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The Muse's News |
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Issue 5.5 - August 2002
ISSN 1480-6975
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This issue sponsored by: 
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I n T h i s I s s u e :
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@-- Editor's Musings
@-- Copyright & Publishing Q&A with Nancy A. Reece from Carpe Diem
Copyright Management
@-- Music Reviews - by Ben Ohmart, Stacey Board & David Lockeretz
@-- Songwriting Book Review - by James Linderman
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Muse's Clues - Songwriting Web sites that inspire - brought
to you by singer/songwriter & teacher, Irene Jackson.
@-- Featured Article - PUT YOUR SONG TO THE TESTS
- By Pat & Pete Luboff
@-- Songwriter In Spotlight - Performing songwriter, Jon Goodwin
@-- On Site Featured Article - An article already online for your
viewing pleasure.
@-- Classifieds & Useful Services
@-- Contact information
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ISSN 1480-6975. Copyright 1998 - 2002, Jodi Krangle. For more
contact information, see end of issue.
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Visit http://www.musesmuse.com/musemerchandise.html for great
Muse's Muse products like mugs, mousepads, shirts, and even wall
clocks! Start your own store too - with no up front costs!
See http://www.cafepress.com/cp/info/storeref.aspx?refby=musesmuse
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S p o n s o r M e s s a g e :
(Please support the sponsors that support this newsletter! Thanks!)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
UNLEASH THE FULL POTENTIAL OF THE INTERNET WITH SONGSCOPE.COM!
SongScope is a valuable tool enabling you to build an on-line song
catalog, accessible only by proven industry professionals. Receive
FREE email informing you every time record producers and industry
professionals make requests. Song listings are only $29.95 per
year. An ecommerce enabled marketing/promotion page and tour
calendar are also available for performing songwriters to get
further artist exposure. And more services are coming soon!
See http://www.musesmuse.com/songscope.html for details or contact:
writerinfo@songscope.com ~ Tel: 770.754.4543
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E d i t o r ' s M u s i n g s :
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Hello again at the start of another month! The summer is almost
over and I can hardly believe it. Then again, I could do without
the record heat temperatures. Ick. Especially now that my husband
and I have started walking on a regular basis. BOY are those walks
hard sometimes. Still, it's good exercise and it tends to be our
"talking" time. We're both pretty busy, so that's a Good Thing.
We're also careful to take LOTS of water with us. :)
So enough of my personal life. ;) There's LOTS of new stuff on the
site these days. I know that I mentioned the Reference Guide For
Beginning Songwriters at www.musesmuse.com/res-beginners.html - but
there's also another one now for more experience songwriters. This
one is the Reference Guide For Professional Songwriters and can be
found at www.musesmuse.com/res-pros.html . I wanted to put these
two together to give you a better idea of what specific sections of
the site will help you with your songwriting goals - whether those
goals are to improve your craft or to get your music listened to by
folks that can further your songwriting career - or both. I hope
they help! If you find something missing in either of them, feel
free to let me know.
There is also a new Radio Muse show online! We had a bit of a
hiatus there... Life happens... But we're on track for some great
new shows in the future. You can listen to the latest show at
http://www.musesmuse.com/radiomuse-9.html .
I'd also like to introduce our newest columnist, Dagmar Morgan.
She'll be sharing insight and information about fitness and
nutrition as it relates to voice and creativity. If you have
questions (and she has a new article online too!), please do drop
by and ask her. You can also speak with her on the Muse's Muse
Message Boards (www.musesmuse.com/cgi-bin/ultimatebb.cgi).
The raffle winners for this month are Mathew Karasek from Hugo, MN,
who has won a copy of Jerry Vandiver's and Gracie Hollombe's, "Your
First Cut" (reviewed later on in this newsletter)- and Pete Smolen
from Bournemouth, Dorset (UK), who has won a copy of VSS's helpful
songwriting organization product (for a review of Lyricist &
information on a discount offered, see
http://www.musesmuse.com/vss-review.html ).
Lastly, I wanted to let you all know that the Nashville New Music
Conference (2NMC) is now accepting bands and musicians for a
special Songscope / Muse's Muse Showcase event to take place during
the conference on October 9th - 12th. To sign up, go to
http://www.2nmc.com/showcase/ and put 'SONGSCOPE/MUSE'S MUSE' as
your REFERRAL CODE. Both myself and Jesse Deese (the CEO of
SongScope) will be at the conference and I'm really looking forward
to it. This will be my first time in Nashville, actually (yay!).
So if you happen to see me around the conference or at the
showcase, please do say hi!
And now, on to the rest of the newsletter. Enjoy! :)
All the best,
--Jodi
Back to Menu
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S p o n s o r M e s s a g e :
(Please support the sponsors that support this newsletter! Thanks!)
