Why form a songwriting team?

Did you enjoy my latest post about songwriting teams? Reading the stories of songwriting teams was good because you get a chance to find out how people met, how long they were a songwriting or production team, what hits they wrote together, who they previously wrote songs with, which artist they wrote for, etc. It's good reading! So check out that post if you did not!

So the question is though: why form a songwriting team? Why have a production team? If I can write a whole song by myself, why work with anyone else? Why give someone else credit? Why would I choose to include someone in on a song and then have to share the royalties?

Well, you don't HAVE to do anything. You can write a whole song from start to finish. You can make a beat yourself. You can write all the lyrics. You can write or compose solo, get all the credit, get all the money, and all the fame.

But here's some benefits to writing or composing with a songwriting and/or production team:

1. A songwriting/production team can help you write more songs. You can writer more songs with a songwriting/production team than you can by yourself. If you only have to write the hook, or do the bass line to a song, think of how many bass lines or hooks you could come up with, knowing your partner's got the verses or the melody.

2. A songwriting/production team can help you finish a song. Each person can write different parts of the song or help with finishing a song you've started but couldn't finish. In most cases, you can depend on the other person or persons to help you with a line or part or lick that you're stuck on.

3. A songwriting/production team can help you brainstorm more ideas and thus generate more songs.

4. A songwriting/production team can help you remember melodies, lines, titles, lyrics, and licks that you forgot so you can develop that part better.

5. A songwriting/production team can help you develop your craft - Since we don't all think alike, having another person's style that's different from ours will help develop your craft so that your songs won't all sound alike. While some producers have a certain sound, and you know I encouraged that in one of my prior blogs (click here to read it), you don't want people to say your song sounds just like the one you did on another project.

6. A songwriting/production team will help you have versatility in your music.

7. A team will help encourage you to continue. If you are dedicated to a group, sometimes that dedication to the group will help you stay dedicated to your dream.

8. A songwriting team helps eliminate weaknesses - if you are a strong lyricist but not a strong melody writer, hooking up with a melody writer will help you write better songs with better melodies, finish your songs, give life to your lyrics, help you write better lyrics since your lyrics will have to fit with the music, etc.
Same with producers who are great with making a beat but you need someone to help with writing lyrics or with mixing, etc.

9. A songwriting team helps with getting recognized. Typically we don't all know the same people so imagine having several people on a production team who meet different people in the industry or worked with different people at different times coming together to write and based on relationships, they are able to get their songs recorded. It happens in the music industry all the time.

10.Having a songwriting team helps you stay on your grind. Being accountable to a team will help you stay focused on doing what you need to do to make it in this industry.

So while you may be able to get all the credit, get all the money, and all the fame from doing everything yourself, consider the above benefits for writing and/or producing with a songwriting and/or production team and ask yourself, am I missing out?

Thedy B, Attorney/Songwriter
Hits A Million, LLC
hitsamillion.blogspot.com
Interviewed.blogspot.com
Musicpanels.blogspot.com
Mobilemusicbusiness.blogspot.com
Musiclabels.blogspot.com
globalmusicbusiness.blogspot.com

More Songwriting Contests

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Check my previous blogs on other songwriting contests I've mentioned. But here's other opportunities to compete:

Songwriting Contest #12

Mid-Atlantic Songwriting Contest- Opens June 1st. Deadline is August 15th.

www.saw.org/masc.asp
The Songwriters’ Association of Washington (SAW), founded in 1979 as a nonprofit organization, holds the Mid-Atlantic Song Contest to help songwriters receive recognition and assistance in their musical endeavors. The proceeds from the contest enable SAW to provide programs throughout the year that educate and develop the talents of those interested in the art and business of songwriting. For more information on becoming a SAW member, call: (301) 654-8434. For more contest info: masc@saw.org

Songwriting #13:

Billboard's Song Contest - Deadline November 15, 2008

Whether your style of music is pop, rock, country, jazz, gospel, Latin, blues, or dance, the 14th Annual Billboard Song Contest could offer you unparalleled professional exposure among some of the music industry’s most influential names. All songs receive a judging report. Our judging report will tell you how your song performed with tips on structure and content.

Our professional songwriting and music industry judges will be considering your music on the basis of originality, lyrics, melody, composition and commercial appeal, so you don't need to book studio time to produce your entry. Although production does make the song prettier, production values do not count. A homemade "track" is fine. Don't worry if you're not a great singer - after all, it's a songwriting contest!

If you've averaged less than $5,000 per year total royalties earned from music since 1992 (including prize winnings from previous song contests), you're eligible to enter. Here's how a star could be born! Enter your original song(s) in any of these categories: Country, Pop, Rock/Alternative, Contemporary Christian/Traditional Gospel, Latin, Jazz, Dance, or R&B/Blues.

For more information, visit http://www.billboardsongcontest.com/


Songwriting #14:


Songdoor International Songwriting Competition - Deadline is November 15, 2008

With the goal of helping songwriters everywhere to improve their craft, SongDoor provides all entrants a free self-paced songwriting course from SongU.com and a professional, personalized evaluation of every song. The Grand Award winner receives a private-session, full band demo produced on Music Row in Nashville, as well as a one-year Platinum Membership to SongU.com and many other great songwriters' tools. There are also seven Category Winners. The judges (industry producers, engineers, artists and songwriters) have worked with the likes of Neil Young, *NSYNC, Tony Bennett, Britney Spears, Kenny Rogers and The Allman Brothers, to name just a few. The competition is open to amateurs and professionals worldwide. Competition opens: April 15. Entry deadline: November 15. Entry fee: $10. For complete details, go to: http://www.songdoor.com/. You must be 18 or older to enter.

Thedy B, Attorney/Songwriter
Hits A Million, LLC
hitsamillion.blogspot.com
myspace.com/hitsamillionllc

Songpull » Are You The Next Jingle-Writing Genius? Compete For A Chance To Win $100,000 » Songwriting Community Blog - Songwriter Networking

In addition to the 10 songwriting contests that I mentioned in my previous post, here's another chance for you to participate in a songwriting contest, get exposure, win some money, and win a contract with one of the companies! This time you can compose and write a jingle to win! For more information, click on the link below. Sign up today to attend an open call nearest you! The deadlines to enter this jingle writing contest are from May 28th through June 7th.

Songpull » Are You The Next Jingle-Writing Genius? Compete For A Chance To Win $100,000 » Songwriting Community Blog - Songwriter Networking

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Thedy B, Attorney/Songwriter
Hits A Million, LLC
hitsamillion.blogspot.com

Songwriting Contest and Competition Benefits

In my prior post, I gave you a list of 10 upcoming songwriting contests that you can take advantage of. The advantages and benefits of participating in a songwriting contest are:

1. You can get your music heard. Many songwriters and artists are looking to get their music heard by music industry professionals. Well here's your chance to get your music heard by music industry professionals.

