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The Muse's News

Issue 9.4 - July 2006
ISSN 1480-6975

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This issue sponsored by:
Study Online with


I n   T h i s   I s s u e :

@-- Editor's Musings
@-- Music Reviews - Kevin Zarnett, Chip Withrow, Jane Eamon, 
                    Gian Fiero, JJ Biener, Francesco Emmanuel
                    & Jon Stewart 
@-- New Artist Spotlight Additions
@-- 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 - If You Want A Number One Song With 
                       George Straight ... by Terry Fernihough
@-- On Site Featured Article - An article already online for your
    viewing pleasure.
@-- Classifieds & Useful Services
@-- Contact information
ISSN 1480-6975. Copyright 1998-2006 - Jodi Krangle. 
For more contact information, see end of issue.
Remind yourself of your committment to songwriting every time you
use one of these special items.  There are even black t-shirts!
See for details.
S p o n s o r   M e s s a g e :
(Many thanks to the sponsors that help support this newsletter!)


The best way to learn about writing it to write - and what better
way to learn than under the mentorship of Berklee College of
Music's songwriting instructors., the online
extension school of Berklee College of Music, offers a number of
instructor-led online songwriting courses that provide the tools,
the support, and the practice environment you'll need to express
yourself more effectively in words and music. Berkleemusic also
offers forward-thinking business courses in music publishing,
legal aspects, future of music as well as the Music Industry
Entrepreneurship course for musicians that want to blend their
musical ability with business savvy.

Enrollment is also now open for their fall semester starting
September 25, 2006.

For more information visit:


E d i t o r ' s   M u s i n g s :

Hello again for another month.  I have to say that I do love the
summer.  Warm nights, beautiful sunny days... Since it's such a
rarity around here, I tend to really appreciate this type of
weather when it comes.  I hope you guys are enjoying yourselves

Once again, in case you missed it last month, I've just
introduced a new Musical Instruments Buyer's Guide section. 
If you're
looking for musical and recording equipment and you'd like to
help support The Muse's Muse and this newsletter, feel free to
check that location out and see if those particular suppliers
(some of the biggest in the business) can help you out with what
you need.  I'm also always looking for article writers who might
want to contribute an article about how to buy the right guitar,
piano or whatever - and I'm willing to pay for them!  So if
you're interested, let me know.

I also wanted to let you know that Pete and Pat Luboff are
seeking information on internet horror stories for a revised and
expanded edition of their "88 Songwriting Wrongs & How to Right
Them".  Have any of the following internet experiences gone wrong
for you: Collaborations, demos, publishers, producers, CD
manufacture, promotion, or one not listed?  If you have a story
to share, please email Pete and Pat through the contact link on
their site at . (Don't email *me* your
stories as this needs to go directly to them if you want your
story to have a chance of being included. :) ) Thanks!

Meanwhile, lots of good stuff for you this month, so I'll get
right down to it.

Here are the raffle winners this time around:

* Debra Parr from Austin, Texas has won a 6 month subscription
to the Onlinegigs ( service.  This
valuable service is a powerful tool for musicians, agents, record
companies and managers designed to virtually automate the
administration of booking and promoting a band or bands.

* Karen Jones from Niagara Falls, Ontario, has won a copy of
Virtual Studio Systems' Lyricist software

* Wes Stevens from Norman, OK has won a copy of's Musician's Toolkit CD

Enjoy your summer and keep inspired!

All the very best,


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S p o n s o r   M e s s a g e : 

(Many thanks to the sponsors that help support this newsletter!)

MUSE'S NEWS READERS -- TAKE a FREE COURSE! is pleased to make this special offer of a free course available to all Muse's News Readers (a $40
value).  Come see for yourself why ASCAP says that the courses
offered by "will undoubtedly help prepare songwriters
for any market no matter their place of residence" and NSAI says
we're the "next important evolution for serious songwriters."
To take your FREE SONGWRITING COURSE, simply go to the following
link: .  

You can learn more about courses, co-writing hookups,
industry connections and pitching by going to .  