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DO YOU HAVE A PRODUCT OR SERVICE FOR SONGWRITERS OR MUSICIANS?
Your message could be right here!
See http://www.musesmuse.com/media.html for how - and for other
sponsorship opportunities on the website and in this newseltter.
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C o p y r i g h t & P u b l i s h i n g Q & A :
With Licensing executive Nancy A. Reece
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Dear readers -
What a wonderful four years of question and answer time we have
had! Next month you will see a format change for my page. Jodi and
I both believe that the change will be helpful as we continue to
address the publishing and administration concerns that are
foremost in your minds.
I ask you to continue sending questions! I will be compiling them
into topics and then responding to several of the questions at once
in more of a forum setting.
I have been approached by a book publisher who is helping me
compile the information that has accumulated on the page into a
book. This book will only be available through The Muse's Muse and
you'll see more about that in the coming months.
Thank you for the wonderful journey. I look forward to the next
phase.
--Nancy A Reece
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TO VIEW OTHER QUESTIONS AND RESPONSES, SEE NANCY'S "COPYRIGHT &
PUBLISHING Q&A" ONLINE AT http://www.musesmuse.com/pubq-a.html
Please note: She receives a *lot* of e-mail in a month. If you
sent in a question but have not heard a reply, it's very likely it
already *has* an answer online. It's always a good idea to
thoroughly look through the Q&A's online to see if your question
has already been asked before you send in a request. Thanks!
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*****
ABOUT NANCY A. REECE:
Carpe Diem Copyright Management's owner and president, Nancy A. Reece has
been involved in the music business since 1983. She was the president of an
independent advertising agency for eight years as well as a successful
personal artist manager for nine years. She represented the careers of
several recording artists and songwriters including those with EMI, Zomba
and Liberty Records as well as Benson, Starsong, WoodBridge, Temple Hall and
N'Soul Records. She also represented, for a number of years, a Grammy and
Dove nominated record producer. Reece has won awards of excellence in print
magazine advertising and has been named as one of 2,000 Notable American
Women (1995) as well as being listed in the International Who's Who of
Professional and Business Women (1993). She was also named Cashbox
Magazine's Promoter of the Year (1989). In addition to her work at Carpe
Diem Copyright Management, Reece works at a performing rights organization
in the United States and is an accomplished contemporary artist working in
abstract and multimedia on canvas and wood.
**If you would like to ask Nancy a question, you can send your
e-mail to Nancy at nreece@musesmuse.com . She can't guarantee
she'll get to all of the questions, but she'll certainly try.**
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M u s i c R e v i e w s :
by Ben Ohmart, David Lockeretz & Stacey Board
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Sharon Edry - "Edge of a Dream" (by David Lockeretz)
If there was ever a time to burn your Britney Spears and Celine
Dion CDs, it is now with the arrival of Sharon Edry, an immensely
talented singer songwriter.
Edry really has it all. Her songs rock, they groove and they stick
in your head. Her lyrics are articulate, down to earth and easy to
relate to, yet they are not trite or predictable in any way. Her
compositions reflect the sophistication of the Beatles, Steely Dan
and others of that ilk, and her voice is sexy-tough yet also
inviting and friendly.
The opening cut, "Ordinary Girl", is probably the best on this
short CD. The strong opening guitar signature leads to a funky slow
rock groove reminiscent of Sheryl Crow's better days. The lyrics
tell of the importance of personal identity and independence,
almost as if Edry is trying to prove that she's anything but an
"ordinary girl" or an ordinary singer. While there are touches of
Shawn Colvin, Bonnie Raitt, Trisha Yearwood and many others, Edry
has her own unique sound.
"Crying" is another strong number, featuring a country-tinted
groove, tasty background vocals and bittersweet lyrics. Edry
resembles the ex-girlfriend who never quite forgot you, and whom
you yourself have never gotten over.
The other songs aren't quite as memorable but each and every one
shows Edry as an artist to be reckoned with. My only complaint
about the CD is that it is too short. I hope that this and other
inevitable positive reviews will do their part to make more of
Sharon Edry's work available to an audience that sorely needs it.
For more information about Sharon Edry, visit http://www.sharonedry.com/.