2. You can get your music evaluated. In some of the songwriting contests, your songs will be evaluated regardless of whether your song places in the top or not. This evaluation or feedback will help you enhance your songwriting skills by hopefully showing you areas of improvement, areas of strengths, and help you gage how your songwriting skills compete with others.

3. You can compete with other songwriters. You compete every day anyway with other songwriters to get placements so you might as well compete with songwriters in a songwriting contest. Who knows? You might win!

4. You can receive recognition. Since songwriters need to brand, market and promote themselves, entering a songwriting contest and placing in the top spots will win you some recognition in the music industry.

5. You can receive prizes. Each songwriting contest has prizes for the top songwriters. Those prizes could be musical gear, a recording contract, free branding and promotion, and many other things that will help you boost your songwriting career.

6. You save money. Though most songwriting contests require some sort of entry fee to participate, you can actually save money by participating in these contests. How? You save money by investing the $30 entry fee for example, and find out now that your song needs a lot of work versus paying hundreds of dollars in studio fees, paying musicians and singers, and engineers to produce that same song that needs work. Getting feedback well before you invest your money is a good investment of your music money. (For additional money saving tips for songwriters, click here!)

7. You get the opportunity to network. Here's yet another way to network! (To read all my blogs on networking, click here!) Here's your chance , for $30, to have an industry professional listen to your music. Many people spend hundreds of dollars going to a music conference or showcase to have an industry person listen to their music. This is your chance instead to pay a little and potentially get much more out of it! (For additional money saving tips for songwriters, click here!)

So take advantage of the songwriting contests that I mentioned in my prior blog, they could be another valuable tool in getting you signed as an singer-songwriter to a record label, getting you a music publishing deal, and/or building your brand, your name, and your songwriting skills.


Thedy B, Attorney/Songwriter
Hits A Million, LLC
myspace.com/hitsamillionllc
interviewed.blogspot.com - contains interviews of top producers, songwriters, & music execs
globalmusicbusiness.blogspot.com -helping you go global with your music
musicpanels.blogspot.com -missed a music conference, find some clips of it here
mobilemusicbusiness.blogspot.com -go mobile with your music, find ways to do mobile marketing
musiclabels.blogspot.com - find out information on new record labels recently launched
hitsamillion.ning.com - network with other producers, singers, songwriters, and beatmakers

Songwriting Contests, Competitions & Awards

The following is a list of some upcoming songwriting contests:

Songwriting Contest #1 -Deadline May 30, 2008

2008 USA SONGWRITING COMPETITION
The 2008 USA Songwriting Competition deadline is fast approaching. Win a top prize of $50,000 worth of cash and merchandise such as cool gear from Sony, Ibanez Guitars, D'Addario Strings, Peavey, Audio-Technica and more. Also, have your winning songs played on radio! Enter in Pop, Rock/Alt, Folk, R&B, Hip-Hop, Jazz, Instrumental, etc.

Since 1995, USA Songwriting Competition has been honoring songwriters from all over the world. Winners came from Australia, Japan, Canada, UK, Germany, Brazil, South Africa, USA, etc. Past winners have gotten recording contracts, getting their songs on film, TV as well as getting cuts with major artists. The 2005 Winner of the country category had his winning song cut by Faith Hill. The 2005 winner of the pop category was signed by MySpace/Interscope records.

Entries must be entered by May 30 or earlier. The entry form can be found at:
http://www.songwriting.net/entryform.html

Songwriting Contest #2 - Deadline June 7, 2008

BLACKDOG MEDIA GROUP LAUNCHES UPSTATE NY SONGWRITING CONTEST!
The Upstate New York Songwriting Contest is open to all musicians of all music styles. Simply record a demo and submit either by mail (CD or Cassette) or online (mp3) – entries will not be judged by recording quality, but by the quality of the song. Entries are due no later than June 7, 2008 and can be submitted via the contest website or by mail. Contestants are eligible for over $10,000 in prizes. Visit http://www.songcontestny.com/Home.html for full details.

Songwriting Contest # 3 -Deadline is June 15, 2008

The John Lennon Songwriting Contest is an international songwriting contest that began in 1997. The Contest is open to amateur and professional songwriters who submit entries in any one of 12 categories. The JLSC is open year-round and features two Sessions -- with 72 Finalists, 24 Grand Prize Winners, 12 Lennon Award Winners and 1 Maxell Song of the Year.
You don't need a professional recording. Entries will be judged on originality, melody, composition, and lyrics (when applicable). Your songs may be entered in any of the following categories: Rock, Country, Jazz, Pop, World, Rhythm & Blues, Hip Hop, Gospel/Inspirational, Latin, Electronic, Folk, and Children's. Instrumental compositions are encouraged. For a complete list of prizes, go to http://www.jlsc.com/prizes.php. To see who the judges will be, go to: http://www.jlsc.com/judges.php. To enter the contest, go to: http://www.jlsc.com/enter.php

Songwriting Contest #4 - Deadline is June 30, 2008

BREAKING THE BAND 3

Breaking the Band from We Are Listening is every song contest, licensing, press, booking, touring and festival showcasing opportunity rolled into one. We've created an enormous independent artist campaign with a major label budget. This may be the single, largest investment in your career by an independent music company.

Details: http://www.wearelistening.org/contests.php
Fee: $40
Deadline: June 30th 2008

Songwriting Contest #5 - Deadline is June 30, 2008

INDIE INTERNATIONAL SONGWRITING CONTEST Now accepting song entries for its first semiannual competition. Come see the new contest standard. Green-friendly - conducted entirely online with no mailed entries accepted. Know your judge and your score! Entries are limited for greater chance at recognition. Don't be "screened out" of other competitions. $16,000 value in prizes to be awarded and all genre winners also featured on front page. Contest closes at only 150 genre capacity, so enter today! Enter online with your new permanent profile http://www.indieinternational.com/

Songwriting Contest #6 - Deadline is midnight August 1, 2008

The Independent Music Awards
Unlike any other music industry contest or competition, The Independent Music Awards delivers real career opportunities for Indie artists, labels and releases. The Independent Music Awards helps Indie artists & releases worldwide overcome mainstream obstacles by placing Winners & Finalists in front of more than 20 Million new fans via yearlong promotion, marketing & distribution programs. Winners are also promoted key industry players including: Commercial, Public & College Radio Programmers, Music Journalists , Film, TV & Gaming Music Supervisors, Club & Festival Talent Buyers, Ad Agencies, and National & Regional Promoters

Songwriting Contest #7 - Deadline is August 15, 2008

WORLD OF MUSIC AWARDS

The World of Music Awards from We Are Listening is the first international and multi-lingual contest for World music artists and songwriters. Armed with an expert panel of judges and a prize package that includes an all-inclusive trip to WOMEX in Spain, We Are Listening delivers an unparalleled opportunity to be seen, heard and signed!

