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The Muse's News |
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Issue 5.7 - October 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, Ashley Petkovski, 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 - HOW THE VOICE WORKS - by Eric Frey
@-- Columnist In Spotlight - Jon Nicol and his VERTICAL SONGWRITING
@-- 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!)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ANNOUNCING BERKLEE'S NEW ONLINE SCHOOL - BERKLEEMUSIC
Berklee College of Music's new online school and musician network
is giving you exclusive, first time access to the best career
development tools in the music industry. Be the first to study with
Berklee professors, market yourself, find jobs and gigs and network
with other industry professionals.
With our online instructor-led courses, each lasting 3-12 weeks,
you'll get one-on-one guidance from Berklee's renowned teachers and
learn with a community of like-minded musicians. Learning streams
include Songwriting, Performance, Music Education, Production and
Business. Berkleemusic also offers 30-90 minute Master Classes
available as streaming video or to purchase on DVD. Check out our
course catalog and be the first to join the Berkleemusic network.
http://www.berkleemusic.com/?affiliate_promotion_id=112
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E d i t o r ' s M u s i n g s :
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Hello again for another month, fellow songwriters. :) And here we
are at the beginning of a wonderfully balmy fall. I love this time
of year. Probably because it's the time of year I was born. :)
But I adore the colors of the turning leaves and the slight chill
in the air, the scent of woodsmoke... Ahhh.
I'm told the winter is supposed to be a fairly dry one too... Well.
I'll believe it when I see it. Don't get me wrong. I don't hate
snow, per se. I hate the icky, gray sludge that's still seeping
through my shoes and boots in mid-February. THAT, I could do
without. I'm sure I'm not the only one. In any case, away from
matters of the weather. We have better things to talk about. ;)
There's lots of stuff packed into the newsletter this month.
There's also lots of new stuff around the website (see
www.musesmuse.com/whatsnew.html for details, as per usual) -
including a new option called the Music Auction Network -
http://www.mymusiclink.com/?502358911 . VERY cool. If you're
interested in buying or selling music-related items, I invite you
to check it out. No more need for eBay!
The raffle winners for this month are Richard Hoaglund from
Whittier, CA, who has won a copy of Pat Pattison's, "Songwriting:
Essential Guide to Lyric Form and Structure" (reviewed below), and
Jennifer Rassler from Boston, MA, 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 ). I had also said that I
would announce the winner of Carla Ulbrich's book (reviewed in the
last issue), "Theory for Young Musicians". That winner is Athena
Murphy of La Habra, CA. Thanks so much to everyone who wrote in.
Enjoy the newsletter, folks! Happy Fall!
All the best,
--Jodi
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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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LYRICIST! VERSION 2.2 HAS ARRIVED-INCLUDES ON-LINE COPYRIGHT LINK
Virtual Studio Systems, Inc. is proud to announce Lyricist V2.2 -
The Songwriter's Best Friend: the first-of-its-kind word processor
designed for musicians, songwriters, and poets. The software
includes a rhyming dictionary, thesaurus, album categorization,
chord charting, chord generator, song arrangement, On-Line
Copyright Link, and much much more - all in a user-friendly
package. Check out the review at www.musesmuse.com/vss-review.html
Muse's Muse visitors can take home the product for $5.00 off the
regular selling price just for purchasing through the form provided
off of the review!
For more information, visit the review url above or call us at
888.732.1176 inside the U.S.A. and Canada or 603.726-4499 outside
the U.S.A.
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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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A FEW THOUGHTS ON REGISTRATION - a gleaning from the upcoming book
REAL QUESTIONS REAL ANSWERS, a songwriter publisher forum, Nancy A
Reece (Limited to U.S.)
1. RE: the validity of the old "mail it to myself" trick.
a. "Big vs. small money" irrelevant
b. Does work, but immaterial re: actual copyright or
registration--is simply evidence of date of copyright.
c. Best technique is certified mail to self/other
(unopened).
2. What you DON'T get if you don't register.
a. Can't bring infringement suit.
b. Can't collect compulsory license.
c. Can't recover attorney fees or get statutory damages.
d. Lose presumption that everything in your statement is
correct if you don't register w/in 5 years.