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OTHER NEW MUSIC REVIEWS SINCE LAST MONTH INCLUDE:
Agnus Dei (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000238.html
Daniel Carter, Gregg Keplinger & Reuben Radding (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000230.html
Darren Curtis Skanson (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000232.html
Phil Herschel (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000231.html
Key Lime Pie (by David Lockeretz)
http://musesmuse.com/columnistsgreylogs/archives/00000233.html
Motorbaby (by David Lockeretz)
http://musesmuse.com/columnistsgreylogs/archives/00000234.html
CC Railroad (by David Lockeretz)
http://musesmuse.com/columnistsgreylogs/archives/00000235.html
Bird Mancini (by David Lockeretz)
http://musesmuse.com/columnistsgreylogs/archives/00000236.html
Payne's Grey (by David Lockeretz)
http://musesmuse.com/columnistsgreylogs/archives/00000237.html
Amy Jane (by David Lockeretz)
http://musesmuse.com/columnistsgreylogs/archives/00000240.html
Sunset Room (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000244.html
Johnsmith (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000245.html
The David Clare Band (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000246.html
Peter Trappen (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000247.html
Jeff Bisch (by David Lockeretz)
http://musesmuse.com/columnistsgreylogs/archives/00000248.html
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******
For bios on each of the reviewers, see
http://www.musesmuse.com/musicreviews.html . If you're considering
sending in your own CD for review, you can also view that page to
find out which reviewer reviews your genre. Thanks!
Back to Menu
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S o n g w r i t i n g B o o k R e v i e w : by James Linderman
Your First Cut - by Jerry Vandiver and Gracie Hollombe
http://yourfirstcut.com/promo_order.php
(If you order your copy before October 1, 2002, you'll receive a
special 15% Muse's Muse discount!)
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In the opening section of this book, the authors claim that this is
not a "how to" book but a "do it" book.
The "do it" principle in this workbook is that it engages the
reader to become accountable - to put into action, the step by step
activities that lead to having your songs recorded...in
reality...by real people, recording...ya, for real... yes, that
means you !
When I read through the rest of the introduction I had to agree
with the authors that I too, have shelves of "how to" books on "how
to" succeed as a songwriter, many written by songwriters with
little or none of that success themselves. Many of these books
"describe" how the author once had a song cut, but none of them
actually walk you through the process itself, let alone made you
accountable to it. I was very interested in how this would
work...so, here's how it works.
As you start to go through the book you fill in the pages of
activities and put into action the advice and then you sign
it...that you did it...really did it! You will not believe how
simple and direct and effective the instructions are, and you may
join me in utter disbelief that nobody else thought of writing this
book till now.
Now that Jerry and Gracie have written it, here's some of the stuff
that's in it. B.T.W. I will use the phrase, "They walk you through
the process of..." because that's exactly what they do.
In chapter one, they walk you through the process of seeking help
in developing or refining your accompaniment skills on guitar or
piano. I agree that there are few skills that empower a songwriter
more than self-accompaniment.
Chapter two through twenty walk you through the process of writing
songs on a regular basis, getting them "out there" and being
heard.
Some of the advice involves getting out and meeting people; at song
writing group meetings, at music industry events and well...
anywhere you can.
It's very cool the way they strategise getting to know people in
the biz, that you should know, to become someone in the biz
everyone will want to know.
There are also pro testimonials and advice and cubic tons of great
information and inspiration.
Jerry and Gracie have written a great workbook for you to get your
hands on if you have finally said, "I'm gonna do this…now what do I
do."
******
ABOUT THE AUTHORS:
Jerry Vandiver
Jerry currently is an exclusive staff writer for Talbot Music in
Nashville, with songs recorded by Gene Watson, Lee Greenwood,
Barbara Mandrell, Phil Vassar, new Warner Bros artist Dusty Drake
and two by Tim McGraw including "For A Little While". Jerry has
songs on over 13 million records (Thanks mostly to Tim).
Gracie Hollombe
As former Regional Workshops Director for the Nashville Songwriters
Association International (NSAI), she guided and inspired
coordinators of over 100 workshops worldwide, sharing information
on the craft and business of songwriting. She just landed her first
major label cut (using the techniques in her workbook) by Jose
Miguel on Sony/Latin Records. She also makes one heckuva bowl of
chicken soup!
******
James Linderman lives and works at theharmonyhouse, a music lesson,
songwriting and music pre-production facility in Newmarket,
Ontario, Canada. He has worked as a collaborating songwriter and
consultant for The Toronto Office of Catholic Youth and leads a
music workshop program for Life 100.3 Christian radio. James writes
songwriting articles for The Muse's News web magazine, Canadian
Musician Magazine and Professional Musician Magazine.
Contact James at: theharmonyhouse@rogers.com
Back to Menu
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M u s i c a l N o t e s : Songwriting Contests & Market Info.
In the interest of conserving space, I will only be including
changes to this listing in this newsletter. All other contests
and market information that have already been listed here, are
displayed at http://www.musesmuse.com/contests.html &
http://www.musesmuse.com/markets.html . Please check there
regularly for updates!
