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Introduction | xviii | |
Step 1 | Developing Successful Song Structures | 1 |
Chapter 1 | Identifying the Most Successful Song Structures--and Why They Work | 2 |
Identifying the Components of a Song | 4 | |
The Verse | 4 | |
The Pre-Chorus | 5 | |
The Chorus | 7 | |
The Bridge | 11 | |
Building a Successful Song | 13 | |
Verse-Chorus-Verse-Chorus | 13 | |
Verse-Chorus-Verse-Chorus-Bridge-Chorus | 14 | |
Verse-Chorus-Verse-Chorus-Verse-Chorus | 15 | |
Verse-Verse-Bridge-Verse | 17 | |
Variations | 19 | |
Exercise: Identifying Song Structures | 20 | |
Introductions, Instrumental Solos, and Turnarounds | 20 | |
Exercise: Using Successful Song Structures | 22 | |
Step 1 | Conclusion | 22 |
Song Structure Checklist | 23 | |
Step 2 | Writing Effective Lyrics | 25 |
Chapter 2 | Developing Great Song Ideas and Catchy Titles | 26 |
Understanding What Constitutes a Great Idea--and How to Find One | 26 | |
Keeping a Hook Book | 33 | |
Exercise: Finding Original Titles | 33 | |
Making the Singer Look Good | 34 | |
Using Songs to Help Define Artist Identity | 35 | |
Exercise: Defining Artist Identity | 36 | |
Point of View: Deciding Which "Voice" to Write From | 36 | |
Using the Three-Step Lyric-Focusing Technique | 37 | |
Step 1 | Start with a Title | 39 |
Step 2 | Outline the Story | 39 |
Step 3 | Write the Actual Lines of Lyric | 40 |
Exercise: Practicing the Three-Step Lyric-Focusing Technique | 41 | |
Writing Abstract Lyrics | 41 | |
Chapter 3 | Acquiring the Tools for Successful Lyric Writing | 42 |
Expressing One Idea and One Emotion | 42 | |
Maintaining One Consistent Tense and Tone | 43 | |
Developing Strong Opening Lines | 45 | |
Exercise: Writing Strong Opening Lines | 46 | |
Maintaining Continuity | 46 | |
Incorporating Detail, Action, and Imagery into Lyrics | 47 | |
Exercise: Learning to Tell the Story--Not the Feelings | 50 | |
Exercise: Incorporating Detail, Action, and Imagery into Lyrics | 51 | |
Keeping It Conversational | 52 | |
Keeping Your Imagery Fresh | 53 | |
Exercise: Finding a New Way to Say It | 54 | |
Exercise: Using Fresh Imagery | 55 | |
Creating a Lyric Palette | 56 | |
Exercise: Creating a Lyric Palette | 56 | |
Avoiding Redundancy | 56 | |
Avoiding Preaching (Unless You're in Church) | 57 | |
Writing the Dreaded Second Verse | 57 | |
Exercise: Adding New Information to the Second Verse | 58 | |
Using Rhymes: Where to, When to, How to, and Why to | 59 | |
Types of Rhymes | 60 | |
Rhyme Schemes | 62 | |
Using a Rhyming Dictionary and Thesaurus | 62 | |
Using the List Technique | 63 | |
Exercise: Practicing the List Technique | 64 | |
Looking for Opposites and Twists on Words | 65 | |
Exercise: Looking for Opposites and Twists on Words | 65 | |
Using Assonance and Alliteration | 66 | |
Exercise: Using Assonance and Alliteration | 66 | |
Saving Key Words | 67 | |
Writing the Big Payoff Lines | 67 | |
Writing Lyrics to an Existing Melody | 68 | |
Exercise: Writing a Lyric to an Existing Melody | 69 | |
Visualizing a Hit | 70 | |
Exercise: Visualizing a Hit | 70 | |
Rewriting Your Lyrics | 70 | |
Exercise: Rewriting a Verse Lyric | 75 | |
Making Each Line Its Strongest | 76 | |
Additional Lyric Tips | 77 | |
What If I Only Write Lyrics? | 78 | |
