181
How can a foreign songwriter sell songs in USA?
QUESTION:
Maybe my question is uncommon, but I still hope I can get an answer. I'm a foreign student in USA, I have some songs published in my Country (sorry, I can't tell u where I came from, if I could sold some songs, I should tell you^-^), most of them are Rock and folk. Now, I tried to contact with some publishers in USA, I sent e-mail to them, ask them go to my homepage to download my songs, but it seems nobody response my e-mail, nobody go to my homepage. so, my question is, how can a foreign songwriter sell songs in USA? thank you
ANSWER (by Mary Dawson):
As you are discovering, the Music Business in the United
States is an extremely difficult business to break into
-- even for American songwriters and musicians. If you
come from a different part of the world, the challenges
are even greater. My first advice to you would be to find
a songwriting consultant who can evaluate your songs in
relationship to the American Music Industry. The conusltant
can help you to determine if your songs are marketable
in the United States and if so, where you might go to
seek publishing. If English is your second language, there
may be some things lyrically that need to be tightened
up to appeal to American listeners. You may also need
some help in your presentation -- how to package your
demos and bio material to be appealing and interesting
to Music Professionals. Usually, publishers and producers
will not take the time to go to a website and download
songs from a songwriter they know nothing about. There
is a definite procedure that must be followed in order
to make contacts and then present your songs in a way
that will gain a hearing by the people who can make something
happen with your songs. You may wish to visit my website
at http://www.cqkmusic.com/resource.html
. I offer several resources to songwriters including consultation
and a manual entitled "How to Get Somewhere in the Music
Business from Nowhere with Nothing." The manual has been
designed especially to help aspiring songwriters through
the procedure for creating a demo and then presenting
their completed songs to publishers and producers. You
may also wish to make some trips to the major music cities
(LA, New York, and Nashville) so that you can begin to
meet and network withmusic professionals. One personal
contact is worth 1000 unsolicited emails or unsolicited
submissions.Be persistent. Take it one step at a time
and enjoy the journey! All the Best!!!
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182
How can I merge my lyrics with my music?
QUESTION:
How can I merge my lyrics with my music? Is there a way to measure or count words in order to make them able to fit in songs' measures?
ANSWER
(by Mary Dawson):
This is a very important question and a topic that I just covered in one of my Lyric Writing instructional segments on our radio program, "I Write the Songs." Keep tuning in to the broadcast so you don't miss the instructional segments on lyrics. To be a successful song, the "cadence" of the lyrical rhythm must coincide with the cadence or rhythm of the music of the song. If not, the words and music will not blend and fuse into a cohesive whole. If you are writing the lyrics first, try to determine the natural rhythm of the words by beating out a tempo with your hand as you actually read the lyric. That rhythm will help you to begin creating a melody that will work with the lyric. If the music comes first, listen to the rhythm of the notes and the musical phrases. Pay special attention to where the stresses fall on the notes. Then craft your lyric so that the stresses of the syllables fall naturally on the stresses of the music. By all means, count the syllables in your lyrics and make sure that there are the same number of syllables with the same stress patterns in the parallel lines of each verse. In other words, the stresses and number of syllables in Line 1 of Verse 2 should be exactly the same as the stresses and number of syllables in Line1 of Verse 1. Usually, there will be more musical notes than lyrics in a phrase. That is because some words are held over several notes or measures. But there is no hard and fast rule about this. Little by little you will develop a "feel" for the way the music and lyrics fit together. Your question indicates that you are already aware that this matter is important -- and that is half the battle right there! Good luck and stay in touch!
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183
Co-Writers' quarrel - Who's right?
QUESTION:
I have a question for anybody who can give me a clue...
Here is the set-up: after cowriting a song (yet to be copyrighted), two writers have a "falling out" over creative/personal differences. Writer #1 (responsible for the music and 2/3 of lyrics) wants to copyright the song "as-is" and record a professional demo to be sent out to publishers. Writer #2 may object or choose not to be involved. What are Writer #1's options/rights?