3. Registration
There is conflicting legal opinion about whether one can
copyright a title. But it's not accurate that filing a P.A.
only copyrights the title. Registration is certainly not a
useless formality (see #2, above). I know equally respected
publishers who 1) wait till a song is cut before registering
and 2) register every song submitted.
Do not be confused. Unless you are the owner of the sound recording
as well as the compositions you need to consider just what version
you send in for registration. A simple melody and lyric version of
the compositions placed on your own sound recording can be
registered so that the compositions are registered. You may
seriously consider sending in 1 PA form for each of any multiple
compositions if they are being released by a third party and you
want them clearly indicated as being your property ASAP.
Be sure to visit the U. S. Copyright Office Web page for current
registration procedures. http://www.loc.gov/copyright/reg.html
To be fully protected on each composition, you would want to
register each separately, as well as each sound recording. Many
publishers choose to register groupings. Review the procedures
again and see what best fits your situation.
It is important to make that step to have your art viewed and
heard. As soon as you place your song in a "fixed format" on tape
or written down, it becomes a fully protected intellectual property
under the U.S. Copyright Law. Registration of that copyright is
done to prove that fixed form exists on a certain day. You may
choose to simply make your copyright notice on the material "(c)
2002" or © MMII" before pitching. If you feel that after you have
presented a work, someone infringes on your copyright, it is easier
to make a legal case concerning that infringement if you have
REGISTERED the copyright. Be sure to keep good records as to when
and to whom you pitched the material so that your attorney can show
"access" if necessary in the future. It is because of this threat
of suit due to access that several publishers, record companies,
management companies, music super visors etc. will take only
solicited material.
On an "Assignment of Copyright" exhibit on a single Song Agreement
it may call for a "registration Number". If you have previously
registered the composition, then the new publisher would need that
number to properly inform the copyright office of the transfer of
ownership. If you have not registered the copyright then leave it
blank. The new publisher will then register the composition on
their behalf and get the number. If there is a reversion clause on
your Agreement, be sure to remind yourself to get the registration
number when the song reverts back to you, so that you, in turn can
re-register ownership. As with any contract, have a competent
entertainment attorney look over the agreement before signing it.
*****
ABOUT NANCY A. REECE:
Since 1998, Nancy Reece has been providing a question and answer
forum for Muse's Muse readers. Now all of the articles, forums and
Q&A's are being compiled into a book. Nancy is wanting to be sure
that you have the opportunity to receive a copy of the book as soon
as it is ready. If you are interested in getting an E-mail
notification to indicate that the book is ready for purchase,
please send your request to RealARealQ@musesmail.com .
How to Ask a Question:
If you have a question for Nancy about publishing or copyright
administration, you can e-mail her at nreece@musesmuse.com. Please
indicate in the subject of your e-mail that your submission is for
The Muse's Muse guest forum, Real Answers to Real Questions.
Thanks!
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M u s i c R e v i e w s :
by Ben Ohmart, David Lockeretz, Stacey Board & Ashley Petkovski
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Taggart Smith – You're Not Alone (by Ben Ohmart)
Taggart Smith is a happy man, and that's why his music sounds like
it does. This is a solo piano album in the vein of George Winston,
Rick Wakeman and the ever-popular Jim Brickman. Like those
authorities, Smith has a master's touch that believes fully in
melody and sunshine. If the entire album – all 12 tracks – isn't
positive, then there is no such word.
Audibly, this is music to soak your feet in. It is instrumental
accompaniment to a happy life, or it scores a way of making you get
one. There is an element of religiousness about the cd – perhaps
because the rich acoustic tones of the piano, struck with clearness
and in major chord harmony, remind one of how we are all
conditioned to accept heaven. A bright, grand and glorious place
filled with redemption and peace.
Peace. Tranquillity. That's what's going on. From time to time you
will hear the echo or full tune of a nursery rhyme or lullaby.