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'RADIO MUSE' WEBCAST FOR INDEPENDENT SONGWRITERS - SEEKING MUSIC!
The Muse's Muse & Host, Jan Best of Independent Songwriter
Web-Magazine, are putting together a series of shows, one every
month, featuring the songs of independent songwriters just like
you! See http://www.musesmuse.com/radiomuse.html for details on how
you can send in your own music for consideration.
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PERFORM AT THE SONGSCOPE/MUSE'S MUSE SHOWCASE EVENT AT 2NMC!
The Nashville New Music Conference (2NMC) is now accepting bands
and musicians for a special Songscope / Muse's Muse Showcase event
to take place during the conference on October 9th - 12th. To sign
up, go to http://www.2nmc.com/showcase/ and put 'SONGSCOPE/MUSE'S
MUSE' as your REFERRAL CODE.
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MAJOR HOLLYWOOD FILM COMPANY SEEKS MUSIC
Tonos hosts many songwriting contests and Industry Opportunities
specifically for songwriters every month. August contests include:
-Major Hollywood Film Company Seeks Music - A Hollywood motion
picture company is seeking music for upcoming projects. The
company's music director is accepting submissions from female
artists of all genres. (Deadline is August 26)
-Sports Illustrated Women Magazine Seeks Theme Song - Sports
Illustrated Women magazine is looking for a theme song that
embodies the magazine's modern mix of adventure, nutrition, sport,
and style. They want to hear female singer/songwriters in the rock
and/or electronic genres. (Deadline is September 16)
-Female R&B/Pop Artists/Groups For Live Gig w/Major R&B Group! -
Major entertainment manager looking for female group to open for an
R&B male group signed to Epic. They are specifically looking for
R&B/Pop female performers. They must be sassy and upbeat. (Deadline
is August 21)
TONOS MAKES HISTORIC AGREEMENT WITH 5 MAJOR MUSIC PUBLISHERS
In order to help all the various talent in the global Tonos
Community, we are thrilled to announce that we have made historic
agreements with 5 major music publishing companies
(Warner/Chappell Music, EMI Music, DreamWorks Publishing, Chrysalis
Music and Famous Music). These top publishing firms have
"guaranteed" that they will EACH sign two tonosPRO songwriters
and/or singer-songwriters to publishing deals over the next 12
months. To be considered for all these deals, we'll be looking for
the artists and songwriters who have at least 3 very strong songs
posted in their Tonos Profiles. Sign up today to be considered!
http://www.qksrv.net/click-793658-4194776?url=http%3A%2F%2F
www.tonos.com%2Fapp2%2Fopportunities%2Fjsp%2Findex.jsp
(It's a bit long, I know - but if it doesn't work as a clickable
link in your email, just copy and past the link into your browser.)
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TROWBRIDGE SYMPOSIUM 2002 - In Nashville TN
Visit Nashville with nights at the Grand Ole Opry, field trips,
songwriter activities for three days! Showcase in front of label
and publishing reps.
Songwriter Workshops - JERRY CUPIT, author of "Nashville
Songwriting" and writer of "Jukebox Junkie" (Relentless Records) -
Songwriters Guild of America is supplying HIT NASHVILLE WRITERS for
critique workshops.
Seminar speakers, banquet dinner, prime Nashville entertainment!
RESERVE YOUR SHOWCASE SPOTS NOW - they are going fast!
http://www.nashvillesymposium.com/ - 1(800)484.1068 ext.2255
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SONGSALIVE! EXPO 2002
Saturday September 28, 2002 - LOS ANGELES
Hey Songwriters, Check it Out!! *workshops *artist showcases *
seminars *panel discussions *exhibition booths. Bringing together
the art and business of songwriting in one power-packed day.
Songsalive!, an organization dedicated to the support and promotion
of songwriters worldwide, announces the upcoming Songsalive! Expo
2002 - a power-packed day devoted to the art, business and exposure
of songwriters! If you are a songwriter who is serious about your
music and your career, you won't want to miss this exciting event.
Apply to showcase or register as a delegate at
www.songsalive.org/expo Get in quick.
YOU are the music industry, make it WORK for you!
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GREAT AMERICAN SONG CONTEST NOW ACCEPTING ENTRIES!
Annual songwriting event features top music-industry judges,
including publishers, producers, recording artists and hit
songwriters. Offers multiple awards and prizes for 40 winners in 8
different style categories. Every songwriter who enters will
receive a written evaluation of their work. This contest is
sponsored each year by Songwriters Resource Network, a free online
news and education resource for songwriters and lyricists
everywhere. This year's event is open through November 7, 2002.