Details: http://www.wearelistening.org/contests.php
Fee: $30
Deadline: Aug 15th 2008

Songwriting Contest # 8 - Deadlines varies

AMERICAN SONGWRITER MAGAZINE'S AMATEUR LYRIC CONTEST
Established 1984. One contest per issue, 6 issues each year.

Requirements: Send lyrics only. Lyrics must be typed and payment for $10 (per entry) must be enclosed. No limit per contest. Include an entry form with each lyric sheet submitted. Call for required official form (615-321-6096) or print it from our website. http://www.americansongwriter.com/ ~ Lyrics only, no cassettes or CDs.

Awards: A Martin guitar DX-1 with case, D'Addario strings to each contest winner. Top 4 winning lyrics for each contest reprinted in American Songwriter Magazine. Honorable Mentions are listed as well. Each issue features a Lyric Entrant Q&A as well. One overall winner per year receives airfare (from American Airlines) to Nashville and a demo session at Music City Music Productions.

Songwriting Contest #9 - Deadline is October 2008

THE BOSAs SONGWRITING AWARDS:
The BOSAs Songwriting Awards is a twice yearly global competition where the best songs and artists are showcased to Music Publishers and other Industry Professionals for review in addition to category prizes.

Site URL: http://www.thebosas.com/
Current Deadline to Enter: October and April of each year
Contact: info@thebosas.com

Songwriting Contest #10 - Deadline is October 10, 2008

The 10th Annual Great American Song Contest features:
Opportunities to win prestigious songwriting awards and valuable Prizes;
Opportunities to get your songs heard by qualified music industry professionals;
Opportunities to advance your songwriting, promote your songs & open doors in the music business. The 10th Annual Great American Song Contest offers 45 awards in nine different categories. ALL entries receive a thorough review from prominent music-industry professionals (see Judges); ALL submissions receive a written evaluation from the contest judges;
ALL entrants receive an entry confirmation and Judging Schedule to track the evaluation process. ALL ENTRANTS receive a free online Self-Paced Educational Course from SongU.com (a $39.95 value!) Easy to enter by mail or online.

Thedy B, Attorney/Songwriter
Hits A Million, LLC
myspace.com/hitsamillionllc
interviewed.blogspot.com - contains interviews of top producers, songwriters, & music execs
globalmusicbusiness.blogspot.com -helping you go global with your music
musicpanels.blogspot.com -missed a music conference, find some clips of it here
mobilemusicbusiness.blogspot.com -go mobile with your music, find ways to do mobile marketing
musiclabels.blogspot.com - find out information on new record labels recently launched
hitsamillion.ning.com - network with other producers, singers, songwriters, and beatmakers

Songwriting Courses

Here's another great way to network: participate in online music and songwriting courses!!!! Join other people as you learn to take your craft to the next level. In fact, songwriters, musicians, and artists are now having to go indie and wear multiple hats. You've heard that an artist has to be a triple threat to stand out (triple meaning sing, dance and play, or sing, dance, and rap). Now everybody in this music game has to in some way wear multiple hats.

So if you simply a songwriter or musician, why not learn how to do some of the things you wait on others to do when you're ready to record? If your songs aren't getting raving reviews or people willing to pitch them, then perhaps learning a little more about the songwriting craft will help you! Stop waiting on others: take your own music career in your hands, and educate yourself!

So if you want to learn how to write a hit song, learn to play an instrument online, or learn how to mix online, then keep reading! You can take some weekly lessons from your home and start playing an instrument! It's not too late. You also save money from not having to pay others to do now what you can do! You can study when you want and how you want. Check out this online songwriting, music instruction, music theory and mixing courses:

1. MusicianUniversity.com Songwriting Courses
2. MusicianUniversity.com Piano Courses
3. MusicianUniversity.com Guitar Courses
4. MusicianUniversity.com Bass Courses
5. MusicianUniversity.com Mixing Course
6. MusicianUniversity.com Music Theory Basics Course

Check out my other blogs and go mobile, go global, watch interviews and listen to music panels! A list of my other blogs is located at bottom right of this blog!

Thedy B,
Attorney/Songwriter
Hits A Million, LLC
myspace.com/hitsamillionllc

ASCAP Writer's Roundtable - Part 2 (the Scoop)

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Here's why I say you need to get out the studio some and network. And yes you can network because I've given you over 40 tips on the do's and don'ts of networking at music conferences, the do's and don'ts of networking via email, upcoming music conferences where you can network , explaining why networking is important, how it's helped me, and gave you over 30 places where you can network.

In my last blog, I told you that I would reveal what was said during the songwriting panel at the ASCAP Writer's Roundtable, which was held on March 6, 2008 at the Robert Woodruff Library Exhibition Hall at Clark Atlanta University. Okay, so here it is:

1. Publishing - much was said about this subject, a subject that is near and dear to the hearts of all songwriters.

• If you can wait, wait. Most of the songwriters suggested that you wait before getting a publishing deal. In particular, wait until you have a single and wait until the publishers are coming to you asking you for a publishing deal. The reason behind this advice was so that you can get a better deal. Having a single will provide you better bargaining power. If you instead only have album sales, you still can get a publishing deal but the publisher will most likely not give you the best publishing deal because you don't have a single. By album sales, I mean you have a song on someone's album and you have sales only because people bought the entire album, but your song wasn't released as a single.

• If you need the money, then do the deal. Depending on how desperate you are in terms of money, you should decide on whether to sign a publishing deal or not. Again, if you can wait, then wait.

• Sign a publishing deal that requires the least amount of published songs. Johnta Austin, one of the panelists, mentioned that publishing 10 songs a year or even 4 songs a year is still a lot of songs. Why? Because most publishing contracts require that you publish a certain number of whole songs. If you collaborate on the song with other writers, then you only get credit for your portion of the song. So if you and a 3 other writers wrote a song, then you'd only get credit for writing 1/4 of a song. You still have 3 3/4 published songs to go. If you use samples of a song, you may also have to share a portion of your song with the original artist and that will again, cut into your credits. I say may because RL indicated that he refused in one instance not to give up part of his publishing to a producer who unilaterally chose to use a sample in his music to which RL wrote the lyrics and melody. Since RL didn't make the decision to use the sample, he refused to allow his portion of the publishing to be diminished because a sample was used. Plus, the publishing contracts require that the songs be published. Since the number of albums being put out are diminishing and the number of artists are too, then getting your required number of songs published is harder than it was previously. For these reasons, the panelists suggested songwriters sign a publishing deal which requires the least amount of songs.