Chapter 4 | Writing for Specialty Markets | 79 |
Writing Successful Children's Songs | 79 | |
Writing Christian Music | 82 | |
Crafting Comedy Songs | 85 | |
Parodies | 85 | |
Original Comedy Songs | 86 | |
Writing Folk/Americana Songs | 87 | |
Crafting Successful Christmas Songs | 90 | |
Exercise: Writing Christmas Lyrics | 92 | |
Writing Cabaret Songs | 92 | |
Writing for the Latin Market | 94 | |
Step 2 | Conclusion | 96 |
Lyric Checklist | 97 | |
Step 3 | Composing Memorable Melodies | 99 |
Chapter 5 | Learning Effective Melody-Writing Skills | 100 |
Writing A Cappella | 100 | |
Exercise: Writing A Cappella | 102 | |
Exercise: Trying a New Approach | 103 | |
Keeping It Simple and Singable (K.I.S.S.) | 103 | |
Using Hymns and Children's Songs for Melodic Inspiration | 104 | |
Making It Obvious Where the Title Goes Without the Lyric | 105 | |
Altering the Range, Varying the Rhythms, and Inserting Pauses | 105 | |
Exercise: Making Your Title Jump Out | 105 | |
Marrying the Music to the Lyric: Prosody | 106 | |
Varying the Rhythms | 106 | |
Choosing the Appropriate Melodic Range | 107 | |
Chapter 6 | Using Repetition Effectively | 109 |
Keeping Your Phrases Short and Catchy | 109 | |
Writing Symmetrical Phrases | 111 | |
Exercise: Crafting Lyrics that Lend Themselves to Catchy Melodies | 112 | |
Chapter 7 | Acquiring Additional Melody-Writing Techniques | 114 |
Using Fresh Rhythms | 115 | |
Breaking the Lines | 115 | |
Trying Different Notes | 117 | |
Exercise: Practicing Breaking the Lines and Assigning Different Notes | 118 | |
Learning to Use Nonsense Syllables | 118 | |
Repeating Words or Phrases | 118 | |
Exercise: Incorporating Repeating Words or Phrases and Nonsense Syllables | 119 | |
Learning the Power of Sequential Intervals, Ascending Notes, and Descending Notes | 119 | |
Exercise: Incorporating Sequential Intervals, Ascending Notes, and Descending Notes | 120 | |
Varying the Tempo and Time Signature | 121 | |
Exercise: Applying Different Tempos and Time Signatures | 121 | |
Finding Those Magic Moments: The Unexpected Note or Chord | 121 | |
Exercise: Incorporating Magic Moments | 122 | |
Using Signature Licks | 123 | |
Exercise: Composing Signature Licks | 123 | |
Incorporating Modulations | 123 | |
Exercise: Incorporating Modulations | 125 | |
Avoiding Plagiarism | 125 | |
The Melody Test: Can You Write Effective Melodies? | 125 | |
Exercise: Analyzing Hit Melodies | 126 | |
What If I Write Only Music? | 127 | |
Step 3 | Conclusion | 127 |
Melody Checklist | 129 | |
Step 4 | Producing Successful Demos | 131 |
Chapter 8 | Learning How and When to Record a Demo | 132 |
How to Know When Your Song Is Ready | 132 | |
Identifying What's Right for Your Song | 134 | |
Avoiding "The Big Lie" | 135 | |
Distinguishing Between Song Demos and Artist Demos | 135 | |
Measuring Up to the Professional Standard | 137 | |
Knowing How Many Tracks Are Necessary | 138 | |
Determining Budgets | 138 | |
Deciding Between Self-Producing and Demo Services | 141 | |
Exercise: Planning to Record Your Demo | 143 | |
Chapter 9 | Preparing to Record Your Demo | 144 |
Preparing Lyric Sheets | 144 | |
Recording Work Tapes | 146 | |
Writing Chord Charts | 146 | |
The Nashville Number System | 147 | |
Deciding on an Arrangement | 150 | |