Information is available at: http://www.greatamericansong.com/ or by
visiting Songwriters Resource Network at:
http://www.songwritersresourcenetwork.com/ . Contest brochures are also
available by email at: info@GreatAmericanSong.com
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GREAT ARTICLES TO CHECK OUT COURTESY OF GALARIS INDEPENDENT MUSIC:
* What makes musicians prone to Repetitive Strain Injuries
http://www.galaris.com/articles?id=35
* Cutting a Hot CD
http://www.galaris.com/articles?id=96
* The Written Agreement Amongst Band Members
http://www.galaris.com/articles?id=5
* Promotional potpourri for gigging musicians
http://www.galaris.com/articles?id=81
* About Live Performances and Marketing Music
http://www.galaris.com/articles?id=77
Sign up for the Galaris Independent Musicians Newsletter. Simply
send a blank email to mailto:addmuse@galaris.com and twice monthly
you will receive FREE, direct to your email box, articles
containing: Promotion tips, Career advice, Recording tips,
Practicing tips, Legal advice, Musician's health, Radio promotion,
Songwriters tips and much more.
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THE JOHN LENNON SONGWRITING CONTEST - An Annual Event
The John Lennon Songwriting Contest is an annual international
songwriting contest that began in the spring of 1997. The 2002
contest deadline is August 28. The competition is open to both
amateur and professional songwriters who submit entries in any of
the following 12 musical categories: jazz, rock, country, pop,
world, gospel/inspirational, rhythm & blues, hip-hop, Latin,
electronic, folk, and children's music. Entries will be judged
based upon originality, melody, composition, and lyrics (when
applicable). Instrumental compositions are encouraged. Both
performance and production value will not be considered during the
adjudication process.
All interested songwriters can obtain applications and information
about the Contest by visiting the website at http://www.jlsc.com/
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19TH ANNUAL MID-ATLANTIC SONG CONTEST
Imagine picking up the Grand Prize of $1,000 for your song after it
was selected by top music executives. Thrill at the performance of
your song at the Awards Night GALA. Your song could be captured
forever and distributed to the music industry on the Winners' CD.
For more information, contest rules and regulations, call:
800-218-5996 or go to our website at http://www.saw.org/. Deadline is
August 12th. Sponsored by BMI and the Songwriters' Association of
Washington, a nonprofit organization assisting songwriters in the
Washington, D.C. area.
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MONTHLY SHOWCASES IN NASHVILLE INVITES SONGWRITERS
USA Songwriting Competition is set to present a monthly showcase in
Nashville: "2NMC Unplugged" a Showcase & Networking event,
sponsored by USA Songwriting Competition & 2NMC Nashville New Music
Conference) with Cole Slivka (Finalist at the 2001 USA Songwriting
Competition) Time: 6:00-8:00pm - Thursday - August 21, 2002,
Location: THE END (club), 2219 Elliston Place, Nashville, TN,
Admission: FREE. This monthly showcase will be held every third
Thursday of the month and is set to feature bands and songwriters
in an "MTV Unplugged" format. Info: http://www.songwriting.net/
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'BEST OF THE URBAN' SONGWRITING COMPETITION
In the heart of Atlanta, Georgia---the home of SO SO DEF and
Jermaine Dupri, Toni Braxton, Outkast, Usher, and TLC---The Georgia
Music Industry Association (GMIA) presents the 'Best of Urban'
Songwriting Competition, open to individuals of all songwriting
levels with original songs within Hip-Hop/Rap, R&B, Neo-Soul,
Alternative R&B, Reggae/Dance Hall, Gospel, and Spoken Word.
Finalists perform their songs live at nationally renowned Velvet
Room (MTV Hip-Hop Groupies)---Thursday, September 26, 2002---to
judges with major commercial success.
Full details and an entry form can be found at www.gmia.org/urban,
or email gmia@mindspring.com. 404-266-2666.
Entry Deadline: August 31, 2002.
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OPEN AUDITIONS AT THE OUTPOST IN HOUSTON, TX
Every Wednesday night at The Outpost we will be having open
auditions for all songwriters (any genre). We will keep them open
until we reach 25 (because of time limitations). Out of those 25
acts we will choose 8 acts that will be in a songwriter's showcase
on Saturday Nights. If selected, the songwriter or band will
receive a 20 minute set. Songwriters should come prepared on
Wednesday to perform two songs. On Saturday nights we will be
inviting music industry professionals to come and listen to the
songwriters. See
http://home.houston.rr.com/outpostfriends/OpenMic.htm for details.
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THE FIRST AMATEUR ONLY SONGWRITING CONTEST IN THE WORLD!
Cooch Music has launched it's fifth amateur songwriting contest.
