There is such a
to
to Troubleshooting Songs.
stand out firmly in my mind:
John
starving artist hoping to
 I'm
awed
What
a
service
you've
when
£
and
retrieval
systems
without
permission
in
writing
Inc.,
150
7
Dana
Avenue,
2 1
and per-
well
as
BMI-sponsored
Los
Angeles
education and discovery
and
Web
sites,
including
a
regular column in Music Biz magazine. He has taught classes
on
songwriting
and the
music business at UCLA, Musicians Institute, and Grove School of Music
and
is
the
country.
He
is
past
president
of
the
California
Copyright
of
the
For the Record, a
If
you
fly
His Web site is
new
ways
to
support
and
expertise.
editing
entertainment industry
her love
Ronny Schift,
who persistently
David
Imagination
such
exec
understanding
of
teaching it.
this revised edition
Kauffman and Libbe
class
Vandenberg
Marketing, who
to
continue
to
Inflight Entertainment's
Salute to
Songwriters channel.
With gratitude
and
with
me new
Institute
to
let me hang
me
talented new writers who found me because they read the
book.
songwriter organizations around the
events.
And
thanks
to
good
word
about
this
I
investment
in
encouraging
The Gender Question
Since both men
since I didn't want to
have to write  him/her, he/she throughout
the book, I arbitrarily
Appeal,
25
Crossover
Issue,
30
Message
of
Business,
143
Comes
From,
160
Methods
Print, 172
New Income From
chapter
eleven:
Self-Publishing
205
Where
In-Person Interviews, 281
Unsolicited Material World, 282
The Options of an
you around the
computer. You
a
recording
you a tuna
some dumb business move that could blow all your progress.
So I thought that, instead of giving
you
be
much
smarter
buy my
I've
How
me
help feed
in
1971,
(BMI) for eighteen
Bonofif,
writers and
writers
commercially viable. Those
constructive
INTRODUCTION
brink of
making major
opportunity
songwriting
 Songmine columns on all aspects
of the art, craft, and business of songwriting. It was a golden
opportunity
to
consolidate
In 1979,
an
extension
A&R (artist and repertoire)
representative
each
week
to
These
weekly
events
hundreds
tion,
generously shared their
Coast
for two
the
desk.
Since
for
United
Airlines
Entertainment
Network
Disc Marketing's in-flight
for TAXI,
give you a
you'll
find
a
succeeded. The music
you
need
to
you
want
to
write,
and
have
to
solve
use them
part
of
being
a
get them heard
like
orphans.
This
book
explains
relative
can
often
feel
a
be
and
will allow,
get it. Since classes in the
craft
few
writer's
igno-
benefit
from
and language skills, it's more important to have been raised
in
information
as
there are
that can
putting
it
in
need knowledge of the
their limitations, freedoms, and
visual perspective.
important
to
know,
for
and
film
all
to
have
a
to
hear
songs
on
the
know
that
you're
and gain
are
reflected
here
as
well
as
new
information
on:
new
income
independent song pluggers
of services, from online rhyming dictionaries
to the Copyright
you get here may be dated
by the time you
music industry books.
update you
you'll
be
able
to
etc.
and industry
books and direct
the
can
be
come in
as
songwriters,
are
so
important that
Stimulating
creativity
very real
put forth on
see
how
to you. Don't be discouraged ifyou
don't
possess
2. You
yourself and make
grain.
5.
You're
playful.
You
like
to
try
new
at
or
humor in novel or incongruous
situations that others may not see.
7.
bored.
can function in a state of confusion. You can tolerate
ambiguity. This quality
can help you
side
yourself saying,  It
no
clear
directions
at
To a creative person,
good-
Down
are:
1.
to
to
use
include
and it
is not
you'll wear
them
syndrome
gather all
people
develop
their
creativity
through
which
is,
reflect
limiting self-image. Developing
with
generally
agree
and the
2. Incubation:
which,
given
a
solution.
3.
Illumination: the outward stage at which words and music are initially created,
written down,
described
phase. During
verification
stages
is
crucial,
you'll get another
to be
how do you
of songwriting. Ever)'
by
arrangement. Listen to
how those functions
love
to
instrument
to
and
 conduct
you
tend
to
be
inhibited.
job to
stretch yourself.
Listen to
try
to
visualize
it as an actual Is it jagged and angular or and flowing? Are
there significant
differences between the melodies in the verses and those in the
choruses
So what
more effective if he
 feel
seldom
see
when
they're
on
motivation
Among the
a
may be
process. But you need to shut out that concern for
outside approval
if
be
your
you
while
you're
can
write
in
a
way that takes the path of least resistance and minimal exploration
to get to
else's reaction
determine whether
options
within
the
parameters.
where you can no longer enjoy the process
and you're over-
song
You're no
someone
say,
for me and I
don't care if it
thing that
will make
and
what
others
they
write
from
writing
about it and
song ideas in
They give little credit
craft
them a
them  inspiration
writers, which,
will
only
write
when
inspired.
It's
that
success
best of their
out
when
it
comes
time
to
inspiration.
point,
they're
in
trouble.
People
who
think of a
phenomenon.
line or will write
There are also
unconsciously
they instinctively know, for instance,
when there  needs
by
 feel,
but
at
all,
I
know
to
ask
whether
the
radio.
There are dangers inherent in both extremes. I've heard writers who are trying
so
hard
to
write
me of science fiction cyborgs who look great on the
outside
machinery. On the other
hand, I've heard writers
to
I'm
the
vehicle
to
communicate
and
enjoy.
Developing
a
it's
helpful
mind is a complex computer
that responds only according to the
way it's been programmed. The problems occur when
we
like  I'd
to be a
sits
know when
you
grasp
some of the basic principles ofwhat makes songs  work, the world
can
become
an
endless
 Songwriter consciousness
wasn't my
find ideas
into
lines,
doesn't
want
to
move
this one.
up,
song last night,
Another great idea
the rest of your
between
being
Every
store those little pieces
idea to
link them
with other
well
wouldn't
probably
got
them
Bladder Syndrome
work
it's
I know
expressing negative
feelings a
us,
it's
just
make
this
you
to
appear,
the
to
catch
you.
Every writer
own
Though
an
approach
that's
style works
for someone
else unless
very
life
and
burner. Someone
your
The
ability
to
write
valuable, since those
you get a
one.
Making
an
polish each line
or
sandwich,
watch
TV,
go
not
keeping
at
framework with an established
thousand
dollars
to
write
a
as shown
by the
psychologist
Carl
Jung.
Sheila
has
developed
beyond that,
us
of ritual that is very valuable
because it gets
actually work-
a
real
those
listed
you to
in the
like . .
.
work
less
to
producer, anyone who is
(production,
Find
out
a
long
walk
(kinesthetic).
New
ideas
will
stay in your rut,
If you
listen
fits
receive
information.
3.
describe them,
be
ambiance, or
doesn't
 feel
right
to
them.
Ifyou
sit
people
want
to
or their whole body. Keep a journal
(written or on
tape) of experiences
me. Lyric ideas
do
people, denial
to jumpstart
your creative
the
room
to
jumpstart
the
process,
images
beauty of
to
2. yourself out of the pressure to produce
a
say things like,
 If I get one in ten to twenty songs that I think is
viable, I figure I'm doing
great. I had to
that once a writer figured
out
how
to
write
a
hit,
she
on a mountain,
station,
a
noisy
a
chapter.
7.
