting started
do the
job. Just ask
THE CRAFT
is
negotiate a reversion
on page 185 under
the section
unable to get your song recorded,
AND
BUSINESS OF
and doesn't have much of a track record,
him why he
get a reversion clause of two years or
182
the publisher
You can
back.
If a publisher
mean he
sell
abilities.
afraid you'll pitch
you'll get
she
SONGWRITING
less. If
thinks he can
do
a
good job
he has few songs to pitch and
is
it
doesn't
for you,
and
serious about
the business, he
he aggressive and, hopefully, will soon be able to give you a
II
projects he's pitched It
you want
organizations.
your song
check out a specific publisher,
to
Check with
ASCAP, SESAC,
or
the Nashville Songwriters Association in that city
who
can give you feedback
no "Good Housekeeping
is
who
proval" for publishers except that songsharks (see page 155) (those
your songs) are not allowed to be
with seeking someone for not getting a
else's
own
use your
who
approval, however,
It's
is
somebody. Unless you're probably
SESAC.
that
one writer may
may
praise the
you have
the details. In the end,
all
best judgment,
or
The problem
trash a publisher
same publisher because
hard to sort out these types of subjective evaluations when
and choose
to
a publisher
own
Also there's a lot to be said for trusting your
feel right, it
ASCAP, BMI,
Seal of Ap-
charge to publish
have worked with the company.
song recorded, and the next writer
her song did get recorded.
you don't know
with
affiliated
talk to other songwriters
and BMI,
at their respective offices. (See
be someone in those organizations
about individual publishers or companies. There
You can
of
one of the national songwriter
call
The Songwriters Guild of America
may
Appendix.) There
list
to.
do
as
who
much
intuition,
your "gut"
about
feeling,
paranoid about everybody anyway,
just incredibly
you can,
research as
your individual needs.
suits
if it
doesn't
*a£ There's a lot to be said for trusting
isn't.
intuition,
I
Is it
good
No,
it
don't for
Q&A
Writer/Publisher
both
to send songs to a publisher
scares
feel it's
them
worth
believe in
What What give
feel they're
being
set
up
for a lawsuit It's
and they
also inconvenient
is
a
song to several publishers an
It is
and
ethical
"problem" you hope
at once?
common
practice.
says she wants
to have.
You have
those artists? Let
Who
you
them know who
else
them you want
all
(Don't
lie.
to
They may know each
your questions but want to check them
you
f
walk away. Call other writers they publish and ask about
If
it
over. If a publisher pressures
If
I
have a publisher,
is it
OK if
you should. The publisher
gets his percentage
^T a publisher
pressures you to sign a
their reputations.
Yes,
isn't.
pay for a demo,
to sign
to think
it
Get more information from each of them.
interested.
is
probably
if
it.
do they envision recording the song? Can they get
other.) If you get satisfactory answers to
a contract immediately,
a song
doesn't feel right,
it?
are their recent successes? Will they give a reversion clause,
tell
paranoid about
it
have an opportunity to hear
to
more than one publisher
you an advance?
out further,
you're just incredibly
everybody anyway,
and want everyone if
your "gut"
about
somebody. Unless
certified mail?
chance on accepting them.
to take a
and you should.
This
They
to death. it
by
parties.
May I show my Yes,
feeling,
your own
whether he
I
will
gets the
also pitch those songs to producers? all,
he
song recorded or you do. Remember to
let
probably appreciate the help. After
him know what you're planning so you don't both promise the same song ent producers. There
may
also
contract immediately,
be a reason
why he may
walk away.
to differ-
not want you to pitch
it
to
PUBLISHING
183
and he may have a game plan
a certain producer
that you'll
mess up. The publisher
be able to help you get in the door or provide useful info about the producer
may also
you want
to pitch to.
Getting Feedback From Publishers I
how
often ask writers
stories
not
they've been received by publishers
who were
about publishers
as rare,
long on ego abuse, in
know. Though
I
heard
I've
fairness, that's a rarity. It's
all
though, for publishers to avoid offering any feedback or constructive criticism.
often they give a stock answer: "That's not the type of song we're looking for," "I
More
know who'd
wouldn't
record a song like that," "I don't think the song
though probably
All those lines,
marketable songs.
I
true, don't help
you know how
why
decided to ask some publishers
this
is
marketable."
to write better or
more
some
fairly
the case and got
is
typical responses.
One
to writing hit songs
more
hassle than
stepped on too criticized.
On work
and
know
I
worth.
it's
many
but
I
come
a long
a basic grip
thought
me!'
for
He
gave
just
it
it
[a
to write a
to write songs,
to. Besides,
most
I
I
wrote
and because he
did,
if I
The
a bridge.
and we published
needs a bridge?
a shot
listens.
good song.
would be stronger with
it
we both knew]
writer
way because he
Another publisher explained, "Hey,
how
wanted
I
it
it
is
first
time
I
from the Great
recorded.
it
without a bridge and
felt
Spirit.
would
want
to hear
to
spend
you have
to
do
is
you
find
that
creative
wrong
all
my
AND
didn't say,
sounds
OK to
time teaching people
The
all
assume you have nothing
to
BUSINESS OF
as
tell
writer couldn't believe his
wrote that song in Topanga
himself or someone
else
you what
to learn
was unthinkable.
your songs or that
something wrong with your songs and
the self-esteem
an opportunity
SONGWRITING
I
once suggested to
I
to feel so personally about
it is.
That's destructive to your
you can
get.
But
from anyone. Nothing
and professional growth more surely than
THE CRAFT
it
He
song was akin to receiving a sacred message
attitude that there's
you need
feedback from industry pros
184
it's
some publisher
self-esteem and, in music, destructive to
I
the tunes was
it!"
clarify a particular lyric.
To suggest any change by
tell
you should operate with the all
will
we both won."
wanted
writer, the act of writing the
I'm not going to
I
Next day he came back with two
and got
song was being critiqued and replied incredulously, "But
Canyon!" To that
I
wouldn't have time to deal with the songs I'm already committed
writers don't even
change we
but
heard his tunes,
him one of
told
I
the kind of writer
Len Chandler (my Los Angeles Songwriters Showcase partner) and a writer a
to help,
they just argue with me."
it,
"Bob
on how
different versions of a bridge
'What do you mean,
the time because
it all
it's
egos and got into arguments. Songwriters don't really want to be
the other hand, he said,
with. He's
I
unless they're very close
want to get involved as their publisher. Otherwise,
used to do
I
Even when they ask
knew he had close,
anymore
publisher said, "I won't give writers a critique
that.
You need
to learn either
it's
also self-
will stop
your
to be able to look at
or both of two important
.
(H You can
things:
and
something valuable about improving that song, about writing
learn
writing
in general or
more commercially
tastes or that particular person, so
You can
in particular; (2)
even
learn about the needs
decide not to act on the criticism, you'll
if you
have learned what to bring or what not to bring that publisher or producer next time.
you need
In any case,
be receptive to criticism and to
at least to
people won't even bother to give with.
it
may
who
will
who
are
want open
to
work with you. There and willing
to criticism
that
you have enough
unless they think
you're defensive and argumentative, you
If
know
most industry
talent to begin
have a problem finding a publisher
many
are simply too
other good writers around
to rewrite.
There's another angle to this that should also be brought out. Publishers aren't
and you don't need
to believe their every
from one publisher
to another, a great diversity
and don't
the criticism
let their
more from those you
learn
You need them
you do.
Those who challenge you,
opinion as gospel. You'll definitely find, in going
of
tastes
and opinions. Pay attention
experience and willingness to help go to waste.
you
disagree with than
will
Those who agree
both.
infallible,
from those who
will give
to
You may
see things the
way
you support and confidence.
especially if they're articulate about
it,
can give you the opportu-
nity to grow.
Uncontracted Songplugging Songplugging without
wonder how before they
how
here's
A
to deal with.
commit
their
I
it,
to,
want
doesn't
do demos,
He
anyone
let
me
run with your song for a month,
without a contract, and see what happens.
want
to sign
your song, not be able
copies,
and
who would
to
mind
that
will cut
it
it).
The
I
six
months, or
can get you a record
publisher
may
it,
to
if
suggest
and have
money
for the
song and
or his company's
an
you not
artist or
anyone
money
it.
know
he doesn't
if it's rejected,
to take it
it
to another publisher
recorded.
and
is
allowing you to
The danger of not having
the deal
one of you may forget the terms of the agreement. Make sure you
what happens not show
don't,
it.
get the song back if he can't get is
If
do anything with
the attendant things that go with
all
cut
In any case, he trusts
paper
who
forever.
has a specific artist in
else
about and
a contract, at least a letter of intent,
He's not sure enough about the song to commit his
3.
me
of reasons:
you hounding him
to
publishers
get the publishing. If not, you've got the song back."
He
1
a practice that writers occasionally ask
time and energy to pitching your song. But for those
publisher might say, "Just
this for a variety
2.
Most
is
works.
it
whatever you agree
on
a contract
producer puts
else for a
a
hold on the song (asks that the publisher
period to give
The producer may want
to
on
clarify
him
a
chance to cut
it
or decide
if
he
hold the song for longer than you had originally
PUBLISHING
185
agreed with the publisher. Fairness would dictate that you wait, along with the pub-
makes up
the producer
lisher, until
contact with the producer, or publish
word It
Remember
that the
music business
is
small town, and
gets around
if
like
place
you.
around
a
word
you
you abuse the
if
know
that the music business
and
the ethics involved
who know
to take is
it
little
you not
to
show
want
doesn't
to other publishers
like a small
it
you by suggesting your
about the publisher's job, or the industry in general,
They
actually
may
an adversarial relationship rather than a partnership built on mutual
quite innocently, that they planned to
let
several publishers try to
publisher 'A' run with the tune for a couple of weeks and
happening,
I'll
told publisher
to publisher 'B,' who's also interested."
take
it
"A"
that he intended to
Imagine what would happen
if
do
The problem was
to sign
call
if
both publishers and
behalf, using their
tune for his
he'll
also a
good chance
choose and what do you
is
mad
you
at
either, they
both might want you
that the producer will
want
to sign
tell
the other publisher,
who may
have worked
"A" gave "A"
for using
him
unethically.
exclusive right to publish
is
the
"B" assumes you knew your
your song. (He
may
also decide that
never pitch a song again without a contract.) If you're unfortunate enough to have
signed contracts with both
"A" and "B" on
sell
the
when you
because you lied on the contract
Would you
same song, you're
in serious legal trouble,
gave exclusivity to two publishers
your car to two different people? Basically, the rule of thumb
front." Let everyone
a contract, agree it!
him
them. They aren't going to be happy
hard for you? If you had a contract with "A" and none with "B," then "A"
contract with
artist
own company.
winner and "B"
to
tell
you don't have contracts with
one immediately. There's
Who will you as
that he hadn't
immediately. If the producer realizes that both publishers pitched
about your game; but
the song to his
said,
both publishers pitched the song for the same project.
on your
it
me,
told
that.
likes the
the tune, he'll probably
the
he doesn't get anything
In other words, they'd both be doing their job as publishers
to cut
at
market the song or if
hard-earned expertise and credibility. Suppose the producer
and wants
look
respect. (See
who
"Ethics in the Biz," chapter thirteen.) I've run across several writers in the past
"I'll let
town, and
to other publishers because
to insult
not even consider that there are ethics involved here.
situation as
initial
trust people place in you.
often happens that a publisher won't ask
ignorance. But writers
may
would be unethical of you
Remember
yourself.
he assumes you
abuse the trust people in
gets
it
it
mind. Since the publisher made the
his
on
know what's
is
at
once.
"Be up
going on. If a publisher wants to plug your song without
a specific period in
(See "Independent Songpluggers"
which no one
else will
plug the song, and stick
and "Self-Publishing" chapter
eleven.)
Single-Song Contracts Songwriter-publisher contracts covering one song are the ones you'll
most frequently
as a songwriter.
I
come
in contact
with
use the plural because there are probably hundreds of
different single-song contracts that say "standard" at the top of the page. Publishers obtain
these contracts in various ways.
186
Some come
THE CRAFT AND BUSINESS OF SONGWRITING
right "off the rack"
from music supply
stores.
NEGOTIABLE CONTRACT CLAUSES: Songwriters Guild of America's (SGA)
Ten Basic Points Your Contract Should Include
THERE
IS
NO STANDARD SONGWRITER CONTRACT.
Deals vary from publisher to publisher and often from writer
to writer within a publishing company.
EVERYTHING
IS
NEGOTIABLE. You
someone with experience publisher. 1.
The
WORK
should not attempt to arrange any sort of long-term agreement without the help of
dealing objectively with the issues involved
in
in
negotiating contracts
between writer and
following are basic points that each contract should include.
FOR HIRE
—When you receive
a contract covering just
one composition, you should make sure
that the
phrases "employment for hire" and "exclusive writer agreement" are not included. Also, there should be no options for future songs. 2.
PERFORMING RIGHTS AFFILIATION either
ASCAP, BMI, or SESAC. and
rights organization
this
All
—
If
you previously signed publishing contracts, you should be
affiliated
with
performance royalties must be received directly by you from your performing
should be written into your song contract. (The same goes for any third party licensing
organization mutually agreed upon.) 3.
REVERSION CLAUSE a commercial
—The contract should
include a provision that,
if
the publisher does not secure a release of
sound recording within a specified time (one year, two years,
the contract can be terminated
etc.),
by you. 4.
CHANGES lyrics,
5.
THE COMPOSITION
IN
or music, then
If
the contract includes a provision that the publisher can change the
If
the publisher prints and
you should receive
sells his
own
fifty
NEGOTIABLE DEDUCTIONS publisher.
The only allowable
amount charged to the 7.
—
fee
demos and
Ideally,
is
percent (50%) of
sheet music and
the wholesale selling price. The royalty should not be stated 6.
all
in
all
publisher's
income on
the contract as a
flat
rate ($.05, $.07, etc.).
the Harry Fox Agency collection fee, whereby the writer pays one half of the
publisher. Today's rate charged by
The Harry Fox Agency
is
4/2%.
receive royalty statements at least once every six months.
addition, an audit provision with
WRITER'S CREDIT
9.
ARBITRATION
—
In
In
is
recorded and printed, you are entitled to
no time
restriction
every contract.
—The
8.
licenses
other expenses of publication should be paid 100% by the
the song
in
all
your royalty should be ten percent (10%) of
folios,
ROYALTY STATEMENTS AND AUDIT PROVISION— Once
should be included
title,
should be amended that only with your previous consent can such changes be made.
this
ROYALTY PROVISIONS— Basically, issued.
—
publisher should
order to avoid large
make sure
legal fees in
that you receive proper credit on
case of a
all
uses of the composition.
dispute with your publisher, the contract should
include an arbitration clause. 10.
FUTURE USES as
it
comes
—Any use not
The Songwriters Guild of America LET US HELP
specifically
covered by the contract should be retained by the writer to be negotiated
up.
YOU GET THE
You should remember
that
we
is
available for
BEST POSSIBLE
members
to seek the proper information before they sign a contract.
CONTRACT!
already have a contract that
present to your publisher. Copies are available at the
SGA
we recommend office
to writers, which you should certainly try to
or online at http://www.songwriters.org.
PUBLISHING
187
publishers will get a contract from their attorney and
Some
work out modifications based
The only
contracts that they've developed over the years.
"standard" are that, if a publisher hands you a contract,
advantage and that
and
says
How
will
it
"standard," that
it's
contract clauses and
how
window
these
are
songwriters due to a lack of understanding about
them. Most of that fear
why some of
all
great
I
what
feel are
The
bargaining strength. Even
all
the clauses
if
one
in
is
will
only thing you can do
for the best,
Here
are
you can look
my
you about what
it's
at this
I
can discuss
agreement with
music business attorney look over your song contract
recommended
that
it's
is
important, unless you
not exactly the end of your
here.
difficult to get
is
be judged for
its
You will need
to be flexible.
any perspective about your
commercial potential
try to negotiate these clauses to
keeping in mind that the best contract
needs have been addressed and neither party
which each
can't advise
I
add that I'm
I'll
you've been successful in the past (which definitely gives you
an edge), your current material
and hope
to have a
is
that although a single
negotiating so crazy
writer.
important in your specific circumstance.
the only publishable song you'll ever write,
What makes
The
less
best advice
mind
creative career if you can't get
market.
gone out
are absolutely essential. Ability to obtain
the important issues from both sides so
perspective.
is
because songwriters deals have
SGA's Recommendations
recommendations and most
think would be more or
clauses
think this
is
Many
because a writer has been told never to accept this or that deal point.
contract. Also keep in
The best contract
persists
the clauses exist.
not an attorney and, not knowing your individual situation,
some
as
are very important areas
recommendations depends on the bargaining strength of the
I
you can count on
things
can't be changed.
to negotiate
Comments on These
it
common among
is
have
will be biased to the publisher's
worded and how they can be negotiated
contracts are
to explore. Paranoia
the
it
will
be negotiable. Never believe that because a contract's typeset
don't understand the reasons
rg£
companies
that publisher's philosophy of doing business. Well-established
on
feels he's
is
one
your
in
own
in today's
advantage
which each
party's
been "had."
commentaries on the SGA's recommendations:
party's needs have
been addressed and neither party feels he's
been "had."
I.
WORK FOR HIRE
When
you
the phrases
receive a contract covering just
"employment
Also, there should be
for hire"
no options
one composition, you should make sure that
and "exclusive writer agreement"
are not included.
for future songs.
Pretty straight ahead, "exclusive writer agreements" are "staff' deals in
not allowed to write for anyone
"work
for hire" agreements,
else for a
which means
which you're
period of time. Those deals usually include that everything
you write during
that time
considers the "employer" (publisher) to be the "author," for copyright purposes.
means
188
you'll get paid
and credited according
THE CRAFT AND BUSINESS OF SONGWRITING
to
your contract, however.
It still
PERFORMING RIGHTS AFFILIATION
2.
you should be
If you previously signed publishing contracts,
BM1,
or
SESAC.
All
performance
royalties
performing rights organization and
same goes
Most
for
this
affiliated
must be received
by you from your
directly
should be written into your song contract. (The
any third party licensing organization mutually agreed upon.)
contracts include this clause to acknowledge that they (the publishers) won't be
sending your writer's share of performance royalties to you
from your performing
directly
ASCAP,
with either
—
them
that you'll receive
rights organization.
REVERSION CLAUSE
3.
The
contract should include a provision that,
sound recording within
a commercial
if
the publisher does not secure a release of
two
a specified time (one year,
years, etc.).
The
contract can be terminated by you.
The by The
reversion clause in songwriter/publisher contracts was pioneered
clauses have it
many
years ago
Songwriters Guild of America, in their model writer-oriented contract. Reversion
been a bone of contention with publishers, but nearly
in order to
remain competitive.
It also
all
publishers accept
keeps disgruntled writers off their backs
if they're
not getting their song cut.
The It
length of time granted to the publisher
can be any length you agree on, but
it
a year
is
another
six
I
runs as short as
feel that
six
in this clause.
months or
as long,
two years should be adequate. Six
not always enough time for publishers, for several practical reasons.
frequendy happens that an for
major negotiating point
a
commonly
in current practice, as three years. Personally,
months or
is
artist
may
It
be interested in a song but won't be recording again
months. Touring commitments or other circumstances
may delay the record-
ing or even the release of the record. If that were to happen, then technically, the writer
could get her song back and take the publishing herself after the record was leaving the publisher with
no reward
reversion periods, unless they
the tune at a time
A
when
producer also
pitching
it
to
for the job done.
they're hitting the
they're in the studio
may put
anyone
know
a
That
soured publishers on short
fact
one or two
and looking
later released,
artists
most
likely to cut
for songs.
"hold" on the song, asking the publisher to refrain from
else until a final decision
is
made. That "hold" may
last
weeks or
months. (See "Holds," chapter eleven.)
The producer project, whittled
get recorded but
also
may have
them down fail
to live
end up "in the can" (not
collected fifteen or twenty songs as possibilities for the
to ten,
up
and your song got whittled
out. Or,
it
actually
might
to the expectations of the producer, artist, or label
released), as they say.
but by that time, the reversion period
is
The
and
record might be released someday,
up and the publisher has had
to return the
song
to the writer.
So,
you
would be
see,
fair
publishers face problems with short reversion periods. Given that,
I
feel
it
to negotiate a one- or two-year reversion clause with the stipulation that the
period be extended for the length of time a producer has the song
on "hold."
(This,
of course,
PUBLISHING
189
would
By
require an agreement in writing between the publisher
the time the reversion period
is
and producer
as well.)
up, the writer should also have
had adequate
opportunity to assess the amount of activity the publisher has expended on the song.
If
the writer sees that the publisher has been taking care of business, she could grant the
publisher an extended reversion period.
Early in the history of this clause,
up
a
some
publishers
few copies of the demo, sending them to radio
on
the song
means
a record, so that
I
would subvert
stations,
and
by pressing
intent
its
saying,
"OK,
released
I
can keep the publishing." Currently, the wording
goes an extra step by saying the publisher
responsible for the song's "commercial record-
is
ing and release for distribution and sale to the public."
There
you can include
are other reasons
in a contract for a
writer besides the inability of the publisher to get
recorded.
it
song to revert back to the
The
publisher from reassigning your copyright to another individual or
consent or you also can have the song revert back to you
you or your
end of the reversion period, the song
state that at the
most contracts
for either
(2)
request).
letter
They may count on your
company without your
the publisher refuses to allow
representative to audit his books regarding royalties.
without requiring you to send a registered
Within two
if
clause can prevent the
would suggest
I
forgetting to
do
you
you automatically"
"reverts to
by a certain time
that
demand
to
that. Here's
it
(which
an example:
years from the date hereof, commercial recordings of the musical composition must have been released
(a) sale
to the public on records, tapes,
CDs
of a theatrical motion picture released to the public; to the public; (d) synchronization
(c)
or other recorded products; synchronization
the sound track of a
in
home
in
synchronization
(b)
in
the sound track
the sound track of a television program broadcast
video program for sale to the public; or
(e)
other recordings
consistent with this agreement that are released and/or sold to the public.
If
at the
end of two years from the date of
this
Agreement,
a
commercial recording has been secured but a commercial
release or usage shall not have occurred, Publisher shall have the option to extend the additional twelve
months
(for a total contract
term of
thirty-six
months).
term of
this
agreement for an
none of the foregoing recordings have been
If
released within said thirty-six-month time period, this contract shall terminate.
Upon
the termination of this agreement,
thereon
shall
automatically revest
Publisher free of any and
in
all
rights in
and to the Composition and
and become the property of the Writer, and
and to any and
shall
all
copyrights secured
be re-assigned to the Writer by
encumbrances of any nature whatsoever.
all
The
following example
is
extend the contract, which, this it
in
is
that
it
by having
course, if
also
their
(i)
it's
as
qualifies
own
simpler and doesn't include the option for the publisher to I
stated above,
is
not a bad thing to do.
What
like
I
about
what "released" means and keeps them from getting around
in-house record label release
Warner/Chappell Music and
it
(a
common
songshark
their "relate" third party
is
tactic).
Warner
Of
Bros.
Records, this would be fine.
Note
790
that paragraph
THE CRAFT
AND
BUSINESS OF
ii
allows
you
SONGWRITING
to
fill
in a
minimum amount
you'll take for
any other
Notwithstanding anything contained
a.
rights in
and to the Composition
from the date
i.
A
shall
in this
Agreement,
this
revert to the Writer,
if
Agreement
terminate automatically and any and
shall
Publisher shall not secure, within twenty-four (24)
all
months
Agreement, the following:
set forth in this
commercial sound recording of the Composition to be recorded and released
customary commercial channels along with
the recording industry's
in
Composition by an unrelated
a Mechanical License issued for the
third party,
or;
ii.
Any other agreement
payment due
which
use,
will include film
synch
because
it
4.
an
artist
Remember
payment
with a previous
CHANGES
to the publisher, of
IN
it
this
which
Top 20
hit or
anything
to
The
a piece of the publishing before says, "I basically love the
I'd like to rewrite
it.
can change the
publisher pitches the song to an
song and
Of course,
publisher says to himself,
Your second
verse
and destroy the
and had stuck
I'll
"What
record
but
it,
the hell.
not have been bad
no one
else
still
I
in.
or music,
tide, lyrics
will
You have
artist.
The
think the second verse
I
it.
a contract
artist
refuses. is
all.
get
all
The
compromise you're
artist
artist. I'll
may
to record
might have recorded
it.
it
go for
live
with) or
If the publisher
anyway.
come back
to
you and
just
say,
willing to make, but the fact
There have his
also
make
had refused
If the artist
genuinely
offered the
deprived you of half your writer's
"100 percent of nothing
is
nothing.
is
may
be
that without this clause in your
what he did without your permission.
been cases in which a publisher/writer with greed and a big ego wants
name on your song
He may
just
it."
write a terrible second
song (which you would have to
This publisher has
do
artist
weak and
thought you'd be glad to get half of what could be a big writer's royalty." This
contract, he has every right to
wants
publishing and the writer
famous
this
The
my
weak and could explain why, you should have been
opportunity to rewrite
and
at
would want
to his guns, the artist
share of royalties
a
You can
have to have half of the writer's royalties to do that."
I'll
integrity of your
the second verse was
first
I
may
so personalized that
felt
put
he records the song, but the publisher
should be grateful that he gets cowriting credit with
it
like
should be amended that only with your previous consent can such changes be made.
with a publisher on a song.
verse
I
THE COMPOSITION
Here's a scenario that illustrates the value of this type of clause.
The
).
signed to a major
artist
you want
else
you'll get half.
five dollar use.
needs to be released by an
If the contract includes a provision that the publisher
then
agreement fee and/or
that the "initial agreement fee and/
can keep the publisher from holding your song for a
also specify in the reversion clause that label,
initial
dollars ($
license, etc.
or payment" will be interpreted as a this
Composition which derives an
for the exploitation of the
excess of the amount of
in
as cowriter
decide to change your
and
title,
will
put
it
there
on the
flimsiest
change a couple of words here and
of justifications. there,
change a
PUBLISHING
191
melody
line,
for signing
some of the
song
is
situations that happen.
When
or to go along for
is
to
no more than 50 percent of your
signed.
is
And
a publisher will
writer's royalties
want
make
the publisher does deserve a writer credit. So
how
should reserve your judgment about
why
ask
a publisher
good guy. Well,
if
you
it.
There
to give
The
more rangey
the other changes.
all
for
you and
to
They want
it's
on you
else.
part of a publisher's
are times, of course,
name on
know
it
to
do
you
the real story.
all.
The
if
out so well
(c)
right
the
at the
publisher remembers
artist except that: (a)
she
was written
as a
off her voice; (b)
it
a song,
you a "no change" clause
and so does the
show
when
publisher gets a tip that a major
man's song, so a couple of lines need to be changed; and
number he had
It's
a couple of her songs didn't turn
your song and rushes over. The producer loves
too, to reflect
with anyone
split
got there until you
here's another scenario.
little
you
suggestions for writers. If you, the
session, or the artist decides the songs weren't right after
wants the melody to be a
forced
is still
see a publisher's
would not want
up an album and
artist is finishing
it
sure
at least a clause that provides that
can be
then you should offer
as a cowriter,
cowriter
make
of the publisher are substantial enough to
writer, feel that the creative contributions
warrant inclusion
if a
to take writer credits himself.
job to help inspire, guide, edit, critique, and
You might
made
it
have that choice after the contract
Sometimes
those types of proposals are
reason to include a "no change" clause
The
under anv of the above circumstances, there should be
last
appease them, he might have
signed to a publisher, you have the choice to forget
the sake of your career.
he's such a
To
.
"rewrite" the song and take cowriter credit!
are
before the
may
getting flak from his staff writer(s)
if he's
an "outside" song (from a nonstaff writer)
one of them
still
without your permission. The publisher
as a cowriter
on unnecessary changes in your song
also insist
Those
and cut himself in
title
it
has to be changed,
now. The publisher
calls
the
disconnected or you're in an ashram in India and
can't be reached.
The
your wrath for
or risk your taking back the copyright because he allowed the change
it
publisher, at that point, has to risk losing the cut
without your permission. Chances are the publisher will don't turn out to be an ungrateful person.
by stating
he'll
make
may
though.
this applies
is
when
it's
a
lyric.
The
great instrumentals could be trivialized
alone a bad one.
you
a publisher assigns a writer to create a
Many dynamic
It's
very seldom that an
movie theme. The commercial
be enhanced appreciably with a great
Some
that
publisher could cover himself on this one
your instrumental composition without your consent.
instrumental becomes a hit unless piece
and pray
his best effort (like a registered letter) to contact you.
Another situation where lyric for
A
risk the latter
and incurring
right lyric
is
viability
of the
very important,
and cheapened by any
lyric, let
orchestrations can be written for an instrumental without
having to be conscious of "leaving space" for the vocals. Also, without language barriers, an instrumental can be internationally successful. So there are a I
of factors to consider.
believe the original writer, with the input of the publisher, should have the last
on which
lyric, if
word
any, should be written for his or her melody. (See "Lyric Translations"
in chapter eleven.)
192
lot
THE CRAFT AND BUSINESS OF SONGWRITING
5.
ROYALTY PROVISIONS you should
Basically,
(50%) of all
receive fitly percent
issued. Ir the publisher prints
and
sells his
own
be ten percent (10%) of the wholesale selling price. the contract as a
flat rate
publisher's
sheet music
The
and
income on
folios,
royalty should not be stated in
($.05, $.07, etc.).
We're seeing the development of audio and visual creations
time
at the
wrote the
I
we could only imagine
systems
digital delivery first
for distributing music, are
Some
up.
to figure
out
about to follow.
predict they'll rule by 2006.
how
CDs The
to track their distribution
prevail
and
digital
entire industry
and
collect
is
from
audio
files
line here
that, as a writer,
is
no matter what the new
50 percent of what your publisher contract includes "any other use receives royalties. "
Or
if
collects. It's in
now
users.
I
list,
you should
for a use that's not listed
on your
get
sure your
which the publisher
add a clause saying, "and
all other uses not
referred to in this agreement. " If that clause isn't there, the publisher doesn't
you
The bottom
make
interest to
existing or used in the future from
they give you a
on the
don't doubt they
uses they collect for,
your best
medium
are
playing catch-up trying
the extent that they can. Publishers are at the forefront of the quest.
will, to
for
edition of this book. Vinyl records,
except for a small group of die-hard enthusiasts, are obsolete. Audiocassettes, as a
way
licenses
all
your royalty should
have to pay
f^fr As a writer, no matter
what the new uses they collect
for,
you
should get 50 percent of what your publisher
contract.
collects.
6.
NEGOTIABLE DEDUCTIONS demos and
Ideally,
The only
all
other expenses of publication should be paid
allowable fee
is
the Harry
Fox Agency
collection fee,
one half of the amount charged to the publisher. Today's
Agency
is
charged by the Harry Fox
4'/2%.
Publishers should assume for collection
tion costs
rate
100% by the publisher.
whereby the writer pays
of mechanical
would be
all
administration costs except the Harry Fox Agency fee
royalties.
in the case
An
exception to their assuming
all
administra-
of a copublishing agreement between the publisher
and the publishing company owned by the
writer, in
which
could be
case, those fees
split.
Regarding demo
costs, what's
happening
now
is
that writers are approaching
—complete and
lishers
with good, appropriate demos
tion,
I
think the publisher should pay you up front for
costs
you incurred. Your negotiating position on
also asking for a reversion clause.
song
if there's a
money
to
they'll
is
this
all,
for.
may be weakened
at least
not
less
if
you're
on
a
have to give the song back to you. They'll have to spend
more important than
front
to
minimize
money
their risk.
I
believe that a
in general, but that
badly you need the bucks. If you can't get them to pay you for your
away and give you
demo
or at least half, of the
point
pub-
In that situa-
publishers are reluctant to lay out cash
promote the song, and they want
reversion clause
how
chance
Most
already paid
a reversion, negotiate to have
than 50 percent for your
depends on
demo
right
them reimburse you 100 percent or
demo when
they get the song recorded.
PUBLISHING
193
7.
ROYALTY STATEMENTS AND AUDIT PROVISION
Once least
the song
is
recorded and printed, you are entitled to receive royalty statements at
once every six months. In addition, an audit provision with no time
restriction
should
be included in every contract.
This
is
pretty standard.
Many publishers,
problem anymore. But the incentive terly
payments
much
is
for a small
The
company, but
audit provision with
by California try to get
statute,
it's
for publishers to prefer
on your
that they collect interest
for the majors
no time
New royalty account-
however, pay quarterly.
ing software has streamlined this process considerably, so
it
restriction
is
not such a labor-intensive
semiannual rather than quar-
more months. Not
royalties for three
really
adds up.
difficult to get. If
you'd have four years to sue them,
they don't include
six years in
New York.
to agree to the finality of a royalty statement within a year or two.
you
it,
So they
That
means that if you find something wrong with your statement, you only have that long to object.
My
Try
to get at least three.
recommendation
you join the Songwriters Guild of America. They
that
is
offer
these contract recommendations and, for a small percentage, will check your royalty state-
ment (you have your statements mailed
They check
ately.
it
against your contract,
they find a discrepancy, they If they can't,
SGA
—
the
you'd never
first
time!)
The problem
know about
balancing your checkbook, writer friends for
didn't
know
Essentially,
I
it.
who
and
is
are having
behalf. Usually,
you immedi-
that,
join,
if
out.
an accounting mistake
them the
benefit of
without someone knowledgeable checking
suspect that there are a few of
you who have trouble I
have several successful
has gone after royalties and has gotten
them money they
they had, and in one case, did know they had but couldn't afford to pursue.
SGA
performs the same functions for writers that the Harry Fox Agency
performs for publishers in collecting from record companies. They've been doing long time and do
it
very well. Reach
New York— (212) 768-7902 Los Angeles— (323) 462- 1
1
Administrative/Executive
them
at:
it
for a
www.songwriters.org.
[email protected]
[email protected]
08
Nashville— (615) 329-1782
8.
and it
problems with the same
it's
alone analyzing a royalty statement.
let
whom SGA
to
try to straighten
easy to remedy. (Hey, we'll give
it's
it
which you send them when you
them on your
will audit
and forward
the publisher immediately
call
on the part of the publisher and
it,
directly),
chances are there are other members
publisher and
the doubt
them
to
[email protected]
— (201) 867-7603
[email protected]
office
WRITER'S CREDIT
The
publisher should
make
sure that
you receive proper
credit
on
all
uses of the
composition. Publishers don't object to
this,
but in some cases
too, but if they're dealing with film
194
THE CRAFT AND BUSINESS OF SONGWRITING
and
TV synch
it's
uses,
hard to guarantee. They want it's
it,
sometimes hard to get unless
you have
song that plays ovet the
many songs and everybody
contains
9.
a featured
title
or end credits or
is
part of a film that
gets credited.
ARBITRATION
In order to avoid large legal fees in case of a dispute with your publisher, the contract
should include an arbitration clause.
The Songwriters Guild Contract Arbitration Clause Any and with
differences, disputes or controversies arising out
all
if
this contract resides East
the Writer
River.
The
arbitration clause.
Any
in
on the date of execution Los Angeles, California,
resides
West of the
Mississippi
such arbitration. Judgment upon any such award rendered
in
be entered in any court having jurisdiction thereof.
Pick California or
10.
the Writer
hereby individually and jointly agree to abide by and perform
any award rendered
may
if
of the Mississippi River, or
on the date of execution of this contract
parties
connection
American Arbitration Association. The location of
New York, New York,
the arbitration shall be
in
be submitted to arbitration before a sole arbitrator under
this contract shall
the then prevailing rules of the
of
of or
New
(SGA
York and use
Contract
is
this if the contract offered doesn't
have an
available online at www.songwriters.org.)
FUTURE USES use not specifically covered by the contract should be retained by the writer to be
negotiated as
it
comes up.
(See no. 5, page 193.)
Other Negotiable Contract Clauses REDUCED MECHANICAL ROYALTY RATES Try
to get this clause:
'A
publisher
may
not grant a licensee a rate lower than the current
statutory rate without the prior consent of the writer." (See chapter nine,
Money Comes From.")
It's
of allowing a company to pay you rate."
The
"Where Your
wise to have such a clause added to the contract. This practice less
than the current statutory rate
is
called "giving a
"rate" refers to the current mechanical rate effective at the time the license
granted to the record
company
for use
is
of the song.
Here's the problem situation that prompted this clause. Let's say, hypothetically, that
your publisher has interested an
artist in
your song and the record company
like Sally Superstar to record the
song you brought
current statutory mechanical rate."
The most
us,
but
we
says,
"We'd
don't want to pay the
prevalent reason for that
is
that Sally, in her
recording contract, has a "Controlled Composition Clause" (see chapter nine) that requires her to get a "rate"
she'd have to pay
from you
if
she wants to record your "outside" song. Otherwise,
you out of her own
artist royalties. If Sally's record,
with your song on
PUBLISHING
195
.
usually trust that your publisher will be reluctant to give
Remember,
rate.
money
be losing
he'll
to a lot of rent
up could add up
a hit, the quarter of the rate given
it, is
too, unless
it
up anything
than
full
would be worthwhile
amount of projected
reduced rate because of a substantial
less
money. You can
sales (e.g., a
statutory
to accept a
compilation of hits
that can almost guarantee half a million sales).
One
thing publishers object to about getting your permission
Be sure
able to find you. (See no. 4, page 190.) rights organization If
you
of your new address
you should
can't get the clause,
The
three-quarter rate.
as
soon
as
is
may
that they
not be
your publisher and performing
to notify
you move.
at least get
clause should also state that
one that
"no
limits the reduction to a
than the
less
statutory rate
full
should apply to licenses granted to any person or business entity owned, controlled or
whole or
affiliated, in
Sharing If
in
low
rate to
an
chance that
there's the
affiliated record label.
Advances
your publisher receives an advance, for example, for the inclusion of your song in a
collection for
which he gave
projected to be sold (a
you share on
by or with the publisher," because
in part,
a publisher might give a very
in
all
reduced mechanical rate because of the volume of units
a
common
advances based
their entire catalogue, say,
practice),
specifically
from
you should share on your
song. Publishers will also get
They
a foreign subpublisher.
because they would be hard-pressed to figure out
Make
in the advance.
how much
can't
sure
advances
pay you out of that
of the advance
is
based on
your song.
w£_ Commercial
Commercial exploitation of your demos should not be allowed without your consent. You've
exploitation of your
that
demos should not be
as
just
become
a big star
and your publisher
releases
you recorded ten years ago when you weren't nearly
an album of your old demos
as
wonderful a writer or singer
(you think) you are now. (This recently happened to Trisha Yearwood.)
allowed without your
have had the clause that
consent.
records
embodying
says,
"No
"Publisher shall not commercially exploit any demonstration
the performances of writers without writer's written consent."
Clauses and Wordings to 1
Watch
it
for in Single-Song Contracts:
royalties will be paid for
practice in print music to send
check
new
.
with
this clause,
.
.
copies disposed
issues
out. Publishers will be paid for
tract; but,
You should
it
of
all
new
of as new
issues.
" It's
sheet music to dealers to
by the print publishers with
you, the writer, won't. This clause
is
whom
for, so it's all right to leave
it
in.
let
them
they subcon-
usually connected with
a clause that mentions not getting paid for promotional copies of records,
publisher will not get paid
common
which your
But make sure new
issues gets
deleted. 2.
"Publisher shall reasonably prorate such royalties
language. "Reasonable" to the publisher
may
.
.
."
Watch out
for
vague
not be reasonable to you. Proratio formulas
should be specifically defined, for example: "In such event, the royalties payable to writer shall
196
be computed by a fraction, the numerator of which shall be one (representing the
THE CRAFT AND BUSINESS OF SONGWRITING
and the denominator
writer's song)
of
musical compositions contained in the
"A
3.
that
which (folio,
shall
be the
book,
etc.)-"
percent of the net cash proceeds
royalty of
vou have spelled out what "net" means. Does
so, forget
mean
it
and those
Its the publisher's job to administer
it.
number
total
.
.
."
or copyrighted
Always make sure
after administrative costs? If
costs should not be
deducted
"off the top" (from the gross) before your writer's royalties are paid. If you're copublishing the song, though,
Does net mean
between your company and
certainly fair to split the costs
it's
demo
after
costs? After
promotional costs? Be sure to get
it
theirs.
spelled out.
Your Chances for Advances First
of all, never quit your day job figuring you'll make a living from advances on single-
song contracts. But since writers always seem to be interested advance
when you
money paid
essentially,
is,
to
you before
it's
"How much
is
of an advance can
because of the huge amounts involved.
more committed they
in advances, the
But only to philosophy
An
a point.
may
And
One
is
get?"
I
operate regarding advance money, which apply
A
more
that the
are to recouping
big questions
may
couple of general philosophies
to record deals than single songs
more money it,
an advance, will help us
I
be the only
will or plan to
money you'll
see
on
a
company
so naturally they'll is
^Jr
Never quit your day job figuring you'll
make a
living
from
advances on single-
song contracts.
puts out
work
harder.
a loser, another
money
after bad." They'll just stop
on the
deal if they drop your project.
"instead of giving you
is
spend that money doing great demos and other things that
both make more money
to rely
a
once a company decides that your project
kick in called "don't throw good
advance
A
philosophy you'll hear from small independent publishers
you have
One of the
been earned.
An
negotiate any contract (whether a single song, a staff writing contract, or record-
ing contract)
trying.
in this, here's the info.
f
in the
long run." He's got a point. In that situation,
most important consideration, which
is
whether you
feel
the publisher
can do the job for you.
Variables Regarding Advances Here
some
are
variables to consider regarding cash advances in a writer/publisher deal. In
moot point
reality, this is a
An
advance
the song.
is
The money
you. Despite this
of years
money
down
fact,
unless they really
want your song.
paid ahead of time against future royalties, not a payment for
they give you
now comes
I'm surprised
at the writers
the road
when
their statement
off the top of any future royalties due I
talk to
who
are very upset a couple
from the publisher doesn't
yield
them
a
check. They've conveniently forgotten that the publisher will pay himself back for the
advance.
The computer
doesn't forget!
Reversion clauses in your publishing contract does
it
relate to
may
advances? Here's the basic principle.
be affected by an advance. So
The more money
how
a publisher puts
out in front, before actually getting a record cut on the song, the more he gambles. So he is
not going to want to give you back the song
and lose
the
money
if
the song doesn't get
PUBLISHING
197
Oh yes,
recorded.
he can
just write
it
but of course, he'd rather not. If the song never
off,
earns money, you're not expected to pay back the advance. So he will probably
you a reversion clause
that he can't give
if
tell
you
he gives you an advance. That's just a good
business practice. However, you should try to get both.
Remember, though, you an advance,
A
He's
(OK,
I
less likely to
exaggerate),
you one
give
and that advance would come for that reason.
will
even want you to pay back their
if
in with a good
you go
producing
to decide
offers
for those expenses.
much
to
if the
directly out of his pocket.
able to get both an advance
song
reverts.
demo enhances your
chances. Based
demo and
in a
much
on the same principle
It's
you
still
may
idea to ask for at least
costs.
keep a part of the publishing, they're unlikely to want to give you an
advance. Here again, you're reducing the potential income for them because they'll
your demo costs.
be keeping only a portion of the publishing royalties. In
demo
the
have
enough
an advance to cover
split
as
the cost of
better position to ask for an advance.
good
a
him
that saves
better position to ask for a reversion clause, but
demo
Some publishers
expenses on reversion.
between the clause and an advance.
you want
You may be
advance
to a publisher with a good, usable
of an advance to cover your If
demo
($500 to over $4,000), you're
it
You're also in a
enough of
major publishing company
company budget
there's a
a reversion clause if you agree to return the
above,
for at least
own money and
and
Going
a good idea to ask
not their
for a
small, independent publisher doesn't get a salary. If he doesn't get songs recorded, he
doesn't eat
It's
it's
someone working
that if
costs if
you want
Not unreasonable
to split the income.
at
now
ask you to
fact, they're likely to
all,
because
be business partners.
you'll
How much
of an advance can you get?
Whatever you can
negotiate, but five
hundred
dollars for a single
song
is
probably
on the top end. Ultimately, everything depends on how badly the publisher wants the song and take
it
how much
somewhere
you should ask you
for
he
he can afford to give you.
feels
else if
more
viability
if they're
Be prepared
risk for
him
is
that you'll
but the enthusiasm of the publisher and his willingness to give
it,
a reversion clause are ultimately
commercial
The
he doesn't give you what you want. If you need an advance,
of your song
wrong. Bear
it
in
is
worth more. The publishers' their
mind
game, and
since they're
if
you
bound
ability to assess the
raise the stakes,
to hit a limit at
they lose
some
point.
to be flexible.
Exclusive Staff Writing Positions A staff writer may be or she writes
become
at
writer/publisher royalty larly if
one company for
several years.
During
that time,
all
split,
you already have a
though copublishing deals
successful track record.
The
are also quite
writer
is
common,
THE CRAFT
AND
BUSINESS OF
SONGWRITING
particu-
paid weekly (or monthly,
quarterly, or annually) advances against future royalties, rather than a salary.
198
the songs he
the property of the publisher, generally with the standard 50/50
The
publisher
.
gambles that
money by
be able to recoup that
he'll
getting
songs never recoup the investment, the writer doesn't
owe
some
or those songs cut. If the
the publisher and the publisher
loses his investment.
So,
why would
a publisher
gamble
writer signed to a staff position
makes
writer under contract for several years
of time and money
in
like that rather
prolific.
A a
worthwhile to invest a considerable amount
also prevents their songs
is
developed that
good
writer's resulting success attracts other
under contract
and
developing that writer's career. During that time, the publisher
hopes that a substantial catalogue of material
That
it
street?
Having
than sign songs off the
likely very talented, dedicated,
is
will
And
writers as well.
from going
to another
continue to be recorded.
having these writers
company.
Contract Issues You should
never sign an exclusive long-term staff-writer contract without the counsel of
ggr
f
an experienced music industry attorney. However, you can get a general idea beforehand
You should never sign
of what the publisher will usually want from you. Here are a few points:
an exclusive long-term
1
The publisher will want to publish all the songs you've already written that aren't
already published. She'll want to have
(at least) "first refusal."
You can
argue that any
advances in the deal are for future writing services only and that a separate payment should be
made
for
back catalogue, especially
if
the publisher will be using the
demos you paid
staff-writer contract
without the counsel of an experienced music industry attorney.
for yourself. 2.
Some publishers will expect a certain quota of songs per month or year (twenty
per year
is
common). Others
feel if
you
deliver a great song every
now and
then, they
won't be pushy. You both need to have an understanding of your creative habits. Some writers need deadlines.
Some need
quota of "acceptable" songs. This
to be left alone. is
Sometimes
a publisher will set a
not a good idea for you, especially
extend your contract indefinitely until the quota of "acceptable" songs
is
they can
if
fulfilled.
For
purposes of fulfilling your quota, they usually consider that two 50/50 cowrites equal
one song, 3.
etc.
The publisher will want
Their options.
Try
contract that keep certain
amount of
to limit
it
a one-year contract with at least four one-year options. to three.
You can
them from picking up
build performance clauses into your
the option unless, for instance, they secure a
recordings during the previous year.
You can
also negotiate to
have
your weekly advances increase every time they pick up the option. 4.
Advances range from $ 1 ,000 to over $4,000 a month, depending on how successful
you've been or (they think) you will be. Advances of more than half a million dollars have been
made
future royalties.
for already established writer/producers.
There may be someone out there getting a
50/50 writer/publisher deal) it's
that's
These
are "advances" against
straight salary (on a standard
not recoupable from future
royalties.
extremely rare because, by the time you're a valuable enough writer to
kind of a deal, you either don't need the administration deal for your
own
money
But
if
there
command
is,
that
or you're better off just getting an
publishing company.
PUBLISHING
199
.
Benefits of Being an Exclusive (Staff) Writer
I
The
following are benefits that
may
or
may not be
and
offered by publishers
are listed as
the benefits you'd find in an ideal situation. 1
is
great if 2.
to
You're often provided a work space with instruments and recording equipment. This
you don't already have
a
good setup elsewhere.
-
You're given a weekly "draw," an advance against future royalties so you don't have
worry about the
rent.
may pay
demo
your demos or give you a specific
3.
The
4.
You're in an environment where you're encouraged and expected to be productive.
publisher
for
all
budget.
Being around other productive writers can help your motivation. 5.
You'll receive critical feedback that will, hopefully, help
6. You'll
made aware of upcoming
be
you grow
as a writer.
recording projects so that you can tailor songs
for those artists.
Your publisher
7.
and collaborators 8. If
he
feels
—
manager, and a record 9.
promote your
TV
and
film
assignments, album projects,
often artists or producers with projects of their own.
you have
Because of
hook you up with
will
he
artist potential,
may
be motivated to find you a producer, a
deal.
his belief in
you and
his financial investment, he'll
Development"
career. (See "Writer/Artist
do
all
he can to
in this chapter.)
whom
bank. There are writers, writer/artists, and writer/producers for
10. Publisher as
few to none of the above benefits are
as
important
as
having their projects financed and
getting huge advances.
Drawbacks of Being a
Staff Writer
Though
the staff writer situation can be wonderful
the best
way
to go for
for everyone.
Many
many
hit writers),
staff writers
and
it's
ex-staffers
they
knew about ahead of time but thought
with
it."
They
and were the
later
split
certainly has been
the best situation
complain about company
policies that
money's good enough,
that "if the
of personality conflicts or policy or personnel changes.
placed any of
my songs.
I
they signed you because they realized you couldgzt your
have
it's
I
can deal
It's
often
blame, but here are a few complaints:
"My publisher hasn't
•
assume
found they couldn't. Some problems could not have been anticipated
result
difficult to fix the
and productive (and
a mistake to
the publishing. Hopefully,
got
own
all
the cuts myself."
cuts. If so,
Maybe
maybe you should
you signed with the company because they offered
other services beyond securing recordings of your songs. Publishers often can do their
most valuable work the song •
when
after the
song
and by making sure you
"My publisher demands I
is
recorded by securing additional covers and uses of
get paid for
that the
all
those uses.
company
collaborate with another writer, even
gets
when
100 percent of the publishing that writer has his/her
publishing company." That's one you should know about going about
200
this policy
is
that
it
seriously restricts the
THE CRAFT AND BUSINESS OF SONGWRITING
number
in.
The bad
of outstanding writers
own thing
you can
cowritc with since the best so often have their
up
to give
Most
their publishing royalties to
publishers are
more
more contacts
provides
with a great writer
up
giving
my
has his
You run
company
the
company
into problems
own company and your
company who was
someone
the writer they signed. Since
you
sometimes a losing barde.
usually happens with writers
to like either
who
company won't
let
It's
who's a consistent money-maker
you go because they've invested a
What
with something eventually.
they risk
not to pick up your option. This
is
tactic has
worth
lot in
me
Others
at
more accountable
to
you or your
material,
many
much more
rare for this
company. Some-
for the
you and
self-destructive to stop creating deliberately for that reason. If
may
it's
it's
cuts yet
figure you'll hit
them
that you'll stop turning in songs to force
been used before, but
out
responsible for signing
aren't getting
(another good reason for you to be pitching the songs yourself).
times a
it's
let
potential) leaves.
are pitching their favorite writers' songs because they feel
situation to develop with a writer
collaborate
but they won't
most enthusiastic about your material and your
can't force
involved in the song
when you
publisher doesn't think
my songs,
to have lost interest in
It
with the
split
actively pitching the song.
contract." Occasionally the person at the
you (and was the
who
that another strong
is
recorded.
it
someone who may not be
"The company seems
•
of
half to
belief
to get
naturally are reluctant
though, and are willing to do a 50/50
liberal,
The
other writer's publisher.
own companies and
your company.
not a great idea.
you continue
It's
to write songs
without turning them
in to
your publisher, you
they legally
own
everything you write during the time you're under contract to
later since
them. If you're having problems,
it's
find yourself in serious legal difficulty
time for a serious heart-to-heart
talk.
"My company is great with my pop and rock songs but doesn't seem to know what to do with my country material" (or vice versa). It's possible that you're not nearly •
as
good
at
country writing
pitching those songs.
song when he hears one.
where
they
may
as
you think you
also possible that
It's
Or maybe he
are
does and sends
think your publisher doesn't
though,
as always,
it
that's the real reason they're
it
to the
know what
In general, the major publishers have a pretty styles,
and
your publisher doesn't
good
know
a
not
good country
company's Nashville
office
he's talking about. ability to deal
with a variety of
depends on the contacts and expertise of the individuals at the
company. •
"My publisher's criticism is destroying my self-confidence and killing my motiva-
tion." Positive, constructive criticism, given sensitively, with encouragement by
whose opinions you
respect,
You need
them
can do
that.
a better writer. If
among
the public at large, there
Some
to find
if
you
you don't need
publishers,
is
a
feel
that,
you need it's
a nourishing situation to help
not important.
wide spectrum
Among
publishers, as
in individual talents for giving
though they're very definite about what they
like or
to
improve your song. For them
good
don't
don't seem to have the vocabulary or the frame of reference to be specific about
what you could do
who
can help you develop very quickly. There are publishers
you be
criticism.
someone
like,
why
or
to say, "It just doesn't get me," won't
help you to be a better writer.
PUBLISHING
201
.
Consistently, though certainly not exclusively, the best critiquers are those who've
been
writers, musicians, or producers;
restructuring songs.
An
plugger, but
make him an
A f
^jr
An
inability to critique
make
someone a
less
effective songplugger, it
does make him
make someone
a less effective song-
ineffective developer of writers.
O'Day
publisher can also overcriticize. Hit writer Alan
Angel") had a great metaphor for
doesn't
but
does
it
have had good criticism; and have experience in
inability to critique doesn't
this
"When
syndrome:
("Angie Baby," "Undercover
you're a
hammer, everything looks
like a nail."
"There are songs
•
One
orphaned."
you reversion negotiate for
I
my publisher doesn't.
believe in but
of the problems with the basic
you back the song
clauses that give
the songs to revert back to
all
you
if
number of years
developer of writers.
catalogue you brought with you that haven't been commercially
is
can't stand to see
that they won't
they don't get
that haven't
your contract ends. The publisher
an ineffective
after
staff deal
I
will
attempt to limit
when you made the deal and only ones from
Why should I
may
there pitching
them
and they only demoed one. I'm getting discour-
be hard for you to accept that everything you write
them. There also
may
be budget problems.
money
One
possible
remedy
for this
Someone
on, and there
out fifteen songs a month. Figure a bare bucks.
you love the songs,
yourself.
keep writing when they don't even
songs are worth spending the
this to the
that catalogue
promoted. These deals and contract clauses may be very
"I wrote fifteen songs last month
•
aged.
You can
recorded.
it
to give
been recorded by a certain
difficult to negotiate unless you're already a successful writer. Also, if
you should always be out
want
them
in the
may
is
I
give them?"
may not sound company
It
like a hit to
has to decide which
be several other
minimum of $500
problem
demo what
staffers
turning
per song and they're into big
that, if a certain
number of "acceptable"
songs have to be turned in each month, you have a clause in your contract that any songs rejected
from that "quota" become your property,
free
and
clear
of any interest of the
publisher.
Advantages of Independence Along with the
and disadvantages of being a
relevant advantages
staff writer,
you should
consider the following: 1
who
As an independent songwriter, you're
can help you place your songs (see "Negotiating," chapter eleven) that,
under contract, your publisher that looks like a 2. If 3.
free to offer financial incentives to individuals
may
not be likely to offer unless
if
you were
for a
major film theme
more
potential income.
it's
good investment.
you can publish the song
yourself, you're looking at a lot
You're never in competition with other writers on the publisher's staff (unless, of
course, you're pitching songs to that publisher) as to
whose songs
get pitched to a particular
producer. 4.
You can
pitch an individual song to any publisher
For more information, see chapter eleven.
202
THE CRAFT
AND
BUSINESS OF
SONGWRITING
you think can do the
best job.
WHAT My
Murphy. Nashville
friend. Ralph
hit
writer and
Mark Ford) assembled an informal survey (This
WANT
PUBLISHERS REALLY
ASCAP
Assistant Vice President, (and
that polled fourteen Nashville music publishers.
an excerpt. Get the whole story at www.ascap.com/nashville/murphy.html.)
is
Each publisher, within the past twelve months, had placed a
and had signed butes from
on the
last
I
a
new
The
staff writer.
to 10 (with
in
song on the charts
being least important and 10 being most important) based
I
writer they signed, not on any particular "wish
each question appear
hit
publishers ranked each of the following attri-
list."
[Note: Averages for
brackets.]
Attributes That Motivate a Publisher 1
0.
Track record
9.
Persistence pursuing the deal [5.1]
8. Living in
7.
Record
[4.9]
or near Nashville
[5.3]
deal/artist potential [6.0]
Tied for 6th place:
6. Ability
to cowrite [6.2]
perform songs
6.
Ability to
5.
Affordability
live [6.2]
(amount of draw)
[6.3]
was surprised that track record,
("I
higher."
affordability,
and record deal did not score
— Ralph Murphy)
The Big Four According to our survey, the following four were the top deal-maker 4. Ability
to write alone [7.5]
3.
Ability to write great melodies [8.7]
2.
Personality/compatibility with the
I
How
.
[9.0]
Happen
Staff Deals writers
a staff-writing deal.
who've written ten songs come to
Far be
of those songs sound
have
company
Ability to write great lyrics [9.6]
Dreamy-eyed
to
qualities:
it
like hits
from
me
me and
say they're shopping for
to discourage them. In fact, if
and the writer
all
(or even
also has great artist potential, he/she
is
some) likely
offers.
PUBLISHING
203
More let
often, songwriters
and publishers build
publishers practices
on
you
a
and
its
own
respect
and who
ability to rewrite,
time.
It's
more important than
one company wanting
are aggressive about pitching
each other a week.
up your
It
also can't hurt
The mutual
when you go
on the previous
page.
come
writers.
to be glad to see you.
is
It's
also
important
your willingness
very important in any longto the altar after
personal chemistry aspect was
among the
publishers sign staff
your songs.
creative output,
up" process
would have guessed among the reasons publishers
204
that
your negotiating position to have more than
to sign you. This "sizing
would have guessed reasons
let
important for you to work with a variety of
range partnership. Very few marriages succeed I
Don't
your mutual personal chemistry, and, obviously, the reaction to
your songs from producers.
chemistry aspect was
at a time.
song-by-song basis to find those individuals whose opinions and business
for a publisher to have the opportunity to size
^
one song
your dreams keep you from getting a day (or night) job so you can afford to
process take place in
The mutual personal
a relationship
Remember, though,
to the publishers' offices to write
THE CRAFT AND BUSINESS OF SONGWRITING
on
knowing
more important than
I
sign staff writers, according to the survey
that this
was done
in Nashville,
where writers
a regular basis. In close quarters, the staff likes
chapter eleven
Self-Publishing
Why
Own
Publish Your
In the last chapter
own
having your royalties
I
discussed
what
a publisher does.
publishing company.
could represent a
geared to those of you
Songs? Now let's
important, because the publisher's share of
It's
of money. The information in
lot
who want
to be
discuss the advantages of
your
own
this
chapter
primarily
is
publisher and actively pitch your
own
songs and possibly those of other writers. However, there are a lot of situations for which
you'd want to self-publish without getting into to self-publish a
it
that deeply.
You may have
the occasion
few songs. You may, by a stroke of luck, get a song recorded and not be
asked for the publishing by the producer or released only in the
artist,
United States or with a minor
or the recording of the song artist for
may
be
which the collection could
be handled easily by an administrator. (See "Administration Deals," in this chapter.) In those cases, only a part of this information
Here
are
You
would help you do
are a
to be recorded
and
artists
one of it
who
You have
good job
major
functions: getting covers.
and follow-up
always
You have
make poor
your •
songs and
lot
are very coverable (suitable
of contacts
You should
among
producers
in a position to fulfill
be aware, though, that
Some
aggressive self-starter. it
people represent others better than
You should have
can be done, and
yes,
it's
a
the ability to be
myth
that creative
a great casting sense that
lets
you present the
reputations are built
on
right
song
to the right artist
their credibility.
You have your own production company or record company and you're own
product.
You
are a recording artist
doing part of
some
businesspeople.)
at the right time. Publishers' •
own
very important.
is
the ability to "sell" yourself.
You should be an
your
your songs. In other words, you're
both creator and businessperson. (Yes, artists
to publish
for yourself.
and you already have a
artists)
are interested in
a publisher's
themselves.
a
good commercial songwriter whose tunes
by other
takes a lot of time, •
apply to you.
some other reasons why you might want
qualities that •
may
who
is
recording your
releasing
own songs and therefore
already
a publisher's job.
SELF-PUBLISHING
205
.
You
•
already have written commercially successful songs and
it is
you
easy for
to
get in those doors.
You
•
are writing with
negotiate a portion of
someone who does well your
the rights for
with a major company,
this
as his
own company.
a great situation for you.
is
If
own
publisher and you can
your cowriter
also
very
it
company
unless
have great contacts and are aggressive about pitching your songs. In other words,
you would be an equal partner
You
•
a staff writer
However, you may find
difficult to defend not giving your publishing share to your cowriter's
you
is
be recorded by other sure not to
artists.
You
yourself short
sell
in the
whose
are a writer/artist
promotion of the song.
style
is
so unique that your songs are unlikely to
don't need a publisher to get your songs recorded. Be
on the potential
for other artists to record
your songs,
though.
