Songwriting: Learn Pro Standard Writing Techniques Plus Publishing & Marketing Songs | Eve Williams | Skillshare

Songwriting: Learn Pro Standard Writing Techniques Plus Publishing & Marketing Songs

Eve Williams, Music: Information and Inspiration

Songwriting: Learn Pro Standard Writing Techniques Plus Publishing & Marketing Songs

Eve Williams, Music: Information and Inspiration

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53 Lessons (3h 33m)
    • 1. Skillshare songwriting intro

    • 2. Songwriting Methods

    • 3. Wireframing

    • 4. Lyrical Economy

    • 5. Show, Don't Tell

    • 6. Metaphor

    • 7. Intertextual Writing

    • 8. The Right Language

    • 9. Tension and Release

    • 10. Repetition

    • 11. Prosody

    • 12. Understanding Copyright

    • 13. Creating a Melody

    • 14. Creating Hooks

    • 15. Songforms

    • 16. ABAB Form

    • 17. AAA Form

    • 18. AABA Form

    • 19. Postform

    • 20. Cowriting

    • 21. Cowriting Etiquette

    • 22. Cowriting Methods

    • 23. Evaluating the Commercial Potential of Your Music

    • 24. Bonus: How to Become a Pro Songwriter by People Who Have Done It

    • 25. Song from Scratch Challenge

    • 26. Rewriting is Key: The Updated Song

    • 27. The Final Cut: Studio Recording the Song

    • 28. Evaluating Your Music

    • 29. Commercial Viability Checklist

    • 30. Types of Publisher and Copyright

    • 31. Publishing Deals

    • 32. Music Licensing

    • 33. Finding a Publisher

    • 34. Branding

    • 35. Social Media

    • 36. Facebook

    • 37. YouTube

    • 38. How to Make a Free Music Video

    • 39. Going Live on Facebook or YouTube

    • 40. Twitter

    • 41. Instagram

    • 42. Paying for traffic

    • 43. Email Lists

    • 44. Musician Websites

    • 45. Journos & Bloggers

    • 46. Song Gates

    • 47. Offline Marketing

    • 48. Spotify

    • 49. CDbaby

    • 50. Bandcamp

    • 51. Lifestyle of a pro songwriter

    • 52. Music challenge

    • 53. Now You've Finished the Course...

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About This Class

Do you want to be able to write music that listeners can't get out of their heads?

In this course you will learn methods of songwriting used by top songwriters and publishers across the world. It will help you break out of any limitations in your current ways of writing music. We also study the business side of being a professional songwriter so by the end of the course you can start earning money from your music and build a professional reputation.

Here's a little of my press:

'Eve has established herself as an artist of considerable sophistication, recognised for her powerful toplines and moving lyrics.'

-The Musician Magazine, UK

'Mature songwriting'

- Maverick Country, UK

'Quality stuff'

- Americana UK


Meet Your Teacher

Teacher Profile Image

Eve Williams

Music: Information and Inspiration


I'm Eve Williams MMus, professional singer and songwriter. I've been teaching music and music business topics since 2005.


Eve Williams is a singer and songwriter from Co. Down in Northern Ireland.  Eve’s songs have been played in several countries since 2012, including USA, UK (including BBC airplay), Germany, Ireland and the Philippines. As an artist she has performed at several international festivals including Celtic Connections in Glasgow (broadcast live), YouBloom Dublin and Urbankelt in London. She has completed a successful UK tour in 2016. 


 Eve holds a Master of Music in Songwriting from Bath Spa University. In 2015 Nashville Songwriters Associ... See full profile