CD you don't
a guitarist, for instance,
a jazz
written with before.
useful
to
dig
a
little
deeper.
things to
be attended
to is
allow ourselves
CREATIVITY AND
INSPIRATION 19
Just
with Quincy
changed
school,
you
can't cope.
word,
is
just
finished that old business. Try to
identify
you
don't
feel
you're
blocked,
which
phase of the process. Be critical. Pull out all the
good lines
session,
more closely.
it on
your piano,
play
out
out loud
becomes.
You
want
to
doesn't
just
stop
the
get all the
on
awhile.
None
sense or
direction
person in this setting,
you get
may take
listen.
Yes,
you'll
think
some
be
profound?
to
something
hung
up
trying
few
pages,
writing closer to the
trigger
another
session.
As
a
with
a
always
save
you're
be helpful
great
solving.
country
song
suggests
a
title suggests a
design.
The
following
problem-solving
exercise
creativity is
to
get
you
Remember, too, that many musical and lyrical innovations
have resulted from creative
presence of
that she
that
have
schedules
yourself
every
Saturday
from
nine
till
noon
name.
into
your
with
the verse,
fifteen
on:
1
7.
an idea started
says
cooking. The technique is
manipulating his
your
same way before
few general subject
everywhere.
shows on radio and
deals with
These shows involve the general public in
passionate
interchanges that reflect human conflicts. See if there are any shows in
your area hosted
especially on
not
just
the
subjects
informative and con-
solidifying
So again, it's
songs.
to the talk shows
freeway,
where
I've
half-heard
lines
a
five-minute
slice
way
to
demonstrate
to
yourself
what
a
novelist, you're
fabricate
automatically
do
it.
as
soon
as
possible
or
your
subconscious
them.
Why
should
we
bother?
section or  feel
come up
Dictionary
of
American
Slang,
and
NTC's
overhear
will
they're  conversation
wrote for Gloria
positive from
she was talking about,
have
One
of the most important functions of song is to give
people a vehicle to express
hopes, dreams,
keep inside.
us
who've
been
we were little crazy
more
relieved
that
love the song.
teenager.
not
only
identify with.
a
completely
comfortable.
to Dream Last
cleverness
designed
to
stick
appeal. The
Allen),
and
more
vivid
the
visual
seem. In other
cleverly contrived
story; and
cards as an analog)' for life isn't a new idea,
the song's natural, rhymed, colloquial language and movielike imagery make it a
wonderful
piece
of
work.
Crossover
Records
you must appeal to a large section of the record-
buying population.
 most
played
artists
Whitney
Houston
40,
cross
over
Bizkit
and Metallica seldom cross over; though
artists such
and AC formats. Crossover
companies frequently promote
crossover
record, the more people
have available
 Lookin'
for
Love,
so
many
love
played out to a background of popular music. It encompasses
both
the
Kiss You All
Sexual
Come on Over,
For
Ice,
That
Lovin'
Feeling,
You
Don't
Bring
Me
•
despite
their
Under?
the breakup and the
passage of time, the
remember the
there's
that has
By, Tears on My Pillow,
Hello Walls, Funny How Time Slips Away, San Francisco Bay Blues,
I'm Sorry,
Be Over
aid
to
provide
a
Can
preoccupation, particularly
look
at
singles chart
Radio
wasn't
always as tolerant as it is now. If writers wanted to
get
be very clever about it. In
the
tame as it sounds today,
were
consid-
become?
sixties' folk
McCurdy ( When
to
heavy
division
has
always
existed
between
what
what's
air, but
more likely
would have been shut down for playing
songs that
write
about
no
The
of
you
Those in
rock and
guardians
ofour
national
the
spend a
ten-year-old kid
or not
not be taken lightly.
at least have the
write.
novels,
and
in
our
sex as a
best
convey
with
their
 my
baby
left
me,
or
 I'm
spawns self-indulgence.
Just
don't
just had a religious
seem
so
even
(b) has
doesn't make anymore sense
the
lyric
is
weak,
the
music
 All You Need Is
but
it
a
particularly
preachy
you unfortunate,
unenlightened people
how to
want
guidance,
involve
ben part of it.
leaders
used
of
Jesus'
greatest
it did when
song
comes
our parents
better
spend
time
with
unit
will
 Cat's
in the
usual way
so much like
said
with
a
smile,
 What
And the cat's in
the moon.
's moved away
day.
I
if
if
occurred to
boy
was
 When
about
all experienced.
a
first-person
point
of
view.
to
describe
sales devices.
A good
approach is
wanted
along with
by saying
type
there's
powerful lyric but are
music
department,
himself
rather
than
see
a job.
Dylan wrote
approaches
ily share your point
sledgehammer approach
as a
and
remember
it.
Message
collaborate, perhaps for fear
they may be
can
write
a
the music department, look for someone who composes well in
a
vehicle
for
delivering
be
taken
but it's still
the best of all
up their stage act
personal-
write
figure that if they could
just
to skate
past the
in the silent night, past the chipmunks and the reindeer,
to
roast
chestnuts and sit
by the cozy fireside as their kids ask when Santa's coming
and ponder
an
even
hit record. Obviously,
song is
though, is that
a record needs airplay to become a hit, and few
radio
stations
songs
music. Unless major artists
record a Christmas
pav to
Christmas songs to
best in
books and
a
publisher.
Otherwise
a
plethora
of
Christian
radio
stations.
much as
everyone
automatically
hear
them,
the
must
medium
drama.
rhythmic
the characters' personalities
song, the lyrics and music must feel natural to that
character.
However,
structured like radio songs unless they're also intended
for airplay. Since theater is
a
visual
medium,
dynamics that radio
the function of that medium,
the needs of the
work,
with
its
principles
and
specifically to be
who we
perceive them
We
of words on
a page to emphasize subtleties in meaning. It's not expected to
rhyme. It can
use sight rhyme
that between
substance and
good
verse
still
not
poetry.
interview
with
Oscar-winning
differ-
singer,
which
people
You
also
38
THE
space.
erudite and
but
there's
no
space
in
a
condensed,
yet
do that.
Film composer/teacher
walk across
times.
Each
time,
moods behind the walk.
meaning. New
be
like
 orange
are
not only impossible to rhyme, but difficult to sing. A lyricist
must
be
songs,
we
as
own
a recording
the combined skills of singers, musicians, producers, and recording engineers.
Their creativity
and command
song
never
great song
song is better than a lot of stuff I hear
on the
The appeal of the
ingredi-
of hit
records that
we can't
line.
song
by
someone
advertisers will pay
retirement
homes.
The
approaches
(or
20)
stations,
with
too
high energy. This used to be called MOR (middle of the road) or
 easy
Others attempt to a
Formats
with similar
don't want
requirements
for
to
radio.
The
following
minutes
long.
Today
they
average
more
who
had
a radio background before his career as a recording artist. Knowing that
DJs
frequently
DJs
interesting
to
single that
may have
actually run
listeners
audience's
want
for
different functions: a short version
for the radio single and longer versions and special mixes for  specialty radio shows and
the dance club market.
Something else to be
in the length of the song is the introduction.  Intro
lengths
tune,
important that the
devices
trying
to
save
more
time
for
commercials.
Some
DJs
the time of
these four different
media and art
writer/performer.
THE
using
newer
artists,
younger
DJs,
artists they play.
tween rock
hundred stations, most of
new
new labels.
because
programming they
new
airplay.