That's because this project began as a notion for Shelby, Smith's
new baby daughter. From that, you may gather that there's a spirit
of wonder and innocence about the music, as if we are exploring new
worlds together, listener and composer. Quite a good feeling.
http://www.shelbysongrecords.com/
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OTHER NEW MUSIC REVIEWS SINCE LAST MONTH INCLUDE:
John DeGrazio (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000281.html
Dr. Tom's Cure For Evil (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000280.html
Radio Junkies (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000282.html
Ruocco (by Ashley Petkovski)
http://musesmuse.com/columnistsgreylogs/archives/00000283.html
Heidi Stone (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000284.html
Cristina Williams Band (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000285.html
Simirillion (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000286.html
Imposter Syndrome (by Ashley Petkovski)
http://musesmuse.com/columnistsgreylogs/archives/00000287.html
Gustavo Oliveira (by David Lockeretz)
http://musesmuse.com/columnistsgreylogs/archives/00000288.html
Jessica Stone (by David Lockeretz)
http://musesmuse.com/columnistsgreylogs/archives/00000289.html
Manose (by Ben Ohmart)
http://musesmuse.com/columnistsgreylogs/archives/00000295.html
Superjuice (by Stacey Board)
http://musesmuse.com/columnistsgreylogs/archives/00000297.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!
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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
Songwriting: Essential Guide to Lyric Form and Structure: Tools and
Techniques for Writing Better Lyrics - By Pat Pattison
http://www.amazon.com/exec/obidos/ASIN/0793511801/themusesmuse
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I was a little apprehensive about reviewing the three songwriting
books by Pat Pattison, which will be the topic of this review and
the two that follow.
Simply put, to know Pat's work is to revere it. He is the absolute
master of the craft of lyric structure and it's consequential
impact on the quality of a song. Period!
Pat Pattison has been teaching lyric song writing and poetry at
Berklee College of Music since 1975, and has played an integral
part in developing Berklee's songwriting program, which was the
first complete songwriting degree program to be offered anywhere,
and is arguably the best in the world. Among the many other vast
contributions Pat makes to the music industry, he also spends a lot
of time writing in Nashville, works for TV and film, and does a ton
of workshops and clinics all over the world.
In the foreward of "Songwriting: Essential Guide to Lyric Form and
Structure" Pat indicates that "This is not a general book on lyric
writing...it's specific purpose is to help you handle your lyric
structure more effectively."
This is great because, instead of trying to deal with all aspects
of lyric writing in a diluted overview, Pat instead, offers a very
concentrated and detailed discourse on the aspect of song craft
that seems to be most absent in most songwriters background…the
deliberate use of structure.
Throughout the book Pat uses an analogy, comparing lyric writing to
juggling. When you juggle, you start with one ball and work on
attaining that skill before adding a second, third or fourth ball,
or before attempting to juggle with flaming batons or chainsaws.
The first "ball" we want to try and juggle in our lyric development
is the identification, study and manipulation of a lyric phrase.
Pat is very skilled in providing perfect examples to show: how to
match lyric phrases with the musical ones they sit on, how to write
sections of a song with balanced or unbalanced sets of phrases, and
how to contrast balanced and unbalanced sections to create a
feeling in your listener that the song is moving forward to another
section, or is resolving; coming to rest to end that collection of
ideas.
This is very cool to know, especially if you are like me and really
struggle with lyrics and usually find that, after a lot of
frustration, a structural oversight or flaw is often the problem.
Enough about me... back to the book.
The remaining chapters in the book break your lyric into syllables,
rhyme schemes, song parts such as verses, choruses and those
dreaded bridges. It then takes a concentrated look at song form and
where to place the hook (you know, the part that makes your
listener remember that you have a song).
The thing that Pat Pattison's books do better than any other books
out there, is make people write purposefully objective rather than
aimlessly subjective. He does it in a way that channels creativity
rather than controlling it and he does it with a sense of style and
humour that is very engaging.
I can now see why the publisher decided to name this book,
Songwriting: Essential Guide to Lyric Form and Structure because
"essential" is just how I would describe it.
You can find out more about Pat and order his terrific book at
patpattison.com and...
Coming soon: Berklee College of Music will launch an online lyric
writing course written by Pat Pattison. The course will launch in
January. For information, go to Pat's website, patpattison.com.
******
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
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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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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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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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LOOKING FOR A JOB IN THE INDUSTRY? LAMN CAN HELP!