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1. Skillshare songwriting intro: Hello. I like you so much for joining the art business of a songwriter. I hope you're gonna have some good fun on this course. My name is Eve Williams, and I'm a commercial songwriter. In other words, I make my living through song writing on also through teaching songwriting and music. And I've been lucky enough to work with some multi platinum selling artists. And also, I've had my music used in an adverse mints. So I'm hoping that I'm gonna be able to help you with your songwriting. We're gonna be licking its, um, really exciting topics of this course. We're gonna be looking at the craft of some reading the artistic side, and that's things like writing a melody, writing lyrics, creating a hook on. There's going to be exercises in each section. There are quite a lot of tasks that you could do this course you can kind of take it or leave it. You can do the ones that you think you're going to be most helpful to you on. When you complete a task, you can post it on the question section of this course for feedback from me and other students or you consented to meet privately as a message. If you would like some feedback. Of course you don't have to do that. So I hope you're excited to get started on. I'm looking forward to working with you. 2. Songwriting Methods: So before we get into the nitty gritty of the course on, learn some new ways of working, let's just take a while to reflect on what methods of song writing you're using at the moment. And there's obviously a lot of different ways to write a song. Let's just look at a few of them. Top lining Ni That's at the moment, quite common practice in the music industry. It's when a producer comes up with an instrumental track and sends it to a top liner. Who is the person who writes the tune on the words over the instrumental track. Kylie Minogue, one on the Velo Award for top lining on Jessie J. Songwriting team, also used top lining chords first. Now you're likely to right this way if you're primarily a guitarist or a keys player, if you're primarily an instrumentalist, you to write like best. The band jams accord sequence on, Barno sings over the top of it. Great way to write. Just be careful if you're just starting out, but when you're writing your melody over the cords, you don't stick too close to the root note of the court all the time. Melody first now you're likely to right this way if you're primarily a singer on being a singer on not so Much. An Instrumentalist is no reason not to write songs and fact singers quite often right, quite interesting tunes because they use bold intervals in their melodies. So it's quite a legitimate way to right to start with the June on T Odd The harmonics, the cords afterwards, Lyrics first. If you've got a lyric that scans really well, this is a great way to write Inter textual writing, in other words, taking inspiration from other art forms. And I don't mean ripping them off. But as my own song writing cheater used to say, talent borrows, genius steals so great example of us Leonard Cohen's Hallelujah If you think of Handel's Hallelujah chorus expression of joy and it's very exuberant, whereas here Leonard Cohen uses the same word Hallelujah, which we would associate with, you know, that big, joyful songs and uses it to describe quite a dark state of mind, a sort of sorrowful place to be. And so he is subverting the Hallelujah chorus, which is really great writing, using loops or technology. A lot of people Ni right on programs such as a Bolton on co writing. But we'll look at not at that and more death later. Okay, so this is your first task this week. She's a method of writing that you don't usually work with that it doesn't mean one that you've never used, but just one that isn't your standard practice. So if you're guitarist, unusually start with court sequence this week. Try starting with the melody If you're a singer or you're a producer writer using a bilton this week, try and write on an instrument, so I'm not asking you to finish an entire song. But if you could try to complete of Arsenal Chorus and you can post what you come up with in the questions section of this course for feedback or if you want, you can send it to me as a private message from my feedback. Or you can choose not to share it. It's entirely up to you, but I hope you have some fun with it. 3. Wireframing: okay, now, I were going to look at the concept of wire framing on Dwyer. Framing is a little way of working That's going to help you avoid some of the rookie mistakes that lyric can Mick. So some of those rookie errors include writing songs that have no story. I work in A and R for a music licensing company, and I'm sent songs all the time that basically just repeat the same concept. And every verse with the character stays in the same circumstances throughout. The song, in essence of song, is a story. Now. If you were making a movie, you'd have to ours tell a story a songwriter's. We only have a bite 3.5 minutes. But there still should be a clear beginning, middle and end writing words that don't scan, for example, when dough instead of window really famous example of this buying a really are inspiring lyric writer Oscar Hammerstein, The second he wrote in the song, Something wonderful. You'll always go Along Day Phantom when he's wrong instead of defend because we don't say defend, we say defend. So then the singer has to try and put that right using too many words. Too many words will clutter your chain on Be distracting to the listener, not using clear enough images of the imagery gets confused. Andi descending into cliche, which we never want to do. So let's lick at Weir, framing on high. It can help us avoid these errors. Okay, I've come up with a title for a song, and it's called Geek Goddess, and I haven't actually written this song, but it's been something that I've been mulling over in my mind. So I've written a little flow chart here off the progression of my song on what's gonna happen in each verse at the beginning of the song and verse. Juan, I'm going to set up this story so there's a garlic this boy's quite into, but she's an all white Jake. He's not, so he can't get her attention. That's the men theme of the song. But in the 1st 1st when I'm setting it up, I'm going to describe this girl on. I'm going to let the guy who's singing it tell us what it is that he likes about her. Maybe it's because she's a very passionate person. Geeks tend to bay, maybe she's got red hair and he really likes that. So it's setting up the story in the first verse. The chorus if you're riding in a song for him, whether a risk is a chorus because, of course, not all songs have a chorus, but usually they dio the course gives the man thrust of the song the real point so and my song that happens to bathe it. The singer of the song Israeli into this Girl. But because he's not a gate himself, he can't get her to notice him. So that's what we're saying in the course in verse. T we want to move somewhere else. You want to carry things on of it. So the singer starts to think of all the things he could do to make this girl like him really geeky things, because that's the theme of the song so he could travel to tattooing. He could learn to speak Elvish either Qanyare Acindar in either would do you know, just some really Gigi things he could do. So then I could either finish that verse with the idea that he could do all this and she still might not notice him or I could stick that idea into a bridge or of your British a middle It a bridge. Incidentally, in a song should both musically and lyrically take us somewhere different for a little while. And then we come back to the chorus, which repeats the man fame of the salt. Okay, so adding on the course, which is the man point and say you're can't get the gate got us to notice him because he isn't a gate himself. What? This gives me a plan of a clear progression of my song where it's going to go. After that, I have to find the actual words. So a little exercise that I like to do you and everybody works differently is say, I took the words Gate goddess or geek and tight two into Google images on Just look at all the pictures that come up If I picked one that I really liked, And in the notebook, I just jotted dine all the words and phrases that came to May when I looked at that picture . Then, after doing that, I picked the ones that really stand like the ones they think of really gonna work, and I'm gonna want to fit them into this framework somewhere. But also they're going to have to be contained in a way that actually tells the story. So if you would like Teoh, if you've got a nice idea that you're mulling over in your head, it would be great if you could put together your own wire friend Andi. Just see what comes out of that and where your song goes. Of course, a wire frame can always be changed at any point. It's not sounding something in stone, but it gives you something toe work, Teoh. 4. Lyrical Economy: in this section, we're gonna look at the concept of lyrical economy. In other words, not using too many words. If you use too many words, it commit your song signed collectors, and it can also take your chin off course really great example of lyrical economy. And that's Joni Mitchell's big yellow taxi. I'm sure you all know this song, but there's a link to it and the resources for this section. So if you take the lyrics to Big Yellow Taxi on you copy and pissed aumento word under a word kind, there's only 220 it words in the song. In fact, in a standard size 12 font size, it really doesn't take up much space on the page. If you've got a song which in a standard type size is going on 2 to 3 pages, that could be an indication that something's gone a little bit wrong. Their commercial songs generally fit on one page. Okay, let's look at the first verse. They paved paradise, put up a parking lot with a pink hotel, a boutique on a swinging heart spot. They paved paradise, the very first line absolutely amazing that in so few words. We've already got this really complex idea off nature being destroyed and concrete it over . Also, there's the great alliteration. There appears Paradise. Put up a parking lot. Noticed there isn't even an armed put up a parking lot. There is no wired here that isn't essential. The Pink Hotel again. It's the P alliteration, but also it sounds really gaudy. A boutique and a swinging heart spot. So, you know, if you think of paradise is as nature, something really disastrous has happened here. So the 1st 1st and hardly any words sets up a really, really great complex thing. Don't it always seem to go that you don't know what you've got till it's gone? They pay of paradise, put up a parking lot, So notice she doesn't say, Doesn't it always seem to be the kiss that you don't appreciate the things you have until they've disappeared? Because that would be crazy within a Scott a song. It wouldn't scan it all. We want to keep the syllable kind dine Nice second verse. I know we talked earlier about high. We don't want to just repeat the same idea verse after verse on it may At first glance, looks like this is repeating the same idea. But actually it's taking it even further because in the first verse they've pave paradise. They've destroyed nature in the second verse is even worst. They're not charging people to go and see the trees that used to be there. So, you know, we're in a even worse situation. A tree museum. Just great great use of phrasing because that is actually completely horrifying. And then, of course, we repeats the man theme of the song. Don't it always seem to go that you don't know what you got till it's gone? They paved paradise, Put up a parking lot. Now she's getting personally angry situation. Hey, farmer Farmer, put away that D d t know. Give me spots on my apples and leave me the birds and the bees, please. So the spots in the apples, the birds and the bees that's really in stark contrast to the paved paradise that the idea of concrete on the parking lot you know, that makes quite a powerful contrast again. So few words to convey this complex idea. Don't it always seem to go that you don't know what you've got till it's gone. They pay of paradise. Put up a parking lot. Ni, get ready for the curveball. This is the entire point of the song. This is the true story. This is what she's really upset. A bite lit last night. I heard the screen door slam on a big yellow taxi took away my old man. It's not even a full Varis. It's just two lines, and this is what she's really upset. A bite. This is the thing that she had that she didn't appreciate until it was gone. So carb. All right at the end. Hardly any words. Big impact. Don't it always seem to go that you don't know what you've got to? Let's go on. And I We understand that a little bit better. Why she feels that they pay of paradise, put up a parking lot. Great great lyric writing 5. Show, Don't Tell: in this section, we're going to look up the lyrical concept of show Don't tell, in other words, using imagery. We don't want to write things like Then You died Ohio, I cried. I have actually heard that sung. We want to tell a story in a subtle way so that it has more emotional impact. A great example of showed hotel as she's leaving home by the Beatles, and there's a little link here to somewhere where you can find the song. And also there's a link in the resources section off the lyric section of this course. Let's look at the lyrics on what gives them the huge emotional impact that they have Wednesday morning at five o'clock as the day begins. So really early in the morning, silently closing her bedroom door, leaving the note that she hoped would say more. So we're not being told. Here's a girl who's running away from home, her running away from home. Her escape is being described. It's really early in the morning. She's closing her doors quietly. She can sit. Was not Wick anyone up? She's leaving a note. She goes downstairs to the kitchen, clutching her handkerchief grit image there. She's probably really nervous, and that's why she's clutching her handkerchief. But it doesn't actually say that it shows us turning the backdoor key stepping outside. She is free. So basically what the song is doing is describing the actions of the girl rather than just telling us how she feels in a sort of unsettle way. Then the chorus gives us the point of view of the parents that she is leaving home on. Then we have the we give her most of our lives sacrificed most of our lives. So instead of coming out and saying her parents are controlling, her parents are difficult. Whatever adjective you want to use were actually being shown. We've got a demonstration off why she has problems at home. Second verse, the wife gets up, their mother gets up. I'm finds out that she's got so we have her mother getting into addressing going with father snoring, picking up the ladder and then this beautiful, beautiful line standing alone at the top of the stairs, just a really lovely image of shock and loneliness so really continuing with the method that's been set up in the first verse of describing the action. And then she breaks down and cries. Daddy, our baby's gone. Why would she treat us so thoughtlessly? How could she do this to May? So you know, we're saying this story from the other side, then repeat of the chorus. Interesting. Beginning to the final burst Friday morning at nine o'clock. So we compare that toe Wednesday morning at five o'clock. She's far away, so she's mid. Risk it. We're going to keep the appointment. She made meeting a man from the motor trade. We think, Oh, what's going on there and then the course, But the words are slightly different. What did we do that was wrong? We didn't know it was wrong. That's probably the issue. She's having fun. Fun is the one thing that money can't buy something inside that was always denied for so many years. Bye bye, and only at that point doesn't give us an actual emotional description of the emotional world. So, really, what this song is doing is describing a complex emotional scene through a series of images , leaving the ladder closing the door, turning the key stepping outside. All those things have much more impact than just writing a song that said she felt stifled . She felt suffocated. This is actually really moving song, so if you want to take a few minutes to listen to it, I'm sure you'll love it. 6. Metaphor: Now we're going to look at one of the oldest literary devices there is on that is a matter for and look at, metaphor. The song that I've chosen is Hotel California, which is on a surface level, about a guy who gets really tired during a long drive and stops at this creepy hotel, which is a bit like the Shining. But what the song is really about is drug taking, on getting trapped in a sort of celebrity culture that's quite unhealthy and a little bit scary. Now this is quite a long song, and I'm not gonna read all the lyrics. But you know, famous first lines on a dark desert highway Cool wind in my hair, warm smell of Khalid us rising up through the air. So