151
I'm in a small town. How do I find a recording studio?
QUESTION:
I write lyrics and have taken a basic music course so
I am able to transcribe the basic melody of my songs myself,
and I think I am ready to pursue having some demos made.
But how much of a song (chords, musical introduction,
etc.) do I need to transcribe for submission to a demo
service, and how do I find these services (I live in a
small town without any big cities nearby)? And thank you
for the great questions and answers at your web site.
ANSWER
(by Mary Dawson):
Actually, with most demo services you don't even need
any transcribed music or lead sheet at all if you have
a rough recording. Producers of demos are amazing individuals!
I have heard very professionally produced demos done from
the most basic of rough demos (I'm talking singing a cappella
-- or with just a guitar -- into a box recorder). The
producer can hear the harmonies and the arrangement and
will blow your mind with the results. The most important
thing is not so much that you learn to transcribe music
as that you find a good producer!! How do you find one?
I would suggest asking lots of questions in your own music
community. If you don't belong to a local songwriters
association, join one. You will meet lots of other writers
in the same boat....needing professional demos.....and
you can hear their demos and ask them where and who did
them. If you don't have any luck locally, you can find
lots of good producers in the classified ad section of
songwriting magazines such as American Songwriter. You
might also want to purchase my manual called "How To Get
Somewhere In The Music Business From Nowhere With Nothing."
It leads you step by step from the point at which you
finish actually writing your song all the way through
the demo phase and then on to sending in your completed
demo -- how to make contact with influential people in
the Music Industry and how to present yourself well through
the mail, on the telephone and in person. More information
on the manual can be found on my website at http://www.cqkmusic.com.
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152
Working with songwriting consultants
QUESTION:
I write lyrics and I like them to rhyme. I have spoken
with a songwriting consultant and she said I need to work
on less rhyming. She said that I have a great talent and
wanted me to take her over the phone songwriting course.
I really want to get into the business, how do I know
who to trust and how to I get started?
ANSWER
(by Mary Dawson):
Your question represents the concerns and fears of many
many aspiring songwriters -- how to get started or to
improve your craft and continue on to the next level of
your songwriting career without getting scammed or chasing
bunny trails. In my opinion, songwriters become vulnerable
to "sharks" and scams when they are impatient about their
songwriting journey. If you want to "make it" in the world
of music quickly, you are setting yourself up for opportunists
who will take advantage of your eagerness. A better approach,
I think, is simply to love writing for itself and slowly
but surely continue to improve your skills. Read lots
and lots of books. There are some excellent ones available
that actually lead you through a college level lyric writing
course -- for example, the Sheila Davis book, "Successful
Lyric Writing" or Pat Pattison's book, "Writing Better
Lyrics." Take advantage of the many online songwriters
resources such as Lyrical Line. Also listen to our radio
show, I Write the Songs, available on the Lyrical Line
site. We cover many of the questions you have about both
the craft and business of songwriting. Then (although
I know I sound like a broken record) JOIN YOUR LOCAL SONGWRITERS
ASSOCIATION. There is nothing more effective you can do
-- either from an educational perspective or from a networking
perspective. Meet other songwriters right in your community
who are pursuing the same goals you are. You will no doubt
find that there are many who have had substantial successes
and still live right in your home town. Songwriters groups
usually hold workshops from time to time and even bring
in major songwriting coaches and teachers who can help
you to improve further. Start co-writing with other writers
and learn....learn.....learn. The more excellent you become,
the harder it will be for your gift not to be noticed.
Approach songwriting like an adventure. Just do your part
to learn and improve and then see where the Muse leads
you. I can almost guarantee you that the most satisfying
experiences you will have as a songwriter will be experiences
you never could have plannned or charted yourself.
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153
How much does it pay?
QUESTION:
How much does the music industry pay once a person has
a contract and their music is published?
ANSWER
(by Mary Dawson):
This is a VERY good question. Many aspiring songwriters
believe that "all their problems would be solved" if only
they had some sort of publishing contract with a major
music publisher. New songwriters have little or no idea
of how money is paid through a music publisher and consequently,
they often find themselves with a whole new set of problems
once they have signed that "magic" contract.
There are basically two kinds of publishing contracts.
There is a "per song" contract where a music publisher
agrees to promote and seek publishing for one particular
song written by a songwriter. Then there is the "staff
songwriting" agreement.