One
Top
40
400
Top 40 with
again, specialty shows
(and mixshows*) save
new
artists,
but
thankfully
Straight jazz
are
all
programmed
from
station, usually late
and it plays
a
critique
say,
 The
I play
they my
respond to a high-energy,
personal
be
relatively
new
to
in
he assumes that people are
applauding the songs rather
forty more on
Take the same
concert
who
loved
experience
the group has a
following chapters.
hit single
though the
\J£_
albums allow
or
can
possible, often coming
Radiohead
are
a mood that's comforting. The appeal of other album artists
like Tom
relate
We'll
We're all
BET, and
songwriting craft.
No matter
has so much
record companies
of ingredients they look for,
it can
be a
about
the
songs.
Video,
to
show everything
way, your craftsmanship is still extremely important.
The Listener:
who
share
are
that
group.
Self-contained
writer/artists
other hand,
than the
home
with,
you
artist's style. Immerse
seems like it
them,
don't
rock
and
roll.
A
wife's
best
to
assume she liked the
his
wife
The
other
I interviewed
was
even
more
pleased
to
writers,
and
those
out some specific
and
external.
Internal
from within
—from thoughts,
sponding
to
internal
cannot
originate
does
respond
jackets
taking off
on its
on.
to
your
just
know
interrupted by external stimuli that, because they exist in present
time, appear to
the
phone,
with
them in our
 reality.
ability
of
our
our
dog?
Watch
out?
head
just
is
a
to
have
an
imagination.
to
a
exactly what it's told
our files
front
with
the
word
 dog.
if
I
were
them
together
and
begins
to
feed
Larry
to
notice
of the
information that
running. What
It is a stimulus-response mechanism.
But please notice that the imagination is literally  wild and has no discipline
to
this same crazy process
you
write;
it in
specificity
up
will
be
quit
the
job
under
these
conditions
for
not
specific,
is
astonishing
how
and
minds
and
pictures.
new
old
information.
The
phrase  floating in space can only be imagined by memories of experiences
we've
The
feeling
—
and sensations occur,
that
we've
with
and turnoff. And your
to
crash
into
famil-
iar
Mental images
are complete
can produce the experience
truly is that we don't
just  imagine the sensation ofweightlessness; we feel it. Indeed we react emotionally
and
activ-
ity
eyes
react
to
that use
such demands in their
is
helpless
not
to
respond.
can produce powerful
emotional and physical
images; we do
them. We imagine
as the
songwriter can
direct us
possible
by
The
for organizing and labeling
at the abstract phrase
of
us,
a
I remember  falling
to me),
you
into
a
more
real
contact
with
crete.
with
specific
and
concrete
images.
So,
when
bother
with
the
information.
Abstractions
simply
do
does the writer
How
do
you
blue, and missing
repeated descriptions of
you
one
lasting. It is a
the
have
been
're doing gradually and
it all went
second and, visually
would
be
that
the
song
chorus, a
tribute to
Notice in your
imagination the difference
with which we're all familiar. It's concrete (so
to speak).
can
see
your imagination
picture)
with
picture and
re-create
the image a number of times in succession. Re-creating the same
image is
tion quickly gets bored
What keeps the
reason
is
that
fresh
brick headed toward
that store window
is a cue
Notice
your imagination is re-creating that person in one image or
in action. Are
you not remembering
image
has
with
abstractions:
There's
no
action.
breaking
but
much more
alive that
line is
simple images. This
the mind for
of
the edges. For these
vision
in the center
with which
you can
produce the
image:  Lipstick
You.
While
some
image it is overly complex. The
tendency
abandon
complex and
flock
many
of the
(meaning a specific
one
truth about one
narrow
that
simplicity
is
a
will the song.
you
professionally.
users
teacher,
there are very few people who
have
the
opportunity
co-workers.
Politicians
Novel-
to speak freely,
but
tion
and
asked
Simplicity
many ideas here. Focus on one
idea,
the needle. Applying
more than you need
that
very private communication that
many
listeners
work
they meant. Some
themselves,
but
connection until she told me the
background.
she told me
truck. I told her
weren't worth
the most accessible lyric of the five was her first
song,
didn't like much anymore. Those abstract lyrics in her other
songs
might
as
on
or a car radio, tricky lyrics
only make
missing something.
interesting,
enjoyable
way.
to
communicate
their
messages
easily
to
others.
Focus
Another
critical
aspect
or bring
Someone you'd
to
that
even
attitudes,
women,
songs
on
the radio and write down one line for each that expresses
what the
con-
Beginning
songwriters
tend
to
want
to
settle
their heads
You may
explore
You
should
also
be
be,
attitude is
an important
ingredient of
long
of
that
are
searching
write
a
Pretend
one
called
 Silent Partners.
 I
Love
You
guessing right away what
word
combina-
tions:
 Mandolin
poetic
device
like
alliteration
(a
repetition
clever,
magic
it
fits
lyric. That combination can
make an otherwise mun-
name titles are
Randy
Newman's
Joel's
and
Stewart
Gorrell's
suggests
a
title.
This is a spontaneous process that resembles a sort of musical Rorschach
test:
 What
does
trigger ideas and phrases
chorus (or
be repeated
line.
This
hits
may
have
Another commercial reason
computer or human error. That's a fate neither you nor
the
artist. It
impact of your song?
 morning
someone, is there something arresting
you
can
say?
that
chapter
three.)
a poetic or dramatic way?
 I
feel
so
out
just a
the answer—
by
rhymes work?
meter,
together,
serve
who's
trying
to
be
you
want
the
odds
in
your
are expected
so much
critics
who
a
too hard or impossible
makes them feel perfectly
the songs
rhymes without
sacrificing naturalness.
different:
god/quad,
it is the
only form of rhyme to be used. My feeling is that
you
you
approximates rhyme, and some would argue strongly that it shouldn't
be
do
find
as in
maker/shaker, masquerading/
held, as
rhyme,
of
line,
as
a
rhyme
use
the
bridge, however, could get monotonous,
so
for the verse, one for the chorus, and
yet another for the
bridge. You can introduce a subtle element of surprise this
way
or
delay the rhyme. It can be used with any rhyme scheme and the rhyme
can occur
at any
Ta TUM Ta TUM Ta TUM Ta
Ta TUM Ta TUM
Ta TUM Ta TUM
Here are the most
(b)
without
which
offers
alternatives
to
read
vowel connection,
to
the
same
phonetic
families.
3.
PLOSIVES FRICATIVES
perfect rhyme substitutes.
same family
members
f
s
comes out of
one
of their functions is to help us remember, rhymes in consistent position
in
the
line
though, there is
and
A common failing
and, instead of
for
beware
of
rhyme that wouldn't
always feels awkward.
In
perfection
your
of new
and
write a song people
Here
the
drawback
in fashion, but the reduced ability of other artists to
record the song. It's
style,
like
country
bear in mind, you're limiting the coverage of those songs
to
in
same
their songs. More power
to your
to use
reason to ignore
rhyme.
The
standard
 Moonlight
2. one
of rhyme's
functions is to help us remember the lyric, and both of those
lyrics,
especially
 Moonlight
with-
rhythm
and
meter,
to
use
one.
the most natural
I've also run across rhymes in these sources that instigated
a
whole
unrelated
images and words that anything you feed it can become
an
ingredient
for
a
difficulty coming
up
with
 off the top of head. This is one of the things a good
rhyming
can
All rhyming dictionaries contain thousands of words that you'd never
use
in
a
song.
dictionaries and make
yourself get too
Dictionary
these devices
go consciously
identify
them
right
away,
you
in the
overall meaning and
If they're
speech
consonants. This is a device that can get
ridiculous if
be
arrow,
hard
If something
comes to your mind that you've heard before, try a new one.