M u s i c   R e v i e w s : Kevin Zarnett, Chip Withrow, 
                            Jane Eamon, Gian Fiero, JJ Biener,
                            Francesco Emmanuel & Jon Stewart


Kevin Zarnett:

* Shawn Hebb

JJ Biener:

* Benjamin Dehart

Jane Eamon:

* Zoe Mulford
* Rick Spreitzer
* Dan Hazlett
* Willson & McKee
* Steve Lorig

Chip Withrow:

* One Left
* Jenn Lindsay

Gian Fiero:

* Peeler
* Tiffany Queen
* Porsche Smith
* Ralph Tresvant
* Ms. Triniti

Jon Stewart:

* Astoria Arms

Francesco Emmanuel:

* Kalin Ivanov
* Deane Nesbitt Jr.
* Adam Solomon & Tikisa
* Ian Kelly


For bios on each of the reviewers, see . 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!

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N e w   A r t i s t   S p o t l i g h t   A d d i t i o n s :  

Great music is only a click away!  
Here are just some of the great CDs highlighted in the 
Artist Spotlight section of The Muse's Muse at 


Chrissy Lomax - Genre: SINGER/SONGWRITER

Chrissy's dynamic voice and strong stage presence have earned her
a following in both Canada and the United States. On her 2nd CD
"I'm Not Ashamed", her powerful vocals and sing-a-long harmonies
are a perfect blend with the aggressive guitar of Jimmy Khoury.


S o n g w r i t i n g   B o o k   R e v i e w : by James Linderman

Conversations with Tom Petty by Paul Zollo
I thought it would be appropriate to take a look at this book,
'Conversations with Tom Petty', considering that this year marks
the 30th anniversary of his career as the front man of his
legendary band The Heartbreakers and also considering he has been
in the news with reports that he has been in talks with lawyers
about the possibility that the Red Hot Chili Peppers latest
single "Dani California" is a direct plagiarism of his song "Last
Dance With Mary Jane".

Tom Petty, often cited as one of the outstanding songwriters in
the American rock and roll tradition, is also thought to be one
of the most insightful critics of pop culture and its ability to
shape modern thought.

As the author of some of the world's most memorable rock anthems
such as "American Girl", "Breakdown", "Refugee", "I Won't Back
Down", and Free Fallen'" and as a member of the renowned
Traveling Wilburys with Bob Dylan, George Harrison, Roy Orbison
and Jeff Lynne, Petty has woven himself into the fabric of modern
music and has much to say about it.

The book, 'Conversations with Tom Petty' is a chronicle based on
meetings that took place in 2004 and 2005 between Tom Petty and
journalist Paul Zollo.

As senior editor for American Songwriter magazine and regular
contributor to Performing Songwriter, Acoustic Guitar, Sing Out!,
Billboard, Variety and Musician magazine and the author of
several excellent books on creating music, Paul Zollo's
enthusiasm and voracious interest in music literally leaps off
the pages of everything he writes. This book is no exception.

'Conversations with Tom Petty' is divided into 2 parts. The first
part is titled "Life" and is a fairly chronological account of
Tom Petty's musical journey beginning with his childhood in
Gainesville Florida where he was initially inspired by the
Beatles invasion of North America in the early '60's. 

The author talks with Tom Petty about everything from learning to
play the guitar, to forming bands as a teenager, right up to life
as an American rock icon.  It becomes obvious very early in the
book that these are aptly referred to as "conversations" because
the rapport that the author has with his subject is so natural
and unpretentious it hardly feels like a journalistic interview
in the traditional sense.

My favorite story is the one in which Tom Petty describes getting
to meet Elvis Presley on one of Presley's film shoots when Tom
was a young child and the impact that had on him. Petty is quick
to pay homage to many from that generation of musicians who paved
the way for an artist like himself and inspired him into this

Part 2 of the book is titled "Songs" and it offers Petty's own
"take" on each of his songs one by one. It's interesting to see
what inspired a certain song that, as a listener, I had a
preconceived idea about that was not artist-intended.