the 1st 1st gives this idea of arriving at this kind of slightly creepy hotel. The study Creedy Phyllis, which still has some kind of atmosphere that sort of draws the guy in. So there's word to this first part, a shimmering light. It's almost spiritually image. I heard the Mission bell and I was thinking to myself, this could be having or this could be how so that whole idea off celebrity culture. Living the dream has this veneer of being something that everybody wants. But it can also be hell. Welcome to the Hotel California. Such a lovely place. Such a lovely face. Plenty of room at the Hotel California Any time of year, you can find it here. Find what? What is it that the singer s seeking her mind? Is Tiffany twisted? She got the Mercedes bands. Just grit, turn of phrase, their use of alliteration. She's got a lot of pretty, pretty boys she calls France. So we're starting to see the the kind of fakeness of these people high. It's it's there's a sort of a NRI a list. I'll buy it living in the atmosphere, you know, some doubts to remember some dance to forget, You know, that really ties in with the whole drugs name Not interesting line in the song. So I called up the captain. Please bring me my wine, he said. We haven't had that spirit here since 1969. So the character of the captain that's something much debated if you look that up in the Internet, but all kinds of ideas, some people think that the Eagles were followers of Anton Live a who was a famous it list. Not too sure whether that the kids or not, but there's clearly someone who's like almost the leader of a cult is very controlling amongst this group of people. So we repeat the chorus. Welcome to the Hotel California. Such a lovely place. Such a lovely face levin up at the Hotel California. But by this stage, the idea of living it up doesn't signed as good as it might have done at the very start of the song. What a nice surprise. There's nice little sort of a survey line here. Bring your alibis. So there's a lot of dodgy stuff going on amongst this group of people. Mirrors on the ceiling, pink champagne on ice, sort of celebrity lifestyle, she said. We are all just prisoners here of our own device, So we have actually made a decision to be trapped in this lifestyle and where prisoners, you know, that's actually something really horrible. We can't get ICT. We're into this lifestyle. We're into this group of people and there is no escape. There's a hopelessness, Abida, not This next line is probably where Satan ism idea comes from, but it's not actually about sittin ism or any kind of black magic it all, and in the Masters chambers they gathered for the feast. They stab it with their steely knives, but they just can't kill the beast faced Stab Staley based great use of alliteration. What that's actually describing is the needles used in drug taking. If you're taking heroin, you know you're starving yourself with syringes. And that's really what's being described here. Last verse of the song, obviously incredibly famous. Last thing I remember I was running for the door had to find the passage back to the place I was before. So he's gone down this road, this lifestyle and desperately wants to go back to the person that he used to pay. Relax, said the night man we're programmed to receive. And then the really, really famous line, Which is why I have put in italics you can check out anytime you like, but you can never leave, so you have lost all freedom. You can check kite. In other words, you could commit suicide of just you know, that's the only way you're going to get out of the situation. You can never leave. You're trapped. Very, very haunting song. Very powerful use of metaphor, not the metaphor, is consistent through the whole of the song. Most songs that use metaphor. I'm thinking of Johnny Cash's Folsom Prison Blues, where you have the metaphor of the Tran running down the tracks and the guys stuck in presence of the trend can move. It has constant movement, whereas he's stuck in one place. That's a very strong better for and but it allies the guy to be a bit conversational, too, which is more the kiss and songs that use metaphor. This song, quite unusually, is completely and metaphor from beginning to end, but it works because the metaphor is consistent. You know what they say. Don't mix your metaphors. That's good advice, because you don't want to confuse the audience. You wanna stick with one idea which this song does amazingly well 7. Intertextual Writing: Now we're going to look at inter textual writing. We've mentioned this before in relation to Leonard Cohen's Hallelujah on. Also in the exercise, where you take an image from Google images on describe that image in order to craft some lyrics. So in this action, I'm going to play you a track. But I co wrote and explain to you High Backtrack was originally best on tennis ins and memoriam. So here is a little bit of the truck. I don't believe never you know, to come really hate being here. You made this promise me, Teoh. They say it's better to have loved unl ost the very, very famous words from in Memoriam. So we knew that we wanted to start a song with those words, basically because my co writer very strongly disagreed with the sentiment and wanted to argue with it. So we knew those words came from Tanis ins in Memoriam. So he went on to poetry dot org's to find the poem. So there's some great databases online off poems, and I think about in memoriam. Is that being a Victorian poem? It's well, I have copyright if you use a poem that was written in the last 70 years, you might get into a bit of trouble for lifting lines art of a ver bottom. But you can't, of course, write your own response to it. The opposite of Memoriam is oblivion. So memoriam, as in something that you purposefully holding memory and oblivion a state of being totally for gotten. So our first verse became, they say it's better to have loved and lost. I don't believe that to be true. Is it fair to wish our past had never crossed? I'd not be crying over you. Compare that to the original words of the poem. I hold it true what air before I feel it when I sorrow most, it is better to have loved and lost than never to have loved it all. So an interesting exercise for you today would be to think of a poem that really inspires you or some very famous words. Try and find the entirety of the poem online really taken the things of it on right, your own response on. I'd be very interested to hear what you come up with 8. The Right Language: in the last section on lyrics. We're gonna look at using the right language for your target audience. You're going to use very different words and phrases. If you're right and commercial pop for 16 to 20 year olds, then you are. If you're writing, say, Americana or country music for people who are 30 plus. Let's look at the lyrics of Garden Valley by Cara Dela This is really not my home or where are you, my lovely Johnny? I'm afraid. And all alone. There's no peace for me. So before we listen to the song, I just want you to think through reading these words. What kind of music do you expect to hear when you read these lyrics on what kind of demographic do you think would like this kind of music? So that's something to think. Goodbye. Maybe pause the video and have a little think about that, and then we'll listen to the track. This is really not my home who I love Johnny afraid, and there's no peace for me. I'm sitting in a stranger, strange Shane struggle gentle. You one shot, one opportunity and seize everything you ever wanted. One moment captured his sweaty in these weak homes and heavy. There's vomit on a sweater already. Mom's spaghetti. He's nervous, but on the surface he looks calm and ready to dry palms. But he keeps on forgetting what he wrote down. The whole crowd goes so loud he opens his mouth, but the words won't come out. He's hoping how everybody's talking now with clocks. Time's up over that reality. There goes gravity that goes land moving on to have very, very different lyric. Eminem Lose yourself. So when you look at the start of the song on the slide, there's an awful lot of words. So let's look at some of those words. And if you have one shot or one opportunity to seize everything you ever wanted in one moment, would you capture or would just let it slip? Okay, so then we have some brilliant imagery. Palms are sweaty knees make arms or heavy. There's vomit on his sweater already. Mom's spaghetti. So who is the target audience here? Who is it that he wants to hear this track? What kind of edge are they? What part of the world to the 11? Are they male or female? Let's just have a little think about that. So when you're crafting your own lyric, bear in mind that there will be certain words and phrases that will be familiar to your audience that will make sense to them and some that maybe won't so much. So just check your lyric that it really is heading home. But you're targeting it while at who your audience is gonna bay. Thank you so much for completing the section on lyrics, and if you want to send me any lyrics that you've written during this part of the course, I'd be more than happy to read them. 9. Tension and Release: so a strong malady relies very much on the concept of tension and release on. That's not just in pop music that's also in folk music. Jazz music. I've got some great examples of tension and release for you to listen to you after this short video so high we build that tension and then have a release into the chorus is quite often by having a really short pre chorus that lets the air know something exciting is about to happen. And then we want a kind of lift in the chorus. We want it to rise and pitch, or we really want it to go somewhere. So just going from, say, a four line verse where you repeat the melody and then straightened chorus can work in some instances, but often building that contention is really important to setting up the court as well. So listen to the following examples of that I will always want you. I came in you You can okay, - way 10. Repetition: repetition is really important in melody writing. It makes your melody memorable. I'm slightly predictable in a good way because listeners like to know where a tune is going , and they want to be able to sing along with that. So I'm going to play for you in a second. Some songs that use repetition really well, mine. Some people claim that pop music in particular interpretive. But let's remember classical music uses repetition as well. If you think of the hallelujah chorus from Handel's Messiah or having era for Bizet's Carmen, they rely on repetition but changing a note here and there. So it's not exactly the CME line being repeated over and over again. Okay, you well, you can way, baby. I've been here before. I know this room. I've walked. This floor used to live a long before. Neither is an exercise that I would like you to do. Ride repetition, write a line of music. I'm repeated four times, Then go through the four lines on change. One note and each line. Now you're allied to change the notes back if you think they don't work. But try unmold a chorus melody Light of repeating a line on changing notes here. They're gonna be interested to hear Hyatt ghosts 11. Prosody: Let's look at the important musical concept of pro city Porosity is defined on Wikipedia as the way music is set, with regards to the ambiance off the lyrics. So, in other words, are the words and the music jail together to give one coherent message. We're going to listen in a second, Teoh, a clip from Something Wonderful by Rodgers and Hammerstein. So something wonderful is about a man who drives the singer nuts, but she loves him anyway on the harmonics of the song. The cords are following this same on the words he will not always say what you would have him say, which basically summarizes the character off the man being sung a bite. The chord sequence underneath those words is a G sharp over a day. So that's going from a nice, safe, comfortable court t a slightly discordant court, which is uncomfortable to nice, comfortable court on. That really mirrors the emotional journey off the singer and way. - Suppose city is not just in the tonality, a major minor on the harmonics of the courts. It's also finding elements of the melody. We heard Rihanna's We find love in a hopeless place earlier on the notes on her players place are extended because those are the most important emotional words in that part of the song. Jesse James Price Tag does something similar with the notes on price tag on World Turn being extended in primal screams. Moving on up. The word up is on the highest note of the line because, after all, that's the whole sense of the song about moving higher. You know, unlike getting better. So when you're listening to music this week, look for little things like that happening like up for high being on a higher note and sort of more Don Bates. More sorrowful emotional sentiments being on Lower notes, way money, money, Money way Don't need your money way t ain't about No, no, no. I wanna meet. Forget about it. Okay, now there's another wonderful concept called negative press today. A quite famous example of that in the Classical World is in Bel Day, from Madame Butterfly by Puccini, where the words of the song are actually upbeat and positive, but the chain is very sorrowful, so we know that in reality, things aren't going well for the character in pop music. Leonard Cohen's Hallelujah is perhaps a really great example of this. So before Leonard Cohen released Hallelujah, the piece of music that we would most of associated with that word would have seen this. But in Cohen Song, he makes the notes on the word hallelujah. Rather than being upbeat on high, he mixed them lower than the notes in the verse that goes before them. So it's a dine beat, sorrowful sentiment. He moves between g any minor, or at least when I played those of the cords I use. So the major and the relative minor on adding the relative minor as that little element of darkness. Although most off the cords and the song are major, there are a lot of different recordings of the song, but most of them use sparse instrumentation, so they arrangement is reinforcing the emotional sentiment of the song kind, sense of, of loneliness. So if you think of the whole orchestra, inquire that are needed to produce the hallelujah chorus with a big exuberant signed, This is one singer usually want instrumental mean I've played Rufus Wainwright's version of the song, which is just voicing piano. Jeff Buckley also did on a wonderful a wonderful, sparse recording off this song. It goes like this. The fourth, the fifth, the minor phone booth. Okay, so something I'd like you to do. Ni is listen to the last song that you recorded or a song that you've been working on recently. In what ways does the music reinforce the words? And does the music work against the words and any part of the song? So we're trying to make sure that your lyric and your music to gather give a coherent message. 12. Understanding Copyright: Okay, so now I seems like a good time to have a little word on the topic off copy right now, when people start to write for quite often worried. What if somebody else rips off my music? Or what if I accidentally ripped off something that somebody else is written? Sort of. I'm thinking like now I copy Right Laws will depend on the country that your best. And so what? I'm going to say. It's very much best in UK law because that's where I'm signed to a publisher in the UK you would have to rip off by eight bars of something either the lyrics of the melody. You can't copyright chord sequence because basically back has used the mall before. It's considered copyright infringement on. Actually, are the others being some high profile cases in the news of races years? Copyright infringement is actually very rare. Not if you have written a tune on a month or so later, you hear somebody else's with platoon on its signs, but like yours on you decide. You think copyrights being in French, you would actually have to prove that that person had hard your song in order to make a kiss against them, and that's actually very difficult to do on very rare. So a sensible thing to do to prove your own copy, right? I don't think it's something you need to overly worry about is to sign up with a P r o performance right or organization before his rights organization. So the PR oh in the UK is called PRS prs for music dot com in the Republic of Ireland, there's an organization called Amro on in America. The Sea Sack, ASCAP MBM. I know that's not sort of illegal thing. Just protect your copyright, but it's a sensible thing to do because then you will be paid. Royalties on royalties come from copyright basically right. So what make us money and music? So you selling up with P. R. O. Every time you play your own music life, you could make a claim for some payment on PRS. If you play a small venue, it's about six times per game. No matter how many of your own songs you do on, if you play, it's a festival or a large value. You get a certain proportion off the ticket sales, so it's very much worth doing that. And also you'll have the debts that you registered with song. If you put your music online on Sign Client or you shaper Spotify, you'll have the debt that you registered your music on there. But I would generally say, Don't worry too much about your songs being ripped off the other kind of element of worrying that maybe you ripped off something that belongs to somebody else. Perhaps you have used the odds chord progression there that you've heard somewhere else or or a series of notes. It's going to be quite obvious a few weeks later when you play it back. If it signs very like something else, and at that point you would have to tweak it. But it is actually exceptionally rare, so I hope that's maybe put to rest some of your fares on the point of copyright. 