Let's look first at the "per song" agreement. This contract
covers only one particular song and it is usually the
first kind of contract a new songwriter receives from
a publisher. It's sort of like "testing the water" to
see if there is a "chemistry" between the writer and the
publisher that may lead to a more exclusive arrangement
later. The "per song" contract will test whether or not
1) the publisher can generate interest in this new writer's
material and can successfully get the copyright exploited
through recordings, print music etc. and 2) the songwriter
can continue to write more songs that -- in the publisher's
opinion -- have hit potential. The "per song" contract
intrroduces the writer to the publisher and establishes
a preliminary relationship which may -- or may not --
develop into more of a permanent and exclusive arrangement
later on.
Under the "per song" agreement, the publisher does not
pay the writer any money at all until and unless the song
is "published" -- in other words, when it is recorded
or put into print music for release to the general public.
Under most songwriting agreements, the publisher becomes
the "owner of the copyright (or song)" and then splits
the proceeds of the income with the songwriter 50-50.
Income is generated through two basic kinds of royalties:
1) Mechanical Royalties 2) Performance Royalties
Mechanical Royalties are monies which are paid to the
publisher by recording companies who use a song on a recording.
These monies are based on the number of units of manufactured
product -- CD's, cassettes etc. The current statutory
rate for Mechanical Royalties is .071 cents per song per
unit. In other words, if a recording company recorded
one of your songs which is being published by a certain
publishing company, and if they manufactured 1000 CD's
of that recording, the total Mechanical Royalty woud be
$71, which would then be divided 50-50 between the publisher
and the writer.
The second kind of royalties are Performance Royalites.
These are monies paid to writers and publishers by Performing
Rights Organizations (P.R.O.'s) -- ASCAP, BMI. SESAC --
based on the number of performances the P.R.O. surveys
on radio, TV, Muzak, clubs, movies etc. The P.R.O. pays
the songwriter directly, so it is important that every
songwriter be affiliated with one of them before their
songs begin receiving airplay.
I would suggest that you do some further reading on this
subject. It is VERY important that you understand songwriter
contracts and income sources before you are approached
by a publisher and are caught up in the excitement of
the moment. Be sure to consult an entertainment attorney
before you sign anything as there is no such thing as
a "standard songwriter agreement" -- even if that is what
the publisher tells you. Each one has its own loopholes
and idiocyncracies and you must be sure you understand
what you are signing or you may join the ranks of the
many songwriters with massive regrets and very little
money.
Several books that I would recommend on this subject are:
-
The Craft and Business of Songwriting -- by John Braheny
(Writers Digest)
-
Six Steps to Songwriting Success -- by Jason Blume (Billboard)
-
How to Get Somewhere in the Music Business from Nowhere
with Nothing -- by Mary Dawson (order through our website
at
http://www.cqkmusic.com)
An ounce of prevention and instruction are worth many
pounds of cure!! There is lots of money to be made in
music, and you want to be sure that you are one of those
who are making money and not one of those who are losing
money! The industry is filled with both kinds of people!!
All the Best.....
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154
Co-writing - When to list other writers
QUESTION:
I posted a song on a writers board and asked for suggestions
with lyrics. Stated that if it sold I would divide 10%
to those who helped with suggestions. All the music is
my own and the suggestions were maybe 2 lines which I
used after re-writing these suggestions. Song is copyrighted
in my name only as sole writer. If covered I will honor
my 10% division. Question, must I also list these other
persons as writers?
ANSWER
(by Mary Dawson):
Technically, you should probably list the other writers
-- even if they are only responsible for less than 10%
of the song. However, it was most generous of you to offer
to divide the 10% with them for their small suggestions.
So you might just contact them and ask them if it would
be OK with them for you to be listed as the only writer
in the light that you have already copyrighted the song
with you as the sole writer. These kinds of things are
negotiable. I would suggest, however, that if the other
participants agree that you should be listed as the sole
writer, you should draw up a simple letter of agreement
with them just putting in print what you have agreed to.
That way -- if and when the song starts to make money
-- there are no "mixed memories" of the agreement you
had. It is always interesting to me how everyone remembers
the same thing UNTIL the money starts rolling in. Then
everyone starts getting fuzzy! An ounce of prevention
is worth a pound of cure!!!
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155
What to write about
QUESTION:
I have tried to write songs but I dont know really what
to write about. Where can I find help?
ANSWER
(by Mary Dawson):
The most important element of songwriting is having a
great IDEA -- both musically and lyrically. Ideas come
from life -- they are all around us every day, in every
circumstance, in books we read, in people we meet, on
billboards we pass etc. To start picking up on these ideas,
you have to learn to start "thinking like a songwriter."