You're independently wealthy or have financial backing. You write coverable
•
someone with experience and contacts
tunes and you can afford the alternative of hiring to
promote your songs. of hustling for yourself, you'll have the satisfaction of knowing that
If you're capable
someone with your
best interest at heart
ing whether the publisher
someone
is
not on the
Start Your Assuming
that, for
company,
here's
Choose
1
the
a
case,
Own
"sitting
how
on the
job.
You
will
not be constantly wonder-
on your song" or why he
avoiding your
calls. If
you handle that?
Company
Publishing feel
is
Can
you have only yourself to blame.
whatever reason, you
name
same name
confuse your
is
is
your best plan of action
is
to start
own
your
to proceed: for
your company. Remember that you cannot have a company with
(or very close) as another publishing
company name with someone
else's
company. People don't want
and send them your
to
royalties. (Yes,
it
does happen, and no, they are not perfect.) 2.
You must
ASCAP,
or
clear the
SESAC. You
tion as a publisher (b) a
if:
motion picture
(a) is
name you've chosen
are eligible to have
a record
is
for
your publishing company with BMI,
BMI, ASCAP,
or
SESAC process your applica-
being released containing a performance of the song;
program
will
program has been broadcast
that
being released that includes the song;
be or has been broadcast using the song; or
(d) a radio
(c)
a television
played the song. 3.
Unless you intend to publish the songs of other writers
performing affiliated
rights organizations,
with
as a writer.
The
(warner/Chappell, Sony/Tree,
you need only
reason
why
etc.) is that
set
one
is
names
206
clear the
company names with
in order of preference. If your first choice
a BMI-affiliated
THE CRAFT AND BUSINESS OF SONGWRITING
company
each. Give is
belong to other
up a company with the one you
you see hyphenated publishing
ASCAP-affiliated company. If you do want to have a
BMI, SESAC),
who may
company and one
in each organization
them
three alternate
already being used
are
company names
by someone
is
an
(ASCAP,
company else,
they
will select the next choice that
you
It
company and
this tactic gives they'll
signals to
songs,
them
that this
but sometimes
no
fee for
Once
4.
fee for
good
idea not to use a version or
SESAC
is
a "hip-pocket"
it's
is
company and not
up
for grabs.
Not
a
that
a factor in your favor if they think
ASCAP. There
being a publisher-member of
BMI
publisher and no annual
is
fee.
a one-
There
publishers.
the name(s) has been cleared, obtain the forms from your local county clerk's
office to register a Fictitious Business
Business As
).
county clerk
will refer
name" statement as
a
it.
time Si 00 publisher administration fee to be a is
it is
automatically assume the publishing
a great edge,
$50 annual
a
is
it
they'll
you
have to fight for
There
own
(unless you're already famous) because, if you're pitching to producers
and record companies, "real"
not already taken, so be creative and pick something unusual.
writer representing your
re a
own name
vour
is
Then open you
a
Name
Statement, also
known
as a
d/b/a (Doing
bank account under your new business name. Your
to a local publication that will publish a "fictitious business
that gives the required notice that
you
are
"Crass Commercial Music" or whatever you've chosen.
now
The
officially
notice
doing business
must be published
once per week for four weeks in a paper of "general circulation" in the county where the business
want
to
is
located.
You can
use the
same d/b/a
to
list
more than one company
add another publishing company, production company,
etc.
of publication varies from city to city and county to county but
A name
using the legal
name of
is
The
if
you
process and cost
generally under $50.
the individual owner, as long as the business
name
does not imply other owners, does not require a d/b/a, regardless of the insistence of some
misinformed bank employees. "John Braheny Music" would not require any
name
registration.
"Braheny
& Associates Music"
or "Braheny
fictitious
& Company Publishing"
probably would. 5.
to
Copyright
all
the songs
you wish
to have in
your company on a
your publishing company. (See "Copyright Registration," chapter
PA form
assigned
eight.) If you already
have obtained copyright registrations on your unpublished songs, register them again published works.
wanted
to sell
Why
would you want
your catalog,
it
to
would have
do
that?
to be
Because
if
you
(or
your
as
heirs) ever
proven that your company actually owned
your songs. 6.
in a is
For songs being released on records or for songs that will be or have been performed
motion
picture, television
included on any recording),
from the performing
it's
If
you (or your
heirs)
ever wanted to
sell
your catalog,
would
it
program, or radio program (regardless of whether the song
have to be proven that
out both the writer's and publisher's clearance forms
your comoan/actually
fill
rights organization involved
notify the organization that a specific song
when
f^fr
is
(BMI, ASCAP, or SESAC). These forms
being released in a specific
performed on the radio, TV, or elsewhere, the organization
medium
will
owned your songs.
so that,
know who
to
pay, what percentage to pay the writer and the publisher, and where to send the checks.
Directions are included on the forms and in publisher's manuals provided by the organizations. All are also available online (See
Web
sites in
printout of everything related to a particular song in
Appendix.) Keep a photocopy or
its
own
file.
SELF-PUBLISHING
207
Matters such
7.
as
you should operate your publishing
the legal entity under which
a corporation, partnership, or sole proprietorship), whether
company
(e.g., as
to obtain
any kind of business
license,
and whether you need
you need
to obtain a federal (or state)
employer identification number and report wages and withhold taxes
for
employees can
be complicated issues and are beyond the scope of this book. Consult an attorney or accountant for such matters. Regulations vary from state to 8.
Organize yourself
to
state.
keep track of your "song shopping."
Business Expenses and the IRS You'll incur
both
as a
many
expenses in the process of setting up and maintaining your business,
songwriter and publisher. Keep records of
vendor's name,
amount of purchase,
your business checks and arrange for expenses.
The IRS
you
will allow
to
all
your expenses
plus sales tax, if applicable)
(receipts
and income
with date,
records.
Use
a separate business credit card, if possible, for those
deduct these expenses for three years without seeing
any business-related income. After that, they figure
it's
just a
hobby and won't allow
the
deductions.
Here
a
is
combined
list
of both publishing business and songwriting expenses you can
deduct. Services of a graphic artist and printing for
•
business cards. Costs vary.
and
a
good color
You
logo, j-card inserts, labels,
save a lot in the long run by buying
11
computer programs
printer.
•
Bank account and check
•
Subscriptions to trade magazines, books and
S300-S1000+ per •
company
printing, service charges for business account
—
S 1 00
tip sheets, online services,
+
.
between
year.
Music business and songwriter organization dues. (Some people belong to
several.)
Costs vary.
Postage
•
Web
site
for letters
can save you
Photocopies of
•
and demos mailed. FedEx, UPS, message
lyric sheets,
cover
•
you
this in the
—
Stationery
ness cards. • •
Good
•
A
printer
letterhead, envelopes, mailing labels, mailing envelopes, card
software available for most of
recording costs
Blank media
will
— Buy
in
files,
busi-
this.
— S30 each and may go up — about S200 song minimum depending on where you
Copyright registration
Demo
and well-organized database
long run.
again.
per
and how elaborate you need
are
E-mail and a
lead sheets, forms, business correspon-
letters,
dence, and anything else you'll need to copy. save
services.
this.
it
to be.
bulk to save money.
CD — Costs Save money and Audiovisual equipment — cassette/CD/DVD/VCR decks, home and auto systems — maintenance, and of of •
Tape and
CD
duplication
invest in a
vary.
•
insurance,
208
THE CRAFT AND BUSINESS OF SONGWRITING
repair
all
these.
burner.
Purchase (and rentals) of
•
vour songs
CDs and
videos to research
you want
artists
to.
Nightclubs and entertainment events, concerts, movies, theater
•
document
to pitch
—
You'll need to
this tor the IRS.
— — up
•
Business meals
•
Business gifts
need to document for the IRS.
also
$25 per person. Also
to
greeting cards, holiday and
gift flowers,
thank-you cards.
— newspaper and magazine
•
Promotion and advertising
•
Computer
costs
—
If
you
write,
keep records and accounting ledgers, and research
with your computer, or Personal Digital Assistants (Palm
Pilot, etc.),
equipment including computer stand,
off as well as related
ads, fliers.
you can write them
printer, etc.
(Check with your
tax service.)
—
Software
•
composing, recording, and mixing your music
for
—
your
for organizing
networking, accounting, correspondence, and other business.
Travel expenses
•
ers,
—
for that trip to L.A., Nashville, or
New York to meet with publish-
producers, or record companies. Includes airfare, luggage and travel gear, lodging,
tips, car rental
and
gas, laundry, taxi, buses,
class.
Keep
wash/wax,
tolls,
subways, upgrades to business
good records of gas, mileage, food, lodging.
Auto expenses
•
—
parking, lease payments can be deducted based
Keep mileage and
expenses
—based on
home •
Phones
run $600
+
and
Check
offices.
travel.
utilities. it
—home,
the percent of square footage of your office space
of your home. Includes
relative to the square footage taxes, insurance,
on the percentage of work-related
repair records.
Home office
•
DMV, AAA,
gas, oil, repairs, tires, insurance,
Some
cities
rent, interest
payments, property
have special regulations and taxes regarding
out. cell,
per month.
pager,
DSL,
Check out
or cable
modem.
If you're aggressive, these
can
the lower-cost long-distance services. Installing a
second phone for business helps tremendously to document those expenses for the IRS. •
Answering
•
Attorney
service or
fees
—
machine
—
to
make
sure
you don't miss any
to put together contracts that reflect
your business philosophy and
protect your interests, you'll need publisher/writer single-song •
sure
Accounting you
get
all
fees
— Find an accountant experienced
calls.
and copublishing
in the
contracts.
music business to make
the deductions you're entitled to.
—Check with your
county
•
Business filing fees
•
Seminars, classes, workshops, songwriter-related showcases, and other educational
activities (including
how
those on
—
to
city or
run your business
clerk.
better).
•
Web
•
Musical instruments, amps, P.A. system, insurance, maintenance, and
site
maintenance
NOTE: The amount you instruments,
etc.,
building, maintaining,
and promoting your
site.
repairs.
can deduct for computers, office equipment, sound systems,
can be deducted on a diminishing depreciation scale over several years.
SELF-PUBLISHING
209
Casting "Alanis (or Celine, Ricky,
ignorance behind
Though But
it's
could sing
etc.)
of
they appropriate?
It's
ranks right up there with poorly crafted songs.
both the
demo and song
not a question of whether they could do
If you're writing for yourself in a
artist's
point of view,
band or
with songs written by self-contained other
artists.
Someone had
songs written by
self-
other
artists.
Wouldn't
contained artists
who
skillful
is filled
with
had no idea their songs
They could make
it.
it's
the
about whether they need
and don't think
The
pop music
the
artists
skills to
who had no
skill is called
"casting,"
this
filled
is
idea their songs could be hits by
recognize that those songs were right for those
be better to develop these
it
history of
yourself rather than reward
skills
publishers/managers with a substantial percentage of your income for
The
Are
are excellent.
solo artist context
information applies to you, don't stop reading just yet.
The history of pop
This statement, and the
your song.
to record
music
it
this discussion, let's say
phone book sound good. But, from the
fcjjr
really great!"
has been the cause of coundess unnecessary rejections of songs.
it,
certainly not the only cause,
for the sake
song
this
knowing which song
is
it?
appropriate for which
who
artist. First,
could be hits by other
there's a process
artists.
they wouldn't ever record a song they didn't write; but generally speaking, they're not
of elimination. Forget about
artists
write their
own
Not
songs.
that
motivated financially to record "outside" songs (written by someone other than themselves or their producer).
CDs
their
fill
With
with their
Who Not to
I
substantial royalties for sales
own
and airplay on
a hit, they'd rather
songs, for better or worse.
Pitch
To— Playing
the Odds
If you're playing the odds, you'll leave self-contained artists until last. First, you'll read
the Billboard magazine charts to find those artists
you
You
tell?
look
at the
"Hot 100"
chart
who
and your
record "outside" songs.
R&B/hip-hop," "Hot Country," or "Hot Latin Tracks." (The other
You look
writers.)
to the left
under the name of the song, and the
producer's, the second (in parentheses)
name
is
in
both places, the producer
right, that the artist's
may
name
there are four or
more
Go
wrote the songs
up with
a
list
Country chart about 60
Tape "countdown" can
listen
to
Then
if
you
when
know
column
is
a group.
know
the
same to the
You
the odds are bad.
Though
if
they're using artists' bios.
it.
About two-thirds of those
will
be country.
70 percent are "outside" songs. Check the charts
radio or cable
BUSINESS OF
see, in the
the artist
TV shows (MTV, BMT, CMT)
more than once and analyze them without having
AND
is
list
of about 25 percent of the hits (on the "Hot 100") on which
your Billboard handy for reference.
THE CRAFT
name
first
you can often assume the group did or
they wrote the songs, they'll want everybody to You'll end
charts don't
online to their record companies and look up the
the artist sings an "outside" song.
210
the writer.
can
"Hot
the name(s) of the songwriter(s). If the
the same as the writer, you
who
writers listed,
samples of other songs.) If
is
have a hard time telling
is
is
How
favorite genre singles chart:
SONGWRITING
On
tuned
Hot
periodically.
of current
to stay
the
all
hits so
day.
you
Keep
Doing the Research A
critical step in casting
to get
is
the information possible about the artist to save
all
Your
yourself the embarrassment of pitching something totally wrong.
CDs
buy the
of any
on the album with
cut
your
artist in
who
style
move
best
is
to
records outside songs. Listen to each
emphasis on the successful singles and determine the
special
following: Style.
1.
If country,
rock,
If it's
is
it
is it
influenced by pop, blues, funk, punk, metal, or world music?
on the rock
outside of which
on any given CD, but
may
be
artist
Also try to determine the or producer
artist
The shaping of an
philosophies and attitudes about
Those
attitudes
to the lyric a.
did write? Pay
common
show up
find different
you some boundaries
song
in their
particular attention to the style of
of the "outside" songs. Chances
are, the
choices.
artist's
and
life
love,
image
how
based largely on their personal
is
they handle disappointments,
of who writes them. Read or
lyrics regardless
etc.
listen
of each song and answer the following:
up or down, do the down songs show some hope
the lyric positive or negative,
Is
factors
had some input into those
Lyric message.
You may
they'll give
futile to venture.
Are there any songs the
2.
these.
3.
it
pop, Texas swing?
side, traditional,
influences in different songs
Are the songs
in the end?
in
first,
second, or third person? Are they about winners or
losers?
b.
Does the
lyric
have a payoff, a
final
"moral"?
Is it
based on a high concept (Steve
Wariner's "Holes in the Floor of Heaven") or just a straight-ahead love song? c.
a
Is
little
the artist young, naive, inexperienced, hopeful, or
world-weary, sexy?
new
secular songs for a
worked
great for Keith
I
heard a song pitched for a former gospel
project.
star,
but
it
The song was
was about
I
how
human
for
an
artist
he had to return to his
who
lyric,
and
Remember it
little
artist
looking for
song that would have didn't
heard a song that was pitched
he had not attained his dream of stardom.
your song, needs to believe the that say "I'm a terrible
a sex-oriented
Sweat but definitely not
his gospel following altogether.
country
more mature, experienced,
for
town
want
in defeat because
that a successful artist
has to reflect the
artist's
to lose
an established
is
singing
self-image.
Songs
being" don't work unless you're apologizing to someone
you've done wrong. 4.
Lyrics as vocal platforms. In addition to vocal range, you need to consider whether
room
your
lyric allows the artist
lyric
and hear the words sung so
song
in his/her
unique way,
I
to sing.
When
I
see a lyric sheet literally covered with
tightly that there's
know
it's
going in the
no space
for the singer to "style" the
Great singers love to hold
reject pile.
notes (particularly vowels at the ends of lines) and play with them, embellishing the
melody.
your
It
may
be a wonderful story and brilliant
own unique
instance, writes
sounding
like
style that
it
won't work
unique songs that other
lyric
in their style. artists
but
may
A group
would have
be so like
much
a
product of
Third Eye Blind, for
difficulty covering
without
them.
SELF-PUBLISHING
211
Who
5.
is
the
audience? Pre- to early teens (Backstreet Boys, Britney Spears,
artist's
Brandy)? Listeners in their mid to
late teens generally
become more genre
specific (rock,
pop, alternative, rap, hip-hop, country) and tend to fragment along those
your song and
demo
to that style or recognize
whether or not you write
Gear
styles.
in that style or
for that audience.
Vocal range: Listen
6.
song that
song with the highest and lowest notes and you've got
show
will
it off.
unique quality or timbre
them
range that they favor because there
Make
been referred to as a "sweet spot."
there. It's
AABA
Do
the
artist's
AABA
The
artists.
reason
is
that
it's
structures are rarely re-
easier for a listener to learn
a song with a repeating chorus, so verse/chorus songs are seen as being
about and interviews with the
collect articles
from fanzines, trade magazines, and the
some
more commercial
be preferred.
will
Along with analyzing the song,
find
a
successful songs use a repeated chorus, pre-chorus sections,
(verse-verse-bridge-verse a la "Yesterday")?
corded except by self-contained
and usually
may be
sure the song
to use that spot.
Structure:
7.
classic
artist's
are she'll choose
two-octave stretch won't
If the artist has a limited range, a
work. Also, look for a place in the
allows
Dion? Odds
the artist have a wide vocal range like Celine
Does
the range. a
to the
great clues to the artist's
personal and fan
artist's
Web
sites.
artist
You can
image and values. Don't send a recovering alcoholic
or drug addict your great song about the bottle being your best friend; but the song
about getting your
together might work.
life
money
father/mother, donates
womanizer,
women
feels
born-again Christian,
Another
level
image, where you
a
#; There
is
feel
the
a point in a
where an
artist looks
away from the too and into
adventureland.
where an
artist
anticipate that
a
is
a
women
is
a
more
respect, feels
the artist could go. This
who
artist's
artist
can conjure a vision of the
artist
or help to create
familiar
writers
who
my
artist,
or the
if
AND
is
next step and, in the
artist's
own
songs. This requires
a point in a very successful career
you can
artist,
talk to the
new producer who may be
experience, those people speak to
BUSINESS OF
strategy of writer/producer/
you've done the research.
SONGWRITING
either
and
still
A
strike out,
though
major benefit
is
that
manager, record company
taking the artist in a different
listen to
welcome
their artist special. It also gives
or meeting that communicates that
THE CRAFT
artist
it.
are clueless about their artists, that they
who knows what makes call
home,
and into adventureland. You can
homework you do on an
the odds will be considerably better
rep for the
at
and, in the best case, the ability to produce tracks that
with a fresh sound. There
away from the too
the
common
a
producer, at least on the producer's
looks
all
is
you now have a great frame of reference when you
A&R
should stay
etc.
move
Regardless of
direction. In
212
is
deserve
thorough knowledge of the
would provide the
very successful career
familiar
become
know
help to
that the artist
It
of casting expertise involves projecting, based on past success and
arrangers and publishers process,
may
to organizations that help kids, just got divorced,
demos from
a conversation with
you
you should be taken
so
many
someone
a level of confidence in that seriously.
.
Successful Pitching Strategies Establish priorities. Research the trade charts and tip sheets and compile a
1
who
currently successful artists
by other
Choose
writers.
order of
— new C — new B
priority'.
to.
Make
who
and determine which of those
a particular song
appropriate to send the song artists in
record the style(s) of songs you write and
those
artists
your "A"
artists
Make
list.
list
of
record songs
would be
other
lists
of
These might include:
artists
with record deals.
artists
and former
who
hit artists
have production deals with established pro-
ducers but no record contracts.
D — recording
— new F — new E
artists
hits
but no recent success, no producer or record deal.
with new producers and no record
artists
with no producer and no record deal.
Even though
this
a logical priority
is
your time, energy, and
on
with past
artists
money
day. "A's"
with any
odds and spending
in terms of playing the
accordingly, the music business isn't
logic. In this case, the situation
on any given
list
deal.
artist
on any of those
become "D's," "D's" become
"A's,"
known
lists
for succeeding
could totally change
and "F's" become "A's"
overnight.
Don't underestimate the value of pitching turnout
Songwriters Showcase
at the L.A.
unknown
songs for a new,
my
heard of her. I'm saving
artist
when them
2.
We
artists.
when new
artists,
and you're more
Surround the
act with
contact. But don't
confident that this to keep getting the
is
do
demos. By
that,
A&R
I
mean
person
get the
at the
this unless
likely to be
may
not be
song to
legal protection,
Go
artist,
many
their
manager,
record company, musicians,
anyone who
homework It will
is
a poten-
very well and
annoy them
to
feel
no end
song.
Check the club and concert
connect with the
you've done your
an outstanding and appropriate song.
wrong
the acts are playing.
listings in
to the club early
your
when
local
writer/artists are
With
paper and try to find out where
the act does a sound check and try to
road manager, or musicians.
accept any unsolicited demos. 4.
else
their best material.
roadies, hairdresser, chauffeur, secretary, gardener, relatives, lovers,
3.
when nobody
they need you,
they're desperate for hit songs because the major publishers
attorney, producer, recording engineer,
tial
didn't get a great
best stuff for superstars." There's a lot to be said for the
will take the chance. It's also easier to get to
giving
new
Arista Records' reps were looking for
named Whitney Houston. "Whitney who? Never
personal and political rewards of being there
heard
to
when
You should be aware
that for their
cautioned by their attorneys not to personally
artists
who
don't write,
it's
not
as
much
of a problem.
Introduce yourself to some recording engineers at the hot studios in town. Several
of the major trade magazines have sections on who's recording, where, and the names of the engineer(s) {Billboard's "Pro
Audio" section and Music Connections "Studio Mix"
SELF-PUBLISHING
213
f
^fr
section, for example). Let
them hear your songs and
offer
You may,
them
Introduce yourself to
can place songs with acts that record there.
some recording
above-mentioned contacts. Ten percent of the mechanical
engineers at the hot
secure for
studios in town.
line.
you
in
Be
which none of the members
You might
good enough
on
royalties
any of the
a recording they
"Negotiating," in this
feels right. (See
this.)
write.
your
Maybe
area.
They may want
there's a great "cover"
band
but have no original
a record deal
be able to cowrite with someone in the band. Pay particular attention
and keyboard
to the lead singer
a
whatever
offer
aware of the successful bands in
material.
offer to
to start, but higher percentages are not necessarily out of
judgment and
best
more information on
chapter, for 5.
good place
a
is
Use your
financial incentives if they
make an
in fact,
player. It's always a
good idea
bands that are
to look for
have a shot at a record deal. (Look for the qualities described in "Getting
to
Record Deal," chapter
fifteen.) If
they hit with your songs,
may
it
result in a
long and
lucrative relationship.
Get involved in every musical project you possibly can, including student
6.
video projects, background music for a play, commercial every project, you
may meet someone who
and who
you
best
will refer
ways
or writers, refer the fact that 7.
sent
in
and
to projects.
What you
creative
When
give
come back from
demos clever,
A&R departments as a lasting
and
one of the
it's
you find good musicians,
singers,
comes back! (Though you can count on
those you'll give
it
to.)
are legendary
dropping tapes from
like
via strippers or in cakes.
soup cans with the songs
but he neglected to send along can openers.
A&R offices Those
in sealed
and
working with you
ways to stand out from the crowd. There
by parachutes or delivering them
to
likes
called "networking,"
It's
contacts.
films
church choir, anything! In
your work and
likes
about writers and publishers pulling outrageous stunts
helicopters or
Very
them
doesn't always
it
Think of some
stories
for another project.
to develop a reputation
jingles,
A
friend of
mine
listed as ingredients.
Some probably
still sit
unopened
testament to his ingenuity.
are the stories that get passed
around
and usually end with,
in the industry
"Yeah, fantastic! If only the songhad been good!"
The
point
definitely
is
make
that if you can think of an imaginative a lasting impression; but
your package are 8.
also excited
Make your packaging
worth pitching. You need looking package. lyric sheets,
I
cover
know
letter,
to
it's
way
to present
your material, you'll
you unless the people who
useless to
receive
about the music. as professional as
know what you
a writer
your song.
Let's
assume your music
is
can do to make an eye-catching professional-
whose trademark
hot pink
is
—
the color she uses for
tape label, and j-card insert. Publishers or producers can pick
it
out of a stack or basket of tapes immediately. Using good graphics with a logo and an artistic
layout with possibly a picture on the
tape/CD
insert (particularly for performers)
can strengthen your presentation. There are great graphics programs available
Photoshop, Pagemaker, (See "Presenting
THE CRAFT
AND
and InDesign that
Your Demo," chapter
Regarding logos, a
214
Illustrator,
common
BUSINESS OF
will give
you spectacular
Adobe results.
twelve.)
question comes up: If I have
SONGWRITING
like
my own publishing
company,
.
should I send materials out under company letterhead?
If
you're sending songs to publishers,
no, unless you're suggesting a copublishing agreement in your
letter. If
they're going to
record companies, yes. In sending songs to producers, you have this to consider. help to get your song through the door, or usually has his
own
He may opt
owns.
However,
it all
to pass
on your song
how good
depends on
it
company and
publishing
wants a piece of the publishing,
if
may make
song he
might
A producer
the producer skittish.
will prefer to record a
It
at least partially
he thinks the publishing rights are not available.
the songs are. If he wants to record
he'll definitely try to negotiate. So,
them and
use your
also
company
logo and take your chances. 9.
Be prepared. Never
carry a portable player
house without demos and
leave the
lyric sheets. If possible,
and headset. You never know who you're going
to meet.
Negotiating A
writer
know happened
I
The manager loved
manager of
to get to the
her song and
a major
despite the fact that they usually wrote their
own
songs.
have the publishing
said,
"No."
me
later
say.
if
they recorded
She was excited that he liked
She
it.
He He
asked her said,
if
to record
it
the group could
"Good-bye." She told
it,
when he wanted
but
The
the publishing, she thought he
to rip her off.
There are three schools of thought on "Right, don't
first is,
job of a publisher by getting believe that the
recording of 2.
crossover group.
she was totally unprepared to deal with the situation and had no idea what to
was trying
1
R&B/pop
was so good that the group wanted
felt it
manager
is,
group
right!
You did
Does anyone
in the first place.
going to do anything with that song beyond
"My God,
album cut on
especially if
them have the publishing. You did
to the
the
seriously
this group's
it?"
The second
for just an
is
let
it
this situation.
it's
a single.
do you know
that group?
So what
guaranteed release? If you give
it
if
The
that there are writers
who'd
writer's royalties alone are
worth thousands,
you do give them the publishing,
to a 'real' publisher,
it
their kids
sell
if
you can
get a
might never get cut because they're
not going to give up their piece of the action to that group. Either way, you wouldn't
have been able to keep any of the publishing anyway!
It's
just
one song and
it'll
help build
your career." 3.
The
know. or
you
I
third point of view
didn't even think of
don't, right?"
Let's
look
at
"Why
is,
it.
didn't
you negotiate?" She answered,
"I don't
What's to negotiate? Either you give them the publishing
Wrong!
each of these attitudes.
important to analyze whether
company with employees who
this
manager
will
even after the group has recorded
The
first is
(or
certainly defensible and, in fact,
producer or
spend time trying
it.
If
he does,
it
artist)
it is
has an active publishing
to get other recordings of your song,
might be
a
good
situation. If not, you'll
SELF-PUBLISHING
215
know
any subsequent covers of the song
that
be entirely up to you and though you'll publisher's royalties for doing the
on owning the publishing, you could point out
publisher's work. If they insist
want
to be
them
to split the publishing
actively pitching this
song to other
own company.
with your
that you'll
recording and try to get
artists after this
If that doesn't
a portion of the mechanical or performance royalties
you
give
will
you won't share any of the
get your writer's royalty,
work, see
if they'll
on any new recordings of
the song that you are responsible for placing.
Even about
to holding companies) have different philosophies
opposed
active publishers (as
splitting the publishing
with an
range from "Under no circumstances will deserve the royalties," to
give
"I'll
or producer in order to get a recording.
artist
give
I
up what
on the individual circumstances.
How
artist
who
this cut
could cut the tune?
Would
up anything. I'm doing the work and
have to get the tune recorded."
I
a lot
important
am
And
always,
how badly do
of his/her catalogue? If
The second
attitude
setting a precedent with
I
percent of zero
is
zero. If the
the publishing
and you know
it
will
royalties,
might be best to
it
want
more confidence
your
in
own
of the bird in hand.
situation
company it
is
basically a
ability.
song
in
But don't give
it
give this
I
regret later?
own
publisher,
first
recording.
adamant about having
good song
Maybe you won't need
to
that
make
If you
do decide
to give
you'll ever
you should have
a deal like that with
one turns out to be a
if this
It's
the classic
them the publishing, however, and
the
holding company and not an active publisher, make sure that you have
That way,
limbo because they
Two
is
good enough
is
them
in writing that the publishing doesn't get assigned to
actually released.
I'll
a danger in being too attached to a song, too protective.
is
only
for the writer's share of the
the last or only
Is this
it.
money
your next song because you'll be in a better bargaining position winner. There
that
be a major act and your
a lot of
that badly, chances are the
it
him
manager or producer
make you
them have
let
may
This
One hundred
write? If they
depends
that you'll have to consider.
also defensible.
is
It
this recording? Is this the
they want this song? If you're going to be your
some of the questions
these are
is
I
be very important in the development of
the writer's career in generating interest in the rest
producer a piece of the action,
They
own
up so
if it
officially until the
they decide not to record the song after
but won't do anything with
fast.
all, it
record
doesn't end
is
up
it.
There are other negotiating positions you can
major sources of income (mechanical and performance
take.
royalties) are negotiable
without transferring your ownership of any of the copyright. Generally, when someone says they t
^r
want "the publishing," they want ownership of the copyright. In the "standard"
writer/publisher agreement,
you
assign the copyright to the publisher in a contract that
A copyright's value will
gives
increase with the
publisher
song's degree and
includes a nonassignment clause).
length of popularity.
copyright.
you half the
total
income
owns the song and can
216
off.
sell it
A
to
other half going to the publisher. But the
anyone
else if
he wants to (unless the agreement
good businessperson
will always
want
to
own
the
A copyright's value will increase with the song's degree and length of popularity.
So you can't blame them
you
as writer, the
for trying to get as
They're just looking out for their
THE CRAFT AND BUSINESS OF SONGWRITING
much
own
as
they can. They're not trying to rip
interests.
You need
to
do the same.
"Mechanicals" arc the income from rhe
As rhe
cal Royalties," chapter nine.)
from rhe remainder (referred
sale or records, rapes,
ro as rhe "publisher's share of mechanicals")
percenrages as an incenrive for
someone
ro record rhe song.
on
percenr of rhe "publisher's share of "mechanicals" srill
own
This
is
rhe copyrighr
you
and you give rhem incenrive only
srill
own
away and offer
The advanrages of offering
someone
a berrer deal.
a
you
of rhe song.
for rheir limired use
you can make
rhe copyrighr so
you can
that particular recordings rhar
referred ro as a "cur in" or a "parriciparion agreemenr." If
records rhe song, all
and CDs. (See "Mechani-
wrirer, you'll rake half off rhe rop righr
else larer
You can
ger
rhe publisher's and wrirer's royalries for future recordings.
Performance
royalries
received rhrough
TV,
is
anorher negoriable irem. This rerm applies ro
BMI, ASCAP, or SESAC
for the performances of
rhe
all
money
your songs on radio,
jukeboxes, and in clubs. Those organizarions, called performing rights organizations,
pay direcrly ro rhe publisher and ro rhe wrirer. This
a differenr siruarion
is
cal" royalries rhar are paid direcrly ro rhe publisher. If
one rhat
on the radio long
gets played
can amount to considerably more
after
money
been
it's
you have
a hit,
and "performance" income.
from
BMI
or
ASCAP,
When
your "performance"
rwo
different versions of rhe
been on rhe charts
receive
income on
same song
same time. You could
at the
exisrs
between "mechani-
your quarrerly earnings sraremenr
X
you
say, "I'll give
percent of the
this particular record," since, in
(e.g.,
say, "I
a country
some
and a pop version) have
can give you
X percenr participation
of performance income:
in the publisher's share
for the firsr
a.
royalries
rhey don'r nore which recording of your song you're receiving
publisher's share of the performance cases,
you
from (SESAC does, however). You can't
royalries
a hir song, parricularly
than your "mechanicals."
For rhe purpose of negoriarion, anorher imporranr difference cal"
from "mechani-
quarters in
which
royalries are received;
or b. until the
quarter before the next recording of this song
Anorher approach
to
money up
keep in mind
when
released."
to negotiate a percenrage of rhe mechanical or
maximum
ties until a specified
percent of the
is
is
dollar figure
is
performance royal-
reached. In other words, "I'll give
to (until you've received)
X dollars."
Here
X
you
some other points
are
negotiating with anyone regarding mechanicals and performance
income: 1.
rules.
and
The percentage You may
srill
2.
or dollar
amount you
offer
is
totally negotiable.
are
no
any percentage of the income from the song that you want to
offer
set
offer
maintain ownership of the copyright.
On
an album
piece that radio
DJs
cut,
your performance
take particular interest
royalties in.
With
won't amount to
when an album
forces the
company
cut unexpectedly gets
to release
it
much
unless
it's
a
the exception of the small percentage
of stations that specialize in playing albums, radio will play though,
There
enough
singles.
There
are times,
radio excitement going that
it
as a single.
SELF-PUBLISHING
217
—
f
^pr
On
3.
good album
a hot act with
On a hot act with good
a great deal. Singles are
album
single
sales,
and album and because the
single will earn
performance
mix of the same song on
mechanical royalties
Remember,
on album cuts are
royalties as the other so
worth a great
four times the mechanical rate, plus the
deal.
mechanical royalties on album cuts are worth
sales,
worth more because your song
still
too, that each different
you may have two
will
royalties if
a CD-single
different radio mixes
album
appear on both the gets airplay.
it
makes the same
and two club mixes
CD
cut, plus eventually a "greatest hits"
and other compilations.
On
4.
pop records (including R&B/pop) by
mechanical and performance
On
royalties.
established artists, you'll get the highest
country records, mechanicals are low because
here are usually low except for country/pop crossover superstars like Faith Hill and
sales
Trisha Yearwood and a few other top
But performance
sellers.
country single can be very high because of the great
These
bottom
the
line
may
5. It
is
rough estimate of the
a
which the
artist
as a single,
Make
6.
if it
becomes
or producer to
a single.
whom
This approach
may work
Make sure the "cut in"
specified record
producers and
goes into effect only
that "there's
specified record by a
A
specified artist
on a
is
sion of the
for a situation
if
your song
is
could be a factor in that decision.
by
a specified artist
artists directly
in
on
a specified label. If
and they want some
more than one way
word of caution
incentive
but
you're offering the incentive can influence the
sure the "cut in" or "participation" goes into effect only
or "participation"
upon release of a
styles,
artist.
choice of the record as a single. Their increased financial participation,
chosen
of
relative popularity
determined by the popularity of the individual
a
radio stations.
be wise to offer one percentage of royalty participation for an album cut and
an additional percentage in
you
are generalities to give
on
(airplay) royalties
number of country
you choose
release
these deals: If the person to
employed by a record company and makes
this
is
of a
to deal with
financial incentive, just keep in
to skin a cat" or "everything
making
upon
mind
negotiable."
whom
you're offering this
agreement without the permis-
company, your deal may constitute commercial
bribery.
Check
it
out!
specified label.
Holds"
If a
producer (or record company or
he'll
ask for a "hold"
song.
He
want
to
another to
doesn't
on
it.
want you
It
to pitch
want
he'll it
to
your song
is
right for his recording project,
to have the first opportunity to record the
anyone
else in the
meantime because he doesn't
spend the money to produce the song, only to have artist.
Producers
commonly have
put on an album because
it
exclusive holds
his release beaten
on more songs than they need
it
may
turn out to be
less
if
exciting than they thought
would. Aside from
album.
that, there are several
other reasons
why your song may
A writer/artist may have written new songs since yours went on
will decide to record those instead
of yours.
Maybe
it
THE CRAFT
AND
BUSINESS OF
SONGWRITING
not end up on an
hold and the
was decided that other
chosen since yours were stronger or better suited to the project.
218
out by
frequently happens, as I've mentioned before, that even
they get around to recording a song, it
artist) feels
means
It
also
artist
writers' songs
happens that
a
may emerge from
musical direction or concept for the project
and
inevitably
it
how good
may
they
at the last
clear that certain songs just don't
There
be.
A&R
producer, or
song
becomes
aren't
enough
ballads, or
the material that's gathered
fit
with the others, no matter
(more often) too many. The
company may change
person at the record
his/her
artist,
mind about
the
minute.
Since any of those things can and do happen and because selecting the right songs
an album's success, you can see
crucial to
songs as possible until the project
On
producer and
them
for
we have
the other side
a
producer wants to hold on to
and publisher, who may want very much
record the song. In granting a hold to the producer, there
artist to
that the producer does not share.
may
for the is
a risk
down some
own
other equally good,
publisher, this
a situation
is
have to deal with and with great diplomacy.
you'll
There "If
2. "I
among
are several different attitudes
think the project
I
my
building
never give holds.
song
keep pitching
it."
as
me on by
I
know
telling
4. "I'll tell
me
it
worth
it,
always
I'll
let
them hold
him know
let
I'll
I
me
be honest with
be just a
know
a hold,
but
how
if
he'll
need
to record
more than one producer wants
one of the
acts likely to sell
royalties
to hold
album
your song?
to record
performance
it
gets
down
to
it,
Is
it
cut?
I'll
it,
lead
more time." I'll
only one of them
this one.
You could if
one of
it.
more records and
to be released as a single or an
newcomer
a lot
—not
they discover you've given them both holds, particularly
them has spent some of his budget
but
another major project comes along,
end up wanting to record the song anyway." Be careful with if
it,
long he wants to keep
it
burn some bridges
to record
about the status of the project
when
the odds are that
have to hurry
him know about any other
give
I
they'll
want him
when he knows
longer
little
let
will
to
In the process, I'm
it.
want the song,
touch with the producer and
them they can have
them, too.
that if they
relationship with that producer,
if he'll it'll
know
all
comes up, and
my
depends on
and whether
They
stay in
I'll
it.
interest in the
3. "It
is
publishers regarding holds:
relationship with the producer."
up and record
If
is
many
can't hurt the producer if he decides not to
It
be forced to turn
not better, offers in honoring the hold. In being your
1.
as
finished.
the writer
record the song, but the publisher if
is
why
your song, ask yourself some questions: get
Do
more
airplay than the other?
Is
Is
the song
the producers plan for a major artist or a
being considered for a country
but not so good for mechanical
aren't avid record buyers) or for a crossover artist
royalties, as
artist
(good for
country music fans
(good for performance and mechanical
royalties)?
How whether or
long do they each need to hold he's cutting
it
it?
and the other needs
on the wagon before he can
If
six
one
will be able to tell
months before
get into the studio,
tell
him
his act
is
you'll let
you
in
two weeks
ready, off the road,
him know
in
two
weeks! Stall for time.
SELF-PUBLISHING
219
Through
the years, publishers
and
artists
have tried to organize a united front to get
record companies and producers to pay "option fees" like screenwriters do for keeping a script
out of circulation.
writers
and
never worked because, though screenwriters have a union,
It's
no way
publishers don't, so there's
recently a major country artist started offering
She has
mouth
a is.
to enforce
it.
if
we can only
get that bit of
bright light
many thousands of dollars
major commitment to finding great songs and
Now
The only
wisdom
will
put her
is
that
to hold a song.
money where
her
to spread.
Foreign Subpublishing Foreign subpublishing has become an important aspect of the publisher's business. estimated that 60 percent of the world music market
fcf§:
The international
market
for
American
songs has grown
tremendously
in
international market for
past several years.
outside the United States.
American songs has grown tremendously
It's
The
in the past several years.
A publisher with any chart success at all and a strong catalogue of songs to back it up won't miss the opportunity to capitalize on
the
is
in other countries.
it
Most
publishers, including the
small independents, have affiliations with foreign publishers in countries where their songs are viable. In simplest terms,
"A"
publisher "F."
similar to those in
works
it
done research
has
"A"
's
like this:
that
American publisher "A" contacts foreign
shows him that "F" has had success with songs
catalogue. He's also learned that
"F"
very aggressive about
is
getting cover records, promoting the songs of their U.S. affiliates,
and collecting the
money.
"A" contacts "F," often
Publisher
ence held
ities,
MIDEM (the international music industry confer-
France each year), and gets together with "F" to play him the catalogue,
in
"F"
listen to
at
's
catalogue,
and
get a sense of the activities
and business know-how. "A" needs
songs and has good ideas about which
them. "F"
also interested in
is
this doesn't often
Assuming
is
and record
current that
buyers can be very different
"F"
's
from one
country to the next.
would be
The
country would be likely to record
artists in his
is
worked
commission
is
the advance
out, usually including
low,
is
e.g.,
viable in
"F"
's
an advance from "F"
10 percent, in which
number of "A." (This
no advance
based on several factors, including "A" overall catalogue, particularly the
's
is
paid.)
track record,
number of songs
territory.
Check out
the international charts in Billboard
Part of the jobs of both publishers
new artist
or a translated version
language versions of their
may
by the
original artist.
you'll see
what
I
mean.
Most major
artists
produce foreign
hits.
and "F"
takes part of the copyright ownership of the
THE CRAFT
AND
BUSINESS OF
and
be to come up with a translation of the song for
In cases with lyric translations, often the lyric translator
220
case,
to
musical tastes of listeners and record buyers can be very different from one country
to the next.
a
their personal-
having "A" represent his songs in the United States, though
and the strength of the
hits,
company,
that both publishers are in tune with each other, a contract for a
The amount of
The musical tastes of listeners
unless
's
genuinely excited about the
is
happen.
years (usually three)
r^fr
of "F"
"F"
to feel that
SONGWRITING
new
is
considered to be an author
version, often with a
new
title
make
BO
the separation or royalties easier.
clause in their contract that gives
more than 50 percent best situation
original writers should always try to get a
of translations
and agreement that no
or the writers royalties will be lost to the translated version.
for the subpublisher to
is
The
them approval
pay a
to the translator, but
flat fee
it's
The
tough to
get that.
Royalty
such cases van' from 90/10 to 75/25 for "A" and "F," respectively,
splits in
BMI
including both performance royalties from that country's version of
mechanical royalties from local record companies collected by "F." That songs by the original American
new cover of the song by an
artist
why you
It's
is
to 60/40.
50 percent of what the publisher
be generated that you won't even
who
by writers
The
higher "cover splits"
in the higher range. That,
the foreign subpublishing deals are not in place or are not
may
retain their
own
by the way,
know
about.
good
one of the
It's
international hit if
areas that gets neglected hit. It's
Next
well worth the
you have
MIDEM, do your research, and choose publishers from Japan,
The advances you could
for the trip.
best
receive
from the
all
hot
deals
you make could more than pay
American publisher, or attorney, who
make
has already set up foreign subpublishing contracts, to
have them deal with
a
England,
and other countries where you think your songs
to contract with another
is
the
ones. Foreign royalties
publishing rights and have a big
Australia, Italy, Scandinavia, Argentina, are viable.
is
receives in this country.
trouble for you, your attorney, or other representative, particularly if catalogue, to go to
the case for
usually divide the royalties
on an enormous amount of money on an
possible to lose out
and
from foreign recordings on your writer/publisher
receive a lower royalty
contract. You're only getting
"A" and "F"
anywhere from 70/30
are easier to obtain if the overall deal split
reason
is
ASCAP
or cover records obtained by "A." If "F" obtains a
artist in his territory,
received from that recording
or
that trip
on your behalf and
other countries, excluding the United States. Don't attempt to
negotiate foreign subpublishing deals without the assistance of an attorney experienced in that area.
There
are
many
potential difficulties caused, for instance,
by constantly shifting
currency exchanges that need the advice of an expert.
To
find foreign publishers
see
which
lar.
You can
hits are stylistically
get
lists
on your own, check the
international charts in Billboard to
compatible with yours and in which countries they're popu-
of publishers in those countries from Billboards International Buyers
Guide and the annual Songwriters Market, but
there's
no
substitute for personal recom-
mendations and meetings with prospective subpublishers.
A creative foreign the act
on
and songs
radio,
TV,
would work translators
group whose songs he
in his territory, the
represents.
own
The more popular he makes
more money he makes. He can
or in newspapers, provide interpreters
in his
TV exposure
publisher can be valuable by helping to set up tours and
for the U.S. writer/artist or
country, but
and adapters, or maybe even
maybe not facilitate
if
also arrange interviews
necessary, concoct promotions that
the United States, find the best lyric
cowriting situations with his
own writers.
Obviously, the agreement works both ways. U.S. publisher "A" will also become familiar
with the songs in "F"
's
catalogue and advise
him
as to
what type of songs "A" could
SELF-PUBLISHING
221
get recorded over here, for
one of "F"
's
maybe
A tries
States. It's always
good way
"F"
hot local writer/artists.
sign songs in his country that
United
assisting
may
an American record deal or producer
in finding
The agreement
also gives
(where they're usually collected by the same organizations)
Web
language
sites
to
important to remember that the whole world loves a great song.
more about performance and mechanical
to learn
"F" the opportunity
not be viable there but that could get recorded in the
royalties in other is
to
coun-
go to the English
of their Performing Rights Organizations via the National Music
Publishers Association
list
(www. nmpa.org/links. html#Rights).
Administration Deals If
you want
to publish
your
own
want
benefits of a copublishing contract, but
business end, your best course of action (in
to
most
cases)
own
is
make
it
someone
all
it.
deal.
He
any other
royalties or
else to take care
of the
An administrator doesn't
is
paid a fee of
1
percent
sources in a contract usually of three to five
worthwhile for an administrator to work with your catalogue,
of course, to have recordings that are generating income.
you'll need,
Here's the
way
the cash flow goes:
the administrator pays the writer(s) 50 percent of the gross;
•
First,
•
Then deducts
•
Then
the administration fees
and expenses;
sends the rest to the publisher(s).
Some major
"full service"
publishing companies with their
tion departments will administer
your catalogue
administrators, attorneys, or accountants
hourly
to find
an administration
the copyright or any percentage of
25 percent of the gross income from
years. In order to
on
songs, don't need advances
who
for a fee.
will charge
own
There
you
in-house administraare also independent
for their services
on an
basis.
WHAT ADMINISTRATORS DO These 1.
tasks vary
depending on your needs:
The paperwork of issuing mechanical
(recording) licenses
and negotiating synchroni-
zation (film/TV/commercials) licenses, registering copyrights domestically tionally, royalty accounting,
wisdom
in the
negotiate
of the 2.
on your
issues or
and paying
"Third Party Rule," which
writers is
that
and copublishers. There it's
and internais
also
some
usually better to have a third party
behalf, particularly if you're not totally confident
of your understanding
your bargaining position or you're dealing with a personal friend.
Digging up
royalties that
you may never have received from previous recordings of
your songs worldwide. 3.
Subpublishing, setting up publishing or administration
to pitch
your songs
4. Collecting
222
THE CRAFT
AND
locally
and
money from
BUSINESS OF
affiliates in
foreign countries
assist in royalty collections there.
record companies.
SONGWRITING
Most
hire the services of a mechanical
licensing organization such as the
5.
and
Harry Fox Agency and some do the collections them-
"Mechanical Royalties," chapter nine.)
selves. (See
Pitch your songs to producers
and
artists.
Some
administrators won't do this at
Others consider that the more action they generate on
are basically accounting firms.
own any
vour catalog, the more income their percentage earns. Since they don't
down
publishing rights, they can't look
recorded and
make me money
and
the road
"Someday
say,
for a long time." They're
make your songs pay
contract and need to
all
working
tune will get
this
you on
for
of the
a short-term
now. Some administration companies
off
will
pitch songs actively for an extra overall percentage of the entire catalogue, for a percent
of the publishing royalties on any recording they secure, or for partial copyright ownership if
they get a cover recording that earns
more than
a
predetermined amount.
4
4±
Caution!! Administration
is
complex business and requires
a very
experience, particularly in collecting foreign royalties.
While
attorney do the paperwork for you, unless administration tise, I'd
advise
you
is
a.
it's
great expertise
and
possible to have your
primary area of his exper-
Bug Music (www.bugmusic.com)
to look for a specialist such as
or
Copyright.net. (www.copyright.net). Also consider the Songwriters Guild of America
(SGA) Catalog Administration
service,
formance income and 9 percent for
all
which charges 3 percent
other income. Contact
at
is
a
very complex business
and requires great expertise and
experience.
of per-
for collection
them
Administration
www.songwriters
.org/services2.htm#CATALOG.
Independent Songpluggers who
For writers
don't want to
up
tie
hiring an independent songplugger
is
their publishing
and can afford
of perseverance. If you're successful at
who would
publishing companies
our
If you're pitching
own
it,
you'll
rather have
contacts fresh by having another reason to
projects at hand),
you
writers that
to
it's
a
good
valuable as a collaborator.
they
know
you'll bring
as
offers
them (even
idea to be able to pitch
You
also
and
from established
income and
if
your
your songs
they can't use your songs for the
them
the appropriate songs of other
become more valuable
great songs regardless of
result,
to keep
periodically. If they like
Nurturing those industry contacts makes you
them
also
an employee than a competitor.
writers for extra
call
come back with more
believe in.
most surely get
ears, personality,
songs and making good contacts in the industry as a
you might consider pitching songs of other
and encourage you
you
someone,
Independent songplugging has
a viable option.
been a good way to enter the music business for someone with good lots
to hire
who
to
infinitely
more
your industry contacts
if
wrote them.
Indie songpluggers have always been around but have been, as might be expected, a
constant part of the Nashville scene because of the greater percentage of artists
who
record
"outside" songs.
Based on her reputation light
on the
subject.
one of Nashville's
as
Among
her
many
indie
best,
Top
I
interviewed Liz Rose to shed some
10 successes are no.
1
singles
by Garth
SELF-PUBLISHING
223
Gonna Make
Brooks ("She's
("The
Hill
Love Me"). She's
also
the interview:
is
are typical clients of indie songpluggers?
Indie pluggers are usually hired by
more exposure, companies
have copub
There
deals.
is
and want
to
worked enough,
keep their publishing or
great for the writer
is
draw from the publisher and the money
you
companies that need
large
had no success but
also the writer that has
so that they can keep the publishing. This
How do
from
writers
(staff)
that have catalogues that aren't being
writers that don't have deals but have big cuts
the
Way You
Jody Williams Music/Sony/Tree. Below
a staff songwriter for
Who
and Faith
It")
if
hires a plugger
they don't need
demos.
for
establish the credibility to get
you through the doors the
first
time?
Most independent
pluggers like to have a
behind them. Especially I
was fortunate enough
for a
to
new plugger
have worked for companies,
I
me
new
writers
who
are trying to break in. I've
out of town and (pitched)
What do you I
like
I
am
who
Kent Blazy, Will Robinson, where no one knew
own
have their
who
I
companies, and in
town and
King Lizard Music.
It
gives
very fortunate to be working with I
have a chance of getting cut.
work songs and
ways to work
is
It's
believe in
I
With
incredible. to be
as to
what
I
and
the best catalogues
catalogues that
The competition
catalogs.
me more freedom
some of
and mergers of publishing companies, there seem creative
started out,
I
about plugging?
songwriters in the business.
more
When
worked with publishers
catalogue,
and being independent.
love plugging
pitch.
my own
like
get in doors
hit writers
company
writer with cuts or a
no contacts.
have the support of writers
and Jason Blume. Their names helped was.
name
that has
and
feel
the closings
all
more independents and
an interesting time to be independent.
I
love working with songwriters.
What kind I
of agreements do you have with your clients?
don't really do single-song deals.
work
I'll
single songs if
song cut and prefer a mutual verbal agreement and writer's songs
on single-song
length to see
how
contracts.
I
prefer a year
a song will do, whether
an agreement with
my
clients to
you
still
trust.
believe
I
I
can get the
don't like to
I
commitment.
believe in
it,
A year
tie
up
a
is
a
good
or give up.
I
have
have only a certain number of clients so they are
properly exploited.
Are periodic reports a part of the agreement? I
keep a pitch
clients all the
What
log,
but
I
time especially
am
available
when
there
any time is
to discuss pitches.
sell
good news!
on
this record,
and whether the song
is
number of writers and sold the last time,
a single
and
its
get a percentage of royalty participation without ownership. In
224
my
talk to
are your fees?
My fees are different depending on the catalogue, My bonuses depend on how many records the artist they
I
THE CRAFT AND BUSINESS OF SONGWRITING
songs.
how many
chart position.
some
I
do
instances, there
is
the opportunity for copyright ownership.
I
own two
pluggers want a piece of the copyright. After
ful
song cut these days, and
and the
guarantee a specific
don't agree to a
will be.
I
number of
exploit the songs
I
writer, or just a single song.
The name of
game
the
how many you
own
all
just sit there
their publishing,
should
(publishing) unless they have major
get cut.
is
I
number of pitches? pitches because
believe I
not
I
what
play
how many
usually
maybe up
don't
I
know what my meetings
can get cut and no matter the company, the is
appropriate at the time of the meeting.
copies of songs
meet with
I
you throw out
it's
that
usually play sometimes one
and
and producers and
to four.
How do writers would
find pluggers?
say check
around town and ask about them. Find out
what cuts they have secured, who they have worked with. And go with your gut about Everyone
there;
A&R
artists
don't want to go through ten songs a meeting.
I
owns
that
success-
behind them.
Do you I
Most
or fair deal with the plugger. If they signed a publishing contract,
they probably couldn't keep any of their hits
other catalogs.
takes a great plugger to get a
without the plugger the song would
no publishing contract,
writer, with
work some kind
a miracle,
all, it
starts
how
if it's
how many and a
new
plugger,
they react to your songs and what contacts they have.
somewhere.
Are there any situations writers should be cautious about? I
would
say avoid pluggers that require a large
track record, unless
it is
going to be
sum of money and have
fairly exclusive
and the two
very
little
parties really feel a
great connection.
A
version
of this interview first appeared
in
my
SongSense column in Music Biz Maga-
zine (www.musicbizmag.com).
SELF-PUBLISHING
225
chapter twelve
Demos Why You Need Them Demonstration recordings, "demos," are used to show your songs to publishers, producers, record companies, club owners, and other music industry people
your songs. These people
look
will rarely
can read music won't be able to get the
at a lyric
sheet (lyrics with musical notation). Since the
the song for
song
them
impractical
is
them
live
or giving
and
inefficient.
To
in
to the writers
my
on our
workday. The few appointments
respect.
I
know
there are
some
left
just
looking
who
(the recording)
at a lead
to be heard,
is
with the options of performing
many
audition of a
feel a live
publishers have said to me,
to devote myself to the songs I've already signed
There's not
staff.
So you're
paraphrase what
"My major responsibility as a publisher is and
it.
end product
demo. Most publishers
a
to use
without music, and even the few
impact of the song by
full
they need to evaluate your song by hearing
who may want
I
much time
make
for
me
are referrals
great tunes just walking
to schedule
appointments
from people whose
'ears'
around out there looking
I
for a
publisher and sometimes I'm too busy to see the writer. So in order to be able to listen to
new
songs,
I
need
What I'm
I'm not distracted. it's
easier for
me
to have tapes or
to hear
it
on
CDs. Then
actually listening for
CD since
So unless you have good contacts
I
get a live audition,
your contact
someone
company.
A very practical
reason
why
a lot of songs in a short time.
will
in the
want
will
A demo itself,
226
is
demo
demo
is
that
at
him (though
THE CRAFT
AND
BUSINESS OF
at
SONGWRITING
if
you can
to listen to later or play for
it
it's
can benefit the writer in other ways, too. Creating a
producing your demos
and
allows
them
to listen to
down
certainly been
thirty
known
to
both a time-saver and a convenience.
whether you're actively producing
If you're
it
a song that will be a hit record, so
hard for any sensitive person to shut you
demo
into
is
need to make a demo. Even
to have a
seconds into your song while you're looking happen). So handing them a
when my head
music business, you probably won't get an
publishers prefer a It's
is
listen
won't be distracted by watching the performer."
appointment to sing your songs "live" and
else at the
can
I
it
demo
is
an education in
or observing someone else putting
home, you can
it
together.
learn about the recording process at
your
own
You can experiment and work out arrangements without
pace.
the pressure of
paving tor studio time.
The more
you become with the finished product, the better perspective you
familiar
have on the writing process.
You
You can more
more about the use
learn
or space
easily
and density
imagine a singer performing the song. in
your
lyric
become more
writing and
conscious of the role that arrangements play in enhancing a songs emotional impact.
One
of the great
of songwriting
thrills
musical production, to
make
it
fulfill
is
to
watch your song bloom into
your vision or surpass
it.
Your
a full-blown
failures as well as
your successes become great teachers.
On
the business side,
demos
are efficient.
Once you
get a
you can make an unlimited number of copies and within a
hundred
(more
different offices
good demo of your song,
a couple
of weeks have them
about whether you should do
later
in
that), assured that
everyone will hear the same top-quality rendition of your song. That's quality control.
Types of Demos Different kinds of
Basic song
demos
demos
serve different needs.
—A most
basic kind of guitar/vocal or keyboard/vocal with
the addition of a bass or groove machine (depending available) or, at
its
simplest, a cappella
"dummy demo"
kind of
version; to
show
for musicians or
on the emotional and rhythm
demo production
play for publishers or producers
what you play
in this
on the equipment you own or have
(unaccompanied) vocal. These can be used
to be critiqued before spending
the energy
who may do
services
who you
"dummy demo"
maybe
already
know
will actually
money on
"feel" of your
more
a
a
more
song
as a
elaborate
guideline
as a
elaborate production; to
will accept simple
become pan of the
demos. Often
demo
finished
or
master.
More
elaborate song
mos
either (a)
and
artists
demos
— Studio demos
by the publisher
more
elaborately produced
home
de-
for publishers or to pitch directly to producers
produced by the writer to play
or (b) produced
or
to pitch to producers
and
artists.
These demos
usually have a groove (sequenced, looped, or live), bass, guitar or keyboard, lead vocal,
and sometimes background totally
on the
vocals.
goes on the demo, in addition to that,
writer's or publisher's perception of the artist's style
personal tastes of the producer different
What
making the demo.
ways
(strings replaced
demo
—One
by
Also, the
is
based
and the "ears" and
demo can be mixed
in several
accommodate
different
steel guitar, for instance) to
styles.
Artist
producer.
It
used by an
artist
highlights the strengths of the
or band to shop for a record deal, manager, or artist,
including not only the songs but the arrange-
ments, performances, vocals, instrumental virtuosity of individual members, and the overall style
and energy of the group. Even
always a
demo
in the case
using a group in order to
show
of an individual
the
artist in
writer/artist, this
is
almost
the musical environment that best
DEMOS
227
suits
her
style.
This
rehearsed thev are,
Master demo
demo
a studio
is
depending on the
but,
—The same
function as an
studio, engineering, production,
and
Gets
Does
It
TV or
to
son
to
whom
of the group and
how
well
demo, but with the high quality of
would make
it
acceptable for
it
to serve.
film soundtrack.
What and How Elaborate
Need to Be?
In creating your
way
artist
style
of expense.
attention to detail that
release as a record or to be included in a
Who
minimum
could be done with a
it
it
out
demo, is
to decide
you'll be sending
know what purpose you want
important to
it's
who's going to get
These
it.
are the
One
major groups of people
demos.
Publishers Though
it
used to be considered part of a publisher's job to produce appropriate demos
to pitch to producers (and
produce your own demos
is
well
still
done
enough
in Nashville), the reality
for the publishers to use.
is
that you'll need to
Even
if
you have
writing deal, the publisher will probably deduct at least part of the cost of the
your future
One
royalties.
So you end up paying
for
it
good share of the
initial
is
the increased
"Negotiable Contract Clauses," chapter
ten).
and demo
costs
Publishers are reluctant to return songs they've represent a
demo from
either way.
of the advantages in presenting well-produced demos to publishers
ability to negotiate reversion clauses (see
a staff
had
to lay out
money
for,
expense. (Major publishing companies usually have
in-house studios for their staff writers to use, but independent companies watch their recording budgets very carefully.) If you give
them
a high-quality
demo,
that expense
is
eliminated (unless, of course, you're asking them in your contract to reimburse you for
them up
front).
Another advantage
is
that your chances of interesting a publisher in a song based
simple guitar/vocal or piano/vocal
demo
Though some
are slim.
on
a
publishers can "hear
through" such a sample, others need more elaborate production to help them imagine
how
the finished product
a particular publisher
might sound. In most
needs to hear. Your basic
two or more elaborate demos that sound There
are exceptions.
or piano/vocal demos,
demo
simple
will
cases
demo
like records,
Country music publishers
and since the focus of most
work with
a great lyric.
you won't know ahead of time what is
likely to
and yours
are
still
be sandwiched between
accustomed
to hearing guitar
successful country songs
A word here
comparison.
will suffer in
is
the
lyric, a
about country publishers. Though
they say they'd rather hear a simple demo, the songs they pitch to producers are typically
produced using the best musicians cians.) After interviewing a
answer songs.
228
is
available.
(And Nashville overflows with
few publishers about
this
apparent contradiction, the best
that they get tired of hearing spectacularly expensive
They
figure they'll "hear"' a great
THE CRAFT AND BUSINESS OF SONGWRITING
great musi-
demos of spectacularly bad
song demoed simply and
they'll
spend the money
—
OO the demo. But even with mid- to up-tempo songs,
them
trade to give
the "feel"
vou want them
good
it's
enough rhythm
to have
to hear, particularly as there
more pop
is
influence in country than in the past. In another arena, keyboard/vocal lyric,
demos of pop
ballads can
work
if you
have an excellent
melody, keyboard player, and singer. Those are exceptions, though, and no longer
the rule. If
R&B, pop rhythm
you have any kind of rock,
need a basic groove,
i.e.,
drums or
loops, bass
groove and energy are essential ingredients in
ballad, or
up-tempo song, you
and keyboard, synth or its
guitar, because the
appeal.