13. Creating a Melody: we're nearly coming to the end off our section on melody. So I've put together a little checklist for you to use when you're putting to gather a melody. Now bear in mind that as we saw in the lyric section, most of the story of the song will be content and the vs. And then the chorus will describe the men name of the song. So, Barry, mind the old adage. Don't bore us. Get to the chorus. Does your verse melody alive for lyrical development? Can you fit the story into the tune that you've written for the verse? Well enough, And do you need to add a pre chorus to expand on the story and set the chorus up? Porosity. Do your words of music gel to gather to achieve the same effect on we looked about in some detail earlier on tension on release Is your chorus melody sufficiently different from the verse? Because it's very monotonous for listener. If the verse and the chorus are too similar and is there a natural lift into the chorus melody? Basically, when we get to the chorus, we should definitely know that we're outs the chorus night so Is that true for your chin? Where's the payoff line? In other words, does your chorus have a line at the end that ties everything together both musically and lyrically? And can you identify the hooks and your melody? And I were going to be looking at the concept of a hook in a bit more detail later on. But in other words, can you identify the parts of your song that are particularly going to draw the listener end on? Or maybe going to be the bet that they most remember when they finished listening to the song? Realistically, if you've used daring intervals high well, can you sing the vocal melody on? If you're pitching the song at another artist, Hi Well, are they going to be able to sing it? Because sometimes songs are turned down on the basis that the train is just too difficult for the singer to sing. Is there potential for a vocal harmony or a conjure malady in the instrumental part copyright? Have I inadvertently ripped off anything night? It could be that there's just being a chain going round your head all week, and when you've been writing and you chin yourself. Part of that chain is crept in. It's rare, but it does happen. So I'm hoping that ology right chains this week that you can refer to this little checklist just to monitor your melody Writing against 14. Creating Hooks: So now I we're going to talk about something very important. Crucially important on that is Hooks. No, the heck is the part of the song that reels people in the really memorable part of the song . So think of, say, the guitar riff from Layla that's gonna stick in your mind for weeks. Or the lines New Woman cry from Bob Marley's No Woman No Cry. Her best songs are the kind of songs that are going to get publishes attention, and it tends to be hooked. Their songs that are the songs that sound So we're gonna listen I to some examples of famous hex on a little little bit into the craft of writing a book. So let's look at a few different types of hooks. First of all, we're going toe look at instrumental hooks, and we're going to listen to the song Laila Here played Life by Eric Clapton. So it uses an instantly recognisable, catchy riffs as the introduction between versus Andan, the instrumental line of the song so that Sam Ref is repeated over and over and over again , not arrest on a hook are not necessarily the same thing. A ref should be a hook, but a hook isn't always necessarily a riff as we shall see as we go along. So let's listen a little bit to the instrumental hook in Laila Ni . Let's look at melodic and lyrical hicks, and the song We're Going to Listen To You Is No Woman, No Cry by Bob Marley. This is the bony Am recording, so this song repeats a catchy two lines quite often. And there the man hook of the song No woman, No Cry on the words No Woman, no Cry are giving us a lyrical hookahs. Well, that's the man point of the song, expressed very succinctly. It's easy to remember, and it's easy to sing along to. So let's have a listen to this track. No redneck on secondary Hicks on the soil we're going to listen to is back to life, my soul to soul. Now this song has a lot of different hooks going. It has lyrical hips. It has melodic, its hooks. It's got a titular hook. We'll look at that in the next section, and it's got secondary hooks, so basically it has a man hook that's prominently placed, and then a secondary hook which also repeats, which is also very memorable, unlearn the listener into the song. So I would say in the case of the song, The Man hook is the bet that goes back to life, back to reality and the secondary hookers. Hi ever do you want May, however, do you need me? There's also a hook in the rhythm part of the song and the drum part of the song. There's a red meat cook, so let's listen to the tracks and see if you can pick right all these hooks to life, to reality to life too. - Last but not least, a titular hook and the song elimination So basically a titular hook is the title of the song, and it gives the audience know diet. As to what the title of the song is. You should be able to hear a song Andi know instantly. What is called so repetition is used a hammer home. The man theme of the song, using the hook onto the man theme of the song here, is moving from darkness to light, so the repetition of the word elimination on the Little Hickey tune of elimination is giving us that effect so let's have a little lesson should change. So here's a little task for you to do involving hooks. Try coming up with a catchy riff so you can do that on piano. You can do that on guitar. You can do that on your computer. Or maybe just with your voice. Add lyrics to see if you can create a lyrical hook to your melodic hook. Now that may or may not work. So if it doesn't just leave it instrumental and build a chorus around the pick you have created on. As always, I'm happy to hear the results of this exercise. Just PM them to me for my feet back. 15. Songforms: Now we're going to look at the absolutely essential topic off song forms in other words, the kinds of structures of songs that fit within certain genre of music night. If you want to be a published songwriter or if you want to study song writing in any depth , a knowledge of song forms is essential. 16. ABAB Form: not a song form you're probably most familiar with is A B A B form. So that is verse chorus, verse, chorus, Oren's aid verse, chorus, first course, Bridge or middle. It's chorus. I'm otherwise known as the national formula, sir. It's pretty familiar because it's used in much chart on pop writing. When you begin writing, it's likely that your earliest songs will be in this form. Examples include Abba's Gimme, Gimme Gimme, Miley Cyrus's Wrecking Ball, Let It Go from Frozen on Many, Many Others. The example I'm Going to play for You is wrong song from the show Nashville. Because, of course, it's the Nashville formula. No way you I hope you have. - I don't Yeah, - I don't 17. AAA Form: The next form we're going to look out is a form. In other words, verse first verse with no chorus on that's most common in folk music. In this form, the same block of music is repeated, and examples include the Irish folk song The Black Fell but banned, whether is a chorus. But it's basically the same tunas averse. Same with Wild Mountain Thyme, which is a Scottish folk song on I'm Going to Play for You as an example, The Irish folk song She moved through The Fair Way, Way, way, way, way, Theo way, way wait a 18. AABA Form: so a a b a form. This is a great song form most commonly associated with jazz and swing verse. Verse Bridge first. So normally that takes us up to 32 bars and length on usually about two minutes long, so it's quite common to repeat the song from the bridge to make it a little bit longer. So repeat the bridge on the last verse. Twice. This form is associated with jazz and swing songs such as Dean Martin Sway Dream, A Little Dream of May, Carole King's Will You Still Love Me Tomorrow? The Bait, ALS Yesterday, also a a B A. For now, I was once at a song writing event where one of the songwriters presence annoyance to that . She was about to sing a song that was, in her words, a jazzy number on. She then played something in a B A B form, which, as we know, is the national formula most often associated with pop. If you want to write something jazzy, this is the song form to go with and also jazz hands to follow the Of course, there are exceptions, but it tends to follow a 251 chord progression. So the example of this song for him that I'm going to play for you is Elvis's. I can't help falling in love with you. There's a song we didn't blue Hawaii that we did hear about 10 years ago, and I like to sing, especially for you. Why, sure what it would be. Show something. 19. Postform: Okay, The last song form that we're going to look at is called Post Form, which is actually quite rare. It's associated with prog rock. You'll hear it on the Beatles White album. You'll hear it on albums by Pink Floyd on Radiohead. Basically, it's where there is no set structure. It's like different blocks of music put together, so it's not following sort of verse, chorus, verse, chorus pattern. But there's there's different blocks of music creating the peace. It's a less accessible form, so it's not maybe wise to submit a post form song to a publisher. If you haven't yet, Bean published, you have to have a little bit of a career behind you before you can get away with with writing in post form. So I'm gonna play Unite, a famous example off post form on that is Queen's Bohemian Rhapsody. Is this the real? Is this just bad to see escape from reality? Your rice? This is the easy gun again, my trigger, - but bodies everybody way, - way , way, one. Not really. There's really 20. Cowriting: So let's talk a little bit. Niall Bite co writing and co writing. It's very standard practice in the music industry. One of Allie Golders latest albums actually had 13 writers on it night. There's a lot of reasons why you should consider co writing on May Be the most important one is that co writing is the best way to Kate developing your skills because you see how other writers kilobyte things and you learned tricks of the trade of like, Hi, other people go up by things and also helps you to find people who have complimentary skills to your own. So if you're primarily a singer and she right really bold intervals, great memorable chains if you find someone who is merely a guitarist who knows an awful lot about harmonics, that's going to be a good mix. And also, when you go right, you can come up with a sign that you wouldn't necessarily come up with on your own. There's also little concept what we call in national writing up, so if you find someone who is doing quite well in their career, who's published on you right with them on, their publisher likes the song that's gonna be really good for your career on you might ask yourself if I'm unsigned, Why's it gonna be good for May? What is it gonna be good for a sign writer to write with me? And if I'm signed, why should I write with someone unsigned? Well, I should say that I've written with some quite talk, not songwriters. This year. They've all been brilliant. But the song that's done best for me this year was actually correcting with the students so you could learn something new from everybody that you write with, no matter what point the route. So, like, don't pay shy to ask people if you're interested in co writing with them. Neither are several different routes To find and co writers in the UK is a great service called Music Gateway Online. You can write, find courageous through that on. Also in London on the last Thursday of every month of Notting Hill here, an amazing publisher have a networking events at the tile yard in London on it by half six in the last Thursday of every month, and that's a great place to find courageous. If you're not based in the UK or London. There's probably a songwriter circle or simmer similar events happening near years. So that's something to research. You can also find co writers on than the Nashville songwriter's Association International and S I I on. They are a great organization to be a part off. Everybody on their has a profile so you can go through people's profiles, listen to their tracks and see if you would like to co write with them. Easy to find people online. There's a lot of songwriters groups on Facebook you might might find someone local to you or I frighten remotely with people that I've met on Side Cloud, which is another great thing to do. And of course, you can pee on people on YouTube if you like their work. So that will be a challenge to see if you can find a co writer, say, within the next month on get started on a track you wouldn't normally have room 21. Cowriting Etiquette: Now we're gonna look a little bit at the professional advocate for co writing. So one of the most important things you need to do is create a co writers agreement and put something in writing. So even if you don't think that you're going to make millions of dollars out of the song, if it's going to end up on YouTube or it's gonna end up on Sign Cloud Spotify if it's going to be played life, if it's gonna be monetized at all, it's best to have a co writers agreement. Not usually that involves an equal split between all writers, but you might want to discuss that with your co writer. The musicians union and the U. K provides template correcting agreements, and you can find template correcting agreements online. But it is a good idea to put something into writing. There's also standards of behaviour involved in co writing, so you want to try and avoid working with people like this or being a person like this. Don't be a prima donna. It's about sharing ideas and everybody having a contribution. You don't want to be the person who doesn't listen to other people's ideas. Otherwise you might as well just write a song on your own. Neither do you want to be a person who sits in the corner and just goes along with everything. You're there for a reason. You have talent, so don't be afraid to make your ideas heard. Don't be someone with no sense professionalism who's always lit on doesn't put in their share of the work. There is no way, even if you get a publishing deal that you're going to keep it. If you are always late on, you don't behave professionally. I've heard of songwriters have actually had charting hits who've made a lot of money from the for their publishers but have still being fired because they turned up, let regularly and were rude to the session musicians. Okay, don't be too emotionally attached to your song, and you know you can't let go over and you get upset if your ideas were criticized because in the end, that's not going to serve the song best. And you are, in a sense, creating a product not meaning to signed too cynical abide it. So you know, sometimes we have to let go a little bit. Don't throw schtrops. Don't be the person with no plan. It's good when you come into a room to write together. If someone has a ref or a lyrical fame or a bit of an idea, don't just come in blank without having thought about it at all. Don't be the person in the group who just doesn't care as much like the song as everybody else. You know, Try and Mika's much input as everybody else. 22. Cowriting Methods: So let's look at some methods of co writing. You need to play to the strengths and weaknesses off the particular people in your song writing group. So one thing you could do is that one person could provide lyrics on the other right of melody based on them. That's hi, Robbie Williams and Guy Chambers work. You could do it the other way Rind, where somebody writes a melody on the other person, writes the lyric, such as Elton John and Bernie Tobin's Way of Working. You could have one person come in with a chord sequence or a riff on the other person writes the melody and you to work like that, where the band play a chord sequences and Bono comes up with a tune on lyrics over the top top lining. Another form of co writing is called The Critical Eye, where the writers of a song would bring in another writer of producer to comment on a change. What they've written with a fresh pair of ears night, as we mentioned earlier when you co right, you don't