• Be sensible about the amount of money you are requesting in your publishing deals. Why? Because first, you only get paid after recoupment. Publishing contracts are essentially loans that you must pay back. You only get paid after the publishing company recoups the money loaned. So with that in mind, the panelists recommended that you make sure you only get the amount you need and don't spend your advancement on frivolous things yet.

• Publishing contracts have bonuses in them. There are bonuses in some publishing contracts that will reward you if your song is ranked, and the length that it is ranked, and I think also if your song is placed with major artists. They all said they liked the bonuses.

• Artists may try to get a portion of your publishing. They indicated that some artists will attempt to get a portion of the songwriter's publishing. Artists will sometimes ask to get a writer's publishing because of the artist's reputation or because they want to be seen as part of the writing team, and/or because they want some of the publishing money even though they didn't write any of the song. So the panelists recommended that you consider the source of that request. If the artist is major and you know that your song will be a single, then perhaps giving up a portion of your publishing will be worth it. Johnta Austin and Manuel Seal both said that even if you gave away all your publishing to a major artist, you will still win because your name is on the song and your name on the song will now lead to other songwriting opportunities. However, they indicated that if the artist is just starting out, is not signed, etc, then there may be less of a reason to give up portions of your publishing.

• People get publishing deals because they are scared. Lyfe Jennings said that. He said people get publishing deals because you are scared of what to do with your success and the money. He suggested having a plan for what you are going to do with the money that you get from a publishing deal, such as investing it into real estate or a business.

• In addition to keeping your deals to the lowest number of songs, keep the number of years of the publishing deal low too. Lyfe Jennings said that he was in a three-year publishing deal which he liked because afterwards he can do his own thing. He doesn't need the publishing deal after that.

• Know why you need a publisher. New writers need publishers because they don't know anybody in the business. They don't have direct access to major artists. They need help with getting placement of their songs. They need better relationships. However, once you become a seasoned writer with some hits, you then have direct access to major artists. The artists themselves will call the writer asking to write with that writer. No in-between person is needed then. At that point, the writer needs a publisher just to exploit the copyright to its maximum by getting the song licensed to say film, ringtones, overseas, etc. So know what you need and why you need it.

2. Writing - the essence of what we do!

• Write real records! By that, each panelist meant that you as a writer should write songs that you can feel. (This goes back to my three key elements needed to write a hit, one of which was that the song had to be heart-felt).

• Write songs that are timeless. Don't "date" your record by simply writing songs that are going to be hits now. Johnta Austin noted that some songs, when they are timeless, may not be hits at the time the song comes out. But because the song is timeless, it still has the potential to become a hit. He gave examples of Lyfe Jennings' CD which during its first week sold only 3,000 copies but is now a platinum album. He also cited John Legend's album as another album that didn't have a lot of sales the first week out but because it was a good album, has sold millions of copies and go on to win various awards.

• Real, timeless records will always in the end win. Johnta Austin noted that because Clive Davis believed in Alicia Key's talent and sound, he kept her with just her piano and vocals without the use of rappers on the track. They said so don't succumb to writing songs that are dated or try to keep up with the times just to stay relevant.

• Hit records consists of: a great melody, great lyrics, a good song concept, great production, great performance of the song, believeability of the song, and a team who believes in, and works, the song, according to Manuel Seal. He said that a great performance of the song where an artist really believes what he's singing and the song is ringing true to the artist will make a good song a great song. He said that it used to be that artists were really worked in the studio on making the song believable and making sure the artist felt the songs they sung. I recently saw an example of this when Sean "P. Diddy" Combs refused to allow the men from the Making of the Band IV (or Day 26 as they are now known) to go into the studio and record until the men became passionate about what they were singing about. P. Diddy got the guys a vocal coach, Ankra, not because they were off key, or needed vocal training, but to help the fellas connect with the song and with their audience.

• Write simple words and hooks: Atozzio said that he had to simplify his lyrics to keep up with the times. He noted that at times he wrote a more catchy hook by simpling repeating a line. Lyfe Jennings said that his hardest problem with writing was saying more but saying it more concisely.

• Reseach your song concept idea: Cri$tyle said that she researches her song ideas before writing the song. She studies whatever she is writing on so that she can clearly and effectively write a song about say, water. For her, researching helps her creativity. And I agree. I recently wrote a song about a subject that I myself wasn't familiar with but always wanted to know. I researched the subject by going to Wikipedia. It helped my creativity.

• Spark your creativity: Cri$tyle indicated that she prays before writing every song. Atozzio and Johnta Austin related that their songs sometimes come from his experiences or from things they simply wanted to say but couldn't. Lyfe Jennings indicated that he tries to put himself in the song as well as think of other people who are also going through the same situation and how they must feel. RL said that sometimes because writing is so personal that sometimes its a writer's therapy so don't be afraid of what content comes out during difficult times. He indicated that the songs he wrote while going through a divorce were all related to those feelings. I laughed in agreement to this statement since I was recently looking at the slant that all my recent songs were taking and thinking they all dealt with one subject, love.

• Write and then move on. Cri$tyle indicated that she would mistakenly marry her songs. By that, she explained she meant that she couldn't write another song because she was still worried about the last song she wrote. She knew that the last song she wrote was great so she worry about its placement and what everyone else was doing with that song, instead of just writing. I could definitely relate to that as well! Write, give the song to your publisher, let them deal with the particulars, and just keep on writing!

3. Building business relationships - each person opened up the panel discussion by talking about how they got started in the business. Inevitably it all boiled down to meeting the right people.

4. Humility- All of the artists expected greatness from themselves but they were so humble. Cri$tyle was the most humble as she said several times that she felt so blessed to just be able to write for the people she has been able to write for. When asked does she get upset or feels it is unfair that a track is being given to her as well as to other more seasoned writers who have the ability to directly talk to the artists and find out exactly what the artist wants to talk about, she said no, she doesn't get upset. Instead she expressed her gratitude about even being considered in the same category as these writers to get the same tracks they get. She said that as a new writer, she understands paying her dues. She understood that she doesn't have the business relationship with an artist that say a Johnta Austin has since he's been in the business much longer and has written for so many different people and has some awards and hits under his belt. So the point is, be humble, stay humble.

Thanks for reading! And remember, if you like reading my blogs, subscribe today and tell a friend!