Producers
I
Record producers come from a great variety of backgrounds. Some evolve into producers
from having been recording engineers and
their skills
sound. Others are former studio musicians
who may
and putting together great arrangements. Others,
players
producers, excel in the overview. Their the
may
artist,
skill is in
be focused on
how
records
on getting the
focus mainly
right
closer to the function of film
putting together the magic elements
the arranger, the musicians, the engineer, the studio, the
money, and most
importantly, the songs.
No
matter what their backgrounds, their success depends on recognizing great and
appropriate songs for the artists they produce. However, as
when
impressions,
An
expertise.
(though
he'll
hearing your demo,
engineer/producer
know how
to fix
tune vocal or guitar, though he
may
may have
guess, their initial
own
particular areas of
vary based on their
a negative reaction to a poorly recorded
A studio
it).
you might
musician/producer might cringe
may be more
adept
at
hearing the arrangement possibilities
of a rough or simple demo. The "overview" type of producer sophisticated ability to visualize a finished production
when he
hears
it.
point
demo
sure your
producer
sounded there.
I
is
say, "I
will possess his
technically "clean"
can hear
it
just like the artist
from
—the
and well arranged. and
a piano/vocal,"
artist is
it.
Of the
we
utmost importance
that the song
is
I've
likes
at
recorded
it."
another time
One
appropriate for the
artist.
to
skills.
make
say,
"The demo
and everything was
right
statement doesn't necessarily
more you
in pitching a
is
heard a successful musician/
right key, the musical hooks,
hardly had to do anything, so
hear
the musicians'
know what he
own unique combination of tastes and
contradict the other but illustrates the fact that the they'll
just
order to deal with that diversity, your best approach
that, in
is
may not have
—he may
Obviously, these categories are oversimplified for the sake of illustration,
and any individual producer
The
demo
an out-of-
at
give them, the
more
song to a producer for
easily
a specific
(See "Casting," chapter eleven.)
Do
your research! If you're
an
artist
or
that the producer hears to hear
work
all
the voices
band looking
for
someone
to
produce you,
it's
your best performance and your best material.
and instrumental
just fine if the vocals
parts clearly.
A
well-recorded
most important
He
live
should be able
performance
will
can be recorded cleanly.
demos
229
Record Companies most
In
person.
wrote
cases, the
person
company
record
at the
A&R stands for "artist and repertoire,"
his
own
perform and,
who
songs, they were the ones
like producers,
come from
and
the
is
A&R
of old, when almost nobody
in times
told the artists
A&R
better or worse, those days are gone.
you'll be pitching tapes to
what they would
record. For
executives have a wide variety of tasks to
diverse backgrounds. Different record companies
have different philosophies in hiring them. Each of these philosophies has potential advan-
and disadvantages. Some companies want people who know music intimately, such
tages
producers (in some companies
as musicians,
journalists,
and
critics.
all
may become
Producers
"studio
though they usually have the respect of the
street,"
A&R executives are producers),
the
bound" and
artists,
lose
music
touch with "the
managers, and other profession-
they deal with and a decent ear for raw talent.
als
Others ascribe to the fan to be their rock
philosophy sees an
who
street"
"man on
the street" theory
and
hire an opinionated
young rock
A&R representative, maybe a kid who works in a record store. That A&R person as a "general public record buyer." The "man on the
has been exposed to finished records and masters
all
may
his life
have trouble
"hearing" less-than-finished product and, because of a lack of music or production experi-
may not
ence,
easily gain the respect
Other companies tend producer (who screened to
hang out
in the
to hire
all
A&R
of artists.
from within the company. The former secretary of
his material
department
much knows how
that he or she pretty
which may
clash with the
company
company
who
status
operates and the
already has his
quo
company wants
Each of the above philosophies, by the way, has produced outstanding
A&R reps the
have always (and will always) take a
"man on
who
the street" variety
signs you, he's brilliant; if
The
basic functions of an
when needed,
is
he passed, he's deaf.
to find the artist a
A&R
philoso-
a change).
people.
of flack for not having "ears," and
lot
probably the most vulnerable to
A&R
is
company knows
own methods and
(unless the
used
The advantage
be next in line for the job.
the
them. There's no dealing with an outsider phies,
who
anyway) or the guy from the mailroom
may
a
It
But
it.
if he's
the one
goes with the territory.
department today are to find new
talent
and
sign
it;
manager, booking agent, or band members; to supervise
and oversee production and budgets of recording
projects;
and
to find suitable hit songs
for the artists signed to the label.
The artists
legendary former president of Arista Records, Clive Davis, relied heavily on great
who
to find
weren't writers (Whitney Houston, Aretha Franklin,
them
great songs.
country music.
A&R
That philosophy
still
more
and on
his
own
ears
the rule than the exception in
representatives also look for hits for artists
on
their labels
who do
write,
though they may not write enough songs or commercial enough songs. So the
record
company
yourself as an
is
an important target
artist.
whom
AND
they have nonwriting
artists
or
if
you're pitching
thev need songs.
Never waste postage by sending
THE CRAFT
if
Again, here you need well-produced demos and the song must be
right for the artist for
230
is
etc.)
BUSINESS OF
a song to an
SONGWRITING
A&R department "just in case they might
have .m
artist
who
have the correct
this
and know the song
label,
and on
cover letter
opening
it
the
demo. They'll
know
Target a specific artist,
song."
is
the artist's work,
right or don't bother. If you're pitching the
to a specific artist, write "tor Britney Spears" or
song
it
could do
either turn
it
whomever on
over to the
or listen and decide lor themselves whether to pass
artist's
it
back unopened. (More about circumventing that situation
the package
and in
a
producer without
to the producer or send
in
"Getting Through the
Doors," page 283.) If you're pitching yourself or
way in
is
to
your
go
in with
two
it.
This
know I can do
went on the road, and
may
know
exactly
what
is
back.
demo
ones); a press kit with reviews,
press kit cover
and
tape/CD. All
a
had
as
an
artist,
the best
you can write or find
a cold that day," or
company
can't expect a record
regular
make
your cold
till
you
to sign
not absolutely necessary, but
It's
in order
list
"Our
rehearsal," just don't
your session
better to postpone
it's
You
of group members (see "Presenting Your
good
I
new guy only had one
they're getting.
include the following with your
but
better,
it
this
be your only shot, and
cured and your bass player don't
A&R department
an
to
and an uncompromised, passionate performance. Regardless of their technical
style
quality, excuses like "I
bass player
your group
to four finished masters of the best songs
if
if
is
they
possible,
of importance: your personal bio or bios
Demo,"
in this chapter);
photos
(if they're really
of clubs played, a graphic design or logo on your
"We're ready and we're
this says,
serious!"
Club Owners If you're
won't
looking for a
your
live gig in a club,
demos alone because
trust studio
band
great studio tape of a
that
demo should
different
demo should
list
many
Most
stage. It doesn't live set
with
Along with the
tape,
contain at least part of a etc., intact.
of clubs previously played,
club owners
times by hearing a
once they got on
your "between song" rap, audience interaction, applause, send them photos and bios with a
live, too.
they've been burned so
sounded very
hurt to include studio cuts, but your
be
letters
from owners of
other clubs where you've worked. If it's a "cover" gig where you're playing "the hits" and requests, include a
much
list
of the songs you're prepared to play.
better than a live audio tape, but
What You Can Do
at
it's
ideal to
to plan the actual
many
a live video,
it's
Home
production of the
because you can waste a lot of time and
of the ways
you have
have both.
Once you've decided what kind of demo you need and who you have
If
demo
money going
itself.
you're going to submit It's
it
to,
important to plan ahead
into a recording project cold.
songwriters cut the expense of demo production
is
by doing
their
One own
recording at home.
Recording
at
home
great idea for a lyric, at
2 A.M.
when your
has
you left
many
obvious advantages. Sometimes you don't only get a
also hear that
brain
is
groove and a bass
winding down
line.
Sometimes
and your right brain
is
inspiration hits
starting to talk to
demos
231
you. If you've got your studio in the next room, you can plug in your headset, turn on the
drum machine and
keyboard, crank
up,
it
and catch that idea before
gets away!
it
Within hours you not only have a new song, but you've got the demo done the way you heard
it
your head. You didn't have to teach other musicians your song, worry about
in
whether everybody would show up on time for the doing a
solo,
the clock tick
buy lunch away
for
the band
dollar signs, or
may make
advantages alone
it
at rehearsal,
worthwhile for you to invest
For what
pro studio, you could buy a good
You
will,
of
watching
in the studio
worry about what's growing on the coffee cups. These
particularly if you write a lot of songs. in a
session, talk the guitar player out
spend your time
little
would
it
home
cost
in
your
you
for a
own home demo
few
studio, sessions
studio setup.
of course, be saddled with maintenance of the equipment, the learning curve
of getting control of the technology, and the ever-present desire to buy the next piece of state-of-the-art gear to
equipment, there
This will
to
hung up
No
you of spontaneity. There's always
be the key to your decision to have your
choose from to
let
you enjoy the
like
convenient and versatile your
make
it
also goes
it
you
that
with the
just
territory:
own
a trade-off.
Your individual needs
But you have
studio.
of options
a lot
best of both worlds.
musician with even minimal
ing at a dazzling rate) can
Companies
how
with equipment to get the right sound.
in the engineering, forever fiddling
will actually rob
If you're a
matter
be something you want to be able to do with
one more gadget. Another problem
can't achieve without
getting
upgrade your setup.
will always
skills,
possible for
present-day technology (which
you
to create master-quality
is
demos
increas-
at
home.
DigiDesign (ProTools), Roland, Kurzweil, Yamaha, Korg, Kawai, Casio,
Sequential Circuits, Fender, Akai, Ensoniq, and others manufacture synthesizers, sequencers,
and samplers (which record any rhythm, chord, or melodic pattern you
drum machines programmed the digital
to digitally
components become
easier to
reproduce actual
drum
create)
and
sounds, or "samples." As
mass-produce, their cost comes
down and
their
versatility increases.
Digital recording allows
you
to
perform most of the functions of a major recording
studio using your personal computer and specially developed software programs. Included in the
new
instruments
is
the capability to program/record one note of the
time (called "step time"), which
any speed. This
you sound
is
a great
boon
later
like a virtuoso. If you rush
time (called "quantizing"). The
can be electronically played back in
to those with limited
or are a
keyboard
little late
on
drum machines can be
skills
a beat,
it
melody
its
because
it
at a
entirety at
can make
can also correct your
inspirational, especially if you're
having a hard time getting into writing an up-tempo groove.
Other computer-assisted
capabilities include the ability to digitally
sample any sound,
correct single notes, change pitch, transpose to another key without changing vice versa), this
capabilities.
to
232
and change the duration of a note
technology, you need equipment with
There are
after
MIDI
it's
recorded.
To
take advantage of
(Musical Instrument Digital Interface)
also adapters available that will convert or retrofit
MIDI.
THE CRAFT AND BUSINESS OF SONGWRITING
tempo (and
any instrument
A
development
recent
is
software-based instruments
only inside your computer. The day
MIDI
that
time
this
I
—samplers and synths
coming when the computer
will
that exist
provide everything
instruments provide today.
Developments fast that
is
technology for composing, arranging, and recording occur so
in digital
can't be specific about
book
to or periodically pick Player, or Electronic
You might
The
hits the stores.
developments, along with a
up
a
what
visit to
to
buy
—
equipment
you can do
best thing
your
the
local musical
Musician or
visit
be obsolete by the
keep up with the
to
instrument
copy of Keyboard, Guitar for
think, "That's great if
will
retailer,
is
latest
to subscribe
the Practicing Musician, Guitar
those magazines online.
you write synth-styled songs, but what
write acoustic country songs?" Again, technology
and others make very portable, easy-to-use, hard
makes
it
if
want
I
Yamaha,
easy. Fostex, Teac,
equipment. They've
disc recording
to
also
developed educational books to help you get the most out of them. The books deal not only with recording techniques, but with shaping the acoustic properties of your
home
environment. It's
possible to record
and make copies of your demo from
start to finish in
your
own
home
studio.
digital
instruments that don't depend on the use of microphones and an acoustic environ-
But many writers choose to record
at
home
using just those electronic/
ment. Then they take what they have to a professional recording studio, transfer
it
to the
studio tape, and use the studio's selection of microphones and outboard gear (reverb, limiters, compressors, etc.) to record acoustic
This method can save a to
spend your
lot
of money and
creative, experimental
instruments and vocals and to mix the tracks.
still
time
at
produce a high-quality demo.
home without
It
allows
the studio pressure
plan the best use of your studio time. If you can get the rhythm tracks
down
you
and
at
to
home
with groove machines and sequencers, you can also give your singer a chance to work with the tracks before the studio session.
The
digital recording
masters.
Today
it's
the studio and then
technology.
Most
you can do
at
home
not unusual to create
it
can be used in studio
many components of
master tracks outside
is
usually so clean
combine them with the advantages of the studio environment and
studios have the
equipment
to "read"
what you bring them. In
the old joke about the studio musicians "phoning in" their parts writers
or
Tl
loss
and producers lines,
are
now
is,
in fact, a reality.
fact,
Many
"mailing" tracks to each other over high-speed DSL, cable,
adding more instrumental parts or vocals, and mailing them back with no
of fidelity.
Choosing a Studio Many
songwriters use the
facilities
of a professional recording studio to put the finishing
touches on their demos. Other writers like to
should decide to do
all
work
in a studio
from the
start.
If
you
or part of your recording in a studio, there are several factors to
consider in choosing one.
It's
very important to pick a studio where you can get the
demos
233
.
and equipment you need
services
Between the pro studio and the home studio
up
to
do anything
that require large
the project studio. Project studios are set
is
do without the "big room"
a pro studio can
amounts of real
sound and quality you want.
to achieve the
—
estate. Project studios will usually
the large recording areas
have
MIDI production
full
capabilities (something pro studios often do without) as well as high-quality audio recording
and
enough
editing. Project studios are small
Your you'll
move should be
first
do
there.
to decide
Then you want
options 1
later.
What
How
also very important,
is
do you decide what you need? Here
of music do you play?
style
drums, keyboards,
etc.),
some
or commercial spaces.
what you need from the studio
spend
to
homes
what kind of demo you want and how much recording
to decide
The amount of money you have
to be in
If
are
your music
is
some
though
do
in order to
it.
we'll discuss other
points to consider:
primarily electronic (electronic
studios have excellent facilities for plugging "direct" into
the recording equipment but offer
little if
you need an acoustic environment
or instruments that you'd record with a microphone.
It
may
for vocals
be best to go elsewhere to
do your acoustic recording.
A small roll,
room
is
adequate
if
you play
quiet, acoustic music. If
you play loud rock and
decide whether you want a big, open concert-style sound, for which you'd look for
a big, high-ceilinged
sound you get versatility
room
good
(also
in a smaller, acoustically
by the use of
for live string sections), or the tight, "present"
"dead" room. Most studios, however,
which
"baffles" (also called "gobos"),
be placed between instruments or amps.
The
are
also give
you
some
movable pads that can
baffles often offer a choice of
absorbent or reflective surfaces to give you a choice of "live" or "dead" sound.
may
offer
sound-
The
studio
a choice of curtains or reflective walls or rug-covered or hard floor
same
surfaces to achieve the
The
effects.
baffles
can also
isolate the
sounds from "bleeding"
into the mikes of other instruments.
The way songs
no matter what your type of music, or
Note better at 2.
that
miked, recorded, and mixed
are
style, you'll
make
mixing
—two
to find
different in each style of music, so
an engineer who's experienced with that
sure that the studio allows
some engineers
Do you want
want
is
you
to bring in
own
engineer.
and others
are
distinctly different skills.
to record
demos or masters? You
you're shopping your project to record labels or film and
producer and a very clear idea of
more simple demos.
your
are better at tracking (recording the music)
If you're
how you want
to
really don't
need masters unless
TV and you are (or have)
sound on
a
good
record. Otherwise, go for
producing masters, you're going for a "radio-ready," finished
—
product. Consequently, every detail of the recording must be the best
the sounds of
all
the instruments, the arrangements, performances, audio quality, everything.
While the and quickly
capabilities
fix
get
it
possible to get a master quality
problems that might occur in the recording, those
and that extra time
"You
of digital recording make
is
what you spend on
what you pay
for"
is
a
fixes take
THE CRAFT
AND
BUSINESS OF
SONGWRITING
time to tweak,
a master.
good maxim
to
keep in mind when you shop for
studio time. If you find a studio with unusually low prices, don't feel
234
sound
awkward about
asking
them how they can
maintenance person on duty. goes wrong,
who
happen,
may not matter
who
it
It
how
determine
of buddies
Ask
afford to ofrer such inexpensive rates.
they say,
that
"No, but we have someone we can
might
affect
your
session. If
to you. If
you have
fifteen
musicians
call if anything
you and
just
it's
how
don't have anything else to do but wait to see
they have a
if
fast
a couple
those repairs can
getting union scale
all
may end up
have another session booked after yours, you're in very big trouble and
having to pay them and not get anything recorded. 3. if
Don't book too much time in a single block. Sometimes you can
you book
block of studio time, but there's a "burnout factor" that takes place
a large
long periods of tension and concentrated listening, particularly
after
period that runs counter to your "biological clock" P.M.).
is 1 1
tions
You may actually waste money by
and high-frequency hearing
less
aware that you're not functioning
good
at his peak. It's a
The number of tracks
4 A.M.
(e.g.,
the mistakes you
at
if
if
you're into a time
your regular bedtime
make because your percep-
are not operating efficiently.
They only damage your
use drugs to compensate.
working
get a better deal
Avoid the temptation
perceptions further and can
your peak.
Make
to
make you
sure your engineer
is
also
idea to take an "ear break" every hour or so.
a studio offers
should not be the basis of your choice.
More
is
not necessarily better. Studios can offer anywhere from two to forty-eight tracks to serve
many different
needs. I've heard "live" two-track
demos of bands
that rival the excitement
of a twenty-four-track master because they have more "presence."
Hard
disk recording, either stand-alone (Alesis, Mackie, Tascam) or computer-based
(ProTools, Logic, Cakewalk, Performer to
because of
flexibility in editing. It
("tweaked") to
4.
normal
new
buy from the
center,
new
the
for live instruments
buy outside the
where you have no choice, but
studio. If you
out what media you need. using cheap blank
CDs
Compared
that
fail
(More disk speed
in
do
that,
if
I
If
and voices
to be edited
You can
recording supply store.
however, check with the studio
to other expenses,
media
one or two months or
= more
at a
you're in a major recording
a
is
first
to find
cheap. Don't cut corners
hard drive that
is
too small
tracks.)
Always count on using more recording media than you think to be prepared.
standard, primarily
tape or other media or are you required to
studio? They'll charge you more than you'd pay
live in a place
or too slow.
is
parts out of bits of original performances.
Can you bring your own recording
You may
a few),
mistakes in otherwise good parts to achieve "perfection" in timing and
fix
pitch or to create
is
name
always use what you have
left
you'll need.
It's
better
over at another time.
Studio Deals
you do decide
be careful not to
to let
work
in a studio,
you can make
In your search for your next career break, Sessions.
He
special deals to lower
your
costs,
but
your eagerness get you into trouble.
says, "I like
you encounter
local studio
your tunes and you're a good performer.
I
owner Harry
think you've got a
demos
235
shot at getting a record deal.
your tunes This
and
a studio
you
I'd like to take
and cut some of
in
what we could come up with."
just to see
what you've been waiting
just
is
own
I
to hear.
You've been trying
to see
A&R people
companies with your home demos and getting nowhere. Even though they
at the record
demo, you know
say they can listen to a simple
they're listening to finished radio-quality
masters every day and that those probably have a competitive edge. You've been waiting
come along and
for a deal like this to
You
who
finish the four-song project
contract regarding the ownership of the masters.
out and in some kind of
way
But then he drops the bomb:
get the production points
You're a
he'll get
paid
little
to
Harry
figure
I
with the record
get the publishing
way
that's the
you
a friend helping
is
a deal
understand that
know
and the publishing."
1
You
when you make
"Of course, you
assume you're hip enough
I
don't ask questions."
it,
and recorded the songs with you. You've got no written or verbal
learned, rehearsed,
these tunes.
do
say to yourself, "Just
with help from your (or Harry's) musician friends
label.
on
all
these deals are done.
I
2
shocked, but you don't want to appear unhip, of course, and Harry has
been so nice to vou that you don't want to seem ungrateful. You're behaving exactly the
way he wants you This give
is
him
answer
is
to.
Now
he wants you to sign the contract.
and periodically someone
a familiar scenario
my
publishing?
NO,
He
says
he has a right to
it
calls
me and
asks,
"Do
have to
I
because he did the masters."
The
assuming that you made no written or verbal agreement before the sessions
regarding the publishing or production points. However, in order to preempt Harry from
making the claim
that he cowrote the songs with you, be sure to put
you write them out or record them on
tangible form, whether
your songs
in
some
a simple tape recorder
before working with Harry.
Another situation
you'll
money
run into
The
or masters "on spec."
studio
is
when
a studio
that he, as producer, puts in will be recouped
record label.
He
hopes
your producer for the
he'll
life
end up
and publishing contract with you
Many
maximum
At minimum, without
2 percent of the suggested
the customary producer royalty.
impression that
it's
The
retail price
latter
is
your master to a
(c)
"prorated" by the
payoff and
he'll
need a production
artist royalties. If
we assume
that your artist
of the record, 3 to 5 percent of the suggested
artist's
royalty.
retail price is
artist royalty
However, the producer royalty
the producer contributes to the
album
of tracks on the entire album.
'Ownership of the copyrights and 50 percent of the income from the songs.
THE CRAFT AND BUSINESS OF SONGWRITING
=
a production contract, the producer/
3 percent of 12 percent. Therefore, 3 points to the producer with an
number of tracks
(b)
publisher of all the songs he
referred to not as percentages, but as "points," to avoid the
percent actually amounts to 25 percent of the
236
sell
it.
"A percentage of income earned by the producer paid from your 1
when you
and sometimes the
producers have been burned so often that they've coined the phrase "Spec
(exjspec(t) not to get paid."
is
produce your demos
producer of the whole album project,
as (a) the
to achieve
offers to
that the time
of your record contract, and/or
produces for you. That's Harry Sessions's
royalty
owner
owner "speculates"
is
in relation to the overall
of 12
typically
number
company would
studio
owner hopes
you'll
"buy out" the masters (with your record company advance) with enough money
the record
for a profit
beyond what he put into the
and
on those recordings the
credit
deserves that, particularly
though, to be
rair, that's
ir
tapes.
like you
He
also
and the production enough
that
hopes he'd get production points
label eventually releases. If
he does a great job, he
he can also make some valuable industry contacts for you,
not his responsibility unless you've previously agreed to
want
reputable producers with strong industry contacts simply
to find
new
develop and produce rather than wait for the record companies to hire him.
more concerned with producer points and
it.
Many
artists to
He
will be
producer advance than profiting from a
his
buyout or publishing. Unfortunately for
you
as
an
artist
less
like his
contract between you and him, Ironically,
unknown
reputable or
but doesn't
producers,
you may get a record
often the lesser-known producers
it is
if
the record
who
deal
more onerous "spec"
you should never guarantee
they choose,
ducer will be hired by you or the record
your future record efforts" to get the
good
deal. Usually, the
company
to
company may want
that the "spec" pro-
produce any product released
agreement should say that you
my
will "use
in
best
producer involved. This also assumes that the recording experience was
for you, creative
continue
likes
and he won't get anything.
present the
contracts in order to avoid getting burned. In fact, because the record
you produced by someone
company
production, without a production or publishing
and productive, you
felt
supported
artistically,
and you want
to
this relationship.
you with
Legally, if he doesn't present
complete and you don't to accept. If the studio
the conditions under
like the deal
owner
which
hasn't gotten together with
to
after the masters are
he presents you with then, you're under no obligation
he's speculating his time
work enough
that you'll like his
production contract until
a
you ahead of time and
and
facilities,
laid
out
then he's gambling
go along with him or that he can intimidate you
like
Harry Sessions.
The
reality
with you.
The
is,
though, that
if
you walk away, you won't be
producer/studio owner physically owns the tapes.
you the masters or
copies. After
all,
he
figures,
why
able to take your
He
doesn't have to give
should you be able to use the
of his production expertise and time without his being compensated for the tapes without your permission or
sell
your performances unless you
later sign
or unless he has actually paid
you
release those songs,
contract to
do
so.
to a label without
with a label
who
it?
results
He can't release
owning the
rights to
wishes to buy them from
perform on the masters.
If
you
later
him
publish and
he can't collect any royalties on your publishing without a specific
Obviously, without a record out, there aren't any royalties anyway, but
writer/artists often
on
to
them
demo
worry that some time
in the future
someone
will
make
a claim based
this studio situation.
In this case both the studio owner/producer and the writer/artist are responsible for the unpleasant situation because they didn't
let it
be
known what
they both expected from
the deal in writing before the recording took place.
demos
237
The preceding example made
studio deals can be
one
is
I
come
more than
across
I'd like to,
you're also speculating that off for you, too. If you're
the hard
all
other
and the writer/performer. With
that are fair to both the studio
front in writing, this could have been one of them.
an agreement up
many
but
work and time you put
happy with what you accomplished
The
fact
that
is
into this project will pay
in the studio together
and
enjoyed working with the producer, you don't want those ugly, unexpected, after-the-fact business realities to
damage
promising relationship.
a
Making "Sound" Deals
I
Now
that we've got an idea of
let's talk
As
more
said earlier,
I
you have
to decide
experience for
need If
to
way
less
money.
worry about making a
you decide
If
you can
if
you can
by with
get
by with lower quality and
get
demo, you may not
a less expensive
deal.
you need
that
in negotiating a special studio deal,
to approach this situation.
whether you need demos or masters, whether you
and engineer, or
need a "state-of-the-art" studio less
what can go wrong
constructively about a better
a
more
demo
elaborate
outright, the next question to ask yourself
is,
than you can afford to pay for
"What do
have to offer that a studio
I
owner/producer or an engineer/producer might want?" The variables are cash,
services,
Maybe
or participation. Musicians sometimes barter services in exchange for studio time. you're a builder or painter, decorator, graphic
other
of a
skill
that
his other
would be of use
in-house productions.
You may
unique instrument you could exchange
production points artist,
^jr
f
If
you
little
more complex.
need a
In the case of an
percentages of production or publishing.
making
company, play them
a deal with a
If you're a writer
producers
who
come
song, they offer
them
need
exception
major producer with a great track record a
demo, and
get a budget
with limited funds, you
will ask for
I
a
demo, don't
can think of
who
artist
mean
I
may
if
away
you're
on the strength of his reputation.
may encounter
studio owners or engineer/
your publishing even for producing a simple song demo. The as publishers
is
that even
though
not actively be publishers on a daily
basis.
That's
why
it
a percentage of the publisher share of mechanical royalties
on that
give
is
can walk into a record
across opportunities to pitch a tune in their studio to a producer
secure, but only
record,
they'll
who
would be
some-
needs a
better to
on any record they
without giving them ownership of any percentage of your very limited, such as merely
copyright. (See "Negotiating," page 215.) If their involvement
is
handing your song demo to one person, you may want to ask
for a cap
on the amount they
can receive from your mechanical royalties rather than a perpetual participation.
238
an
as
by "participation"
artist,
if you just
The only
problem with engineer/studio owners acting times
equipment or
I'm talking about ownership of your copyrights or receipt of royalties (without
percentages of
publishing.
a piece of outboard
as discussed in the previous section. In the case of a writer or writer/
demo, don't give away
production or
own
you might play on some
income stream generated by you
ownership) from your songs. Generally speaking, just
a musician,
for studio time.
Participation refers to percentages of the
or writer and gets a
also
As
some
or have
artist, electrician, secretary,
to a studio owner.
THE CRAFT AND BUSINESS OF SONGWRITING
you're recording masters as an
It
determine that the studio unless
you
re already a
own
with your
work.
It's
only
is
common
fair, in lieu
But
A percentage (usually half)
also a
he pressed and radio quality) and
(read)- to
you'll
need a producer
good, experienced producer and have the rare ability to be objective
In tact, he usually gets both.
up.
artist
equipped to give you master quality,
is
of cash,
to offer a
producer production points.
"spec" deal, the cash in front
in a
is
what
he's giving
of the publishing (ownership) on only the tunes he produces
deal in lieu of cash. This, for a full-time publisher/producer,
"development deal." With either of those
deals,
is
called a
though, make sure there's a time period
work
involved in which you are returned your copyrights and that you have the option to
with another producer
months and
eighteen
if
is
the record deal doesn't happen.
The
period ranges from six to
most often a year (but ultimately, whatever you agree on)
The
the masters are completed.
studio or independent engineer will
master tapes (unless you paid for them), so that
if a
record
own
the actual
to use
something
still
company wants
after
you've already done, they can buy the master, giving the studio or engineer the opportunity to get
back
on owning the masters, you should agree on
their investment. If they insist
buyout price
you secure
in the event that
a record deal.
They may
also
want
to be
a
compen-
sated if the tapes are used to obtain a record deal, even though the masters are not bought
by the record company.
A
"spec" or development deal
on
all
facilities to
the
first
be separated into
its
speculative components. For
depending on what the studio owner/engineer/producer contributes, you may
instance,
agree
may
or a combination of the following: a preset rate or price tor use of the studio
be paid out of your advance; best efforts to continue using the producer on
album under your record
deal; a percentage
of your advance or "buyout"
if
the
producer "shops" the masters and helps you secure a record deal; and/or producer points
on your
for those tracks actually used
these agreements,
album. Since there are
first
many
contingencies to
you should always have an experienced music industry attorney help
you negotiate them.
You should
also
be aware, and wary, of exclusive production agreements. These agree-
ments involve providing your exclusive recording
services (and often publishing) to a
production company and are more similar to a recording contract than a "spec" or devel-
opment arrangement. Under pany (not you) the record
company
is
these agreements,
will ultimately sign
it is
anticipated that the production
com-
with the record company and furnish your services to
company. These agreements should only be considered when the person or very reputable, has a proven track record and strong industry
to be negotiated can be just as
complex
as a
ties.
The
issues
recording agreement and should only be done
with the advice of an experienced music industry attorney.
Studio Rates Whether you're paying cash
or bartering services, these are always flexible.
a studio for rates, they'll always give are
some of the
you
their
"book"
rate, so
dig a
When
little
you
deeper.
call
Here
factors involved in lowering that rate.
demos
239
BLOCK BOOKING The more hours you can guarantee them, I
mentioned
earlier,
the cheaper
you usually can
though, spending hours in the studio
when
As
get studio time.
you're overtired can be
counterproductive.
AND DOWNTIME
LATE HOURS You can make owner know
a better deal if
that you'll be able to
the studio isn't booked), give to
you
book another
helps
it
them
a better rate. Tell
come
at the
studios convenience. If you
on short notice
in
in their
them by keeping money coming to call
you
someone
if
and
in
the
"downtime" (when they're liable to
and the notice
cancels
let
is
too short
session at their full rate or if the studio has to cancel a session because a
equipment broke
piece of
you can work
make
(just
equipment). In some of these
you don't need
sure
deals, the studio reserves the right to
they get a "book rate" session in your time also be cheaper in
Up-front cash
some
to use that particular piece
slot.
bump you
of
when
out
Late night or early morning hours can
studios.
you
will get
of the session, particularly
if
The more you can
better rates.
give the studio in advance
number of guaranteed
you've blocked out a large
hours, the
better the rates you'll get.
RECORDING ENGINEERS The one you choose and some
training
will
have a bearing on your studio
are well-experienced pros. If you're
cheaper to hire a beginner
(if
you can
get
the possibility that a beginner's mistake If
you bring along your own
him
for
someone you've
established
may
new
Make
sure is
than
is
stress
when you
healthy for
it
still
may
have to weigh
in
be is
you time/money.
studio,
him
it
may
involve extra time
though you're saving time by using is
that he
a lower rate for bringing in
may
have
your business.
use any engineer that he hasn't already been working for twelve
human
work more hours under
beings anyway. So always find out
own
hours you want to work, most studios can
how
long your engineer
staff engineers are unavailable
recommend independent
during the
engineers
who
have
in their studio before.
Though most seasoned
engineers are fairly versatile,
some have experience primarily
country music, R&B/hip-hop, heavy metal, or some other with the will
What you
too burnt out to react or hear properly. Engineers
has worked before your session. If their
worked
it).
communication with. Another advantage
a relationship with a studio that will give
hours and
cost
engineers are
doing a simple demo,
admit
to
Some
independent engineer,
favorite
to learn the idiosyncrasies of a
him
costs.
way instruments and
understand
When
how
to record
vocals are recorded
your
style
you're pricing a studio, you
engineer, though
and mixed
style
and
are
in that style.
more
in
familiar
Find one
who
of music.
may
most demo studios include
be quoted the studio time rates without the it.
Engineer
fees
vary from city to
city,
time
of year (January and February are traditionally slow.), and even project to project. In other
240
THE CRAFT
AND
BUSINESS OF
SONGWRITING
company
words, the same engineer might change hair his regular record
demo. Engineers
New
and
in L.A.
in
Kentucky. The range of
to
thousands a day plus points
to
know
the engineer's
fees
so wide
is
—
cost
— from
she handle
with musicians and singers (people
interact
burtons.
The
as a client
best at
all levels
new
than to find
more than
will
want
my
MIDI
quoting
figures,
more important
it's
you happy, since
it's
easier to
and
fees are
them
figure
ahead of time. In
straight
with before the session so you both can
what you intend Pro studios
fact, talk to
same check you
the engineer you'll be
working
feel a little
more
relaxed
your
price.
These are usually minimum-
and confident about
to do.
second engineer
will include a
wage employees who do the "scut work"
—
and handling the patchbay
Many demo
keep you
into your budget. Independent
engineers are usually paid separately, and staff engineers are paid with the it
does she
much more than pushing
is
ones.
Find out exactly what the
pay the studio. Get
How
gear? Digital editing?
Engineering
skills)?
to keep
January
a similarly skilled engineer does
nearly free (what everyone wants to pay)
that rather than
Can
skills.
York
rate for a
all
in
— notating
track sheets, answering the phone,
things that will save your engineer time.
studios advertise "production assistance," but people are sometimes disap-
pointed by the minimal assistance actually available. If
you know nothing about production,
type of
demo you
need. Ideally,
done and you can express your opinions valuable to help
Ask
make
hire a
you should be
demo producer who
what
is
and the vocal phrasing
meant by "production
the engineer before the session, or
is it
assistance." Is
playing your songs for
musical direction, musicians, and budget? Regarding the is
in business to
will result in
make money
and, therefore,
may
is
it
five
is
how
it's
especially
right.
minutes with
someone and discussing
latter,
remember
a
that the studio
be inclined to make suggestions that
your use of more studio time than you need. At
a simple or a full-blown production
Being there
before recording begins.
sure your singer gets your lyric
the studio exactly
specializes in the
at the sessions so that you'll learn
least try to
determine whether
appropriate before talking to the studio.
"overdubbing" or "tracking" (adding instruments or vocals to the
initial
The more
recording) that's
done, the more studio time you need. Playing the instruments yourself and building the tracks
one by one
is
most time-consuming.
When you work out your budget,
decide whether
and spend the money on more studio time or use other trade-off
is
that with
good musicians,
it's
less
cheaper not to pay other musicians
time and pay more musicians.
you'll get parts that
may
be better
The
than what
you'd think of or be able to execute.
EQUIPMENT The
cost of the studio time
a piano/vocal,
also
determined by the equipment you need.
you may only need an analog two-track
for a digital recording you'll also
is
would be
need to decide
if
eight tracks, an
studio.
ADAT
recorder,
and
If you're
doing
bare
minimum
a mixer.
Of course
Cheap! The
you want an acoustic piano and what kind.
If you're cutting
demos
241
may want
masters with a big production, you
mixdown or
capabilities.
may not have
You
will
quoted hourly
and
your needs for
want you
to
for
many
do
$100
You need
DBX or
Though
others.
equipment
this
that!
many
is
referred to as "outboard"
Dolby
compressors, various
noise reduction, graphic or para-
most
these are basic items to
you
before the session so
studios, discuss
"Oh, you
aren't surprised by,
and we don't have one, but we can
a thingamajig
one
rent
for
Don't be fooled by the brand names of outboard equipment that
a day!"
model number and you're
studios advertise, unless they specify the
The brand name
that model.
This
rate.
as phasers, Hangers, limiters,
delay, harmonizers,
metric equalizers, and
may
need some signal processing devices that the studio
available for the
equipment and includes such things types of reverb
twenty-four or more tracks with automated
alone doesn't
you
tell
familiar with
they have the specific piece of
if
equipment you need.
Gening
all
the info before the session will save
what questions
to ask
on the business end
you money
knowing
in the end. In fact,
ahead of time and knowing what everyone needs to make them happy
mind during and
are the keys to saving your peace of
after the session.
The Recording Process Once you've decided on
a studio, engineer,
and necessary equipment, keep
in
mind
the
following suggestions about the recording process: 1.
Remember
2.
Test your mixes on your car stereo/cassette or
to double
any decent studio
will
your estimated recording time
CD
have a
CD
burner.) Switch back
(for listening to playbacks).
(CDs
player.
and
forth
are preferred
the radio or a familiar tape for comparison. Listen for the clarity of instruments 3. If
drum,
you have
which
several days in
guitar, bass,
and keyboard
to record, in the first session, record
tracks with a
At the end of the
"Mix"
"EQ"
first
(equalization), the
and do
session, "scratch" (eliminate) the vocal
volumes, placement
refers to the relative
amount of treble,
instruments. You'll then take
home
a
and
vocals.
your basic
temporary "scratch" vocal. That temporary
way of
vocal allows the musicians to create parts that support but don't get in the vocal.
and
between your song and
bass,
the
rough mix.
a
(right, left, or center for stereo),
and
and midrange emphasis, on each of the
tape/CD with which the
vocalist can rehearse her
performance and with which you can work out and rehearse "overdubs," additional parts such as instrumental solos and harmony parts, background vocals, orchestral
During the next
session, record the vocals
or two of that session.
about them idea to
your
Take them home and
a
rough mix
good perspective on
is
a
listen to the
leisure outside the pressure
do more than
to have a
This
at
and the overdubs and get
this
common, though not
at the
same
THE CRAFT
AND
BUSINESS OF
parts, etc.
rough (quick) mix
mixes so you can make decisions
of the studio.
session in
It's
generally not a
which you
record.
It's
good
difficult
important process when you and your ears are fatigued.
necessarily the best,
If you're a self-contained group, you're well rehearsed,
242
a
SONGWRITING
approach to the recording process.
and want
to preserve a
spontaneous
sound, you'd record everything "live" to have a separate
dav period. singer(s).
mixing
same time, though
it
may be
still
and make sure your engineer knows ahead or time what you want
how you want
do
to
it.
The
advisable
the luxury of recording over a several-
once, prepare very well, rehearse the musicians and
at
all
it
the
You may not have
session.
you must do
It
at
best idea
is
to visit the studio first to
to
do and
meet with the engineer.
Saving Money by Being Prepared The
best
way
to cut
what you want there are
for
some
down on
a good plan for getting
things to consider that will save
Choose the
right musicians
demos
aspects of doing
is
you
wrapped up
are too
to
is
have a solid idea of
In preparing for the session,
it.
a lot of time
and worry.
and rehearse ahead of time. One of
choosing the right musicians.
ability to exercise restraint, to control their egos,
Some
and expenses
time, aggravation,
your demo and
in learning their
toward playing something simple that
fits
and
Demos
the most difficult
require musicians with an
to control the desire to
"show
off."
instrument to be able to direct their creativity
and complements the whole arrangement or
supports a vocal.
The
choosing musicians
ideal in
is
had an opportunity
that you've
listen to a lot
of them and can afford to pay Si 00+
You may have
to
pay them extra to overdub other
to the style of songs you're recording
when
other musicians
minimum
left to their
the
same group or
want
What
if
in the past
and knows
then choose them according
goal
is
that
you want
will help
and willing
speculation that
if
to
do
and when you
stores, colleges,
play together in
need
own he's
to rehearse.
to be choosy?
You
of musicians around looking for something to
sessions for the experience or
get paid, they get paid).
music you're interested
situation, the type of
to exercise a
you choose musicians
their capabilities, eliminating the
lot
with
from each of the musicians
number of musicians who
you don't have that much money and you can't afford
get involved in
music
The
good producer
a
should know, then, that there are a
zines.
city to city) per tune.
you'll predict that they'll interact
creative contribution
to find a
work with or
have played together often enough that they have their
at least
communication well tuned. Also,
worked with
creativity.
maximum
of direction and get
involved. In fact, you'll ideally
parts. You'll
and the way
own
from
(varies
to
in,
Make
"on spec" (on the
signs explaining your
and put them on
bulletin boards in
music departments, and clubs. Advertise in musicians' maga-
Contact musicians' services that match musicians
in
your area with opportunities
and with each other. Here are two good ones. Musicians Contact Service
www.musicianscontact.com Taxi's Musician's Junction
www.musiciansjunction.com
Offer to trade your
go through some
trial
own and
services as a musician, singer, or whatever. You're
error to find the right people, but that's
bound
what you need
to
to do.
demos
243
When
you find the musicians you want, rehearse with them
doing the session,
as possible before
you're insecure about your arrangements, and you're looking for
if
something out of the ordinary. fees before the session
them
much
as
you
save
It'll
lots
money
of
and pay them promptly. You'll
in studio time.
much
feel
Agree on the
better about directing
if you've taken care of business and, psychologically, you'll eliminate bad vibes
and
have an eager team working with you. Prepare master rhythm charts of the songs for each musician before you rehearse or before the session
no
if there's
Master rhythm charts don't necessarily need
rehearsal.
map" of
have the melody written out, but should contain a "road
changes and
the song; the chord
the directions you've thought of ahead of time, such as
all
instruments enter or
you want
exit, a specific bass line
to hear, etc. If
read music should have a "lead sheet" that contains melody line and
The
of Nashville
and
in the studio
instantly
and
numbers
for
used universally in Nashville
is
letters. It's a
To
minute that
Number
key
his
know
the
you
can sight-
They must
and exten-
get the singer
wrong. Zap! Transpose the key
is
new chord
changes.
universal "language" for studio musicians
It
substitutes
and very helpful
help you learn, there are a variety of books and software packages.
number system"
Search the Internet under "nashville Nashville
who
lyric.
(surprise!)
valuable song-charting shorthand. Say
realize at the last
chord
for songwriters.
as a
the musicians immediately
all
certain
lyric sheet.
Number System
Nashville
sively outside
when
you don't have the
groove written out, bring recorded examples of what you want. Singers
have a neatly typed
to
or get
Chas Williams's book, The
System (Corner Music (615) 297-9559), which will teach you several
different styles in use.
Have your musicians unwanted hums,
amps where
check their instruments
and amps
before the session to eliminate
buzzes, noisy pedals, or other obnoxious sounds. Listen up-close to the
the mikes will be placed. This
are used to playing live.
A slight hum
live situation will
make you
end up spending
lots
crazy
it's
frequently a problem with musicians
amp
an
in
when
is
that
might ordinarily go unnoticed
miked and magnified
of costly time trying to
fix a
who
in the studio.
in a
You may
buzzing guitar string or having to
call
an instrument rental company to send over a new pedal.
Get your "sounds" established on the instruments during
and
mellow or
guitar to be
song or the
session.
biting?
"Tune"
Do
you want the bass
drums the way you want them
the
For the studio, producers
rehearsals.
may
or
may
for the
not prefer the snare to be
deadened somewhat with pads of cloth and masking tape near the edge of the head. depends on the
style.
head and pushing personal session.
but it
Those
creative decisions should be
You may change your mind
at least you'll
for each It's
244
taste.
drum
They'll also deaden the kick
as well
a pillow against the inside of the head.
have a concept to
song before the
later
made
when you
start with. If
This
as
by removing the front
is,
much
It
however, a matter of as possible
before the
hear them over the studio monitors,
you're using a
drum machine, program
session.
part of the engineer's job to "get a
THE CRAFT AND BUSINESS OF SONGWRITING
sound" on the instruments before recording, and
vou should be prepared the
drum,
not.
Know
advance
in
up anyway,
who
strings,
more
fun? Find out
Be
drum
hasn't learned that lesson
how
on
sure the musicians
them
the engineer what
procedure
this
Sometimes
it
his first gig,
don't
I
but
setting up.
know
thought
I
included
is
but usually
is,
from one-half to
varies
(It
and don't waste time
this
to
do the songs.
the musicians feel about
careful to figure realistically
Make
session.
heads, batteries, etc.
know
and
to get there,
exactly
that they
all
Is
it,
how much you
you decide when you meet with him before the
take
show
a profes-
I'd
bring
it
just in case.
Decide the order in which you want
all.
(Try bringing examples ol
like to
setup time you're allowed.
one hour.) Make sure your musicians understand
sional musician
you
running on your
starts
how much
Everyone should have spare
CDs
lor.
meeting with the engineer whether
in the initial
time " before the clock
in "setup it's
instrument sounds horn
bass, or other
vou want.) Find out
concept you're going
CO explain the
one song more
difficult
assuming you have time
can get done.
The
and another to
do them
engineer can help
session.
where and when the session
is,
how
long
it'll
have transportation. If you're using different
musicians for different songs, try to schedule as accurately as possible so they don't have to wait
more than
a half hour.
Choosing the Songs Whether producing your demos
at
home
or in the studio, there are a few decisions that
must be made before you begin. Your most obvious decision
is
choosing which of your
songs to record. All the songs
you write don't have
publishers and producers ciality
of their songs.
You a
be
they'll
be.
friends,
most of whom it
try to explain the
(unless
Can
they
you what the song
Do Can
they
they
name
Which of your Which do
Which
the
title
many
defensive.
Keep
your friends are
that
you wrote
also writers). Tell
them
to
it.
the words? lyrics?
without your having told them?
songs do they like the best?
they remember?
as
knocked out
about?
Why?
ones can they sing the melodies
Those songs Get
all
remember any
is
will be so
song before playing
they sing the chorus back to you? tell
to
have difficulty determining the commer-
do you know?
Can
Did they understand
you present
to be commercial, but the ones
Many writers
automatically love
and don't
critical,
How
by asking your
start
song that
must
are
to?
your best shots.
opinions
as possible. If the critique
a cool head
and know
is
negative, thank
that they're not attacking
them and don't
you
personally.
get
The
demos
245
—
rewards of letting them help you grow and find success in your craft short-term ego damage. Treat criticism like clothing. Try
What
you write
if
voice and limit
all
to
You have
selections to the style
and blues-styled tunes, but
show record companies. artist
and
you
also write
It's
most
feel
at
if you
it
home
good country
easily identifiable
For publishers,
it's
different.
Though
many
to be able to write well in
you love
of different
lot
"Do we market this artist as
CD
they're
rhythm
to sing
R&B
songs, stick with
for
styles
demos
to
from one
R&B?"
country or
be turned off by hearing a country song
good, however, to show some variety within the
it? It's
critical
have an
with. If
confusing to them to hear a
who buy your R&B-styled
Will the people
on
the best chance at
presents a marketing problem:
it
outweigh the
it fits.
(See chapter fifteen, "Getting a Record Deal.") If that's your direction,
style.
your
and get good
far
see if
response on
is
a recording artist.
on and
then based on whether you have the desire or the potential
a lot of different styles of songs
of them? Your decision
become
it
happy
different styles.
So
if
it's
style.
you
specialize,
OK
it's
to present
a plus for
you
them with your
best songs in several different musical genres.
Make to
sure
change
you have the
My friend, Hank Linderman
it.
Home
author of Hot Tips for the
I
of your song or you'll end up spending
final version
(producer, engineer, guitarist, songwriter, and
Recording Studio),
tells this story:
was recording and coproducing a song with a songwriter (Erik Andrews)
done
several
country, so
demos
This particular song was a pop ballad, and
for.
we decided
to hire a singer
I
this version
(Walker Igleheart) with a very
perfect for the song. After finding the correct key (over the
we
money
had was
clear tenor
phone with the
singer),
constructed a beautiful track, sent out a copy to Walker, and got ready for the
When
vocal session. the
that day came, Erik
headphone mix was
ready, everyone
two hours of work, we had a great
The
next morning
Could we Walker
set
for a
Once
and Walker
up another
reduced
again,
was the
left.
had
lyric sheets, pencils,
were prepared
vocal. Erik paid
from Erik
we booked
prepared.
after Erik
mic was
Walker, and that was
—he had
set up,
and water. After that.
rewritten the second verse.
the session.
Once
again,
Walker nailed his
head
it.
Erik paid Walker,
—he was concerned
me.
made his changes, we brought Walker in for what hopefully
When
his
the
brief vocal session? After reaching an agreement with
said he'd get back to
final session.
Walker
call
I
Within minutes, Erik was shaking
He
thanked Walker for beat,
rate,
we were
with the bridge.
Once again,
got a
I
—
and
Walker
good
arrived, Erik apologized for the situation
attitude throughout the process.
replied, "Erik, we're
gonna
get this
song right
if it
and
Without skipping takes every last
a
dime
you've got!"
The
final piece
Erik and
246
I
of the story
is
that
re-recorded the song as an
THE CRAFT AND BUSINESS OF SONGWRITING
though the country version was never
R&B
ballad,
and Erik got a
cut.
cut,
Arrangements We'd
becomes more appealing and the meaning of a effective
melody and
to believe that a great
all like
some
pay attention to a song. In
in the
lyric
necessary to
lyric are all that's
may be
cases that
true;
make people
but in most cases, the melody
context of the harmonies and countermelodies around
can be conveyed even more strongly by framing
most
in the
it
it,
way.
In recording
demos
or records,
you can do
several
key things to make them clean and
powerful.
One mental
Demos
tracks.
instrument tracks. lyric
common
of the most
or vocal that
intentionally obscured.
of the functions of a producer have a producer,
when
let
many
vocal only"
listen to if the vocal
you
want
also
a
this
about whether anyone
do
it
or
Ask him
problem
effects
if
is
still
versatile options, particularly for
buried under the
is
so insecure about the
the
demo knew
the lyric
could understand
it.
One
you don't
f
gg-
One
of the
most
common problems demos
is
in
the conflict
between vocal and instrumental tracks.
he can understand the words. This
is
the
to run a "vocal
up" mix
in addition to the
for singing "live" to track), a "lead
on), a "backing (background) vocal only"
TV
no lead
is
vocal).
These mixes
use or for pitching to production music
page 319).
If you're recording a
you money
will cost
else
instru-
someone who doesn't know the song
call in
"no vocal" mix (handy
mix (with reverb and
libraries (see
is
Or whoever mixed
mix, and a "no lead vocal" mix (mixed as though there give
artist
and
records are mixed by a separate engineer.
You may
mix.
the conflict between vocal
is
to provide the right perspective to the mix. If
the engineer
Another good way to avoid full
is
left:
you're close to the final mix.
reason so
demos
uncomfortable to
was no perspective
so well, there
in
sometimes seems that the writer or
It it's
are
problems
band, letting the whole band (or any one member) mix the tracks
in studio
time because everyone will want his
own
instrument to be
loudest.
The arrangement
is
also crucial in achieving clean vocals.
Some important
considera-
tions are: •
Melodic movement of instrumental parts
the things that lines
moving
melody.
relative to the vocal
makes demos sound busy or cluttered
at the
same time. Our natural tendency
is
as listeners
is
melody on,
say, an electric guitar at the
same time may be
it,
One
of
many melody
to focus
A harmony on that melody (instrumental or vocal) may enhance
single line
melody.
the conflict of too
on the vocal
but a different
distracting.
A slow-
moving chordal "pad" of strings or synthesizer will work fine because they don't command our attention parts
like a single-line
on the instruments
they'll
melody.
Rhythm
aren't usually a
instruments and repeated short rhythm
problem because once your brain
realizes that
keep repeating, you take them for granted. Your body responds automatically, but
your mind focuses on the movement of the melody. Cutting basic tracks or overdubs without being able to hear the vocal phrasing or
melody can produce
a busy, cluttered sound. That's
why
it's
best to use at least a "scratch"
DEMOS
247
removed
vocal (to be
during a "head" arrangement (not written previously) and
later)
during production of both rhythm tracks and overdubs. That way you can
arrangement works and melody.
"window"
for the vocals, to highlight
perform
"fills"
are
them and
to create expectation
and
"bracket" the vocals, ending
when
the vocal phrase starts
and
starting
there.
still
is
"fills"
when
it
make
to
tension.
function going into a chorus, for instance. Instrumental
this
your
any of the instrumental parts are competing with the vocal
Linear placement of instrumental parts relative to the vocals. The idea
•
a
if
any problems, they can be fixed while the musicians
If there are
if
tell
Drum should
ends. In
the diagram below, the top line represents the vocal phrase (with accompaniment), the
notes represent the ongoing pulse, and the that picks
up where the vocal
line represents
an instrumental
and drops out where the vocal begins
stops
you have a two-bar, eight-beat phrase and the vocal phrase
instance, beats, the
fill
might
past that point, a
J
J
12
•
bottom
start as early as that fifth beat.
work because
will
fill
J
J
3
4
J
J
the
J
J
3
4
12
Even
melody
J
if a
vocal
is
for
If,
first five
holding a single note
line isn't
moving.
J
J
J
3
4
12
again.
takes the
"fill"
J
J
12
J
J
3
4
Vertical placement of the instrumental parts in the audio frequency range relative
to the range of the vocals. Again, rhythm instruments and parts aren't usually a problem,
but with melody instruments, you can make cleaner tracks and highlight the vocals more
which the instruments
by separating the ranges
in
monly
same midrange area
get played in the
up or down an octave or two
parts
to
are played.
as the vocals.
Keyboards and guitar com-
Experiment with moving the
keep that vocal "window" uncluttered. (See the
diagram of instrument ranges.) Other ways to enhance that window are to mix the volume of the instruments lower
midrange frequencies)
in that range, to
in that range,
de-emphasize the
and
to
EQ (equalization,
pan the instruments
(place
them
treble/bass/
apart from
each other in the left/right/center spectrum). If
you have
There
a lot of tracks available, there's a tendency to think of ways to
are always
make each one
ways
to
fill
empty
tracks,
but
"less
is
fill
them.
more." Try to have fewer parts and
sonically interesting.
Ig£ The emotional impact I
of a vocal the
may well be
most important
of a demo. Most writers
factor in the
sing effectiveness of a
demo.
248
Vocals
The emotional impact of a vocal may well be
on
it.
Sometimes
hire another singer.
who
it's
Or
it
AND
BUSINESS OF
most important
factor in the effectiveness
can sing automatically assume they should be the one to
a simple question of economics.
could be simple ego.
the emotions that went into
THE CRAFT
the
it.
It's
SONGWRITING
part of you.
You
figure
Who
You
feel it costs
too
much
you know the song; you
could do
it
better?
Even
if
to
feel
you're
not a great singer, you again,
you can
feel
at least
do
you may be wrong. You'll never know
if
it
adequately.
You may be
Then
right.
the performance of a great singer could
have made the difference between acceptance and rejection. Have
faith that if the
song
has emotional impact, a very good singer (with your direction) should be able to put across.
So the
rule
of thumb
is:
Ifyou know anyone who can sing the song
he or she should be singing on the demo.
Make
sure that the singer
is
song's musical style. Classically or musical theater-trained singers
element doing country or hip-hop, for instance.
The
OK,
singer should avoid improvising too
Stylistically,
much on
it
comfortable with the
may
must be
but vocal gymnastics that tend to obscure the melody are not.
re-creating your
highlight both, have the singer stick to the
chorus repeat
at the
end
in
melody
better than you,
be out of their believable.
the melody. Stylistic inflections are
showcase for the performance and not for the song, making
what they could do with the song without
it
till
it
demo
the
which the singer improvises
What you
difficult for
last
singer's
an
get
artist to
is
a
hear
performance.
To
chorus and maybe do a
to demonstrate
some
stylistic
direction.
If your
song could be sung by either sex, do you choose a male or female for the demo?
The consensus seems a male
to be that
demoed song than
for a
it's
much
male
easier for a female artist to hear herself singing
artist to
imagine himself singing a song he hears
DEMOS
249
from a female
Too bad
singer.
with a male vocal in these
those sexist attitudes
Obviously,
cases.
but your odds are better
still exist,
practical for you,
if it's
do both male and
female versions.
There
are a
how
they are,
wide range of fees
demo
well they sight read (or
how
singers
your song on her own performance demo and vocal, to producers.
demo
Many
You may
tapes.
companies. Your songs
how much
own demo. Remind
the singer with producing her
assist
depending on how good and how
quickly they learn), and
your funds are low, you might suggest
their services are. Again, if
time and
for
major
artists
barter.
fast
demand
in
Share studio
her that she can put
that you'll be pitching your song, with her
have been discovered through their exposure on
find a great cover group that needs originals to pitch to record
may
be
what they need.
just
Intros
How you
demo depends on who your
introduce your song on a
you must keep
audience will be. In song
Get
demos
for publishers or producers,
They
consider intros a waste of their listening time because they're only listening to the
intros short.
to the vocal/lyric fast.
song. In artist demos to producers and record companies, that's not the case because you're
and the
creating a finished product
The
is
part of
what you're
length of an intro will vary from song to song. Generally, though,
kept under four bars for a ballad because
tempo.
of that intro
creativity
An up-tempo
ment simply by
it's
more
dance song that involves a
it
selling.
should be
difficult to sustain interest at a
listener's
body
will generate
more
slow
excite-
increasing the speed of his heartbeat. Consequently, those intros can be
longer.
Short or long, an introduction creates an immediate expectation for the whole song.
listener's
It sets
the
first
mood,
impression that
sets
the emotional tone,
up the
and
ulti-
When
mately,
on a
you go
to a concert or hear a live recording, you'll hear the audience cheer in recognition
record,
becomes the "signature" that
sets
it
apart from
all
other songs.
of their favorite songs after only a few notes. So, in producing your
unique
intro.
Some
(repeating the
demo and
writing the song, pay special attention to developing a
writers have a tendency to
same thing)
for four or eight bars
audience before even getting into the song "stop" button on their cassette or
Here
are
1.
Use
2.
Work
that
some
between two chords.
a variation or
Use an
To
bore your
player after eight bars of boredom.
mutation of either your verse or chorus melodic theme
backwards from the
first
work
well or
maybe
an
intro.
A
big
dynamic buildup
to a soft,
a gradual build to a strong vocal entrance.
the Stones' "Satisfaction" or Stevie
THE CRAFT AND BUSINESS OF SONGWRITING
as
vocal melody to discover a melody or progression
interesting repeating instrumental riff that will be heard later
(e.g.,
by "vamping"
deadly. I've seen publishers angrily push the
might heighten the impact of the vocal entrance.
or chorus
250
CD
is
that opportunity
possibilities to explore:
quiet vocal entrance might 3.
throw away
under the verse
Wonder's "Superstition").
Explore your acoustic or synthesizer instruments tor
4.
a
unique sound or blend of
sounds.
Introduce a new instrument or part every bar or two to thicken the texture and
5.
increase tension. This
unique,
it
a
rhythmic parts
drums,
bass,
components
might
7. all,
your instrumentation and melody are
if
groove by starting with the simplest component and adding the other
you
as
rhythm
start
Sometimes
go.
guitar,
it's
easier to
and other rhythm
develop the whole groove
with the bass
Consider the
just starting
them onto
by punching various combinations
whatever works
line,
best.
first
with
then figure out later which of those
parts,
to start the intro with. If you've layered
recorder, experiment
versa,
but
can be a very effective intro.
Develop
6.
common,
rairly
is
in or
separate channels of a
out every bar or two.
You
then bring in the drums, then the rhythm guitar or vice
Try
all
the combinations
you can think
possibility, particularly in a ballad,
of.
of having no instrumental intro
with the lead vocal or an interesting background vocal
at
f
^f:
Consider the
part.
possibility,
The bottom
line
interest, the intro
no matter how long
that,
is
must
it
is
sustain a listener's attention.
or
what devices you use
Some
to create
long ones do and some short
particularly in a ballad, of having
instrumental intro at
ones don't. See page 259 for an intro exercise.
all,
Solos
Clapton
is
by publishers and producers
to be a waste
time in song demos. If they're judging the song, they don't care
playing on your demo.
commonly
hit the
No solos. Just the song, please.
"stop" button on
indulgent intros or just because they
a
demo
know
friends are helping with the
for their time.
Don't do
it!
It
demo and
if
because of interminably long and
they're going to hear a solo.
get to
show
of
Eric
Publishers and producers
include long solos only because they don't have enough lyric and want to
some
just starting with
the lead vocal or an
Solos, like intros, are generally considered their listening
no
interesting
background vocal part.
self-
Most people
fill
the space or
off with a solo as a compensation
doesn't help you.
That's not to say that a short solo of a couple of bars that serves a definite function as a transition or a dramatic tension-builder can't be very effective in a
song demo. Just don't
use a whole verse or chorus worth. If you're cutting masters or artist
demos to
record company, the above does not apply.
but that long guitar solo better be a
sell
a self-contained
They need
band
to a producer or
to hear the talents of the group,
killer!