Paul Zollo's Conversations with Tom Petty is a must read for
Petty fans but would also be a fun read for anyone wanting to get
an insight into what it is in life that influences songs like Tom
Petty's and what it is about these songs that make people feel
that they reflect something valuable and authentic about life.

To pick up a copy of Paul Zolo's conversations with Tom Petty go
to .  
James Linderman lives and works at theharmonyhouse, a music
lesson, songwriting and recording pre-production facility in
Newmarket, Ontario.  James writes songwriting articles and music
book reviews for The Muse's News, Canadian Musician Magazine,
Songwriters Magazine, and Professional Musician Magazine. His
writing is also featured in the James Linderman Wing of the
library at  James has a Canadian University and
American College education in music theory and composition and is
also pretty good at making up songs and playing the guitar. 

Contact James at:  

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             S p o n s o r   M e s s a g e : 

(Purchasing this service will help support both the newsletter
and your own music projects.  Plus, you also get a great
discount! :-) )



Lyricist is the first-of-its-kind word processor designed
specifically for musicians, songwriters, and poets.  The software
includes a Rhyming Dictionary, Thesaurus, Album Categorization,
Chord Charting, Chord Generator, Song Arrangement, and On-Line
Copyright Link.  

The new version 3 release adds support for "Piano Style" chord
symbols, Nashville Number System, and Transposition features -
all in one easy-to-use package - and all for only $44.95! (That's
$5.00 off to all Muse's News readers who purchase from the review
link at!)

This tool will revolutionize the way you write and organize your
writing.  Be the best songwriter you can be and purchase Lyricist

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 & . Please check there
regularly for updates!
----------------------------------------------------------------- Best Songwriting Tournament Contests - $100 cash
prize – Free Entry

Showcase your songwriting skills in these exciting tournament
contests. The Tournament consists of 2 Phases. All submissions
are first entered in the Phase 1 Groups. The winners of the Phase
I Groups are then automatically entered into Phase II Groups for
the final showdown and the $100 Grand Prize. All submissions will
be judged by a combination of Panel of Judges and the Public
(50%-50%.) Multiple submissions by the same contestant are
allowed as long as the submissions are different songs. 
Free Submission. 

Now In its fifth year, ISC is one of the largest and most
respected songwriting competitions in the world. Prizes include
over $150,000 in cash and merchandise, including a $25,000 cash
Grand Prize. ISC Also has the most prestigious judges for any
songwriting competition. Judges for 2006 include: Brian Wilson;
Jerry Lee Lewis; Tom Waits; Sean Paul; Frank Black (Pixies);
Tiesto (Producer/Remixer/DJ); Rosanne Cash; MercyMe; Robert Smith
(The Cure); Isaac Brock (Modest Mouse); Darryl McDaniels (Run
D.M.C.); Amy Ray (Indigo Girls); Peter Hook (New Order); Monte
Lipman (President, Universal Records); Charlie Walk (President,
Epic Records); Mona Scott-Young (President, Violator Records);
Cameron Strang (President, New West Records); Steve Lillywhite
(Sr VP A&R/Producer, Columbia Records) and many more..For more
info please visit

Entries are now being accepted for the Ninth Annual North
Carolina Songwriter's Co-op Song Contest. Send us two of your
best songs, any genre. You don't have to be a resident of North
Carolina but if you're selected as a finalist, you must be able
to perform there on November 11. You could win a share of $3000
in prizes including membership at and TAXI,
strings from GHS, cash, future gigs and much more.
New this year? Enter on line with Sonic Bids. Get more info at

Everyone wins in this competition. ALL who enter receive a free
self-paced songwriting course from (worth $39.95) and a
professional written evaluation of their entry. This competition
is organized by songwriters for songwriters – we know how hard it
is to get your music heard! The competition is open to amateurs
and professionals worldwide, and there is no limit on the number
of entries. SongDoor has nine Awards (a Grand Award winner and 8
Category Winners) who’ll receive more than $4,000 in awards,
including a full-blast demo produced at Jay’s Place (a Music Row
institution in Nashville), an all-inclusive one-year Platinum
Membership to, an Ibanez amp and more. The judges
(industry producers, engineers, artists and songwriters) have
worked with the likes of Neil Young, *NSYNC, Tony Bennett, Kenny
Rogers, The Allman Brothers, to name just a few.