In other words, train yourself to become sensitized to
life around you and start thinking about the things you
do, see and feel as possible ideas for songs. A good way
to start training yourself is to listen to hit songs on
the radio and try to write down in one or two sentences
what the idea is that gave rise to that song. Perhaps
you can use the same -- or a similar -- idea in one of
yours. (Ideas can't be copyrighted) Also, start keeping
a journal where you write down every day what you did
-- and most importantly -- how you FELT about the things
that happened that day. Songwriting is "emotional communication"
and as you become sensitized to your own emotions, you
will be able to communicate them in songs that will touch
the emotions of others. We are all basically the same
emotionally -- we all experience love, loss, happiness,
sorrow, fear etc. Find a new way to express those emotions
in ways that will communicate effectively to others and
you will have a hit!
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156
Writing original melodies
QUESTION:
How does one keep off the beaten path when it comes to
writing melodies, as well as lyrics?
ANSWER
(by Mary Dawson):
I think what you are asking is how to stay "fresh" in
songwriting without reverting to previously used chord
progressions, lyrical styles and writing techniques. All
songwriters develop certain styles and "sounds" that are
distinctive to them over the years -- and that isn't always
bad! A Bruce Honrsby song, for example, can be immediately
recognized by the keyboard and melodic techniques he uses.
Or take Burt Bacharach -- another very distinctive stylist.
If consumers LIKE your sound, it isn't bad to continue
writing in it. However, it is imperative that all songwriters
keep stretching themselves musically and lyrically --
branching out beyond what they have tried before -- out
of their musical "comfort zones" into new horizons of
creativity. A couple of "stretching exercises" will increase
your songwriting flexibility here.
First, always be listening to different styles and genres
of great music. I recommend having your car radio buttons
set on stations that play several different formats of
music -- Classical, Country, Jazz, Pop, R&B etc. Keep
channel surfing and listening analytically to what is
being played on the radio. Then go back to your writing
room and try a few of the ideas you have observed through
your listening. Even if you don't particularly LIKE a
certain style or kind of music, listen anyway! Somebody
is buying that kind of music.....and you need to ask yourself
"WHY?" There is something about it that people like and
perhaps you can adapt that particular component into your
own unique style.
The second exercise is to write AWAY from your instrument.
All of us -- whether we play guitar or keyboards (or some
other instrument) have certain comfortable and familiar
places where our hands go as we play. If we keep going
to those familiar places, we will no doubt keep using
the same chord progressions....which in turn will limit
the melodies we write. Hence, everything starts sounding
the same. Even great writers like Burt Bacharach have
this tendency -- but Burt realized this and overcame it
by writing away from the piano. Here is what he says:
"(By writing away from the piano) you can hear the whole
song. You can hear it evolve, and not be as concerned
with what the fingers and the hands are playing, where
they're going. It's short term with my hands on the piano.
It sounds really good for that one bar, but I'm trying
to hear the whole thing and hear how it would sound just
coming at you as a song, as a listener. If you get away
from the piano and hear the melodic contour as well as
the harmonization in your head, you're hearing a long
vertical line....I can't say enough about where your hands
tend to go, because they've been there before...You'll
write what your hands can play instead of what an orchestra
can play."
Keep pushing yourself....disciplining yourself to learn
new things, new ideas as you write. It's like working
out. It takes discipline, but a great physique demands
it. Consistently great songwriting demands that you keep
stretching. Best of Luck!!
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157
What percentage do I get?
QUESTION:
As a lyric only writer, what kind of percentages would
I expect if a recording artist sings a song of mine?
ANSWER
(by Mary Dawson):
You need to do some reading on how songs make money.
A good entry-level book to read on this is "The Craft
and Business of Songwriting" by John Braheny (Writers
Digest).
In a nutshell...the best way to understand song income
is to think of your song as a "pie." When the song is
completed, the writer or writers own the whole pie based
on the percentage of the whole that they contributed.
If you are a lyricist only and write all the lyrics for
the song and another writer composes all the music, the
two writers would each own 50% of the song at its composition.
If you sign a songwriter agreement with a publisher, you
then transfer ownership of the song (or copyright) to
the publisher in exchange for 50% of the income of the
song. In this case, the publisher would now keep 50% of
the income.... and the two writers would divide the other
50% equally (or each writer would have 25%). The amount
of actual income earned would, of course, depend on how
many performances the song receives as well as how many
units of manufactured product (CD's, cassettes, videos
etc.) are manufactured. Please refer to Question 3 above
for a description of the basic kinds of royalties and
income sources for songs. Again, it is absolutely imperative
that any serious songwriter understand these facts about
songs, percentages and what happens when you sign a songwriter
agreement. I highly recommend that you do some reading
on the subject so that when and if your song(s) gain the
interest of publishers and/or artists, you will know what
you are doing and what you are signing. Too many songwriters
have sad tales to tell about songs that were basically
"lost" because they did not understand the business aspects
of songwriting.