Endings With endings you have two done
to allow
you
choices:
to keep grooving
Work
on an
hook," without bringing
down
you only bring down the
actual volume.
out an ending or fade. The fade
usually
exciting riff or repetitive vocal phrase or "the
the energy level
on down the road and even though,
is
You
and
intensity of the music.
leave the illusion that the
after a while,
you
can't hear them,
band
On is
a fade,
just
you know
going
they're
DEMOS
251
still
groovin'.
A
fade works
you have something great
if
momentum. Commercially
a natural
you want an audience
chorus, or whatever
With
a fade
much
as talking
them do
you
their
speaking,
also give
fade,
go out on that
which
excites
doesn't necessarily excite us).
it
it
has
to be the last thing they hear.
to talk over the ending,
DJs a chance
feels like
always a good idea for the "hook," or
remember
to
over the intro (even though
own
it's
to
It
which may be considerably shorter than yours. Keep
them
as
also lets
mind
in
that unless you're playing a dance gig, long, repetitive fades tend to get tedious, so the
shorter the better. This
is
particularly true for
demos, presentations to record companies,
and showcases.
As
working out endings,
for
times
when
to give
you give the
rest
Demo Production decided that
If you've is
show your
the best ending for the song
the care
it
depends on the song. The only thing
it all
Please see this as an opportunity to
way too much of
all
originality.
can say
I
one that has already been well worn. Just
is
is:
grant you that there are
I'll
try
of your song.
Services
you want
to
do
is
write songs and producing your
Demo
a hassle, never fear!
own demos
production services have sprung up into
an industry of their own. These services advertise in music trade magazines including
Music Connection,
American Songwriter, Performing Songwriter,
Billboard,
newsletters of songwriters' organizations
Web
sites
all
Only
of time. a
Only
demo production
deal with
Some
nominal •
and the
on the Internet where you can immediately hear samples of their work. (Search
under "song demo.") Here are some guidelines •
etc.,
over the country. Also, you can also find their
fee,
send you a
will
but
it's
worth
deal with those
CD
free tape or
to
it
who
for dealing with
services if
know what
will tell
you
them.
you can check out their product ahead
sample of their work; others
may
charge
you're getting into.
exactly
what
you'll get for
your money. They
should send you a rate sheet that gives you a choice of options from guitar/vocal to scale
productions with strings, horn sections, and so forth. Extra rates for lead sheet
preparation, copies,
and other
Some companies, on •
full-
their
services
demo
Don't deal with companies who
to publish
your song
for a fee.
should be spelled out. In other words, no surprises.
tapes or
By
CDs,
offer to
the rules of
be members of those organizations. Therefore, airplay
on your song, you'd never be able
page 155.)
You can
always
them out or go online
to
call
will give
BMI
to
your
and ASCAP, they
lyrics for a fee
or
are not allowed to
if by some remote chance they actually got it.
or write your nearest or
a choice of singers.
compose music
to get paid for
www.BMI.com
you
(See "Avoiding the Songsharks,"
BMI
or
www.ASCAP.com
ASCAP
office to
check
and search their publisher
databases.
Occasionally there
252
THE CRAFT
AND
BUSINESS
is
some confusion among songwriters who think
OF SONGWRITING
that if they can't
write musical notation, they're not "writing" music.
"compose"
a
melody
that
you can sing into
AsaJPFolks.com mentor, .com
is
for
me
own
you have "written" the music.
addressed the following question from a member. JPFolks
I
an international songwriters organization that
Q. If
you "think up," "make up," or
If
a tape recorder,
I
for a
demo and
ask someone to play
I
and the break?
have tried to explain to this person
I
that that's what's called "arranging," but he insists that he to the intro because
created
it
for
my
like a separate
it's
song).
it
they create an intro and a lead guitar break, do they
if
the music to the intro
How do
get
I
song (although
it
"make up," or
that you can sing into
a tape recorder, you
have "written" the
"owns" the music
wasn't written until he
guy that
across to this
it
you "think up,"
"compose" a melody
highly recommend.
have written a song, words, and music and
I
£L If
it's
part of the
"arrangement" of the song? He's a great entertainer and he's not a stupid guy, but we have argued about this and he cannot seem to understand that he doesn't
own any
part of the song.
A. This If
is
a
common
know any
don't
up
clear
this
confusion once and for
situation that I've dealt with
you have written both
their services, that
Can you
lyrics
and music and go
to a
all?
many
times as a consultant.
demo
producer/arranger for
arrangement IS their service and they deserve to be paid for
legitimate
demo production
it.
I
service that asks for writer credit. If
they do, they'll soon be out of business. If you hire a guitar player to play on your session, regardless if
of what they play, they have no ownership of the song. However,
you say ahead of
writers' credit
is
If this
you would have had
is
with
don't share song ownership) after the fact
is
this
of course.
his philosophy,
a choice to reject
a customary practice in the industry (that
It
me
to help
that's a different story,
making/agreement keeping. front so
want you
time, "I
with you,"
melody and
It's all
he should have told you up
To change what
working with him.
demo
a very
producers, arrangers, musicians
bad business
practice.
has traditionally been the policy that if you write words and music, you've
written the song. That's no longer necessarily true, however. There are those specialty
grooves.
is
dance music, hip-hop, and
When you write with these people,
melody or
lyric,
then writing the melody and
it.
to create a song/record.
Let
lyric
over
The bottom
line,
usually involves creating the groove It's
a
common way
however,
is
for
first,
hip-hop writers
that this agreement
is
made
you write the song.
me
clarify
one more thing. This time
Musicians and singers on your
demo
performance (though not the song
an understanding that
quently, to
even though they didn't write any actual
they usually receive credit. Lest this get too confusing (since part it
before
whose
R&B in particular, who are experts at creating
of the arrangement IS creating grooves),
is
share
I'll
about agreement
it
it is
it
may be on your guitar
DO have ownership/copyright interest in their
itself).
When
they play or sing on a demo, there
only to be used for "demonstration" purposes. Conse-
only becomes a problem when you decide to use
consumers or used
in a
TV show or
of the song (synchronization
player's behalf.
fee)
film in
which you
it
as a
master to be sold
are paid for both the use
and use of the master recording (master use
fee).
DEMOS
253
Legally, since
something that directly creates income
is
it
part of the income you
those musicians and singers
from
right)
their performances. That's
why
you
how
receive
release
Some demo production companies
A
pay them in
agreement, go to www.johnbraheny.com.
offer special services like
melody
into music notation
important to note, however, that lead sheets are
Takedown because they
Number System
or a Nashville
may need
do
to
it
anyway
the arrangement. Arrangement, too,
having lead sheets made
Most demo
chart
you do your own
creative input
you have about how you would
repeat business
it
even
let
like
vocals.
your
will let
Most
demo
on
will help
and
a record)
them
are looking for
on your
zero in
something
They
send
it,
demo.
welcome any
If you like
like
cost
to build
you be on the
services
to sound.
and pride themselves on giving you what you want.
(i.e.,
demo
roadmap from which
though many
services are mail-order businesses, will
usually included in the
is
It's
used to pitch songs to anyone.
usually included in the overall cost of the
is
some
you've heard
rarely
melody and
doing a "takedown.")
called
is
in order to get a
premises, and
song and
you'll
if)
lead sheet looks like printed sheet music, but contains only the
(Translating your
lyrics.
(or
income from your demo.
For a copy of a demo-musician
for you.
you now owe
always a good idea to have the
it's
musicians/singers sign an agreement that determines the event that
for you,
receive (unless they waive that
thrive
on
some sound it
with your
needs.
Tape/CD Copies When
demo
you've recorded a
you're happy with and you're ready to
make
copies to
send out to the pros, be professional yourself. Today's music industry operates mostly on cassettes
have
and CDs.
CD
CDs
are cheaper to mail
subject to dropouts (places
turn people
off.
Save
tape. It's a
on the tape where
money
quality bulk-loaded cassettes
be putting on each tape.
to
them
enough
difference
for four songs.
from brand
to
AND
BUSINESS
it's
noisy,
and may subliminally
writers
and buying high-
Put
and samples. Most companies who to
any length. Buy
of each depending on
the
ten-,
twenty-
number of songs
you'll
that a thirty-minute tape has fifteen minutes per side, all
it
CDs, make
your songs on one
OF SONGWRITING
side.
Know
that
you won't
get
an expense you'll have to "eat." sure
you get good quality CDs. There
brand and price to
studio.
THE CRAFT
up with other
custom wind tapes
Remember
Also, if you're burning
to cut corners because
you'll lose the sound),
for a catalogue
Or buy some
most of your tapes back, so consider
254
Most industry people
and boxes in volume. Find ads for bulk tape in music maga-
deal in bulk-ordered tapes can also
or thirty-minute lengths.
bad way
instead by teaming
and trade papers. Write
usually
easier to handle.
or cassette players in their cars where they can listen relatively uninterrupted.
Don't buy cheap, low-quality
zines
and
price.
Ask
for a
is
a lot of
recommendation from the
Check your
phone book
local
home. Using studio time
quality copying setup at
CD
cassette or
have a copying service
Presenting Your I
think
to
make
you don't have
if
a high-
copies (except for one master
from which you can copy) can be very expensive. Check with the studio
to find out If they
at
lower than their regular studio
rates.
Demo
always enlightening to get a scenario of what happens behind the scenes in the
it's
who
of a person
office
for tape duplicating services
who
that of friends
demos. Here's
listens to
torture their brains
a
sample from
and eardrums
my own
experience and
in the all-too-often futile search for
that killer song or sound.
You should know
that if 5 percent of the songs are in the ballpark, they're doing
They engage
very well.
that one-in-a-thousand
in this
song that brings
up on the back of their necks,
The
to.
some have is
Some
possible.
What
they do
First,
know
about
Some have
little originality.
lots
The
right
like the
wood
show those same
caring It's
know are
menu and
enough
soon
as
good. That's where
qualities.
The
The odds
aren't great, but they're
still
least-likely candidates are the
ones that look
lyric sheets, if any, are scribbled illegibly
the cover letter with no return address says, "I
What
are the
no
on the
thees songs
odds that they're
really "grate" lyric here? It's
not about bad spelling, but about not
someone (who can use
a "spell-checker") to check the spelling.
to find
good song
(or a
good
the above scenario
same way.
as
and imaginative. They hope
easy to get the impression that this person doesn't care
Though
it
others don't.
them by other industry people
professional, neat,
bee grate for Garth. Pleez sen them to him."
to write a
the
is
above the lowest. The
going to find a
Most
look for the most likely candidates.
sender doesn't care.
back of a
and
combination of ingredients
order they receive the tapes/CDs.
look for a package that
several points
craft
power) they respect. Next, when faced with a stack of anonymous
tastes (or
the songs will
and makes the hair stand
of imagination and no
they look for the names of writers they already
tapes, they
they find
the bad ones they just listened
all
the odds are best. Next, they listen to tapes referred to
whose
when
that
there somewhere. They're anxious to find
it's
listen in the
is
tears to their eyes
they'll forget
bad.
all
of craft but
lots
but they
rare,
even
rejects aren't
masochism because they know
I've
is
letter, for
by that funky-looking package to open worthwhile. If you want to play the
A&R
to find out
how
that matter).
most common, don't
heard stories from
enough
reps
it first
get the idea that all pros listen in
who were
actually intrigued
enough
and who have actually found something
game with
the odds in your favor, however, you'll
pay attention to these guidelines.
Remember: With
the advent of reasonably priced
CD
burners and
CD
players in the
demos
255
.
medium
car, this
to listen to.
mote convenient
has lots of advantages. They'te light, easy to mail, and
Ask before you send, but when
doubt, send cassette tape. Audio
in
files,
DAT tapes unless specifi-
however, ate the most convenient. (See no. 3 below.) Don't send cally requested.
The
following checklist will maximize your chances of getting heard and respect the
listener's time.
Never send more than three songs unless
1
watch the "in"
listeners like to
If the listener has a limited
and someone
it
diminish and the "out" pile grow
time to
which
listen,
demo
else's
has one song,
as
Demo
quickly as possible.
usually the case, the tendency
is
tape/CD they know they can complete. So
listen to a
on
pile
specifically requested otherwise.
you send
if
you can bet
a
demo with
to
is
ten songs
that the "out" pile will
grow
quickly with one-song demos. There's also the psychology that implies, "I've sent you the
song you need!" This
is
particularly true in pitching songs to producers for a specific artist.
Along those same
lines,
most people resent getting tapes/CDs with twenty songs and
letter that says, "I
know
you'll like at least
They want you
do
to
one of these, so
and send them three songs or
that
just pick less
—songs you
totally believe
When
in. If
you're not far enough along to be able to decide, you're not ready.
CDs
with more than three songs, highlight three you want the listener to focus on
and include the numbers of the cuts reference while the
CD
on
is
they'll listen to the others. 2.
your cover
in
their player
And
please
and they
letter
first
they have a
can't see the label). If they like those,
Place your best and most commercial song
the songs
all
lyric sheets (so
sending
remove the shrink wrap!
song, start with that. If they don't like the
you're sending a cassette, put
and
first
you have
first. If
one,
may
it
on the same
side
a strong
up-tempo
be the only shot you
and put the
label
get. If
only on the
"play" side. TIP: Put a couple more songs on the other side of a cassette, but don't them. If you get a call that they'd like to hear more,
tell
them
3.
Never send your original master tape or CD. You
4.
Always cue your tape to the beginning of the
to start listening in a
your
When
tape.
bad
mood
you make your
a
out what you want."
first
list
to turn the tape over.
will never see
You
song.
again.
it
don't want the person
because you just wasted his time making him rewind copies, leave four seconds
between songs. Most
cassette
decks have an automatic search feature, which finds the silence between songs, stops the fast-forward,
and automatically starts playing the next song. Obviously,
CD contains
with CDs. If your the
on the
5. is
CD
and printed
more than the
insert
but most do.
and It's
I
take
it
seriously."
are not sent out with to record
Some
THE CRAFT
to hear. is
don't like to look
on the page. Lead
it all
at
impressive.
at lyrics
once and
sheets (with
demos. They're good to have
at the
It
says "This
while they
listen,
to see the structure
melody and
of
lyric together)
point where a producer wants
your song and you want to be sure he/she has the correct melody. (Since the
current copyright law permits tapes or
256
problem
mark on
lyric sheet. Letterhead
a time saver to be able to see
the song graphically laid out
this isn't a
four you want heard, clearly
which ones you want them
Send a neatly typed or printed
my business
first
AND
BUSINESS OF
SONGWRITING
CDs
to be sent for copyright registration, the
importance of lead sheets has diminished.) Lead sheets are bulky to mail, to follow the lyric
anyway.
label
as a
this practice
you type your
songwriter over
went out of
each one (verse, chorus, bridge,
so the structure 6.
Make
bottom
who
has no experience in submitting
of the songs with a space and
the upper
etc.) at
left
of the
Cover
avoid hype.
first
but
page of the it
alerts
lyric sheet
everyone that your song
is
"The Copyright Notice," and "Copyright letters
CD
and on the tape or
not lines
protected, whether
more
presentation will do
know
that
the temptation to
we can both make your
tell
a lot of
money
to impress
you're the sole support of your ten children and
someone than on the
"I
if
and
know
radio," or
you'll publish these songs."
Avoid
disease,
these songs don't get recorded they'll
don't plead, apologize, or
fact,
for itself
and don't explain how you have a terminal
life story,
be homeless or worse. In
if
registered
it's
Registration," chapter eight.)
should be short and to the point. Let the music speak
A professional
Technically,
label.
these are hit songs because they're better than anything I've ever heard
all
ends of the
at the
and rhyme schemes of the song can be seen immediately.
this isn't necessary,
"I just
Do
side of the section.
them out with the rhymes
sure there's a copyright notice (® 2001 LB. Cool, All Rights Reserved) on
or not. (See 7.
fifty
about twenty-five years ago.
lyric sheet, separate the sections
tvpe your lyrics in prose fashion. Lay
the
style
its too difficult
and many industry pros don't read music
visualize the song's form,
you
also pegs
It
demos, since
When
and
show any
hint of desperation.
only gives the message that you have no confidence in the ability of the songs to stand
It
on
their
own.
Here's what should be in your cover
letter:
a.
It
should be addressed to a specific person in the company.
b.
It
should
state
your purpose
in
sending the demo. Are you looking for a publisher,
you
as
an
a producer, a record deal for
Do you
artist?
want the
listener to
attention to your production, your singing, your band, or just the song?
pay special
Is it
targeted
for a specific artist? c.
List
any significant professional credits that apply to the purpose of your submis-
want your song published,
sion. If you
won, at
etc. If you're a
weak
credits: "I
drives you, d.
what
list
other published or recorded songs, contests
performer submitting an
artist
played at the same club that (famous
inspires you.
Keep
it
e.
Ask
f.
List the songs enclosed
feedback
if
you want and
it.
Odds
writers'
are
names
(Lyric sheets should also be enclosed in the
played." Tell
if
Don't
lie.
you're pitching to other
you won't get
it,
but give
them what
artists. it
a shot.
on the tape/CD.
same order the songs appear on the demo.)
Thank them
h.
Include your address, phone number(s),
and
star)
the temptation to grab
in the order they appear
g.
for their time
resist
short. List real sales figures.
Include any casting ideas you might have for
demo,
attention.
Web
site,
and e-mail address
(if
you
have them). 8.
Send a self-addressed stamped envelope (SASE)
There
are
two schools of thought about
this.
On
if
the pro
you want your tape or
SASE
side, if
CD back.
you don't want
to
DEMOS
257
lose
you
those tapes,
all
them back without
can't expect to get
of thought, though, that
if
you say you want
it
back, you're assuming they won't like
There's no guarantee that you'll get them back even case you're
CD
a producer's office.
you can afford 9.
end
is
that,
10.
which
your tape or
letting
Your decision may depend on how many tapes/CDs
such
like
common do
it,
sense. In fact
but
between listening sessions
from the box or
separate the tape hit song,
in
it.
to lose.
seems
lyric sheet. It
your
you do send an SASE,
Put your name, address, and phone number on the tape or
suggest that you might forget to this
if
gambling even more money. Worse could happen than
around
sit
There's another school
it.
not finding you
lyric sheet.
Use
tape box through the envelope.
Once
CDs
would be embarrassing even
to
and home,
it's
so easy to
they've gone to the trouble to find
Also, don't send your tape in an ordinary
rough postal handling could force the edge of the a special envelope with an insulated lining.
people also prefer the soft "bubble" tape box because lighter to mail.
it
happen constantly. The problem on
a fate they don't deserve.
is
risky because
It's
it
at the office, the car,
Be sure you have adequate postage.
stationery envelope.
see
I
CD box, and on every
have an obvious advantage
Some
doesn't have sharp edges and
it
it's
as there are very lightweight sleeves
available for them.
The main
thing to
remember
is
to
make your demo submission
as easy as possible to
deal with.
Using the Internet: Your An
increasingly popular strategy
that a record line.
is
Demo
sending your
demo
as Audio File as
an audio
company, producer, or manager doesn't have
Obviously,
many
Giant Records
file. It's
a high-speed Internet access
of the above suggestions don't apply to sound
A&R Executive,
rare these days
files.
Craig Coburn, in a Music Connection magazine inter-
view, said:
In the future,
I
would
love to see people soliciting the record labels
artists,
managers, or lawyers
asking
me
to
— using
check out their
Web
the Internet. I'd like
site rather
them
than sending
me
to
exactly
up
I
know
if it's
The most popular formats but
still
are
CD,
but
it's
close
something that
a letter
I'd like to.
enough
for
an
When is
A&R person to
not hear
excites us or not.
MP3 and RealAudio. The fidelity
is
not quite
CD quality
adequate to show them what you do. There are a couple different procedures for
this:
258
me
encourage them to send MP3's. The quality of MP3
to the quality of a
the music and to
send
it's
the music.
We're not getting that many electronic submissions yet and I'm talking to people,
—whether
THE CRAFT
AND
BUSINESS OF
SONGWRITING
Send an e-mail with the audio
1.
cover click
it
attached. Follow the suggestions listed above for
file
Include phone number(s). Also include your
letter.
and go
directly to
When
it.
bio material, photos, and
they get to your
Web
site, they'll
site
address so they can
hopefully find additional
lyrics.
send them an e-mail intriguing enough to get them to go to your
2. Just
site
and hear
your music there.
Indie marketing consultant
Promotion for Musicians,
Tim Sweeney
Artists,
& Songwriters)
amount of time someone may want speeds,
it's
site
(World
to
spend
at
You can
site
and
their various online access
Smooth
may
be of most
help by providing a short description like the one below provided
of Franklin Spicer and Valerie Ford's Pegasus Project, a
Beat,
to Internet
suggests that, because of the limited
any
important to help them decide quickly which of your songs
them.
interest to
on the
(coauthor of The Complete Guide
Jazz,
New Age)
New World
Music
group.
ONE PEOPLE The
first
"One
song Franklin ever heard from Val was a reggae tune she had recorded called
People."
He
really liked the positive
message and the infectious chorus. Franklin
talked her into doing a rewrite and making
to share a positive message of
how we
all
it
a Pegasus Project tune.
They wanted
are part of one global family. This song was
shaped from a number of African musical influences, including the Tuku
huge chorus backup vocals were done
in
two days
style.
The
of recording using seven different
singers.
Note
that the description includes information
was written, and
how
it
was recorded. Their
Your demo will introduce you Take
this
introduction very seriously.
something important job.
The
When
to the eyes
to say,
and say
It's
it
you
listen
site also
and
ears
how
what
includes lyrics to
it's
all
about,
why
it
the songs.
of many music industry professionals.
There are a
lot
It
should look good, have
of other applicants for the
it!
to the radio, check out the intros.
interested and note
style,
your job interview.
well.
pros are looking for the best. Be
on the
Ask yourself
if
they keep you
they are done.
'M DEMOS
}sj\
259
chapter thirteen
Marketing Yourself and Your Songs
Where Do You
Start?
Whether your
to be a songwriter or
sole goal
is
common and
performer, one of the most
where
Do
to start.
whether you
frustrating
you approach publishers
The
first
same
exist.
answer you'll get from anyone
for everyone
In this section
and
that
cover
I'll
"It
is
You may have developed unique to
some of
to be
and
if
so uniquely that
you it's
also
not knowing
all
depends."
No
single
approach works
the assessments you'll need to
The
some
best
way
just doesn't
make of your own
to find
your path
is
to
professional feedback.
are they suitable to be
performed by other
artists?
a songwriting style that's too lyrically personal or musically
interest artists in recording
valuable thing
is
one step-by-step formula you want so badly
get a realistic evaluation of your chances through
you want your songs
for a novice
manager?
for a
personal situation to help you sort out a direction.
Do
problems
have aspirations to be a
or go right to the record companies?
first
Should you find an independent producer or look
the
also
perform your
difficult for
your songs. However, that uniqueness can be a
own
another
songs.
artist to
Some of the most
exciting artists write
record their songs without sounding like
imitators.
The your
next consideration
own
songs?
vocal identity?
hear him.
Do
to assess
you have the
Bob Dylan
Randy
is
Travis,
your potential
talent record
isn't a great singer,
artist.
Do you want
companies require? but you always
Do
to
you have
know who he
is
you don't, your odds
for
becoming
perform a unique
when you all
have
styles.
Don't kid yourself about whether you have those If
an
Reba McEntire, Macy Gray, and Matchbox Twenty
strong vocal identities and very distinctive
it.
as
a
qualities.
Get
specific
feedback about
performer are poor, unless you can create a
unique group sound or concept or have fantastic commercial songs. In other words, to be a successful identify
260
artist,
you need
to provide as
and remember you.
THE CRAFT
AND
BUSINESS OF
SONGWRITING
many ways
as possible for the
audience to
Some
may
people
tell
you
you don't have
that
vour songs aren't "coverable." They
that
make
people
There
may he
and others may
artist potential
hut don't
right,
let
you
different
that assessment for you.
many
are
appears appropriate for and they
fail
to get the artist to cut
Try your songs out on
their hands.
want
different publishers with a variety of tastes. Publishers generally
songs that offer a variety of possibilities for recording. If there's only
on
one or two
tell
several publishers
they
it,
one
artist
may have
and others who
a
your song
dead song
will give
you
honest, critical feedback about your songs' overall potential.
an intelligent, perceptive writer who's willing to spend some time on your
If you're
you can
craft,
more coverable songs without
learn to write
sacrificing the factors that
make
you unique.
The special
following are
some of the
combination of
may
situation
in the cracks
fall
potential routes
and
talents
aspirations.
you can
They
somewhere, but
it
are,
take,
depending on your own
of course, generalizations. Your
should give you a rough
idea.
Publisher
I
If you
who
have coverable songs but don't quite
shop your songs to
will
may
artists
fill
the
an
bill as
artist,
finding a good publisher
be the best approach. If you want to be your
own
publisher and contact producers and artists yourself, that's another option.
feedback you get
If the
who
is
also willing to
is
that you're both a topnotch singer
publishers have production companies through
them they it's
to record labels.
own
and
writer, find a publisher
put up money to record and shop masters of you
These
are called
which
"development
they'll finance
as
an
artist.
masters and shop
deals." If they get
you
a deal
and
half of the publishing rights to your songs (the standard deal) in the bargain,
gravy for them. In other words, they don't need to go out and try to get other
to record the songs If you
Many
approach publishers
clout) if not
all
first,
of your publishing
you
will certainly bargain
rights.
But
in
away
exchange you'll
a part (if you have the
get: (1)
very hard on your career (since they have a vested interest), (2) a possibly get
you
artists
(though they often do after you record them).
a record deal,
and
(3)
someone working
company who can
someone who can pitch your songs
to other artists.
(See "Publishing," chapter ten.)
Record Company If publishers aren't exactly
most people
feel
your unique
style,
you've got what
to
own
it
when
they hear your songs, but
takes to be an artist, or if your songs
work
well for
but aren't the kinds of songs publishers think they can place, go for
the record companies If your
shoving contracts in your face
first.
songs aren't strong enough or you don't have enough potential hit singles
approach a record company, look for great songs from other writers. Though record
companies would prefer
to sign a totally self-contained artist, the next best thing
you or your producer know how
to pick the right songs.
The bottom
line
is
that,
is
that
one way
MARKETING YOURSELF AND YOUR SONGS
261
or another, you have to have material that's considered hit potential by the company.
They want
to at least feel confident that there's a radio format receptive to the artist's
Record Deal," chapter
material. (See "Getting a
One
fifteen.)
of the advantages of being signed directly to a major record
own
a better chance of keeping your
publishing rights, which,
you're in a great negotiating position
you've had hits
an
as
artist.
Some
if
labels,
if
make
could amount to a considerable income. If you want to
you already have
label
is
you stand
that
you become
successful,
a publishing deal later,
a record deal, particularly if
however, will want to acquire
or part of the
all
publishing rights for their affiliated publishing companies. Small, independent labels will
company
be especially interested in your publishing. If the
margin, the publishing royalties from the songs could
But don't give anything up unless you're
make
on
operates it
a better
narrow
a
gamble
with what you're getting for
satisfied
profit
for them. it.
Producer For a
writer/artist, finding
doing
in
artist.) If
he
the producer
may want half the
to secure still
is
(six to
the masters
record
(if
another option. (There's no point
uncommon, but
months
after
deal, all rights
with a writer
restrict
it
who
is
an
can hurt your career because,
to if
your
money
career,
if
you
he does get you a
that producer. If the producer
fails
is
get a deal
deal, you're
respected by the
he can work to your advantage. If not,
you're signed to the production
directly to the label, the label does not have
he
If
should revert back to you. The producer
to use those masters. If
company with
company and dedicated
to the songs he records
completion of the masters).
he paid for them) and will recoup his
company wants
signed to his production
not
It's
eighteen
an acceptable record
own
later if the
record
is
putting up the financial backing for demo/masters or an album,
publishing.
within a time period
will
an independent producer
this if you're solely a writer unless you're collaborating
company
it
rather than
an option to get you another producer without
buying out your contract.
Be
careful about signing with a producer
of product annually to a particular is
label. It's
who
has a contract to deliver a certain
not necessarily a bad deal, but
guaranteed a certain amount of money per album, his temptation
as cheaply as possible,
to follow
enthusiasm for your product
at the label. If
publicity
seem
acts for
at the label to act as a
optimum
and promotion attention on
to be looking after
your best
release dates its
act,
album
and neglect
you don't have strong management and check and balance in that situation,
you're at a severe disadvantage. At a major label you
one hundred other
amount
that producer
to record the
is
put the "override" in his pocket, go on to the next
up on your project
if
may
when
be competing with more than
the
company
isn't
focusing
all its
superstar acts. If that producer/label team doesn't
interests,
you may be
better off trying to get out of
your deal so you can pursue another one. Your attorney will include "performance" clauses that nullify
your contract
if
certain sales figures or other terms aren't
met and can
protect
you from some of these problems. I
262
recommend reading Moses Avalon's book,
THE CRAFT AND BUSINESS OF SONGWRITING
Confessions
of a Record Producer:
How
to
Survive the Scams iUid these deals.
all
visit his
of the
Web
Music
site at
Business.
He
down
runs
a litany of cautions in
www. mosesavalon.com.
Manager
I
If
Or
Shams
you don't have very good
writer/producer,
it
doesn't
and
artist potential
make much
aren't already a very successful writer or
management. You can pay an
sense to look for
attorney a fee to negotiate your deals rather than pay a manager 15 percent to 20 percent
of your income. As a
manager only
if
At what point career
is
in the case
you wish a
of producers,
if
you're solely a writer, you should approach
to pitch songs to his artists.
manager should become involved
A
subject to debate.
career be guided correctly
manager might
from the
start.
you
tell
an
in
They're right:
it's
or writer/artist's
artist's
manager
take a
it
some very good industry attorneys
Also,
shopping your tapes
If
you don't already have
important for an
manager should
a manager,
after you're signed,
artist to
You can do
a lot of it yourself.
perform the management functions of
and offering career
They may
advice.
become involved
in
an
artist's or writer/
artist's career
is
subject to debate.
either.
many
record
A&R and artist develop-
company
perform some management functions
for
you such
will also help
a manager.
usually difficult to get a
It's
is
that?
booking agencies and coordinating promotional appearances and
as securing
you find
will
to labels, negotiating deals,
not always be right, but no one else
ment departments,
do
to
^jr
very important that your
It's
have someone to help make career decisions and to coordinate publicity campaigns
and club bookings, but does
f
At what point a
only want to get involved with
Remember
extensively.
good manager when you're artists
who
point, there
is
already have record deals or
that managers get paid a percentage of
making money and they have
you're not
starting, since
to help finance
a natural reluctance to get involved. If you can find
able, resourceful, aggressive, honest,
and
is
willing to
who
what you
your career
most of them
until
are touring
get paid
you
and
if
get to that
one who's knowledge-
gamble with you, grab him now,
because he won't be available for long. It
frequently happens that a friend of the artist with a
experience and an abundance of faith takes on these situations
work out very
learning the business.
However
well, particularly if the it
does happen that the
the latter's lack of expertise and industry clout viable option at that point
ment
firm.
is
to look for a
The novice manager
"Where what they
deal with details
to start," as
you can
is
manager artist or
comanagement
good
some of
aggressive about
is
manager
holding back the
realizes that
artist's career.
deal with a major
and the
The major company
artist's
see, involves a lot
are before getting started.
Still, it's
a
benefits
needs on a daily
of variables, and
good idea
A
manage-
it's
is
what
by having
basis.
important to
to test the water
before committing to a course of action. Professional feedback a
of music business
duties. I've seen
obtains the power of the established firm and a great
opportunity to learn and establish contacts.
someone who can
minimum
management
in
you'll
all
know
directions
need to make
decision.
MARKETING YOURSELF AND YOUR SONGS
263
Writers, Writer/Artists, and Writer/Producers in the Marketplace You'll often hear songs
how
they got there.
but you
right,
may
on the radio
You
feel
also be
your
that
own
you
feel are
misunderstanding a basic
fact
making
standards as a writer against industry standards of a
below your standards and wonder
songs should surely have a chance.
of
You may be
You're judging your
life.
"A Song
a record. (See
Is
Not
Record," chapter three.)
Some
writer/artists
have high standards; some don't. But they
all
have access to "the
record-making machinery" that allows them to put their visions on vinyl and use production and arrangement to compensate for the dynamic factors that writers aren't artists
need to build into their songs. Usually,
it's
who
not a question of songwriting
standards of excellence, but about the greater degree of creative latitude available to writer/artists
and writer/producers who have
and brushes with which they can paint that
a
much
larger canvas
other words, they have
final picture. In
arrangement, sound, and production techniques
and more colors
them
as further ingredients to help
make an appealing product.
An
example that comes to mind
the Heart," a hit nineties.
by Bonnie Tyler
is
writer/producer Jim Steinman's "Total Eclipse of
in the eighties
and again by Nicky French
The song took an uncommon amount of time
to get to the chorus, yet
in the
Steinman
heightened tension with that long verse while providing the necessary repetition of "Turn
around bright eyes" by the background This
a prime
is
because of
its
unorthodox form. They'd sign Steinman
because of his versatile talent, but in the
vocals.
example of a song that publishers would have had
if a
songwriter
who was
in a
minute
not an
artist
song in a bare form, they'd be hard-pressed to think of an
despite the wonderfully original title/concept.
"get to the
hook
his success in the
(which
faster"
didn't have to change
it,
may
also
a
hard time accepting writer/producer
as a
or producer brought
artist
who'd record
They'd undoubtedly ask
have worked
fine).
As
for a rewrite to
a producer,
Steinman
He
continued
giving himself an opportunity to be innovative.
same unorthodox way
as a
it,
Meat
writer/producer with several monster
Loaf hits.
More and more
writers are opening
and arrange, finding or
demos
a singer (if
and arrangement
on
a
skills,
you
more limited
and producing masters
enough
If you're a writer
who
canvas.
You
doesn't have production
ways
need, to a greater extent, to
and
to stretch the
to express
work within
your
estab-
to use your creativity to develop well-crafted
concepts and exciting, memorable melodies. Whether or not you ever develop
arranging or production
skills,
you'll have the confidence that
song.
264
by learning to produce
face the challenge of finding creative
lished song forms (and variations) lyric
fields
as a vehicle,
that indicate the production possibilities strongly
forms and show them to be "workable."
ideas
up new creative
not themselves)
THE CRAFT AND BUSINESS OF SONGWRITING
you can write a
great
Researching the Music Industry It
"you were making a cross-country drive on a tight timetable and weren't sure about
get to
\our destination, would you
thing
would work out somehow?
roads, figuring out that
to ask
somebody
that they don't have to
know
know you understand
I
changing business and learn quite
It's
common
just
and researching any other information
efficient as possible.
surprising
it's
and marketing
to feel that crafting
book,
But
for directions.)
sleeping,
and
trip as fast, pleasant,
music industry and spend years
trip into the
seem
way! You'd be studying maps trying to find the best
when and where you'd be
would make your
how many
(You might even stop
songwriters will
make
a blind
wandering around and going nowhere. They
their songs
one of the few professions
is
in the
world
anything about to do successfully. Since you're reading the need to learn a lot
how
to
to
and hope every-
just start driving in the general direction
No
how
more about
this fascinating
and
this
ever-
improve your odds of success.
to hear industry pros say that
when
they've
had an "open door"
policy regarding unsolicited material, over 95 percent of the songs they received were not
even "in the ballpark" for the
The
fact
is
was
clear that those writers didn't
out the special needs or strengths of the
listen to the artist or find
songs.
artist. It
many ways
that there are
the industry that will put
you
even bother to
company
to research the information
soliciting the
and
learn about
remaining 5 percent.
in that
Music Trade Magazines One
of the things a serious songwriter should do
are a
music industry education.
is
read the music trade magazines.
They
If you can't afford to subscribe
and don't have an Internet
week and
read them. (Libraries also
connection, you can go to the public library every
have Internet access.) If they don't have them, gather a group of others to formally petition the library to subscribe.
think anyone to
is
They may not be
interested.
S300 per year), but
Most
if you feel
are
getting the music trades because they don't
weekly magazines and they're very expensive ($250
you're ready to begin your assault
on the
industry, they're
one of your best investments. Some music trade magazines follow: Billboard www.billboard.com
Gavin Online www.gavin.com Hits www.hitsdailydouble.com
Charts not
as strong as
above but
articles, gossip,
opinion, and analysis with attitude!
Radio and Records www.rronline.com
Music Connection www.musicconnection.com
and
No charts but great industry interviews
features.
Music Row www.musicrow.com
is
write country, don't be without
it.
dedicated to the Nashville music industry. If you
Monthly and weekly
editions.
Country Music Today www.countty.com/countrymusictoday/
One
of the most valuable features of the "trades"
valuable to writers because their pop, country, and
the charts. Billboard
is
R&B/hip-hop
is
the most
"singles" charts
list
the
MARKETING YOURSELF AND YOUR SONGS
265
producer, writer, label and release number, distributing label, publisher, licensee (BMI,
ASCAP, SESAC), and and
sales charts
popularity of
Album artists),
don't
sheet music supplier.
list
Kid Audio
(sales report),
Pop Catalog (albums more than two
on the album 200
and
chart,
Inspirational (including
reissues),
styles
all
most
are getting the
airplay),
Modern Rock
The
Hot
CDs), The Billboard
(children's
Billboard
Top
which
(i.e.,
cuts
Tracks,
Top 40
music don't appear every week.
Hot Hundred
40, Country,
granddaddy of them
(the
Dance/Club
Tracks. ("Tracks" refer to
Top Video
also feature
New
Sales
from rock albums
Tracks, Jazz, Jazz/Contemporary.
Latin Tracks, R&B/hip-hop, Rap, Rock/Mainstream
Modern Rock
below no. 100
years old that have fallen
Album Rock Tracks
Adult Contemporary (AC), Adult
They
barometer of the
R&B/hip-hop, Reggae, World Music, Country,
that the charts of the smaller genres of
Singles Charts feature:
Singles,
a valuable
of Christian music), Classical, Classical Crossover,
Age, Jazz Latin, Hits of the World,
Note
still
charts feature: Blues, Contemporary Christian, Gospel, Heatseekers (emerging
Independent, Internet
Latin 50,
the other singles, album, airplay,
are
and record companies.
records,
artists,
Though
and producers, they
writers
album
all),
Dance/Maxi-
Play,
Rock Tracks, Rock/
cuts.)
and Rentals.
Charts are tabulated with SoundScan, which reads the bar codes on every album sold
and online
via reporting retail stores
and
airplay
is
monitored with
BDS
(Broad-
Data Systems) www.bdsonline.com.
cast
So,
retailers,
what can you learn from
First
of
all,
you can
all
that?
get an idea about trends, providing that you're also listening to a
of radio and are familiar with the songs on the charts. If you have Internet access, you
lot
can also play short
what
artists
clips
and songs
of the songs on
most popular
are
CDNow and
other online sales
sites.
and which
in their respective styles
You'll see artists
and
songs cross over between two or more charts. There are also editorial sections relating to those styles, providing analysis and news about
information today on the music industry, music genres, and at
any other time
and
artists, labels,
artists
There
trends.
is
more
only a click away than
in history.
Veteran record company executive Russ Regan says he studies the charts for the "gaps." If
he
sees there are a lot
of up-tempo dance tunes crowding the charts, he knows
a great ballad, or vice versa. Also, once the public has bought and feels at
"sound,"
when
the group
release a similar
sound.
who
created
Though
it
drops out for a while,
it
may be
a
it's
time for
home with good time
the time lapse between your writing a song and
a to
being
its
recorded and released probably wouldn't allow you to take advantage of the chart information the
way Russ Regan
could,
There are some other writers'
names can
tell
it
gives
you some
idea of the
practical applications
you
if
the writer
is
way
it's
used in the business.
of that information. The
also the
producer or
listing
artist. If that's
of the
the case,
the percentages are against your being able to place a song with him. That, of course, isn't
cut and dried.
266
THE CRAFT
AND
Many
writer/artists are
BUSINESS OF
SONGWRITING
open
to outside tunes,
but your songs would have
by the
to be better than those written
artist
or artist/producer. You're also likely to be
asked to give up your publishing interest in the song.
The on the
song placement
best bets tor
You
charts with "outside" material.
A&R
Though
those people
may
of their work and ability to discuss It
who
show up
consistently
numbers or e-mail addresses of
or artist relations department of
company. Then you can pitch your songs
the listed record
doors.
artists
can locate the
the artists producers or managers by calling the
managers.
with
are, obviously,
to the artist's producers
and
not be open to unsolicited material, your knowledge
may
intelligently
it
get
you through otherwise closed
shows them that you're paying attention and you're serious enough to do the
may guess
research. Consequently, they
that you're in that 5 percent that's
worth
listening
(See "Casting," chapter eleven.)
to.
The
international music market
now
so important
is
that
it's
always enlightening to
check out the international charts for the types of English language songs that are popular in other countries. If you're publishing
know
in certain countries, you'll
your
own
to concentrate
songs and write in a style that
popular
is
on those countries when you look
for a
foreign subpublisher. (See "Foreign Subpublishing," chapter eleven.) If
you
is
Since he/she has an
though you have
on the
artist
charts,
to realize the record
and producing an unknown it
know
reasonable to assume that they have pretty
good
to hit these producers
companies are
act (like yours)
when
may
they're hot,
them
to
produce
not be a priority. (But
if there's
also trying to get
something going, either
names and meet the people
the
at the charts for a
changes everything.)
If you're actively trying to get
important to
you can look
hear yourself and find the listed producer.
like to it is
a label or labels. It's
enough money behind you,
it's
for a producer,
produced the way you would
good leverage with
their acts
group looking
are an artist or
group that
as a writer or a
recording
artist,
on the
in the business. If you're
outside looking in and you're not hanging out at any of the industry watering holes,
keep track of who's who, who's what, and where these people
gets very difficult to It's
some
cases,
trades. So, Billboard calls
called "Signing
publisher, etc.,
(See
is
working
"Other Sources,"
name.
If there's
know
they'd been fired until they read
this
month. Another
article written
into an
you
see
where your
great resource
Another way
Google.com (my personal
get anything going for
is
the
favorite
Music Business Registry.
favorite),
to just go
and search under the person's
about them somewhere online,
at her previous label.
so
it's
You
it'll
show
see in the "Executive
worth another
shot. In a
up.
to contact the executive
who
Turntable"
new company herself.
or your songs might be better suited to the artists
may also be worthwhile
is
A&R person who liked your act or your songs but couldn't
new company now,
she'll sign
in the
A&R person,
to track industry pros
have more respect, more power, and a renewed motivation to prove be the act
it
column "Executive Turntable," Music Connections column
in this chapter.)
been an
You may have run
that she's at a
people didn't
its
and Assignments," where you can
to the search engine,
It
are.
complicated by a musical chairs game unequaled in any other business, except maybe
advertising. In
is
it
took her place
she
may
Yours might
on her new
at the old
label.
company.
MARKETING YOURSELF AND YOUR SONGS
267
Most of
same considerations
the
also apply to executives
and professional managers
publishing companies. Again, do a search on www.google.com for the
pany and
you missed Billboard the week
you'll get the info, even if
mind
In the case of publishers, keep in
on
contract
company
a song
has
and you
made an
his replacement. If you don't bring
of thousands of others the a
new
job, congratulate
job in the business. also likely to be
forming or branch
company
in a
offices
away
you
lost in the shuffle
a chance to
by
a
new
president
also valuable info for
new
locally,
and
for a
news columns and
local artists or songs. Call right
Audio" and Music Connections "Studio Mix"
what
studio,
are other valuable col-
you can find
out, as publishers
and the names of the producer and engineer.
Listen to a station that's not afraid to take a
now
and then.
When
it
out on the
Analyze the song
"crossover" that
stylistically
What other a
game
it's
it
is
If you're
there.
Buy the
your
AC and
new
artist
look at the Billboard Hot 100
a hit,
CD
or go the cheap route
record store or online
local
and predict what charts
show up on both
it'll
show up
on.
R&B/hip-hop, country and
retail
Is it
AC?
a
Pretend
up (or down) the charts over a few weeks. Check out
Album Radio
and see who's adding
that.)
if
listening stations at
your song and follow
the Single and
it's
will
chance to add a new song by a
you hear one you think
chart or other trade charts to see
and check
it's
action charts (Gown and Radio it
to their play
lists.
What
songs are those stations playing? This
is
&
Records are great for
kinds of stations are playing
a useful exercise for
that record companies and publishers play for real and
it
it?
you because
gets you into
the excitement of second-guessing. By comparing these songs to your own, you can
second-guess your songs before even taking them to a publisher. opportunity to critique your
own song
many songwriters are
out of touch with what
contemporary
artists
totally
and styles
is
commercial songs.
268
is
new companies
GOOD GAME TO PLAY WITH THE TRADES
site.
to
have a situation where people
you'll
by finding some great new
who wants
anyone looking
will be carried in the trades'
up
set
make
new company.
for writers. If you're the aggressive, creative type,
do, who's recording, at
A
may get
also gives
make an appointment.
to
Billboard's "Pro
umns
it
detailed feature article. You'll learn about
being
are eager to prove themselves
It
will be restructured is
to that
songs. Also call your old contact at his
at the
"team." This
more
his attention,
has to represent.
That kind of news
found
your song
company and make an appointment with
your song to
new person
own
put together his or her
the
call
him, and go to see him
Occasionally, a whole
that if you've already signed a publishing
some of your newer
contact and expose
was announced.
see that the person responsible for signing
you should
exit,
it
at
name of the com-
THE CRAFT
AND
BUSINESS OF
SONGWRITING
in
It
gives
you the
the context of the real music world.
inexcusable
is
going on.
when you
To be
Too
ignorant of
claim to be trying to write
'
know how
very sure that your songs arc appropriate for the artist, you'll
important to develop your
It's
hv reading record and
music periodicals
but search the Internet under
Obviously, opinions differ
as
For your
own
and you have an opportunity
performance reviews, not only
live
trades,
same records they do, go
Listen to the
abilities.
critical abilities,
same
to the
in the standard
"CD
that can be helpful
new
a
on
artist
gain
some
song
she'll identify
several levels. First of
you find on the
all, if
charts)
you
personal taste and
critical
long
some thought
to
your own.
an interview with your favorite
see
to write a
and
song
you may
for her,
fears that will help
you write
a
with, a song that will "speak" for her.
a particular
important?
is
his relationship
Through
reviews.
performer or group looking for a manager, you can get an idea, through an
what
or she think
and do your own
own
their
and want
insight into her likes, dislikes, experiences,
If you're a
interview,
and other consumer
and consumer magazines contain interviews with music industry people
trades
artist (or
that
as helpful to disagree as to agree, as
it's
you've paid careful attention to their critique and given
The
do
to
reviews" and "concert reviews."
concerts,
among reviewers depending on
learning process, though,
them.
to get to
manager
is
What kind of artists
with record companies?
does he
and others share
has a
little
different
basic
knowledge
What
Why? What's
like?
and
goals. All
in their particular field
does he
the nature of
all
of the above?
you can find out what they look
their personal experiences, philosophies,
execs,
professionally.
he feared, respected, loved, or
Is
interviews with record execs,
company policies,
and
like personally
for,
their
managers, record
of expertise, but everyone
approach or a few "tricks of the trade" learned from their
own
experience and from their personal creativity and imagination.
There
know
a
many
are
do almost anything
"right" ways to
number of them. Never be
music industry people have spoken
I've
freely
done through the
about
how
years,
was always someone
who would
I
helps to
when you
with few exceptions,
they do things and
as a struggling writer/artist, whenever
learn about something, there
it
afraid to ask questions of industry people
have the opportunity. In the interviews
about what they do. Even
and
in this business
how
they
feel
expressed a desire to
take the time to explain.
tefl*
There are
many
"right" ways to do
almost anything in this business and to
it
helps
know a number of
them.
Tip Sheets Tip
sheets are periodicals listing producers (primarily), publishers, or record
are in
need of material for
directed to
all
artists.
Some
songwriters in general and
proven track records. The reason for the
on
listings
by producers of major
producers don't want to If a tip sheet
is
sheet if this
and
list
some
"Who
are
on the
restriction
and other
artist,
is
this.
For
its
are
credibility, a tip sheet relies
established producers with
or don't
who
know what
sending totally inappropriate songs.
you
who
Some
are restricted to publishers or pro writers with
themselves, publishers and others don't
their research
may end up
says,
acts
companies
monthly, some biweekly, some weekly.
sold indiscriminately to amateur songwriters
know how to do means, they
are
selling this to? I've
want
to
new
buy
acts. If
the
the tip sheet.
have no casting sense, don't
the radio format terminology
The producer
then
calls
the tip
been getting hundreds of terrible songs and
keeps up, I'm never listing with you again."
MARKETING YOURSELF AND YOUR SONGS
269
Are
worth the money?
tip sheets
Some
producers willing to wade through amateur submissions and
tip sheets list
you've got the right song, the restricted
them, which
lists
is
or the
they'll
hear
Most of the heavy
it.
hitters,
if
though, are going for
that are so expensive that only the very serious can afford
lists
how some of them
deal with the
proof of your previous recording subscription and refunding your
activity.
money
And
problem
I
just described.
others deal with
it
Others want
by canceling your
they get complaints that your submissions are
if
inappropriate or of poor quality.
With that
tip sheets,
someone
is
same time
at least at the
The
daily.
remember
as
—
Any worthwhile
among
publisher will
to collect listings, print,
first to it
know
before
— or
and mail them. By the
the hot publishers will have their songs on the
it,
the
know
the tips, because they or their staffs are calling producers
some time
tip sheet takes
time you get
that you're rarely going to be
looking for songs.
way
to the listed
producers. Publishers subscribe to them anyway because they can't afford to miss
anything, and a
new producer may come out of left
field that
they haven't yet
made
contact with.
The
fact that you're
not
among
It's
round and
keep looking.
will
the
first,
however, doesn't necessarily
quite possible the producers won't find
have a chance.
It's still
mean you don't
what they want
in the first go-
important for you to be aggressive about responding
to listings.
Every
tip sheet will
contain
its
own
guidelines for the
way you should submit
songs.
Additional information will also appear on the individual listings like "no ballads," "one
song only," "SASE (Self-Addressed Stamped Envelope) required Following their instructions
will help insure that
for tape return," etc.
your tape gets listened
information, reread the sections on "Writing on Assignment" (see chapter
enting Your
Here
Demo"
are a
to.
For further
five)
and "Pres-
(see chapter twelve).
few of the most popular
tip sheets (subject to change):
TAXI www.taxi.com Tel.:
An
(800)458-2111
innovative, very successful tip sheet/independent
Members labels,
receive over sixty-five listings every
producers, managers, film and
TV
A&R service founded in
two weeks by major and independent
music supervisors, and publishers looking
for writers, writer/artists, bands. All submissions prescreened
pros,
which
is
instrumentals.
the reason
Monthly
it's
1992.
and critiqued by industry
respected by the industry. All styles including
newsletter (past issues archived on
Web
site).
Annual
conference for members only.
One-year subscription
for
$499.95, 3-year membership
all
is
of TAXI's benefits $299.95, 2-year membership $599.95. There
(Highly recommended.)
270
THE CRAFT AND BUSINESS OF SONGWRITING
is
also a
$5 per song submission
is
fee.
SongLink International
www.songUnk.com 23 Belsize Crescent
London Tel.:
Fax:
NW3
UK
5QY,
+44(0)207 794 2540 +44(0)207 794 7393
E-mail: [email protected]
Great international
tip sheet established in
1993
lists
both new and established
looking for material and pro writers looking for collaborators. Forty to
fifty
new
each month. Also features industry news and extensive links to industry events,
Six
and much more.
A class
and three month subscription
New On The
leads
sites
songwriters resources, portals to European industry
classic songwriters, publications,
organizations,
artists
act!
One
year (10 issues)
of
sites,
—£185.00/US $285.00.
available.
Charts
www.notc.com 70 Laurel Place
New
NY
Rochelle,
Founded
in 1976,
10801 it
provides current info on who's
with cross-referenced contact info on the
booking agents,
who need for listings
etc.,
of each
hit.
on the
charts
leads,
subscription
to verify at least (1
year
— 12
all
genres
and management
tip sheet listing artists
signings,
Soundtrack Newsletter
To subscribe, songwriters
one nationally released recording of
issues):
in
Music Video Section, and International Deals.
Different subscription rates for different segments of the services.
must be able
now
producers, managers, record labels, and
Also has Publishers Newsletter
songs, latest label, publisher
of film/TV music
artists,
$365
(plus
$45
their song. Full
for international mailing).
Parade of Stars
www.beareware.com/paradeofstars
Chuck Chellman P.O. Box 121355 Nashville, Tel.:
TN
37212-1355
(615)352-4848
E-mail: [email protected]
Biweekly sheet for professionals and amateurs. but also
lists
gospel
All Songwriters
artists as
well as
R&B,
The
oldest tip sheet. Lots of country listings,
pop, and rock
artists.
$129/year, $80/half year.
Network (ASN)
www.tiac.net/users/asn
Box 23912 Ft.
Lauderdale,
Tel.: (954)
FL 33307, USA
537-3463
MARKETING YOURSELF AND YOUR SONGS
271
E-mail: [email protected]
monthly
Professional songwriters organization offering a
good songwriter-oriented
links.
Requires
demo CD
amateur songwriters. U.S. $140. Outside United
Row
Web site
tip sheet. All styles.
or cassette for audition.
States, please
They don't
add $10 per
has
accept
year.
Fax
www.musicrow.com 1231 17th Ave. Nashville,
S.
37212
(615)321-3617
Tel.:
Fax:
TN
(615)329-0852
Row Magazine and
Best country tip sheet. Published forty-eight times a year by Music sent to
you every Friday. For professionals
only. Entries include artist, record label,
producer, recording date, and song description details. Address and contact information
not given
(If you're a professional, you'll already
E-mail/Web
1
know
that.)
1
year $185, 2 years $285,
year $129, 2 years $240.
Pitchsheet.com
www.pitchsheetassociate.com
Though done active.
online, this pitch service
Streaming audio
listening
files
is
more
like traditional pitching in that
are sent to an industry user's password-protected
room where he/she can hear songs
it's
A&R private
or artists in response to listings that are e-
mailed beforehand to subscribers. Credit card $l4.95/month (on a month-to-month basis);
check or money order, three months $43,
access ePitching to
A&R representatives
is
six
months $81, one year $150. Direct
available for an additional $1 /transaction (billed
separately).
Online Pitch Services These
services provide opportunities for songwriters
available for prequalified users (record companies,
schools, etc.) via a searchable database. site.
that
you can make
for publishers as for
samples,
file
lyrics,
information, and
a
Read
others.
I
their contracts carefully.
make
site.
Still
their
music
others involve
The beauty of
few songs or your entire catalogue of songs
these services
available, they're as valuable
independent songwriters, they allow you the option of uploading audio the song's (or instrumental composition's) recording history, contact
much
more. They're presented in a searchable database in which a potential
user can choose the parameters that
and
to
supervisors, ad agencies,
take a percentage of any uses generated by the
Others charge based on the number of songs posted on the
active pitching via the Internet. is
Some
and publishers
film/TV music
believe this
new
fit
his/her needs: style, tempo, male or female cast, length,
category of services uses the technology in a
way
that's time-
saving and practical for both writers, publishers, and users.
Here's a scenario.
My friend, Steven McClintock, hit songwriter and former staff writer
for several publishers,
272
THE CRAFT
AND
became discouraged when
BUSINESS OF
SONGWRITING
a publisher
dropped the
ball
on
a film
son£ license that Steven had
about
all
causing
initiated,
as well as all his writer friends in the
partner and started SongCatalog.com. to his,
to lose the use.
He
started thinking
the songs he'd written that were sitting unused and unpitched in publishing
companies
ways
him
and similar
same
situation.
do something about
it.
He found Here
a financial
are a couple of
services, are used.
Publisher or writer phones user, says, "I've got a song
own song
e-mails user with a link to their
Id
like
you
to
check out," and
database or to a specific song. User logs on,
listens, and decides yes or no.
User needs song, goes to database, and searches under whatever parameters are
needed
for the pitch.
listens to
Gets
of songs that qualify, looks
a list
at lyrics to
narrow
it
down,
what looks most promising, contacts the writer or publisher, and negotiates
for the use.
Each of the
new
services has
its
own combination
Web
benefits, so visit their
sites for
of benefits and costs and are evolving
up-to-dare info.
Pump Audio
Songscope.com
PublishSongs.com
www.publishsongs.com
www.pumpAudio.com
www.songscope.com
SongCatalog.com
LicenseMusic.com
Soundartist.com
www.songcatalog.com
www.soundartist.com
www.licensemusic.com
SongPitch.com
Songnet
www.songnet.com
LicenseMusic and
www.songpitch.com
Pump Audio
music
are searchable online
licensing pre-cleared original recordings for the
Web,
libraries for
sourcing and
broadcast media and audio-visual
production. (See "Production Music Libraries," chapter
fifteen.)
Other Sources Besides the trade magazines and tip sheets, other sources of information are:
Music Business Directory www.musicregistry.com
7510 Sunset Boulevard, Tel.: (818)
769-2722
Suite #1041, Los Angeles, Fax: (818)
CA
90046-3418
USA
769-0990
A&R rep, Ritch Esra, publishes the a comprehensive listing of record company A&R reps including their
This company, headed by former Arista Records
A&R Registry,
stylistic focus, direct
phone and
directory updated every
Registry and Film and
fax
numbers, and the names of
two months. They
TV
also publish
their assistants.
The only
an annual Music Publisher
Music Supervisors Directory.
Songwriter's Market
www.writersdigest.com/catalog
An
annual directory that gives you
unsolicited material,
how
listings
of industry pros
who
are
open
to receiving
they want the material submitted, and what types of music the
MARKETING YOURSELF AND YOUR SONGS
273
company open
are
an annual that gives you
specializes in. Includes
how
to receiving unsolicited material,
what types of music the company
who
industry pros
listings of
they want the material submitted, and
specializes in. Includes
Record Companies Category
& Booking Agents, Category Index, Advertising, Audiovisual & Commercial
Index, Record Producers, Record Producers Category Index, Managers
Managers
&
Booking Agents
&
Music Firms, Play Producers
Publishers, Play Producers, Play Publishers, Classical
& Awards,
Performing Arts, Contests
along with informative
articles
on the
and
craft
business of songwriting. In bookstores or order direct.
and Touring Directory and other
Billboard's Talent
annually
hundreds of
list
artists, their
directories (see Appendix),
personal managers, booking agents, and other
contacts.
Getting Ready to Face the Industry Now
some
that you've got
out into the
idea about
world and
real
start
how
prepared, like a soldier going into battle,
which approach you take contact,
way
to
knowing what
to get
the business operates, you're ready to venture
making some
contacts.
you need
Even when you
to prepare yourself mentally.
you
a lot
No
who you
your songs heard and no matter
to expect will give
feel physically
more confidence. There
is
matter
decide to
a professional
approach the industry, and the more professionally you present yourself, the more
professionally you're treated.
Ethics in The Biz
I
Discussions about ethics in the music business frequently expose a great variety of feelings
about
A business like this
it.
many
gance draws
that seems so blatant about
people to
it
very creative businesspeople.
who
are greedy for those
to
want
to keep
powers, pleasures, and extrava-
most
visible things. It also
Most songwriters and musicians, though
enticed by the high stakes involved, are
seem
its
"The Biz"
much more wrapped up
at a distance.
business end will say,
"You shouldn't worry about anything but It's
"Famous
for I
Last
exactly
know about
what a
that! Just
number of
.
.
itself
and
the music. Leave
of musicians want to hear. They'll
go ahead and do
it!"
Both
all
the
say, "I
lines are candidates
times I've heard musicians and writers say, after a sour
business deal, "I should have checked .
music
Words."
can't count the
an attorney"
lot
they're certainly
Managers, attorneys, and others on the
business stuff to us."
don't want to even
in the
draws
"But the vibes
he'd record masters; he'd get the advance 50/50,
me
etc., etc."
him out
before
really felt right!
He
I
signed" ... "I should have seen
told
me
we'd
split the
publishing;
a record deal; we'd get paid right after the gig; we'd split
(and a
list
of other famous music biz
lies).
But
it
wasn't
written in the contracts.
In
many
of those
at the time, really
274
THE CRAFT
AND
cases,
wanted
BUSINESS OF
I'm sure the businesspeople were quite well intentioned and, to
do what they promised. (I'm the kind of guy who'll
SONGWRITING
give
anybody the
benefit of a doubt,
and have bad reputations
who
talking to others
who show
people says,
tor
once
it.
at least.)
Save yourselr a
on
lot
of grief by doing some research and
have dealt with them. Don't
interest in you.
may
yourself! This
feel
obligated to
work with
so glad
you
me.
like
Show me where
and don't sign anything without
out,
first
Get
to sign."
indeed be someone you'll want to work with, but
if
you go
Calm down, check
into a deal with that frame of mind, you're begging to be victimized.
him
the
Even when the voice of that poor, trampled part of you
"Oh, thank you, thank you! I'm
a grip
Others chronically take advantage of people
r«||r Don't
feel
obligated to
work with the people
first
who show
interest in you.
legal advice.
Also make sure that there's a "performance clause" in the contract, which states that if
the terms of the contract are not fulfilled within
contract becomes void. This can, quite
Without
a
performance
more
five or
off.
it's
someone
amount of money According
someone
possible for
to
else
may want
to sign
buy you out of
to
you but
the
years of creative productivity.
to pick
up one-year options
can't without paying
for
his gig.