Thedy B

Hits A Million, LLC

myspace.com/hitsamillionllc - network with me!

hitsamillion.ning.com - network with others!

ASCAP Writer's Roundtable gets an A-

In my last post I gave you over 30 different physical places to go to in order to network.

If you've been following my blog and reading my posts, you already know that I'm about to say: get out of the studio, start networking more, and attend some upcoming music conferences. In my last post, I showed you that music conferences are just one out of 30 places you can go to network! (Click here to read that post!) And if your networking skills need some help, learn how to do it! Read my blog posts on the do's and don'ts of networking at music conferences, the do's and don'ts of networking via email, and purchasing some of the recommended books on networking. Subscribe to this blog to stay on top of things!

Here's just one of the reasons why I say what I say: I recently went to ASCAP's Writer's Roundtable where several ASCAP songwriters discussed the music business and the music creativity process. The panel consisted of:

1. Manuel Seal who wrote "Always Be My Baby" and "We Belong Together" for Mariah Carey, and "My Boo" for Usher.

2. Johnta Austin who cowrote "We Belong Together" for Mariah Carey, "Be Without You" for Mary J. Blige and has written for Toni Braxton, Tyrese, Enrique Iglesias, Ginuwine, Aaliyah, Faith Evans, B2K, Ciara, Ruben Studdard, Fantasia Barrino, and Mario;

3. Cri$tyle "The Ink" Johnson who wrote "Touch My Body," for Mariah Carey, "Angel" for Natasha Bedingfield, "I'm Grown" for Tiffany Evans, and "Hood Anthem" for Keke Palmer;


4. Atozzio The Hittwriter who wrote "Kryptonite" -Mario, "Friend Me Up" for Keke Palmer, "Mama" for Chris Brown, and "Holla At Ya Boy" for 2 Much;


5. RL who wrote Butta Love," "Too Close," "I Still Love You"


6. Lyfe Jennings who wrote "Never, Never land," "S.E.X." "Must Be Nice" on his own album.


My overall assessment: A-

1. Information: Great: relevant info since it was specifically dedicated to songwriters and songwriting unlike other music conferences that I've been to which are typically dedicated to the artist. Come back to my blog because I'll discuss more of what each songwriter said in a later blog.

2. Networking with the panelists: Great: We were given the opportunity to really talk to the panelists afterwards.


3. Networking with other attendees - Good


4. Ability to ask panelists questions: None. They had set questions that they asked the panelists. However, because we were able to speak to the panelists afterwards, we could ask our individual questions then so it worked out.


5. The quality of the panelists: Excellent: Look at all the heavy hitters that were brought in! I also like the fact that ASCAP chose both seasoned writers and new writers, older writers, young writers and both male and female writers.

6. The cost of the event: FREE!!!!!! Loved that!

7. Size of the seminar: Great: it was packed, standing room only. There was no RSVP required so they had no way of knowing how many people were coming to know how many chairs to set up but they needed more chairs. Lesson: get there early and you don't have to worry about that. (:-)

8. Location: Great: the venue was centrally located in the city. It was held at Clark Atlanta University's Robert Woodruff Library Exhibition Hall, which was a nice place to have it. Parking was horrible since most of it was dedicated to Clark students. Temperature in the room was good, the seats were adequately spaced, the spot was nicely decorated, and the building was secured.

9. Length of the event: Good: it was roughly a one and a half hour long panel. It started a little behind schedule as panelists arrived and were finishing up interviews.

10. Time of the event: Good: it was at 7:00 p.m. which is a good time when trying to travel in the city of Atlanta. BMI had an event the day before this one that started at 6:00 p.m. which is not the optimal time since most people are just getting off work.


11. Advertisement: I heard about this event via email and via MySpace so for me, it was well-advertised.

I'm glad I went and invested my time by going. And yes, I'd go again if they had the same event assuming the quality stayed the same. Sometimes, it's worth getting out the studio!


Thedy B, Attorney/Songwriter

Hits A Million, LLC

myspace.com/hitsamillionllc

hitsamillion.ning.com

Upcoming Songwriting/Music Conferences and Seminars

If you like reading my blogs, subscribe today and tell a friend!
Well, here's your chance to get out of the studio, start networking more, and attend some upcoming music conferences. Here is another abbreviated list of upcoming 2008 Songwriting/Music Conferences and Seminars for March 2008 through May 2008. But before you go to these conferences, I suggest reading my blogs on the do's and don'ts of networking at music conferences, the do's and don'ts of networking via email, and purchasing some of the recommended books on networking. That way you can ensure you are getting the most out of networking at the following songwriting/music conferences and seminars:

#1 March Events

March 25 - 29

Winter Music Conference

Mar 31 2008
BMI’s 8 off 8th Showcase: Nashville

Mar 31 2008

Billboard Mobile Entertainment Live Spring- 2008

#2 April Events

April 1 - April 5

15th Annual Tin Pan South Songwriters Festival

April 2

ASCAP Song Source

April 2

ASCAP Straight Talk

Apr 2 2008

BMI Presents Noche Bohemia 2008: Los Angeles

Apr 2 2008

BMI Presents . . .The Art of Songwriting: Atlanta

BMI Presents. . .The Art of Songwriting featuring The Clutch. This event will take place from 3:00-5:00pm at Emory University. Admission is free. Space is limited. Please RSVP evangraafeiland@bmi.com by Friday, March 28th.

Apr 3 2008

SPONY Songwriter Pitch-A-Thon: New York

April 3 2008

I Do Music

Apr 3 2008

The BMI Sessions: London

Apr 6-10 2008

Billboard Latin Music Conference and Awards

April 7 - May 1

ASCAP Foundation/Disney Musical Theatre Workshop in Los Angeles, directed by Stephen Schwartz

Apr 7 2008

BMI’s 8 off 8th Showcase: Nashville

Apr 9 2008

BMI Songwriting Workshop: New York

April 9

ASCAP Pop Music Awards

April 9

ASCAP Song Source

April 9

ASCAP Straight Talk

April 9

ASCAP/Billboard Latin Showcase

April 10 - April 12

2008 ASCAP "I Create Music" EXPO

April 10

ASCAP's 2008 General Annual Membership Meeting

April 14

BMI’s 8 off 8th Showcase: Nashville

April 15

BMI Songwriters Workshop w/Jason Blume: Nashville

April 16

ASCAP Song Source

April 16

ASCAP Straight Talk

April 19 - April 23

2008 GMA Music Week

April 23

ASCAP Song Source

April 23

ASCAP Straight Talk

April 27 - April 30

2008 MUSEXPO

April 30 - May 4

2008 Key West Songwriters' Festival

April 30

ASCAP Song Source

April 30

ASCAP Straight Talk

#4 May Events:

May 14-17

Florida Music Festival

#3 I Got Soul Conference

June 13-15
http://www.igotsoulconference.com/

Again, if you like reading my blogs, subscribe today and tell a friend!