Determining the Proper Key | 151 | |
Hiring the Best Musicians | 152 | |
Selecting the Right Studio | 153 | |
Learning to Speak "Musician" | 154 | |
Choosing the Best Vocalist | 154 | |
Using Technology to Capture the Best Vocal Performance | 157 | |
Deciding Whether to Use a Male or Female Vocalist | 158 | |
Chapter 10 | Mixing | 160 |
Recording Formats | 161 | |
Hard Drive | 161 | |
CD | 162 | |
MP3 | 162 | |
Cassette | 163 | |
Reel-to-Reel | 163 | |
DAT | 164 | |
ADAT | 164 | |
Analog Versus Digital | 164 | |
Learning About Track Mixes | 165 | |
Mastering | 166 | |
Step 4 | Conclusion | 166 |
Demo Checklist | 167 | |
Step 5 | Taking Care of Business | 169 |
Chapter 11 | Learning Where the Money Comes From | 170 |
Mechanical Royalties | 171 | |
Domestic and Foreign Royalties | 173 | |
Performance Royalties and Performing Rights Organizations | 173 | |
Print Sales | 176 | |
Synchronization Licenses | 177 | |
Writing Jingles and Placing Songs in Commercials | 179 | |
Music Libraries | 180 | |
Church Copyright License Royalties | 180 | |
Works for Hire | 181 | |
Using Samples | 182 | |
Future Sources of Revenue | 182 | |
Chapter 12 | Understanding What Music Publishing Really Means | 183 |
How to Get a Publisher--and Why | 184 | |
Working with Your Publisher to Achieve Your Goals | 189 | |
Self-Publishing | 190 | |
Using Songpluggers | 192 | |
Chapter 13 | Understanding Publishing Agreements | 194 |
Single-Song Agreements | 195 | |
Reversion Clauses | 196 | |
Staff-Writing Deals | 196 | |
Copublishing Deals | 200 | |
Chapter 14 | Making Connections and Pitching Your Songs | 202 |
Networking | 202 | |
Collaborating | 204 | |
How to Find a Collaborator | 209 | |
How and When to Copyright Your Songs | 210 | |
Finding Out Who's Looking for Songs and What They're Looking For | 212 | |
Using Pitch Sheets Effectively | 213 | |
Pitching Your Songs to the Right People | 215 | |
Pitching to A&R Staff | 216 | |
Pitching to Producers/Production Coordinators | 217 | |
Pitching to Artists | 218 | |
Pitching to Artists' Managers | 218 | |
Pitching to New Artists and Independent Labels | 219 | |
Developing Your Pitch Presentation | 220 | |
Pitching to Publishers | 221 | |
Pitching to A&R, Producers, Artists, and Managers | 225 | |
Knowing How Many Songs to Include | 226 | |
Understanding Holds | 228 | |
Entering Contests | 230 | |
Avoiding the Scams | 231 | |
Step 5 | Conclusion | 234 |
Business Checklist | 235 | |
Step 6 | Developing Persistence and Realistic Expectations | 237 |
Chapter 15 | Hanging In There Until the Big Break | 238 |
Understanding What to Expect | 239 | |
Making the Time for Yourself and Your Creativity | 241 | |
Chapter 16 | Getting Past "No" | 243 |
Overcoming the Obstacles | 244 | |
Exercise: Overcoming the Obstacles to Success | 245 | |
Coping with Rejection | 246 | |
Finding Validation from Within | 248 | |
Dealing with the Big Critic Inside Your Head | 251 | |
Exercise: Ten Magic Minutes | 253 | |
Finding a Market for Your Talent | 253 | |
Step 6 | Conclusion | 254 |
Persistence and Realistic Expectations Checklist | 255 | |
Exercise: Final Assignment | 256 | |
Afterword | 257 | |
Author Information | 259 | |
Appendix | 260 | |
Song Permissions | 271 | |
Index | 274 |
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