Metaphors
on  like or  as. Paul
Simon's  I
been a simile if it had been
written
In other words, you can tell a story on
both
material
 Eight Days
incongruities
of
a
situation.
Paul
Simon
the
us to
Problems With Pronouns
problem areas in lyric writing is the
use of pronouns. Pronouns
use
you're
using
so the listener doesn't
listener
not
wise.
at
or
involved?
5.
If
he delivered
only you know
three
song,
serve a
valuable function
song. Without
realizing it,
you can
create a
hero in a one
effective
to
deliver
a
heavy
person
( Here's
what
happened
story
about
do ;
but
second-
person
substitute for  I in
you
as
 What
do
I
do
The impact of the pronoun
you
choose
can
statement.  I can't pretend that I
don't hurt may
you
 you.
to
try
this more closely,
an  up,
in
It's
possible,
however,
that
would have sounded
of
prosody.
Other
factors
also
contribute
very
Lyrics
by
the same sound.
journey will give
a good singer
easily
is to sing them
as you write them.
performed.
Words
all awkward in
 jump, run, crash, and
place
service
Why
to
can be
lyrics
of
meter.
Spondees
(TUM
TUM)
have
a
can
create
tension
to
set
a
In
songwriting,
you
need
to
repeat
but emphasizes
have
its best
foot)
emphasizing
 you
your
melodies
used
to
emphasis
 
lyric
before
the
downbeat.
12
3
4
12
3
4
4:
1
 
can delay the
4/4
3/4 il-ll- I
More interesting,
concern
being
a
faster
way
to
improve
will give
or third person. If it's in third person, it
to
the most impact for you. You'll usually discover why the
writer chose to do it that
Now
sions
(formulas)
odds were heavily against its becoming a hit, so the
chord progression formulas
spawned
hundreds
of
twelve-bar blues
rock
and
roll
(e.g.,
E
(4
are
different,
is the same, so
repetition of rhyme,
MUSIC TOGETHER
form as a
the elements of
vehicle for
function, both
another
contains substantial new information
each time. It may
contain of previous verses (such as the title line if the song
has no
there is room for
The reason
for keeping
the melody
focuses
often referred
to as
the  hook
concentrate
to change
other informa-
it the same:
same chorus three times
If
you
you have information
should let
a song,
the listener's
a substantial
amount of
eight, the bridge
many other ways.
we'll
get
to
later.
possible without sounding like it belongs in a different song.
Lyrically,
a
for example),
abstract (or vice versa), or using it as an  aside
or for
correctly, its
be
a
two bars,
busters.
PRE-CHORUS
Pre-choruses
are
melodic segments that are different from the verses, chorus, or bridge.
They are known
channel, B-section,
favor
pre-choruses
to
a
too
repetitive.
When
you
first
hear
a
pre-chorus, it almost sounds as if it is going to be the chorus,
until
you
the
chorus.
Some
monds,
Antonio Reid, Daryl Simmons);  Any Man of Mine, Shania Twain (Robert
John
Lange, Shania Twain);  I Can Love You Like That, All-4-One,
John
Michael
after the first couple of times
if you
to get
5.
to cry
Baby Hello,
rocket
love me
It's a
moonlight
It's criminal
work:
1.
there's already
sets up a tension
pre-chorus
where
are three repetitions of the
two-line melody in
strongly.
you
can
segment
get the
same letter
at
again.
Enter
to
include
any
chorus with
but
rarely
with
good
results
songs,
because there is no chorus or bridge to help sustain melodic
interest.
but
in the last line.
content,
but
wanted
to
examples are:
Phoenix
(Jimmy
Webb)
contain a
MUSIC
this form, like Don Henley's  Dirty Laundry,
which
verses.
structure
of
the
isn't a
chorus because it's very short and does not contain the hook line (which is contained in
the
verse).
verses. That's very
probably
Another variation of the AAA form is an extension created
by
all of
the last line. This special focus on that line, however, makes it important that it be the
title line. A short instrumental section or
melodic instrumental
hook can
be used
accomplished
with
a melodic variation in the last two melodic lines of
each
verse.
Hum
what
last line
B New
last line
totally
section).
A
and new
It's short, concise,
but it
in that
history, the AABA
form is not
hear are written
by the artists
B
Chorus
B
Chorus
B
maximum
is
that,
if
you
have
a
lot
of
melodic
repetition
within
line, you may
with
TOGETHER
85
important
to
chorus
as
good idea to
and
second
verses
greater problem in
If both verses cover the same
information in a
different way and don't depend on each other, this may not be the
best
form
in the
could
also
consider
using your title in the first line of the chorus to
avoid even
line.
or AAABAAB)
are rare.
Two examples that come to mind are The Eagles'  Lyin'
Eyes
song, but
don't
An
lyric continuity that it was a hit as
an AABAABA
This form
variations are possible
with
a
a
way
that
allows
the
record
to
dance
to
play
market, and
there's a
over four minutes
major appeal is
from a few conventional
or
repeating
with
different tempos,
their choice
of recordings, and the creation of their own digital loops
to
provide
of the standard forms
is called
lyricists who
the same rhyme scheme.
which you need to
After
say,
you'll
want
who writes
learning a few more chords. You have
to
remember
about
of  painting
yourself into
you
wanted
you
really
set it
form? If you're
song, you may
to
help
forms.
If
 Genie in a Bottle
and the lyric to the Titanic
theme,
 My
Heart
Will
tie
-
to pronounce
words generally
tempo variables
to
lock
minute
your options have
to
idea
you
the
not a good
with strong
tempos, though they
melodically boring because
the melodies repeat
The
you will
get yourself
a
a
repertoire
Hooks
business and
use
you
can't
stop
Some of the world's
Here are
several categories
of hooks.
Structural Hook
In this category, part of the structure of the song functions as the hook. The
most common
title or
last line
to
songs that
may not
be part
whenever we
it.
Too often,
I think,
sell the song to the public, they'll sell the song
to
the
producer
and
afterward
so
powerful
and
evocative
your mind longer
 Goodbye
Earl.
I
songwriter,
technology.
synth
You can
digitally sample
sound sources
or buy
modify them yourself.
rated
tap
on
stage.
emotional responses. Use
melody
to
create
ever
heard
before.
up
for
a
devices that help us remember and an enter-
tainment in themselves. Part of your
job as a
many different types
of hooks as
possible.
Chorus
Construction
The part of the song people remember best, after the first
couple of listens, is the
chorus.
Effective
choruses
are
phrasing.
to
win
by
way that, by
we
know
it's
or in strong
listener
won't
know
the
title
when they call the radio station to request it or ask for
it
see
songs
with
these are very
to
too simple. Don't
the
song.
5.
It also
pass the action of the chorus chronologically.
Choruses can run
Here are
This
can
get
monotonous
unless
that
line
and/or it's musically exciting.
2. First and third line the same, second and fourth lines
different. This offers the
end the chorus. The last line in the chorus
is a
there are high expectations for it to be strong and
satisfying.
Wait.
3.
second and
maximum
Cherry's  Save Tonight.
same, fourth line
the
The repetition of
the first three
expectation for a
 call and
and third are
the end. Examples:
Heart of Rock and Roll.
These are just a few common structures. There are many more.
Chorus structures
or
listen to a Top 40 countdown and what you'll find is an incredible
degree
pop music in the ways lyrics can
be
stretched,
us
ingredients of successful
you want someone
Several
studies
have
been
It may
and tend
They feel comfortable
to add a new record by
new artist, but whose audience polls
tell
old songs, the more
heavily on listener
polls and feedback
listeners
can't
between
a
an
unfamiliar
artist.