just made up with a blank page is good to come in with a tune or a referee title or leased to know what kind of song you're planning to write. If you're writing in a professional commercial song camp, you would be writing to a brief. So I have attached a PD after this section, which has some sample briefs that you might want to work to on. As always, I'm happy to hear the results of what you come up with. 23. Evaluating the Commercial Potential of Your Music: So we're gonna talk a little bit, and I bite evaluating your work on high to know that your work is up to industry. Standard night, I run a song feedback service, and in the past, I've had people Sandler songs to me for evaluation, and I've given them some pointers. I have written me, Bigelow Ramps abide Hi, I'm wrong and their song is ready to go right? Nine. But who has told you that? Because to be realistic, you're only gonna know if your song was commercially viable. If you run it past a professional in the music industry on that could be a teacher within the music industry. It could be a publisher. It could be a manager. But really, it's not that easy to assess yourself whether your songs are good to go. But there are some questions that you should be asking about your music. If you're trying to work out whether or not you're in a good place to approach publishers or to get your music right there. One is what I'm looking at. Technical things. Does the lyric have progression? Doesn't have hooks in it, songs that are going to get you published are most likely gonna be hooked best songs, and it's much easier to get a publishing deal with an uptempo, positive song that is with a slow, depressing balance. Just when you're starting light, does your son have him memorable melody? You know, if you go away and leave it for awake, can you remember the chicken clearly when you come back to all these things are quite important. Technically, a really important aspect is actually production, not, I know, you might be saying, If it's a good song on, it's just a demo on, say, piano and voice. Isn't that good enough? For some publishers? It might be, but it really depends what you're aiming your music at if you want sick placements. If you want your music to be used in film and TV, or if you want to come from a major artist, it's going to have to be produced very well. And if you produce it on your own computer, it's a very wise thing to send it away, to be mastered on before you spend the money on doing what you really need to get some feedback on high like beard is that it's going to do well. So another question to ask yourself High original is your music. Is it fresh? Is it something that publishers gonna go? Yes, I like the sound of that that's not good assigned like a dozen other people that they already have on their roster. So is there something that's just a little bit individual quirky about it on? Although this may seem, you know, like a contradiction contradiction, you've got also got to ask yourself, high on trend. Is it? Is it the sign that's commercial night? Because you know, the music business is a business on things Do you have to sell? Although if you're aiming to have a cut with a well known artist, you don't want to write a song that songs like their last hit. You want to write a song that songs like their next hit. So you're going to have to know both their back catalog. I'm where they're going. So in order to pitch songs and to get songs aren't there, there's actually a fair bit of work involved. You have to do some research. Another great thing you can do is if you've written the song, say it's an Army. So put together a playlist on iTunes off your favor, R and B So that includes your own song so that you can hear high. It stacks up realistically in terms off the craft of the song itself on in terms off the production on If you would like some advice on high to make your music industry ready, if you've got a track that you'd like something back on, feel free to PM to me I'm totally happy to listen to your tracks. 24. Bonus: How to Become a Pro Songwriter by People Who Have Done It: hi students and anybody else who happens to be watching this video. Here I am in one of the nicest recording studios are ever worked. Um, I've been writing in here for the past two days, so I'm just gonna spend rights. You can see it. Really? Comfy air conditioned all the kit. So this is the words Norway. And I'm here on a songwriting camp to write songs for your vision. 2020. There are professional songwriters here from all over the world. All signed two different publishers. So I thought that it would be useful for you while I was here. If I interviewed them on high, they became professional songwriters What they did to get there. So hope this video is going to be useful for you. Hi, students. Here I am with the lovely kid. The Sky was actually signed to Universal as a songwriter, which is pretty cool where at the moment of out of the woods in Norway, writing for Eurovision 2020 which is really exciting. And can you and I have been doing track today, So gonna ask you about a parcel writing. So what made you decide to become a songwriter? for many years old I did was like singing when I was a kid. I was not simply school productions stuff, you know, the usual stuff. And for May, the turning point was when I wanted to be able to put my message in my own songs. And you can take the eyes and ice unless you write Arizona's right. You're in some things. You need to get good at something. I think that's what really pushed. Yeah, because I felt like I had a message. Is an artist and you want to get that message out in the form of a song? Excellent. So, like, what are some of the things that you did that got you to the point where you could be signed? Teoh your major labels publishing division? I had a lot of learning to dio lots of songs that we were in a song sets with for me Teoh. Hone my skill in my craft land What I was going up. I was personally even that I'm much better melodies the lyrics. So I'm getting better. But and yeah, some of the things were collaboration. Writing with other writers who are back to the new as well, making yourself feel a little bit uncomfortable and challenge is really good. It's really positive is actually the only way to grow. Visit somewhere, to be challenged, them to be pushed out of your comfort zone, to write with different people who are you have different perspectives than you on melody and lyrics. So collaboration was a big one. I would save May on them. New experiences I was traveling brings a lot of inspiration. T be able to write some. She need lots of good subject matters looked subjects to write about. And if you were going places and experiencing new things, then you will feel inspired. As one short question, I would ask, Was it really cool writing that brought you to the attention of Universal Because you being writing with writers that they were familiar with is that kind of is this wise business once it makes no sense because you could only ever send it to the people in your little contact pool. Yeah, whereas if you write with writers, then they will have a little contact, and then that song that you've read in that one day could go full of different contact on bay sent to eventually to the right person who would then either your voice or listen to how you right. And they then she's got from And so it goes further than you could get yourself. When you collaborate, you have other pools of contacts. Is it once again? Absolutely so, Yeah. She definitely does have something, by the way, so check kidding. Hi, students. I'm here with that Louise. Do you want a personal interest? Are now? Because my German is Oh, yeah. And the reason is you could be releasing your first single suit on she signed as a songwriter just to go get yet Napa sounds going to get a second. So she writes a writ stuff. We're here at the moment of out of the woods in Norway, writing for Eurovision 2020 which is being really fun. So that asked Louisa Louisa, what made you decide to become a musician? Well, for me, I was always a singer, and I felt like kind of a relief on the ferry to write songs into single day. And I have a feeling I have to tell my own stories, and this is why that's okay. So you wrote stories and get your message. Are that something that I love? A songwriter? Say, what would you say it was that you did that got signed basically like I did you get where you are? Well, basically, I would say I just did everything I could to be recognized in some way as a singer, as a whatever. I met so many people. I went everywhere like I went through two billion from Cologne, which is not so close in Germany and just met Brenda. People done one day I met a guy cool to be asses and he's on me to my first published networking and getting yourself there. Yeah, important message. That's it. Just like work work, right? Do what you love and let people know what you do. Like especially like through social media through. So everything ended you to I did life stuff I did writing. I did everything I could to be I'm gonna put some links, raises social media with this video. So people, can I follow your example of what you did. Thank you. Thank you so much. Lees. That's really helpful. We're we're just having lunch with my studio. Thank you. I'm here with the lovely in new Connor, who is an hour so writer like myself. He's have all my 30 songs associated with your general Richard. Quite amazing. So I'm not asking what made you decide to get hold of music. I think what made you decide to get involved in music is speaking my truth. Speaking what I want to get across to be. It's very unusual, very rare for some letters to have that opportunity, like all that must want to tell our story. But to be involved in songs on to just say this is what I feel with good or bad Just get out there and say it. Don't be afraid. It made me think this is the avenue that I want to go down. Don't listen to other people. Don't Teoh other influences, I think. What is your view? What do you want to tell? How do you want to expect story? That's just don't be afraid. Also, you know it takes a dark side, but it takes a every song has a bit of a gang of light and shade. Yeah, but also don't be afraid to kind of go. I'm going to tell that story. Also tell that lights tell everything their happiness because they have been cheating on that. But 10 start, very pressing solves. Nobody wants to sign. Some of the only has very pressing, so I have to mix it. Otherwise you're going to be stuck in this type of song. And I've seen people who are somewhere anything one genre, and that is really bad for your career. You'll be typecast and not do. Every life has different dimensions of it, like you know us from sin mood every day, or even, like all the way through today. So what is it you think you know? It has gotten to the point about your act, where artists are like messages asking, What do you think that I think I love people was working for me? A lot of it is you don't have a joint. If you don't have personality, you can connect with people. And if you can't mix with a group of you you've never met before, he's kind of cancer. That's where that's a drawback. You have to try yourself. You might be scared, but you have to just choice. I go, I'm gonna do my best. You might be full of anxiety going in there. Kind of. I don't know what's gonna happen, but the best thing is just face this fear down. Anyway, That's a great message. Don't be afraid. I'll be able to get on with people Syndrome has turned up funding for my songwriting students on I'm asking working music. Walt Manju won't work in music. What is it that you did that brought you to this point in your career? Me personally, I am down mixing and using program W called life because I waas I wanted to convince my friend that this was an easy thing to do. It's not, but I thought so. That point in time. There is a whole lot making a good song. What you would first think challenge is really what made you what made me really snakes go for this day for us And I really want to really want to make this life rather than just a stupid bet. Yeah, yeah, yeah. It started by not serious. Your Hello are here. Yes, yes. So that's quite Mr what got you to the point they would like I say, let's get Senator has a dedication to excellence. He doesn't have anything which I think is a big part of thanks. That's thanks. Um, no, I actually had actually had a lot of luck. Nothing. Cryptocurrencies is embarrassing. I feel like I kind of had too much left my way through time. I decided I would use that to to invest in something that I wanted to do. And that is that. That's music, because music is really hard and I actually need to do that more lucky. Ask who made some money. You make a good point there that people do need to have a day job until I think it's important to be financially sensible, like investing in other things on making music and a wise it's not stable in this gown like Like you could come here and you could write so and it might be picked up. Might make one things from it Or you can actually spam gonna get here Panic, actually thinking good advice. Thanks so much Teoh way. Are you in your dreams? Thank you so much. Way are going head into the party 25. Song from Scratch Challenge: way out of this section to the course because one of the students off the course, Gary Gordon Hi, Gary challenged May after I sent out an educational nights but to do a song from scratch section, and I thought that decided like, amazing fun. So the first thing I thought off doing Waas taking some briefs. Crystal writers usually write briefs, and I looked up a few breaks. That was quite a lot of top lining, which is writing to existing Elektronik track. And I didn't want to do that in this video because I didn't think that maybe you get an awful lot of just hearing me hum over the top over the electronic tracks. I'm gonna do a whole song from scratch. There is also some K pop in the Braves night K pop. Korean pop is close to what we might think Gold as Music Theatre. It's not big piano ballad sorry, but in the end I decided I'm gonna go with a break. I'm going to write something that I would want to write just for the sheer joy of it, because I know this course is a proposal running, you know, So writing is something that we should love today and sometimes just do it for the joy of it. So that's what I'm gonna do tonight. So I gotta introduce you to my songwriting set up. Some of you might choose to be a lot more technological May and be writing on a Mac. But I'm old school. I love my Jimmy love note bets. And what I do is whenever any idea roundly hits, may I write down the idea Come back to later. So I have a list of ideas in this notebook in front of May on the one that I would work on is I've got mountain mover stroke, walk on water written here. I like the idea of walking on water, you know, kind of achieving the impossible rising. Above all, that sounds quite nice. And I do have guitars in here, Bryce, other instruments and I could write a computer, but I'm gonna go with the old case because that's just happens to pay my favorite instrument. I could also just hum something with my voice and then find the courts. But I'm not going to do that this time, so I'm gonna go with welcome water that's title. So I think from that title, right Don here, right on my thoughts. So from the title Walk on Water, that could be a very update song because it's kind of a cause it of idea. Or it could be something a little bit were melancholy because it has not album hardship, and I think I'm kind of going to go with thought. I'm going to go with a sort of piano ballad signs I'm writing this done piano ballad signed . I think it needs to move from the minor to the major because your baby from I sort of difficult part of your life into overcoming those difficulties and maybe having more calls experience. I think the harmonics should reflect my time writing, dying these ideas, so now I want to do is find some coerts may be a risk that suggests when I just Sansom might have to do some editing here because there would be a bit off messing around going. Also, start with a minor No, Okay, my courts, they got something. Scribble it down. So that was a minor e Minor. J did that a couple of times, and then I just went from date, a matter which actually, I wasn't pressure like so I'm going to try doing this gas, even find better Court day. - Strange Jay could actually be. Or am I a minor? The relative miners of those sort of a little place tomorrow. But that's OK. So let me see if I can find a big Manticore is to go with this. Actually, that last minute I'll make say so we've moved into round of your name, the chorus relevant manager. Okay, okay. So I'm gonna play these courts, familiarized myself with them. What I normally do at this point is to went by my phone, which I don't mean to do because I'm recording it in a video because, well, I don't record. I will forget. And this is the joy of modern technology that you can do this on your phone or your tablet and back