Obviously I'm Writer #1. Hundreds of dollars have already come out of my pocket and mine alone to develop this song. A studio has been booked for the first weekend in October to finish the job with professionals (there goes hundreds more). I can't cancel the session so I need to be sure the material recorded can be utilized.
ANSWER
(by Mary Dawson):
This question demonstrates the many "wrinkles" that can develop in co-writing relationships and why it is ALWAYS good to have something in writing from the get-go as to the collaborative relationship and the shares that are being allotted to each writer. In your case it seems as if you do not have anything in writing at this point, so you must now try to "work out" the situation with the ex-collaborator who may have lost all his warm fuzzy feelings about you or the song. Whatever you do... maintain your cool and approach this professionally -- rather than emotionally. I would try to have a conversation about the matter with the co-writer and appeal to his sense of professionalism as well. Obviously, the song will not profit either of you if it is never demoed and sent out. So try to work out an agreement that will be objective and reasonable. If the other writer agrees with your statement that you wrote all the music and 2/3 of the lyric... then by percentages, the other writer only really owns 1/6 of the song. If he thinks he contributed more than that, you may have to negotiate a little on the percentages. In most equal collaborations...each writer owns half the song. So even if you have to agree to acknowledge him as owning 50% of this song, it is better than letting the song fall through the cracks.Then draw up a letter of agreement in which you confirm in writing what your percentages are and make sure both of you sign it. Go ahead and copyright the song with the Copyright Office indicating both of you as the writers and then finish the demo -- even if you have to foot the entire bill for the recording of it. But make sure that your letter of agreement also contains the understanding that if and when the song begins to generate income, you will recoup your demo expenses before beginning to divide the profits according to the percentages agreed upon. If you own 1/2 the song, you can do what you like with it -- demo it, pitch it, record it -- as long as you acknowlege the other writer's percentage and give him due credit. Let this be a lesson in the School of Hard Knocks that a letter of agreement at the front end is far easier than the hassle that comes when there is a falling out between people and emotions get charged. Best wishes... hope this helps.
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184
I left a band that had a publishing deal and I own 1/7 of the songs
QUESTION:
I was part of a band that co-wrote everything 7 different ways. The band picked up a co-publishing deal with major publisher, but when I left the band I was written out of any further financial gain from the publishing contract accept what ever share my 1/7th of the royalties would be if the songs started getting lots of air-play. My question is what legal right do I have to the songs? Since I own 1/7th of each song, can I pitch them to people on my own and try to find my own pubisher?
ANSWER
(by Mary Dawson):
It
always helps me to think of a song as a pie. In your case,
the pie has been divided 7 ways and you own that 1/7 of
the pies (or songs) that came out of your relationship with
the band. But unlike a real pie....the song has to remain
a whole entity (you can't perform 1/7 of a song). So wherever
your part of the pie goes...so goes the other 6 pieces.
If the songs the band wrote when you were with them are
signed under a co-publishing arrangement with a major publisher,
the publisher now owns 1/4 the total pie and you 7 band
members are dividing the other 3/4....so you really own
quite a bit less than 1/7 of the pie now. And as long as
you are under the co-pub arrangement and as long as the
other 6 band members own their share, any place the song
finds income must be shared with the other owners. You can,
however, pitch the songs and if you get a "bite" -- it will
profit you AND the other 6 members...as well as the co-publisher.
You just have to realize that where you go....everyone else
involved goes too (and vice versa -- even though you are
not currently part of the band, you are still part of the
equation).
If the band is objective enouch to approach these relationships
and situations professionally, they will realize that
any action that a song can generate benefits everyone
involved. It would be incredibly stupid to object to the
song being cut by anyone who is paying royalties. And
once the song has been released nationally once, the licenses
are then "compulsory" anyway. They must be given by the
publisher to whomever wishes to record the song. The only
thing you must realize is that the "pie" must stay together.
You can't go off on an independent track as long as those
other seven members and the co-publisher are involved.