The Los Angeles Music Network promotes career advancement,
continued education and communication among music industry
professionals. They sponsor industry gatherings, workshops, private
dinners and seminars with top executives; publish The Network News
which features interviews and business coverage of the music
industry; and provide professional development opportunities and
career services, such as job listings and a Mentor Program, to our
members. Visit http://www.lamn.com/ for more details.
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SOUTHERN GOSPEL SONGWRITING CONTEST - DEADLINE OCT. 15
The International Southern Gospel Music Network is hosting their
3rd annual songwriting contest. The 1st place prize package is
valued at over $2200, which includes a recording package from “The
Loft Recording Studio” (which is Tim Greene’s recording studio) in
Boone, NC as well as several other prizes and benefits. For
complete details, go to our brand new website at
http://isgmn.org/song2002.html . Don’t delay, because the deadline
is October 15th!
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PLATINUM EUROPEAN ARTIST WANTS POP/DANCE/LATIN SONGS
Tonos hosts many songwriting contests and Industry Opportunities
specifically for songwriters every month. September/October
contests include:
- European Artist Wants Pop/Dance/Latin Songs - A European female
artist, who is the lead in a platinum-selling euro-dance act, is
embarking on a solo project and wants to move into a
Pop/Dance/Latin style. They are looking for up-tempo songs only,
with English lyrics (or possibly Latin in the chorus only).
- Canadian Label Seeks Country Acts for Airplay - Country artists
are you looking for airplay? Hillcrest Records can help. The label
is looking for country artists for its next CD. Hillcrest has been
servicing the record industry and country radio for the past 25
years and has teamed up with Tonos to offer this special Industry
Opportunity to tonosPRO members.
- LA Label Looking For Tracks For New Female Artist! - A former
senior Columbia Records marketing executive is launching a label.
The Los Angeles-based label, soon to be named, is looking for
tracks for their first signing. The female artist is still being
kept under wraps, but she is a cross between Jill Scott and Nelly
Furtado.
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!
See http://tinyurl.com/9tm for more details.
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GREAT AMERICAN SONG CONTEST NOW ACCEPTING ENTRIES!
This annual songwriting event is open to songwriters and lyricists
everywhere. Features top music-industry judges, including
publishers, producers, recording artists and hit songwriters.
Offers multiple awards and prizes for 40 winners in 8 different
categories. Every songwriter receives a written evaluation of their
work from the judges. This event is sponsored each year by
Songwriters Resource Network, a free online news and education
resource for songwriters and lyricists everywhere. Postmark
deadline is November 7, 2002. Information is available at:
http://www.greatamericansong.com/ or by visiting Songwriters Resource
Network at: http://www.songwritersresourcenetwork.com/ (or click on the
banner above). Contest brochures are also available by email at:
info@GreatAmericanSong.com
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ATTENTION, GUITARISTS: NEED TO IMPROVE YOUR CHOPS?
The Guitar Study Newsletter shows you how to turn your practicing
into playing, and where to find the best free guitar info.
Subscribe at http://www.maximummusician.com/.
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WIN AN APPERANCE ON CMT! WINNERS GET THEIR FOOT IN THE DOOR OF THE
MUSIC INDUSTRY! Enter the 3rd Annual CMT/CMT.com NSAI Song Contest
The CMT/CMT.com NSAI Song Contest provides the best avenue for
aspiring songwriters to open doors to industry contacts and have
their song pitched to record labels and top publishing executives.
CMT will again provide the Grand Prize Winner with a network
appearance on CMT. Many more great prizes...
Entrants submitting songs to the contest before Sept. 30, 2002 will
receive $5 off the entry fee, and will be entered into a raffle for
a Big Baby Taylor Guitar and an AKG C 900 microphone. All entrants
will receive a judging report for every song submitted for the
contest. The final deadline for contest submissions is November 30,
2002. For more information on the Nashville Songwriters Association
International or the 3rd Annual CMT/CMT.com NSAI Song Contest,
visit http://www.nashvillesongwriters.com/ or call 800-321-6008.
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"PLAY FOR PUBLISHERS" WORKSHOP - GET YOUR SONGS HEARD!