in the day when I was young and you have to use a tape recorder Or you could record think straight lives computer and have a record. It is good to have a record, but hopefully eventually you'll come up with the melodies and strong, but you can't forget it. So not gonna put my glasses on people. Things are essential. Part of my soul Reddick it. I want to play these chords already not playing with first time. So Okay , so I finally sussed the harmonics. What? I'm good. Well, maybe what I'm gonna do is hum a tune over the top of that. So play them on home. Yeah. On as you can see, the change that I created didn't always match the harmonic. So I'm gonna have to know what the cords and shape not got a chin or else not the chin into ship over the courts. So I've started the harmonics on the jake, but I wouldn't say completely sorted because writing is all by rewriting on, there will definitely be some rewriting going on. But I have to look at their X and what songs bite. So what I'm gonna do is I'm gonna do what's called rambling. So if my title is walking on water and all the things I can think of that are associated with that so what? I scribbled dying so far. This is where I have to take my glasses off. You know, your old you have taken us off to rate. Okay, adversity on overcoming. That's like the central thematic contact and then becomes images that come to mind. Storm See went dark and filling at least part the songs at night with maybe the dog coming . I think the character is a me character. There might be a U character in it and that Can I be someone who brought adversity into the person's life some way or a friend or a lover or God, someone who helps to bring the light of the investment? So these are my initial thoughts. Script died trying to come up story this song. I think what the story of myself is gonna bay Is that somebody when this person was young? Because this is something I've been thinking about Look sad, something to them. Told them they couldn't do something, brought them die, and they got to the point of realizing the back Watson tree. So they were then able to overcome that sort of metaphorically speaking walk on the water and do the things that they were told they would never do. It was meant to be impossible. That's gonna be the man story of myself, so I need to set this up in the first verse. Pardon? Scrolling. So 1st 1 the back story. So the main thing is said to the person, so they encountered some negativity. And then once we get to the little pre Horsey but that sets up the course, Then we want to say, but things were different night, but not described too much highly different because we need that for the rest of songs. But things are different. No so far it looks like this Massey scroll on. You have to have a notebook that is a massive girl. And then I have another one. That is very Nate. For songs that I've actually finished. I might want a plate, Mrs. So Okay, so then the chorus is going to be the man thing, So that's the walking on water rising above it. At this point, I'm no putting in the actual words. I'm just putting in ideas what I want to send each section about, create on actual lyric based on this. So that's the chorus. So in verse two, it's really gonna be about high things changed on my story. That is gonna be because they contract a person who showed them that they were actually capable of more than they being told that they were that they were actually worth more than people had left into labor. That the person the first arrested last debate believes it's a contact urge. A friend. So then we repeat the core s no. I do want middle it. We're ready. Should we happen to be American? Yes, but I only work with two lines. Something about it walking on water every day, or because really what you want to do with a middle? It is tick the story elsewhere, suddenly looking up from a new vantage point. So something about it. Maybe this person was beneath the water and they couldn't see about the way, so they couldn't imagine anyone else being there. So really, the idea want to convey is that they personally brought the other person dawn. So I'm writing down here. You couldn't save off the up the water so you thought other people couldn't rise. I think that's true in life, if someone brings you die, it's generally today with something they feel about themselves, not made it to watch philosophical. But then again, we are so writers and waxing philosophical is what we did, and then I will repeat the chorus twice. So this is what my wife really looks like. It's pretty much as you can see a truthful mess, but that doesn't matter, because all I need is a rough guideline. So then I have to write some words to change, and I've got to lie space for them to be embittered because we always re like things were writing lyrics generally. What I do is if I have a lyric that I think I'm gonna need to change just clocks. But it doesn't work that well. I'm not sure about the Rhine. I put it on brackets and I do use a rhyming dictionary on my phone on occasions when I write. Okay, so I've scribbled I'm a lyric on. When I actually started to fill in words, I changed the story completely, became something quite different, so I'll read. You two were expressed before I say that. So I had to make sure that they stand to the chain that they're similar syllable Clinton each breast. I've avoided using an a baby rhyming escape just because certain publishers that I work with don't like that particular rising Well, thanks. That it comes across is amateur have used in the past. You know, I don't have much of a problem with that. But some of the people you work with blue that just avoid it. So these are my lyrics? The movement You told me not to look up No good ever came of aiming for the sky You said I have no wings to rise Just stay where you are that time, Kasey by I believed you forever so little I thought you knew best on you Couldn't be wrong But I am walking on water day after day Worked my way up to the surface after years of delay And I like the sunshine making waves warm and blue I love walking on water on I wish it for you So they're actually sorry for this person who held him dying Wish things would change for that. So that's the big change. My story that came about looks actually started to write lyrics You don't need wings to fly If someone takes your hand on raises you up You didn't want to let me go? I couldn't stay in your dark. I don't look at the sun. I still believe in you, but you're completely submerged. I wish I could get 32 years. The lessons I've learned repeating the course is my middle at all. I'm drinks a couple of lines old Just let go. What with May just let go What may which is the man point about the song? Really? So I would say from the total mass, that is my note. Beck. I've changed quite a few things. Thought some things, didn't work. Needed re written changed rhyme scheme. Find federal works for certain places. That's kind of what happens. So not be scrolled on my final course. I've sounds up Play this thing for you so well. I played the cords, signed the lyrics that I have. I changed everything. I changed Jane. I changed the cords. I changed its lyric, especially taking unnecessary Where's that under? But I'm making everything a bit shorter, which we talked to buy in the lyrical Economy section. So I'm gonna play what I have. No, this is not a final song because a song isn't final until it's being Philly produced. Makes the master because in the reporting process, you always change things, but this is well, I have no way , - way , - way . - Okay , So I might want to think about things like, Is this really a camp song? Because I know in the store I said I wanted to do counter balance, but this might actually more sit guitar, I think has a country field. So as you can see, I've written something completely different than I am right by help. Grip, fun doing it. I'm thank you so much, Gary Garden for issuing me this challenge. So what? I just play J waas clearly not a finished piece of final product and you probably heard a whole lot of things that need it fixed. But I kind of wanted to play the role form rather than a final produce track. The words at the start of the verses don't scan properly there clunking. I really need to fix that. There are some of the harmonics that aren't working that well. I need to get a more structured bridge. Don can do but vocal ease. Go bottom vocal improvisation there. But I still think there needs to be more form tip. So those are the kind of things that I'm going, Teoh. Thank you, Bite. Before I come to record the song on, I'll possibly run it past some people whose opinion I trust to see where they think that I can approve it. So rewriting is a big part of the process of writing. 26. Rewriting is Key: The Updated Song: So Gary Gordon, asked on my soul writing course, asked me to write some from scratch, so I've already done a video of my writing songs. Scratch on This is the rewrite on perform itself at night. This probably won't be the final draft, because when I come, Teoh record it demo at anyway. On My Pro tells, I'll probably make even more changes, but you'll notice that I've changed harm. Alexe about a secondary hook, a little riff as an introduction between dresses so James Submit in the harmonics, are to make it more pro Solich and otherwise, to have the courts much the story a bit more by changing the end off the chorus, I've been the lyrics of the last course. I basically change the story. I changed the dynamic between the characters. The biggest lyrical change that admit is that there was just far too many words. If you watch the last video far too many where it's in, the second verse I've reserved died as much as I can to still tell the same story part of the river, by the way. But Microsoft for performing for teaching, So here is the soul for you on. I'm gonna dedicate this to Gary. Gary, I hope you like this. No way. No way. I found you. Don't way, way, way And I wish way Just wait way I wish I wish four. 27. The Final Cut: Studio Recording the Song: hi songwriters. Well, about a year ago, Gary Gordon, a student on this course, challenged me to write a song from scratch. So you've probably seen the video of me doing that. This is the final cut, which was recorded in Nashville, Tennessee, in Quality Recordings, which belongs to Steve Goody, who's the host off the Bluebird Cafe. And I also performed this song live at the Bluebird Cafe. So thank you, Gary, for inspiring the song. You can probably tell when you hear the final recording that there's been quite a few admits the lyrics had to change because once you hear them recorded back, you know that certain lyrics don't fit. It's also gone way up tempo from the piano ballad and originally Waas. The arrangement is completely different has turned into sort of update country gospel song , which is because it was recorded in Nashville and I was kind of inspired by the surroundings there. So this is the final recording off the track, and I hope that it shows you something about the process off writing, rewriting a man recording you told me never to. No good ever came of reaching, You said I had the wings to just stay where you are that I believe your best way way Andi, I wish it do. Dog brings to someone, takes your hand raises You watch this service burger I stayed with you far away from I believe in you completely trying to get through all those things that go with Just go with just let go with We'll be waiting and I wish it for 28. Evaluating Your Music: So we're gonna talk a little bit, and I bite evaluating your work on high to know that your work is up to industry. Standard night, I run a song feedback service, and in the past, I've had people Sandler songs to me for evaluation, and I've given them some pointers. I have written me, Bigelow Ramps abide Hi, I'm wrong and their song is ready to go right? Nine. But who has told you that? Because to be realistic, you're only gonna know if your song was commercially viable. If you run it past a professional in the music industry on that could be a teacher within the music industry. It could be a publisher. It could be a manager. But really, it's not that easy to assess yourself whether your songs are good to go. But there are some questions that you should be asking about your music. If you're trying to work out whether or not you're in a good place to approach publishers or to get your music right there. One is what I'm looking at. Technical things. Does the lyric have progression? Doesn't have hooks in it, songs that are going to get you published are most likely gonna be hooked best songs, and it's much easier to get a publishing deal with an uptempo, positive song that is with a slow, depressing balance. Just when you're starting light, does your son have him memorable melody? You know, if you go away and leave it for awake, can you remember the chicken clearly when you come back to all these things are quite important. Technically, a really important aspect is actually production, not, I know, you might be saying, If it's a good song on, it's just a demo on, say, piano and voice. Isn't that good enough? For some publishers? It might be, but it really depends what you're aiming your music at if you want sick placements. If you want your music to be used in film and TV, or if you want to come from a major artist, it's going to have to be produced very well. And if you produce it on your own computer, it's a very wise thing to send it away, to be mastered on before you spend the money on doing what you really need to get some feedback on high like beard is that it's going to do well. So another question to ask yourself High original is your music. Is it fresh? Is it something that publishers gonna go? Yes, I like the sound of that that's not good assigned like a dozen other people that they already have on their roster. So is there something that's just a little bit individual quirky about it on? Although this may seem, you know, like a contradiction contradiction, you've got also got to ask yourself, high on trend. Is it? Is it the sign that's commercial night? Because you know, the music business is a business on things Do you have to sell? Although if you're aiming to have a cut with a well known artist, you don't want to write a song that songs like their last hit. You want to write a song that songs like their next hit. So you're going to have to know both their back catalog. I'm where they're going. So in order to pitch songs and to get songs aren't there, there's actually a fair bit of work involved. You have to do some research. Another great thing you can do is if you've written the song, say it's an Army. So put together a playlist on iTunes off your favor, R and B So that includes your own song so that you can hear high. It stacks up realistically in terms off the craft of the song itself on in terms off the production on If you would like some advice on high to make your music industry ready, if you've got a track that you'd like something back on, feel free to PM to me I'm totally happy to listen to your tracks. 