Entry fee is only $10.00 per song. All prizes offered are designed
to help the amateur songwriter further their careers. "Helping The
Amateur Songwriter is What We Do Best" Learn how to earn free
entries into our contests!
E-mail us at free@coochmusic.com.
For complete details and entry form visit us at http://www.coochmusic.com/
Special offer to Musemuse visitors from July 17th thru Sept 30th,
2002 - Visitors who enter two songs into the Cooch Music Amateur
Songwriting Contest will get ONE FREE ENTRY. When sending in
entries mark the entry form with MuseMuse on the top and we will
mail you a free entry form.
Back to Menu
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M u s e ' s C l u e s : by Irene Jackson
©1998-2002 Moonstone Productions All Rights Reserved. Used By
Permission
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Something that seems to come up quite often when songwriters are
talking about their music, is the inability to define its style or
genre. For one thing, many of us hate to have to pigeonhole
ourselves in terms of what we can write, but I think another reason
for this is because most of us write in a blend of genres, not just
the obvious ones like rock, pop, country or blues.
On a number of occasions and for different reasons, I've ended up
at one website where I can hear small samples of many, many
different kinds of music so that I can better define the genres.
It's at http://music.msn.com/.
When you look at the main page, it's pretty busy with lots of
promos for the bigger name artists and radio stations, etc. But if
you scan down to about the middle of the page, you'll see a little
box labelled "Music Styles"...from Alternative to World and
everything in between. But this is only the beginning! If you
click on just one of these, you'll come to another page that breaks
the genre down even further to sub-genres. Each one of these
sub-genres has a section called "Key Artists and Composers". This
is where I hang out, because here, you can find all of the artists
that apply to that genre and you can listen to small samples of
their music to your hearts' content.
Even if you don't write in these styles, you might be curious as to
what they sound like. In reviewing other artists occasionally I
will pop over to this site so that I can find a comparable artist.
The fact is that if you want to put your music out there, as much
as you might hate it, you're going to have to give it a label.
Some even make up their own styles/genres in the hopes that they've
actually created something new! But chances are, your music fits
into one or more of these categories, and it really helps others
when you can give them an idea of what they're going to be
listening to.
Beyond that, you never know what other artists you might discover
in your search for yourself!
******
Irene Jackson is a performing songwriter from Victoria, BC in
Canada. Aside from writing, recording and performing, she also
maintains a website for songwriters that includes tips, articles
and more links of interest. Her eagerly anticipated CD "Catnip" is
finally here, and her earlier recordings have had attention
everywhere from Japan to South America.
Songwriting Tips: http://www.irenejackson.com/tips.html
Homepage: http://www.irenejackson.com/
Songs on MP3:
http://www.mp3.com/artists/20/irene_jackson.html
Back to Menu
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F e a t u r e d A r t i c l e :
PUT YOUR SONG TO THE TESTS - By Pat & Pete Luboff
© P&P Luboff, 2002 All Rights Reserved. Used By Permission
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We've been listening to songs in a professional capacity for over
20 years, as songwriting consultants, workshop leaders, contest
judges and Taxi screeners. Along the way, we've learned some simple
tests you can perform on your songs. Using these tests as you're
writing will help you to craft songs that create more than a
passing interest from listeners.
IT'S WHAT'S UP FRONT THAT COUNTS
Look at the first two lines of your lyric and only the first two
lines. Imagine yourself walking down the street and having a
perfect stranger come up to you and say those two lines. How much
of the "who, what, where, why and how" of the story/message of your
song has been communicated? If you don't know much from the first
two lines, i.e., if you don't know enough to care what's going to
happen to the protagonist, a publisher or A&R person will most
likely not listen further.
TIED UP WITH A BOW
Dean Pitchford, who wrote "Flashdance," gave us this one. Each
lyric line (and its accompanying melodic phrase) is like a present
tied up with a bow. Neat and complete. That means, if you say that
line alone, it's completely understandable on its own. It doesn't
need the next line to have it make sense. We often see songs with
these "lyrical hangovers"—the lyric line has come to an end, the
melodic phrase resolves, but the words don't make sense unless and
until you complete them in the next line. Look at each of your
lyric lines separately and make sure it presents a complete,
independent picture.
THINKING INSIDE THE BOX
Type/print your lyric sheet flush left (all the lines starting on
the left margin) on a sheet of white paper. (By the way, if your
lyric doesn't fit on one sheet, you're in trouble.) Can you draw a
rectangle around the lyrics of the verses? In other words, are all
your lines exactly the same physical length? How about your chorus
or bridge? Can you draw a box around them? Now, can you draw a
big box around your verses and chorus and have most or all of the
lines touch on the right side of your box? If so, it's more than
likely that your song will sound monotonous because you do not have
enough variety in the lengths of lines and patterns of lyrics.