Whether
someone
against
you.
something new,
repetition of
a
three or four
The general objective is
it's
 musical
by
assonance, and alliteration.  Chattanooga
purpose of
melody changed in each of the sections and
never
repeated,
we'd
simple familiarity is because
Lyric repetition also serves to let the
listener's mind rest. If, as a writer, you're
giving
mind
and
just
groove.
When
change. We like
familiar melody
or lyric,
a
song
at
which
the
audience's
I had a very
about these factors.
and I
songs by
groups) sat
in a
of their
seats to
it
As
to get the listener
because
If
didn't
immediately
Jackson
high
voices.
a
to
respond
build
of the first line(s) is very important to the audience's
response. This
is the
audience's first
there's an
don't under-
will
be
negative.
4. The  hook chorus is another critical place in a song.
If audience interest
 
a
new
considerablv shorter.)
only
a
fraction
of
we're
understand
what
the
problem?
of
educators
achieve
contrasts
of these:
from
a
or vice versa. In
other words, go from
2.
key
are
arrangement
or
dance
Queen's  We Are the
you
can
go
time
to
above the last note
syllable per
in the
while keeping the
songs
use
that
chorus
Kravitz's
 Fly
choppy
to
section
the
most
underused
through
a
when
predictable.
meters
every
options.
TIP
meter
to
You Loved
a
Thing,
and
many
Rob
the
write
yourself, whether
you have
each other. As a
your
own
attitudes
and
methods
or singing
lyric density, meter,
or groove machine
will help you
have
a
different
not
to
use
that
instruments,
be used to
the
just speak
them, maybe
you
to
hearing
a
the
second
verse
anyway,
but
at
least
writing
and
90
have
their
to
writers,
those
publisher or
producer rejects
not I've
much more
open to
change, particularly
getting
from
now,
you
or hearing
may
notice
flaws
that
you
Words
that
wordy a lyric is, the more room an artist has
to
phrase
without
4. Does
to
hold
a
you
an
idea.
Jack
and
in his lyric class: reduction, inversion, insertion, and rhyme relocation.
Reduction
sentences or lines;
worn out lines
part of the line
important
Break us
you'd
never
up.
You
could
say,
 They
try
to
break
another
end
word
to
give
you a new choice of rhymes. In doing so, you
might
use
another
then,
giving
you
 then
to
reversing
the
natural
time
say,
have
jigsaw juggle.
blanks when
lyrical
the
same
and I
of
of the lyric
second whenever
more
power
more
powerful
than
you
of the
section is a
blow it with
the
verse.
example is in
George Michael's classic
verses
choruses (if that's
a
reductions when
awkward little
also
easier
to
feel
when an insertion might help to enhance the rhythm of the
lyric. Adding a word or two
in the right place could help make the song  catchier.
There are
word
does
but
even
if you're not in that position, you'll hear about recording
projects you'll want
a
project.
artist
or taped some great ideas during the heat of inspiration;
but
now,
in
the
light
of
what
with
a
songs for an artist. If
you
can,
get
each
know
she'll be
you but
—
basically,
You
can
artists
in
you
melodic
passages
have a great
voice, coming off
better doing story
short, choppy
like
a
form
that
allows
welcome the
artistic challenge
look
seems
or
sang
or
should
inspire
you
again.
Lieberman (who he and
about
classic
that
was
writers
work
with
your
words,
way
wouldn't
state
it for yourself. You can expand the parameters of your craft, and that can't
hurt. For nonperforming
songs, tailoring
you
doesn't record it, you may
have
no other
artist could hear themselves singing. I don't agree. I believe that if it really is a great song,
you'll find another artist
art
some similarity
the priorities of pop melody writing are very
different. The basis of most classical writing is building melodic ideas over an extended
period of
time. In
main chorus or hook section in a relatively
short amount of time. The essence of pop composition is
repeating
or phrase. In 4/4 time, this can be anywhere from
a
half-
measure
(two
beats)
to
slow romantic
song and
most
people
songwriters
has
couple of
by
Sister
Sledge,
tHii
GaddA
there is
some classical
and
insert
to
much through
f
^fr
Inexperienced
songwriters
song.
an excellent example of a more complex melodic
composition:
 T
ANNE
PREVEN
(NATALIE
IMBRUGLIA)
IjyJ
]>|,J
I
i
k\>
J
J'J
J
J
J
t
i
I
ideas,
these techniques is  What's Love
Got to
the Grammy for Best
(TINA TURNER)
Gm F
can_
songwriters seem to get
do
you
Herman's Hermits?), the record-buying public
does
not
is
perhaps
aspect of effective
home
home.
as
a
dash
Here are
some ideas
section)
to
half-notes
versa. Nothing is
fegr
A thing
you'll tend to lose
audiences figure out
the next.
can
guideline
vocal
abilities:
MODEST
Less
the
less-skilled
rock
third or fourth. Two or three notes above an octave
is the
a
but
and a fifth and beyond. This is for divas like
Barbra
Streisand
groups
like
a song
written in
Thing
BY
l>6
l>7
-
repetition and
context helps pinpoint
these
aspects
is
what
as
well.
Harmony
of
intervals. The
down
scale, called diatonic intervals:
considered
to
be
chords.
scale chromatic intervals
octave are perfect
minor
or
more interesting
can create a
sophistication
Most pop
two extremes.
lowers the
Suspended Triad
Way (Max
I F#m
A I F#m I
E A I
For simple styles, triads are all that may be
necessary
for
effective
harmonization,
but
in
more
a
7th added, and a major 7th chord is a major
triad
plus
a
major
I
Dt
I
I
When
you
want
to
Broadway, and pre-
for. These
include chords built on 9ths and above, as well as chromatically
altered
chords
much
too
90
a
excellent books on the
features
Weil, and Tom Keene (Chaka Khan).
-
knowing which chords
song
and
scale) or
3
2
primary
people
formed
within
a
major
scale,
serious
shadings
of
emotion
give harmonic
chorus section of  Be-
minor scale.
or 9th has
iii
chord
would
to a
s»
III
depending
on
whether
the
following
chord
»VII
I
chords
that use tones outside your scale context. Here is a list of chords that are
 slightly
were masters
of using one slightly outside chord for temporary shock value
in their
Major
II,
can
ing's  Dock of
out,
a
However,
songs like
G Bm I Em I C G I Am I
Bm
I
Gm
I
a
song
y
»M
t
section, there are many
and
which
ones
above.
to
is
called
songwriter
Rhythmic Elements
groove
by
PULSE
bass
this
At rest, our hearts beat at 72 to 80
times
a
minute.
whatever)
to 1
50 times
a
Livin'
La
Vida
Loca
pulses
A
4/4
measure
can
be
16th groove
and
Shuffle
groove
('40s,
e and a 3 c and a
4
with
to
swing
rhythm,
not
that
is
two potato,
seven
potato
more.
I
often
refer
to
while swinging
the I6ths.
groove.
Boys'
swung I6th-8th
and various
Morissette.
SYNCOPATION
subdivision
ofa
groove,
occurs
when
beats between the pulses.
syncopated patterns
that use
accents
to
create
rhythmic
drive.