Here's a blog that I subscribe to which lists even more songwriting and music conferences: http://atlantashowcase.blogspot.com I suggest you subscribe too!

Thedy B, Attorney/Songwriter

Hits A Million, LLC

myspace.com/hitsamillionllc - network with me!

hitsamillion.ning.com - network online here!

Upcoming Songwriting Seminars & Conferences

Check out the following events for songwriters:

Event #1
The Southwest Georgia Radio and Music Conference is a one-day/one-night music conference and seminar with prominent music industry and business professionals. It is being held on Saturday, March 22, 2008 in Albany, GA at the Hilton Garden Inn, 101 S. Front Street, Albany, GA 31701. This music conference is anticipating a variety of tourists and fans to flood the streets of Downtown Albany, Georgia for this HISTORY making Radio Music Conference and How to Make Money Online Seminar!

Special invited guest, speakers, partners & presenters include Motivational Speaker/Author/Consultant (JaWar), Entertainment Attorney (John F. Christmas), Author/Associate Director-SESAC-Performing Rights Organization (Cappriccieo M. Scates), Music Business Consultant (Allen L. Johnston –The Music Specialist), Judge Law Radio (DJ Judge Mental), Publicists (Rovella Williams), Publicists/Writer/Public Speaker (Willie Hunter), Bar Red Entertainment (B. Brown), Come Claim the Mic Music Conference, Select-O-Hits Music Distribution, Recording Artists, Music Producers, Songwriters, Singers, S.I.R. Magazine, Photographers, Music Magazines, Media Outlets and more!

For details on registering, sponsorship & performing for the Southwest Georgia Radio & Music Conference Call 404-543-0675 or 229-255-4016.


Event # 2


The Entertainment and Marketing Summit returns to the Newport Beach Hyatt Regency
March 26th through March 29th 2008. For more info go to www.urbannetwork.com
or call 213.388.4155


Event #3

The ASCAP "I Create Music" EXPO is set to take place April 10-12, 2008 at the Renaissance Hollywood Hotel in Los Angeles.

The 2008 EXPO's unparalleled list of panelists has grown even more. Jackson Browne is confirmed as well as:
Glen Ballard | Marilyn Bergman | Bun B | Mary Chapin Carpenter | Chamillionaire | Desmond Child | Julio Reyes Copello | Jackie DeShannon | David Banner | Amaury Gutierrez | Keri Hilson | Mark Hudson | Johnny Mandel | David Paich (Toto) | Linda Perry | John Powell | John Rich | Rivers Rutherford | John Rzeznik (Goo Goo Dolls) | Stephen Schwartz | Darrell Scott | Billy Steinberg and many more...
More...

"The ASCAP EXPO was educational, exciting, entertaining, and just plain fun."
- Rick Martin, Attendee

My list of songwriting sites!

In my first blog, I listed some melody and lyric writing books I bought and use to help me with songwriting issues that come up from time to time. In my second blog, I mentioned music business books, music production books, music publishing books, and music industry resource books that I also own and use. Well, here's a short list of some great songwriting websites:



Lyrics:

1. writingsongs.com
2. azlyrics.com
3. lyricsplanet.com

Melody writing sites:

1. songwritingfever.com
2. mltv.net
3. musesmuse.com

Rhyming Dictionary sites:

1. rhymer.com
2. rhymezone.com
3. rapdict.org
   

The Business of Songwriting sites:

1. billboard.com
2. uscopyright.org
3. songwriter101.com
4. gojawar.blogspot.com
   

Music Selling sites:

1. snocap.com
2. xingtone.com
3. myxer.com
4. cdbaby.com

Performance Rights Organizations:

1. sesac.com
2. ascap.com
3. bmi.com
4. soundexchange.com

Music Conferences & Seminars sites:

1. gojawar.com
2. gomusicconnection.com
3. mymusicconnection.blogspot.com
4. atlantamusicshowcase.blogspot.com
5. billboardevents.com
6. eventful.com

Songwriting Groups & Organizations:

1. grammy.com
2. nashvillesongwriters.com
3. chicagosongwriters.com
4. songwriters.org
5. gma.org

Songwriter Social Networking Sites:

1. hitsamillion.ning.com
2. myspace.com
3. facebook.com
4. youtube.com
5. singersroom.com
6. reverbnation.com
7. ilike.com
8. fanbridge.com

Recommended songwriting books - Part 2

In addition to the songwriting books I recommended in my prior blog on recommended songwriting books, here are some additional songwriting books that will help you with the business of songwriting, promotions and music publishing so click on the links below and purchase your books today!

Music Business Books:
1. Music, Money And Successby Jeffrey Brabec and Todd Brabec - (a must have! This is the only book on the market that I know of that teaches songwriters how to make a lot of money with their music)
2. 6 Steps to Songwriting Success by Jason Blume (Jason Blume is an awesome teacher on the subject of songwriting. He also has an audio book on melody writing but I couldn't find that book to list it).
3. All You Need to Know About the Music Business by Donald Passman-(a must have! - this book answers some of the legal issues that arises with your songs)
4. Everything You'd Better Know about the Record Industry by Kashif with contributions by Gary A. Greenberg - (another must have! - helps with not getting scammed in this business)
5. The Truth About Record Pools, Music Conferences, Talent Shows and Open Mics Ebook by JaWar (a must have! If you want to know how to get the most out of going to a music conference, showcase, talent show, etc- this book will teach you how)
6. This Business of Global Music Marketingby Ted Lathrop (just bought)
7. This Business of Songwritingby Jason Blume (just bought)
8. This Business of Music Marketing and Promotionby Ted Lathrop (just bought)
9. Confessions of a Record Producer by Moses Avalon - good book that talks about how not to get conned in the music business).


Music Industry Resource Books:
1. Atlanta Music Industry Connection Ebook by JaWar - (a must have - helps with starting a business, finding an attorney, manager, distribution company, and pretty much anything else a musician, artist, or manager will need)!
2. Los Angeles Music Industry Connection Ebook by JaWar - (a must have - same book as the Atlanta book but it has all the contact information for LA attorneys, managers, etc.)!
3. The Official Contact Pages: The Music Industry Dictionaryby James Hickman

Music Publishing Books:
1. How to Pitch and Promote Your Songsby Fred Koller - (so far, a little slow - lot of stories, not enough info)
2. Getting Noticed: A Musician's Guide to Publicity and Self-Promotionby James Gibson - (book is old, some info may be out of date but some info is still applicable)

Music Production Books:
1. Sound Advice on Recording & Mixing Vocals by Bill Gibson (this book is okay -it's probably great for sound engineers though)
2. Pro Tools for Dummiesby Jeff Strong - (love this book since I'm still a beginner on Pro Tools! it answers most questions that I have!)
3. Reason 3 Powerby Matt Piper & Michael Prager - I haven't been using my Reason program so I haven't read this book yet.