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158
Contract for changing ownership of a song
QUESTION:
I write many song lyrics and I have a friend that has
agreed to write the music for me with the help of some
of his friends. We will not be a band, they agreed to
simply give me the music they write for me to use on my
demo tape and in the future. They all agreed to sign something
saying they are giving the songs to me, so basically I
will own them. I just want to know what do I need to do
legally to make sure the songs will now be mine and I
can use them throughout my career?
ANSWER
(by Mary Dawson):
This is a good question. An "ounce of prevention" at
the front end of such an arrangement is much better than
"a pound (or maybe a ton) of cure" later on. One thing
you must realize is that there are few if any arguments
over who wrote a song UNTIL the song starts earning money.
It is then that songwriters start appearing out of the
woodwork, claiming to have written part or even all of
the song! There are two ways composers can be compensated
for a composition -- either as a writer (and therefore
an owner) of part or all of a song OR as simply a "Work
for Hire" arrangement where a person or agency actually
hires a composer to write a musical composition for a
certain purpose and the composer is paid one lump sum
for the composition. Under the "Work for Hire: the composer
then forfeits any ownership of the song as its writer
in exchange for the upfront payment by the organization
or person who commissioned the composition.
The arrangement you have here is neither a collaboration
nor a Work for Hire -- and therefore, it opens you up
to problems unless you handle this professionally and
ethically. As I understand your question, your friend
is composing music for several or many of your lyrics.
Technically, he should be considered a "co-writer" and
should own 50% of the completed songs --- OR you should
pay him upfront for the music he is supplying for your
songs. If he, in turn, collaborates with other friends
to write the music, they would divide the 50% that belongs
to the music writer or writers -- or the lump sum payment
under the Work for Hire. You should DEFINITELY have an
agreement drawn up by an attorney stating which of these
arrangements you have agreed to....the Co-Writer agreement
or the Work for Hire agreement. I don't feel that it would
be fair or ethical on your part to continue using someone
else's music without compensating him either at the time
of the writing of the music under the Work for Hire --
or later to divide any future royalties with him as the
co-writer. By all means....do some reading on this subject
either in "This Business of Music" by Shemel and Krasilovsky
or in John Braheny's book, "The Craft and Business of
Songwriting."
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159
Do I need a manager to send in a tape?
QUESTION:
I am a young musician that writes both original lyrics
and music. I plan on recording three or four of my songs
in the near future and I plan on sending it to different
A&R representatives of different labels. But, the only
thing is, is that I don't have a manager. So, is there
any way that I can send in my demo tape without a manger???
ANSWER
(by Mary Dawson):
Most songwriters DON'T have managers -- at least in the
beginning stages of their career -- so it is up to each
songwriter to know how to promote himself/herself skilfully
and professionally. You are very wise to think carefully
about the way you approach record companies BEFORE you
actually try to send something in through the mail. I
have a manual that guides you step-by-step from the demo
production phase of your song -- through the process of
getting it into the right hands in the Music Industry
so that something can actually begin to happen with it.
The manual is called "How to Get Somewhere in the Music
Business from Nowhere with Nothing." Please visit my website
for ordering information. http://www.cqkmusic.com.
Remember: "you never have a second chance to make a first
impression," so it is imperative that you know what you
are doing and are able to present your song and yourself
professionally the first time so that you don't have to
spend a lifetime trying to re-build the damage ignorance
can produce.
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160
To whom should I send my song?
QUESTION:
If i beleive i have a hit song(only lyric's) who do i
e-mail it to?
ANSWER
(by Mary Dawson):
This question shows that you need to do lots and lots
of reading on the way songs are written, recorded, pitched
and promoted. As I have stated in the Q&A section here
-- and on my radio show, I Write the Songs -- writers
who have only lyrics and no music really don't have songs
yet. And the Music Industry is about SONGS! You may have
wonderful lyrics, but without music the chances of your
lyrics receiving any attention are very slim! My best
advice is to do lots of reading on the craft -- and business
-- of songwriting and then join your local songwriters
association where you can meet other songwriters whom
you can write with and create complete songs. When you
have reached a standard in your writing that is "market-ready,"
you will then be at a point where you can start approaching
some professional publishers and record companies with
your catalog of material. Have a goal of excellence and
enjoy the journey that takes you there! Please tune into
our radio program, I Write the Songs, on Lyrical Line.
We discuss many of the concepts you will need to know.
All the Best....and Good Luck!