Synco-
tracks and
'
my life to bet- ter suit your mood
Triplet
Groove
>i»jj
I'll hold you tight, ba -by, aD through the night
Shuffle
Groove
who
al
Moderately fast
a
simple
unique  texture,
from sparse
As in
with
the
David
 Cat
Freddie
Hubbard),
he
film
Pictures'
Undercover
Extension
at his
Better Than One
the
wealth
Loewe;
and Hart;
the Gershwins;
Mann and Weil; Holland, Dozier, and Holland; Gamble and Huff; Lennon and McCart-
ney; Goffin and King; Leiber and Stoller; Fleming and Morgan; L.A. Reid and  Babyface
Edmonds, and on and on.
In a
nine,
of one hundred were cowritten and seven of
those
competitive
elect
to
Though this chapter
always
Bluer Than Blue )
quote from an
years on
my own.
was
with
and
lose
a
sense
of
'Bluer
'feel like it.'
are
we
have
thrown it out, yet it's a little bit more unique of a
r
aE
so
they
to it. You just
rewrite and rewrite and
tickles.
be
own,
that's
his solo album,
of
us
we
good
reasons
why
writers
collaborate:
1
may
need
to
see
only
music
by
line
at
the
top
of
the
page,
or maybe you just want all the royalties yourself. The bottom line, though, is that the
song
regardless of who did
is important enough
and
get
and
a
collaborator
can
progressions, listen to the
with someone when
such
a
demand
should
be
relatively
easy
to
find
cowriters.
3.
eleventh hour,
like
deadlines. Those who
You
know
you'll
have
to
come
up
with some ideas to work on before that deadline, and that subconscious
preparation process
say,
I've
heard
stuffon the radio that rhymes 'rain' with 'again.' Maybe some British
guy'll cut it. A conscientious
collaborator
something
use
grow
the more people there are networking
to
get
more
opportunities
to get the song published or recorded as well as extend
your
Meeting
go
about
it,
as you'd
have
a
habits,
expectations,
and narrow the
You
put
an
ad
in
a
ad
in
your
local
newspaper
is
probably
a
cowriters
that
record
stores,
the
Computer bulletin
longer much of an obstacle,
though
it's
obviously
serious
of
among
the
best
opportunities
to
screen
a
a
or she
the
industry. It's also advantageous to your growth to write with those
you feel are as good
or, preferably
 writing
up. If you've cowritten with an established writer, it provides entre
to
writer
at a good publishing company and get a cut on a song
you
wrote
together,
particularly
own
publishing.
Try
to
meet
contacts.
three typical
writer/producer
yourself.
WRITING
WITH
the
life and
getting song
ideas from the conversation; taking the artist's lyric ideas and to
structure them and finish
Makes You
Happy, and  My Favorite Mistake ) told me, in an interview for United
Airlines In-
flight Entertainment,
My relationship with Sheryl is kind of like baseball pitchers.
They have
a starting
instigating
ideas,
but
to complete
our
industry pros
the type
good strategy.
BEING
A
WRITER/PRODUCER
to
producing
master
tracks,
you'll
producer. That
was the
a
Bottle
(as
well
U
Not ).
I
interviewed
Steve
about
he
says
to be
up
with
that's
a
very
fast
kick-drum.
So
what
take
that eight bars of music and just loop it around
and
I'll sing something
or Pam would
thinking
about
someone will
a sudden,
And
then
you're
gotta rub me the
if
something
you just
molding it until
you've
right
attitude
—first
to
be about?
looking
at the lyrics and what is this song about. What's the attitude we want
to
you
then all
of a
sudden a couple days can go by and you just
keep working
it's not that quick.
and produce her, then shop
her
production,
your
One successful
I really
change
you
from us, it's already perfect.
Remember that you're both trying to
make
your
your song
objectively is
you
ignore a
flaw. It is, in fact, one of the primary benefits of collaborating.
If you
fighting too
to spend the
lyricists Alan and Marilyn Bergman's rule is: If one collaborator
doesn't
like
find a line they both like.
The one thing to keep foremost in your mind is that you're both
trying
to
create
the
best
toward
contribute
more
(a
50/
50
crucial that
any criticism
and
out some
As you communicate
know
acknowledges a
you
find
few
causes
for
compliments,
you
should
be
able
open to
criticism and
a
very
common
problem.
Otherwise,
legally,
mention
that
it's
unethical
to
give
a
potential collaborator
agree
and it's disrespect-
have
this
way
love the give-and-
take of instant feedback. They enjoy the excitement and high energy level
that can
music, so ideas can be stimulated and shared in both
areas.
need stylistic compatibility and
Snoop
Dogg's
 Topp
is easy to deal with. The relationship with a creative
partner is the
go. If you're not
can't do
Fortunately, Don
Hit
songwriter
of advice:
among
have a particular
we
do
research,
listen
conversation casually. I call that
the
of it. It's an
the interaction,
no pressure.
If something
to
flow.
Meet
obstacles are dislodged
happening in
relate to
to be commercial,
might decide
together after
being split
just throw around
how
many
bars
product
is
based
a good
story. These
a
pleasant
after a hard day of earning a
living.
Business
Considerations
Let's
assume
that
you've
found
a
lyricist
together
tell
you.
I've
got
my
that point the song
a
good
publisher.
this situation,
in
publisher,
at
give an
the
without the title, which supplied the premise, there wouldn't be
a
writer
owns
the other
you
about
who
contributed the most.
That's why it's always best to agree on equal shares ahead of time.
On some of the
Lennon/McCartney tunes, one undoubtedly
writer
to
volatile situation, with several
artist, the
up
by
changing
more extensive changes
the artist you
 Negotiating,
c.
How badly does the artist want the song? If he thinks it's
good enough,
he's torn
also
be
motivated
by
contribution is. It can get a little touchy, but it
should
he
without
publisher
wants
a
decision has
royalties equally. In
the lyricist's half. In
for lyric infringement, you
of the song, both writers
get
paid;
in the latter, the lyricist doesn't. In the former, if
a
get
these are
also vice-versa
(See
para-
section,
 Preliminary
Business
Meeting .)
to
the
need
for
than
knowing
Conducting
enough to be
meeting or the minds on business
matters is necessary
before you begin
will
about money, after all. Ego, dreams, and money make a
powerful
talented people.
The business
same
need to
do
business.
the same time
together. Sharing a meal is a nice idea. It softens
the
whole
hour), and makes it easy
to
too.
than you are. Make copies of information you want her
to
tape
the
meeting
a
later
Have
to protect
yourself. Assume
every team needs goals,
than
you
from
a
list.
include
1
. Is
ber, birth date, and
when
you
fill
(i.e., a song) together,
you must keep up
publish-
ers
will
not
be
working with the major
publishers if they offer a contract on the tune? Is he interested
in
working
with
a
source
of
your partner
might get
one
both
or a
you
disagree?
5.
day
frustrating for the more
you
Pressure? How long will
you
give
a lyric or melody to your partner before you expect to see some activity on her
part?
What
without
telling
yourpartner.
the end
of the
many relationships
writes one or the
When
Who
pays
the fees are
costs?
songwriting competitions? Who
pays the entry
you brings
more
important
that,
be
you
know
the
original
to
copyright office records, a record of the agreement will discourage
any
listed after a title. You
think,  Do they expect me
to
believe
(or
two)
writes
members contribute
lyrics or melodies?
which
money:
(1)
contract with comments to help you tailor it
to your
own situation.
with the following
preparation or presentation
exploitation of the song(s),
be
divided
composed all the music
split in
responsibility for
no
use.]
by
the
creator
any use
[All of
contributions among
granted
full
power
of
in
reserving
group's
grant that
any
song(s)
states, notarization
is required for any power of attorney. Check your state laws
as to
the original
least
two
years
needed to
to do
more than pay touring bills. The exceptions to this are the bands
that can
concerts can be
4.-5. So,
the only relatively reliable sources of income left are from writer royalties or
income generated by
self-publishing. The songwriting
group sets
the
band members,
COLLABORATION 139
individual talent toward creating
writer/
artist/lead
members. In
the group, this
we have
be
writing
just
a
commercial success
pop,
a
uses
it, and what parts he creates for the vocal arrangement.