Hope this helps. Try writiing some new stuff independently
or with perhaps ONE other writer. It makes things a lot
easier!! All the Best...
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185
I am trying to find some original music to record.
QUESTION:
I am trying to find some original music to record. Is there a clearing house of original music whereby a person can hear a sample of a song and perhaps choose to record it. Thanks.
ANSWER
(by Mary Dawson):
It sort of depends on what kind of music you are looking to record. I do know of several companies in various genres of music that specialize in providing original material to artists. My company -- CQK Music -- is one of them. Please visit our website at http://www.cqkmusic.com. The other suggestion I would have is to contact your local songwriters association. Most larger cities have great songwriters in various genres who are always looking to have artists record their material. Get to know people in your music community -- especially in the songwriters association. You may find that they can even "custom write" songs that are exactly what you want to say or the style you want to perform. Or start doing background vocal session work in your community. Take some business cards to various studios. Meet the engineer and/or producers and begin to meet some of the songwriters who are actually doing some recording in your area. That's how Burt Bacharach and Hal David found Dionne Warwick who became the 'voice' of their collaboration and generated dozens of great hit songs. They met Dionee at a recording session where she was singing backup. But you have to be in circles where writers are accessible and where you can connect with them. You are very wise in seeking out original material for your singing career. Best Wishes....
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186
How do I get a co-publishing deal so I can maintain control of my songs
QUESTION:
How do I get a co-publishing deal so I can maintain control of my songs?
ANSWER
(by Mary Dawson):
My
first thought is that you need to become very well educated
in the Business of Music and learn how songs are published
if you ever hope to co-publish or to retain control of your
catalog. You indicated on your Q&A form that you haven't
read ANY books on songwriting because you don't want to
be influenced by anyone else. In my opinion, that is about
as smart as an aspiring surgeon not wanting to read any
medical books so that he isn't "influenced" by other surgeon's
experience, knowledge or techniques. You definitely NEED
to educate yourself on both the craft and business of music
in order to ever be taken seriously by any other music professionals.
I would suggest that you start with John Braheny's excellent
book, "The Craft and Business of Songwriting" (Writers Digest).
Then you might want to also read "Music Publishing, a Songwriter's
Guide" by Randy Poe (also from Writers Digest).
Here's a short synopsis of some of the basics.....When
you write an original song, you are the sole owner of
the creative work. That means that you own the publisher's
share of the song as well as the writer's share. The reason
aspiring songwriters assign their publishing portion to
larger, established publishers is because the publishers
have the contacts and expertise to place the song in various
media where it can make money. If you "co-publish" the
song with another publisher, you must be willing and able
to "carry your weight" as a publisher also and in order
to do that, you need really understand what publishers
do and how songs are divided financially. Usually, there
is a progression in the process of "breaking in" to the
Music Business. First, you become a writer who has honed
his/her craft to a national standard in songwriting excellence.
Then you get a song signed by a publisher. That means
that you surrender the copyright of the song in return
for 1/2 the income generated by the publisher. If your
song is successful, they may sign more of your songs and
eventually you may become a "staff writer" which simply
means that you write exclusively for a particular publisher
in exchange for a "draw" or an advance on the future income
of the song. If you continue to be successful...somewhere
down the line, you may establish your own publishing company
and begin to retain a portion of the publisher's share
of the income as well. But usually, you have to be a "proven
commodity" before anyone will take you seriously enough
to consider you a co-publisher. A journey of 1000 miles
begins with the first step -- and the first step in your
case is EDUCATION. You need to know what you are doing
and how things work before you can hope to start co-publishing.
Good Luck!
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187
Is this business only for the young?
QUESTION:
In reading through the Q & A section, in one of your comments about the business you implied that this business is only for the young. This to me is a very discouraging comment for those of us who have worked hard all their lives raising families and now at a mature age would like to try their hand at getting into the business. People go on at a later age to become doctors, lawyers; beginning careers in their fifties and go on to great success. So, tell me what would the difference be in the music business! Your comments about this would be helpful to me, an aspiring, talented grandmother.