Entry deadline: Nov. 15, 2006. For complete details (including
tips on how to improve your entry), go to: You
must be 18 to enter.

Contest deadline - July 11, 2006. Over $3,000 in prizes. Grand
Prize Gibson Guitar! 8 Song Categories. 3 Winners Each Category.
Entry fee $20 per song, $15 DSA Members. Finalists in each
category will be judged by music industry professionals from
record labels and publishing companies & Grand Prize winners will
be chosen by members of ENTER ONLINE! Courtesy of
BROADJAM.COM or Print Form from DSA website and Enter by Mail.
Details at: 

Download's free and easy Copyright Kit. Print
Copyright forms, Copyright submission process, handy tips &
tricks, choosing the right form, and more. 

Indiegrrl announces their First Annual Indiegrrl Song Contest
with over $8000 in cash and prizes so far. The list of prizes is
growing. To see details about the contest, entry form, the
official rules and regulations, sponsors, judges list, and prize
packages visit Submission deadline to
enter is July 22, 2006. This contest is for all ages. Quality of
recording is not a factor as songs will be judged on musical
composition, lyrics, and uniqueness. Musical compositions only as
well as songs with lyrics can be entered. Don't delay and take a
chance at missing this deadline. "Get your entry in now!!!"
Winners will be announced by October, 2006.

Music Gorilla works with Bands, Musicians, Artists and
Songwriters to get their original material into the eyes and ears
of industry members who have the ability to take their careers to
the next level. We work with Reps from Major Labels, Indie Labels
and Film Studios. Our artists get access to free submissions for
film, TV and video games, they are eligible for free live label
showcases, digital distribution with MSN and Loudeye and more. We
don’t take any piece of any deals made on our site, and have had
many successes including placement, songwriting and publishing

Muse's Muse artists get 10% off of memberships!
Just enter the promotional code "muse" during registration.

The Great American Song Contest features awards for 45 winners in
9 categories and provides over $10,000 in prizes. Music-industry
judges include prominent publishers, recording artists, producers
and songwriters. All entrants receive written evaluations of
their songs. This annual International event is sponsored by
Songwriters Resource Network, a trusted news and education
resource for songwriters everywhere. Submission deadline is Nov.
17, 2006.

For details, visit: or e-mail


Vougeot & Dave Pickell won top honors with their original song
"Let It Burn." First-Place category winners were: Andrew McKnight
for "Good Things Matter" (Acoustic/Folk); Maya Solovey & Robby
Baier for "Linger" (Pop); Nathan Asher & the Infantry for "Turn
Up the Faders" (Rock); Debbie Zepick for "This Is the Mystery"
(Christian/Gospel); Jesse Lee Campbell & Steve Ivey for "Hard
Times Are Easy With You" (Country); Richard Summerbell for "Thank
You For Being My Dog" (Special Category); Charles Lazarus for
"Waves" (Instrumental); Jesse Hershkowitz aka Urbalist for
"Letters To Myself HipHop/R&B) and Joe Giacoio for "God Knows"
(Lyric Writing).

Hear the winning songs at the Great American Song Hall Of Fame

Tony Butterworth, a home musician and advocate for home based
music, has released his new internet based program, The Home Made
Hit Show, featuring exciting and original rock, acoustic, blues
and pop music made by home based artists. The Home Made Hit Show
strives to deliver top quality, original, home based rock, pop,
blues and acoustic music to its listeners. "After years of being
disillusioned with popular music, I was ready for a change", said
Butterworth, "After taking up guitar and making a few of my own
songs, I discovered a huge online community of amateur musicians,
many of them producing songs of a quality that simply astounded
Please listen in and and send songs and
comments to 

Get your SONGS in and heard by the same company that manages the
Black Eyed Peas, John Legend and The Veronicas. Over $245,000 in
cash and prizes. Prizes from Apple Computer, Brian Moore Guitars,
EMI Music Publishing,, Roland, Edirol,
Audio-Technica, Disc Makers, and the $20,000 Maxell Song of the
Year. .