Barbara Cloyd is hosting a "Play for Publishers" workshop in
Nashville Oct 18 - 20. Fifteen applicants will have a chance to
play songs for and learn from six different publishers. Complete
details at http://www.barbaracloyd.com/.
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GREAT ARTICLES TO CHECK OUT COURTESY OF GALARIS INDEPENDENT MUSIC:
* Copyright Registration Is Not A Pre-Condition To Protection
http://www.galaris.com/articles?id=3
* Natural Talent
http://www.galaris.com/articles?id=13
* Great Drum Sounds From Your Home Studio
http://www.galaris.com/articles?id=28
* What's Fair In A Record Deal
http://www.galaris.com/articles?id=44
* Ruthless Self-promotion in the Music Industry
http://www.galaris.com/articles?id=47
* The Mentality Behind Practicing
http://www.galaris.com/articles?id=55
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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TWO DAY WORKSHOP WITH MOSES AVALON
Los Angeles, CA. On NOVEMBER 9TH & 10TH, 2002, multi platinum
record producer, music industry insider and artists' rights
activist, Moses Avalon, will speak candidly at the American
Federation of Musicians in a coveted two-day workshop. Avalon,
author of the runaway hit book, Confessions of a Record Producer
will reveal tricks of the trade and techniques to help musician's
protect their hard earned money. Registration is limited to 100
attendees. For registration, go to http://www.mosesavalon.com/
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WANT TO LEARN SONGWRITING FROM THE BEST?
Then join us in Breckenridge, Colorado October 16-19, 2002 for The
Three Couples Songwriting Seminar High up in the Rocky Mountains…
Six of the best songwriting teachers in the country, will mentor
YOU, in an intimate group of 30, with their songwriting wisdom,
constructive critiquing and networking knowledge. Featuring: Pat
and Pete Luboff – Nashville, JoAnn and John Braheny – Los Angeles,
Sara Light and Danny Arena – Nashville, Songwriters and teachers
extraordinaire! For more information see
http://www.beamsonline.com/upcoming.html
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SHOWCASE AT "WINTERFOLK" IN TORONTO!
Toronto's newest folk, roots and blues festival is now accepting
showcase submissions from emerging artists. "Winterfolk" takes
place January 31 February 2, 2003 at four prime downtown TO
venues. The event will feature both new and established artists.
Successful showcase applicants will receive a 45 minute
performance, free passes to the festival, promotion and a chance at
the Convocation Hall finale! Applications and festival details
are now online at http://www.winterfolk.com/
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USA SONGWRITING COMPETITION'S MONTHLY "SOUTH FLORIDA UNPLUGGED"
SHOWCASE AT "BAMBOO ROOM" SEEKING MUSIC ACTS
In order to help promote various talent in the music community, USA
Songwriting Competition is proud to announce that they will
present: "South Florida Unplugged," a Monthly Showcase & Networking
Event in Lake Worth, FL every second Tuesday of the month, first
showcase starting January 14, 2003 at Bamboo Room in the South
Florida area. Past acts that have performed there include Ellis
Paul, Dion and Bob Malone. We are currently selecting artists
for the monthly showcase. If you're interested in applying and
being considered for future showcases, please e-mail:
info@songwriting.net
Details:
Time: Every 2nd Tuesday of the month,
next show - 8.00 to 10pm, Tuesday, January 14, 2003
Location: Bamboo Room, 25 South J St., Lake Worth, FL 33460
Admission: Free
http://www.songwriting.net/showcases.html
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NSAI Open Mics at Mars Music all over the U.S. - Get your
performance recorded for just $5, win great prizes, enter the
CMT/CMT.com NSAI Song Contest!
NSAI and Mars Music will host 22 "open mic" nights all over the
U.S. on October 23rd (and 24th). Each "open mic" will have judges
from the local music community. Three winners will receive free
entry into the 3rd Annual CMT/CMT.com NSAI Song Contest and a Mars
Music $25 gift certificate. All winners from the "open mic" nights
will also be entered into a raffle for a trip to Nashville
including airfare for two on American Airlines, three hotel
room-nights, and free admission to the Tin Pan South songwriter's
festival. Enter CMT/CMT.com NSAI Song Contest the night of the
"open mic" and save postage by dropping off entries at the NSAI
information table. Mars Music will record individual "open mic"
performances and burn a CD for just $5 so you can enter the
CMT/CMT.com NSAI Song Contest that night!