ANSWER
(by Mary Dawson):
I don't know who wrote the comments you mentioned, but it sure wasn't me!!! I had a whole "other life" before I got into the music business. I had lived and worked overseas as a professional for more than a decade and had kids in junior high and high school before I ever got involved in the Music Industry professionally. I now am a published songwriter, president of my own music publishing company and record label and also the host of a nationally syndicated radio show especially designed for songwriters. While there are many talented younger people in the Music Business, it is my opinion that in order to write songs that really reach out and touch the emotions and experiences of millions of other people, you have to have lived a little -- experienced some pain -- gained some perspective. If you are willing to put in the effort to really hone your craft and become contemporary in your songcrafting skills, there is absolutely no reason why you cannot achieve your musical goals....just like anyone else. Songwriting is really an "ageless" craft. Since the songwriter is "behind the scenes" in the whole business of music, no one really knows how old he/she is or what they look like. Irving Berlin kept writing all the way up to his death -- well into his 90's. In fact, as an older person with fewer immediate family and "day job" commitments, you may be able to put in more time and reach your goals faster than many younger people. There is absolutely no age limit -- on either end of the scale -- for songwriters. There are two issues that will determine your success -- 1) How well-crafted and memorable your songs are and 2) How credible and connected you are with members of the music industry. Both of these aspects of the songwriting business require hard work and dedication. If you are willing to "pay your dues" there is no reason why you cannot achieve success.
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188
Coverted my copyrighted poem to a song with a co-writer
QUESTION:
If I copyright my some of my poems and collaborate with a musician at a later date to transform my poem into a song, does the copyright still apply? What if some minor changes are made as far as structure or repeating lines or changing some words?
ANSWER
(by Mary Dawson):
If you copyright lyrics only, that is different than copyrighting a whole song. A song is comprised of both words and music and both must be represented in the registration.If your lyrics are already registered with the Copyright Office as lyrics, you would have to re-register them together with the music as a song. Once that is completed, the lyrics will no longer be a separate entity but 1/2 of the whole created work. If the song is registered and then you and your collaborator decide to make some minor changes (a word or chord here or there), there is no need to re-register. But if major changes are made -- if the entire lyric is re-structured or the melody is changed, for instance -- then you need to re-register the song. I would definitely check with the Copyright Office if you have specific questions as to when and if a re-registration needs to take place. To speak to a human being at the Copyright Office, call 202-707-5959.
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189
Writing and selling songs as a hobby
QUESTION:
I was wondering... I write songs just as a hobby. What would be the first thing to do if I wanted to sell one of the songs to someone. I know that it should be copywritten... What else?
ANSWER
(by Mary Dawson):
For
years I wrote songs just as a hobby, and then decided to
see if I could do something with my songs on a broader scale.
When I made this decision, I didn't even know that there
were books and workshops and songwriters' associations that
could help me learn both the craft and business of songwriting.
If I had been aware of those resources, I could have saved
myself a lot of "hard knocks."
My first suggestion to you would be to begin reading on
the subject of songwriting. I highly recommend John Braheny's
excellent book from Writers Digest publishers entitled,
"The Craft and Business of Songwriting." It will give
you a good basic idea of what you need to know to get
started pursuing your previous "hobby" at a more professional
level. Then I would urge you to find and join your nearest
local songwriters association. Most major cities have
them. If you have trouble locating them in the phone book,
ask at a major music store or at a studio. Songwriters
associations gather together some of the most talented
writers in your area -- people you can learn from and
collaborate with. They also will bring in instructors,
publishers and producers as workshop leaders and speakers.
These events are highly educational and will help you
know where you are in your craft and what you need to
do next. The Music Industry is an extremely difficult
one to penetrate for a newcomer with few connections.