Enter online at: 

Pete & Pat Luboff will pay for the phone call for Muse's Muse
songwriters who use the Luboffs' songwriting consultation
service. The service provides detailed, constructive song
analysis, answers to all your creative and business questions and
references to contacts when appropriate. Visit for more information.

It's important for your website to be found once it's created. We
all know this. But who can afford the promotion a website needs
to truly make its mark on the web? Now YOU can. This package is
offered exclusively to Muse's Muse visitors only - and now
includes an Artist Spotlight listing! Do you have a website that
no one knows about? Do you want it to stand out from the crowd?
Now you can get it promoted for a fraction of the price most
search engine optimization packages would cost you.  Visit
for more details.

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M u s e ' s    C l u e s :  by Irene Jackson

©1998-2006 Moonstone Productions All Rights Reserved. 
Used By Permission

This month focuses on something called the "Music Genome Project"
and their streaming radio service called "Pandora".  The internet
is ripe with streaming radio, and more being created every day,
so what makes this one different?
Actually, the Music Genome Project is a much more in depth and
scientific version of the idea of "if you like this artist, you
might also like so-and-so".  If you've ever perused a record
store online or otherwise, or listened to an internet radio
station, you have likely come across the "artists like" idea
before.  But who compares the artists and who says who sounds
like what?  Much of the time the comparisons are made by someone
else who has a personal interest, a record label or promoter or
somebody who hears something you don't!  In the music business,
who you sound like appears to be an important distinction, and
artist labelling is rampant. 

The Music Genome Project ( takes
this a hundred steps further, by actually paring similarities
between known and lesser-known artists and bands down to things
like the types of instrumentation, keys used and some even more
intricate qualities.  It was created by a group of people who
began by sitting down with 10,000 songs (which is still growing)
and studied whatever elements might be similar between them.

When you visit Pandora (, you start by
typing in the name of an artist or song you like, and the station
is created for you from that.  The service pulls up a number of
"similar" songs or artists for you to peruse and accept or
reject.  For instance, I set up a Joni Mitchell radio station.
First, a Joni Mitchell song began to play, and then I began to
get a string of other songs, many by artists I'd never heard of,
which I could fast forward through if I wanted to.  I could give
a thumbs up or down to each one, I could ask why I was getting
this particular artist or song. One song that came up was called
"When I See You Smile" by an artist I'd never heard of named "Bic
Runga".  When I hit the "Guide Us" button and clicked on "Why is
this song playing", the response I got was "Based on what you've
told us so far, we're playing this track because it features folk
influences, acoustic sonority, major key tonality, melodic
songwriting and a smooth female lead vocal."  There's no messing
around there! 

Pandora has its limits.  First of all, it is meant only for
residents of the US at this particular time because of licensing
agreements, although anyone can try it out without registering.
I'm in Canada and had no trouble setting up stations.  It also
limits the amounts of "skips" (songs you bypass) to 6 an hour
because of license agreements.  But you can go on to create
another station using another song or artist if you like.  It's
fun to play with, just to see what songs or artists they come up
with.  I tried "Coldplay" as well and found the first song they
gave me after Coldplay was somebody I didn't like much.  However,
when I read the "why is this song playing" section, I had to
agree with them that there were similar elements in that song,
just not the elements that I particularly liked! 

Finally, you can submit your own songs to the Music Genome
Project.  Whether or not they have some kind of acceptance or
rejection process, I don't know at this time, but it's worth
trying!  Pandora has a monthly subscription option as well, which
basically makes it ad-free. 

Try it out...see what you come up with when you type in an artist
or a song, and discover if there's somebody new out there who may
never have heard of before that you really like!  As far as I'm
concerned, the idea of hearing somebody I like not JUST because
they've sold more records or had more promotion by a record label
is pretty appealing.  It's an interesting project and may be a
sign of things to come! 