He
some
exorbi-
you were ripped
the deal. According to you,
him, he made a good business deal.
and made some bucks. That's
to sign,
you
years (whatever's in the contract) without doing anything he's supposed to
do. Meanwhile, tant
clause,
X amount of time or in X manner,
save
literally,
recognized good talent, got you
You may not
him
consider
to be ethical,
but you did sign the contract.
Not
everyone, of course, does business this way. There are lots of straightforward,
honest, up-front people in the business
reputation will
make them more
who
believe that, in the long run, a
successful than a
bad one.
No
governs practices in the music business short of what's actually
Some
illegal.
people follow "situational ethics" or "It seemed like the right thing to do
Some I
subscribe to the basic greed philosophy that "Anything goes if
want." Others hold the "Everybody
they do
it
else
is
unto you" philosophies. You're
and the best protection you can have
is
doing
likely to
to get to
be doing to for you.
The
to
and
"Do
it
industry
at the
gets
time."
me what
unto others before
run into any of these anywhere, the business that
straight talk or jive. If
you do turn
someone, you should know enough about what they ought
know whether
You don't work
or not they are getting
it
done.
Remember
that they
to
work
for them.
type of people you associate with in the industry can have a great effect on
your reputation, peace of mind, and your creative future. Take find
it
know enough about
you have some idea about whether you're hearing your business over
it"
good
rigid set of ethics
good people
to
work
Hit City West Recording Studio guys sometimes finish
it
very seriously and
with. Journalist Paul Lawrence once asked
last in
if
he
felt
the rat race,"
that
Ken
"Nice guys
Ken
finish last."
Kravitz of
"Maybe
nice
answered, "but that's not the only race
there is."
I
Ego
Also keep in mind, as you approach industry pros, that though your songs
may
be very
personal and expose delicate parts of your being, people in the business must look at
them
MARKETING YOURSELF AND YOUR SONGS
275
They, in turn, must try to
as a product.
of
commercial potential alone.
its
feeling that
it's
him
your product to someone
sell
understandably
It's
else
on the merits keep from
difficult for a writer to
or her who's being rejected rather than the song.
Some of the most
powerful songs written are very personal statements and confessional revelations that make
when
the writer's ego quite vulnerable to destruction
rejected. So, don't stop writing those
kinds of songs. Just get a grip on your ego and leave
show your
f^l
door when you go
critic.
successfully pitch your
it
songs to the industry,
radio
you must become a
a song
and
try to look at
program
this a
away
it
though you were another person
as
director, a J.Q. Public.
for a
Sometimes,
self-
—
a publisher, a recording artist, a
fresh look at
put
it.
yourself the same questions that, consciously or unconsciously, others will ask:
Can
to say
what
I've said? Is every line
compete with the best songs
Doing
this
better songs.
kind of self-critique It will
that
help you choose, from
you
in
much
easier to
important ways.
perfectly
happy with
sounded
trite
until
it
I
you some
gives
It
song
a
you write
will help
which
songs, those
make
it
easier to look at
clothes or anything
it
easier to
most
are the
else.
you
own work
your
In accomplish-
work with you.
Play your songs for friends before approaching the buyers. Even criticism,
Is this
approach buyers and to welcome their positive and
negative comments. They, in turn, will find
you honest
more powerful,
least subject to rejection. It will help
someone who makes omelets or it
there a better,
of the song important?
among your
develop that professional detachment that will
ing that, you'll find
Is
hear on the radio (not the worst songs)?
I
will help
commercially viable and, consequently, the
as a product, like
Is
people can relate to? Will the people most
the lyrics be understood by everyone?
more graphic way that can
many
be in a certain age group? Will the music appeal to the same
likely to relate to the lyric
It
good
a
in order to get that perspective, writers
few days or even a few weeks so they can get a
song about an event or feeling that
age group?
give
become
There's a point during or after the writing of a song where you must step away from
Ask
self-critic.
in to
wares.
Before you can successfully pitch your songs to the industry, you must
Before you can
good
at the
it
if
they can't or won't
instant perspective. I've written songs
read the lyric or sang the song to
someone
else
and
it
I
was
suddenly
or unclear. Back to the drawing board!
on the other
helps in dealing with rejection if you can sympathize with what happens
side of the publisher's or producer's door.
It
does neither you nor them any good
they publish a song they're not genuinely enthusiastic about and in which they see
commercial potential. They'll have
to invest in
promoting
it
and
they'll
if
little
have to put up
with your continued questions about what they've done with your song. They'll have to
keep
telling
you nothing's happened or avoid taking your
really get excited
about your song
You shouldn't want someone it.
When
as a
calls altogether.
product, they have to reject
to publish
their catalogue that
they can't
it.
your song unless they're very enthusiastic about
it.
Several publishers have told
me
that they
had been rejected over one hundred times! In
continued pitching them because they totally believed in those songs.
THE CRAFT
if
they get rejections on your song, you want them to retain enough enthusiasm for
the song to continue to pitch
276
So
AND
BUSINESS OF
SONGWRITING
spite
had songs of
that,
in
they
Sometimes songs or instance,
was
it
styles are
common
simply ahead of their time. In the
late seventies, for
tor L.A. writers to get rejections because their
"country" songs
were "too country" tor L.A. and "too pop" for Nashville (the Eagles, for example). There have also been black
artists
whose songs were too rock
Times and radio formats change but sometimes not becomes
a
R&B
for
airplay (like Prince).
until a previously unclassifiable artist
major money-maker.
There are more reasons why you're more
likely to
be in the wrong place
at the
wrong
time with the wrong song than vice versa. Probably 99 percent of those reasons have
nothing to do with you personally, but with the marketplace, your product, and the
buyers
and inclination
ability
a certainty that
It's
some
don't adopt
to deal with
it.
no matter how good your songs
you
attitudes that help
discouraged to persevere.
And
if
you
are,
they will be rejected. If you
to deal with that rejection,
you can
nobody's hurt but you, and there
quit,
get too
will always
be more writers out there to take your place. J.
book Mastering Show Biz
common knowledge
It's
the risk
.
.
that rejection
buy
to
it.
The
sale" sign
payoff, however,
matter how good your
is
it
in perspective in his
will
be
rejected.
the Heart:
a regular occurrence in
is
you take when you hang a "for
wanting
From
.
a certainty that no
songs are, they
Michael Dolan, cofounder of Music Connection magazine put
inspirational
ggr
r
It's
on your
worth the
risk.
Show
talent
Biz but that's
—you
risk
The payoff is
no one
the world
benefiting from the actions of your Creative Spirit.
Dealing With Rejection It
might comfort you to know
music industry involves ings that people have
by radio
that, at all levels, a substantial part
rejection. Rejection
of songs, rejection of finished master record-
sunk thousands of dollars
stations, and, ultimately, rejection
of what happens in the
into, rejection
of record company product
of individual records or
styles
by consumers.
Every day, for hundreds of different reasons, people in every different facet of the industry are facing rejections. rence, but
it
is
They may
accept
it
as
an
inevitability,
never really easy for anyone to deal with. Egos are bent, reputations
questioned, jobs are rejection stories of
lost,
and friendships
major songs and
are
artists.
damaged
or ended. There are hundreds of
Elton John was turned
record companies; the Beatles and Billy Joel were turned
company. The major after
artist
an
an everyday occur-
list
goes on and on and continues today.
I
down by twenty-two
down by
every major record
would venture
to say that every
has been rejected numerous times before attaining any success. In
artist is successful
fact,
i
»J>
Every day, for
hundreds of different reasons, people in
every different facet of
the industry are facing rejections.
even
and subsequently goes through an unproductive period, he may
again face those rejections. There's even an industry joke about being fortunate to be
turned that
down by
certain record execs because they've rejected so
you should worry
For songwriters isolation,
and
it's
it's
if
many
successful artists
they like you.
particularly difficult, though, because you're usually creating in
difficult to find
good
critical
feedback. Often your only artistic validation
MARKETING YOURSELF AND YOUR SONGS
277
.
comes from
friends
and family who
don't have the talent for that the They'll be supportive and keep
are so
you
knocked out that you're doing something they
thing they'd do
last
would be
your
to criticize
efforts.
bubble until you smash up against the "real
in that
world" of the music business. Songs that your friends liked because they saw you reflected in
them (and they
songs that audiences seemed to like ("They clapped, didn't
like you),
"no hook," and
they?") are meeting with "Sorry, not strong enough," "not appropriate,"
other standard
When
I
lines.
ask a writer
if
he or she has been making the rounds of publishers,
the reply, "Yeah, but they passed on
me
they told
to
come back when
my songs.
all
had some more
I
stuff to show.
seldom say stuff
trying to be nice." Wrong!! Publishers
door open to you
good chance
there's a
Don't word.
let
If you call
don't
off,
you'll
what you think
let
after hearing
have something
is
it.
Keep
every rejection
you
tell
that the
it
door
gets tougher to put yourself is
open, believe them!
it's
talent. Believe
because they think
be interested in publishing.
it
seems
trying! That's the place
psychologically. You're sticking your neck out again
With
be nice." They
you from going back. Take them
back to make another appointment and
yourself believe
often get
they were just
have no
feel
your songs,
later that they'll
a rejection keep
know
I
like that "just to
don't have time to keep making appointments with writers they that if they keep the
I
didn't have anything they wanted, so
I
It's
it
really gets
and your self-confidence back on the
putting you
like they're
where
line.
at their
is
tough
in danger.
But when publishers
hard enough anyway without imagining
that you're being rejected.
The
following are
totally losing
some ways
get in a rut, take the
who
outside the music business so getting too isolated
and
ideas
who
away from those
who will trivialize even
is
rejection that will keep
whole thing love
is life
far
outside the music business. Sometimes
too seriously, and
you whether you write
fail
to take
and from having tunnel
vision.
That
a hit or not. Cultivate friends
cross-fertilization
of experiences
hang out with other songwriters
also creatively stimulating. It also helps to
down. Stay away from those who
2.
will trivialize
that "ain't the biz awful" vibe.
Develop short-term payoffs.
your smallest
happen
successes or surround
hit,
in the
It
You
isn't
the biz awful" vibe.
should be able to get that by after
you've done
it,
make you
you're
don't need negativity.
usually takes a very long time for anything to
music business. So that big reward
you with that "ain't
when
even your smallest successes or surround
—
the recording, the record deal, the
the royalty check, the film score, whatever, that's
always enough to
comfort in
you can tap into some other worlds and keep yourself from
understand what you're going through and can help you get back up
you with
you from
your self-esteem.
your families and friends
Stay
you can deal with
Cultivate a support group. Yes, there
1
you can
rg£
that
feel like a
just writing a
somewhere
valuable
human
good song and
you're likely to set another goal for
it
in the
unseen future,
being today. Yes, you
feeling
good about
it.
But
that requires the validation
of others and a dependence on a timetable and circumstances over which you don't
have
much
control. So
it
helps to be actively involved in hobbies, sports, another job,
volunteer involvement in a cause, or even something as
278
THE CRAFT AND BUSINESS OF SONGWRITING
mundane
as
cleaning the garage
or organizing your albums that gives
you
accomplishment and immediate
a sense of
positive payoff.
Don't
3.
pitching and
don't like
this,
you
one
better than this
more
a better writer or a
may
written yet
this one,
A
workout
now
twice. You're
I
the best thing I've ever done. If
is
might
as well
hang
The
or, at least,
more
up because
it
you continue
make you
feel
if
writing.
good about
I
they
one cut."
may
next song you write
be
You won't become
interesting to publishers.
successful writer unless
get this
till I
A song you haven't
be just the song that gets everybody interested in everything
Stay healthy.
physical
"This
important things.
several
done. Just the process of writing can 4.
says,
they won't like anything." So you stop writing "just
Meanwhile, you're forgetting
it
published or produced that you stop writing altogether.
happening with
can't get anything
much
it
sell-destructive voice inside
little,
writing. There's a particular song you keep
keeps getting turned down. You've already rewritten
it
so totally obsessed with getting
A
you from
rejection stop
let
else
you've
yourself.
depressed body begets a depressed mind. Nothing like a good
to help
you
get rid of those pent-up frustrations.
Only the "yes" is important. There is an old line that salesmen use to keep themselves
5.
going in the face of rejection.
"It's
only another 'no' on the way to
'yes'."
The "no"s
aren't important.
Honestly assess your strengths and schedule time
6.
the areas
you could improve.
A
to discipline yourself to
work on
schedule keeps you looking forward and gives you the
feeling that you're actually accomplishing something,
no matter how
small, to keep
you
moving ahead.
Have
7.
something
additional plans of attack. If you strike out on one, you're ready to try else right
JoAnn, worked
away so you don't have time
for several years in Creative
Disney's theme park think tank.
son of depression
Development
A common
after a big project
to feel sorry for yourself. at
My
Walt Disney Imagineering,
problem among the designers there was
was completed. The company helped
a
to counteract
by giving them information about the next project so they had something
this
wife,
to look
forward to after the current project ended.
Query Letters or E-Mails Now
that
you know what you're up
them your
stuff.
One
of the
easiest
outside the major recording centers, the
"no unsolicited material"
your submission,
it
against, you're ready to contact people
ways to submit your material, especially is
to mail
barrier. If
makes sense
your demo, but you
still
if
you
live
need to get past
you don't know whether or not
to inquire
and show
they'll accept
ahead of time, preferably with a phone
call.
Otherwise, send a postcard or e-mail before going to the expense of sending a tape or
CD.
If
you
don't, they'll probably send your
some
Here
are
Send
a letter
demo back unopened.
options:
with a
self- addressed
return postcard enclosed. In the
letter, list
any
credits
MARKETING YOURSELF AND YOUR SONGS
279
you might have or anything live
club or concert reviews.
this
band doesn't
get a deal,
that
might
Not I'll
interest
them
in
your act or your material. Include
the whole thing, just a few high octane blurbs like "If
run
down Michigan Avenue
naked!" "Could be the next
names of the paper or
biggest thing since the last biggest thing" obviously with the
magazine; contest prizes (Don't mention "honorable mention.") or other awards you've
won
experience.
Add
of the Bands Winner,"
(State "Battle
("OK guys,
all
look
makes people think
that
good.); music education and professional
neat and professional or totally funny. Let
it
good photo of the band
a
posed
Make
is
at the
in action.
Not
camera and
"Who ARE
it
your personality.
reflect
head shots or group shots that look too
smiiiile!").
Create a
little
intrigue,
something
good way)? Forget the Polaroids
these people" (in a
("Honey, we need a shot of the band looking stupid. Could you do a Polaroid so we can send
to the record
it
them know
company?")
the sales figures, hopefully with
are probably acts
on
music they work with and be sending of music. Describe your
any film/TV or recording If
you use
snail-mail,
on the
Yes,
I'd like
Address
it
to hear your demo.
to the attention
E-mail an audio
We only
it
will
You should
style as best
you
A&R
already
person
back lie
know
who
file in
MP3, RealAudio or
to unsolicited
now. Try
They
the styles of
deals with your
mention
uses.
as
shown on
the previous sample. Include the
you remember where you
make my
it
sent
it
—
easy to reply.
company
it
day.
demos when
next month, next year.
Or would
never be too soon?
your: attorney/manager/producer/Uncle
Herman from
the IRS sends
Signed
Date
Company
THE CRAFT AND BUSINESS OF SONGWRITING
It
return
in case they don't write
format.
us:
let
up. (There
can. If you're primarily a writer,
OTHER COMMENTS:
280
it
to them.
of:
listening to anything
listen
know
front so
for.
to a specific
to
more.) Don't
of your band,
CD
Send: cassette,
We're not
I
much
your self-addressed stamped postcard makes
can have a choice of replies address
it
CDs
SoundScan numbers
their label that haven't sold
can check. Don't ask what they're looking
style
thousand
If you've sold over a
them to
us.
in.
(.Know that the light nature of
make em
is
They
not unprofessional.
love
it
when you
smile!)
If you use e-mail
and send
this letter
a
photo
own
For your
as
and don't have
a
Web
an "attachment,"
site
URL
to
send them
send the same
to,
letter
possible.
if
Card sent
records, keep a notice like:
to
Megabits Music 1/20/02.
In-Person Interviews We
get our strongest impressions of people in person.
size
up the people you do business with and
and
a song. That's
when you meet read
assuming
people.
I
a
it's
them
for
good song and
whose
can assume you're already aware of that
for an in-person audition are usually rare
taste (or at least,
writers
who
just
your best shot
is
into
you should
call
to be able to call
and
have any notable
town and
are able to
name
good impression
credits. Let
them know about your
appointment, find out approximately
remember
a strange town, it'll
•
If
make
sure
unknown
and timing. Obviously,
success
that
you
It's
But
see them.
a referral, especially if you
on the
initial call.
Be nice
a long shot
if
to
you
anyway. If you do get an
time the person can give you so you can
the following: If they
're
be more accommodat-
late, they'll likely
puts a heavy psychological burden on you. If you're in
get
good
directions
from someone and an idea about how
take to get to your appointment. Allow extra time for emergencies.
something unexpected comes up and you can't be there on time,
them know. They
may have
to reschedule if you've set
you don't
•
you
to be
you don't get an appointment, ask
how much
Be there on time or ahead of time! late, it
seem
by someone
several publishers in a day.
personality,
up an appointment even without
can drop off a demo, and don't be discouraged.
ing out of guilt. If you're
referral
ahead of time and say that you're in town for a short
the receptionist, secretary, and/or assistant. If
•
still
name of someone who recommended
try to set
prepare accordingly, and
meet with
do with self-confidence,
lot to
while and give them the
respect
my
to cancel
up
a
ahead
to let
me and
didn't call or
show
up.
It
shows
me
time.
If possible, bring each
on the
call
and reschedule. Personally, I'm extremely reluctant
meeting with
song on a separate
on your CD. This will save time because tion
a
you're old enough to
if
without a
power) an industry pro respects. But there
come
Their success has a
that
to be able to
to be able to put a face with a
you usually make
that
you
this.
Appointments
long
helpful for
It's
it
cassette tape or
allows
spot. If the person says, "Play
me
you
to
know
the
numbers of the songs
change the order of your presenta-
a ballad,"
and your ballad
is
at the
end of
your tape, you'll have to do a stop-and-start search for that song while you're saying, "No, that's
not
it. I
cut (on the
spend •
his
think
CD)."
it's
just a little further on,"
When
and on and on. Or
you have a limited amount of time
"I think
available,
it's
the next
you want him
to
time listening to your songs, not waiting while you look for them.
Before beginning to play your songs,
tell
the person conducting the appointment that
MARKETING YOURSELF AND YOUR SONGS
281
he's free to turn
whenever he
CD
offyour tape (or your
likes.
Be prepared
to give
him
or live performance)
lyric sheets
and go
to the
next song
so he can scan your lyric as he listens.
This maximizes the value of his time with you.
Take
•
extra copies of everything so that if he
wants to keep something, you can leave
Be sure that your name, phone number, and address are on each
it.
cassette or
CD and lyric
sheet.
• it
you want
If
criticism, ask for
it.
If not, don't. If they give
whether you agree or not. Don't argue!
and you
rewrite
them
you'll try
them than
When
•
that
Do
it.
it
you won't or
a chance surprise
like the
you
and get back it,
Once
to
don't
them
—
thank them and their
in
at
how
"No
a
in
something enough to ask
forming
as a
working
a
rash promises.
for a
relationship,
tell
It's
better to pleasantly
broken promise.
assistant.
Send
thank-you card or
a
letter
rarely this happens.
Unsolicited Material" World
you've written that great song or completed your writer/artist masters or demos,
face the prospect
of getting heard by the music industry. You take off your creative
songwriter hat and put on your marketing hat. For challenge. For others, it
thank them for
to you,
the sooner the better. If you think there's
make any
them remember you
same week. You'd be amazed
Getting Heard you
do
can't
to let
leave,
If they like
person and are interested
it
much
gets
it
some of you,
this
an exciting
is
runs a close second to major surgery. Like anything
else,
daunting when you have some practical information. Let's
less
understanding the barriers you
may encounter when
though, start
by
trying to get through the doors of
the music industry.
Why
I
To
producers, record
nent
and
In the
problem
company
way
first case, if
tapes
effectively,
look
at
it
from the point of view of the publishers,
A&R representatives,
They have two major
targets.
cost-efficient
demo
So Hard to Get Through the Doors?
Is It
deal with this
possible
or managers
who
are your
most promi-
concerns: finding great talent/songs in the most time
and protecting themselves from
lawsuits.
they have an open-door policy, most companies are deluged with
and CDs. In
fact,
even with "no unsolicited material" policies, they're
still
deluged with solicited demos (those referred by other writers or industry people they respect).
The
biggest
problem
for those
and record companies looking
with open-door
policies, particularly for
for songs for specific projects,
is
they receive are totally inappropriate for their needs. Usually this are sending in tapes haven't
listening to
demos
already
Pretty bad odds for
done
know
their
that
homework on
that is
producers
most of the songs
because writers
who
the project. Consequently, those
more than 90 percent of their time
someone who may have only one or two
assistants
will
be wasted.
who
can screen
demos.
Time
282
THE CRAFT
is
another barrier keeping industry professionals from listening to unsolicited
AND
BUSINESS OF
SONGWRITING
demos. Music publishers
development
will
work
advise
ment if a
broader scope of material they're seeking.
and who
legal barrier
them suits.
also a formidable door-closer, as
is
who
have potential for
most companies'
departments
legal
against accepting unsolicited material in fear of potential copyright infringe-
A key factor in
determining infringement
proof of "access." In other words,
is
copyright infringement suit goes to court, the prosecution has to prove that the accused
has had the opportunity to hear the material. Proving that
why
is,
much
are
who
prove
I
sent
it
and
itself
to his
that
it
Is this fear
No.
still
womb
in the
from a demo
of lawsuits
Of course
it
line line
that Joe
up valuable time and
ask
you
degree that insures for years
So why
it.
and asking a
conclusion:
They want
to
know
industry people say things really
worth hearing,
of a "survival of the
like, "I
fittest"
to
it?
On
way
to get to
pay
me
that, like
a couple
attorney shop your tape/CD, you're serious
it
or
that
He
be dealt
submit a demo
a
demo by
Not
that there
it
isn't
the law
After pursuing this question I've
come
to
one
countless occasions I've heard
don't accept unsolicited material, but
philosophy
enough
do
to
but
of industry people,
that you're serious.
they'll find a
that, if you're serious
you
lot
an
is
the publisher's access
quality.
tastes are respected,
that they ask
is it
of questions of a
lot
and commercial
its artistic
can
resources.
to have an attorney
document very definitely
whose musical
I
other songs thereafter.
your demo. But most industry pros do not believe that submission of
aren't entertainment attorneys
and
Rock could have heard
many
in
you
love
'I
year so I'm suing you." This
last
is
and
uses
it
why many companies
a law degree guarantees
suits
These are
in his publisher's office. Since a suit has to
Certainly, your attorney could
someone with
can, but the
most infringement
by Joe Rock contained the same
hit
with by the company's legal department,
for you?
that
Love You' that contains the
by much. The hitch
song while he was
didn't have to hear
new
'I
publisher/producer/A&R rep
oversimplification, but not line in a
know
has
may wonder
on scant evidence and understanding of copyright
song called
law, a writer says, "I wrote a life
company
at the
are not seriously pursuing a career as a songwriter.
referred to as "nuisance suits" in which,
more than
solicited material?
lower because industry people already
brought by writers
someone
of course, proof of access. You
an infringement lawsuit can't result from
odds
to
more time
take
they can work with and develop.
opened the package containing your song
are
may
It
They're also looking for writers
for a current project.
future success
The
a
be looking for great songs or writer/artists for
just
songs they receive because they're listening for more than whether the song
to evaluate the will
have
who may
I'll
if
someone
hear about them." This
or not, has
some
merit.
They
is
is
sort
figure
of hundred dollars an hour to have an
enough
for
them
to listen to.
Getting Through the Doors Showing the industry you're need to do
is
research.
serious
is
the key.
Become aware of
One
of the most important things you
the industry people involved in your style of
music. Read the credits on the recordings of your favorite
them,
who wrote and
published the songs, the record
artists
label,
—
find out
who produced
and possibly even the record
MARKETING YOURSELF AND YOUR SONGS
283
company
the package,
and get
the record company's artist relations
call
name. You can
his
also get the
and manager. Also study the confident
artist in
phone and
fax
If the
numbers of the
from the
artist's direction. If
new
you're pitching for a
artist,
Whenever
company
producer, manager, or record
artist's
producer
artist's
order to cast the right song so you can be reasonably
will be appropriate. (See "Casting," chapter eleven.)
it
to find out
the
A&R rep's name isn't on department or A&R coordinator
A&R representative who works with that artist.
possible, try
if there's
a
change
in
from those same
get information
sources or find a tip sheet. (See "Tip Sheets," page 269.)
Research the names of companies, producers, managers, and to
market the artists/groups
who
they've
trade magazines industry
buy them
something
new
You've
Though
new
an
also read
article
single.
songs.
You
also learn she's
is
A&R on
(Look to directories such
"Other Sources"
Once you have them
offices, call
how
to
the
is
to read the
don't have any of her
CDs
yet
talks
about the songs
wrote them, and about working with her
names, so you
know she's open
call
Hot
title
to "outside"
Stuff and ask for the
so-and-so at This and That Music. Will the same producers
the project?"
you seem
as the
Do
you have
a
number
for their
Get those names down quick. away from
for you, you're already another step
figure that if you're the pro
(See
names and
their
on the radio and think you might have
be working on Bonnie Newcomer's next album?
it
You
on Hot Stuff Records. So you
A&R coordinator. "Hi! This Who's doing
know
you've also seen their names listed as writers under the song
chart, you've also noticed other writers'
to spell
to
about her in which she
who
on the
nies?
You need
Here's a hypothetical example: In Billboard'you see Bonnie
charts with a
where she got them,
project,
producers.
style.
the best advice about doing your research
today), but you've heard her
for her.
on her new
your musical
far,
calls.
Newcomer's name on the (you'll
in
worked with. By
A&R reps who know how
If
compa-
you ask them
credibility with them. They
to be, you'll already be familiar with the names.
Music Business
Registry's
A&R Registry to help you out.)
in this chapter.)
name of the A&R person
Hot
at
Stuff or
someone
in the producers'
and ask about the musical direction of Bonnie's next album and
directly
go about submitting songs
for
It's
it.
a
good idea
to ask if there's a
code you
should use on the package. They often use a personal code so their assistants or mail room personnel
know
All the trade
that
it's
actually been "solicited."
magazines publish special-focus issues that contain
Among them are
mation on specialized areas of the industry. heavy metal, alternative,
may focus on
cities
folk,
of infor-
children's music, classical,
music publishing, Latin, Celtic, and film music. They
and countries that
Seattle, Atlanta, Ireland,
lis,
a treasure
are
Germany,
emerging
etc.
as
music centers such
You'll get information
as
Minneapo-
on the movers and
shakers in those genres or places, the record labels, publishers, producers, managers, radio stations, booking agents
and
The
artists,
along with stories about
who
signed
whom
Billboard Soun&Sczn. technology revolutionized the industry by providing accurate
retail sales
284
and
their career strategies.
and
airplay information
showing country music
THE CRAFT AND BUSINESS OF SONGWRITING
to be selling
much more
than
was thought
to he true.
now showing several country
It's
Webcasts over the Internet have opened
new avenue
a
on the Hot 100 pop
artists
for exposing
and
monitoring systems have been created to track them. The Internet
anyone with
accessible to
and
film
a
provides up-
on
their catalogs
There are now
the Internet.
standardized cue-sheet forms for music used in
by the performing
television are used
MP3
and
www.MP3.com. Browsing
at
up many more. These
will turn
and can be
rights organizations
several Internet services available for exposing
independent recordings to the online audience. gest)
are
and
selling music,
now
to-date research information horn the performing rights organizations
modem. New
chart.
Among them
are:
the music-related
and
Amazon.com
Web
sites
filed via
selling
(the big-
on the Internet
developments that you can stay abreast of by
all
regularly reading the trades.
Think of your
local record store as a research center.
of information. They usually have a
them and
yourself with
list
of current
listening to
information kiosks where you can bring up past albums, reviews, etc. If
you can
site
and find of the
contact.
Web
artists
who
also
your
with an
CDs
more advantages
atist's style,
the producer(s) of that
record company, get the
else.
may
also give
is
CD
invite
research center.
Web
see if the artist has a
listed
But
the record labels are
meet the buyer
CDs who
at the store to
is
the best
way to
inserts usually contain all the info
familiar-
you need.
with an address. You'll also find the name(s) of
at least
it.
Of course,
you've done some
(if not,
who
you the manager's
is?)
and how
the next
album may
homework and can
call
the
office address
to get in touch. If you play
and phone number.
(Let's see
it
right,
Napster
all that!)
Other good sources of information and contacts zations
record store as a
A&R or artist relations department, and ask if so-and-so will be
working on the next album
you
stores even have
local
CDs.
album or of individual songs on
be produced by someone
give
who
yourself, ask to
buyingthe CDs. This
in
and the
Often the management company
they
new CDs. Some
have listening
^J§: Think of your
information on a monitor and look up
record your style of music and find out
are obviously
stores
Familiarize
look at an Internet directory under "record companies"
find out the requirements for stocking your
There
style.
record companies, too. If you're an artist/band, check out the
distribute them. If you're selling
ize yourself
Many
you have an Internet connection,
You can
sites for
artist
stores can be great sources
your favorite
find the albums in the record bins.
where you can spend some time
posts
Record
hits in
and
events.
Most
organizations have regularly scheduled events in which they
music industry professionals
with those guests, their
impact than a cold
If
to speak
and
listen to
demos. Familiarize yourselves
and current needs. The personal contact has much more
histories,
call.
are local or national songwriters organi-
you research the
online and read an article about
guests before the event, search their
them or an interview with them,
listen to a
names
song they
placed or a record they produced, you're in a good position to start an intelligent conversation it
and you never know where
when you can
talk
it
can lead you. "Behind the scenes" people always love
about and ask questions about something they've done that you're
familiar with or a fan of.
"Hey
I
loved the guitar sound on that record (you produced).
MARKETING YOURSELF AND YOUR SONGS
285
How did you it
get that?"
Don't
b.s.
them though. Be genuine.
know
If you're not, they'll
right away.
Support those organizations that produce the events with your membership and voluntime and you'll often find yourself surrounded by opportunities. Organization news-
teer
frequendy provide valuable information about industry events of
letters also
interest to
songwriters.
Making the
I
If
you know up
who
Calls
front that industry people are deluged by calls
haven't done their
time before you
homework, you have
call. It lets
you
a distinct advantage if you
because, for
more
also
If
you can
them know you're
let
research, the "gatekeepers" will be afraid to shut
they know, you may be someone important
all
likely to take
you
seriously.
Though you may not
unprofessional.
should be, "I have great songs that
artists
put in the research
with a certain amount of confidence in your voice.
call
Don't be arrogant, but do project confidence.
and have done your
from writers and
Don't beg
actually say
know
I
for a it,
serious
you down too quickly
to their boss.
The
chance to be heard! This
boss
is
very
is
the subtext of your conversation
are appropriate for this artist.
They
deserve to
be heard."
Regardless of the "we're not listening" policies and the reasons behind them, most publishers and
A&R people
They want
weed out
to
still
do
listen to
the writers
who
new
songs and
artists
but very selectively.
haven't learned anything about
how
business works or the hobbyists with two or three songs taking a quick shot at
then retreating. the
first
The
something they can publish or an
that they'll find
raw
level
a writer or artist's positive attributes, the
all
the
and
pros size up a writer, his or her attitude and presentation, from
contact and then decide whether to spend time listening or not.
that even given
it
talent they'd like to develop. That's
why
artist it's
odds are
They know
still
minimal
they can sign with genius-
important to them to
up
set
a
tough screening process.
On
the front lines of that process are receptionists, secretaries,
you have the name of that point. will say
May
if
help you?"
I
to the
Even
something
you do have like,
"May
The worst
I
a
name,
tell
assistants.
call
Unless
won't get past
you'll be referred to that person's secretary.
her what this
is
and
company, your phone
thing you can say
main man." That person's job
you present yourself
demo
a specific person at the
is,
to save the
to a secretary or receptionist
is
She
about?" or "He's not in right now.
"Sorry,
you
main man's
can't help. (or
I
need to
woman's) time.
may determine whether
talk
How
or not your
gets heard.
Here's a scenario:
Writer: Hi, I'm a songwriter and that
would be
great for Shania
Could somebodv
286
I've got a hit for Destiny's
Twain. Actually,
there listen to them?
THE CRAFT AND BUSINESS OF SONGWRITING
Child and another one
I've written
over twenty songs.
Receptionist: Could you please drop oft a demo? (You'd be very lucky to get this request.)
Writer: No,
I
Receptionist:
Writer:
I
Who
got your
man
in charge?
This
is
not really that
What do you
you.
won't leave a demo.
you
referred
How
do
to us?
phone book. Could you connect me
much of an
exaggeration as any industry gatekeeper would
name
demos from or whose
assume your writing
to the
important part
from
to screen out this type of call
is
tell
someone whose name
or you've been referred by
reputation they respect, your chances of getting through the door
better. In other cases, call to
just as
is
it's
pretty
much up
to their discretion
who
to accept
first
encounter
put through to their bosses. Consequently, the
you have with the front desk
you
An
think are the odds that the caller will get through?
know and whose
much
songs?
the
songwriters. If they recognize your
they
my
steal
name out of
of a secretary's (and often a receptionist's) job
are
know you won't
I
vital. If
is
you present yourself
amateur and that
their chances
rank amateur,
as a
they'll
of finding a great song from
are zilch.
Every secretary or receptionist has his
and Shania Twain
aren't likely to
only twenty songs, you're obviously a beginner.
know
you're going to have to leave demos. Get
worry about songs being
name of
the
a person at the
company name. insulting the
stolen.
If
You
You
in charge.
research doesn't
know
If you've written
on the scene long and not
them protected
first
so
you won't have
done your research
also haven't
company and have
Do
of the
odds
do outside songs.
can't be
to resort to the
you don't know the name of "the man
woman
in favor
criteria for figuring the
Only an amateur who has done no
boss. Let's look at the call again.
that Destiny's Child
own
if
phone book
in charge,"
to
you don't have
you
just
for the
might be
your homework. (See "Researching the Music Indus-
try" in this chapter.)
calls.
ask
company how
asked the receptionist at a major publishing
I
She said she
when
in a
the
month.
tells
company
is
She figures you're
I've
will
company
not listening to demos now. If they
is
be listening (and they seldom ask), she
If she does get a call
shows her that writer call.
writers that the
she screens unsolicited
tells
them
to call
back
back from that writer, she accepts his or her demo.
persistent, professional,
and organized enough
to follow
It
up the
serious!
gained a lot of insight into this process by going from being a struggling songwriter
to being
on the other
side of the desk as a screener.
have been corroborated by
my
I
learned
some important
lessons that
"other side of the desk" peers.
We always respect persistence, even though we may at times find annoying and guiltWe know that no matter how talented you are, you need persistence to succeed. it
provoking.
The
hardest part of being persistent
yourself to
become
is
bitter or desperate
continuing to be pleasant about
from
it
and not allowing
the rejection you'll experience. It turns people
off when they sense that desperation in you.
MARKETING YOURSELF AND YOUR SONGS
287
A to
secretary
me
I
that this
someone
talked with said, "It's a real turnoff to have
chance or they need to pay their doctor
their last
is
my
don't want to subject
boss to that either.
believe in yourself
open
you
difficult for
highly
ography.]
about your talent and
We
and
if
you
to find people to
can't recognize
mention
I
phone
No
matter
who
more than
There's somewhat
you're trying to get
to,
is
Music
the
phone
etiquette with several
be nice to assistants and
fact,
you may acknowledge
the boss,
them with
you're serious enough to want a career as a writer or
respect.
There's a better than
will initially
listening to
be
your
who
will initially
gets
call,
you into
you need
they
may
be
their office. If
to think years
ahead
and build bridges now.
average chance that
they are the ones
and the relationship you developed on the phone artist,
who
that possibility ahead of time
opinion on your songs. Also, by the next time you
secretaries. Treat
Treat them
secretaries.
be listening to your demo. In for their
be
will
necessary to include here.)
with respect. There's a better than average chance that they are the ones
by asking
it
Business. [See Bibli-
trying to get to, be
and
"I'm God's
attitude,
you're a Neanderthal,"
it,
you
even though you're
No matter who you're
nice to assistants
I
work with you.
here because he has a chapter on
it
scripts.
like to feel that
abilities
you come off arrogantly with the
recommend Dan Kimpel's book, Networking in
typical
fc^r
direction. If
the music world
gift to
(I
and
and
to criticism
or whatever.
very unprofessional."
It's
There's also a thin line between confidence and arrogance. are confident
guts out
spill their
bills
Always request permission
you must
get permission to
may
but you
much
not have
"Query
efficient. (See
to
submit tapes or CDs. For the reasons
submit your demo.
It's
described
I
earlier,
always preferable do this by phone,
time to "sell" yourself.
A
short fax or e-mail can be
Letters or E-Mails" in this chapter,
more
on page 279.)
demo.
I
If
Follow Up!
you do get through the door, consider Don't
a series.
back and to
tell
do now
you have
to
great your song
is.
figure that
you how
all
Know
follow up once you
know someone
listening to
them
is
lose the cost
is
for
them
rid
first
to call
of
you
and you may have
an adequate amount of time to
have hundreds
not a major part of his job in most
you
at worst,
weeks
He may
your tape back. He'll be only too glad to get means,
around
just wait
has your demo. That doesn't necessarily
in that time.
it
is
accomplishment but only the
that they're very busy
Two
remind them that they have your demo.
should have listened to
a great
it
cases.
mean he
of tapes to hear,
and
Don't get upset and demand
of it. Leaving a tape somewhere indefinitely
of the tape/CD. At
best, a
producer or publisher goes
through a box of demos in a couple of years, finds yours, and
calls
you. Don't think
it
hasn't happened.
After calling to
frame
to
check back.
make
a pest
when
to
THE CRAFT
sure they
You might
of myself, so
check back."
"
288
make
AND
BUSINESS OF
received
say,
I
sure call
you get
back in
SONGWRITING
it,
"Look,
I'd appreciate
Make
suggested
've
it
a
I
if
always ask them
know you
name
give you a date or time
are busy
you could give
a couple
to
and
me some
when you
I
don't want to
guideline about
back you can
say,
of weeks." Call back several times.
No
so that
call
one
in the
don't
music business
let it affect
Stay in touch.
someone
and
research
it
my
name
lists,
will
gets the grease,"
and you're
a
good
singer
jump out of my mouth.
won't happen. The lesson here
if
you don't remind them
Say "thank you!' If someone
is
will
be frustrating,
a cliche that remains true. If
it
have no time to
just talked to a
couple
haven't heard from you in a year, positively
someone has responded
remember you and what you're
will
given you her time, advice, or
(a boss or gatekeeper) has
organized, and taking care of business. If
what an impact
I
I
periodically.
another positive way to make contact,
It's
acknowledge the value of her contribution, and to
realize
I
no matter how
that
help in any way, drop her a "thank-you" card. to
is
know who
I
If
you and your music, never assume that people
to
doing
it
looking for a singer for a project "right now," and
get to
days ago, your
Though
for persistence.
your professional attitude on the phone.
"The squeaky wheel
me
calls
you
will ever fault
let
her
know
that you're appreciative,
you knew how seldom
this
was done, you'd
has.
Other Avenues If
you plan
artists,
own
logo,
and
letterhead.
Don't choose
makes
(Jojac for Joe Jackson). This
own
publisher (a writer only representing your invested in a writer
you it
it
believes in. Yes,
them
You
I
a
name
for
material) rather than a
you have your reflects
company who
believe in yourself, but
it
has
doesn't give
your songs to publishers, don't send
to pitch
letterhead. They'll
if
your company that
obvious that you're a "hip-pocket"
it
know you
you decide
that business edge here. If
on your publishing company
ing
companies, managers, producers, and
to record
you're being a publisher. You'll get through their doors easier
own company, your
your songs directly
to pitch
wonder why another publisher
is
send-
a song. (See "Self-Publishing," chapter eleven.)
can send your letterhead packages to record companies, producers, and managers.
Managers should not be overlooked because they process
on
not be deluged
Keep
a
are usually very close to the decision
selection of songs, direction of the artist, choice of producers, etc., as are record
demo and
company
lyric sheets
with you
an unexpected opportunity to give driver, recording engineer,
A&R and
it
to
and may
producers.
at all times.
You
someone such
never
know when
road manager, touring musician, friend, or anyone
access to the artist or the artist's official "team." Offer
you'll get
as the artist's hairdresser,
them
else
limo with
a sales incentive of a percentage
of the income on whatever song they are responsible for helping you place. (See "Negotiat-
ft^T
ing," chapter eleven.)
Always remember that
this
is
a "people" business.
ing your personal relationships, networking for
memberships for
in organizations that
As
new
in
most other
business, maintain-
contacts, taking advantage of your
can put you in touch with the industry, doing favors
Always remember that this
is
a "people"
business.
your colleagues, researching the trade magazines, and being ready to immediately take
advantage of opportunities are
all
things that will contribute to your success.
MARKETING YOURSELF AND YOUR SONGS
289
.
Survival Getting through the door involves continuously and consistently making contacts and being able to support yourself while you're doing as a
performer, don't assume you'll be making
and family
Get
to survive
it
it.
If you're a writer
"any day now" and borrow from friends
who
attending industry events, workshops, and clubs, and be able to afford
money Try
for
working
isn't
your big break comes.
till
day job so you can spend your evenings writing with others
a
who
it.
have day jobs,
You'll also need
demos, postage, and other songwriting expenses.
to get a job in
some
aspect of the industry.
It's
tough because everyone
else
wants
those jobs, too. Don't be afraid or too proud to start on the bottom rung. If you have
good typing or other
office skills, get
work with temporary employment
agencies that
specialize in the entertainment industry.
Dan
In
SIX
Kimpel's insightful book, Networking in the Music Business, he
WAYS TO GET A JOB
Be an intern for
1
IN
THE MUSIC BUSINESS
a label.
2.
Develop computer
3.
Apply for a mailroom position.
4.
Meet promotional representatives from the
5.
Write
level
who
skills; you'll
your employee potential
labels
on the
publicity
department and
they'll
soon have
Promotional jobs at record labels have a high turnover
add another one.
Beyond
basic
is
greatly enhanced.
local
about bands for magazines and newspapers
energetic, and great
I'll
find
and regional
can provide a bridge to their companies.
articles
meet the 6.
offers:
If
on the phone, apply to
you're what
computer
skills,
I
call
this
in
your area. You'll
clips of rate.
If
your writing.
you're optimistic,
department.
"cyber-savy," there's a lot of work for you.
companies are paying well for people who can con-
tribute to their online marketing plans.
Volunteer!
Do
volunteer
work
for songwriter or other industry organizations that
put you in action centers where you can keep in touch with what's going on. Volunteer to
work
in recording studios in
working volunteer
for a
tion
comes up, you
and
likes
just
exchange for studio time.
music company or songwriter organization, when
might be considered
your work. Whether you get a job
regular paycheck will preserve
comes along. There's
first
paid posi-
in the industry or not, the security
definitely an advantage to negotiating a deal
THE CRAFT AND BUSINESS OF SONGWRITING
a
because the boss already knows you
you from desperation and taking the
don't have to have the money.
290
If you're a dedicated, hard-
first
knowing
of a
deal that that
you
The Options of an Out-of-Towner The
best advice if you're serious
music center:
New
as a songwriter
about a career
The
York, Nashville, or Los Angeles.
to
is
move
next best advice
is
major
to a
move
to
to a
not-so-major but active music center. Periodically, places like Austin, Seattle, Minneapolis/
when
Boston, Chicago, and San Francisco get a burst of heat
St. Paul,
when
breaks nationally. Even
seem
they're not hot, these cities
spawned
may
area
local
producers and
have a characteristic music
also
based on what those particular producers have had success with. Find out
srvle
producers are and get their attention I
The
successful acts.
if
you migrate
to or live in
one of those
who
those
areas.
have a philosophy about what takes place to bring music industry attention to a
Networking and mutual support between
bands
local
two
to support a thriving live
music community. The recording scenes there tend to evolve around studios that have
a local act or
bring
will always
city.
more industry
attention to a scene than competition between bands. I've noticed through the years that
the scenes that always seem to explode are ones resources and help to
point
is
promote each
whose musicians share
What's
other.
A&R rep,
and maybe that
for example,
They're great!
What
work
says,
band
is
my friend's
good, too)
is
to
band.
that the
rep starts to feel the "buzz," the energy in the place, saying to himself and his
company, "Hey,
there's a real scene here
and we'd
everybody
late eighties
else
and
is
going to hear about
early nineties
was a scene
community' building of Sub Pop Records
and other bands. that there's not
When
it
on
better get
going to explode. There's a bunch of great bands here and here,
industry contact
comes out from LA.
"You've gotta see
begins to happen (assuming the other
and
there from an industry' stand-
Somebody makes an
interested in a band,
is
check the band out, and the band he came to see
A&R
at
record companies seeing a cluster of activity.
their contacts
it
we
if
because
this place
don't sign somebody
too and start signing them." Seattle in the
like that in great part
in Seattle,
who
due
to the
wisdom and
nurtured Nirvana, Soundgarden,
bands have a "small town" mentality of competition,
enough success
information to themselves or
around
to spread
to
it
signals
everybody and they need to keep
an advantage.
they'll lose
is
deadly!
It's
Anyway, back
to
business. If you stay in
publishers,
your
own
town, find out
if there are
booking agents, or radio programmers and DJs. Meet them and
what you're doing. Aside from
specific
programs that feature
won't give you airplay unless you have a record record promoters
This
is
a
any local recording studios, producers,
who
good way
to
you
will, in turn, refer
network from your
deal.
let
local talent, the radio
But they may
to the record
refer
you
them
anyway.
to the above. If your musical style
You may
be the breath of fresh
your bags for a reconnaissance
trip to
is
at
people
to local
companies they represent.
local scene to industry
people in the major
recording centers. If you're not a performer, have a hot local act record your pitch
them know
demos and a shot
odds with the
local focus, give
it
been looking
for. If not, start
packing
air they've
greener pastures.
"But," you say, "I have a good day job, a wife (or husband), and five kids, so relocating is
not exactly a practical solution. What's the next best thing?"
MARKETING YOURSELF AND YOUR SONGS
291
Try
a vacation trip
some
get
info
some
e-mail
Do some
first.
from your
online research, use the resources provided here, or
Try
you'll be in town. (See "In-Person Interviews,"
till
they
know
remember you
they'll
When
i
$k
When
you're far
away
from recording centers,
it
becomes
establish
identity by
way of your
much
it
contact
easier to
away from recording
you're far
up
call,
Maybe
or
when
for
that,
they don't want to meet
meet with them
in trying to
them from home
later.
Those
is
that
solid, in-
continue your long-distance relationship.
centers,
becomes more important that you
it
an identity by way of your correspondence, packaging, and graphics. Then, when
know (from
they get your package, they
room) whose
across the
(See "Successful
is.
it
Pitching Strategies," chapter eleven.)
more important that you establish an
when you
better
person contacts will make
set
page 281.) If you can't accomplish
The point
they like your material.
appointment
to get an
permission to send them some songs.
at least get their
you
you have one. Write,
local songwriters association if
publishers at your destination.
If you're
sending in tapes, send one or two songs
at a
time but send them more
frequently so people don't have time to forget you. Better to send a couple songs a
than to send several every
correspondence,
six
Another thing that works
packaging, and
be more accommodating
graphics.
and would
like to
months.
you
for
you
if
call
as
an out-of-towner
schedule an appointment.
by doing
in L.A.
the
It's
just that. There's a
of the
flip side
"No
matter
is
I
used to
me
tell
seem
that industry people
ahead and say you'll only be
appointments until a couple of them told day
month
in
town
few days
for a
how tough
writers
it
to
was
to get
they'd had four or five appointments in a
mystique about anyone from somewhere
how good you
are,
you
any respect
can't get
else.
your
in
own town" syndrome. Over the
years, I've seen
industry people in this way.
many
On
up long-term business
writers set
and not nurture those relationships because they
though they can do
feel as
Hit country writer Steve Seskin ("Daddy's Money," "Don't Laugh
San Francisco
area.
I
asked
everybody says you have to
and made sure he saw
lots
him once how he managed live there to
of people
thought he lived there. Let's face
much you want
and how
success
relationships with
the other hand, I've also seen in-towners get complacent
it,
make
it
work.
when he was
you
He
there,
are
any time.
lives in the
when
to get success in Nashville said
he went there often enough
and he figured people
no matter where you
persistent
at
it
Me")
are,
it
all
gets
about working for
down
actually to
how
it.
Marketing Your Lyrics The
situation for lyricists in the marketplace has
side,
know
it's
necessary for
you
that doesn't really
to collaborate to
sound
like a plus,
its
positives
As
a lyricist,
restrict
292
insist
on writing both
lyrics
you can develop your
if
you're a prolific
and music,
THE CRAFT AND BUSINESS OF SONGWRITING
in
lyricist,
number of
my experience,
lyric skills in a variety
yourself for marketing purposes, as
negatives.
On
the plus
have a suitable melody for your words.
but
collaborators represents an opportunity to produce a great
Those who
and
of
styles
I
finding several finished songs.
are rarely so prolific.
without needing to
do many writer/performers.
On to be
minus
the
side, its very difficult for
extraordinary
.in
And
no melody. There
a lyric with
Check with
material for them.
to get a staff-writing deal.
You
really
have
with some commercial success under your belt to get an
lyricist
exclusive staff-writing situation.
on
you
it's
virtually impossible to
are audiovisual firms that
local firms to see
what
make
a single-song deal
commission
their needs are,
write
lyricists to
and find additional
contacts listed in Songivriter's Market. So, outside of that, listed in
what can
a lyricist do?
Find collaborators. Along with the methods
chapter seven, "Collaboration," pay particular attention to political strategy. Find
who
cowriters
ahead
are further
collaborators to consider are
drawing great audiences
than you and
in their careers
new bands
Good
locally.
still
some industry
that are getting
and keyboard
lead singers
moving forward. Among attention or at least
players are usually
may need
considering because they're more likely to write exciting melodies that
who
exciting lyrics. Find other writers
who
are already
contacts with
on
staff at a publishing
such
artists,
as studio
worth
equally
are starting to get their songs recorded or those
company. Find
writers in strong positions to
musicians and recording engineers.
With
all
make
the above
you have the advantage of writing with people who could get good demos made
at a
reasonable cost, a big plus for you.
not available to you, look for skilled musicians in bands,
If those situations are just
college music departments, churches, theaters,
and so on.
If you speak another language fluently, gather samples
into the language. Contact publishers both here
spoken.
They can be found
Buyers Guide.
Make
The
for,
Caution:
and
Do
of your song translations from and
in the countries
in directories like Songivriter's
many
stores, schools,
not send your to
pay a
is
is
enormous.
potential cowriters as possible; enter lyric-writing contests;
you'll find that
poems" and ask you
where the language
Market and. Billboards International
Spanish-speaking market, for example,
contact with as
put notices in music looking
and
and magazines. Let everyone know what you're
your opportunities
lyrics to
fee to
companies
will
who
grow
quickly.
advertise in magazines for "song
have them write melodies to your
lyrics.
(See "Avoiding
the Songsharks," chapter eight.)
Organize Your Song Shopping If
you plan
on. You'll
to actively "plug"
want
own
your
songs,
it's
important to keep track of what's going
to act as professionally as the successful
pitching their writers' songs to
some of your same
music publishers
who
are out there
contacts. (See "Successful Pitching Strate-
whom your songs
gies"
and "Casting.") Develop a
list
of producers and recording
may
be appropriate. Keep a card
file
(5"x7" or larger index cards) or a computer database
on each of them
so that every time
what type of material they need of demos they
prefer,
you make
for the
contact,
artists for
you can note who
upcoming LP, where
file
they're producing,
they're recording,
what kind
whether they usually ask for a percentage of publishing, and so on.
you're also shopping for publishers, keep a similar card
file
for
If
them.
MARKETING YOURSELF AND YOUR SONGS
293
Here
are
good computer programs and more.
casting, contracts, forms,
inefficiency of
available for keeping track of songs, writers, contacts,
Go
to their sites
card systems doesn't quite
file
you
run software that gives
make
and check them out
sense
in detail.
The
anymore when computers can
the kind of comprehensive control over your business that
these programs do.
Songtracker.com
www.songtracker.com
Box 976, Simi
The
CA
Valley,
93062-0976
original, started in 1975.
SongTracker 3.0
studio owners, DJs, radio music directors,
PRO
SongTracker
3.0
is
artists,
list);
and
designed especially for music publishers, copyright
administrators, independent production companies,
record labels (about
designed for songwriters, musicians,
is
and film composers ($349
$2000
management,
legal
departments, and
list.).
Yeah Solutions www.yeahsolutions.com P.O. Box 163507, Austin,
347-9324
Tel.: (512)
TX
78716
Fax: (512)
USA
347-9325
Offers a high-end Music Publisher software suite for
Windows
only. Featuring
A&R,
Business Affairs, Copyright, Licensing, Royalties, and Subpublishing for approximately
$1,800 (2000
price).
Network Marketing www.musreview.com/musicdata.html P.O. Box 41635, Nashville, If
you want
download
to
to
TN 37204-1635 Tel.: (615) 599-5793 CD project, here's a series of databases that you can
promote your
your system. They say they update
over 13,700 stations; Distributors
daily.
—$79.95 1500
Radio Station Data Base
plus distributors; Retailers,
Stores— $89.95; 2000 plus Booking Agents— $79.95; 1600 plus
All
— $139.95 Book
Data Bases—
$269.95. Visit
www.johnbraheny.com
for updates
on
prices
and any new software packages and
prices.
The information you need 1.
Information on the
to gather regardless
artist
and information about personal
of your system:
should include vocal range, what
only." This information can be obtained from the producer, zines, tip sheets, radio
from the
and
TV
style
he or she prefers,
idiosyncrasies like "hates sexist songs" or "positive lyrics
interviews, or, if you're
consumer and trade maga-
one of the more fortunate ones,
artist personally.
2. It's also
smart to keep a record of personal items about the producer such
as
"plays golf," "anti-nuke activist," "just had a baby," "going to England in August,"
and so
294
forth.
This type of information
THE CRAFT AND BUSINESS OF SONGWRITING
is
useful in
all
businesses where personal contact
—
is
important.
up
set lets
a
when you
allows you an instant recap and reminder
It
call
someone or
meeting, gives you an idea for opening a conversation to break the
them know
that you're concerned about
many
of having good songs, though, since are best served
by
a brief
them
and
ice,
as people. It doesn't take the place
producers have
presentation of your material.
It
little
time for small talk and
can, however, create a better
climate for you to get feedback on your songs and help you develop as both writer and publisher. 3.
After every meeting or
phone
call,
"loved 'Don't Take That Away,' doesn't
keep if
the
demo
for future reference
hook was
make
notes regarding the outcome, such as
feel it's right for (artist's
— remind him," "didn't
like
'Do
stronger, rewrite," "will be producing (artist's
name) but wants It
to
Again' but maybe
name)
in
September
start writing."
up fde
4. Set
good idea
to
name of each song
folders with the
keep hard copies, even
Use one folder
if
you have
song (alphabetical by
for each
you're working on. (Yes,
a database if
title,
it is
a
you back up frequently.)
you have
Each
several songs).
folder will contain: •
Lyric sheet and/or lead sheets for that song. If
rewrites, •
mark them
If there are
numbers on •
letter
addresses of each cowriter
on
that song
AND their
(BMI, ASCAP, or SESAC).
any copublishers on that song, include
their
names, addresses, and phone
a page for reference.
Photocopies or printouts of any correspondence pertaining to that song.
you
respective •
affiliation
and
drafts
you don't send out the unfinished versions by mistake!
The names, phone numbers, and
performing rights •
accordingly, so
you keep your rough
receive
mentions more than one of your songs, make
a
photocopy
(If a
for each
file.)
Photocopies or printouts of any contracts that pertain to that song (for example,
a cowriter's agreement, a copublisher's agreement, an assignment of copyright agree-
ment) or any
legal
documents
that pertain to that song, so
ant surprises looming over your future about anyone
who
you don't have any unpleashas
ties to
your song without
your knowledge. •
The
copyright registration certificate (or the letter saying you've sent for
forms from other song protection •
The performing
it)
or any
services.
rights clearance
forms (BMI,
ASCAP,
or
SESAC) and any
corre-
spondence to or from them. •
Any
correspondence or forms from the Harry Fox Agency or other agency collecting
your mechanical
The
royalties (or reports
value of these
files
and cards
from the record company about
will
producers and are preparing for another
whether
it
was producer
X or Y who
become apparent
call
or
visit
after
these).
you've called about thirty
when you discover you can't remember
already passed
on the song you want
to present.
Aside from the obvious value in being able to keep track of what you have or haven't
done with
a song, this organizational process
is
psychologically valuable in helping you
MARKETING YOURSELF AND YOUR SONGS
295
.
view your songs
product in the marketplace.
as
by keeping you constantly involved
in pitching
It
takes a
little
of the edge off rejection
your songs on an ongoing basis to
many
Once more,
don't
industry people.
Keep your tape/CD copies forget to put your
and your
you
well labeled with the song
titles
on
each.
name, address, and phone number on the tape/CD, the
Have
lyric sheets.
everything ready so you don't need to delay
insert, the
box,
someone
asks
if
for a copy.
3"
to keep
some
(Personal Digital Assistant like
Palm
It's
also a
down any
good idea
info
you pick up "on the
X 5"
Pilot,
street."
cards or a small notebook with
Handspring,
The
etc.) at all
cards are better than
or matchbook covers because they don't get lost and are easier to
you pick up
tion act
who might
site
or service.
is
you or
PDA
times so you can jot
file.
little
scraps of paper
The
street
informa-
usually about who's recording
now, a new producer with an unknown
you the opportunity
on the ground
give
to get in
floor, or a valuable
Web
Showcasing own
Performing your is
yet another
way
songs on
showcases, either alone or in the context of a band,
live
them
to expose
for various purposes:
For feedback from an audience.
1
2.
For other songwriters
3.
To
4.
To
as a
way
to
network and find collaborators.
audition for record companies or other industry people (producers, managers,
publishers).
Most songs.
audition for booking agents and club owners to get live performing gigs.
regardless of
cities,
Though most
own
few of your
In most big
You
which ones
cities
don't always get
you may
the talent
and get the
money
showcases.
a
few original
you play predominantly contempo-
is
a
good way
to gauge audience
right away, but after they hear
them
a few
start to get requests.
somewhere
show up and
that are fairly loose.
They
are
play or prescheduled, organized events
have to audition for in advance. Talk to whoever's in charge of organizing real story so
drunks and a bartender If
it
there are "writers' nights"
informal gatherings where you just that
where you can play
over the course of an evening. This
reaction to your songs. times, you'll see
small, have a club
depending on the audience, you can usually get by with throwing
rary hits or standards, in a
how
professional club gigs require that
is
You
at
you don't sign up
late
and end up showcasing
for
two
3 A.M.
tight for you,
you may have
to
weigh the value of taking part
in these
will rarely, if ever, be paid for writers' night showcases. Occasionally a
club owner might split part of the admissions collected at the door with the performers,
but don't count on
somewhere
296
it.
If you're a
working band and you have
to showcase without pay, you're going to
THE CRAFT AND BUSINESS OF SONGWRITING
to give
up
want some assurance
a
paying gig
that
someone
—
worthwhile
will be listening.
be enough.
The deciding
It
you do
factor
it
just tor
run and performing experience, that
the degree of benefit you get out of
is
Established, well-publicized showcases in major music centers that regularly
industry people are always worth playing at (and attending regularly, even
Networking
plav).
a
the most important benefit of these showcases.
is
may
it.
if
draw
you don't
You not only have
chance to meet and be heard by industry pros, but meeting, hearing, and being heard
by other writers and
artists
can lead to an amazing
number of
career opportunities.
For example:
Someone
•
want them
or you
Someone
•
likes the
way you
to play
likes
sing
and wants you
on
to play
a
demo
or master session
on yours.
your songs,
lyrics,
or music and wants
you
them
to collaborate with
or vice versa. •
You make new
•
You
find out about resources, organizations,
•
You
get the gossip about local artists' recording sessions
friends
and become part of a mutual support group. and
services that can further
and other
your
career.
projects needing
material.
You
•
inspired
are inspired
and motivated by being around other
creative people
who
are being
and motivated.
The more people you
One
meet, the more possibilities open up for you.
person intro-
duces you to a few more who, in turn, introduce you to others. All these contacts increase
your odds of finding whatever you're looking companies,
If you're auditioning for record
original material.
A&R people are
do them
in a totally
to see if
you can throw
company
in a set
set.
Print handbills. If you're
pay
for
If you're
them (Good
who
sure the companies
a club that has a mailing
list
gig,
him
of
know what
hits unless
you
check with the owner
when you know
the
time you'll be doing
you've developed a snail-mail or e-mail
of appro-
list
should be invited.
working
luck!). Tell
working a "cover"
of predominantly originals to play
Hopefully, by now,
music industry people
imperative that you perform primarily
it's
not interested in the way you play the
Make
reps will be there.
your original priate
unique way.
for.
its
a regular gig at the club, try to get the you'll distribute
own.
together by having his patrons sign a
If not, try to get the club If they like you,
list.
owner
to help
them. Hopefully, you're working
owner
to
at
put one
they'll receive a notice
when
you're playing there again.