Look for a really ragged right edge as a sign that your lyrics are
conversational and interesting rhythmically. Also, look for the
box around the chorus lines to be of significantly different size
than the box around the verses. It's an indicator of sufficient
variety between the chorus and the verses.
"NOT ALL THAT COUNTS CAN BE COUNTED" - Albert Einstein
Part 1: Albert's right about that, but some of what counts can be
counted. For instance, count the number of lines in each of your
verses. Now, count the lines in your chorus. If they're exactly
the same, e.g., 4-line verse, 4-line chorus; or, 8-line verse,
8-line chorus, you probably haven't made enough contrast between
the two sections.
Part 2: This is one we see all the time! Count the number of beats
in the lyric of verse 1, line 1. Then, count the number of beats
in verse 2, line 1. Do they match? Sometimes, we need to insert a
little pick-up note for an extra syllable and it's OK because the
rest of the line falls naturally into the accents of the basic
pattern. But, we often see 8 beats in verse 1, line 2 and 13 beats
in verse 2, line 2, for example. No way those extra 5 beats are
going to fit comfortably on the melody you worked so hard to
establish in the first verse! Count all the beats in all the lines
and make sure they match from verse to verse, so they can be sung
on the same melody with ease.
TITLE SEARCH
You may have heard of the saying, "Position is everything in life."
In the life of your song, the position of your title tells the
listener what your main point is. There are certain power
positions in a song. What they are, depends on which structure you
choose when you write your song.
Is it a verse/bridge structure (a.k.a. A, A, B, A)? Then your
title will be in the verses. It will be in the first line of the
verse or the last line of the verse. These are the power positions
in that structure. Example: "Yesterday" by The Beatles. (There are
exceptions, but they are rare and compensated for by strong melodic
emphasis when the title is not in the natural power position.)
In the verse/chorus structure, the power positions are at the top
of the chorus and the last line of the chorus. Your title could be
in either one or both of those places, and repeated more often if
the repetition works. Example: "Yellow Submarine" by The Beatles.
Look at your lyric and see where the title is. If it's buried in
the middle somewhere, your listener probably won't be able to
identify it, i.e., know what the song is about, how to ask for it
to be played on the radio, or find it at the store.
THE ULTIMATE TITLE TEST
The word "ultimate" has several meanings. 1. last, 2. decisive, 3.
most desirable, 4. basic, etc. This test encompasses all those
meanings. It was taught us by two songwriters in Nashville, both
of whom claimed authorship! Take your typed lyric sheet. Write
(or imagine writing) your title after each and every line of lyric.
Say the line of lyric, then say the title. If the two hang
together and make sense, then your song is about the title. If you
go for lines and lines without the verse lyrics having much to do
with the title—meaning they don't make sense when you say them next
to each other—it's time to go back to the drawing board. Your song
is not about your title.
THE BEST LAID SCHEMES
Take an overview of your rhyme scheme. If you've established an a,
b, a, b, c, c rhyme scheme in verse one, do you keep it up in verse
2? In other words, do the lines rhyme with the same pattern (not
the same sound) in verse 1 and verse 2, and verse 3, if there is
one? Now note the sounds of your rhymes. Are they all a long o
sound? That can get pretty dull. We've seen songs where every
line ended in the long ee rhyme. The ear gets tired of that very
quickly. If you've inadvertently rhymed everything with the same
sound, you might consider going back and creating more variety in
your rhyming sounds.
PRONOUN HELL
This is the name for the confusion that results when, in mid-song,
someone who was a "she" becomes a "you." Or, all of a sudden, "he"
switches to "me." Or, there are three "I's" in a row, referring to
three different people and we're supposed to know which one is
which. Or, someone starts to quote someone else, the pronoun
shifts, but there's no way to really tell a quotation has begun.
Scan your lyrics for pronouns. If you've made one of the changes
we describe, it's probable your listeners will go straight to
pronoun hell. There are always exceptions, but, for the most part,
it's best to have one person represented by one pronoun. If a
quotation is part of your song, make sure you introduce it with a
clearly audible, "She said" or "He said" so your listeners can
understand when the "I" singing the song begins to be addressed as
"you."
THE NAKED TUNE
Part 1: Sing your melody a cappella (with no instrumental
accompaniment) and without the lyrics. Sing it into a tape if you
have trouble being objective about hearing what you're singing. As
a stranger to your song, could you honestly tell where the title
would sit on your melody without ever hearing the lyrics? If the
most outstanding part of your melody is where you did put your
title, give yourself a pat on the back. If not, your title needs
to be moved or your melody changed.