He may create
a bass
although
written
a
word
or a note of actual melody, his contribution can be extremely
important
to
the
success
of
situation,
ways
member
whose
from
rolling
in
finding
a
compat-
ible
Business
Now
that
those great songs, I hope
you're not looking at the rest of this book and saying,  Oh,
that's
just
the
Or  I'll
a sad
echo for
lot of people I've met
over the years whose creativity has been drained and their careers
put on
There
was a time not long ago when there were no
books from
you
The following
chapters are an introduction to some basics of the music business. It doesn't pretend to
teach you
business is
song, and
to pay your rent
in your old age. Reading the rest of this book is
a
major
payment
this section,
and
your
personal
situation
off
in their
get
you
your  baby, you
to
retain
different rights
recordings
with? Anyone can
to see
some proof
most
own
to
income
as I
their heads and
OF
SONGWRITING
say, they don't
do
check
filled them
the copyright
of
registration.
1976,
which
to be created. If you
sing
your
song
 live
for an audience (before it's in  fixed form), it is not automatically
protected.
Technically,
recorded or
written. Consequently,
put
it in public.
Ideas, concepts, titles,
after January
given
a
70
prepared by
two or
more authors
hire,
surviving
works
Copyright Office records), the duration
of copyright will
These works have
given
federal
these works
after
December
31,
2002,
a
registered
in
was eligible
January
1,
1978,
on
October
27,
1998,
further
subsisting
automatically provided,
the Copy-
tration is
no longer required in order to extend the original 28-year copyright term
to
the
full
95
years.
However,
some
benefits
term,
request
Circular
15,
the
abbreviation
publication of
the compilation
or derivative
any, is repro-
duced in or
the owner.
fixed not in
 phonorecords and
not  copies,
law
as
a
series
of
picture or
music,
drama,
is not the same
includes cassette
following three elements:
of
The name of the owner of copyright in the sound
recording, or
the sound recording is named on
the
notice,
the
producer's
Example:
of
right
necessary for works
of U.S. origin.
of the copyright and of the facts stated in
the
certificate.
an
available to the
actual damages
To register a
work, send the following three elements in the same envelope or package
to:
101 Independence
2. A
are subject to change.
the
Copyright
Office
Website
first
after
published
should be
the
appropriate
deposit.
SONGWRITING
cases, published
be
immediately transferred
to the
collections of the Library of Congress. This practice is in accordance
with
transferred
no longer available
you
wish
to
your
necessary,
Form
RE
Addendum,
and
15,
 Renewal
copy blank application
X
1
1-inch
The forms should be printed, preferably in
black ink, head-to-head
sheet over, the
these requirements may
SPECIAL
DEPOSIT
REQUIREMENTS
Special
types of works.
is one complete copy
of
its
contents,
published only in
a
author, or, if they are by different authors,
at one of
information is that
if someone hears
won't
know
what
you
number will be for
specific song
Office receives
all the
requires
depending on the
600,000
applications
information
been registered, or
Information Office
letter
to
someone
else
who
may
be,
Damages
Copyright Infringement/Plagiarism
One of the most common fears of songwriters is that they'll have
a
would indicate. Publishers
rather be in line for your next hit
than be
writer
will
use
Throughout the history of
literary
said
he's dealing
with variations.
how
imager\
r
are
what
song
special.
will
spark
interest.
another
writer
will
do
right
to
probably
not
constitute
copyright
infringement.
exclusive rights are
of
Congress
can
be
admitted
person filing
type
of
damage
a
witness
copying
to
prove
(1)
courts
will
 Widely
known
is
obvious
with
recorded
songs,
or
writer/performer
and
a
has
a concert in the
but
it
to
A
popular
myth says that more than four bars need to be copied
before
there are other
old  Dragnet theme,
the
general
that
one
could be mistaken tor the other, or that the impression to  the reasonable
person
is
Fine.
Though
he was still found
infringement. (See
ated
by
compensation
to
less of
indie artists,
to
be
true.
same
is
a
very
true that record companies'
ways,
artists
to
promote
themselves.
Having
said
that,
the
key
of
releases an audio file of
a
prerogative, his
right. If
to be an apologist
for major labels, but
see
is the money that goes into making them aware of the
artists they love
are the
ones who
don't
much they
how many artists
of
recordings, they're depriving
the
Answer:
Only
only because of commercial
afford to continue to
gamble.
Intellectual
property
is
one ofour
main exports, valued around the world. When it is no longer able to
support
f
aE
creator
of
prevail.
a defense in an
infringement case is that the defendant did not copy the plaintiff's
song, but
it
was
composed
downloading others' work does not
constitute fair
the
works
a
fair
use
area
that
educators associations
Four
1. the purpose
nonprofit
educational
purposes;
whole;
or value
qualifications; and if, for instance, you use too much of
the
original
work,
OF
SONGWRITING
can
be
proven
It's
plaintiff
can
to
seek
 statutory
if
The
Si
00,000.
In
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
subject.
If
you
s
Business
and
Legal
also presents updates
court
cases
info.
articles,
opin-
Others,
ask you
so happens that
they've found an
for. Actually, the
latter
writes
to
just
first to
exist.
Just
to help you
ship
records
to
discjockeys
style, with or
commercial tune
will adhere
stamped
envelope
songs or
poems. However,
work,
so
to
disappointed?
get on
you
times.
to
DJs
fulfill
this
promise
by
sending
it
to
two
DJs
you
will
songs are included on it. Songsharks have
no real
to get airplay on an unknown artist on a compilation
record (containing several different singers). They
know that even
play one of the cuts from this album and it
got good
play unknown artists, they'd rather play new
artists from
as
very badly
a
write musical
In
 any
business of
stealing songs
our experienced and
might happen and you
to
tell
money, they
know you're
No legitimate
are legitimate
businesses (and
demo production
song on
 screening fees,
industry,
speaking, they
worded letters create an illusion
that bears
little resemblance
ignorant people
harbor
their
people
to
hear
their
pretend
to
be
vanity
produce a master of your song, X amount to press
X
you do
you
promotable.
spend
SI
00,
000+
Promoting records
to get radio
program directors not
credibility.
radio, they deliver that,
that typically
or
ASCAP
song
they'd
tell
the
honesty
business.
their songs.
Though it's
most of
 How
income
Sources
illustrates
how
these
slice of
the pie.
royalties
your publisher,
50/50 cowriter split, half
writer
should
of
the
writer's
percent, i.e.,
the
royalty
charged by
the Harry
for collection of mechanical income only. Other mechanical rights organi-
zations
paid
by
the
publisher
(Figure
C).
Collection
and
shared by
mechanical
set by the Copyright
the rate is 1.45
company owes the
cents per minute).
(the
traditional
50
you're a recording artist or
a
hot
writer
with
a
proven
success
or
if
you
can
pitching the
tune to
issue licenses
publishers, they
royalties
distributed
On All Other Synchronization Licensing (Broadcast and Standard Cable TV,
Home
earned. There is a lot of  creative bookkeeping in record
companies
the interest on your royalties.
The major
mechanical rights
Ltd. (CMRRA)
the
following
remixes:
(1)
(5)
Pablo
do.
 hold
copyright law
song
as
melody or
fundamental character
of the
after
 compulsory
negotiate
a
owner.