Consultant/author
your
Web
site
address
Tim Sweeney on
it.
Give
it
suggests that
one they usually use) to stamp people's hands out your
Web
If you're 1
.
Make
site once they get
you have
a rubber
stamp made with
to the doorperson at the club to use (instead of the as
they enter.
It
reminds people to check
home.
doing a one-shot, one-night showcase sure your appearance
is
listed
regularly scheduled "showcase night" that
on
at a club
you haven't played
before:
their mailer if the club has one. If
promotes
itself generically, it
may
it's
a
not mention
specific acts.
MARKETING YOURSELF AND YOUR SONGS
297
.
Check with
2.
who
the people
off well in their club.
Remember,
run the showcase for any they've seen lots of acts
win or
come
help you
tips that will
lose in their place,
and
that perspective can be very valuable to you. 3. If
you have
ments, amps,
a band,
make
sure the stage
big
is
enough
accommodate your
to
instru-
with enough room for whatever stage-movement you need to show
etc.,
yourself to best advantage. If there isn't enough room, look for another club. 4. If there
is
a
house P.A. system, talk to whoever runs
it.
sound person you work with regularly and the house system sound person
your person to work with the club's
sound system
If the club's riskier.
room with
acoustic properties of the
who
and played too loudly
for the
a record
there and
Make
5.
instrument
sure
7.
Make
9.
Know
10. If 1 1
a
tailor the
sound output
room. Volume must be tailored according to the
able to hear clean vocals
is
important, so
sound check
is
to
adequate. Will
ahead of time exactly
you need
a piano,
how much
make
sure
Be cooperative with everyone
work out
all
the problems
someone be running the
it's
time you can have for your
and
see
whom
stage.
looking
including the waitresses.
you or
telling
everyone you're
like
to
make
you want
for
lists
lights?
Make
sure
set
and
you
work
sets carefully,
as a
it.
It's
the difference tell
everyone
beforehand so you'll at the
know
door involving
of mind toward your group.
to be in a receptive state
just got off
policies
them. This will avoid a bad scene
matter what you decide to wear,
your
stick to
losers.
and guest
with some conscious thought about
No
14. Plan
your
to set
in tune.
at the club,
Talk with the owner about guest
13. Dress
on
start
any lighting cues you might need. Write them down.
what arrangements guests
size
are reflective or absorbent. If you're
they have a place to display your photos.
come and 12.
to the
sound person.
between your coming back to the club or not, between having the employees to
is
time for sound checks and performances.
sure the lighting
they're aware of if
sound out of the room.
it.
you have
Show up on
See
better for
it's
levels.
6.
8.
a
the house because they wouldn't listen to advice
company showcase, being
mix around
you have
the right E.Q. (treble/bass adjustments) and
and shape of the room and whether the walls doing
to get the best
adequate,
willing to accept advice from the club's
is
some good groups empty
I've seen
is
if
adequate and you bring in your own, the procedure
isn't
Your sound person should be someone who can
speaker placement and
Generally,
how you make
it
look individually or
considering the length of the if
very commercial material, begin and end with
it.
group
a calculated choice rather than
mechanic and didn't have time
should place your strongest material. Generally,
as a
set,
you have a potential If you're
to change.
pacing, and where you hit single or other
going to be the
last set,
put
strong material at the beginning of your performance. Record people frequently have
other places to go and are in a hurry to leave. If you play
298
THE CRAFT
AND
BUSINESS OF
SONGWRITING
less
commercial tunes
to
open
and think
you
you'll finish strong,
11
find
when you
hit the
heavy ones that your guests
have already gone. 1
Make sure
5.
If
some
all
information concerning the showcase
you're auditioning tor a club gig, most of the above
is
conveyed
list
to the
whole group.
will also apply;
but here are
additional questions to ask that will help you tailor your performance to the needs
or the club.
Top 40
What
does the club owner want? Classic rock and
with some originals?
Who
will
R&B,
all
Top 40
stuff,
be in the club's audience? Under eighteen?
A
drinking crowd?
singles' bar
Pick a club that wants the kind of music you enjoy playing or you're wasting your time.
The audience won't
make them
like
we do"
dig what
the audience better than
you and the gig
will get old very fast.
The
attitude "We'll
admirably ambitious, but chances are the owner knows
is
you do.
Contests Contests provide songwriters, singers, and bands with an opportunity for validation/ac-
knowledgment of their
talent as well as
Contests are created for
many
an opportunity to win
different reasons
and
it's
prizes.
important to be able to
whether or not you're wasting your money to submit material created to
make money, though
for example, to find a
competitions for a
there are always contests that spring
theme song
new
for an organization or a city.
national anthem, for instance.
music organizations use competitions to
open
to writers
The do
from
all
raise
Many
Most
at all.
up
contests are
for other reasons,
There have been
several
nonprofit songwriting and
operating funds. These contests are usually
over the world.
loftier reason, aside
from making money,
is
to find
and expose new
talent.
Seldom
contests translate directly into commercially successful record deals, hit songs, etc.
are,
assess
There
however, a wade range of potential benefits, depending on the scope of the contest.
The
long-defunct American Song Festival and Music City Song Festivals offered, by virtue
of their judging procedures, the benefit of being heard by being heard by several judges liked. After the contest
who
judges and of each song
could turn in the code numbers of songs
was over, the judge would be provided with a
she requested and their addresses and
phone numbers
request additional material. This benefit establish
many
was
list
the}' particularly
of the writers he/
so the judges could,
a valuable
door opener
for
on
many
their
own,
writers to
ongoing relationships with the music publisher and producer judges.
Beyond
prizes
and
validation,
one of the valuable
prizes
was that winners were provided
with more door-opening tools via the publicity they received
as contest winners.
This
could, in turn, be used for inclusion in query letters or e-mails to industry professionals
requesting permission to send tapes.
MARKETING YOURSELF AND YOUR SONGS
299
5
Submission Procedures Each competition
common
the following are
An
entry form
is
than one category). In nearly
before
all
cases,
to
its
own
submission requirements on the entry blank, but
all.
submitted with each song submitted out each form completely
Fill
acceptable to
is
it
some work,
yourself
you
will give
as
in
though
each category it
make photocopies of
there
(if
is
more
was the only one submitted.
To
the original form.
save
out the basic name/address/phone information on the original
fill
making the copies
so
you have
all
to
add
song
is
titles,
writer(s), if different,
and
categories.
A fee
required for each tape submitted in each category. Fees can range up to $ 1
is
more per song per
or
category. Entry fees are certainly justifiable.
promote and organize
a contest
of any kind. Advertising
defunct American Song Festival discovered,
it's
is
who
believe that, if
know
don't
just wasn't
entrants
someone
anything.
who
last
Some
must
and many other critics
tasks. In
a rip-off
as a
way
them up
that their song
cases, judges are also paid.
"you should never pay
and then give
for a publishing contract for
for a critique."
Nonsense!
from songsharks who would ask a
their
song
way
a rave review as a
which they would unscrupulously ask
to
for an
fee.
Songwriting competitions usually require one song per cassette to
and tracking of
A
and the judges
keep financial records; answer phone
to protect writers
writer to pay a small fee for a critique
heard, and
is
have actually advised writers not to pay a fee for submission to contests,
That philosophy originated
additional
year will
hire people to process entries, book, coordi-
sessions;
some
particularly if they get a critique because
set
last
good enough.
and supervise judges and judging
inquiries;
is
thing they'll allow themselves to believe
In addition to advertising, contests nate,
entered
didn't at least receive an honorable mention are likely to
didn't recognize their hit, the contest
The
not cheap to
new group of writers
automatically enter again. Each year they have to go after a whole last year's
is
not enough to just announce that the
deadlines are rolling around and assume that those songwriters
because
It
expensive and, as the now-
a song, eliminate confusion
make
lyric sheet
it
is
among
facilitate easy
judges regarding which song
coding is
to be
easier to re-que for the next judge.
usually requested to speed the judging process.
A
judge can listen to
and judge a song by
listening to a verse
remainder of the
Lyric sheets should always look as professional as possible, be neatly
lyric.
and chorus of the song while scanning the
typed with sections (verse/chorus/bridge) separated.
I
Many
Rules and Regulations competitions request that your
name not appear on
the tape or lyric sheet to avoid
the possibility of favoritism should the judge recognize the writer's name.
important, in those cases, for the writer or performer to completely
300
THE CRAFT
AND
BUSINESS OF
SONGWRITING
fill
It is
especially
out the submission
form so that the person
and
lyric sheet,
tape.
processing the tape can code the submission form, the
initially
Don't be too concerned about
your name, the contest
will black
out themselves. In
it
or lor
it
you don't eliminate
If
always a good idea to have
fact, it's
owner) on each
a proper copyright notice (® year, copyright
you send
though.
it,
lyric sheet
no matter where
what purpose.
Categories There
are great variations
between contests
in the areas
amateur and professional. Some contests
ings are
of categories.
on the division between amateur and professional songwriters with of making the distinction.
you
member of a performing
be a
that, to
on record. In
though
reality,
released, the organizations it is
likely to
happen
Another method enter
One method
member of BMI, ASCAP,
are a
is
it
may
is
to disqualify
SESAC
or
method
1992. This
importance
you
of methods
a variety
amateur category
in the
if
with the erroneous assumption being
rights organization,
you must have
impractical to belong
if
a
song released
you don't have
sign a writer if they feel he/she
talented
is
a record
enough
that
in the future.
is
that used
by the Billboard Song Contest
you have not averaged more than $5000 per year
if
The major group-
will rightfully place great
gives great latitude because
one can
in
which you can only
in songwriting royalties since
still
be an excellent professional
songwriter and not attain that goal.
Yet another method
is
that
one may not enter the amateur category
if
they've
had
a
song released on a recording before a certain date, usually the deadline date. This method has caused great problems, at times requiring notarized affidavits as proof and delaying the final disposition of prizes based still,
probably, the fairest
Your to take
best strategy, if
you
way
you
on objections of amateur
entrants.
However,
this
is
to divide categories.
feel
you
are
an exceptional
writer,
is
into the professional category, but without breaking
not to allow your ego
any
rules, to stay in the
amateur group. Stylistic categories,
though more
fair for
obvious reasons, are problematic mostly
because amateur songwriters in particular often have difficulty distinguishing pop from
R&B
or rock, country
from
folk, etc.
They
categories just to be safe or risk entering
having
it
choice.
The
eliminated, not because
can afford
best approach
it,
is
after getting as
it's
to play
much
either enter the
same songs
in several
one song in an inappropriate category and
not a quality song but because of a poor category it
safe
by entering more than one category,
feedback
as
you can from fellow
writers
and
if
you
friends
on the most appropriate category.
Some of
the criteria to consider in
process of elimination, which, in fact, instructive to
making the choice of songs is
involved in the judging as well. So
come from the viewpoint of a judge
preclude a song being a winner even though
Here
to enter involves a
it
who knows
may
it
may
be
that certain factors will
receive an honorable mention.
are a few:
MARKETING YOURSELF AND YOUR SONGS
301
..
1
A song without
2.
The
3.
Cliched
doesn't appear in the chorus or
title
4. Little
a chorus first
or
last line
of the verse.
lyrics
or no melodic contrast between verses, chorus, and bridge
Along with those
factors that will
another factor that will enhance
its
immediately eliminate a song from competition,
chances of staying in the race
is
a
well-produced demo.
This doesn't mean spending $500 to $1000 in a state-of-the-art studio.
your singer should be convincing. (Don't sing
The sound should be
it.).
clean,
it
yourself
and the tape copy
if
It
does
mean
that
you're not the best singer for
clean.
Prizes You
money
the
your decision whether or not to enter a competition on the lure of
will partially base
overall
or hardware offered to winners. Customarily, a grand prize
winner and
first,
second, third, and
more
may
In addition, honorable mention certificates
deserved special consideration but didn't
make
awarded
prizes
is
awarded
to an
in each stylistic category.
be awarded to songs that judges
felt
the finals.
Cautions
A
history of take-the-money-and-run contests
some
for
distinguishing factors that help
makes
it
you recognize
important to be on the lookout
legitimate contests.
Here
are
some
things to look for: If a contest has
1
provide you with a 2. If
been
list
in operation for
more than
a year, they should be willing to
of previous winners.
they offer you merchandise prizes, they should be able to prove to you that they
have either purchased them or with an affidavit from the manufacturer that the merchan-
been donated. Note: Most manufacturers no longer directly donate equipment,
dise has
but
may work
in conjunction
in consideration 3. If the is
contests will
may
once a contest 4.
The
Web
to
make
it
only be distributed to winners.
money with
the honest
exceed the prize amount by enough to cover
gamble because
a
music store
available to the contest
contest offers a cash prize, they should be able to offer proof that the
to promise prize
is
local
of publicity.
an escrow account that
in
with a
it is
fails
hope all
A common
money
that
received from entries
expenses and profit.
expensive to get enough publicity to insure that
to provide prizes
on
time,
its
money
downfall of
many
A
very risky
entries,
and
reputation has been destroyed.
individuals responsible for the contest should be listed in the advertising or
site
and there should be an address
(street
on
number) and phone number where they
can be reached. 5.
The
contest officers, owners, representatives, judges,
and
their families
should be
ineligible to enter the contest. 6. Prize
302
THE CRAFT
schedules and amounts as well as entry deadlines, deadlines for notification
AND
BUSINESS OF
SONGWRITING
of winners and awarding of contest's
Web
prizes
in
listed
on the application and the
deadline becomes impossible to meet, a predetermined process
site. If a
for notifying contestants should be 7.
should be clearly
implemented.
New deadlines
must be
clearly stated.
Judges of the contest should be music industry professionals with proven experience
judging and critiquing songs and, hopefully, in a position to further your career. 8.
fact,
Don't enter contests
in
which your entry becomes the property of the
look for a phrase that specifically says that
have the right to play the song, print
Your
purposes.
it,
career benefits directly
it
doesn't.
or use your
contest. In
However, the contest should
name and photo
from that publicity and
is
promotional
for
one of the unstated
wj>» Don't enter contests in
which your entry
becomes the property
prizes "for a winner.
of the contest.
There
another caution related to ownership of your entry or winning song. Every
is
year there are at least two or three individuals business and think that a great
new way
who want
to get into the
and finance
to find songs
have a contest and offer the winner a publishing contract. Sometimes
company and
their first recording artist will sing
these contests for 1.
If
imagine
you is
two main
believe in the
2.
they'll
form
is
to
a record
your song. Savvy writers don't enter
reasons:
commercial potential of your songs, the worst "prize" you can
that your song will be
publisher whose only
music publishing
their businesses
owned by an
means of financing
a
inexperienced and unconnected
company and
finding songs
Legitimate publishers never charge you to screen your songs.
It is
is
new
to hold a contest.
part of the business
of a music publisher to find material and convince the writer that he can represent your
song better than anyone
would want say the
least.
to publish
else.
So to
set
themselves up as someone
your songs, without
who you
"automatically"
a track record or connections,
Frankly, under certain circumstances there
may
be writers
is
who
arrogant, to
should not
even sign with well-established major publishers because, in their individual circumstances, it
may not
be in their best
interest.
Finding Contests There •
are
well-established sources for info about contests:
Jeff Mallett's Songwriter Site www.lyricist.com
One
Among •
some
of the best sources, which always has a
comprehensive
fairly
list
of contests.
the established and reputable contests are:
The Unisong
International
Song Contest
www.unisong.com •
The
Billboard Song Contest
www.billboard.com/songcontest •
The John Lennon Song Contest www.jlsc.com
MARKETING YOURSELF AND YOUR SONGS
303
.
The Mid
•
Atlantic Songwriters Contest
www.saw.org/sawa.htm
USA
•
Songwriting Competition
www.songwriting.net
Web
Sites
If you're a songwriter If you
check
and not an
artist/band, having a
the Net, you'll find relatively few.
Here
Web site may not be worth the trouble. some
are
pros and cons to weigh.
Pros 1
If
you want
a place for people to listen to your songs,
be able to give someone a card with your
Web
address
can work
it
on
fine. It's nice to
where they can get your
it
personal information. 2. If
you have
link to their 3. If
you have
rators to telling
your
you
5.
give
site to
hear what you do.
site
it's
It
site,
and you
the writer.
your
site,
too.
convenient to be able to send potential collabo-
saves time
and the emotional
what you're doing and could bring people
stress
to
of someone
you who do
like
though you may never have met.
(or lyrics), even
A Web you
know more about
like to
collaborators, those writers can send people to
they're not into
your music
might
fans
looking for collaborators,
4. If you're
demos, they're featured on your
great singers doing your
sites, their
can create an incentive to write, particularly
a push. Promise to have a
new song
posted on your
if
you need deadlines
site
every
to
week or every
other week. Failure will produce incredible pangs of guilt, which, depending on your
upbringing, can be a great motivator.
Cons
URL (Web
good
at
graphic design, want to invest in the software, and want to take the time to build
it
cost about
1. It'll
yourself,
go
If you're
good
for
it.
$70 per year
to register
your
Otherwise, you'll need to hire someone to build and maintain the
at learning
from manuals, you can, without a
html (hyper-text markup language) and maintain your updating your
want
to add,
site,
and
other compatible 2. Just
ally unless if
work
sites
it's
and making sure
that way.
it
doesn't
it's
searchable by
mean anyone
Most of the people who
you have the time
to invest in a
site.
lyrics
all
site.
of difficulty, learn to write
This involves periodically
and any personal it
by
info
you
actively linking to
the search engines.
will automatically
want
will visit are those you'll
to visit. It
send person-
promotional campaign. This might make sense
everybody already knows about you and wants to
Warren (www.realsongs.com), and
know what
you're up
to. If
you're an
songwriter just trying to get people to notice you, there are probably better
options. (See "Online Pitch Services," in this chapter.)
304
lot
important to you, to promote
you're a writer who's very successful, like Diane
unknown
own
uploading samples of your songs and
to the extent
because you build
just doesn't
address). If you're
THE CRAFT AND BUSINESS OF SONGWRITING
you do decide
It
audio
demos
or great
files
Web
to create a
of
your songs on
coming back, assuming your songs
To make it
it
more
you
My
like.
good enough
are
talk about what's going on in your
or other writers
a fairly regular basis,
you can keep people
make people want to come
to
whenever you post a new song, write
interesting,
why and how you wrote
explaining
you're a prolific songwriter, and you can upload
site,
it.
life,
Make
it
a piece to
a kind of songwriter's diary,
what you do
to
back.
go with
where you
promote your songs, what songs
favorite sites of songwriters contain this kind of diary
information. you're a writer/artist or band, there are
If
more
benefits:
1.
Fans can keep track of when and where you're performing.
2.
You can
•
samples of your recordings
post:
and audio
•
interviews, both text
•
video clips
•
photos of the band in action bios of
•
band members
You can communicate with your
3.
one of your biggest
tion could be
Promote
The con time and
assets in building
and
contests, events,
Regardless of
all
to
make
that,
it
work
feel that
I
hats, etc.)
offer free recordings for special fans.
side for artists includes
money
Web site. This communica-
your fan base.
of your records and merchandise (T-shirts,
4. Sales 5.
fans via e-mail via your
for
all
those mentioned above for songwriters.
you and take advantage of all the
those benefits to your career can
benefits
it
It
takes
provides.
more than make up
for
the work. I
feel it's
beyond the scope of
this
book
Web
site.
topic
much more justice than
itself
becomes the most expedient way
topic.
There are a
lot
I
could.
The changing technology
market your music,
like
www.johnbraheny.com (See the
Appendix
to get into
of great books and other
also
how
Web
to build
sites
The technology advances so to research the latest
makes possible new and
some of those mentioned
and promote your
out there that can do the quickly that the Internet
books and
sites
about the
efficient services to help
in this chapter. Visit
my Web
you site,
to keep up to date.
for a
list
of great songwriters' information
Web
sites.)
MARKETING YOURSELF AND YOUR SONGS
305
.
chapter fou rtee n
Additional Markets
Good songs have many
different markets.
terms of commercial radio, your
With friend of
a
little
a
song about
lovers.
He
also sells a version suitable for
it,
his
dog
it.
It
was
The
following are
at each,
seem
ro think in
some
"Who would
and resources
and paid him.
He
interested in
still
makes
and he knew
be?"
more of an in-depth
additional markets to be aware of. For
for up-to-date articles
it
magazine.
in the
would never have been
check the Bibliography for recommended books and
www.johnbraheny.com,
A
that expressed the sentiments of a lot of
framing via an ad
a song a publisher
so he took that extra step and asked himself,
look
writers
sent the lyric to a magazine devoted to dogs; they printed
dog
money from
Though most
can be used in a variety of ways.
imagination, you can market even your most "off-the-wall" efforts.
mine once wrote
He
skills
in
all
visit
my Web
site,
these areas.
Film and Television Film and
television,
tant in recent years.
though always important
The
success of
TV
users of music, have
become even more impor-
shows featuring popular contemporary music and
youth-market films that spawn million-seller soundtrack albums have combined to leave no
doubt among film and
television producers
That awareness has prompted them
of the commercial power of contemporary music.
to hire, or contract
on
a project basis,
music coordinators
and music supervisors with record company and music publishing experience
to
make
sure
they get the best contemporary composers and songwriters for their projects.
The two major 1
of music usage
areas
2. the
song written
Songs
will either
TV are:
be pre-existing songs/and recordings or a song written and recorded
as "source
They
are either "featured" (used
music" you hear coming from a radio,
the screen.
306
and
for a film
specifically for the film.
used
in film
the background music score (also called underscore)
THE CRAFT
AND
BUSINESS OF
SONGWRITING
prominendy
in strategic places) or
stereo, jukebox, or other source
on
Skills
I
If
vour goal
know how
is
to
do instrumental scoring and themes, you're ahead of the game and
to arrange
current synthesizer,
orchestrate.
also pays to
It
MIDI, music composing and sequencing
technology. Keyboard players have an advantage allows a is
composer
to create
kevboard-oriented.
The
and record a
and
formed, produced) for as in the fastest
demanding of skill,
all
discipline,
a finished
who
have the greatest
product (composed, per-
Those who can do
as possible.
time can quote them the best
prices.
TV
the jobs in this area are the weekly
The
with the
it
least
best-paying, but most
which require technical
series,
^L The best opportunities are available to those
who have
is
a successful scorer
and songwriter
for
both film and TV.
variety of skills
producers want a finished product for as
describes the pressure of film scoring.
little
Typically, a film starts out allowing about six weeks to
hour-long film.
Then
up
then another week
for the job,
it
takes a
three to four weeks at the (to the film).
Then
the greatest
because film and TV
and speed.
Richard "Koz" Kosinski
He
amount of the music simultaneously
TV producers want
money
little
and recording
software,
because the technology that
best opportunities are available to those
variety of skills because film
manpower
in this area
substantial
you
if
have a good working knowledge of
most
week
to choose a
work on
to
composer from maybe the contracts.
and sound
been booked
effects are
for, say,
an
who
are
six
mixed
and
of projects booked in there afterwards, so
if
you don't make
it,
transfer
to the film at
months ahead of time. There
six
possible.
So you might have
to write, arrange, produce, record, mix,
the music, dialogue,
a soundstage studio that has
do the music
money as
are a lot
you're in deep
trouble.
With TV,
Sometimes
too.
Koz and is
especially cartoons
for a
I'll
work
thirty-six
a partner usually
is
it's
almost
all
music,
hours at a stretch. This
do the complete score
digitally.
is
The
it's
a rough situation,
a crazy job.
other
method of scoring
copyist to write out the complete score
composer, arranger, and
"live" in the studio. This
where
sometimes
a faster
method, but the pressure
and record
is still
it
great.
Learning Colleges and universities with film and
TV
departments offer the best opportunities to
learn the craft of scoring. In the
major film and
there are excellent classes taught
by professional
ence with a tional,
minimum
TV centers (Los Angeles, in particular), film and TV composers. To gain experi-
of pressure, there are also opportunities to score industrial, educa-
student films, and cable shows
if
you're competent and aggressive. Find out about
student films by finding your closest college or university film department
your
credits, skills,
your
local cable
and
availability
TV station
on the department
and find out
if
and posting
bulletin board. For cable shows, visit
there are any local programs that use different
music on each show or new shows being produced that may need theme music. Cable "public access" shows are low-budget shows created by
local entrepreneurs using
ADDITIONAL MARKETS
307
production interns. They
companies' agreements to provide community
satisfy the cable
access.
You won't make much money on
few of
these,
done
these projects, but by the time you've
you should have an impressive demo
CD
reel or reels (a tape or
a
containing
samples of your work).
Whenever you
finish a job, transfer the highlights to a videotape that
an audition for your next project. Since, in scoring, to
have music, you'll best demonstrate your
demonstrate your
ability to "spot"
know where
important to
as
it's
you can use
by presenting a video demo
taste
as
not
that can
(determine the appropriate music for the appropriate
spots in the film).
Finding You may
assistants
who
move
is
as
enough
successful
a great
way
to get
and
show
has
own
its
where
it
more
to yet
to score several series often hire
engineers. If you have those
skills,
TV
in
network on which the show
is
always ask for that specific show.
office, so
you've acquired enough credits to interest a film and
into another strata
you on
will turn
hands-on experience. Most professionals work
and can be found through the
studios
broadcast. Each
As soon
and admirers along the way who
are orchestrators, arrangers, copyists,
for a pro
own
their
friends
Those who become
lucrative jobs.
working
Work
win
also
TV music
agent,
you
gets easier to gain access to the big opportunities.
Songwriters have several ways to
make
contact.
who
has a music director or music supervisor
is
Each of the major film and
TV studios and film
the liaison with songwriters
composers. Most prefer to deal with established writers, agents, music publishers, or record
companies, but "open door" policies nators
exist at
and supervisors who deal with film
can't afford not to try
them
A
temporarily to establish a songs). If they use
you
will give
is
to present
leads
on what
your songs to the music
mood
it
with a current
the rights to use the hit in the film
of the most
them
as
or set a dance
"temp
common
hit.
tracks"
right
(i.e.,
and
hit songwriters.
reject the offer
strategies
But
the release schedule of the film artist, or, in
the end, the film
may
may
not
title
song.
go wrong. The
feel that
A
hit
song
they'll
on
to negotiate
artist
in a film
look
first
or record
the film will help the
able to afford the
can
for hit
company
artist's career,
conflict with the release of other product
company may not be
THE CRAFT AND BUSINESS OF SONGWRITING
a final decision
of film producers in obtaining soundtrack songs
company can be running out of time (and money) without
308
songs used in scenes
However, they may not be able
several things can
because they
and
tempo and groove, they may
be a major marketing tool for both the record and the film, so
may
films are casting,
and may end up using yours.
to find a major recording artist to sing at least the
artists
but you
editors, producers,
tempo before making
one of your songs that has the
ultimately want to replace
One
accessible,
and currently shooting.
backdoor approach
directors of specific films so they can use
is
more
projects are generally
coordi-
all.
Reading Variety and Hollywood Reporter in preproduction,
some companies. Independent music
artist.
from the
The
film
finding that major song and
major
sing
artist to
repeatedly (even
belongs there.
Ir
it
it.
With your "temp
track" approach, after hearing your song used
"temporarily"), the editor and director
other strategies
happens predominantly
begin to
through, you're already in position.
rail
mid-
in
may
to low-budget
reel as
it
The above scenario
Major big-budget
films.
though
film producers
don't leave anything to chance. There are so few great film vehicles compared to publishers will even split the copyright to a song as an investment in
what
TV
that
a successful
film could generate in royalties.
important to be aware that the decision-making politics in filmmaking
It's
extremely
cases,
vie for decision
"know what
producers, directors,
erratic. Financial backers,
are, in
stars, agents,
and others
power. These are most often people with no musical background
they like" or "I have a
nephew who's
both a blessing and a curse.
One day
Or
good and
vice versa. If your
song
is
a songwriter," a situation that
you've got a song in a film, the next day is
most
who
can be
it's
out.
perceived that day to be appropriate (or you are
the "nephew"), you've got a shot.
On
the subject of appropriateness, writers often feel that
Wrong.
the story of the film.
tell
The music If
tion
TV, look
to write for
for
better to express the
TV series
the luxury of "researching" while
company and music
SESAC
desirable for their song to
emotion of the scene.
shouldn't compete with the visuals, but complement and support them.
you want
You have
much
It's
it's
you watch
supervisor. Film
can also help, but
I
that use lots of new,
and
TV
songs.
TV since the credits list the produc-
representatives at
Web
suggest going to their
unknown
sites to get as
BMI, ASCAP, and
much
information
How You Get in film
it's
feel
that
desirable for their
song to tell the story of the film. Wrong.
It's
much better to express the emotion of
What You Can Earn
Paid and
TV ranges
and
from ridiculously bad
on your bargaining power and the budgets of the from your
Writers often
the scene.
as possible first.
The pay
teg:
talent, skill, speed,
and your past
to incredibly
projects.
credits.
good based,
as usual,
Your bargaining power comes
For already existing songs, synchroni-
TV production company by the copyright owner But film and TV producers usually want to own
zation licenses are granted to the film or (publisher)
and
are totally negotiable.
the publishing rights to your song. In cases specifically for the project, they
want
it
where they pay you
to be a
"work
to write a
for hire" so they'll
song or score
own
it
outright.
Either way, you'll probably get an advance, retain 50 percent of the performance royalties
from
airplay,
50 percent of the mechanicals
fully writer credit
on
screen. For
for series that play every royalties
from
BMI
or
week
ASCAP
TV,
or,
the biggest
theatrical
income comes from themes and
scores
every time they're shown. You'll hope the shows go into
regarding proper reporting procedures.
on American
soundtrack album, and hope-
even better, every night. You'll receive performance
syndication so you'll continue to get paid.
royalties
if it gets into a
Check with your performing
The performing
rights organization
rights organizations
do not pay
performances for films, but will collect from their foreign
counterparts for theatrical performances in those countries. In the United States, perform-
ance royalties are paid
if
the film
is
shown on
television.
ADDITIONAL MARKETS
309
.
If you're offered a contract to
of an entertainment attorney
have a song in a film or to score a film, get the advice
who
specializes in film
publish, you'll hopefully have an administrator
son
who
Picture Soundtrack Songwriting
"Motion
Business
as this
and Legal Guide
(see Bibliography),
will
do
a
is
complex
company, and
a publisher, they'll negotiate with the production
you have
In
and TV,
area. If
you
if
self-
it.
and Performing" from The Musician's
Mark Halloran
(a
founding partner
at Erick-
& Halloran law firm and former vice president of Feature Business Affairs at Universal and Thomas A. White
Pictures)
(a business affairs advisor in the
record and music publish-
ing industries) give the following picture of writer royalties for a chart-oriented single
from
by a writer/artist/producer. The information was gathered
a film
Let's
assume you make a deal
ducer who writes a
at
in
2001.
Paramount. You are a writer/performer/pro-
song and records a
title
song master. You are paid
$25,000 for the song and $25,000 to record.
You
retain the writer's share, but
Paramount
title
retains the publisher's share.
prorated, on CDs, and picture
is
9% on
singles.
You receive a royalty of 2% 1
Your master
is
three minutes long. The
a blockbuster. Your single sells 1,000,000 copies
750,000 foreign, and hits
number one on
Billboard's
in
the United States,
Hot 100 Pop Chart. The
soundtrack CD, on which you have one of the ten cuts,
sells
the United States and 375,000 copies overseas. Exhibit
3 gives
what your earnings might
retail U.S.,
500,000 copies
in
you an idea of
be.
Exhibit 3
ROUGH INCOME SUMMARY The following rough income summary is designed to rather than to provide exact figures (although
alert
you to sources of income
we have done our
best to be
accurate). A. Writer 1
Writing Fee (nonrecoupable)
2.
Song Synchronization License for Film
3.
Performance Income (worldwide) (a)
From
(ii)
in
Theaters
Foreign
$20,000
(b)
Radio Performances
(c)
Home
(d)
Pay
(e)
(iii)
AND
1
Video *
TV
U.S.
(ii)
$ 00,000
TV
Free (i)
THE CRAFT
Film
United States
(i)
310
$25,000
Network TV (two
U.S. Syndicated
TV
Foreign
BUSINESS OF
$3,000
runs)
(two runs
1
50 stations)
$600 $5,000
SONGWRITING
4.
Sheet Music (40,000 copies
5.
Mechanicals (a)
United States (i)
(ii)
(b)
A
3 (
cents/copy)
1
$4,000
statutory)
(1,000,000x2.831 cents)
Single (A-side only)
CD
@
$28,310
(500,000x2.831 cents)
$14,155
(750.000X3.00 cents)
$22,500
Foreign (i)
(ii)
Single
CD
(375,000x3.00 cents)
$11,250 Total
B.
$233,815
Recording Artist 1.
Recording Fee (nonrecoupable)
2.
Master License for Film
3.
United States Record Sales
4.
(a)
Singles (one song)
(b)
CDs
(
1
$25,000
,000,000 copies)
$76,500
(500,000 copies)
$49,401
Foreign Record Sales (a)
Singles (750,000 copies)
$47,812
(b)
CDs
$27,225
(375,000 copies)
Less Soundtrack Conversion Costs
($3,000)
$222,938
Total * Figures presently unavailable.
I
highly
recommend reading The Musician
in-depth information, there
and
's
Business
and Legal
Guide. For additional
an excellent excerpt online regarding the business of film
is
TV from Todd Brabec and Jeffrey Brabec's book, Music, Money & Success at www.asca
p.com/filmtv/filmtv.html.
Commercial Here's
I
recommend
reading their book.
Jingles
some background on
creativity
also highly
the
making of commercial
and composing and production
skills,
jingles
needed by
and the
a jingle
qualities,
beyond
music producer
to be
successful.
To
air a single
thirty-second commercial
on
a prime-time
cost a client (sponsor) over $500,000. That's just to for the time
and
effort to create
it.
network
TV hit
show may
pay for the airtime alloted to
who make
that kind of invest-
ment. There are advertising agencies with multimillion-dollar-a-year clients without
would not
exist.
not
This explains the tremendous responsibility ad agencies
have to deliver commercials that bring results to the clients
those agencies
it,
whom
This explains the legendary paranoia of ulcer- ridden adver-
tising executives. It also explains
why
it's
so difficult for beginners to get into the business
of making music for commercials. Like the old Catch-22, "If you're not already successful,
how do we know you
can do the job?"
ADDITIONAL MARKETS
311
With sounds
the stakes so high, ad agencies can't afford to gamble. If they choose music that
than professional and appropriate, they
less
risk losing
an account and their jobs.
So a composer must not only understand the advertising medium and be thoroughly professional, but
a kind of psychologist, instilling confidence in his abilities
must be
making agency personnel As really
a composer, vour
feel
So you need
to
secure in their musical choices.
may be compounded by
problems
understand music and
may
become adept
He
only softer." (Translation:
You
know your
what
Where do
they
also learn to
are their needs as a group?
that sounds sort
What
style
them
— they
already accept that you
mix demographics into your music. In other
How old
How much
live?
request a
important that you keep current. Avoid using technical
words, you must target the audience. already buy?
want something
or song ("I
artist
like Metallica,
He may
wants high energy but low volume.)
don't have to impress
You must
business.
want something
at translating lines like, "I
last single"). It's
or musical terminology.
the fact that few ad agency people
not have the language to convey their needs to you.
musical style in terms of a particular
of like Madonna's
and
What do
are they?
disposable income
What do
they like?
do they have? In
they
general,
of music appeals to them? Those are some of
the questions agency personnel will be able to answer. They'll usually have a storyboard
already
worked out
—
script depicting the
comic book)
a series of drawings (like a
way they
—
or an animated
commercial from beginning
see the
computer
Each section
to end.
is
timed.
They may
be able to give you a script so you can get a
also
content of the scene and perhaps a is
lyric
or slogan to
work from.
(If you're lucky, the lyric
seldom have the opportunity to create the
actually singable.) You'll
the emotional
feel for
lyric yourself,
be creating an "underscore" (instrumental background), music for the
will
lyric,
or
but
some
of each.
You and
several other producers will usually
for the client. Usually you'll ally you'll
get
be given a minimal budget to cover
demo
costs,
but occasion-
be asked to do the demos on spec (your money). Synth demos are usually not
maximum
hard to put together for a quickly.
be asked to come up with demos to play
It's
a
good idea
something they
like,
to
sixty-second spot and not hard to adapt and change
come up with more than one
you can
just embellish the tracks
to give
you have
them
a choice. If
you
for the final recording.
Ad agencies prefer to do business with music people with whom they have good rapport, who
are professional,
who
understand their needs, and
or better price than anyone
else.
They
who
also like to deal
and even charismatic, because they can depend on them dollar clients.
won't do to have the
hired
done
at that level.
A
you have
client
to apologize for
He wants
come
your bad
the client to love
great personality will never substitute for
at least,
312
It
who
it
can provide a competitive edge.
THE CRAFT AND BUSINESS OF SONGWRITING
to
deliver the
with people
goods
who
at
an equal
are personable
to impress the multimillion-
your session and have the ad executive
attitude. That's not the
way
you and compliment him on
competence
in this business,
his
business
good
but in
is
taste.
this case,
The Audition Demo Because the competition
your
skill
and
more than
versatility
five
commercials
in is
them. If not, don't be intimidated.
for fresh ideas a
create
it,
both vocal
jingles for
If
first
insert,
you have a
on not
new
talent because
style gets old.
Agencies look
styles, particularly for
on the demo.
Do
youth-market products. Put
a piece
of atmospheric background
like a pro. Print
forget your address,
Many
different styles.
in the jingle.
commercials only
Create a couple of evocative jingles life
some
CD
and
in general. Print a label
credits or other self-promotion
phone number, e-mail
address,
and
Web site.
devoted to your business, with samples of other commercials you've
site
done, you're ahead of the game; but you also want them to have an actual
Rom
shows
that
you've already got legitimate credits, include
some emotional comment on
and don't
demo
ten pieces of music
imaginary products, show them some different moods in
with your logo so you'll look
insert
more than
agencies are always looking for
on screen and not
lyrics that express
on the
If
and instrumentals, and some
jingles
identify the product
with
The
and very contemporary
some
heavy, having a first-rate
few years, get too expensive and their
after a
sample of whatever you do best
on
CD.
minutes of tape or
some composers,
is
essential. Collect not
CD
or videotape) with the actual commercial and resume that they can keep
(or
on
CD-
file
and
put their hands on quickly.
Making Contact Everyone
I
talk to in the jingle business
started out as singers
got started
when an
on
jingle sessions,
in a different way.
it
Some
arrangers. Personally,
advertising executive in Montreal heard an electronic music cut
my album and called me in L.A. After doing that and a couple jobs.
seems to have entered
some were musicians and
to see if I'd
more
do something
for that agency,
I
like
for a
it
I
on
Toyota commercial.
systematically started pursuing jingle
secured a copy of The Standard Directory ofAdvertising Agencies (available at most
I
libraries). It's also called the
bl0178.html) and
it lists all
"Red Book"
(http://library.diaIog.com/bluesheets/html/
the ad agencies, their clients,
and who
to contact at the local
offices.
These people,
called "creative directors," are the ones
creative talent for the "spots," including actors
and
I
and choose the
screen
actresses, locations, film
companies, and jingle music composers and producers. that
who
I
production
called every agency in Los Angeles
produced commercials for radio and TV. (Some were print only.) The
first
question
asked was whether they ever used or were open to using original music in their spots.
Some
replied that they only used "library"
After locating the ones
ments to meet the
artist,
to hear
(see
"Production Music Libraries," in
they bought inexpensively by the minute.
this chapter) that
and eager
music
who
at least
creative directors or their assistants,
something new.
coproduced
used original music occasionally,
my own
national network spots.
(I
who were
in
most
My presentation included the info that
made appoint-
I
cases quite I
was
open
a recording
album, and had already composed and produced music for
brought copies to
play.) I'd never
been good
at
promoting
ADDITIONAL MARKETS
313
.
myself, but, in advertising,
The competition
f^fr In advertising,
it is
any
to go in with
all
your
don't
fierce! I
know how
you
card to thank
them
On
for their time.
1
competition
2. their clients (always subject to
fierce!
your credits blazing.
would have been
if I
hadn't had
get a meeting, take copies of your audiovisuals. After the meeting, send a
credits blazing. The is
eager they
all
credits.
When
absolutely necessary
is
absolutely necessary to go in with
it is
3.
who you met
4. their 5.
keep track
a file card or database,
of:
their contact information
names of
the
presentation
and
their secretaries
and time
You'll probably
make
there
comments on your
6. a date
change)
make
assistants
back (Ask them before you leave the meeting.)
to call
several calls before
friends with the secretary or assistants,
you
who
talk to
your main contact, but
also will be able to give
information on upcoming projects. Continue to update your data noting the date. All this
important because
is
your
after
first
file
you'll
you valuable
every time you
call,
twenty appointments (or
sooner), you'll start to lose track of who's where.
You're
them
known
to the agencies as a
a finished product. If
to kid yourself
own
about your
"music producer," and they count on you
you can do abilities,
whatever you can't do extremely
well.
to deliver
or most of
it
yourself, fine.
though. This
is
serious business. Hire pros to
all
Depending on what
be hiring an arranger, singers and musicians (including
It's
important not
they're looking for,
filling
do
you may
out union contracts), and
booking and paying the studio.
Most major don't is
live
jingle activity
near those
cities,
is
in
New York,
you need
Chicago, Dallas, and Los Angeles, so
to pursue
some other
to establish an Internet presence with a great-looking
office.
Since audio
files
•
are
Web
site.
Among
Make
those options
that
your online
can be sent anywhere and since any ad agency worth approaching
these days has a high-speed Internet connection,
Here
options.
if you
some other suggestions
Place ads in advertising
for finding
you can do
work
as
a lot of business that way.
an independent jingle producer:
and production trade magazines such
as
Adweek (www.ad
week.com), Advertising Age (www.adage.com), and Millimeter (www.millimeter.com). •
Contact your
state film
commission and
try to get listed as a
music resource
in the
catalogue they send to companies to solicit film projects in your state. These catalogues are also sent to •
companies within the
Most major
sionals, clients,
you can
cities
The American
in that region.
advertising professionals.
They have
valuable opportunities to
show your wares and make
American Advertising Federation
THE CRAFT
AND
BUSINESS OF
They
Advertising Federation
bership and schedules from:
314
Search the Internet under "film commission."
have an ad club whose members include ad agencies, media profes-
and music producers
advertise.
state.
SONGWRITING
also is
have newsletters in which
a national organization for
periodic conventions in various cities that provide contacts.
Get information on mem-
Web
www.aaf.org
site:
1101 Vermont Avenue,
DC
Washington,
898-0089
Tel.: (202)
Fax: (202)
NW Suite 500
20005-6306
898-0159
Western Region Office 251 Post
CA
94108
(415)421-6867
Tel.:
Fax:
302
Street, Suite
San Francisco,
(415)421-0512
Start a Local Agency Yet another possibility
is
to
form your own small-scale ad agency and music producer
combination dealing with small
or will
do radio
you have
ads. If
them. Write a sample
a
script, get a
home
If
you
lay
on them
how
down
whole
it,
thing. If
and present your
it
of
tracks,
you can
good plan
to
is
sell
and
likely
can do
with the ad
alliances
Your advantage
together those packages. jingle
it
A
drawback
play
on them
have to do
yourself,
fee that includes
your
it
is
is
sales
you can provide the
that
Go
it.
There
and periodically
They have
ably priced course in starting your
own
company
You would
and read additional copy. an inexpensive
you do non-union
create
cost. You'll
new
list
and
"buyout" to create
him.
jingle
agreement
you
get started.
resources there to help
a great
deal,
spots
hope
jingles for
good example of a commercial
some other
Also check out www.jinglebiz.com.
in business for yourself,
When
and covers your production
are also
sell
with an original
receive residuals. You'll charge a one-time
you do not
to http://musicoffice.com to see a to negotiate
client
that, in order to give the client
a lasting relationship with the client
and how
whose salesmen
people at the stations and help them put
without union help.
creative fee
lyrics
and reading the ad copy.
cheaper than a jingle house, which has more overhead.
approach
to this
much
jingle.
put new vocals and
just
the jingle to the client and have the station's announcer write
you'd pretty
own commercial
for local radio ads are the radio stations themselves,
form
potential
you approach.
businesses package deals that include their staff announcer's writing
A
do
some of
sounds professional, you'll
positively people react to hearing their very
several different kinds
research, but check out
similar businesses to see if they
voiceover actor to read
for each different prospect
Your competition
and
studio, put together a catchy jingle for
"clients" with a thirty-second version of the
be surprised at
some
local accounts. It requires
local restaurants, clubs, hotels, tourist attractions,
of resources and offer a reason-
jingle business. If you're not interested in being
another alternative
is
to
hook up with
a jingle
music production
or "jingle house." These are established businesses that usually represent several
composers.
You may not have
the potential to
make
as
much money
if
you choose
this
ADDITIONAL MARKETS
315
route, but
you wouldn't have
expenses and headaches, either. Find them in the
many
as
Yellow Pages and on the Internet, usually under "music arrangers and composers," "music producers," "jingle production," or "commercial music production." Also, check out the
and find out
local recording studios
doing
What
I
If
Compile
it.
a
you think up an outstanding
Your odds
to an agency? ucts
pay a
of
lot
production
jingle
to
for
done there and who
is
is
them.
concept for a particular product, can you
jingle or
Remember, ad
are not good.
money
it
a Jingle Idea for a Major Product?
You Have
If
any
if
demo of your best work and play
copy
writers in their
who
agencies
company
to
sell it
represent those prod-
come up with
those ideas.
There's a good chance they don't want to hear yours. If they do, you risk that they'll
borrow your idea or some important aspects of copyrightable.
What you
can copyright
is
without paying you. Ideas are not
it
an actual slogan or jingle (song), but unless
it's
compatible with the product image already planned by the agency, the odds are against the
company using
enough
in
your
it
no matter how
you should
idea,
give
Having
clever the idea.
it
The
a shot anyway.
said that, if
best shot
is
you
believe
them
to present
a finished product.
The Money Today's commercials use a
lot
of recent or oldies
hits
(depending on the age of the target
consumer), either in their original versions or rewritten for a specific product. In those cases, the
ad agencies
will negotiate a
"synch fee" with the song's publisher, assuming that
the writer doesn't have a clause in the writer/publisher contract preventing the song from
being used that way.
The
and publisher
writer
split the
synch
fees,
can be $150,000 to over a million dollars for a year. In addition, use the original recording instead of a
new
license. In either case, the writer
for airplay of the Let's
assume
commercial
song
now
jingle
residuals,
You can
and publisher will
lyrics
on how you work
and possibly performing
on the high end, depending on whether
amount of
You
rate, figuring
THE CRAFT
AND
it's
performance
creative fees,
royalties
cost of production because you're
from $5,000 on the low end
depends on clout and chutzpah
SONGWRITING
to
$50,000
it is
in
any
(nerve). It
what you think you can get and negotiate from is
one of the most
don't want to downgrade yourself by asking too
BUSINESS OF
union session payments
a local or national spot. Just as
out what to ask for
of business by asking too much.
316
it:
and above the
that fee also
takes a lot of chutzpah to ask for twice
business.
exceed the cost of the
also receive
rights royalties.
negotiate a "creative fee" over
At any
must
or just instrumental tracks ("underscores"). These have three
creating the music. Creative fees usually range
there.
the agency wants to
that we're not dealing with a previous hit but with the writer of a
with
other business, the
cases,
hit,
(see the next page).
sources of income, depending
and
if
version, an additional "master use" fee
be negotiated with the record company, which can, in some
synch
which, for use of a
little
difficult parts
of the
or price yourself out
I
once bid against two competitors on
on
spots, variations
to
do the
variations.
representative
the other
My
a basic theme.
would
and
lost the bid,
I
me why. The
tell
two bids were
was to be
a job that
my
bid was based on
wasn't
it
till
two years
my
amount. The ad
psychology of "If
changed
my
costs more,
it
man
tried to
decided that
client
convince the
them
let
tell
you
it's
You can then
too steep.
like, "I
made a good deal with a
new
hundred," or "I can use three singers instead of six," with the ad agency, they
may
hint at
but they'd rather not. Obviously,
if
what
has since
jingle,
If you play
me
see if
I
them
get back to
can knock off a couple
I
you have
a solid relationship
sort of ballpark figure they're thinking about,
on
opposed
advertising, as
that spends thousands. Creative fees, those over
the budget, and
You
let
you're talking about Coca-Cola, you're dealing with
that annually spends billions
commercial
studio so
etc. If
"Well,
say,
can figure out some shortcuts without compromising the quality."
with something
company
my
could
but the
client, it
if
I
negotiating tactics.
Bid high, and
a
how
must be better" worked against me, and
it
because
figure,
competitors, both well-known pros, were charging that much, he didn't see possibly deliver for half that
way
agency
later that the
spots had gone for nearly twice
same neighborhood and the
in the
a series of thirty-second
figuring out a low-cost
to a local jewelry store
and above production
costs for a national
can range from $1,500 to $15,000 per spot, depending on your clout,
how
big
and time-consuming the job
on commercials, other money
is
It's all
is.
available to
negotiable.
you from union
from the American Federation of Musicians (AF of M),
or, if
payments from the American Federation of Television and Radio
you
scale
sing,
payments,
even higher
(AFTRA)
Artists
or the
Screen Actors Guild (SAG). At the end of every thirteen-week period in which a spot
same union
run, you'll receive a residual check for the
scale
you made on the
is
original
session.
The
rate schedules are available
from your
local
comprehensive and complex, but anyone involved should be familiar with them for their
The performing ties for
music used
rights societies
own
AF
in
of
M and AFTRA
They're
producing or playing on commercials
protection.
(ASCAP and BMI)
have instituted performance royal-
in commercials. Since those organizations are continually
and conditions of payment, you should check with them
their rates
offices.
for current
updating
payment
schedules.
Except for pre-existing music licensed by the copyright owner to be used in a commercial,
nearly
all
music written
client (sponsor) retains
only be paid
if
all
for
commercials
is
considered "work-for-hire," in which the
rights to the composition. In that case,
performance rights
may
the writer obtains a licensing provision from the agency/ client that excludes
the performance rights
from the
rights granted the client.
Contact your performing
rights
organizations for a license that protects your right to receive these royalties. In the above-mentioned
ways the music
is
income sources
used in the
jingle,
for jingles, the
whether
it's
amounts paid
are based
on the
broadcast locally or on network, whether
ADDITIONAL MARKETS
317
it's
used regionally or nationally, whether
and
in
what time period
it is
it's
played on radio or television, and
how
often
played.
Production Music Libraries Songwriters and composers don't always realize that income
own
performances of their songs or other
opportunities beyond having radio
hits.
artists
Production music
you get enough uses of your music going •
Problem
TV,
for video,
Here's
at once.
film producers:
isn't just
generated by their
recording their songs. There's a world of libraries
how
it
can pay your rent
They need music
for their small-budget
productions and find that hiring a composer to create an original score If they
need songs,
also too expensive to use songs
it's
been successful. They
also don't
and songwriters who'd multimedia •
like to
projects, video
Problem
for
have time to deal with
submit material. Others
from hundreds of composers
calls
who
use music are producers of
games, commercials, and radio "bumpers" between programs.
unknown
in
writers:
They don't have
the clout to get their songs into big-
staffers,
little
new low-budget It
would
production companies and establishing relationships if
in similar jobs because their relationships
who
with writers are extremely valuable to the visual producers
hire them.)
Solution: Production music libraries. These companies secure the rights (more about
that later) to songs
they
the
only to find that they frequently change jobs. (Though
you can keep up with them, they usually end up
•
all
production and in need of underscore music or songs.
involve contacting hundreds of
with their busy music
too expensive.
is
and recordings that have already
budget productions and don't have the time to constantly research
shows that may be
if
works.
feel
and instrumental underscore compositions submitted
they can place in audiovisual productions.
"libraries" of these collections
They're indexed by musical
on
style;
CDs and
to
them
that
They then assemble and reproduce
send them to
all
mood; instrumentation;
the production companies.
length; tempo; male, female,
or group vocal; and any other attributes that allow an audiovisual producer to target the
They
type of music they need.
find the piece, use
appropriate performing rights organization
mation on
how
the song
is
used,
how
it,
and
fill
out a cue sheet for the
(ASCAP, BMI, SESAC), which
long,
name of the
includes infor-
piece, composer(s),
and owner
of the copyright. •
Some of the
them but
bigger libraries hire their
will occasionally
own
look outside for songs.
composers they've worked with
in the past to
fill
in-house composers to create music for
They
in
will also
have
lists
of independent
if their staff composers get overworked
or if they can't provide a unique style their clients are looking for. That's where
you have
your best opportunity.
How good
does
it
have to be?
Since they can only use "master quality" recordings for film and television, they have to be excellent. If you're submitting instrumental pieces, they
318
THE CRAFT
AND
BUSINESS OF
SONGWRITING
should be well arranged.
Stay
away from using stock sounds
mood
fresh sounds. Generating a
themes but
come packaged with your keyboard. Try
that
underscoring that just enhances a mood.
will also use
to create
important. They'll use pieces with strong melodic
is
It's
also a
good
idea to
produce mixes with and without lead instruments.
Songs are used it's
It
in
many
and your song
irrelevant,
may be more important
Tape TV shows back and make
number
different ways.
(try a lists
of
will
Sometimes the
lyric
is
important. Sometimes
be barely audible in a bar scene behind a conversation.
that the style
drama and
a
authentic.
is
comedy) with
just an
audio recorder. Play them
the "cues" (pieces of music used) with info about mood,
all
of instruments, style, length, use of songs
underscore, and
vs.
how many
are
under the dialogue. Are they using different mixes of the same track for different cues? There are actually cases of entire
shows being scored using
piece of music that's dissected and used
drums and bass
in
in
different configurations for each cue: only
one, just the string pad of part of the piece
in
another, etc. Use
information as a guide to the cues you'll submit as demos.
this
used to creating songs and you want to compose underscore, your knowledge
If you're
of conventional pop song structure won't help you
mony and Never
as
much
as
an understanding of har-
grooves.
lose sight
So think of
how
a single five-minute
how
of the
fact that
you and your music
The
aren't the stars here.
film
your music would sound with dialogue and sound effects over
is.
it
and
in
two
appropriately you can serve the needs of the visual producer.
How do
you
get paid?
Royalties for use of songs different ways.
There may be
and instrumental music a
"synch fee" (synchronization
"timed relationship" to a visual medium) that front.
The
other income
organization based
is
received
is
fee for
media come music that
negotiated by the library
is
used in
company up
on "the back end" through your performing
on the information
appears in the production and
in audiovisual
cue sheet and
in the
how many
how many
times the production
is
rights
times your music
aired. If
your music
is
used in a television show that later goes into syndication, you get paid again. If your music is
used in a film that
theaters outside the
theaters in the
is
shown on
United
United
television
anywhere
in the
world or
in
motion picture
States, you'll get paid. Royalties aren't paid for
States.
(No,
it's
not
fair,
but that's another
In addition to royalties paid for the composition, there
use of the master recording
you submit.
It's
is
also
music used
in
story.)
an up-front
called a "master use" fee.
fee
paid for
For the master
to the audiovisual producer that states that
you
the recording. Each musician or singer
who
contributes a performance to your recording has a copyright interest in performance.
You
recording, a license
control
all
must be granted
the rights to the performances
on
ADDITIONAL MARKETS
319
.
must make some kind of arrangement with them so something (beyond demo purposes)
which you
for
that, if the
get paid, it
is
recording clear
how
is
used for
(or even
if)
they will be compensated. Cover yourself with a release agreement with your musicians spelling out
what
even
they'll get,
if
you
these releases to the production music
get a
to "warrant" in the contract that you've
she hears herself
on
that
buyout from them. You won't have to show
library or the audiovisual producer,
done
but you'll have
them when
so your singer doesn't sue
it
TV show.
Frequently, the license with the audiovisual producer will combine both the "synch
and the "master use
fee" for the use of the composition
fee,"
and
purpose of
for the
compensating musicians, you'd consider the "master use fee" to be half the total.
What's the deal?
Though
each production music library has
want
They'll
1
to
ask for this because libraries
may
all
the publishing
its
to be able to use
your music
song often gets popularized by
a
result for
own
on the
contract, the general points are:
pieces they choose to represent.
its
forever.
They
also
defend
it
which they should be compensated. Some companies
to
accomplish
restrict their
own
according to music attorney Steven Winogradsky,
this,
CD
or
from uses that they did not generate.
to recording artists without their benefiting
One way
this position
appearance in a production and other
involvement to audiovisual uses only, so you can also use the song on your pitch
They
very expensive for them to produce, distribute, and update their
it's
and they want
by saying that uses
own
is
for the
your music and re-register the compositions under their publishing com-
library- to retitle
pany. This allows you to continue to market your music and collect any royalties earned
from your own
and allows the
efforts
by them. By having the songs performing rights this
is
2.
societies
a better deal for
listed
on how
can pay whoever
Some
offer their
will offer
use.
its
fees to the
music
composer
"royalty- free,"
and the "back end" performance cases, the library
the last
money
the
which means
royalties are
composer
sees.
to the composer. Ordinarily, the
they
may
royalties.
for the
is
to
$1,000 depending,
determined by
resist
how much
giving advances at
libraries
all.
pay a portion of the
performance
royalties generated.
that the client never pays a synch fee
the composer and library receive. In all
the rights to the music
all
rights thereafter
and
that's
without having to make any further
composer
will
continue to share in the "back
However, some companies have been known
composers on the cue sheet and
to substitute
collect those royalties themselves.
allow the client to buy out the performance right as part of the deal.
sure your contract allows you to collect those performance royalties.
320
sheet. Obviously,
In this situation, the library pays an up-front fee to the
payments
end" performance
all
does an outright buyout of
music and has
Some
in addition to the
for the
Or
you an advance of Si 00
Other companies
composer
own name
with different publishers, the
on the music cue
listed
Royalty percentages vary with each company.
3.
synch and master
their
is
titles
badly they want your music. This, in turn,
they project that they'll earn for
some
under separate
you.
Some companies
Advances.
as always,
only on any uses generated directly
library- to collect
THE CRAFT AND BUSINESS OF SONGWRITING
Make
Try the following
of production music
site for lists
libraries:
u^v.cftech.com/BrainBank/COMMUNICATIONS/MusLibSrc.html Or,
just search
under the Google search engine, "Production Music Libraries."
Children's Music One
of the
many good
a stable market.
you
things about writing
Unlike the pop record business, where,
you can make a
believe in) are aligned right,
the children's market
is
about every record
products. In
many
it
lot
if
is
that
it's
the planets or cards (or whatever
money
of
for children
in a relatively short time,
slow but sure and doesn't burn out overnight. Walt Disney
Productions, for instance, will consistently just
and recording music
well
(many times over
a million copies)
on
everyone trusts Disney to have consistently good
releases because
cases, parents are
sell
buying the same records
for their kids that they
themselves grew up with. If
you
establish yourself with a
body of work
records over several years. You'll never
make
you're genuinely interested in this market,
you can
on the radio
to
more
tunes. Lyrics, however, are directed
sell
won't matter
kids.
There
is
if
to you.
R&B, and
traditional folk music, classical, show,
toward
a million
the Billboard charts, but chances are that
music range from the same contemporary rock,
Styles of children's
that kids hear
it
in this market,
a strong
push
country
and novelty
for nonsexist,
nonviolent, nonracially-stereotyped messages that promote positive self-images. There's also the feeling that children
should not be "talked
down
to" but should be treated as
intelligent individuals.
Children's music
is
home
roughly divided into two main categories: the
entertainment
market and the educational music market.
The home
entertainment market
is
made up of the major companies
music for entertainment purposes, though some (such
Sesame
as
involved in children's
Street) cross over into the
educational market to
some degree. These include Disney; Henson Associates (the Muppets);
Children's Television
Workshop (Sesame
sons,
Street);
HannaBarbera
(Flintstones,
Scooby Doo); Warner Bros. (Bugs Bunny, Road Runner, Porky
Parker Bros, (who also manufacture
many
children's games);
These companies frequently produce albums based on submitted for these characters have have staff writers
who
little
Pig,
and Music For
Yogi Bear,
Jet-
Daffy Duck); Little People.
their characters. Individual songs
chance of being used, since the companies usually
supply the songs for specific
stories. It's best to
make your
presenta-
tion through an agent or attorney.
Also included in
and
stage shows.
Lithgow,
etc.
this category
will
live
performers
who
These performers include Parachute Express,
Usually, these performers write their
notes for information
Go
would be
on where
to
own
specialize in original songs Raffi,
Tom
Chapin, John
material, but check their
CD liner
submit your songs.
to a local record store featuring children's records
and tapes (some
have a good selection), copy the addresses from the record
large toy stores
sleeves,
and send
for
ADDITIONAL MARKETS
321
information about submitting material. Your local library
may also have
a children's record
department. Educational record companies specialize in records that have a direct educational value for developing children's language,
have entertainment value as well.
by mail order. The records
motor, and social
The
are sold
skills
even though they're
greatest share of business in this category
through ads
in parents'
and
likely to is
done
teachers' magazines
and
education conventions and are used in workshops, day care centers, parks and recreation departments, public and private schools, and preschools. Writers such as
and are is
Hap
Palmer, Ella Jenkins, Pete Seeger, Shel Silverstein, Raffi, Greg
and Peter Alsop have contributed much
Steve, Joni Bartels,
many
others breaking
in.