Locate the "open mic" night near you and learn more about NSAI and
the CMT/CMT.com NSAI Song Contest by visiting
http://www.nashvillesongwriters.com/ or call 1-800-321-6008.
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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These days, more and more songwriters are learning to use
increasingly user-friendly technology to record their songs. This
ease of use is wonderful, but the fact is that we often don't
understand much of what we're actually doing! Do you know the
difference between analog and digital? Do you know how a CD works?
Even how your own hearing works?
A website I ran across a long time ago is an excellent resource for
learning all of these things! It's called "How Stuff Works"
(http://www.howstuffworks.com/) and it now has an excellent section
devoted to Audio
(http://www.howstuffworks.com/category.htm?cat=Audio). There are
the occasional pop-up ads which seem to be a necessary evil these
days, but if you can ignore them, you'll find all kinds of
interesting information on everything from acoustic and electric
guitars, amplifiers, mp3 files, how speakers work, even info on how
Napster technology came to be.
One of the best features of this website is its interactive
activities. You can play .wav files of sounds, interact with the
graphics, and each section is broken down into short,
easy-to-absorb pages so that you don't get too overwhelmed. There
are also links to other websites that provide even more information
related to each section.
Buried inside these pages are terms that you may have heard many
times but never quite understood before, and facts that may
fascinate you. But the most important part, I think, is simply
finding out how stuff works.
******
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
=================================================================
And speaking of "how stuff works".... :)
F e a t u r e d A r t i c l e :
HOW THE VOICE WORKS: From the Vocal Release Singing Manual
- by Eric Frey
© Eric Frey, 2002 All Rights Reserved. Used By Permission
For more information on Eric's Vocal Release program, visit:
http://www.vocalrelease.com/?musesmuse
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If you've never sung before or even if you have but never knew the
physical mechanics behind singing, it is fundamental that you know
exactly what is happening. If you're just starting out, you should
be reading this first. When I took vocal lessons, it always
baffled me as to why, on my first lesson, my vocal coach did not
make it a point to make sure I understood what was happening in my
throat. This in itself would have saved me time and aggravation.
After all, you can't be asked to try to accomplish something if
you don't know what it is you're trying to accomplish. If you
chose to take vocal lessons, be very dubious of a coach who cannot
tell you what makes the voice work correctly. Just because someone
can sing well doesn't mean they can teach you to do the same. With
that said, on to the mechanics of it.
In an ideal circumstance, a voice has no registers. It is one
smoothed out instrument from lowest pitch to highest pitch. The
singer moves without flipping or breaking, without noticeable
shifts to the listener. But most people do not have a smoothed out
voice without breaks. The terminology of breaks and registers was
brought about to describe singers who's voices had gaps in between
the different tonal parts of their voice. So, as this is an
accepted terminology, I'll describe the different registers for you
from lowest to highest.
VOCAL FRY:
There is some argument among instructors as to whether or not this
is an actual register as it can be used to add a raspy sound to
other registers. It is commonly accepted that it is the lowest, so
we'll just start here. Vocal fry is more of a style thing. By
putting less amount of air on the cords than is needed for a clear
tone of the pitch you are going for, the tone breaks up and becomes
a rasp. Used on lower pitches, which it usually is, you can end up
sounding like the cartoon character, Elmer Fudd. Stylistically, it
is often used to slide into a phrase or trail off. To do the vocal
fry, put very little air over your cords - just enough to make the
slightest sound without going into a whisper or becoming airy. It
kind of sounds like the sound most people make when they are
sleeping and someone nudges them to get up when they don't want to.
You put just barely enough air over the cords to make them move.