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 a songwriter's messageboard.

Songwriting Tips:
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F e a t u r e d   A r t i c l e : By Terry Fernihough

If You Want A Number One Song With George Straight ...
What do you suppose the result would be if you were to take an
album and analyze it song by song? If you checked every element
of each song on that album from how long the intro is for each
song, what instruments are featured in that intro, how long to
the chorus, what song form, etc., what do you think you'd find
out? If you are pitching songs to an artist, this is exactly what
you should be doing. Why? It's simple. You need to know what the
parameters are for a particular artist to cut a given song. Would
you pitch a 5 minute song to George Strait, for instance? What
about Tim McGraw? You'd have a much better chance of getting a
Tim McGraw cut than a George Strait cut with that song. George
has never had a hit record that long. Tim has.

How do you know what to pitch to what artist if you don't do a
detailed analysis of their successful songs? I do it for every
pitch to a major Nashville artist. I haven't had any cuts yet,
but the songs I send are consistently "in the ballpark",
according to the screeners on the other end. Several of the songs
have since been put on hold by other artists.

I have a chart on which I track the following parameters:

1. Length of intro
2. Instruments featured in intro.
3. Song structure (AABA, ABAB, etc.)
4. Time to first chorus
5. Length of complete song
6. Does it fade or stop at the end?

Those 6 things will tell you everything you need to know. Sure
you can track things like what key the songs are in, and the
exact BPM, but they are immaterial. The producer can decide what
key and tempo to use, so this is just a rough estimate at best
anyway. It's the important stuff that needs to be on the mark,
like structure and lyrical content. However, if you can show the
recipient of the demo that you are paying attention to detail,
you stand a much better chance of getting a cut.

For the purposes of this article, I charted every song on George
Strait's Number Ones 2 cd set. I was quite surprised with the
results. Of the 51 songs, only 11 had a bridge. Only 7 were over
3.30 and 5 were under 2.30. 29 of the songs fell within 2.30 and
3.15 for total time. 36 had an intro between 7 and 15 seconds. I
could bore you with all the statistics, but I think you'd learn
more by doing this exercise yourself.

Am I really suggesting that you write or demo your songs to a
formula like this? Of course not. I'm just making a point.  This
simple exercise will help you see what makes a hit record. Use
that information to target the pitches on the songs you have
written, or use the guidelines to see how your catalog stacks up.
You will see very quickly where your songs need work to make them

This exercise is based on one I read about in an article by Ralph
Murphy on ASCAP's website, but I've added some variations to the
original concept. I've done it using the entire top 30 country
chart on occasion, and you can learn a lot about the craft of
writing just by seeing what the pros are doing every day.  

By the way, for those who want instant gratification, here is the
formula if you want a number one song with George Strait:

It should be between 2.30 and 3.15 in total length, with a 7-15
second intro, be in ABAB or AABA form, with a time to chorus of
no more than 58 seconds. The intro should include a fiddle and.or
a steel guitar doing the melody lick, with a trade off to piano
just before the 1st verse kicks in. If there is an acoustic
guitar intro, it should be arpeggiated. The title of the song
should show up as the last line of the verses as well as in the
chorus, and there should be harmony vocals, including a female
voice in the choruses. If you follow all of these rules, and you
have written a GREAT song, congratulations. You will have a made
a step in the right direction. Now if you can only get Erv
Woolsey to return your phone calls.....

Good luck guys. Even if George Strait doesn't cut one of your
songs, maybe someone else who is heavily influenced by him will.
The next generation of superstars is out there now, looking for
their way to the top. Give them a boost, will ya?

Terry Fernihough is a songwriter based in Ottawa, ON, who has
achieved no lasting success as of yet, so his comments are to be
taken with a strong pinch of salt. He has been toiling in
obscurity for upwards of 20 years and in the last 5 or so has
become somewhat proficient at demoing and pitching his songs, and
getting generally good responses to them, although no cuts as of
yet. He currently has several songs on hold in the UK, and one
being used in live performance by a non-recording artist who
performs in nursing homes (I'm not making this up), also in the
UK. Hey, France has Jerry Lewis. His songs can be found at and he can be e-mailed
at trfernihough AT .