Part 2: While you're singing your melody a cappella, does it have
emotional dynamics? Is there a variety of lengths of notes and
intervals between the notes? Or, does it sound like a sing-songy
nursery rhyme; the same rhythm pattern over and over? If someone
heard just your melody, could they make a pretty good guess at the
emotions in the story of the song? If your melody is not emoting,
you need to write it once more ? with feeling!
IT CAN BE ARRANGED
Your chords give shadings to your melody. Each chord has an
emotional tone. Minor chords tend to express doubt or sorrow.
Major chords have a happy, positive feeling. Adding 6ths, 7ths,
9ths, suspensions, and inversions, gives the basic chord still more
nuances of feeling. Is your song down home country or uptown
sophisticated? High-power rock or soft mellow jazz? Appropriate
choice of chords will bring the message of your song into sharp
focus. The frequency of chord changes and the style of playing the
chords are both important considerations. Style examples on the
piano: arpeggios, block chords. On the guitar: all the strings at
once, some of the strings, one string at a time. Listen to the
chord changes in your song. Are they distracting because they are
too rapid and complex? Are they boring because they don't change
enough or your strum is too repetitive? Do they work against the
emotional message of the song or support it? Look at each chord
individually. Try an inversion for a different coloring. Leave no
chord unturned in your search for the perfect setting for the
message of your song.
******
Pat & Pete Luboff are songwriters/music
publishers/authors/educators. They offer songwriting consultation
and sell their books, "88 Songwriting Wrongs & How to Write Them"
and "12 Steps to Building Better Songs," on their web site,
http://www.writesongs.com/. They lead a songwriting workshop every
Monday Night at the Music School on Music Row in Nashville. The
Luboffs will be teaching at NashCamp from August 11-15. Please
visit their site for more information.
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=================================================================
S o n g w r i t e r I n S p o t l i g h t :
Jon Goodwin - conducted by Bart Herbison,
Executive Director of the NSAI
http://www.musesmuse.com/int-jongoodwin.html
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Jon writes passionately about the things he cares about. His music
is honest and deals with larger world issues while, at the same
time, bringing the issues home to all of us in a personal way. Bart
recently had the opportunity to catch up with this very talented
songwriter and artist. This interview is the result. I hope you
enjoy it as much as I did!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Bart: I want to talk with you Jon, about the place where the songs
come from. Just describe how that process works for you. I love the
music.
-------------------------------------------------------------------
Jon: Most of my songs come from very spontaneous inspirations.
During the course of living, I've become aware of something either
outside of me or inside of me and that suggests title, melody,
groove, and I try to get out as much as possible. That is where the
songs come from. It could be a lady looking at me or me looking at
the newspaper. But those are the sparks and there are many of them.
-------------------------------------------------------------------
Bart: Typically, does the music come first or the lyrics or both
come together?
-------------------------------------------------------------------
Jon: I believe they both come at about the same moment. I can't
ever remember writing a lyric and then writing the music to it or
writing a melody and then later writing a lyric to it. It's born at
the same time for me.
-------------------------------------------------------------------
Bart: We've talked a lot today about honesty and man, your songs
reflect that. I don't want to compare you to other people, but I
think anybody's music you hear, you hear pieces of a lot of
different people. I would compare you to people such as Dylan, even
a touch of Lenny Bruce in your social commentary and your honesty
in the way you reflect society back. If I listen to your album, I
tell you what it does to me. I sit there and I gotta think about
the truth and we've used that in describing your records. So flow
with me on that thought process.
-------------------------------------------------------------------
For the rest of this interview/article, please click through to:
http://www.musesmuse.com/int-jongoodwin.html#newsletter
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ABOUT THE INTERVIEWER:
Bart Herbison is Executive Director of the Nashville Songwriters
Association International (NSAI), a post he has held since 1997.
A Paris, Tenn., native, Herbison worked as a reporter and spent 14
years in Country radio before joining the staff of U.S. Rep. Bob
Clement in 1987. During the next 10 years, Herbison served as the
Tennessee Congressman’s Press Secretary, then Campaign Manager,
then Chief Administrative Officer before leaving Capitol Hill for
Music Row. Herbison is a 1996 graduate of Leadership Music.
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=================================================================
" O N S I T E " F E A T U R E D A R T I C L E :
THE RECORDING PROCESS: Part III - by Leon & Sheryl Olguin
http://musesmuse.com/columnistsgreylogs/archives/00000153.html
Spending Money and Spending Time - When planning a CD project, one
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Jodi Krangle ............................................. EDITOR
Kathryn Obenshain ...........................GRACIOUS PROOFREADER
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