Thedy B, Attorney/Songwriter
Hits A Million, LLC
myspace.com/hitsamillionllc

Recommended songwriting books - Part 1

As promised in one of my earlier blogs on melody first or lyrics first, here's my list of some songwriting books that I use or bought to help me with songwriting issues that I come across as a songwriter. (I might also add here that in addition to the first blog I did on creative ways to use your music money and the second blog on the same subject where together I listed over 14different ways to be smart with investing your money in the music business, I am going to add investing in good books as creative way #15.) I have also included a one line opinion about the books if I have an opinion. My list is definitely not exhaustive and grows all the time as I am a complete bookworm! But my list will at least get you started in the right direction. So click on the links below and buy the books today to get started!

Lyric Writing Books:
1. The Craft of Lyric Writing by Sheila Davis - (a must have in my opinion! It will take your writing to a whole different level!)
2. Successful Lyric Writing- a workbook - (another must have! This is the companion book to the first book. Excellent!)
3. The Songwriter's Idea BookThe Songwriter's Idea Book by Sheila Davis - (a little hard to read at first but still very good. Shows you how your personality type helps or hinders your writing and how to overcome your bad writing habits, including writer's block)
4. The Songwriter's Handbook by Tom T. Hall - this was my first ever book on songwriting and I still have it. Good book as well.
5. How to write a hit songby Molly-Ann Leikin - (has a good section on overcoming writer's block and if you are wanting a shorter, easier read, it's a good book too)
6. Writing Better Lyrics by Pat Pattison (this book is okay)
7. 88 Songwriting Wrongs & How to Right Them - (a really good book to help you critique your songs yourself so you don't have to pay a song critiquing service and helping with getting your songs published)
8. The Complete Idiot's Guide to Songwriting by Joel Hirschhorn - (great because it covers broad subjects on songwriting and makes you think of more things you can do with your music)

Lyric Writing Resource Books:
1. Songwriter's Rhyming Dictionary by Jane Shaw Whitfield - (cool, but I like Random House's better)
2. Roger's International Thesaurus (Fifth Edition) edited by Robert T. Chapman - (really good book - helps you expand your vocabulary and thus your lyrics)
3. Word Menuby Stephen Glazier - (haven't quite figured out this book yet)
4. The Dictionary of Cliches by James Rogers - (good if you use cliche's as lyrics).
5. Random's Rhyming Dictionary by Random House - (I love this little book!)

Melody Writing Books:
1. Creating Melodies by Dick Weisman (this book includes lessons with the keyboards or guitar so get a piano or guitar to get full use of this book but it's still pretty good information on how to write melodies even if you don't play an instrument)
2. The Songwriter's Workshop Harmony by Jimmy Kachulis
3. The Songwriter's Workshop Melodyby Jimmy Kachulis
4. Melody in Songwriting by Jack Perricone
5. Melody: How to Write Great Tunes by Rikky Rooksby

Create Your Own Style, Your Own Sound!

During dinner, I was recounting to a multi-Grammy-award winning producer the other day that another engineer/singer/friend was advising me not to use a lot of harmonies in the R & B songs that I write for other artists. This singer-friend was telling me the R & B song I wrote was "wrong" because I was using a lot of harmonies and according to this singer-friend, R & B doesn't use a lot of harmonies, only gospel. According to this singer-friend, R & B uses mostly octaves. And while some of what the singer-friend was saying had some truth in it, my multi-Grammy-Award winning producer friend disagreed. The producer then started naming off groups such as Boys II Men as an example of an R & B group who are known for their rich harmonies. So he said that what the singer-friend was saying wasn't true for all R & B.

And then this multi-Grammy award winning producer (I like saying that and I'm sure this producer liked getting them) said, "Thedy, find your own sound and stick to it! It's YOUR sound. It makes you, you. It makes people recognize YOUR songs and YOUR style from others. So if the songs you write have lots of harmonies, do you!" And when I thought about it, he's so right!

Think about it: Any fan of a particular person's music can almost immediately recognize their favorite producer or songwriter's style. For example, fans of Quincy Jones, Babyface, Jimmy Jam and Terry Lewis can recognize them as producers of a song. A fan of Timbaland's music will know when the beat or music they hear is a Timbaland beat, a Swizz Beat beat, a Dark Child track, or a Jazzy Pha track. Same is true for Bryan-Michael Cox, the Clutch, and many other producers/songwriters. Why? Because not only have those producers/songwriters built their brand using their name, but they've built their brand using their sound! Sometimes even during the intro or the outro of the track, some producers will even put their "name imprint" into the track so that listeners will know this is their track. And because these producers have built their sound and name up and been successful hitmakers, recording artists who like that producer's particular sound will call these producers when they are ready to record their next project. It's that simple: the artist like the sound and style, and they used that producer or production team.

So regardless of the advice that I or any other "professional" give you, do you! Be you! Create your own style of music! Create your own sound! And stick to the sound that you love and that hits home with YOUR fans! While there are some fundamentals to making a hit song, some rules, and even some do's, (and that's what I am attempting to help songwriters see in this blog), there are also a lot of creative things you can do with your music and still be "right."


Thedy B, Attorney/Songwriter
Hits A Million, LLC
http://myspace.com/hitsamillionllc

Bryan-Michael Cox at PatchWerk Music University IV

I was so excited when I heard that Bryan-Michael Cox (or B. Cox) was going to be a panelist at Patchwerk's Music University IV! I'm such a fan of B. Cox's music. Since I consider myself a student of music and the music industry, I thought maybe going to Patchwerk's Music University IV just to hear B. Cox would be well worth the money for attending. Was I right?

I'll tell you in a minute. . .

B. Cox was on the Artist & Producers panel at Patchwerk's Music University IV along with Little Drumma Boy (Drum Squad) and L.T. Moe (Trey Songz, Bobby V). All three producers talked about:

1) insider tips on getting a good music publishing deal,

2) believing in your music regardless of what level you are on,

3) the power of networking - see my prior blog to see how I was convinced about networking

4) the advantages of having a manager working for you

5) having a game plan when you enter the music business

6) knowing and being honest about where you are in terms of your development

7) the power of music internships and understudying;

8) about the advantages of joining SESAC, BMI or ASCAP; and

9) how building your brand and making hits increases your earning potential.