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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 :

Linking Your Vocals and Guitar Through Parallel Melodies
by Jon Anthony Collins (© 2006)

Jon has put together some very helpful suggestions to follow when
linking your vocals and your guitar playing.  Note that you'll
get more out of this if you read music.

My First Lesson 
by Tim Ogle (© 2006)

My first writer's night experience was a catastrophe....

Cri$i$ in the Arts--What's Going On? 
by Cheryl Mullen (© 2006)

It is hardly a secret that the arts are suffering financially.
But things seem to be getting worse at an alarming rate. Big
names and venues are monopolized by corporate greed, smaller
venues are shutting down left and right, smaller names are
struggling more than ever to earn a living, and the non-filthy
rich are finding it increasingly difficult to find quality live
entertainment at a price they can actually afford. This piece
discusses some of the factors that have contributed to this mess. 
================================================================= C l a s s i f i e d s & U s e f u l S e r v i c e s : ----------------------------------------------------------------- THE 7th EDITION OF THE INDIE BIBLE IS NOW AVAILABLE! The Indie Bible shows you where to get your music reviewed, your songs played, and your CDs sold. Now in its Seventh Edition, The Indie Bible has 330 pages of valuable contacts and music-related articles. The 7th Edition of the Indie Bible contains: 4200 publications around the world that will REVIEW your CD! 3400 radio stations around the world that will PLAY your songs! 500 vendors and services that will help you to SELL your music! 200 sites where you can UPLOAD your band's MP3 files! 500 helpful resources and sites where you can PROMOTE your band! 52 articles that will help your career to MOVE forward rapidly! Listings include web, e-mail and physical address, as well as phone and fax numbers. For details and to order online visit: ----------------------------------------------------------------- REAL ANSWERS TO REAL QUESTIONS, An eBook About Copyright & Publishing If you want to know how to protect yourself as a songwriter in this digital age, you need this book - EXCLUSIVELY offered through The Muse's Muse. And it's now on sale for half price! Visit to learn more! ----------------------------------------------------------------- BUILD A BUZZ AT INDIE-MUSIC.COM FOR ONLY $5/MONTH Artists: Why join I-M has been spotlighting the best in independent music since 1996, featuring Articles, Interviews, Reviews, Charts, & Streaming Audio in all musical styles. Member Artists receive generous promotion on the I-M website (2.5 million+ hits per month) plus access to our famous original DIY resources, which have helped numerous musicians book thousands of dollars worth of work over the years. For a limited time, new annual Members receive free Lyricist and TrackNotes software value $69.95). There's never been a better time to join I-M! ================================================================= ADVERTISING RATES: For Classifieds: US$50 Max. 8 lines, where a line = 65 characters including spaces and punctuation. All contracts must be prepaid. Write to: For Newsletter Sponsorship rates and other advertising opportunities, please see . Back to Menu
================================================================= C o n t a c t I n f o & C r e d i t s : ----------------------------------------------------------------- Jodi Krangle ............................................. EDITOR Kathryn Obenshain ...........................GRACIOUS PROOFREADER ----------------------------------------------------------------- The Muse's News is a free monthly newsletter for and about songwriters. Subscribers are welcome to recirculate or reprint The Muse's News for nonprofit use as long as the appropriate credit is given and the ENTIRE text of the newsletter is included (including credits and information at the end of each issue). Others should contact me at All articles copyrighted by their authors. Back issues and other information will be available at: The Muse's News is part of The Muse's Muse, a web resource for songwriters: For further information, send your e-mail to: ----------------------------------------------------------------- - How to place a classified ad, pass on market information or sponsor The Muse's News. - How to subscribe, unsubscribe, etc. - To submit articles,reviews,ideas,etc. SNAILMAIL: Please contact me first at ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Back issues of the newsletter can be read at the National
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