29. Commercial Viability Checklist: here is a commercial viability checklist. It's also attached to this video as a PdF, and it was compiled with help from Carl Henric Val at on track music who are a grip publisher Beest in Norway. So, basically, for your music to be commercially viable, you must meet all off these. Your songs are always written in the appropriate song form to the genre, so that would be a B A B C V form verse chorus, verse, chorus, bridge chorus for Paul per country pop A A for folk, a B A for jazz. In other words, you've got to know about song forms and you've got to know about your craft. You've got to know, for example, that in a pop song you right to the chorus on In Any Electrons in Front and in an Elektronik dance song. Sorry, you right to the drop, that kind of thing. So your songs must contain really strong hooks on that's melodic hooks, lyrical hooks on secondary hicks. So I've written here. This is the biggie. This is really important. If your songs don't have strong hooks, they're not likely to be signed, so lyrics the phrasing has to be there. It has to scan properly. No cliche. You want to avoid cliche. There needs to be a progression in the story of your song. Usually the use of wire framing will help with us. You need to have strong use of image, metaphor or a conversational style. Some publishers don't like an a baby rhyme scheme. I've used it myself and songs that I have had published, but just that something to be aware off. So both the lyrical on the musical content should be aimed at the target audience. You are writing to an audience, not just to yourself, so that a song that it's personal to you but nobody else can understand it isn't really likely to sell. I want her that said that good writing. Let's an audience feel the songwriter story. But great writing makes an audience feel that the songwriter is telling their story something to think about it. If you want to write for specific artists, are you familiar with their style? And as we said earlier, the soul should sign like their next album, not their last one. So you should have a catalog to pitch of at least 20 well produced songs, including a high proportion of up tempo, upbeat songs. It's much easier to get a publishing deal with an upbeat song, and it's much, much easier to get a sink with an upbeat song. I know we can all think of quite dime beat songs that were used in films. A tset, but a lot off sink is work in advertising on Brown's Don't want their brown associated with people feeling miserable, so happy High energy is more likely to get you there. Your song should obviously have some originality. Some spark about them, which is uniquely you. But on the other hand, they should be on trend on ahead of the trends. And we talked a little bit earlier about high. You can start trying to achieve that. You should have, as we mentioned earlier, positive feedback from credible industry figures. If your friends and your family love your songs, that's grit, but you need to know that someone in the industry will back them in order to be sure that your song is commercially viable. And as I said earlier, you confined this commercial viability checklist attached to this lecture as a Pdf. If you want to print it off 30. Types of Publisher and Copyright: no, I we're going to look at the really important area off different types of publisher on of copyright. So this is basically all about how you make money from your song. Writing money and music comes from rights or from copyright on their two different types of rights in regard to each song. One is the performance rights, which in America is known as the publishing rights on that has to do with the song itself, the melody and the lyrics. So if somebody wants to come along on perform or record your song, they're going to major permission to do that. Then there's the mechanical writes known as the master rights in the US, and they're to do with the recording of the song. So if someone wants to license your song and use it in a movie, they're going to need your permission for that. Or when your song is streamed online or when it's bought on I Janes through the mechanical writes, you should be being paid royal tastes. So when a song you own the rights to is used in any way, you should be paid royalties, and I sometimes this is known as the back end could say you signed a licensing deal. Toe. Have your song in a car advert. Well, you're going to be paid a faith, which is the front end, and then you're also going to be paid royalties for every time that song is played her heart on. That's going to pay the back end. Okay, royalties, air collected by performing rights organizations. PR owes. And there's quite a few of those. And they include PRS in the UK, M Row and Ireland B. M. I as cap and see sack in America. So it's worth doing some research into which performing rights organization is going to suit you best. But if you're right gigging a lot or you have songs up on YouTube that people are listening to you on Sign Clyde on Spotify, then you're really doing yourself. I'd of money if you don't sign up with a P r o. Okay, so Ni, let's look at the types of publisher will start with a traditional publisher. They aim to make money from your music on return. They will ask for a share of your copyright so you will be signing over a proportion of the rights of your songs to them. You'll often sign those rights over for five years after the contract is over. So you have to be sure that this is a company that you want to work with who is going to do the best for your music that they can. They'll try to monetize your music in various ways, including seeking licensing placements or sinks on placements with artists, which were referred to as cuts. They collect royalties from your P R O for you on pay them to you. So production libraries. That's an area where some people are doing very well the moment you can place your music in a production library, which is usually on a nonexclusive basis. So in other words, they don't own the right to your songs. But they make money by taking a cut of the faith. Companies who are looking for music rise through the production libraries, and hopefully they find yours and they want to pay the licence it Different companies offer different terms in relation to royalties, but as with any other kind off agreement or contract with a publisher, it's best to run it past A music lawyer before you sign anything. And in the UK, the musician Jinyan offers a contract advisory service, music licensing agency. My. They differ from a production library. They offer exclusive or nonexclusive contract, but they proactively go white to try and find placements for your work. So your work isn't just like lying around a library for someone to sort of stumble across there going like they're trying to find us. They'll often ask for 50% of the fee on 50% of the royalties. But this does differ. On is better to own 50% of something that makes some money than 100% of something that just lies around your computer collection services. These air agencies who were collecting royalties from your P R O for you on your behalf that could be useful if you're touring and gigging quite a lot extensively. I don't personally recommend these services. I think if you're willing to do the work on register all your performances, that is something that you can do yourself. Not online pitching services. If you haven't yet got a publishing deal, but you'd like to be able to pitch for sinks and cuts. There are some services who can help you do that. So for an annual or monthly fate on some occasions for free, you can pitch for publishing. Opportunities on some of the more popular services include Taxi. It has about a $300 joining fee, and there is no way Ryan that music get way. It has different levels. Eso you can join as a free member. And then there's different paid levels, depending on what you want to get out of it on song Trader, which again has a free service on to pay service. 31. Publishing Deals: So we've lifted the different types of publishers. Ni Let's look at the different types of publishing deals that you might be offered part. The most common is nonexclusive, which you're most likely to be offered in the early days. It's supposed to use by production libraries on licensing agencies. On with the non exclusive deal. You retain the rights to your music so you still own it. So you consign your music up with several nonexclusive deals at the same time. On have several people working on your behalf to get you some money in. Then there are exclusive publishing deals. So that would mean that the publisher have the stool right to represent the music named on the contract so you could sign an exclusive deal on a single song or on your whole cat. Look, there's usually a specified time period named in the contract, perhaps for year or five years on. The publisher may retain the right to monetize the works for a named number of years after the contract, and so, usually for a bite. Five years after the contract ends, they would still have a right to make money from the songs that you wrote while you were assigned to them. So single song or fixed term contracts. They're a bit like a trial to see if your work could make money. It's unlikely that you're going to be signed as a staff writer if you don't have a track record of making money. So the next is the Holy Grail off song running agreements. It's called an essay in the UK Exclusive song Running agreement in America that would make you what's called a staff writer on. That means that your formally accepted as a rostered songwriter with a publishing company. Everything you write for the duration of the contract will belong, at least in part to the publisher. You'll be paid in advance on um, it depends on the size of the publisher, but you could be paid anything up to buy 150,000 pines, but you can't just bank that money and spend it because you have to earn that money back. And if you don't, you must pay it back to the publisher 32. Music Licensing: Now we're gonna talk about about a subject I find very exciting on. That is music licensing, and I find it exciting because I have worked in and are at a music licensing company. So I've offered these License and Dales to artists and also because I've had my own music licensed My what does it mean to have your music licensed? It means that Accompanied buys a license to use your music in San commercial or a computer game or a movie on. They don't buy the copyright to your song. They don't own us. But their licensing it for use night is a great way to make money in music at the moment, because dine loads and CD sales are obviously going way dime. There's been a lot written and spoken by on that topic, so this is still a way that you can make music. It's very competitive. An awful lot of people are trying to do it, but it is possible. So an interesting thing to do this week is just when you happen to be watching TV. Listen for snippets of songs and the shows that you're watching so great thing to do on money wise it can pay anything from a couple of $1000 usually songs or licensed in U. S. Dollars right away through $200,000 if you happen to get your song in the right commercial or in the trailer for a Hollywood. Maybe so. Obviously a lot of competition for those kind of placements. Music licensing is also referred to synchronization or sick, so especially in the UK, will be referred to sick. So how do you go bite pitching your music for music licensing? No, there's a lot of services online that will help you to do that. There's what's called library services. Were you upload your music to a production library at a company can just come along and Brize Library on. They might happen to find yours and like it a better bet as companies that actually pitch your music to opportunities and right there, try and get places for. You know, thou charge 50% of the feet, perhaps 50% of the royalties, but it's better to have 50% to something that sounds 100% of something that lives on your computer. Resident music license A. A great company for doing that. There's also services online where you can pitch your music, such as music get when UK taxi is another one. But people have gotten good results with that has about two or $300 joining fee, which has to be paid in one Go on. There is no way right that there's also a service called Salt Trader, which is quite good on saltier allies. You to hear tracks that have recently Bain license so you can listen to the production values of those tracks and see if your song stack up. No us mentioned before. If you're pitching songs for broadcast, they have to be recorded to broadcast standard. They have to be professionally mastered. Under is no way right this because if when I was working for the music licensing company I heard a song, I thought, You know what? This is a great track, but the production just isn't there. I'd have to use a lesser chain which had better production, because, you know, you have to imagine something coming out of I'm Mark speakers, you know, realistically, it has to be very good on their certain frequencies, which will interfere with dialogue and if a song is pissed and said TV shows, So these kind of things, you know it's best to leave to mastering, engineer to sort unless you happen to be mastering engineer yourself, then by all means go for it. So if you've got any questions on the topic of licensing, but you would like to ask me about it, do you feel afraid to send me a PM? 33. Finding a Publisher: So we've talked a bit about the different kinds of publishers. So another important aspect to cover is high. You actually find a publisher on no. All publishers air reputable. So not only how you find a publisher, but how you find one that's really going to help you. I work on your behalf. So s I. I on organization mentioned before great organization. They have a pitch to publisher a couple of times a year, So if you remember, you can have your genes play to Publisher. Another great thing to do is to go to music industry conferences armed with C Days or business cards and see if you can meet a publisher. There are some all lying services where you can pitch yourselves to publishers such as music. Great get Way, which is a great service. There are several publishers on their actively seeking writers to represent. Another thing you could do is find a so writer whose work you admire and asked them a like their publisher. But I have to say that emailing publishers cools just finding them online, standing and eat any man three quite often doesn't produce results. It's all about building relationships so here it's good to actually make songwriters in person where you can go to conferences in the UK There's an organization called the Music Publishers Association. So the MP A online has a database of publishers in the UK, and you can search fire genre and it tells you which publishers are currently accepting submissions. So that's a very, very useful service. So se through doing all of this, you happen to find a publisher? Well, how do you know if that publishers any good? Because you know you want to sign with someone reputable. There's a couple of kinds of organized issues to avoid, like the plague. One is a company that calls itself a music publisher. But instead of pet finger work toe artists or pitching your work for sink, all they do is collect. The royalties for the performance is your day. I pay them to you. But take a cut because that's absolutely pointless. You can claim your own royalties from your PR. Oh, you don't need another service to do that, so I wouldn't recommend signing up to that kind of service. Another thing that you would need to dio if you're in talks with publisher is to email some actor already on the roster and ask, Are they happy with their services? Because that's just your due diligence of making sure they're a good company. You also want to sign up with the service who are actually having some success. So you want to see what place that's they have, what sinks they've had basically high. Well, they're doing before you sign up because you often be asked to sign up the rights to your songs for a whole five years. It's not something you can get out of quickly. So if they aren't doing a good job for you and they aren't making you money, they're going toe own, you know, part of the copyright to your songs, so you know you will be tied in with them. You will be able to go on sort of pictures where you can pitch yourselves yourself while here while you're signed to a publisher, but they take percent of any money that you make, so you really need to be sure that that right there working on your behalf 34. Branding: Now we're gonna look at the topic of marketing your music on, especially at the whole idea of branding, which in essence, means getting your message out there on letting people know that you exist. Night. There's some amazing courses on you too. May on marketing on in particular on social media marketing. So if you'd like to look at any of those, that would be great. But here is just a short introduction to the topic and its related specifically to music. Okay, your unique selling point. What a special about your music on what can you offer the others who are writing or performing in the Zia Zim genre count? Maybe you have a very unique skill. Maybe you can sing about five octaves. Maybe you play a very obscure instrument. Maybe you've played a really midge or festival or you have something really exciting on your bio. That's something really, To pause this video and think about it. What is unique? A bite you, then your ideal customer avatar who is your ideal listener because you won't reach people if you don't know who it is that you're trying to reach. So what is their gender? Hi old are they? Where did they live? What are their needs now? That's an important question to ask yourself in high. You can help fulfill those needs water there wants on. Hi. Can you help them towards achieving their wants? And where do they span? Time on on off line. In other words, if you want to reach these people, where are you going to have to go? Is it on Facebook? Is there somewhere in the community that they mate other certain groups online that they might be members off? So if you want to pause this video and you know, maybe try and address some of these points on, draw up a little, lest off things that make up your ideal listener. Your message because your brand is all about your message. That's a bite. The person that you are personally and professionally and high. You're conveying that to the world. So here's a little exercise to help you do that. I want you to list three words that describe you as an artist. For example, I might pick elegant, spiritually and contemporary. That's what I'm kind of going with. Choose an image that conveys this and that also means deciding what's not in keeping, because if I want to be elegant and going to avoid, like, cute little kittens and things, what, you're going to give a totally different impression. I would perhaps