Plus, again we got all of these producers' contact information!

So was going to see B. Cox worth my time and money? Let me answer it this way: If you are a songwriter or a producer trying to break into the music industry as such, whenever some of the superproducers such as B. Cox, J. Que from the Clutch, and others are participating as a panelist, GO! It will be well worth the money. Look for them at a music conference or seminar near you. If you wanna know about upcoming music conferences nationwide, check out JaWar's blog at atlantashowcase.blogspot.com or at http://mymusicconnection.blogspot.com/

Thedy B, Attorney/Songwriter

Hits A Million, LLC

http://myspace.com/hitsamillionllc

http://hitsamillion.ning.com

Melody first or lyrics first?

Okay, I admit we all as a songwriters have a preference of how we write songs. Some songwriters start with the lyrics first and some songwriters start with the melody first. Well, I have in the past typically started writing my songs with the lyrics. That's why I bought a lot of songwriting books on lyrics (which I will discuss in a later blog).

But recently, I was working on three songs at the same time and I noticed that while I thought the lyrics were good, I couldn't remember the melody for one song. The other song, I had a good melody but the melody was too low for a female unless of course, you're Toni Braxton. While I would love to write a song for Toni Braxton, I want my songs to appeal to more than one singer. So realistically, because the melody was low, the song would only appeal to a male artist. The problem was I thought the lyrics were better suited for a female. The last song was just alright: the lyrics were good but the melody just went nowhere. So I scrapped all three songs and started over. And it wasn't hard to start over because the melodies were not memorable, pretty, or engaging.

And it made me remember something I heard in an audio book on songwriting and that is, when you come up with a melody, come up with additional ones and then pick the best. Perhaps you as a songwriter think that the first melody that comes to you is THE melody you have to use. I know now from these three songs to test my melody and that I can reWRITE my melody. Besides songWRITING is just that, writing. So just like you can erase something you wrote, you can erase a melody and start over with a fresh one.

How do you know if you need to rewrite your melody? Test your melodies for:

1. Memorability - Do you find yourself humming the melody? Can you remember it? Sometimes you can't tell if your melody is memorable yourself because you know the melody from playing it several times so sing it for someone and ask them to repeat it.
2. Movement - does your melody move? Your melody should be memorable but not to the point that it's boring. So make it move. Try changing some of your notes. Or trying changing the rhythm. And since if writing a contrasting rhythm sounds better. In other words, if the accompaniment is slow, try writing a faster melody to see if that adds some spice to your song. Or trying going up or down a note. Use the method that works best for you.
3. Parity between vocal range and lyrics - Does the lyrics match the melody you wrote? If your melody is low and thus, better suited for a male singer, does the lyrics sound like words a man would use? And vice versa for writing for a female singer. If the melody and lyrics match the targeted singer, there is parity. If it does not, then rewrite either your lyrics or your melody.

While I hate that I had to rewrite these songs because an A & R person is waiting to hear them, I'd rather rewrite them now, knowing that I can write a hit, than to rush and submit what would only be an okay song. So it's okay to rewrite. I like challenging myself!

Creative Ideas for Songs - Part 1

Where does a songwriter get his/her ideas for songs? Song ideas come from all sorts of things, people and even places. If you open up your mind, heart, and ear to hear, you will find music and song ideas from all over. In much the same way that a comedian can look at a situation and find humor in it, songwriters too can look at situations and can find ideas of things to write about. I wrote the sex song, Cops n Robbers, after listening to one such person talk about it openly. To see my new video about the song, watch it here! Then discuss if you'd like!

Thedy B, Attorney/Songwriter
Hits A Million, LLC
myspace.com/hitsamillionllc
hitsamillionmusic.com
hitsamillionllc.com
hitsamillion.ning.com

Song Selection for Recording Artists - Tip #3

So in the last two tips on song selection for recording artists, I noted the significance of content and vocal range. Those two tips are good starting points to proper song selection. However, to be a hit recording artist, you must also have the next ingredient as noted below.

Tip #3 - the songs you choose should be heart-felt. Heart-felt songs are timeless. They touch us at the most sensitive times. They are universal in that they transcend gender, race, religion, genre, ethnicity, etc. They simply tell the story that we have all had to deal with at some point in our lives. When people hear a heart-felt song, they tend to react. Somehow that song becomes their favorite song and they want to hear it over and over again. Why? The song touched them.

To determine if a song that you are considering is heart-felt, ask yourselves some questions: Does the song move you? Does it make you laugh? Or cry? Does it make you think? Or does it make you remember, feel, hurt, reminisce, regret, or love? Does it help you express your anger? In other words, do you have an emotion after hearing the song? If so, then the song may be heart-felt.

If the song causes you to have an emotion, next ask yourself whether you can convey that feeling when you sing it? How do you know for sure if you can convey that emotion? Before you record the song, sing it for others and see if the song moves them when you sing it. Usually when a song moves the audience, they will come up to you and say, I like most of your songs but I really like that one song (unstated: the heart-felt one). The audience may not be able to fully explain why they like that song but they know that that song really said something to them. So if you get positive feedback, then there's a good chance that the song you selected was a hit song.

But if you get no response and no feedback, there is a possibility that the song was not right for you or right for your targeted audience. Ask yourself: Did your listeners really not "get" the meaning behind the song? Are there blank stares when you perform the song? Do people tend to listen to the song or treat your performance like it's background, i.e. elevator, music? If any of those latter things occur, the song may be good but it's probably not a hit song, not right for you, or not right for your targeted audience. Choose a different song to record.

Finally, if you are the songwriter, does your song really convey what you were feeling at the time you wrote the song? Did you as the songwriter really tell the story so that others can feel the way you felt when you wrote the song? If so, that's great! You have properly wrote and selected the right song(s) to record! But, if you really can't put into words what you were feeling , then consider using a hit songwriter to help you write the song. You can always come up with the concept for the song by telling the ghost writer what you want to sing about. Remember, concept is just as important. The ghost writer can then in turn, help you find the right words to convey the right emotion so that you can sing your song. But not just sing the right notes, but sing an original heart-felt, heart-inspired song with passion and conviction!

Thedy B, Esq., Hit Songwriter
Hits A Million, LLC
Hitsamillionmusic.com - for more information about Thedy B & Hits A Million, LLC
myspace.com/hitsamillionmusic.com - to hear, buy, and download current hits of Thedy B
hitsamillion.ning.com - to meet, find, locate, and network with other hit songwriters