When you master this, you can add it to your regular range for a
great raspy sound without hurting your voice. This is great for
rock and roll. But be warned - once you start down this road, it
may be hard to get a clear tone if you practice like this all the
time. Everyone comes down to muscle memory. Vocal fry is the only
way to add a screaming sound to singing without hurting your voice
and limiting your range. What someone usually does when they want
to scream in a song is clench their throat and force out the broken
up tone. This practice is very damaging to a singing voice. Vocal
fry, used well, has a smoother sound than this, but still lends
itself well to a raspy or rock and roll sound.
CHEST VOICE:
This is usually the voice most people talk in. When you sing in
your chest voice, the cords are all the way apart. Air flows over
the whole length of them. As the name would imply, this is a deep,
full sound. Generally in church or choir singing, men sing in
chest voice. Most of the resonance is felt below the cords in the
upper chest and comes straight out of the mouth without stopping at
the back of the pallet or the mask. Once you reach a point in your
chest voice that you can no longer go any higher without forcing
it, you should be shifting to middle voice. Although after you
train your voice and learn to control resonance, you can produce a
chest voice that has resonant qualities similar to middle and head
voice. That is, resonance sounding up through the back palate or
mask.
MIDDLE VOICE:
This is also known as a mixed voice. If cord adducting is done
correctly, once you reach the limit of your chest voice, you shift
to middle voice. Some coaches don't believe in a middle voice.
These teachers generally teach choirs or church singing. Most of
the ones I've run into taught that lower range notes should be sung
in chest and higher ranges in head voice. While this is just fine
for church or choir, if you try to join a group or become a diva
type of singer, you will be laughed at. Middle voice is the
commercial voice that performers are going for whether they know it
or not. It has the best qualities of both chest and head voice. A
very strong middle voice will resonate not only below the cords in
the upper chest, but also above them into the back palate and the
mask. It is very resonant and has a high output. When you watch
singers and they are hitting high, full notes with apparently
little strain, it is because they have smoothed out their range and
when they go up, they switch to middle voice.
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For the remainder of this article, please visit
http://www.musesmuse.com/art-vocalrelease1.html
-------------------------------------------------------------------
******
Eric Frey has spent fifteen years coming up with the Vocal Release
system, a program specifically designed to help those who want to
sing in the rock and pop style, sing better and with less wear and
tear on their voices. He started singing when he was fifteen,
having the usual adolescent dreams of becoming a rock star
overnight. After about two years of thrashing his voice with poor
vocal technique, he decided to take singing seriously. He started
taking lesson with every coach he could find and bought every
program and book on singing he could get his hands on. Far too
many of them insisted that the classical approach was the only
proper way to learn good technique and proper control. Fortunately,
he had sense enough not to try and apply operatic style singing to
the rock bands he was in. But he did learn every exercise that was
useful. He kept those and threw out all the outdated exercises.
His approach has been streamlined into his program. For more
information on his unique approach to vocal training, see
http://www.vocalrelease.com/?musesmuse .
Back to Menu
=================================================================
C o l u m n i s t s I n S p o t l i g h t :
Jon Nicol and his VERTICAL SONGWRITING
http://www.musesmuse.com/col-jonnicol.html
Jon is one of our newest columnists here at The Muse's Muse and
we're very happy to have him with us. While his column focuses on
some of the unique problems facing those who write songs for
worship, many of his principles also apply to other types of
songwriting as well. No matter what genre of songs you write,
Jon's goal is to help you achieve excellence.
-------------------------------------------------------------------
DESCRIPTION OF COLUMN:
Is your songwriting "set...on things above?" Join Jon Nicol as he
explores the unique challenge of writing worship music for the
church today. Whether you're just beginning your ascent, or you've
been climbing for years, Jon will strive to give praise and worship
songwriters a foothold as they strive for the peak.
MESSAGE FROM JON:
At least three times in the Book of Psalms, the psalmist instructs
the people to "sing to the Lord a new song." So it has been the
work of the songwriter for thousands of years to write the new song
that God's people will sing. In the last ten to fifteen years, the
world has seen an outpouring of "new songs" to the extent that even
media giants like Time Warner can't ignore them. From the local
Christian bookstore to Wal-Mart to TimeLife television commercials,
"praise and worship music" has become a force and industry all its
own. And with any genre of music, it would have no life without the
songwriter.