Educational music, though
not easier to write than other kinds of music.
it
to this field,
may sound
but there
deceptively simple,
You must have some
experience and
understanding of current teaching trends, child psychology, and learning processes to be
an
effective writer in this genre. Often, these recordings include activity suggestions.
good sense of humor
is
also valuable, since, after
all,
nothing communicates quite
A as
powerfully to a child as a good laugh.
You could do your research by going to
the periodical section of the library and research-
ing magazines such as Early Years and Instructor for ads of companies that supply these records.
The
Buy
a few
and study them.
educational music market. This category deals primarily with printed music and
includes easy choral pieces (two or three part) for grade school
and junior high,
musicals or vaudeville/variety shows, and computer-related products such as
DVD-ROMs,
and Internet
Web
Writing for children's theater theaters. Often, touring
sure to live music
and
sites. is
in teaching
of particular interest to community and professional
shows come to schools and provide children with
their first expo-
come with
suggestions for
theater. Packages for the latter usually like.
Educational touring shows
guides to stimulate class discussion and theater appreciation. Experience
music
to children
is
very important in this category so that you understand
their capabilities at various ages.
Resources:
The Childrens Music Web Guide www.childrensmusic.org
The
Children's Music
Network
www.cmnonline.org Children's Entertainment Association
www.kidsentertainment.com National Association for the Entertainment of Young Children
www.naeyc.org
MENGThe
National Association for Music Education
www.menc.org
322
CD-ROMs,
Internet sites are easily accessible for research.
costumes, props, staging, background music, and the
come with study
children's
THE CRAFT AND BUSINESS OF SONGWRITING
Musical Theater Musical theater design,
is
wonderful collaborative
a
and who knows what
For a musical to succeed,
working
else in the future?
requires the collaborative efforts of a
it
composer and
lyricist
closely with a librettist (book-story-script writer) to spot songs within text
and
moment. Once
the
maintain emotional clarity musical
form combining music, drama, dance,
art
is
as to
moves
written and
what
required in each musical
is
team
into presentations or a production, the collaborative
expands to include the director, choreographer, and music director,
all
of whom
will point
out problems, discrepancies, and needs from their particular perspective. For songwriters, it
demands
great discipline, craftsmanship,
constant rewrites to ties
accommodate running
of the characters and the actors
who
and patience,
since
it
will inevitably require
time, pacing, choreography,
and the personali-
portray them. Even the best writers discover that
work on
songs and musical scenes they'd visualized won't
stage quite the
way they were
envisioned and require quick rewrites.
Though some of the most memorable recorded depend heavily on
ballads, stage musicals
The
vast majority of the
musicals have been
pacing and choreographed up-tempo
and auditory excitement that reaches
bers to generate the visual theater.
fast
come from
hits to
music written for shows
is
num-
to the last rows of the
specific to characters
and plot
points and usually cannot "step out" of the show, though within context they can provide thrilling theatrical
Launching
a
moments.
major musical theater production
weight of selling the show is
written
—
is
is
a
tremendous undertaking. The
on the shoulders of you and your
a process that can take several years
—
a key step
theater or independent producer in your project. Until they
promote the show, the
financial
burden of launching the show
expenses of recording and copying the
CD
to potential producers,
material. For this,
you
accompanist; lease a I've
attended
version of the
hall;
many
show
common means
will
demo
is
the
show
interesting a producing
come is
Once
in to support
and
yours. This includes
all
recording, sending out script and tape/
and putting together
a presentation/backers audition
need to hire a director,
negotiate contracts;
partners.
singers,
and
and possibly a musical
of your
director/
invite potential financial backers.
backers' auditions (theatrical sales presentations of a shortened
for potential producers, directors,
of putting one together, a narrator
and
tells
financial backers). In the
the story
most
and describes the action
while actor/singers read the dialogue leading into the major musical numbers. Sometimes the music for those
numbers
is
pretaped and sometimes musicians are hired, depending
on your budget. Contract permitting, these presentations can be shown again to anyone
who
video carries only a fraction of the impact of a video to highlight tive to
its
are videotaped so the material
couldn't attend. Be aware, however, that theater on live
performance. Be prepared to edit the
strong points and eliminate whatever doesn't sparkle. As an alterna-
sending a video,
it is
standard practice to submit a synopsis and audio sampler
from the show.
ADDITIONAL MARKETS
323
Training Most
writers
know
know who
I
write for musical theater are those
all
time, though they
may
have no formal training.
public library, as always, in
New York and
and
who
have always loved
many new
see as
is
a great place to
Los Angeles have
many
It's
definitely an asset to be a fan.
Read every
libretto
The key to writing a successful musical lies in
the strength,
to writing a successful musical
of your show doesn't work, the show as well
tive
and
theatrically they
libretto.
to
sell
book shows
theater world
practiced
is
who
librettist
to
Without
the
book
and (i.e.,
a strong book,
full
book show. In
songs,
addition, they
producing theaters and do not have long runs and years of
do.
filled
is
with stories of shows that had wonderful scores but died
Book
because the book tanked.
one that
fail.
if
While revues may contain marvelous
line.
do not pack the emotional punch of a
tend to be a harder
The
will inevitably
just
more
be writing a musical revue, a collection of songs with perhaps a connec-
theme, but without a coherent story
viability that
often
a hit.
the best songwriter in the world, but
script)
you might
libretto.
emotional complexity, clarity of the
You can be
of the
is
the strength, emotional complexity,
lies in
clarity
community
and major touring productions. Don't
from an unproduced or undeveloped musical than from
The key
The
you can find
musicals as possible: readings; workshops; small theater,
attend shows that you think you'll like or that are well reviewed. There learn
and
do researchrThe Samuel French bookstores
libretti for sale.
or high school productions; dinner theater,
rg|r
it
the musical scores. They've been "going to school" in musical theater for a long
writing for a musical
by few scriptwriters
in these
is
a highly underappreciated talent,
cinema-obsessed days. If you find a
understands your musical vision and whose dramatic vision matches your
own, nurture the working relationship and consider yourself very fortunate. Traditionally, the
book
what
is
writer supplies songwriters with structure, script, dialogue,
needed within an emotional
music and
script
a fully integrated
New
While
development
is
fit
York has been the home of musical happening
in
New
York.
BMI
Los Angeles,
ASCAP
written.
That way, the
—one of
the goals of
in Chicago;
theater,
of which
is
an increasing amount of
centered around the organiza-
Lehman Engel Workshop
new musicals and/or
helping
Musical Theater Works in
Composers, and
Librettists,
much
sponsors a musical theater workshop in
currently sponsors the
organizations involved in
Tuners
is
with each other to embellish character and plot
Broadway on Sunset.
Canadian
before the song
book musical.
tion,
New
moment
and descriptions of
Lyricists in
new musical
New
in
New
LA. and
York. Other
theater writers include
York; and the Association of
Toronto. Contact information on these
organizations follows.
For more information on workshops, contact
Broadway on Sunset to find out
in
how to market your ideas and
The Annual
BMI
LA. Workshops not only teach projects.
Songwriter's Market publishes a
list
and
ASCAP
in
New
specific crafts, they are
They also may lead you
of play producers and
York and
good
places
to collaborators.
publishers looking
for original musicals.
Take
324
part in any aspect of university, dinner theater,
THE CRAFT
AND
BUSINESS OF
SONGWRITING
community
theater,
and summer
many
stock musical theater productions and write for as
These
are great places to try out
original projects as possible.
There's no better
ideas.
way
to learn.
The Money
I
Those to
your
interested in writing for musical theater will be pleased to
make
The Dramatists
very big money.
tion for writers, provides
know
there's a potential
Guild, the world's strongest protective organiza-
model contracts
of
for musical theater writers at every level
production.
On
now
Broadway, writers of most musicals
lyricist,
and
librettist
share in a royalty pool.
share equally in between 15.6 percent
minus running
profits. (Profits = gross
The composer,
and 17.8 percent of the weekly
About 10 percent of Broadway musicals
costs.)
minimum
contract,
which provides the writing team
with 4.5 percent of the weekly gross of any
first-class
production until investors recoup
still
follow the Dramatists Guild
their costs, then
moves
show
to 6 percent of gross after that. If the
is
a hit, the royalty
pool can actually provide a greater return for the writers.
Off-Broadway, writers generally receive 20 to 25 percent of the weekly
companies usually work on a guarantee plus an overage. For
profits.
local, regional,
and
Road
college
productions, licensed under a play publisher such as Samuel French, Music Theatre International, or Dramatists Play Service, the
pay
is
on
a less grandiose scale, generally a
negotiated percentage of box office receipts or a per performance
This
may not sound like much, but when you consider the ticket prices charged for stage
musicals and the fact that a successful several cities simultaneously,
schools
fee.
and
your
sixty years,
still
makes
several road
companies performing
with additional productions performed
albums on top of
colleges, plus cast
financial return for
show may have
efforts.
that, you're
in countless
looking
at
several million dollars a year in subsidiary markets,
community
high
a formidable
Rodgers and Hammerstein's "Oklahoma,"
touring productions, colleges, high schools, and
in
after
almost
which include
theaters.
For up-to-date contract information, contact: Dramatists Guild
234
W. 44
Street
New York, NY Tel.: (212)
10036
398-9366
Consult the Appendix and Bibliography for several excellent books and
Web
sites
on
the subject.
ORGANIZATIONS ASCAP—Michael Kerker, Tel.: (212)
621-6000
BMI—Lehman
1
Lincoln Plaza,
New York, NY
10023
www.ascap.com
Engel Musical Theatre Workshop, Jean Banks, 320 West 57th
Street,
ADDITIONAL MARKETS
325
New York, NY
10019-3790
www.bmi.com
586-2000
Tel.: (212)
Broadway on Sunset
—
Kevin Kaufman, Executive Director, 10800 Hesby
North Hollywood,
CA 91601 www.broadwayonsunset.org
508-9270
Tel.: (818)
Street,
E-mail: [email protected]
—John Sparks, 335 N. Brand
Lehman Engel Musical
CA
Glendale,
Tel.: (818)
New
Tuners
—
Theatre Workshop
Blvd.,
91203
502-3309
The Theatre
c/o
Building, 1225
West Belmont Avenue,
Chicago, IL 60657-3205 Tel.: (773)
Association
of Canadian
Librettists,
Composers,
— Robert
and Lyricists
Asselstine,
ACLCL
Vice President Tel.: (519)
www.adamczyk.com/newtuners/
327-5252
572-3575
Fax: (519)
884-8452
www.geocities.com/canadiamusicaltheatre/aclcl.html E-mail: [email protected]
Valuable
Web Sites
www.Playbill.com
www.Broadway.com
Music for Games Recent technological innovations have given ing, including video
and
many
rise to
other uses for expertise in scor-
games, computer games, arcade games, location-based entertainment,
interactive gallery installations. Software-based entertainment has
component
in the
spectrum of global media. Pay a
visit to
become
a major
any game arcade and
you'll
find games that have originated from comic books, feature films, television series, and
rock
artists.
Games
for
both
home
use
and arcades
in a great variety of
hardware and
software platforms are becoming increasingly sophisticated, and music plays an integral part in generating the excitement needed for their success.
music featured
in games, particularly in Japan.
marketed both online and
offline that earn
plenty of unauthorized trading of favorite I
to
don't
know
feel it's
it's
a
within
my
(in case
If you're interested in this field,
DMOZ and
326
Open
you'll get a
a cult following for
Popular pieces can end up on compilations
money
titles
for the writers,
though there
is
also
over the Internet. I
you hadn't noticed) with opportunities
want you available.
chances are you already have high-speed Internet access.
game music" or "multimedia music." Another
Directory Project, www.dmoz.org.
good
is
scope here to go very deeply into this area, but
growing industry
Search under "video
There
idea of the scope of this area.
THE CRAFT AND BUSINESS OF SONGWRITING
Go
great resource
is
the
to "music," then "video games,"
Corporate Events An
area that gets
attention but
little
theme songs and other
is
nonetheless an ongoing opportunity
special material for corporate events.
There
products for
retailers.
shows
are also trade
in
writing
include: in-house corpodealers,
IBM
which various manufacturers display
their
rate events, e.g., regional, national, or international
salespeople, etc.
They
is
meetings
of, say,
These involve every conceivable product
Toyota
area, including musical
instruments, health food products, automobiles, baby products, hospital and health care products, furniture and appliances, building materials, electronics for entertainment and industry.
The
list is
endless.
Making the Contacts These events usually take place
major hotels with convention
in
facilities
convention centers. They'll have either in-house coordinators or a dent contractors
who
find out
who
If they
the coordinators
skills
and contractors
need original material,
who
and decorating are,
are and, if they're receptive, send
written around a slogan for a writers
of outside indepen-
supply or arrange a variety of services including catering, comedians,
dancers, singers, sound, music, staging,
your special
list
or independent
new
it
will usually
for these events. Call the facilities,
and contact them. Tell them what
them
a
CD
and resume.
be for a company that wants a theme
product, not unlike a commercial jingle. In
fact,
create the jingle for broadcast. You'll be required to write, arrange, produce,
the piece or to write, arrange,
These are
play.
first-class
and magazines.
If
and
is
a
TX 75244-5903
Special Events
Fax: (310)
and record
music for a band or small orchestra to
own
trade organiza-
of the opportunities:
—4455 LBJ Freeway,
Tel.:
its
you should connect with
Suite
1200
(972) 702-3000
www.mpiweb.org
702-3070 Magazine
to pursue this area further,
a better picture
Meeting Planners International
Fax: (972)
deliver sheet
major international business with
you want
one of these resources to get
Dallas,
know
productions and require a high degree of professionalism.
Coordinating these events tions
I
have done that so successfully that the corporation actually asked them to
—23815 Stuart Ranch Rd., Malibu, CA 90265
317-9533
www.specialevents.com
(When you
get there, search
under "music")
Local Events You
really can't
city,
have good writing and arranging
look at this as a big money-maker unless you're in a major convention
and plan to pursue
make ries
a
it
skills, feel
comfortable dealing with corporate types,
nearly full-time. Otherwise, outside those major centers,
few hundred dollars here and there writing special material for company
and retirement
parties,
more
if
you can
anniversa-
you're booking, playing in the band, and singing.
The
ADDITIONAL MARKETS
327
more
skills
you have, the more valuable you become,
rather have to hire only
subcontract decorators, etc.,
you can make
just get
THE CRAFT
least
AND
CDs out
expect
it'll
it.
BUSINESS OF
SONGWRITING
since the planners usually
several, to get the job
printers for invitations it.
If
done. So
who do
to
do
all
would
you can
that yourself,
provide event planning services
of months so they remember you.
come from"
if
and programs, comedians, clowns,
you don't want
to those
a follow-up call every couple
"You never know where
when you
328
florists,
good business out of
your resume, videos, and
and give them those
a
one person, not
situations
It's
one of
where networking can pay off
chapter fifteen
Getting a Record Deal
For the performer or songwriter/performer, obtaining a recording contract step toward mass public exposure.
record deal. ing contract
It's
is,
Remember, however,
of paper.
fortune,
At
which
team of experts exposes a product (you)
a
its
best,
It is far
approaching
artistry.
a guarantee
to
an audience
The
who
The
record-
of fame and
this or
as
much income
will translate their
record deal
by your own personal team to promote your career in
can and to earn you (and them)
When
not the
represents the legal basis for a cooperative marketing effort in
it
appreciation of your music into purchase of your records. a larger effort
from
a major
is
that the real goal
only the means of manufacturing and marketing your at the least, just a piece
is
as
is
only part of
many ways
they
as
as possible.
any other career decision,
important to get
it's
as
much
information as possible about the circumstances, needs, and responsibilities of the other parties involved. In this chapter
I'll
explore the information you need from the point of
view of the record company. You'll learn at
your songs, and
company
is
at
how
your professional team.
not something every
artist
a record
And
company
it
as
an
artist,
since a deal with an established record
can count on (there was a time
Beatles couldn't get a deal), we'll also look at the very viable
"do
you
looks at
when even
the
and sometimes preferable
yourself option.
The Artist
vs.
the Writer/Artist
Exceptional writer/artists have always been around. Until the
fifties
and
sixties,
however,
with the increasing exposure of country music, black music, and the birth of rock and roll,
most popular songs on the radio were not performed by
their writers.
With
the
phenomenal success of the Beatles, record companies began to discover that they could get publishing rights to the songs the artists
potentially
were writing and thus be able
enormous publishing income along with the recording
to keep the
profits.
The
self-
contained act was an attractive package because, though they would (in most cases) pay writers
one of the two cents (the old
rate)
per side per unit sold, by also owning the
GETTING A RECORD DEAL
329
They could
publishing rights, they could keep that other penny "in house."
performance
in the
Today,
from
royalties collected
company
virtually even' record
BMI
has a publishing
pursue the publishing rights of new
want the
badly enough, refusal
artist
own and
operate on their
on
have
lots
is
artists
But though the busi-
affiliate.
and
ness affairs departments of the major record companies will aggressively
also participate
and ASCAP.
their publishing
companies
signed by the company,
they
if
rarely a deal-breaker. Also, the publishing affiliates
of income from other projects, so they don't depend
deals their affiliated labels give them.
Small, independent record companies, however, don't ties
many
sell as
records.
The
they receive from the ownership of the publishing rights, along with record
help to offset their overhead,
making the publishing
royal-
sales,
can
a very important consideration in
the deal. In that situation, being a self-contained act with publishing rights to offer
is
an
asset.
For both the major labels and independents, an even bigger advantage of the contained
artist
or group
is
that
it
That's because, even though the record for songs for their artists
who
come up with
eliminates the need to
A&R staff
company
is
constantly on the lookout
are not self-contained, they don't always have
many
to screen songs as well as to deal with the responsibilities to the rosters.
So the trend has been
self-
outside material.
enough time
other acts on their
to give that responsibility to the producers or writer/
producers (sometimes several for the same album) to write (or find) and produce songs for the project.
have been
Though
doomed by
themselves and ended up with no bet
on the
skills
particularly for a
One One
of the
most
exciting attributes of
artist
is
the potential
to create a consistent
unique.
is
new
quite
Having
of
style
know
though he or she may have
said that,
and material that
major
labels
One drawback
artist is
the writer/artist in a personal way. a consistent vocal identity
nonwriting
artists face is
a specialty of signing
delayed
rather
to the project,
and
a nonwriting
much more
style, it's
at J
artist,
difficult
has been in the long-
the never-ending search for hit material that
The
flip side
nonwriting
of that problem
artists.
is
O-Town and
song comes
recording projects until he had what he
felt
first"
that those
as Clive Davis's
(Davis formed a
Whitney Houston, Aretha
Records with
others. Davis has always subscribed to "the
many
still
artists.
Records, in 2000.) His roster at Arista included
and Dionne Warwick and continues
among
the material
would
have access to the best writers in the world. Certain companies, such
made
projects that
that offers fans the
With
The most common way
they and their record companies can agree on.
Arista Records
all
the potential to create
and
quite unique
is
term relationships between writer/producers and
J
know of many
artist.
to achieve a consistency with the material.
artists
I
have insisted on writing
of the most exciting attributes of the self-contained
opportunity to get to
fusion of style and
material that
hits.
who
and promotability of attaching a well-known producer
a consistent fusion
the self-contained
gamble,
that's generally a better
writer/producers
new
label,
Franklin,
Luther Vandross,
philosophy and has
were the right songs
for the
artist.
So though the self-contained
330
artist will
THE CRAFT AND BUSINESS OF SONGWRITING
most
likely
be the
first
choice of a record
company, each
situation
The
decision to sign an act.
company
weighed
different factors will be
following sections will delineate those factors.
while you read them, that these are a record
many
unique, and
is
all
Remember,
presented as ideal situations and the likelihood of
finding an act that "has
all"
it
is
almost nonexistent.
The
reality
and
is
that
somehow
they take the best combination of ingredients they can find, try to compensate for what's missing,
in the
the dice.
roll
The Demo One
of the most important elements in a successful campaign for a recording contract
how
your demo. By way of explaining
pan of
the
a record
company, with
a
the
demo and
is
the act are judged, I'm going to play
few asides thrown in to explain what's happening
or why.
I'm assuming that you're looking for your
need
know
to
to
make
anywhere over a million recoup,
but
I'll
it if
numbers on the less
I'm
first
as excited
still
album
want
to
I
want
know
that you're
do
that you're writing
working
to
and
start getting fans
you and
my
Before
my
and
The
act?
know
was when
I
If
I
spend
to
don't
I
album,
a follow-up
signed you and the
me because
the odds are against
of your
live
ulcer dictates that I
I
I
want
to hear
visuals?
for
I
listen to that
new songs on
shows to buy your
CD.
and videos
it
takes
are
demo,
I
know what I
I
want
want
know
know
to
make
to
to
that
the most of
We'll get reviewers out to see
I
want
proven to be the
know
on
their live
fastest
exactly
my money on
else
whose
taste
to
tells
Phish,
three.)
They're
cost-effective
way
that those songs
I
what you're doing and can do
a "one-hit
wonder" with
little
number of
hit singles. (See
known as album
market them successfully because
me
respect.
Dave Matthews, and
performances rather than
and most
I
to hear:
style, etc. Artists like
I'm looking for craftsmanship that
spending
I
I
think are hits or that will appeal to a large
more time and money
accident and that you
star.
a regular basis.
do
to
a
demo through your attorney, manager, someone
Albums, Live Performances, and Video," chapter
and
make you
to
be confident that you have your act together.
received your
Metallica have an appeal based "Singles,
me
Arrangements? Concepts?
company, your producer, your publisher, or someone
I'm looking for songs that
artists,
around waiting
you're not already a road veteran you'll be ready to go soon
people because of your point-of-view,
risk
I
you and your manager know what
if
Let's say, typically, that
•
I
as
improve your vocal and instrumental chops.
invest in you, both
investment and that
•
about the music
to see that you're not sitting
my
in
need
I
might take that much again on
are promising enough.
Are you working on your
I
It
ask about things
I'll
my label. know I'll
than 10 percent of the albums released recoup their costs.
Also,
if
record deal, so
promote, and market your record.
dollars to record,
have to eat that expense.
spend
I'll
first
about signing you to
a decision
to
promote an
liked it
hit singles
were not
artist.
just
an
again. Otherwise,
chance of recouping
I
my
investment.
GETTING A RECORD DEAL
331
I'm looking for identity.
•
I
want that audience
to be able to recognize
you
hearing
after
your record once or twice. If your voice doesn't have a distinctive character, what you do with
it
stylistically
should be unique. If that
sound and production concept
tal
isn't
happening,
that are unique.
I
should be hearing an instrumen-
know
should
I
you and/or your
that
producer can continue to re-create that sound once the public has grown to love
I'm looking for something that has an emotional impact.
•
way you
the
sing your song.
I
want
know
to
saying in your song. If you don't believe that's lyrically oriented,
I
want
your lounge gig every night tired
and unenthusiastic.
it
you
why
move my body.
to
I?
If
it's
know
to
that
it.
moved by
to be
what you're
are totally involved with
should
not the kind of music
been playing your songs
If you've
for the last three years, there's a
want
I
that
it,
want
I
danger that
you can get into those songs
they'll
at
sound
every time
you
perform them. will
I
I
assume that what I'm about
to hear
this
have no evidence to believe you'll ever perform
me "That
tell
When know.
was a bad day
I'm spending
I'll
for
me"
or
How
If
it
me
won't bother
Elaborate Does
you show
me
me
It
a record
Need
career,
you have a I
any better than on the demo, so don't
demo.
sign
realistic
you or
I'll
do
it
better
on the master."
final record, so if
for it's
demo
that you're a producer. (See
Be?" chapter
to
you can do.
the very best that
that the technical quality of your
it;
as well,
it
a convincing
up
to par
Gets
What
isn't
"Who
ten.)
it
tells
me
you're very serious about your
pay attention. Obviously
be more impressed
I'll
you've sold a few thousand records. I'd like to see a good, well-maintained in
need to
view of the process, and you're proceeding with your career
not, so I'd better
and that you're staying
I
you produced and distributed yourself and can show you've
developed a marketing strategy for
whether
"It's just a
is
company's money, I'm not taking your word
this
unless you're also trying to convince
and
it
demo
have control over the technical quality of the
performance,
if
on
Web
site
touch with the fan base you've developed with frequent e-mails,
updated performance schedules, and personal messages (not necessarily one-to-one) to help your audience get to
know you
better.
The Live Performance As
a record
company
make money on prestige
gig
executive,
this artist?"
and contribute
on the
to the
my
Other
related questions are, "Will this artist
image of the company?" and "Will
success or failure of this act?"
(I
artists at all.)
to hear the right sounds, ask the right questions,
and get the
I
liked
what
I
heard on the demo.
the performance was excellent. series
Those
I
THE CRAFT AND BUSINESS OF SONGWRITING
my company enhance the
be a hero or lose
my
A&R reps who
For those reasons,
right answers. Let's
I
need
assume
thought the songs had commercial potential and
are really the basics.
Now
I
also
of questions, not necessarily in order of importance, but
significant:
I
should say here that there are
have kept their great jobs by not risking signing
that
332
bottom-line question has to be, "Can
have to ask another
all,
nonetheless, very
•
a
few
How
is
your
performance?
live
would impress me
It
some
performer. I'd like to see
years as a live
know
to
that
you had spent
great reviews of your performances,
preferably by recognized critics (your high school or college newspaper won't quite do).
But most of
all,
I
want you
are stacking the house.
tough audience
to excite a
So Id prefer to
my
could pull off a powerful performance in
— not one where
you perform
see
in a
me and my
office for
your friends
all
club or in concert, but
if
you
critical staff, I'd also
be impressed. •
Are you visually interesting?
memorable
look,
in exposing
vou
•
you look great or
If
a major plus because this
it's
with our eyes than our
ears,
which
one reason we can
is
Do
attend your concerts and see your videos. I
want the audience
know who you
is
component
a major
to potential fans.
Do you move and speak confidently? Remember
identity?
TV
when
a time
is
have an interesting and
at least
are
and
like
to
that
that you've given
who
good sense of your personal
a
go away from your performance with
you or
more information
retain
a lot of records to people
sell
you have
we
them enough
a feeling that they
pieces of yourself in
your musical visual presentation to create an intriguing mystery that makes them want
know who you •
are.
If you're a
band or vocal group,
with each other, not standing there doesn't
mean you have
not your
style.
But
I
do the
to
do want
it.
placement •
I
I'll
also
splits,
you
moonwalk, and choreograph dance
steps if that's
I
want
to
know you're
at
For example,
me something and
in person?
live.
I'll
want
to
know
that the things
don't expect to see an orchestra, but the
I
if a significant
I'd better hear
their
dress.
it
degree of your appeal to
your
in
and
live
me
based
is
performance. Though
it's
to get a technically perfect vocal
through the magic of ProTools and other studio technology,
you
giving
between the
your stage movement, your choice of songs and
technically possible to pull off lip-synched vocals
reviewer won't trash
own
world. That
on your demo can be reproduced
on your group vocal sound,
involved and interacting little
your arrangements, and the way you
basics have to be there.
all
each in your
like robots,
Can you reproduce your demo sound
liked
to see
to sense that there's a real, honest chemistry
be looking
in the set,
want
I
group members that inspires your music. enjoying
to
I'd like to
for lip-synching vocals in concert or
know
some
that
from seeing you
try
it
without the technical aid and not be able to sing on pitch. •
Do you
love to perform?
experienced professional
I
want
who knows and
road and loves to perform.
I
know
know
to
that, ideally,
Live performance
sells it
that in spite of
•
and
helps us to keep your
DJs and fans something
know what
a lot of records
TV exposure and hit records,
is
It
sacrifice?
gives
you
Though
magic of a great
live
in front
there's
no
performance.
a great marketing tool for us.
name
to talk about. It gives
they like about you.
Are you willing to
be working with an
understands (and accepts) the hardships of the
substitute, in the eyes of fans (and potential fans), for the
reviews in the press,
I'll
It
gives us
of the public, and gives
you contact with your audience so
local
you'll
a kind of high that can't be duplicated.
it
may
take a couple of years of money-losing
GETTING A RECORD DEAL
333
opening- acr
touring can eventually provide a major source of income
status,
(as
can concert
who
merchandising of T-shirts and other items), particularly for group members
don't
receive songwriter's royalties.
Marketability Now
I
have to assess how,
my best
tools
brother or
though
if
the "story" that
is
sister,
use to get the press interested in you.
I
of the
album wears
first
much your own.
who would
on your
like to sing or play
me something
does give
That's what
background
make
I
need:
own
people out there
PR
record.
It also
That
in itself doesn't get
who remember you when you were doing maybe we can arouse
artist,
who
I
really like,
What's interesting about your
your
life?
by
tips in
San
New
York
Santa Monica? Did you songs in
have an interesting and flamboyant personality or hang out in social
What were
I'd
and Britney Spears both got
a living playing in the
park while you played for
from the
him.
like
in
"Oh,
lived in her car in
start driving a cab/collecting trash/waiting tables/writing
cally attract attention
association.
hit?
Jewel grew up in Alaska and
on the Mickey Mouse Club. Did you make
front to
be quite a few
he must be something
to get gigs in clubs. Christina Aguilera
live in the
may
whatever you were doing
their curiosity
probably love his stuff." Did you write a well-known
subways? Did you
signed, but
now coming up
is
music." That's a good hook for us because there
Diego while trying
you
(public relations/publicity) potential! "He/she has been in the
yeah, if he played with that
get
helps if you have famous friends
of an incentive.
the background. If not, then
their start
you're the
you'd better be able to deliver
off,
musician, a backup singer, or a writer and
as a
his/her
Maybe
son or daughter of somebody famous (Eagle Eye Cherry, Jakob Dylan),
after the curiosity
something substantial and very
it
make people aware of you. One of
sign you, I'm going to
I
jail?
circles that
Do
you
automati-
press?
the turning points in your music, in your personal outlook
philosophy, your inspired decisions?
What
incidents, experiences,
on
life,
your
changed your whole
life?
I
as a
want
to
human
know
things about
make
to say? If not,
I'll
you sing and
enhance the mystique; that
that
ideally, all
reveal
you
of the above.
confidently and do you have something interesting or funny
sure Letterman
you don't do
opinions, on the other hand, Bill
that
being of substance, strangeness, virtue, or character; or
Can you speak well and
with
you personally
I
and Leno don't
interviews. If
might want you
Maher. Are you willing
to
invite
you
to talk to
them
after
you have strong and well-articulated
to be
on
do radio and
a
show
TV
like Politically Incorrect
interviews and in-store
appearances?
Those things
know about
334
are important in that they give us
"hooks" that we can use
you, and the press needs that kind of story to
THE CRAFT AND BUSINESS OF SONGWRITING
work
with.
to let people
More
important, though,
music has
album
album and
to
the marketability of your music
is
when we do
a unit)' or style so that,
show
still
Writer/artists frequently ask if record
companies
company
no doubt
will
you write and perform an
Why
what they pick up on?" That's commendable
a record
R&B
artist
to sell half
and
best
release
ask,
if
R&B
single
Of course, we
do want you
we
to grow;
where you're the same,
on you?
are
to blend
your
stylistic
don't want
same
If
all
it
from
can
of each and
a little
country music
in trying to
is
what
important that the
style so that you're the
same
artist
from
album to album and still
show
artistic
as
growth and change
to be trying
within your general
market you
we going
takes off, are
&_ It's
music has a unity of
style.
to be a staff songwriter, but
really?" If
R&B
artist
stylistic variety. "I
them
audience, or vice versa? So
it's
a
style.
your music to sound the same and we
need for you to have developed your
just
identifiable artist
and how you want
who you
give
I
you want
"But who are you,
an album of country tunes to a rock or
marketing problem.
hear
like to
don't
and enjoy most, what's the point
an
important that the
growth and change within your general
artistic
write country, hip-hop, pop, rock, anything! see
itself. It's
find the audience, you're the
from one album
style to the
to the next. Ideally,
to be presented to the public.
Maybe
influences into something totally unique
and
point
you know
you've found a way
identifiable.
Personal Factors Considering the tremendous investment the company tant for us to
lack of
that we're not going to be flushing
commitment or other
factors that I
know
make it
in
down
your
career,
personal factors beyond our control. These are important
on your team) don't want
else
of an overdose or you'll spend
you'll die
enough
be glad to
I'd
impor-
the drain due to your
to
worry that you're a heavy drug user
all
your advance on drugs or that the
drugs will ruin your health or your relationships with your group. I'd like to responsible
it's
have to weigh.
I
(and everyone
and that
will
to
show up
know
for gigs
you have
that
and
know
you're
interviews.
a reasonably stable domestic situation, that your
wife/husband/live-in can deal with your being on the road or that family problems won't
any other way with your
interfere in
Are you a networker? with other
artists
Do
you
and musicians.
career.
like to
Do
Do
meet new people?
you enjoy hanging out
you systematically network, making and keeping
industry contacts? Ideally, like to I
I
enjoy
want
to like
you since
my work and don't
we'll
probably be spending a
look forward to putting
my
lot
of time together.
neck on the
line for
I
someone
don't like and respect. Life's too short! If you're a band,
members and there
I
want
that each
may be strong egos
the band.
anything
else.
So,
I
everything,
do more
need to get
bond between band
accepts his function within the group.
involved, but
Money changes
pressures of both can
to see that you've established a strong
knows and
I
also
and
to break
a sense
know that
if you're
if they're
successful
expect that
out of hand, they can ruin
and doing heavy touring, the
up the group (and
of who you are
I
lose
as individuals
our investment) than
and how you
interact
with each other.
GETTING A RECORD DEAL
335
As
said earlier, this
I
the ideal situation.
is
and
these elements in an artist,
know I won't
I
love the music,
if I
necessarily be able to get
some
take
I'll
trade-offs,
but
all
I
will
is
very
always look for them.
The Professional Team Now we I'm
my
get to a subject that, in
important for
me
to consider
be impressed
likely to
—
assumed
whose work
the efforts of your manager, producer,
momentum on company that if
I
lots
will
it
and
of
First
let's
all,
me and
assume that
all
my
believe in you,
attention through
have been generating energy and
important things:
(1) that if
my
sign you,
I
knowing
about the best situation for
now
and an
as a writer is
(2)
will.
questions until
your favor
tip the scales in
Let's talk
my
to
of competent aid from your team, to insure your success, and
and I'm very excited about you
and producer.
who
attorney,
me
tell
you come
respect. If
I
don't sign you, someone else probably
satisfaction
impress
your behalf,
have
will
executive,
you have a team of professional people who
if
particularly if they are people
company
role as a record
on your team.
the people
that
me
my
have been answered to
artist.
Another thing
you have
a
as the record
that will
competent manager
company
and, conse-
quendy, what's best for you.
Your Manager A
manager,
among
and production
TV
other things, should be able to initiate publishing, record company,
deals;
know what
clubs or concerts
you should play and what
shows you should do and when. She should oversee or coordinate the
your booking agent, road manager, publisher,
and producer and be your
buffer between
you and the
is
record of successes, one
who
has
artist. I'd
and the need
for coordination
if
all
and teamwork.
your strengths and limitations and has
What
be more impressed
managed other
business and understands the functions of
successful acts,
the I'll
component want
a plan for the
your manager does not have a
stellar track
to
is
the
ego and the captain of your
alter
about you and your talent and
also excited
helping you become a successful
of
manager,
contact with the record company. She
and
and
activities
publicist, accountant, attorney, business official
business, your advisor
team. Ideally, your manager
radio
if
she
one
is
a
is
dedicated to
manager with
who knows
the record
parts of the talent
know
that your
is
machine
manager knows
development of your
record and
a
career.
not knowledgeable
about the record business? Unless she
is
willing to learn
and take
direction,
I
know
I'm going to have
problems. Enough arguments erupt between record companies and managers
know
the business.
It's
particularly crazy to try to deal with
knowing when I'm making important concessions that
336
from our experience
is
advisable, but
THE CRAFT AND BUSINESS OF SONGWRITING
lots
of
who do
someone who has no way of
to her or suggesting a course of action
one that the manager does not understand.
may assume
Inexperienced managers
adversary roles to cover their ignorance, rather
than finding ways to work with the company.
whom
good working
already have a
I
been worked out or
sign an artist that I'm not totally sold
on
how
if
I
suffer
manager so
to argue
good one. Another option
a
superstar
is
hook her up
the
artist to
may have
already
might even
I
in a
comanagement
and you wouldn't have
you didn't have one so
I'd rather
I
to
could help
young manager who already works
a fresh,
management company. Often they acquired
brought a new
manager with
a
with each other.
that she could learn
from her inexperience. Otherwise,
you find
you had
believe in the abilities of the manager.
So, if you have an inexperienced manager, I'd try to situation with a successful
rather
relationship because our problems
we've learned
at least
would
I
for a
that job because they already
company.
GENERAL INFORMATION Managers get paid between 15 percent and 20 percent of your gross income, sometimes, of your
net,
and sometimes, a combination. That includes songwriting, publishing, record
Management
royalties, touring, everything.
do your homework on is
a
good
source.
And,
it.
Don
deals can be complex,
Passman's All You Need
at the risk
to
and
I
recommend you
Know About the Music Business
of being redundant, never sign a management agreement
without an experienced entertainment attorney to negotiate for your
interests! It's difficult
but not impossible to get a good, experienced manager unless you already have a record deal.
The
best managers don't have to take
on the burden of building
scratch, since they can afford to be choosy.
no accounting
for
human
But
a career totally
from
not an impossible situation. There's
it's
chemistry and a manager's basic gambler's instinct. If she thinks
you've got star quality, she just knows she can get you a deal!
Some
artists
need
a
manager they can
on
relate to
a very personal basis. Others just
need a manager to take care of their business and stay out of their personal should
know which one you need
before
you
will ask
you
start
looking and
let
him
or her
life.
You
know what
you're looking for right away.
One
of the things a manager
they can behalf. live
make
There
deals will
and sign
to
do
contracts, cash your
be occasions in which
it's
give
them "power of attorney"
checks, hire
and
so
your crew on your
fire
physically impossible for
you
to sign every
performance contract and power of attorney might be valuable. You should, however,
be sure about the scope of this power.
It's
a
good idea
of contracts and specific dollar amounts and only
Anything beyond those e-mail. This
You in
is
is
limits,
one of those
find an established
you have
to
you
manager by looking
may
also
have a
list.
to certain types
you're not there to do
if it gets
is
it
easy to
yourself.
do with
out of your control.
at the credits
on CDs of
like to diversify).
of artists, their managers, and booking agents. Your
tion or music association
power
approve in writing. This
areas that can ruin
your genre of music (though some managers
lishes a list
if
to limit that
artists
who
are
Billboard annually pub-
local songwriters organiza-
If possible, try to contact
an
artist
who
the
GETTING A RECORD DEAL
337
they might see you as competition) or
company manages (though to
who
company
used
for the radio,
and
the
manage. (You'll hear the worst, but you'll be forewarned.)
Your Producer demo
If the
I
listened to
first
was a finished master recording, ready
produced by someone with a successful track record,
and the
to radio
press, as well as ensures that the rest
produced. With a successful producer
me
bring
finished masters, just
I
have no way of knowing that
call that
you
find
great remixer,
ity
is
who
I'll
be competently
even necessary to
I
It's
a fresh set
produced masters
it's
I'll
want us both
to be airworthy.
it
else)
to
to find a
is
One
of the
can sometimes lose objectiv-
of ears to mix the record. I'm happy because
love,
I
you or someone
judgment
a
in that particular situation.
decide or
/ know can deliver a great record. Another option
can take what you have and tweak
and can benefit from
will
isn't
get a well-produced finished product.
that a producer (whether
If you've
it
yourself or an unproven producer, even if I like them,
to hear a finished master before
who
producer
a
problems
want
I'll
another way to hype you
of the product
of the package,
as part
depends on the strength of the various ingredients
possible that
It's
me
gives
demos of exceptional songs and performances.
demos produced by
If you bring
it
I
truly have a self-contained
package and don't have to worry about your having problems with your producer (though the potential for
on
close eye
you
your choice of material
to be less objective in
If you're already signed to producer "A," priate,
him
then
will
make me keep
a
it).
I
know
I'll
to allow another
not sign you
at
who
I
believe to be incompetent or inappro-
buy out your contract with
either have to
that producer, convince
producer ("B") to work on the project through "A's" company, or
all.
Your producer should know your he will produce you to make you
as
and weaknesses and have a plan
strengths
commercially viable
for
how
as possible.
GENERAL INFORMATION Producers have a dual responsibility: to deliver the record
and
get the best performance
best
components needed
from the
artist
for that particular project,
both the technical and
The worst way
music and
listen to the
is
listed
on the
department and ask for in
338
all
styles
THE CRAFT
BUSINESS OF
is
way
to send
is
to
it.
lists
on the Charts
SONGWRITING
can
sell
studio(s),
the responsi-
your demos randomly to producers whose
listen to
Also, Billboard
New
The producer bears
buy records of
record. If
worked on and
it
of the record.
you
like
artists in it,
your general
try to find
of
out what other
company
A&R
or artist relations
the producers of hit records
(see
style
them. Often the production company's
record. If not, call the record
of music, and
AND
best
sound of the
records that producer has
address
artistic quality
to find a producer
work you don't know. The
a record
which may mean songs,
musicians, arranger, engineers, and recording equipment. bility for
company
or group. Part of this includes choosing the
Appendix) gives you
on
its
charts
their contact info.
on
If you read Billboard
their
own
ror tree at
it
feels
work
the question of liking their
come from
Producers
need
a stylistic direction,
is
may
you
suit
Some
observed and participated in the work styles of
many
who went
are engineer/producers in
which they've
different producers. If you're a
unique sound based on your arrangement
writer/artist/arranger with a
So beyond
better.
the question of compatibility.
a variety of backgrounds.
by engineering hundreds or thousands of sessions
to "producer school''
may
If you
favorite
producers have
right for you. Others work to enhance the unique qualities
or group, and a producer with that philosophy
artist
Some
www.billboard.com.)
no matter who they produce.
characteristic style
look for one whose style
of the
know who's producing your
a regular basis you'll get to
(You can read much of
records.
ideas,
your vision
be enhanced more by an engineer/producer than by an arranger/producer.
Arranger/producers with experience
as studio
musicians go to that same producer school
and benefit from the same exposure but from the other side of the
and hooks
that
you're a singer or singer/songwriter
who
creating the musical dynamics hits. If
may
have already helped launch some
needs the most assistance in creating an
Many
instrumental sound, check out the musician/arranger/producer. writers
who
material
like to cowrite
and
with the
artist.
of them are also
This could also be advantageous
That producer
like to collaborate.
They'll excel in
glass.
will also
if
you need
be attracted by the additional
royalties he'd receive for his writing contributions.
Regardless of his background, a producer needs to be able to choose the best songs for
other writers. cial
songs
is
a
Some
see,
a producer
who
to
artist
can
make up
are slim.
it'll
may
or finding appropriate songs from if
finding or writing strong
own
strengths and weaknesses
is
essential in finding
usually have projects
that approach,
you should
first hit(s).
It's
also
more
booked
far into the future.
Though
check the charts for new producers
likely that they're
not booked so
far
^jr
own
strengths and
weaknesses
is
essential in finding a
producer who can
make up for your
be looking for their next project.
commonly,
t
An assessment of your
your chances of getting a major, established producer
Producers get paid a royalty as percentage points based on record song, or, most
commer-
be necessary to have an expert working with you.
your weaknesses and enhance your strengths.
deal,
They
have recently had their
ahead and
for
without a record
you shouldn't abandon
who
for you,
an assessment of your
work with you
and
are better than others at this;
problem area
As you can
As an
own
whether choosing from among your
a project
sales,
a flat fee per
weaknesses and
enhance your
a combination of the two.
strengths.
Attorneys As
a record
artists
company
executive,
I
will frequently be
with demos or masters. This
are negotiating
the labels
many
of
happening more and more frequently. Since attorneys
contracts with record companies, they have
and find themselves
for a certain type
is
artist.
in a position to
way around
yet.
From
know
if
and when
Since they have an inside track,
the product" than, for instance, an out-of-town his
approached by attorneys representing
the record
manager or
company
it's
a
made good a
easier for
them
new one who
point-of-view,
I
contacts at
company
want
is
looking
to
doesn't
"shop
know
to deal with an
GETTING A RECORD DEAL
339
When
entertainment attorney and, in particular, a record business attorney.
me
my company
or
attorney to negotiate a deal, he must speak the language and have
we
up-to-date knowledge of current record industry practices. If not,
end up engaged
will
of fruitless negotiations and we'll end up having to educate your attorney
in needless hours at
he comes to
your expense.
For instance, you're presented with a production or record contract and you uncle,
whose specialty is suing auto manufacturers. He should refer you
specialist. But suppose business
is
slow
month, he knows there
this
nephew being
the music business, he has visions of his
to
an entertainment
are lots of bucks in
a big rock star, he thinks
be great to get involved in a more glamorous business, and he figures,
how
hard could
it
thing he objects to
the fact that this big record
is
recouped off the top from your he
may
He
be to negotiate a record contract?"
be unaware that
it's
royalties.
He
thinks
terrible
(it
attorneys will either not
want
Needless to say, none of this helps you just
him
to negotiate with
knowing law academically
at
actually
make one
The
him
Entertainment law
all.
not enough to
is
at all or eat
the hell,
and the
first
terrible,
is
but
and decides he
record
company
alive for breakfast.
is
very complex, and
good attorney
a
would
recording costs
all
a firmly established practice in the industry)
should try to negotiate that point, thereby exposing his ignorance.
it
"What
gets the contract
company wants it's
your
call
in that field.
Personal experience, good contacts (politics), and a knowledge of current industry practices as well as a
knowledge of the
policies
important. As a record company, that the best deal
negotiate for to have
this
one that comes
is
my own
know
we'll
team member
well.
I
want
later
to deal with an attorney
closest to being fair for
advantage, but
problems with you
successful,
and contracts of specific record companies
I
if
that
means
it's
both
be renegotiating.) So,
as
you can
parties.
unfair to you,
and you won't be happy with the see, it's
are equally
whose philosophy
deal.
I
Obviously,
know I'm
(Though
if
is
I'll
going you're
very important to choose
GENERAL INFORMATION In relationships with attorneys, fees are always a major concern. Attorneys in this field are expensive, and fees range from
$125 (not many)
to
$500 per hour.
They'll log
all
the time
spent on your behalf on the telephone, in meetings with you, with the record company, or whatever, and to
bill
you
for that time.
attorneys, in lieu of an hourly rate, will offer
shop your demos or masters and negotiate your deal
that contract for the this.
Some may
life
the surface, this
consider that ship and
in a couple
is
AND
good
BUSINESS
on
of your income from
it
income
in the deal including touring
were a management commission.
deal, particularly if you're broke,
On
but you should
of months you'll become disenchanted with your relation-
part of your
attorney working
THE CRAFT
in a sense, operate as if like a
for 5 percent
sure you're very clear about the parameters of
to get another attorney. You'll then be
original 5 percent
An
Make
to include other types of
may seem
maybe
want
of the deal.
want
also
and merchandising and,
340
Some
income
a percentage
OF SONGWRITING
that
paying two attorneys, and that
you might find
may
also
a better use for.
be tempted to "front load" a
deal.
Here's a simplified scenario for the sake of illustration: In negotiations, the attorney has
an opportunity to obtain maybe the
by trading
artist,
a
$500,000 advance from the record company
off for a 7 percent artist royalty instead of 10 percent. Let's say
it
would only have been
that for 10 percent there
$350,000 advance.
a
getting 5 percent of that advance (because he gets 5 percent of deal he negotiated for you), he flying out of his pocket if
on
to act
tell
may have
$7,500 with wings on
go back to you and
"Great news!
say,
you about the extra 3 percent
I
you the pros and cons and
You should
could happen.
it,
let
you make that
got you a $350,000
artist royalty
which down the road could mean a substantial amount of money. give
is
your income from the
all
a quick fantasy about
If the attorney
he gets you the higher royalty and lower advance. If he decides
that fantasy, he can
advance," and never
for you,
decision. This
he gave up for
it,
If he's ethical, he'll
the kind of thing that
is
ask and they should inform you about the pros and cons of
their negotiations.
Attorneys will sometimes work on "spec" or "deferment," which means that
they'll
keep track of their time spent on your project but defer payment until they've made a
you and then
deal for
do
likely to
you with
present
at a deal. It lot
this if a
is
collect their
accumulated
fees
good
a contract or if they have
new
ears
and
feel
you've got a favorable shot
a very high risk for them, though, because they could conceivably spend a
of time, the deal wouldn't happen, and they'd
to find a
from the front money. They're most
producer or record company has shown enough interest in you to
attorney who'll do
Another way they can work thing they do. That
may
is
risk
not getting paid. You're more likely
this.
an hourly fee against a monthly retainer covering every-
be part of an overall fee for the project depending on what
be required to do, then deduct what you've already paid from the They'll give they'll
have to go past
Here 1.
you an estimate up
are
some
Never sign
but I'm people so nice
.
.
,"
.
additional tips
"They
final overall project fee.
you know when
it
looks like
attorneys:
legal advice.
number of unfortunate
better ignored the advice.
would
said they
do wasn't written into merely
on dealing with
without some
appalled by the
still
let
it.
a contract
who knew
front and, hopefully,
they'll
.
.
.
,"
They
I'm sure you've heard situations
I
say something
but, unfortunately,
come like,
which
across in
"The people were
what they
their contract and, consequently, they don't
this before,
said they
would
have to do what they
2. If
said.
you or your manager
are discussing
your deal with a company, take notes on the
verbal points they're offering you. Relay this information to your attorney so he can
incorporate
it
into the contract in case the
will clarify this
immediately, though, since
strokes that they're pretty sure their
own
A
good reason
selectively forgets.
A&R reps will often
(Your attorney
about deals
talk
worked out over the
years
from
their
own
broad
legal battles,
reflecting industry practices as well as innovating their
for hiring
in
you don't quite understand.) Most companies already have
contracts that they've
and those of associates,
company
an experienced music industry attorney
is
own
that he's
terms.
had
to
GETTING A RECORD DEAL
341
and
negotiate with a great variety of companies
and contract terms of most of them.
company,
particular
is
familiar with the negotiating practices
your attorney has already negotiated deals with
If
that experience could save a lot of the attorney's time
a
and your
money. Don't ask the company with
3.
Never go contract.
whom
to an attorney for advice
To
who
also represents those
ethical attorney will always let
you know
Always ask an attorney what his/her
4.
how much
who
attorney.
are offering
you a
avoid conflict of interest, your attorney should have no connection with your
manager, producer, record company, or anyone
An
recommend an
you're negotiating to
the service
but vou should
you need could
at least
with
else
whom
you
are
doing business.
but ask anyway.
that,
and
fees are
cost. It will
try to get
some
sometimes be hard
have a ballpark figure. That
sort to
of estimate of
tell
you
exactly,
way you can determine whether
it's
out of your league. 5.
Your conversation and business with your attorney
confidential unless
offering you). 6. If you
"discharge" your attorney and decide to get a
the right, with your authorization, to copy your
your
new
one, the
new
attorney has
from the previous attorney. They're
files
files.
Communicate
7.
in writing
whenever you can.
documents and dates your requests
It
and comments and avoids communication breakdown due
man
error.
8.
Keep
a
you consent
amount of money another company
to "leak" information as a business tactic (such as the is
is
a
it is
of
memory and
hu-
photocopy of all correspondence with anyone you do business with, including
copy of every contract presented to and signed by you,
because
to lapses
possible to
add
a clause to a contract after
before
you
you return
sign
it
it.
You do
this
and you'd otherwise
not be able to prove that you didn't consent to the added clause. 9.
you
Ask an attorney what
he's
done
lately. If
in negotiating a record deal, you'll
in negotiating that
Shop
10.
many
specialists
to find
one who has had
recent experience
kind of contract and uses up-to-date contracts. with expertise in the area in which you need help. There are
for an attorney
You may want
want
you're looking for an attorney to represent
among entertainment
attorneys as well as veterans who've
different attorneys to negotiate
done
it all.
management, publishing, production,
music, or recording contracts. Ask them what they specialize
film
in.
Booking Agents Back
to
my
role as a record
company
exec.
Even though
job to find the right booking agency for you,
record
me
company we have ongoing
"discover"
new
artists.
I'll
get
constantly being approached by
booking
342
artists in
I
may be
relationships with
THE CRAFT AND BUSINESS OF SONGWRITING
I
your manager's
able to help, since here at the
artists
and bands looking
pans of the country that
essentially
many of them. Sometimes
demos of hot new
artists
it's
don't have
much
they help
from them because they're
for work.
They may
also
be
regular access to for scouting
vou already have
talent. If
may
because you If you're
an
a
good agency and you're working
regularly,
a plus for
it's
me
already have a strong following of potential record buyers.
artist
who
loves to perform, the
booking agent
is
an important part of the
team. The decisions you and your manager make with her about where and when you play could be very important to the success of an album. In the coordination of
and touring schedules, timing
releases
album
critical.
is
GENERAL INFORMATION Booking agents
who
those
as
opposed
to personal
money
managers) are
performance
for live
unknown
work, and so on. Though major agencies occasionally work with
gigs, film
without record
artists
managers,
(also referred to as talent
secure work, negotiate contracts, and collect your
deals,
it's rare.
new
If you're a
you're better off finding a small
act,
or medium-sized agency that deals with unsigned or newly signed acts because they regularly deal
with clubs and small concert venues that feature talent
your
at
level
of
development.
Booking career.
agents, with a career
Major agents can
assist
development plan
by bringing you
in
mind, can do a
to the attention of record
they deal with on behalf of other major clients. Their approach, to a record deal,
however,
it's
also to the
It's
independent
who
is
to try to get the label to agree to let
ultimately your call since
you
them
label,
truly
represent
may need
concerned with your growth
can Federation of Musicians),
—
www.aftra.org),
of those agents
to find
who
an agent;
plan in mind, can do a
advance your
career.
to
a
week may
find
produce an album. For every
10 percent) $500 or $600 or more.
will
not obstruct your career. In the long
you have
a record out will
loss.
AFTRA
is
through your
AF
local
of
M (Ameri-
(American Federation of Television and Radio
AGVA (American Guild of Variety Artists— http://home.earthli
nk.net/-agvala/agval.html), or
an agent
as
(at
of the best ways to locate a reputable agent
Another way
you
career development
because they can then charge more for your appearances. However, acts
more than make up the temporary
list
who
ftfffr
Booking agents, with a
lot to
run, the additional fees the agent will be able to charge once
up-to-date
companies
they can get you close
advantage of smaller agencies that you get a record deal even with a small
that their agents balk at the time off the act
Those agents
advance your
sign the contract.
week you don't work, your agent doesn't make
Artists
if
on the road constantly and making $5,000 or $6,000 or more
are
One
lot to
them
is
SAG
who
(Screen Actors Guild
they've licensed and
through other musicians
deals with college concerts
is
a
—www.sag.org), who keep an
who comply with
who seem
good way
to
go
to
work
if
you
their regulations.
regularly. just
want
Finding to play
primarily original material. (Club gigs, in general, discourage a predominance of originals in favor
some
of a cover tunes or "standards" repertoire.)
college student activities directors
You can
find such agents by calling
and asking which agents they
like to deal with.
Agents charge 10 percent of the gross receipts from the jobs they secure for you. sign exclusively with an agent, they'll
want
that percentage
on
all
the gigs
you
If you
get, regardless
of whether you or they secure the job for a period of one to more than three years. If you
GETTING A RECORD DEAL
343
.
own
already have formed your
you may want
in the past,
percentage. If
you can
with a specific
list
to exclude
them
get
where you've performed
relationships with clubs or colleges
them from
the clubs where the agent can collect a
need
to agree to this, you'll
of excluded clubs.
On
the other hand, the
more you
clubs. All contracts sanctioned
of the contract
if
the agent doesn't get
Booking agents obviously look
for a
Some
styles.
you work within
manager,
who
will
may
never book
Some
who
agents specialize in specific
also
have the talent to expand
music. This
is
an area
that, ideally,
Some
also represent
by your
dealt with
is
have the most contact with the agent.
Songwriters frequently ask specialize in film
limit the situations
specified time periods.
modeling, writing, and other directions.
TV
composers for film and
your contract
combination of musical talent and the desire and
are "full service" agencies for those
their careers into acting,
in
by the unions have clauses that get you out
ability to entertain in the acts they consider representing.
musical
it
be and
they can get their percentage from, the less enthusiastic they'll
you into those
put
to
and
TV
if there are
very successful writers (and composers)
TV
songs or songwriting ability they promote for film and
Independent songpluggers come
who
agents just for songwriters. Except for those
and represent
themes, the answer
whose is
no.
though. (See "Independent
closest to filling that bill
Songpluggers," chapter eleven.)
The Campaign If
you want
a record deal,
you
can't afford to wait for
representatives need to plan an effective
companies
in
which you're
A&R people
at record
campaign
it
to find you.
make
to
you
sure
You and/or your
get heard
by those
interested.
companies seldom go to clubs
random
at
to see artists they've
never heard before. They'll respond to a "buzz" (talk on the street or in the industry about a hot,
new
demo
they've heard. Except for the
personal their
band). They'll also go to see a band whose songs and sound they liked
life),
they have litde time to see an
such a thing
as a
and
Send or
style
him. Staff
deliver
344
time
as possible in the process. So,
isn't) that
makes the most
close to this:
It's
in the record
company
A&R department
not necessary to see the vice president of
A&R representatives
may
be
much more
Schedule a showcase about three or four weeks if possible, in
About two weeks
THE CRAFT
AND
efficient
kit,
your demos, preferably via an attorney, manager, or agent, to
knows
of music.
the showcase, 4.
as little
photos,
bios.
ever that person
3.
reps (and those without a
Put together your package with masters or high-quality demos, press
reviews,
your
it's
A&R
on a
otherwise. They'll always try to improve
standard campaign (and there
use of your time and theirs,
2.
artist
odds of finding a great band and waste
if there's
1
most aggressive
BUSINESS OF
is
whom-
appropriate for
A&R unless you know
accessible.
after delivery
the package you present
who
of the demos. Announce
and e-mail reminders.
before your showcase, send out a special invitation to the people
SONGWRITING
who
have your package, the press, booking agents, producers, or anyone
to be there. Again, 5.
Follow up a few days
demo,
(b)
they liked
If
showcase. If so, like to
job
an e-mail
tell
later
them you
with phone
if
(c)
it,
you'd
else
like
will do.
will
calls to find out: (a) if
they got the invitation, (d)
be notified of future appearances. (Keep your mailing
list
they're
if
put their name(s) on the guest
they have heard the
coming
to the
If not, ask if they'd
list.
current with their present
and e-mail addresses and phone numbers.) they attend the showcase, follow up immediately with a thank-you card and a
6. If
phone
find out
call to
You can
do
either
what they thought.
some new demos and
cut
7. If all that fails,
them
work
that rarely does this
continue, so don't be discouraged. There
is
the
first
You
time.
will
name
value in just getting your
have to
in front of
A&R reps would
of rock groups, most
periodically. Generally speaking, in the case
and the buzz you created and pursue you them-
rather hear about your great performance selves.
again. Persist!
it all
have a friend, manager, spouse, or a combina-
this project yourself or
Know
tion represent you.
try
Concentrate on getting reviewers there.
Web
Your
Also, sometimes
you can
let
Site more
it's
a Critical Factor
Is
Keep them on your e-mail
list.
And
keep your
your
Why
a Major-Label Deal
Though
it's
years, the
Web
site
and
expand
their
own
It's
and
possible,
fill
sure
reviews.
you attach
still
with a
lot
audience without airplay.
living to hire their
own
You
for
equipment
a lot to level the playing field for
control most of the expertise and capital
shelf space at record retailers, they're
of work, for an
Many
majors because they have already accomplished
good enough
Make
affordability of great digital recording
the five major labels
to market, influence airplay,
only game in town.
updated.
with e-mail, where
and read the
independent recordings for many
for writer/artists to release
recent availability
Though
site
next,
May Not Be Best
and the marketing potential of the Internet have done indie artists.
Web
every e-mail.
been possible
more
your
to
where you're playing
see
a link to
site in
them
effective to bring
them hear your music,
it.
artist
artists are
At
or
band
own
to develop
and
gaining the attention of the
that point, they
team, control their
no longer the
careers,
may
be making a
and keep the
profits
themselves, rather than risking the following problems of signing with a major. 1.
Your odds of being
2.
The
allegiances of
successful are about
major
to the extent that they contribute to the
employees of those It's
labels
who
just that they're forced to
one
in ten.
labels are primarily to their shareholders
bottom
line.
That
are passionate about the
is
and only
to artists
not to say that there aren't
music and the
perform a kind of triage on a regular
artists
basis that
they sign.
makes them
GETTING A RECORD DEAL
345
of the most
prioritize in favor
from those beast.
many
just a bit
He ended up working
happen.
He
finally couldn't
The music their
all
handle
industry
dreams
in the
it
full
is
of the
their best efforts. It's just the nature
window of time
with and having a limited
more work with an
breakthrough, but was required to turn his it
take their attention
was a major-label tour publicist quit his job in frustration at
artists to deal
seemed that with
It
what may be
aren't, despite
A friend of mine who
having too each.
who
moment and
succeed at the
likely to
on
for artists
anymore. This of horror
hands of major
own
his
make
time because he believed in them.
not an unusual story.
is
from that 90 percent of artists who placed
stories
and
labels
he'd be able to see a
artist,
attention to another before he could
full
with
to deal
felt
betrayed by them.