An ounce of self-education at the front end of things
can prevent a ton of frustration later on. I also have
several resources for aspiring songwriters on my website
-- especially my manual, "How to Get Somewhere in the
Music Business from Nowhere with Nothing." Please visit
us onliine at http://www.cqkmusic.com. You can click on
"Songwriters Resources" on the left of the home page and
it will give you all the various options available.
Take the process slowly and enjoy the journey. You will
be in for a real adventure that will take you places you
never dreamed. All the best!!!
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190
When do I move to where the action is?
QUESTION:
Obviously, moving to a major music city (ie. LA) makes sense, but would it be wiser to wait and have some conections before I move? Or should I take my demos and abilities to the sunny streets of LA and compete with all the other starving artists head-to-head?
ANSWER
(by Mary Dawson):
This is an excellent question and your asking it reveals
that you are thinking before you act -- which is a great
attribute! Many songwriters pull up stakes and move first
and find later that it was a major mistake! Ever since I
first got into the music business, I have heard this advice
-- that in order to "make it" as a songwriter, you MUST
move to a major music center like LA, New York or Nashville.
Obviously, there are advantages to such relocation -- i.e.,
you can network with more people personally in the Music
Industry -- and you can attend workshops and seminars at
record companies and performing rights organizations that
are not available in many other places. However, you are
absolutely right in recognizing that those music capitols
are teeming with "starving artists" many of whom are extremely
talented and will NEVER achieve major exposure. In fact,
as a rule, you can do a phenomenal recording in Nashville
very cheap simply because there are so many great musicians
competing for any gigs they can find that will put food
on the table.
I definitely recommend a couple of steps before you even
consider relocating.
1) HONE YOUR CRAFT TO A NATIONAL LEVEL -- This is absolutely
imperative before you even start making trips to major
music centers and setting up appointments with music professionals.
Remember, you only have one chance to make a first impression.
If you try to go prematurely and are obviously not writing
material that can compete with the standard of excellence
set by major songwriters, you will be identified immediately
as a "wannabe" -- a novice who has really nothing to offer
that can hold its own or -- even better -- that can outshine
the material that is already being produced at major companies.
You can and you must put yourself on a self-improvement
program where you carve out at least 10-14 hours a week
to simply write and learn. Join your local songwriters
association and begin collaborating with other gifted
writers in your area. You can do all this and still keep
your "day gig" which is probably keeping you fed right
now. The alternative -- if you try to relocate now --
may be flipping burgers in a strange city.
2) START MAKING TRIPS -- Once your songwriting has been
polished to a competitive shine, start making some trips
to major music cities -- perhaps start withthe one that
is nearest where you live so you can drive rather than
fly. Before you go, use your telephone to make contact
with as many publishers, producers and A&R people that
will see you. Then go for it!! Start with whatever contacts
you can muster and begin networking from there. Your performing
rights organization is a great place to start -- BMI,
ASCAP and SESAC all have Member Services representatives
who will help you figure out where to go and who to see.
If you go to Nashville, you can also go and visit Amercian
Songwriter Magazine, whose offices are there. They are
great people and will help you find out what is available
to you in Nashville.
Once you have completed these two phases, you can then
begin to realistically appraise your situation and determine
whether your contacts and opportunities in the major music
city actually warrant a move. You will also have a much
more objective and less "starry-eyed" idea of what these
cities are actually like. Many writers find that with
frequent trips to the major music cities they are able
to accomplish more than if they actually live there. The
reason is simple -- if a publisher knows you are coming
through town and will be there for 3-4 days only, they
will usually squeeze you in to see them. However, if you
are a resident of the city, the publisher tends to put
you off and put you off since you can come anytime. You
may find it much more profitable to go to town, do your
business and leave.
One other thought -- with the advent of the internet,
everything is changing so fast in the Music Industry that
no one quite knows what is happening. One thing is for
sure -- the Music Busines is being de-centralized and
exciting new centers of music are springing up in places
like Atlanta, Austin, Seattle, Denver and Tulsa. Be careful
that you are not moving away from some of the freshest
and most exciting music opportunities in the country that
may be right under your nose.
Best wishes and keep in touch!