Failure
to
obtain
a
compulsory
license
constitutes
piracy.
In
make
payments
and
accountings
(signed
by
a
Certified
Public
done
record
dependent on
New artists
even
the record
negotiate
obvious effect is
own
material
to
makes
wouldn't
be
aware
songs),
sampling craze,
James,
of
income.
If
you're
a
recording
must
contact
and the
number of
recording.
teg:
law,
copyrighted song
without permission of the copyright owner. (Don't panic It doesn't mean if you
sing
somebody's
song
in
a
club,
you
have
ask
permission.
See
below.)
The most common uses of music in public performance are familiar to
us:
radio,
network
you, as
(whoever
obvious
go about collecting the
money. Do you call the radio and TV stations all over the country
to
pay
owner
because
Society
of
Euro-
pean
problems for
you. Through
same
song.
You
may
States. You
can switch
from one
networks
permission for unlimited
the
compositions. Fees are based on a percentage of the advertising revenue
received
by
the
stations or networks. The philosophy is that if a station has a
50,000-watt
top dollar for advertising.
charged according to their maximum
legal
teff:
stations
for
a
where expert
statistical projections.
cost-
writer
for overhead.
producers'
cue
sheets.
monitor and
determine royalties,
the methods
for
writer
members.
SESAC, the
smallest of
the three, is a for-profit company and pays based on a
formula
that
and
TV
performance
data.
They
also
have
 post
chart
payments.
ASCAP according to the
all
licensing,
sheets for film
to
writers
They walked
other
writers
(collectively)
by
advancing
be
to
are receiving airplay, the more
money
more
they
can
quently,
the three are in competition with each other for actively productive members.
So it's in
whether
group writing
help
talent.
All
three
be
questions),
informative
many variables—
one of
is usually
other (if
make
sure
share of perform-
that
you'll
ASCAP
Tel.:
(404)
635-1758
Fax:
(404)
627-2404
(212)
586-2000
(787)
754-6490
SESAC
Headquarters
as
background
music.
film.
such
prominently
featured
of
for the
longest possible
need an in-depth discussion
Money
the  author
gives them the
 synch rights. This
fee you
will
also
and
music in
if they can't get
and gives
them lots of extra money if their movie helps to make your song a
hit.
Most
his/her
to
into the film, leaving
cover bands,
and Hal
Leonard Publishing.
name artist,
likeness
contract,
but
show. These
5.
obviously
sales.
How many times in school have you heard the same songs being practiced by the chorus
or band?
Multiply that
attending
sports
events, and
you get
an idea how much exposure is available there. Writers also might
receive
royalties if their songs are used in a televised event or parade.
The
one thousand copies for a marching band is
a
so
can
revenue,
too.
haven't
even
well
as
hits,
but
groups
and song files. Often,
What
does
selling price.
Try to negotiate 50
publisher,
but
Clauses, chapter ten.)
or a music publisher, you'll need to have some idea
of
up a
sheet music and arrangements to
the
dependent on the popularity and style of the recording. As
music
education, which deals
looking
music stores and ask
publisher
to get a clause
it. Don't hold up
town.
nies,
packages they send to the schools. You'll
want
to
be
sure
markets,
variety of situations. It's
the
print
area
to
help
you
right legislation. Here
Money
covers subscription
50%
that
deal
WHERE
YOUR
MONEY
civil and criminal penalties
techno-
work,
author,
copyright
owner,
liability
OSPs
infringing
transmissions.
songwriting,
as
the
reproduction
recorded, and the offering
to
the
public.
The
practical
is a lot more complex than
any legal definition
to
associate
it
with
print
they'd think of a
book publisher. The business
of music publishing in America did, in fact, begin with the manufacture and sale of
sheet music copies
and piano rolls for player pianos. But through decades of
social,
economic,
and
technological
changes,
the sale
of sheet music is only a small part of music publishing, and its
actual
out
by
licensed
companies whose duties,
traces the fascinating
 songplugger from the early
of music stores
since the
business centers
they're playing demos
of songs for
supervisors.
and recording studios to hear and make contact with new
and
established
artists,
writers, reviewing songs already in the catalogue, producing demos, initiating
or
artists,
and
for their artists; reading music,
film, and
to
discover
long;
CAP,
or
SESAC
for
themselves;
do
accounting,
financial
nies merge
catalogs
178
THE
performance royalties.
always being assessed
investments
not
only
by
other
publish-
often
looks
the staff
with
catalog. To see
the name of a song in a company's database is not the
same as
for the
better, though.
of
content
or female
generally
songs is
WRITER/ARTIST
DEVELOPMENT
Investing
to
their
artist
records,
which
guarantees
them
helps them expose
is often
acting like
all
rolled
into
own
and
limited to
Development deals
These
or
experience.
massively
if
for
in
a
particular
might
be
suited
to
devices,
and
generate new
songs. For
that would
uses.
at
various
points
music
that
be difficult,
if
you
hang
from instruc-
for example) list of publishers of hit songs. Songwriters Market
(published
by
bookstores)
will
give
new
consider are the individual's
the respect of producers
(with the emphasis,
have the cash
you
more
case.
PUBLISHING
181
of
their
in their catalogue.
They're interested in
keeping in touch
with the  street
on hot new writers,
however, find them less
a
in favor
of those on the affiliated label? No. Each of those companies has
its own financial
 home label, it's in
to
on the affiliated label will record the songs,
though there are
you
want
to
know
what
it doesn't
for you,
serious about
the
ASCAP, SESAC,
can give
(see page
you don't know all
own intuition,
your  gut
certified mail?
chance
Yes,
ethical and common practice. You
have a song you
to
envision recording
may know each
questions but
sign
publish and ask
is it OK if I also pitch those songs to
producers?
Yes,
you
should.
The
publisher
will
probably
Remember to
why
All
those
lines,
though
anymore unless they're
involved
as
their
used to do
I wanted to help, but I
stepped
on
too
many
egos
and
got
into
arguments.
Songwriters
the tunes
I wrote
it without
a bridge
me ' He
Another publisher explained,
teaching
people
how
to
write
suggested to
(2)
You
can
learn
or
producer
industry
people
believe
tastes and opinions. Pay attention
to
the
learn more from those
you the opportu-
about
and
at
record
on
it,
you've got
with
it.
3.
He
has
a
In
any
having the
deal on
sure you
than
you
had
originally
PUBLISHING
185
or
ignorance.
But
situation
as
an
adversarial
relationship
 Ethics in the Biz,
 I'll let
anything
publishers pitched the song for the same project.
In other
using their
for
his
artist
and
wants
the tune, he'll
probably call both publishers and tell them. They aren't going to be happy
about
a good
worked
with
the
winner
and
may
trouble,
because
Ten Basic
to arrange any sort of
long-term agreement without
in negotiating
contracts between
writer and
publisher. The
should include.
just one composition,
either ASCAP, BMI, or
performing
be
written
same goes for any third party licensing
organization
etc.), the contract can be terminated
by you.
4. CHANGES
be amended
be stated in
($.05,
$.07,
etc.).
100%
by
the
collection fee, whereby the writer
pays one half
rate charged
PROVISION—Once the
to
8. WRITER'S
9. ARBITRATION
of a
dispute with
as
it
seek the proper
SGA office or
advantage
writer. I'll add
advise
what I feel are the important issues from both sides
so
you
to
have
a
music
a
you
think
What makes negotiating so crazy is that
it's
difficul