To
be
some
fair,
of them weren't prepared for those deals to begin with. 3.
company
In "standard" label deals, the
of your advance and producing the records in the advance), partially
can
list
tion,
in the contract that's
own
costs
as
if
you market
yourself,
much and you'll
you '11 be paying those
be getting
all
number of albums
number of albums within
else until those
costs,
the profits after recouping
of recording, marketing, and distribution.
Though maximum contract terms are seven years, many contracts
the required
other
production costs are covered
not negotiated away. (They don't ordinarily recoup promo-
understand, though, that
that require a specific
5.
(in "all-in" deals,
artist royalties, the costs
recoups video costs and costs of tour support, and anything they
though you won't be spending
4.
from your
manufacturing, advertising, marketing, shipping.)
You
your
recoups,
delivered,
and
also contain clauses
rarely are artists allowed to deliver
the time period, nor can they record for anyone
requirements are met regardless of the time period.
Also, until the requirements are met, the artist's contract can be assigned to any
company
label than the
regardless of the wishes of the artist.
one she wanted
to sign with, often
So the
artist
may end up on
without anyone
at the
new
a different label
who
has an interest in her career. This can effectively keep the artist out of the marketplace
many
for
years.
Should You Do For
many
years, as
labels, a grassroots
good candidate • it
it's
It
Yourself?
been increasingly
movement of independent
for this
approach
if
you
company
doesn't see
they don't see you as a "mass market"
what radio
You
"fall into
artist-owned labels have emerged. You're a
into these categories:
THE CRAFT
stations
would play
it
as
something they can
artist) or,
"This
is
the cracks" now, though artists are
AND
sell,"
good, but
and so do
what you do might be very hip
usually ahead of the marketplace.
BUSINESS OF
really
(meaning that I
don't
know
it."
find yourself difficult to categorize stylistically
Innovative
346
fall
signed to major record
In the process of pitching yourself to major labels, you constantly hear, "I really like
personally, but the
•
difficult for acts to get
SONGWRITING
in
others.
You
sort
two or three
of
years.
You're an excellent
•
important
if
live
performer with a strong, enthusiastic following. This
you're going to make your
own
record because,
if
you don't
very
is
get radio or
video plav or create a style of music with an established marketing network, you must relv
on
live
performances for people to sample your wares. People don't
someone
record store and buy an album by tant,
but
good
is
if
It's
their offices, personnel,
and market
a
labels
an audience out there for anything
is
a
very impor-
studios, dictate that
new
artist's
a sort
done
well.
album
takes half a million to a million dollars
it
They have
to the public.
to
sell
and only about 10 percent of the albums
have a clearly defined market and
However,
that's
that the cost of their star-making machinery, including
is
recoup. That fact makes major labels very cautious, so they sign only fit
a lot of records
released ever
artists that
do
appear
an existing radio format.
of "farm team" approach has developed within the record industry,
and many small independent fully
is
skills.
and
to recoup that investment,
to
walk into
just
press
with a good business head who's not afraid of hard work,
firm belief that there
The problem of the major
to record
artist
and has good people
at delegating,
my
The
you're not playing somewhere, they can't review you.
You're an ambitious
•
they've never heard.
labels that
have managed to find their
have made distribition agreements with major
own
markets success-
labels.
Apart from that development, new networks and avenues of exposure and distribution have developed, particularly for focused genres such
new a
as
women's music,
children's music,
age music, blues, reggae, and other non-mainstream genres that are already served by
network of fans,
clubs, magazines,
Web sites,
and underground and
and shows. Through these networks, independent
college radio stations
have become increasingly sophis-
labels
ticated in finding their audiences.
Mail-order forms shipped with
music
festivals,
Web
site links,
work, building fan e-mail
CDs,
lists,
marketing plans for independent
astute
and
Internet
ad placement, exposure
street distribution
and promotional labels.
When you
"street
teams" of fans
likely that
costs), the prospects
your odds are better to make
some
excellent
books on marketing your
all
artists'
contribute to
at a
own
records (depending
look very good. In
money doing your own
with a major label contract simply because the odds (For
conventions and
consider that, unlike the major labels, you
may be able to recoup your investment after sales of as few as one thousand on how low you keep your recording
at
of free samples of their
major
fact, it's
record than making
quite
money
label are against you.
recordings, see the Bibliography.)
^ It's
quite likely that
your odds are better to
make money doing
your own record than
making money with a
Internet Record Companies Today, the recording industry
is
in a state
major-label contract
of rapid change. Mergers of traditional record
simply because the
Internet marketing divisions within the
odds at a major
international entertainment conglomerates themselves, threaten their longstanding symbi-
are against you.
companies with Internet
otic relationships
services as well as
new
with traditional "brick and mortar"
ering music via the Internet directly to computers
retail stores.
and
MP3
The
label
capability of deliv-
players can cut retail record
GETTING A RECORD DEAL
347
completely out of the picture. This
stores
retailers are already feeling the
For some time,
relationships.
will always like
tional deals that offer
still
artists will feel
increasingly comfortable
them options they'd not be
writer/artists, this revolution offers
Online
employ
new
the
same draconian contracts
sharing of
2. a
making new and nontradi-
opportunities to take charge of their
as traditional record
Money
own
and while some of them companies, others are
& Success, Jeffrey Brabec and Todd
all
income from
sales
50/50
sharing of a defined net (a company's operating and other costs taken out
and then 3. a
And
artists online.
the following:
list
1.
new
able to get at traditional labels.
labels are proliferating to assist in the process,
offering considerably better options. In Music,
Brabec
to preserve those old
provide a valuable function, since people
retailers will still
comfortable searching for and learning about
independent recording
careers.
new ways
to actually see the merchandise and shop, though a new generation of fans
will be increasingly
For
expected to be a gradual process, but the
is
heat and are looking for
pay
a
50/50
first
split)
for play scenario
where the company provides
a specific
amount
in lieu
of
mechanical and performance royalties 4.
an exclusive deal where a portion of the advertising revenue
5.
a fee covering the creation of an artist's
URL and Web
is
shared
pages with
all sales
going
to the artist 6. a
percentage of the sales revenue taken by the
all
company with content and
controlled by the artist
7. a
weekly
8. a
sharing of monies from subscription fees based on the
9.
fee to
have a band's material available for download
number of downloads
an offer to owners of masters of a higher percentage for downloads than would be made under a normal record
Many
pricing
company
contract, etc.
of the arrangements are nonexclusive or are exclusive only for a short period
of time. Practically none of these arrangements transfer ownership in the master recording or the song away from the writer
becomes
successful
own many more
rights
or writer. Because of this,
if
an
THE CRAFT AND BUSINESS OF SONGWRITING
artist
or
will definitely
than they would have under a normal record
contract.
348
artist
from one of these types of situations, they
company
Appendix: Songwriters' Resources
T
he following resources
will
be updated continually
at:
www.johnbraheny.com
For Industry Contacts RECORDING INDUSTRY SOURCEBOOK (800) 233-9604
www.artistpro.com/Sourcebase.cfm
More than 10,000 styles
listings in
55 categories. Listings include names,
of music and whether unsolicited material
rates, credits,
and
specialties. Registered users
is
titles,
phone,
fax,
accepted. Producer listings include
can search the book online.
BILLBOARD DIRECTORIES (800) 344-7119
www.billboard.com/store/directories/
The comprehensive
Billboard directories of business-to-business listings include
Billboard International Buyer's Guide, Billboard International Talent
& Touring
Directory, Billboard Record Retailing Directory, Billboard Tape/Disc Directory,
The
Radio PowerBook, Billboard International Latin Music Buyer's Guide, The Nashville
615/Country Music Sourcebook, Music
Guide
to
Touring
&
Promotion. For
& Media/Billboard EUROFILE,
many of these,
Musicians
specialized mailing labels
and data
extracts are also available.
MUSIC BUSINESS REGISTRY (818) 769-2722
www.musicregistry.com This company, headed by former Arista Records
A&R
Registry, a
comprehensive
stylistic focus, direct
listing
A&R rep Ritch Esra, publishes the A&R reps including their
of record company
phone, and fax numbers and the names of their
assistants.
The only
APPENDIX: SONGWRITERS' RESOURCES
349
They
directory updated every two months.
also publish
an annual Music Publisher
Registry and Film Television Music Guide.
THE MUSICIAN'S ATLAS www.musiciansatlas.com
A
comprehensive guide to clubs, studios, showcases, tape/disc manufacturers, record
stores, record distributors,
supervisors, publishers,
major and indie
music
journalists,
college radio, national
and regional
companies, publicists,
Web
A&R reps,
producers, film/TV music
managers, agents, attorneys, commercial and
press, conferences, creative services,
and
sites,
label
promotion
schools.
POLLSTAR (559) 271-7900
www.pollstar.com
For nearly twenty reliable
years, Pollstar has
provided music business professionals with a
and accurate source of worldwide concert tour schedules,
ticket sales results,
music
industry contact directories, trade news, and unique specialized data services. In addition to publishing the concert industry's leading
weekly trade publication, Pollstar
maintains the world's largest database of international concert tour information.
also
directories include a biannual
agencies; biannual
Record
Agency Roster
Company
thousand
for ten
Rosters, including a
list
artists
and
their
Its
contact
booking
of major label executives,
biannual Talent Buyer Directory listing concert promoters, clubs,
fairs, colleges, festivals,
and theme parks; Concert Venue Directory, Concert Support Services Directory, and
Connexions, an annual directory of ten thousand music industry company
Though
its
Web site doesn't list
it,
Pollstar also publishes a
listings.
semiannual Manager Directory
of artists and their managers.
For Getting Your Demos Directly to Music Industry Pros No Matter Where You Live TAXI (800)458-2111 www.taxi.com
An
innovative dp-sheet/independent
weeks by major and independent
labels,
A&R service.
by industry
pros.
Covers
all
receive listings every
two
producers, managers, film/TV music supervisors, and
publishers looking for writers, writer/artists critiqued
Members
styles
and bands.
and
All submissions are prescreened
including instrumentals. Highly recommended.
ONLINE PITCH SERVICES These
services provide opportunities for songwriters
available for users (record companies,
350
THE CRAFT
AND
BUSINESS
OF SONGWRITING
film/TV music
and publishers supervisors,
to
make
their
music
ad agencies, schools,
etc.)
via a searchable database.
charge based
on
the
Some
take a percentage of any uses generated
number of songs posted on
the
site.
Read
by the
site.
Others
their contracts carefully.
SongCatalog.com
Licensemusic.com
www.songcatalog.com/
www.licensemusic.com
Songpitch.com
Pitchsheet.com
www.songpitch.com/
www.pitchsheetassociate.com/
Songscope.com
PublishSongs.com
www.songscope.com
www.publishsongs.com/
Pump Audio
Soundartist.com
www.pumpaudio.com
www.soundartist.com
Organizations Throughout
the United States there are
more than 100
that provide a variety of services including showcases
industry guests. Rather than find a
list
magazine
list
them
of others on the Internet also maintains a
list
all I'll
at the
(see
local
songwriting organizations
and workshops featuring music
mention the national organizations. You can
Muse's Muse
page 355).
(see
Web sites). American Songwriter
Some of the
largest local organzations are:
Arizona Songwriters Association
Northern California Songwriters Association
Phoenix: (602) 841-2848
San Francisco: (650) 654-3966 www.ncsasong.org
Austin Songwriters Group
Songwriters' Association of Washington
Texas: (512) 442-8863
D.C.: (301) 654-8434
www.austinsongwriter.org
www.saw.org
NASHVILLE SONGWRITERS ASSOCIATION INTERNATIONAL (NSAI) (615) 256-3354
www.nashvillesongwriters.com
Founded
in 1967,
it's
primarily,
though not
exclusively, focused
maintains nearly 100 local workshops throughout the country.
on country music.
Check
to see if there's
It
one
near you or for info on starting one. Offers professional and general memberships.
Produces
many
educational events throughout the year, including Song
and October, and an annual Summer Seminar
Camps
in
August
in early August.
SONGWRITERS GUILD OF AMERICA (SGA) New York:
(201) 867-7603
Nashville: (615)
329-1782
Los Angeles: (323) 462-1 108 www.songwriters.org
The
oldest songwriters organization (founded 1931), the
song contract for writers.
It will assist
Guild pioneered the
writers in collecting proper royalties
ideal
from publishers.
APPENDIX: SONGWRITERS' RESOURCES
351
It
administers (optional service) the publishing catalogs of
among
other services.
Its
writer/publisher
its
members
non-profit division, the Songwriters Guild Foundation, offers
consultation, seminars, workshops,
and
critique sessions to
members.
its
JUST PLAIN FOLKS www.JPFolks.com
With more than 10,000 members, and
writer/artist
regional
and
this organization serves
an international songwriter
community with mutual support and networking via an online
local
newsletter,
showcases coordinated by local volunteer chapters, an annual contest,
online music industry mentors to answer questions and post articles and an opportunity to
promote
yourself. Free.
Performing Rights Organizations: ASCAP, BMI, and SESAC Their basic responsibility (radio,
TV,
is
logging and collecting royalties for the public performance
and concert venues) of music
clubs, restaurants
and publisher members. Beyond
that,
for distribution to their writer
they present showcases for
new
and scholarships and support many helpful organizations and events nity.
They
also,
music
commu-
along with other songwriting and publishing organizations, fight the
battles to protect the royalty
Web
Via their
talent, offer grants,
in the
sites
income of music
you can
creators
get information
and
publishers.
on copyright
legislation,
showcases and
educational events around the country, grant and scholarship applications and search their catalogs for songs, writers songs).
They
and
their publishers (where
also provide online clearance
BMI
New York:
(212) 586-2000
Nashville: (615)
401-2000
Los Angeles: (310) 659-9109
www.bmi.com
ASCAP (800) 952-7227
www.ascap.com
SESAC New York:
(212) 586-3450
Nashville: (615)
320-0055
Los Angeles: (310) 393-9671
www.sesac.com
352
THE CRAFT AND BUSINESS OF SONGWRITING
you obtain
forms and cuesheets for
licenses to use their
TV and
film uses.
Online Songwriters' Resources Whether you're looking
for used gear, a songwriting organization to help
new town, information on
to the industry in a
or record deals, hearing a interests, the
Web
out there
sites
time pit so
is
book explaining publishing
your new community. There are thousands of music-related get into
put together several of my favorite information
good informational
U.S.
copyright, a
group, or wanting to talk with someone with similar
now and growing exponentially. Once you
I've
in particular. Several
THE
new
you get oriented
of them are valuable
as starting
it, it
Web
can be a bottomless
sites relating to
songwriting
points because of their links to other
sites.
COPYRIGHT OFFICE
www.loc.gov/copyright If
you want
copy two
straight answers to
bars!)
and
your copyright questions (no,
downloads of all the forms you need
free
it's
not
OK if you only
to protect yourself,
go to
the source.
INDEPENDENT SONGWRITER WEB MAGAZINE www.independentsongwriter.com
An
online magazine featuring the same variety of craft and business articles as most
paper magazines.
LI'L
Good
stuff.
HANK'S GUIDE FOR SONGWRITERS
www.halsguide.com
Hal Cohen has put together for singers
and bands wanting
a great service
cities
and
from industry
stories
around the country. Also
JEFF MALLETT'S
Open Mic and Showcase Guide
to find exposure in the L.A. area, including feedback
those who've played the clubs as well as his
from other
with his
Schmoozarama Message Board offers songwriting, legal
from
inviting info
and business
articles
vets, as well as great links.
SONGWRITER SITE
www.lyricist.com
One
of the best maintained and comprehensive songwriter
sites.
Don't miss
this!
Extensive links.
THE MUSE'S MUSE www.musesmuse.com
A great site!
The
pioneer of songwriting
Web
sites.
A pretty comprehensive
resource maintained by Canadian Jodi Krangle. Features try organizations, useful
Web
links, articles
lists
on songwriting,
and helpful
of songwriters' and music indusa chat
room,
classifieds,
and an
e-zine.
APPENDIX: SONGWRITERS' RESOURCES
353
THE RECORDING ACADEMY www.grammy.com The
GRAMMY organization.
Check on educational and
the country, networking opportunities, activities in
your
band competitions,
cultural events throughout
membership, and other
grants,
Features interviews with industry experts on hot current topics.
area.
SETH JACKSON'S SONGWRITING
AND MUSIC
BUSINESS PAGE
www.mindspring.com/-hitmeister
A conscientiously maintained site
featuring links to information
and
resources, musical
gear and supplies, recording, publications, music law and copyright, marketing and songplugging, songwriting
and industry organizations, publishers and record
labels,
and
Web
rings.
SONGWRITERS, COMPOSERS, AND LYRICISTS ASSOCIATION (SCALA) www.senet.com.au/-scala Proving the international scope of cyberspace, ing articles from
SCALA
news
this
South Australian
as well as links to other organizations
site features
and
services
songwrit-
worldwide.
TONOS www.tonos.com
The
slick
Disneyland of songwriter
sites is
awesome. Founded by veteran writers and
writer/producers David Foster, Carole Bayer Sager, and Kenneth "Babyface"
They're a
class act
opportunities for
with great
new
articles, interviews,
and
lots
Edmonds.
of contests and collaborative
talent discovery.
THE VELVET ROPE www.velvetrope.com
The primo music labels,
bulletin board. Lots of topics including inside gossip about
industry pros, hirings, firings, mergers, and disgruntled
features valuable industry insights
from the
artists.
Juicy
major
stuff.
Also
pros.
Tipsheets Tipsheets provide information about
who
is
looking for what with contacts to those users
through subscriptions and memberships.
SONGLINK INTERNATIONAL www.songlink.com Great international tipsheet established in 1993
lists
both new and established
looking for material and pro writers looking for collaborators. Provides 40-50
each month. Also features industry news and extensive links to industry events, classic songwriters, publications, songwriters' resources, portals to
354
THE CRAFT AND BUSINESS OF SONGWRITING
artists
new
leads
sites
European industry
of
sites,
much more. A class
organizations, and six
and three
month
act!
One year
(10 issues)
— £185.00
/
U.S. $285.00.
subscriptions available.
NEW ON THE CHARTS www.notc.com Founded
in 1976,
on the
referenced contact info
of each label,
hit.
— 12
issues)
all
genres with cross-
producers, managers, record labels, and booking agents artists
who need
songs, the latest
management signings, Soundtrack newsletter for listings of film/TV music
music video section and info on international
be able to verify year
artists,
Also has a Publisher's Newsletter tipsheet listing
publisher and
leads, a
provides current info on who's on the charts in
it
at least
$365
one nationally
(plus
$45
deals.
To
must
subscribe, songwriters
released recording of their song. Full subscription (1
for international mailing)
ROW FAX www.musicrow.com
The sent to
48 times a year by Music
best country tip sheet. Published
you every
Row
Magazine and
Friday. For professionals only. Entries include artist, record label,
producer, recording date, and song description details. Address and contact info not given (if
you're a professional, you'll already
Web
1
know
that.).
1
year.
$159, 2 years $270, E-mail/
year $129, 2 years $240.
PITCHSHEET.COM www.pitchsheetassociate.com
Though done active.
online, this pitch service
Streaming audio
Listening
Room where
files
is
more
like traditional pitching in that
are sent to an industry user's password-protected
he can hear songs or
artists in
response to listings that are e-mailed
beforehand to subscribers. Credit card $l4.95/month (on a month-to-month or
money
A&R
it's
Private
basis),
check
order every three months $43, six months $81, one year $150. Direct access
ePitching to
A&R representatives
is
available for
an additional $1 /transaction
(billed
separately).
Independent Music Sites The
following are just a few of the excellent
sites
that will help
you showcase and
sell
your
independent CDs.
AMAZON ADVANTAGE www.amazon.com Best place to click "Join
sell
your
Advantage."
own CDs. Go
It'll tell
to the site, scroll to the
you how
bottom of the page and
to proceed.
APPENDIX: SONGWRITERS' RESOURCES
355
CD BABY www.cdbaby.com your indie CDs, good musician's marketing and touring resources.
Sells
INDIESPACE www. indiespace. com The
first
to
promotional
sell
independently produced
efforts
on behalf of their
art
and music on the
Internet.
Good
clients.
IUMA (INTERNET UNDERGROUND MUSIC ARCHIVES) www.iuma.com
The
Net's
first, free,
high-fidelity
music archive.
LOUDENERGY.COM www.loudenergy.com Artist
development
site.
MP3.COM www.mp3.com Another good place
to
sell
your CDs.
THE ORCHARD www.theorchard.com Distributes your
CDs
to online stores
and
your money.
collects
Good
promotional
programs.
Finding the Books Online
AMAZON.COM www.amazon.com
An
online virtual bookstore offering gazillions of books, most of
them
heavily
discounted. You'll also pay postage/handling which will offset the savings in
but
it
beats calling every bookstore in
ship within 2-3 days in
you.
They
place to
also sell
sell
most
cases. If
CDs, games,
town it's
electronics,
independent CDs.
BARNES AND NOBLE www.barnesandnoble.com/ Books, CDs, videos, and magazines.
356
THE CRAFT AND BUSINESS OF SONGWRITING
to find or order a certain book.
out of print
and
just
they'll search for a
about everything
many
cases
Amazon
will
used copy for
else.
Also the best
MUSIC BOOKS PLUS www.vaxxine.com/mbp
An
online music
book
educational tapes. Pretty
store in
much
Canada with
a
wide variety of music oriented books and
picked up the slack
when Mix Bookshelf dropped
its line.
The Trade Magazines BILLBOARD (800) 745-8922
www.billboard.com
COLLEGE MUSIC JOURNAL www.cmjmusic.com
GAVIN www.gavin.com
HITS (818) 501-7900
[email protected]
MUSIC
ROW
(615)321-3617
www.musicrow.com
MUSIC CONNECTION MAGAZINE (818) 755-0101
www.musicconnection.com
RADIO AND RECORDS (310) 553-4330
www.rronline.com
Songwriters Periodicals AMERICAN SONGWRITER (615)321-6096 www.americansongwriter.com/
COUNTRY SONG ROUNDUP (201) 487-6124
www.
1
O0-free-magazines.com/magazines/country-song-roundup. htm
APPENDIX: SONGWRITERS' RESOURCES
357
THE PERFORMING SONGWRITER (800) 883-7664
www.performingsongwriter.com
Film and TV Trades These are the resources to use that
may
if you
want
to research films in pre-production or production
be looking for songs/composers or just reading about the
field.
BACKSTAGE.COM (800) 634-6810
www.backstage.com
Mosdy
for performers/actors
but offers some film music and Broadway musical
coverage.
DAILY VARIETY (323) 857-6600
www.variety.com
WEEKLY VARIETY (800) 857-6600
www.variety.com
The
venerable veteran of entertainment news of
all
kinds, including the music
business.
FILM MUSIC
MAGAZINE
(818) 729-9500
www.filmmusicmag.com
"The
Professional Voice of
organization, the Film
monthly meetings
in
Music
for
Film and Television." Great magazine. Their
Music Network (http://www.filmmusic.net)
New
They
also
have an online Film and
Industry Directory (www.filmmusicmag.com/links/pages/ (http://store.yahoo.com/fmstore/
you do
FILM SCORE
also excellent
with
York, L.A. and San Francisco for professional networking,
guest speakers, and panel discussions.
to help
is
)
offering
)
TV Music
and a Film Music Store
some outstanding books, CDs, and
resources
business.
MONTHLY
www.filmscoremonthly.com
"The Online Magazine of Motion lots
of great
music
358
articles,
interviews
Picture
and Television Music Appreciation" has
and a personable approach.
fans.
THE CRAFT AND BUSINESS OF SONGWRITING
A
valuable resource for film
HOLLYWOOD REPORTER (323) 525-2000
www.hollywoodreporter.com Their online subscription services are $9.95 per month with additional
news story and $.75 per archived text
news
stories,
story,
and production
fees
of $.25 per
listings after the first five free full-
archived stories, and production listings per
month
(to read, print
and/
or download).
MILLIMETER (212) 477-4700
www.millimeter.com
The Magazine of the Motion
Picture
and
TV
Industries.
SOUNDTRACK.NET www.soundtrack.net/
"The
An
of Film and Television Music." Great online source of research, interviews,
stats, resources, reviews,
and current news.
APPENDIX: SONGWRITERS' RESOURCES
359
Bibliography Amabile, Teresa M., et
New York: .
Westview
Growing Up
Creativity in Context:
al.
Update
Nurturing a Lifetime of Creativity.
rev. ed.,
Todd
New York:
Creative
1992.
ed.,
Billboards International Buyer's Guide. Annual.
2nd
of Creativity.
Press, 1996.
Creative:
Education Foundation, 2nd
Brabec, Jeffrey, and
to the Social Psychology
New
York: Billboard Books.
& Success.
Money
Brabec. Music
New York:
Schirmer Books,
2000.
Cameron, Julia. The Artist's Way: A
and Barbara Ann Kipfer,
L.,
Harper Collins, 3rd
A
Copperud, Roy H.
Jeremy
1992.
P. Tarcher/Perigee,
Chapman, Robert
Spiritual Path to Higher Creativity. Los Angeles:
ed.,
eds.
The Dictionary ofAmerican Slang.
1998.
Dictionary of Contemporary
40
Davis, Sheila. The Songwriters Idea Book:
and
Colloquial Usage. Avenel Books, 1972.
Strategies to Excite
Your Imagination, Help
Your Design Distinctive Songs, and Keep Your Creative Flow. Cincinnati: Writer's Digest Books, 1996.
Dolan, Michael
Mastering Show Biz
J.
.
.
.
From
the Heart:
10
Timeless Principles.
Mulhol-
land Pacific, 1998.
Leonard. Popular Music Publishing in America.
Feist, ers'
New York:
National Music Publish-
Association Inc., 1980.
Gamez, George.
Creativity:
How
Halloran, Mark, ed. The Musician
Committee
for the Arts,
Catch Lightning in a
to 's
Business
Englewood
Bottle.
Peak Publications, 1996.
and Legal Guide. Beverly Hills Bar Association
Cliffs, N.J.: Prentice-Hall,
3rd
ed.,
2001.
Kimpel, Dan. Networking in the Music Business. Milwaukee, Wise: Hal Leonard Publishing Corp., 1999. Lees,
Gene. The Modern Rhyming Dictionary:
writers
A
Practical Guide to Lyric Writing for Song-
and Poets. Milwaukee, Wise: Hal Leonard Publishing Corp.,
Passman, Donald
S.
All You
Need to Know About
the
Music
Business.
reprint 1987.
Simon and
Schuster,
2000. Pattison, Pat. Songwriting Essential
Guide
to
Rhyming. Milwaukee, Wise: Hal Leonard
Publishing Corp., 1992. .
Writing Better
Lyrics.
Cincinnati: Writer's Digest Books, 1995.
Songwriter's Market. Annual. Cincinnati: Writer's Digest Books. Spears, Richard A.
360
THE CRAFT
AND
NTC's American Idioms
BUSINESS
OF SONGWRITING
Dictionary:
The Most
Practical References
Everyday Expressions of Contemporary American English.
for the
NTC
Publishing
Group, 2000. Standard Directory ofAdvertising Agencies. Annual. National Register Publishing Co.
Wood. Clement,
The Complete Rhyming Dictionary. Doubleday,
ed.
rev. ed.,
1991.
BOOKS RECOMMENDED BY CHRIS BLAKE (author of
"The Imagination of the
Listener," chapter three)
Richardson, John T.E. Mental Imagery
and Human Memory.
New York:
St.
Martin's Press,
1980.
Shepard, Roger N. Mental Images and Their Transformations. Cambridge, Mass.:
MIT
Press, 1986.
Shorr, Joseph E., et
al.
Imagery: Current Perspectives, Vol.
5.
New York: Plenum Publishing
Corporation, 1990.
Other Books Beyond There
the above books referenced in the text, there are others I'd like to
are obviously
worth reading.
I
many
suggest
additional books, literally too
you go
organizations and publications, and
have a ily in
lot
more
Amazon.com, read
to
visit
space. Until then, try
my Web
site at
many
to
mention
recommend. here, that are
the reviews, consult songwriters
www.johnbraheny.com, where
my following list of recommendations
I
(not necessar-
order of preference):
CREATIVITY Bayles,
David and Ted Orland. Art and Fear: Observations on
the Perils
(And Rewards) of
Artmaking. Capra Press, 1994.
Goldberg, Natalie. Writing Down the Bones: Freeing the Writer Within. Boston: Shambhala Publications, 1998. Selling, Bernard.
Writingfrom Within: A Guide
to Creativity
and life Story
Writing.
Hunter
House, 3rded., 1998.
SONGWRITING Blume, Jason.
6 Steps to Songwriting Success: A
Comprehensive Guide
to
Writing and Market-
ing Hit Songs. Watson-Guptill Publications, 1999.
Luboff, Pat, and Pete Luboff.
Ways
to
88 Songwriting Wrongs
& How to Right Them:
Concrete
Improve Your Songwriting and Make Your Songs More Marketable. Cincinnati:
Writer's Digest Books, 1992.
LYRIC WRITING Davis, Sheila. The Craft of Lyric Writing. Cincinnati: Writer's Digest Books, 1985.
BIBLIOGRAPHY
361
Lewin, Esther, and Albert E. Lewin. The Thesaurus ofSlang. Wordsworth Editions, 1998.
Oland, Pamela
The Art of Writing Great
Phillips.
Lyrics.
Allworth Press, 2001.
MELODY WRITING Writing Music for Hit Songs: Including
Josefs, Jai.
Corp.,
2nd
ed.,
Songs from the
'90s.
Music
Sales
2000.
Melody
Perricone, Jack.
New
and Techniques for Writing Hit
in Songwriting: Tools
Songs. Mil-
waukee, Wise: Hal Leonard Publishing Corp., 2000.
Rooksby, Rikky.
How to
Write Songs on Guitar:
A
Guitar-Playing
and Songwriting
Course.
Backbeat Books, 2000. Stewart, Dave. Inside the Music. Backbeat Books, 1999.
SONGWRITING IDEA JUMP-STARTERS Aschmann,
500 Songwriting Ideas: For Brave and Passionate People. Mix Books, 1997.
Lisa.
Jordan, Barbara L. Songwriters Playground: Innovative Exercises in Creative Songwriting. Creative Music Marketing, 1997. Scott, Richard
J.
Money
Chords:
A
Songwriters Sourcebook of Popular Chord Progressions.
iUniverse.com, 2000.
MISCELLANEOUS Bond, Sherry The Songwriters and Musician Carter, Walter. The Songwriter's
Guide
's
Guide
to Nashville.
to Collaboration.
Allworth Press, 2000.
Mix Books, 2nd
ed.,
1997.
MUSIC BUSINESS Avalon, Moses. Confessions of a Record Producer: the
Kohn,
Music Al,
Business.
How
to
Survive the Scams
and Shams of
Backbeat Books, 1998.
and Bob Kohn. Kohn on Music
Licensing.
Aspen
Publishers,
1996 (with update
supplements). Krasilovsky, to the
M.
Music
William, and Sidney Shemel. This Business ofMusic: The Definitive Guide Industry.
Watson-Guptill Publications, 8th
Schulenberg, Richard. Legal Aspects of the Music Industry:
and Practical Aspects of the Music
Business.
ed.,
An
2000.
Insider's
View of the Legal
Watson-Guptil Publications, 1999.
MUSIC PUBLISHING Poe, Randy. Music Publishing:
A
Songwriter's Guide. Cincinnati: Writer's Digest Books,
1997. Whitsett, Success.
FILM
Tim, and James Stroud. Music
Mix Books,
Publishing: The Real
Road
to
Music Business
5th ed., 2001.
AND TV
Churchill, Sharal. The Indie Guidebook to Music Supervision for Films. Filmic Press, 2000.
362
THE CRAFT AND BUSINESS OF SONGWRITING
Davis, Richard. Complete Guide to Film Scoring: The Art
and Business of Writing Music for
Movies and TV. Berklee Press Publications, 2000. Fisher, Jeffrey P.
Miller, Lisa
How
to
Make Money:
Scoring Soundtracks
Anne, and Mark Northam. Film and
The Complete Guide
to
and Jingles. Mix Books, 1997.
Television
Composers Resource Guide:
Organizing and Building Your Business. Milwaukee, Wise: Hal
Leonard Publishing Corp., 1998. The Reel World: Scoring for
Rona,
Jeff.
SELF
PROMOTION AND PUBLICITY
Pictures.
Fisher, Jeffrey P. Ruthless Self Promotion in the
Backbeat Books, 2000.
Music
Industry.
Milwaukee, Wise: Hal
Leonard Publishing Corp., 1999. Mandell, Terri. Power Shmoozing: The
New
Etiquette for Social
and Business
Success.
McGraw-Hill, 1996. Pinsky, Raleigh. The
Zen of Hype (audio
cassette).
Resource Publishing, 1999.
Spellman, Peter. The Self Promoting Musician: Strategies for Independent Music
Success.
Berklee Press Publications, 2000.
MUSICAL THEATER Frankel, Aaron. Writing the
Broadway Musical.
Da Capo
Press,
2000.
Green, Stanley. The World ofMusical Comedy (4th Edition, Revised and Enlarged).
Capo Jones,
Da
Press, 1980.
Tom. Making Musicals: An
Informal Introduction
to the
World ofMusical
Theatre.
Limelight Editions, 1998.
INDEPENDENT RECORD PRODUCTION AND MARKETING Rapaport, Diane Sward. ed.,
How
to
Make and Sell Your Own
Recording. Prentice-Hall, 5th
1999.
Stanfield, Jana.
The Musician
s
Guide
to
Making
& Selling Your Own
CDs
&
Cassettes.
Cincinnati: Writer's Digest Books, 1997.
Sweeney, Tim, and
Mark
Geller.
Tim
Sweeney's Guide to Releasing Independent Records.
T.S.A. Books, 1996.
INTERNET MARKETING Novak, Jeannie, and Pete Markiewicz. Creating Internet Entertainment. John Wiley
&
Sons, 1997.
Sweeney, Tim, and John Dawes. The Complete Guide Artists
& Songwriters. Tim Sweeney and Associates,
to
Internet Promotion for Musicians,
2000.
HOME RECORDING Mclan,
Peter. Using
Your Portable Studio. Music Sales Corp., 1996.
BIBLIOGRAPHY
363
Rona,
Jeffrey.
The
MIDI Companion:
The Complete Guide
to
Using
MIDI Synthesizers,
Samplers, Sound Cards, Sequencers, Computers and More! Milwaukee, Wise: Hal Leo-
nard Publishing Corp., 1994.
Wilkinson, Scott. Anatomy of a phones
364
to
Home
MIDI. Mix Books, 1998.
THE CRAFT AND BUSINESS OF SONGWRITING
Studio:
How Everything Really
Works, from Micro-
Permissions CAT'S IN THE CRADLE By Harry Chapin and Sandy Chapin. ® 1974 Story Songs, by permission. Warner Bros. Publications U.S.
I'LL
Ltd. All rights reserved.
Used
Miami, FL 33014.
MAKE LOVE TO YOU
Words and music by rights administered
TN
Inc.,
Babyface.
® 1994 Sony/ATV Songs LLC and
Music. All
by Sony/ATV Music Publishing, 8 Music Square West, Nashville,
37203. International copyright secured. All
LIVIN'
ECAF
rights reserved.
LA VIDA LOCA
Words and music by Desmond Child and Robi
A Phantom Vox Publishing
(BUMA), Universal-Polygram
(BMI), Muziekuitgeverij Artemis B.V. lishing, Inc.,
Rosa. ® 1999
and Desmophobia (ASCAP). All
rights for
A
International Pub-
Phantom Vox Publishing
administered by Warner-Tamerlane Publishing Corp. (BMI). All rights reserved. Used by permission.
Warner
Bros. Publications Inc.,
Miami, FL 33014.
NO SCRUBS By Kevin
Briggs,
Kandi
lishing Corp. (BMI),
L. Burruss,
and Tameka
® 1999 Warner-Tamerlane Pub-
Cottle.
Pepper Drive Music (BMI),
WB
Music Corp. (ASCAP), Tony
Mercedes Music (ASCAP), Hitco Music (ASCAP), Shak'em
EMI
April
Music
Inc.,
Down
Music, Inc. (BMI),
Air Control Music, Kandacy Music, Inc. (ASCAP)
& Tiny Tarn
Music, Inc. (ASCAP). All rights for Air Control Music, Kandacy Music, and Tiny
Music controlled and administered by
EMI
April
Music
Inc. All rights for
Pepper Drive
Music controlled and administered by Warner-Tamerlane Publishing Corp.
Tony Mercedes Music
administered by
Tim
All rights
WB Music Corp. All rights reserved. International
copyright secured. Used by permission.
SMOOTH Words by Rob Thomas. Music by Rob Thomas and Publishing Corp. (BMI), Itaal Shur Music (BMI), Bidnis, Inc. (BMI). All rights o/b/o Itaal
Itaal
EMI
Shur. ® 1999 Warner-Tamerlane
Blackwood Music
Inc.
Publishing Corp. All rights for Bidnis, Inc. controlled and administered by
wood Music
Inc. All rights reserved.
(BMI),
&
Shur Music administered by Warner-Tamerlane
EMI
Black-
Used by permission.
permissions
365
THIS KISS Words and music by Annie
Roboff, Beth Nielsen
Chapman, and Robin
Lerner.
© 1997,
BNC Songs, Warner-Tamerlane Publishing Corp., Puckalesia Songs, and Nomad-Noman Music. All rights for Anwa Music and BNC Songs 1998 Almo Music Corp.,
administered by
Anwa Music,
Almo Music Corp.
All rights for Puckalesia
Music administered by Warner-Tamerlane Publishing Corp.
Nomad-Noman
Songs and
All rights reserved.
Used by
permission.
TORN Words and music by
BMG
Phil Thornalley, Scott Cutler,
Music Publishing
Ltd.,
Colgems-EMI Music
and Anne Preven. © 1995, 1996 by Inc.
(ASCAP), Scott Cutler Music
(ASCAP), Warner-Tamarlane Publishing Corp. (BMI), and Weetie-Pie Music (BMI). rights for
BMG Music Publishing Ltd.
rights for Scott Cutler
in the U.S. administered
BMG
by
All
Songs, Inc. All
Music controlled and administered by Colgems-EMI Music
Inc.
International copyright secured. All rights reserved.
WE ARE
FAMILY
Words and music by
Nile Rodgers and Bernard Edwards. © 1979
and Bernard's Other Music.
All Rights
Sony/ATV Songs LLC
on behalf of Sony/ATV Songs
by Sony/ATV Music Publishing, 8 Music Square West, Nashville,
LLC
TN
Administered
37203. All
rights
on behalf of Bernard's Other Music administered by Warner-Tamerlane Publishing Corp. International copyright secured. All rights reserved.
WHAT'S LOVE GOT TO DO WITH By Terry
Britten
and Graham
Limited. All rights o/b/o rights o/b/o
Good
IT
© 1984 Myaxe Music Limited and Good
Myaxe Music Limited administered by
WB
Single
Music Corp.
All
Single Limited administered by Irving Music, Inc. All rights reserved.
Used by permission. Warner
WITH A
Lyle.
LITTLE HELP
Bros. Publications U.S. Inc.,
Miami, FL 33014
FROM MY FRIENDS
Words and music by John Lennon and Paul McCartney. © 1967 Sony/ATV Songs LLC.
Sony/ATV Music
renewed. All rights administered by Nashville,
TN
Publishing, 8
37203. International copyright secured. All
Music Square West,
rights reserved.
YOU LEARN By
Alanis Morissette and Glen Ballard. © 1995 Songs of Universal, Inc., Vanhurst Place,
Universal-MCA Music Publishing,
a Division of Universal Studios, Inc.
and Aerostation
Corporation. All rights for Vanhurst Place controlled and administered by Songs of Universal, Inc. All rights for
sal-MCA Music
Aerostation Corporation controlled and administered by Univer-
Publishing, a division of Universal Studios, Inc. All rights reserved.
by permission. Warner Bros. Publications
366
THE CRAFT AND BUSINESS OF SONGWRITING
Inc.,
Miami, FL 33014.
Used
1
n d
AAA
form, 83-84; variations, 84. See
Form
also
AABA
form, 84-85, 212; examples
(Artist
&
of,
Form
Repertoire) personnel,
230-231; interviews with, 281-282
A
cappella, 95,
227
Abstractions, in songs, 51-54
Ad
USA
Born in the
(Bruce Springsteen),
84
85; variations, 84. See also
A&R
ex
agencies, 311-314; starting your
own, 315-318
Contracts (publishing); negotiable
Blocks, to creativity. See Creative blocks
Booking
343-344; responsibilities
343
for,
Broadcast Music Inc. (BMI), 166-171,
tion clauses in, 164-165; personal
207, 252, 352
Todd and
Bridge, 79-80,
factors relating to, Jeffrey,
175-176
82
Rights Agency Ltd.
70
Careless Whisper
and Publishers (ASCAP),
166-170, 207, 252, 352
70
point of view and, 101;
searching, 211-212; self-contained,
210; writing with, 126-127
Assignment, writing on, 101-102
47
Associative response chain,
Assonance, 60, 70
Attitude, 46;
and point of view, 59-60
deals and,
339-342;
vs.
managers,
forming
reduced mechanical royalty
266
for,
322-323
Chords, constructing, 112-114; 111-112; progressions
vals,
114-116. See
also
inter-
of,
95,
Harmony; Song
rights affiliations and, 189; rates
in,
187, 189-191; royalty provisions
in,
193; royalty statements
writer's credit and,
in,
194;
194-195
Contracts (staff writer), 199 Copyrights, 144; access and, 283; compulsory licenses and, 164; Copyright
dynamics; Triads
of,
193;
clause in, 195-196; reversion clauses
90-92;
of,
81, 82; forms of,
Revisions Act of 1976, 146; ages and, 155;
dam-
on demos, 257; "Fair
85-86; the hook and, 78-79. See also
Use" and,
Hook; Pre-hook; Song dynamics
151-154; length of protection,
Christmas songs, 35-36; market
for,
35-36
263;
in,
191-192; per-
Characterization, in songs, 70-71
examples
Attorneys, costs of, 340-341; record
in,
Censorship, 30
Chorus, 78-79; construction
(Janis Ian), 71
195; negotiable deductions
no change clause
Children's music, 321-322; resources re-
196-197; compositional changes and, 191-192; foreign subpublishing and, 220-221; future uses and,
(Harry and Sandy
Chapin), 32-33
Charts, the,
Arrangements, 247-252, 253
At Seventeen
(George Michael), 100
Cat's In the Cradle
American Society of Composers, Au-
Artists,
ions in, 194; clauses to watch for in,
(CMRRA), 163
Casting, 210-212
70
Amabile, Teresa, Ph.D., 11
Antithesis,
333-334
Contracts (single-song), 186-197; advances and, 196-197, 197-198; arbi-
Canadian Musical Reproduction
All Star (Smashmouth), 109
thors,
344-345; controlled composi-
tration clauses in, 195; audit provis-
Albums, 44
Alliteration, 60,
Con-
182, 187, 189-191. See also tracts (single-song)
Contracts (recording), campaigning
Advances, cash, 196-198
Allegory,
clauses in, 187; reversion clause,
Broadcast Data System (BDS), 168
Brabec,
Administration deals, 222-223
agents, 342-344; finding, 343;
rates for, of,
Contracts, producers and, 236-237
1
54; infringement of,
145-146; low budget, 150; online services for, 151; plagiarism,
Audience, understanding, 45-46, 212
Chromatic chords, 116
151-154; poor man's copyright,
Audio
Chromatic
150, 158; public domain, 154; reg-
files,
258-259
Avalon, Moses, 262-263
112
intervals,
Classical music. See
Radio station
for-
mats
"B"
section. See Pre-chorus
Bad
Girls
Be
(Hokenson/Esposito/Su-
renewal
Club owners, demoing
My Lover (McCray/Saraf/Thorn-
Collaboration; agreements
138-139; benefits
Because I Love You (Diane Warren),
114
similarity,
of,
124-125, 293;
business considerations of, 132-134
Billboard magazine, 213-214, 265-266,
267-268, 274, 357; producers and,
Contests, 299-304; categories of,
338-339
301-302; finding, 303-304;
Billboard Song Contest, 30 Billie Jean
(Michael Jackson), 109
Blake, Chris,
46-47
macy
of,
302-303; prizes
300-301; submitting
ers of,
Cover re-
228-229; clever lyrics and, 27.
technique
legiti-
for,
to,
letter, for
demos, 257-258
Creative blocks, breaking,
1
8-20,
22-23; stream-of-consciousness
302;
publishing contract from, 299; rules for,
150 Country music; audiences, 46; publishSee also Radio formats
Comanagement, 263, 337 Computer technology and home cording, 232-233
Billboard directories, 349
152-153; unpublished
collection,
for,
Collaboration services, 126
Bernfield, Lynne, 19-20
147-149, 150-151;
149; resources for, 155;
statutory damages, 155; substantial
231
for,
Coburn, Craig, 258
109
of,
special deposit requirements, 149;
"Climb." See Pre-chorus
dano/Summer), 109 ton),
istration, 137,
300
Creative
fees,
for,
20-21
316
Creative preferences, 17-18 Creativity, 7-8, 9; barriers to,
1
1;
devel-
oping, 8-9
INDEX
367
,
Criticism of your songs, 201-202
Film and television music, 306-31
1;
Crossovers, 27-28
ble stations, 307-308; earnings
Cues, internal and external, 47
from, 309-311; finding work
ca-
108
in,
307-308; magazines
330
Davis, Clive, 230, Davis, Sheila, 16
Demo
production
Demos;
artist
services,
252-254
245-246, 256;
for,
copying, 254-255; cover
letters for,
257-258; electronic submission
of,
258-259; endings on, 251-252;
fol-
lowing up submissions
home
recording
of,
288-289;
231-233; intros
of,
229; production services
scores in,
316
needed, 307; under-
for,
242-245; recording
at
home,
231-233; recording studios 233-235; and reversion
for,
235-238; types as masters,
227-228; using
of,
253-254; vocals
247-250. See
in,
forms, 83-85; choosing, 87-89;
Chords
of,
250-251; length
99
70
Irony,
commercial, 311-315; ad agen-
Jingles, cies
and, 31 1-314; agreements
315; costs
rate schedules and,
Killing
Groove, 61, 118-121; creating con-
Rhythmic
of,
ele-
Me
352
(Norman Gimbel),
Softly
102 Kimpel, Dan, 290 Kozinski, Richard,
ments
317; royalties
and, 317 Just Plain Folks, 253,
Sheyne), 127-128
Goodrum, Randy, 123-124 Grand rights, 166 95. See also
for,
311-312; demos
of,
312-313; jingle houses, 315-316;
(Don Schlitz), 53 Games, music for, 326 Gambler, The
trasts,
94
of,
Inversion, of rhyme,
78-82; dance music,
86-87; verse-chorus, 85-86
Diatonic chords, 115-116
also
"Intros," for ballads, 94; for demos,
Studios
also
monic), 111-112. See
Self-publishing
Genie in a Bottle (Kipner/Frank/
solos on, 251; studio deals for,
Imagery, 51, 55
Interviews with publishers, 281-282
components
clauses, 228;
24-25
Ideas, generating,
54-55
Fox, Harry, Agency, Inc., 161, 163
279-281; recording,
Iambic pentameter, 74
Intervals (chromatic, diatonic, har-
252-254; for publishers, 228-229; querying
You (Kenneth "Baby-
to
Edmonds), 120
See also Contracts; Publishers;
sic
for,
Make Love
Imagination, 46-51, 54; action and,
Form (format), 77-79; AAA, 83-84; AABA, 84-85; analyzing, 82-83; ba-
sentation of, 255-256; for producers,
skills
Foreign subpublishing, 134, 220-222.
243-244; pre-
for,
307-308;
for,
Focus, 58-59
on, 250-251, 259; master demo,
228; musicians
358-359;
Flanging, 90
demo, 227-228; 251;
choosing songs
for,
310-311; scoring
royalties and,
I'll
face"
308-309; learning to write,
Dance music, forms, 86-87
/ Will Always Love You (Dolly Parton),
307
Diatonic intervals, 111-112 Digital
Millennium Copyright Act of
Lead
Librettist,
Sound Recordings Act of 1995 (DPRSRA),
Harmony, 111-116;
175-176
Heart of Glass (Harry/Stein), 122
Digital Performance Right in
Heavy
231-233
You Really Want
to
Hurt Me? (Hay/
Dock of the Bay J.
(Otis Redding),
metal, audience for,
46
Stewart), 113 1
Hollywood
Hook,
Dramatists Guild, 325
Reporter,
the, 78,
also Licenses
308
89-90; chorus and, 78,
Duplication, of demos, 254-255;
94-95; instrumental, 89-90; pro-
Dylan, Bob, 33-34, 260
duction, 90; story line, 90; structural, 89. See also
Pre-hook
Hyperbole, 7
Educational print market, 173
file
sharing,
/
Don
/
Knew
153-154
54. See also Copyrights
368
to
Miss a Thing (Diane
/
Leonard, 177
Linderman, Hank, 246 Live performances, 297-299; recordings versus,
43-44
Livin'la Vida Loca (Child/Rosa), 109, 117, 121, 163
Local events, writing
for,
327-328
AND
Wanna Be
There (Hedges/Pence/Sen-
Want It That Way
BUSINESS OF
Luboff, Pete and Pat, 130-131
Lyric meter, 73,
Lyric sheet,
(Martin/Carlsson),
113
THE CRAFT
Pre-hook
Lyric density, 95-96
I Loved You (Savage Garden)
atore/Sloan), 78-79
Fever (Codley/Davenport), 110 Feist,
Want
109 /
1
't
Warren), 109
242
Ethics in the music business, 274-275
Fair use,
"Lift." See
(LASS), 1-2
111
(equalization),
160, 162-164, 167; synch fees
and, 316, 319. See also Royalties
Los Angeles Songwriters Showcase
Eleanor Rigby (Lennon/McCartney),
"EQ"
Licenses, compulsory, 164; foreign sub-
Like a Virgin (Steinberg/Kelly), 122
"Holds," 218-220. See
16
Michael, 277
Electronic
254
323
publishing, 134, 220-222; mechani-
Here Comes the Rain Again (Lennox/
Moss/Craig/O'Dowd), 116 Dolan,
exotic, 116; levels
113-114
of,
cal,
Digital recording,
Do
sheet, 226,
Halloran, Mark, 310-311
1998 (DMCA), 175-176
Lyricist,
96
256
47-48
Lyrics, construction of, 91-92; first lines,
61-62; marketing, 292-293;
and prosody, 72; reduction
SONGWRITING
of,
1
98-99; repetition
of.
91. 92-93;
1
324-325; workshops
re-
for,
324
229; finding, 262, 267; and
writing. l)~- l)8; as vocal platforms,
Musicians, choosing, 243-244
21]
Musician's Atlas, The, 350
record deals and, 338-339; responsi-
My
bilities of,
"holds," 218-220; payment of, 339;
Girl (Robinson/White), 109
Magazines, trade. 265-269, 284-285, 357. See also Billboard; Music Connection
Managers, 177, 181, 263, 336-337; attorneys, 263;
deals, 263, 337; finding,
folio,
McClintock, Steven, 272-273 Mechanical
change
clause,
licenses, 160,
162-164,
167. See also Licenses; Royalties
Mechanical rights organizations, 163
No
290
Business,
191-192. See
also
Scrubs (Briggs/Burns/Cottle), 121
spec," 237, 239,
One
People (Spicer/Ford), 259
with, 107; developing, 106-107;
Owens, Buck, 41
243
107
chee),
Middle
iamb, spondee, tro-
73-74
Laughter), 53
173
265, 267-268, 357
Personification,
Web
349-350
Self-publishing
Purple Rain (Prince), 122
sites,
MIDI
Quantizing, 232. See also
Pitchford, Dean, 38-39
Copy-
Queries, 279-281
Radio, as a business, 40-41; song
message songs, 33;
storyteller's,
Pollstar,
Musical Instrument Digital Interface
(MIDI), 90, 173, 232-233 Musical theater, 37, 323-326; earnings, writing
for,
63; organiza-
tions for, 325-326; training for
(Adult
MOR),
43; kids, 43; religious, 42; rock, 42;
Spanish, 43; top 40, 43; urban, 43
Record companies, 261-262; con-
Pre-chorus, 80-82; examples of, 80-81. See also
AC
42; classical, 43; country, 42; jazz,
350
177
independent,
lengths and, 40-4
Radio station formats, 42;
Contemporary, formerly
Popular Music Publishing in America,
355-356
lyric
and, 269-272;
development and,
Publishing. See Publishers;
70
Poor man's copyright, 150, 158
"Music producers," 314
325;
Personality folio, 173
33-34
Music Connection Magazine, 2 1 3-2 1 4,
Music
tip sheets
writer/artist
179-180; writer/producer develop-
Point of view, 59-60, 71-72; 101; in
12
Registry,
split
ment and, 180
Poetry, 37-39
Motivation, 11-12; external versus in-
Music
and, 203;
rights
Mix, 242
ternal,
Con-
tracts
Plagiarism, 151-155. See also
Mitchell, Joni, 38
folio,
abilities
350-351
Miss Emily's Picture (Hollis R. De-
Mixed
198-204;
clauses, 275. See also
Pitch services, online, 272-273,
220
181-182; of
publishing, 162; staif writers and,
Phasing, 90
eight. See Bridge
MIDEM,
indie,
187; royalties and, 162-174;
songwriter
65-66
Pattison, Pat,
Payne, Harold, 131-132
types (amphibrach, ana-
178-180; evalu-
single-song contracts and, 189-197;
Performance
feet,
(tra-
ditional), 11
Pegasus Project, 259
pest, dactyl,
of,
182-183; feedback from,
major versus
Rosemary and Thyme
Parsley, Sage,
Metaphor, 70
Metric
178-179; duties
and, 279-281; reversion clauses and,
Message songs, 30-34 Meter, 118-119; and prosody, 72-76
286-288; catalog ownership and,
print music, 172-175; query letters
forms, 82-85; harmony, 111-116;
lines,
54. See also Copyright
and, 219; interviews and, 281-282;
"On
Melody
1
subpublishing by, 220-222; holds
tion, 95, 117; creating contrasts
103-104; writing, 103-111
Public domain,
184-185; finding, 181-184; foreign
Novelty songs, 34-35
chorus construction, 92; construc-
rewriting, 97-101; variations,
Prosody, 72; and meter, 72-76
ating,
110
Melodies, 10, 79; alternating, 104;
repetition (duplicating) of, 93, 104;
71-72; problems
Publishers, 178, 183-184, 261; calling,
Norwegian Wood (Lennon/McCartney),
of,
with, 71
Contracts
173
318-321;
319-320
by,
Pronouns, use
Network Marketing, 294 Networking in the Music
Masters, 234
libraries,
Production points, 236
289
No
Production music
deals with, 320-321; getting paid
126,351
Networking, 290, 297
263
appeal, 25-26
Matching
Production agreements, exclusive, 239
System, 244
Negotiating deals, 215-218, 238-239,
337-338;
negotiating with, 215-218, 337; re-
Mass
Number
ternational (NSAI),
vs.
comanagement
sponsibilities of,
Nashville
Nashville Songwriters Association, In-
Magazine
229; tip sheets and,
269-272; writing with, 127
trolled compositions and, 164-165,
195-196; Internet-based, 347-348;
Hook
performance and, 332-333;
Pre-hook. See Pre-chorus
live
Print music, researching deals,
your manager and, 336-337; your
174-175; types
of,
publisher
173-174
split,
172-173; writer/
Producers, 229, 262-263;
demos and,
marketability and, 334-336
Record
deals; artists and,
329-331;
at-
torneys and, 339-342; campaigning
INDEX
369
6
1
for,
344-345; demos and, 331-332;
getting started in, 206-208; reasons
live
performances and, 332-333;
for,
345-346; writer/
major
labels and,
artists
and, 329-331
Record
label,
having your own,
346-347; major, 345-346
Recording centers
(cities),
29 1
;
visiting,
292
of,
240-241; and studio
costs,
240-241
ment
"Set-up." See Pre-hook
235-238; negotiating
Similes,
Recording process, 242-245
Stylistic variety,
Reduction, 98-99
lyrics,
276-277;
44
Single-song contracts. See Contracts
lyrics,
92-93
mic elements
Smooth (Thomas/Shur), 120 Take
Composers (SESAC), 166-171, 352
demos and, 228.
See also Contracts
Song
ideas, finding,
Song
registration services,
Song shopping
Song
Tempo, 293-296; or-
293-296. See
of,
Songpluggers
titles,
Rhythmic elements; meter, 118-119; rhythmic pattern, 107;
60-61,90-91
syncopation, 120-121; tempo, 118;
elements
Songpluggers, 177; independent,
223-225; uncontracted, 185-186
121-122
message
in,
gies for,
213-215
and
also
Song dynamics
Themes
Songs, appropriate lengths
rhythmic subdivision, 119-120;
88; creating contrasts, 95;
rhythmic elements, 118. See
Texture, 121-122. See also Rhythmic
SongCatalog.com, 273
Rhythm. See Groove
232
24-25
(pitching),
ganizing records
ing dictionaries, 69; schemes, 64-67,
texture,
Technology and home demo produc-
sion
also
96; types of, 63-64
(John/Taupin),
Television writing. See Film and Televi-
meter and, 62; problems with, 67-68; relocation, 100-101; rhym-
to the Pilot
TAXI, 126, 350 tion,
Rhyme, 62-69; family rhymes, 65-66;
pulse, 118;
Me
110
Song dynamics, 93-97
Reversion clauses, 187, 182, 189-191;
160, 167, 171-172, 316,
fees,
Syncopation, 120-121. See also Rhyth-
68
Something (George Harrison), 89
Research, 265-274; 283-286
Synch
319
Society of European Stage Authors and
Repetition and recognition, of
335
Sweeney, Tim, 259
Snow, Tom, 22-23
"Release." See Bridge
in,
239-242
Bruce/Clapton), 110
57
Small rights, 166
277-279 reasons
Rejection, handling,
of,
Sunshine of Your Love, The (Brown/
70
Simplicity of
Slang,
deals,
241; project, 234; rates
(single-song)
Records, 39-40
241-42; dealing with,
in,
238-239; production assistance
30
Sheet music, 172, 177, 180
Singles,
Recording Industry Sourcebook, 349
of Philadelphia (Bruce Spring109
steen),
Studios; choosing, 233-235; equip-
208-209
Showcases, 296-299
ties of,
Streets
SESAC, 166 Sex, as a song theme, 29,
Recording engineers, 234; responsibili-
for,
205-206; tax considerations
40-41;
of,
30-34; pitching strate-
for songs, 26, 50, 52; love,
28-30; sex, 29, 30
Thesaurus, 69 This Kiss (Chapman/Lerner/Roboff),
80-82 Through the Fire (Foster/Weil/Keene),
Rose, Liz, 223-225
Songsharks, 155-159, 183, 252
Royalties, collecting, 167-168; con-
Songtracker.com, 294
Tip
Songwriter consciousness, 13-14
Torn (Thornalley/Cutler/Preven), 106
Songwriters; books for, 361-364;
Total Eclipse
trolled
composition clause,
164-165; film music and, 310-311; mechanical, 160, 162-164, 167;
payment of, 160-164, 167-168;
per-
formance, 160, 166-171; print, 160, 167, 172, 174; producer's, 236; synchronization, 160, 167, 171-172,
316, 319. See also ASCAP; BMI; Licenses;
SESAC
Royalty statements, 194
Sampling, 165-166
Schiff,
Ronny, 172-173
for,
sheets,
269-272, 354-355
Of The
Heart (Jim Stein-
man), 264 Triads, 113. See also
Chords
357-358;
types of, 12, 15-16
Unsolicited submissions, 282-283
Songwriters Guild of America, the
(SGA), 187, 194, 351-352; catalog
Variety,
administration service, 223
Verse, 38, 78; examples
308 of,
80, 81
Verse/chorus forms, 85-86
1
Songwriters Market, 273-274
Video, 45
Songwriting organizations, 351-352
Vocal identity, 260
Songwriting, principles
Vocal range, 108, 212
of,
3
Vocals,
demo production
and, 247-250
ers
Staffwriters, 101, 198-199; benefits of,
Self-publishing, 289; business expenses
370
for,
Split publishing, 174. See also Publish-
1
Scoring, 307-308
of,
202-203; online resources
353-354; periodicals
Songwriters Idea Book,
Ryan, John, 57
Scale context, 108-1
hip-hop, 253; independent,
114
208-209; copyright and, 207;
200; contract issues backs
of,
200-202
THE CRAFT AND BUSINESS OF SONGWRITING
of,
199; draw-
Warren, Diane, 96
We Are Family
Web
sites for
(Rogers/Edwards), 105
songwriters,
304-305
1
Work for hire,
Webcasting, 175 Weight, The (Robbie Robertson), 110
What's Love Got Lvle),
to
Do
With It{ Britten/
cial jingles
Writer/artist
172, 187, 188;
White. Thomas, 3 1 0-3 1 Witchy
Woman
With a
Little
with
(Henley/Frey), 110
Help From
My Friends
(Lennon/McCartney), 120 Woodstock (Mitchell), 110
artist,
Writing Better
Writing
and controlled composi-
tion clauses, 164-165;
106
commer-
and, 317
compared
as a
Lyrics,
65-66
band, 137-140
Writing on assignment, 101-102
Writing up, 126
329-33 1 Internet record ;
companies and, 347-348 Writer/producer, 127-128
Yeah Solutions, 294
Writer's block. See Creative blocks
You Learn (Morissette/Ballard), 110,
Writer's share, 194-195,
253
121
INDEX
371
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