If you are endeavoring to set your craft "on things above" (Col 3:
1,2), you are a "vertical songwriter," and this column is for YOU!
Together we'll explore the unique challenges of writing songs for
and about the highest audience: God. There's plenty of great
instruction on how to write songs (some of the best is right here
on The Muse’s Muse!), so I won't try to reinvent the wheel. The
focus will be to take those tried and true (as well as some of the
unorthodox and unconventional) techniques in songwriting and apply
them to praise and worship music. We'll also examine elements in
great worship songs in order to figure out what made them "great."
My hope for this column is two-fold: 1) To equip "vertical"
songwriters (including myself) to move to a higher level of
excellence in writing; and 2) to gather together an online
community of praise and worship songwriters for collaboration,
encouragement and networking.
JON'S BIO:
Jon Nicol is an independent artist and songwriter from the
Mansfield, OH area. He is a volunteer worship leader and a
guitarist at his church, North Woodbury Alliance. His first
full-length CD, due out this fall, is entitled "St. Laundromat." He
is married to an incredible woman named Shannon. Presently, their
only dependent is a Jack Russell terrier named Tillie. Please visit
Jon on the web at jonnicol.com.
Back to Menu
=================================================================
" O N S I T E " F E A T U R E D A R T I C L E :
Kickin' Cardio For Vocalists - by Dagmar Morgan
http://musesmuse.com/columnistsgreylogs/archives/00000293.html
In keeping with the somewhat vocal theme of this month's
newsletter, here's an article by Dagmar to help you build up your
vocal strength - by building up the REST of you. It includes tons
of great information on how to get started on your own exercise
regiment.
=================================================================
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 :
-----------------------------------------------------------------
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-----------------------------------------------------------------
HEY SONGWRITERS! POP QUIZ. GIVE ME THREE RHYMES FOR "HEARTBREAK"...
Locate every song's lead sheet you ever wrote, their genre, and
album. What's the fingering for a G#sus4 chord at the ninth fret?
Now copyright a song from where you're sitting without removing
your hands from your mouse or keyboard. Your time is up! You know
what you need? LYRICIST! It's the songwriter's best friend.
Includes Rhyming Dictionary, Album Categorization, Chord Charting,
On-Line Copyright, and more. Check out the review at
http://www.musesmuse.com/vss-review.html .
For more information, visit the review url above or call Virtual
Studio Systems at 888.732.1176 inside the U.S.A. and Canada or
603.726.4499 everywhere else.
-----------------------------------------------------------------
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Check it out - http://www.cdstreet.com/signup/musesmuse
-----------------------------------------------------------------
ATTN: SONGWRITERS / MUSICIANS
This is the all new 3rd edition of "IN THE RIGHT DIRECTION - A
Beginner's Guide To Starting A Record Label", only $24.99. The
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-----------------------------------------------------------------
GET YOUR COPY OF THE INDIE CONTACT BIBLE & START MAKING WAVES!
This is an absolutely priceless resource for indie musicians. If
you want your music reviewed, on the radio, *heard*, THIS is the
resource you need to have. It's not going to tell you "how" but it
will *certainly* tell you "who". I highly recommend you pick it up
in order to compliment your other music marketing techniques. Have
a look at this url and read through a few sample pages to see what
I mean: http://www.bigmeteor.com/muse
(Full review at http://www.musesmuse.com/3.4-July00.html#book)
=================================================================
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: editor@musesmuse.com
For Newsletter Sponsorship rates and other advertising
opportunities, please see http://www.musesmuse.com/media.html .
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C o n t a c t I n f o & C r e d i t s :
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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 editor@musesmuse.com.
All articles copyrighted by their authors.
Back issues and other information will be available at:
http://www.musesmuse.com/musenews.html
The Muse's News is part of The Muse's Muse, a web resource for
songwriters: http://www.musesmuse.com/
For further information, send your e-mail to:
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on market information or sponsor
The Muse's News.
info@musesmuse.com - How to subscribe, unsubscribe, etc.
editor@musesmuse.com - To submit articles,reviews,ideas,etc.
SNAILMAIL: Please contact me first at editor@musesmuse.com
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Back issues of the newsletter can be read at the National Library of Canada ecollection:
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