choose traditional faults such as Times New Roman and avoid things that comics on sounds or anything sort of comical or childish. So you don't actually have to draw this image. You might find something online, or you might just job dine what it would look like. So as you carry out this exercise, it's very important to bear in mind who is my audience on Where do they hang? Right? So you're actually aiming this out of specific audience. This isn't something just to keep yourself happy, and you need to remember to keep your branding consistent. So to use the same K images and masters across social media, email, marketing, printed materials, prass, pax, anyway, that you're trying to reach people. So just by way of an example, I'm going to show you the logos that I use for my business at the moment. So I have two things that I do. I'm a singer and a songwriter on I'm also a teacher and an educator. So I have two different websites, and I have two different logos for both those things. So this is the logo that I used as a singer and songwriter. I don't know if you can tell by looking at this logo what kind of music that I play. As you can see, I've gone for something very traditional. I've got an apple tree in the middle because you know my name is Eve, so the silver is meant to look ethereal and spiritual. Where's the ladder? Is mentally earthy and so the signed is very acoustic, somewhat sort of Americana singer songwriter, and that is what this is meant to convey. But the font is also meant to be slightly contemporary as well, because I'm not doing a sort of an US style folkie thing. So this logo you've probably seen quite a lot during the course of this course night. I teach both Children and adults, so I didn't want something that was cartoonish that would only appeal to kids when I started teaching and orange that there is a little bit of research on what different colors mean to viewer on orange is meant to be the color of professionalism saw implied is orange . So you know it's a color associated with music. So I have the microphone there on Orange is meant to look professional, quite a striking color when I use the stickers and envelopes and days, it's a simple image. I've used a very traditional funked because I'm aiming to look professional. I could also am to look sort of fun and right nut bait. But I'm actually aiming for professional because I teach a lot of people who would like a career in the music industry, not just kids. My Tigellinus find your unique voice on that sums up the values off my company because I'm not here to have anyone signed like me as a singer. As a songwriter, I want to help you find your unique signs. So I sum that up in Germany forwards. So that's just a little example of my branding, only to try and help you figure out your own. It is a good idea to have an actual logo that sums up your business values on if you don't have the money to pay a graphic designer, although it's great to be able to go to a graphic designer and sit down to discuss what you would like. There is a great site called Fiverr dot com. There's a lot of graphic designers, all there who will listen to what you want on design you something for very reasonable prices, so that's just a little suggestion. 35. Social Media: something you need to think about it before you post. Anything online is who is your ideal listener In the business world. There's this concept of the ideal customer avatar. The person is going to most want to connect with your business. So how old is this person? What gender is this person? Where do they live? What are their interests? Very importantly, what of their needs on one of their wants? So it's good to take out a piece of paper and job died. All this to get an idea of who you're really targeting when you're using social media or when you're using any other form of marketing on everything that you write online, all the pictures and videos that you post should all be targeted to gain the interest off that person the dues conducts of social media. Okay, let's start off with the things you should do. Have a specified musicians prove I separate from private accounts. We all want to keep our business lives on our private lives, separate as much as we can create content which drives people to the music and don't just post tracks every day. So if you have blog's that you've written or that have been written about you interviews, pictures, any kind of media. You want to get those right there, use media because basically large blocks of text are very off putting. If you go off onto a rant on your Facebook and right, you know a couple of 100 words, you can't expect an awful lot of people to pay attention to. It replied to comments. People will stop following you or stop taking an interest in your work if they feel they've made the effort to contact you or to give you some feedback and you simply haven't responded. Ignore Truls Night. If no one has ever posted anything nasty about your music, that just means you haven't got very far yet. Everyone will pick up the AJ detractor here and there. But don't get into runty arguments with these people. Cause only upset. She at twists time, and it doesn't look particularly professional. So you conjoined grapes, especially on Facebook. I'm a member of groups in Northern Ireland such as Northern Ireland, musicians and songwriters on as discussed earlier. Don't just post your tracks and run. You really use it as a networking opportunity link to your website on updated regulate night. You can't control the sort of online atmosphere of Facebook or Twitter, but you can control your own website and we'll talk about that a little bit later. So you want to ultimately encourage people to visit your website, where you're sort of guiding the experience that they'll have have consistent branding across all platforms on that is important. So you've got a consistent message. Everywhere you are online, your signs and images should give the same messages on only post high quality profile pic. So yes, your profile pic should be something that's really representative of your business. It shouldn't bay drunken self A or something very blurry or something, which really no thought has gone into ni. Let's look at the doughnuts, so don't insult individuals or whole grapes. So if you've got your ideal customer avatar and you got a very specific group that you're targeting, you still don't need to be offensive to other groups. So we avoid trying to be offensive to people of specific ethnicities, religions or sexual orientations. That kind of thing. I once was added by someone who worked for a record label to his private fist book On on there. He had a little prejudice against a specific religious group, which he decided that, you know, Facebook waas the place to vent. But ultimately, you know, those of us who are running a business, who are business people don't want our business is to be associated with any kind of prejudice. I'm not saying you can't have your personal opinions, but just be a bit sensible in the way that you expressed um, and try not to be bigoted in any way. Don't ignore interactions, because fans will be pleased if you thank them for commenting. They like to think, you know, that they've got a bit of a relationship going with you. An interaction creates mawr interactions to the more comments that you get, the more people will actually see the post. And after all, music is all about forming Relationships don't post material to frequently so that people go, Oh my goodness, that's the 10th post from that person today or two and frequently, so they forget they ever like to pitch in the first place. Don't add people to groups without permission. It's genuinely, really annoying. Don't go into streams of consciousness and start sharing your life and inappropriate detail . I think we all have friends that do that when they're a bit drunk on what we usually do is wrestle their phone away from them. So really don't do it in the business context. Off your music. Facebook Pidge don't post only songs on nothing else whatsoever. People want to connect with a human being and not a marketing machine because, as I say, it's all about building relationships. Don't post in public what should be emailed. And I talked about this in the Twitter section that a fade that rates please listen to my track over and over again just doesn't cast you in the best light. Don't use low quality profile pics, and we've talked about that before. 36. Facebook: So let's look at some of the more popular platforms that you're definitely going to want to get yourself as a writer and artist right on. So we'll start with Fist Beck because nearly everyone who uses the Internet users fistic. So you want to open an artist page and not just use your personal profile for promoting your music, so keep taxed. Short, unused images is often as possible. They're more more eye catching. And when you think about it, when you open up your Facebook up on your phone, you've got hundreds and hundreds of messages that you can scroll down, which are the ones that really draw your attention. Usually it will be the ones with a strong image, so don't post videos and tracks too often. But do post them. The thing is, if you're asking someone to listen to a song, you're asking them for between three and four minutes of their time. But a dozen other people are also asking them for that, so you don't want to over burden people by posting tracks every other day. So, you know, maybe sort of once awake would be often enough to post a video or a song Clyde Link Post regularly, you need to make sure that you're keeping up to debt with your Facebook page. Otherwise, people would give up on it and stop following it. Used targeted ads. Night FESPIC allies you to target out that people best on their geographic location, their edge, their interests. So it's a way of targeting the people you actually want to reach on when you're online on Facebook or on any other social media platforms, you still want to keep this idea of an icy A on ideal customer avatar at the forefront of your mind. So every post that you write, you're trying to engage with that person, that idea listener join grapes because it's a great way to meet other musicians and be in the new about what's going on in your local musical community and in the wider music industry. But don't just post your own stuff and run, which is genuinely rude, you know, if you just stick up, attract every couple of months and to agree. But that's your involvement in the great, you know, great comment on other people's tracks as well be a community member Now. I realize there is a time commitment on that, but it does pay off. No, I want to look at a really good example off a fistic bond pitch. This is Gavard. Does found pitch. You can see they have this great background artwork that they use across their social media . So scrolling dime. We can see that their videos they've posted have been well edited on are of high quality. Their photos, similarly, are of high quality. They alive people to review them. Script, encourage interaction. You can see I've reviewed them there and here we see them actually interacting with people thanking people for coming to hear them, making themselves accessible again, well edited photo and you can see they have a lot of comments and likes. 37. YouTube: YouTube, not YouTube, is actually the second biggest search engine online after Google. So it somewhere where people go to find information and it's somewhere where people go to find music quite a lot. You probably do yourself. This is where agents, if you're looking for live gigs on fans, will come to look for you. They'll expect your music to be on you chip, but only post high quality videos on. I'm not saying you have to go out and spend a lot of money on professional video production , but don't post you really shaky videos taken on a mobile phone on your official YouTube pitch because that doesn't look great. You can have a separate pay list for fun recorded videos. So if people have filmed you on their phone at a gig, you can have a little playlist without if anything, that says, that people are paying attention to you. But I wouldn't have that as the man focus off your YouTube channel. Going live on YouTube night. This is a quite recent thing. You can, of course, go live on Facebook, but going live on YouTube is a good idea because it can help you build your YouTube following and get some more subscribers in. So having a brief look at my YouTube channel, I'm not setting YouTube a light. I've just recently come to it, but you can see here I've selected a video to uses a channel video, and I have divided my channel page up into different playlists so people can see official music videos. They can see my music education videos. You know, I've just tried to make it as easy to navigate as it can be going to talk a little bit later. A bite, thumbnails and that kind of a, I've said YouTube automatically play another video of mine in the left hand top corner of the screen, just as a video ants reviewer. So I'm going to let you know how you do this. We are in the creator of Studio. We go into, added the video on. We go into aunt notes and annotations that goto our element on. I'm going to add a video or playlist, and I'm going to select fast for viewer. So you triple calculate which video the person may be most interested end on then, of course, remember to save the changes, something vitally important on YouTube is tags, and it's important to target. It is so that people can find them in searches. Perhaps use artists who signed similar feud to you to help fight describe what the song is . Is it a piano ballad? Is it on up tempo country song? To be quite specific? Another great thing to do is to create a tag like I use the tag Eve Williams music. You could use your artist name because YouTube doesn't realize that's not a thing. So think, Oh, there aren't very many videos tagged this on automatically play one of my very er's at the end of the video that somebody is watching. So it's as a good way of making sure that one of your videos is what comes up next for the beer. The title you use for your video on the thumbnail are actually really important because the title is going to make it easy or difficult for somebody to find, so you want to use the most important words in the title first. Now you might just want to tight or the video the title of a song, but it might be a good in this start. While people are still getting to know you to write something like Piano ballad Nobody wins . That's one of my songs. Just get the important words aren't there and you want to use really eye catching images. And it's good to use really right lettering with back runs and order to get people to actually click on the video. Because YouTube has brize features that bring up suggested videos as well as the search features on it, it's really ones that are very eye catching that are most likely to get attention. So here's an example of my thumbnails. I still haven't perfected my thumbnail style yet, but you can see I'm using red lettering and trying to keep a consistent style. Very importantly, remembered out of subscribe button on YouTube actually gives you an option of adding a little subscribe icon to all of your videos on your channel. So that's a very wise thing to do on. Actually ask people to subscribe. Asked them to subscribe somewhere in the video itself, on also very importantly in the text in the description of the video night you want to link in the description of the video back to your artist website to your Facebook to somewhere people can buy your music, you know, give people as much information as possible there so that if they're enjoying what they hear, they know where they confined more. 38. How to Make a Free Music Video: Welcome to this video on High to make a really cool YouTube music video because lyric videos can be a little dull for the audience. Go to start off a showing you one I made earlier my escape justice. I was a damsel in distress. I was happy. This is to be free last way. So you get the idea. It's by finding some really cool footage that goes with the fame off your song, creating a story. I'm putting it all together, so I'm going to show you high. I did that. I went on to a fantastic site called Picks. Obey on on thick picks. Obey. You can get both images on video by searching by keywords. So my songs Who needs in light? So I searched for the keyword horses, and quite a lot of stuff came up. I used this the over here in my video, although I muted it and I made it black and white, so it looked very different from the original, so you can see that says free download on it. Some off the footage on this site. You do have to pay for such ours. This video. It depends whether or not You think that you know it's worth paying for the film, so it's good to have a story that you're working, too, but also add your own footage. It's good to have your own fists somewhere in the video if you're the artist just to get it right there. On, added the footage to go with the lyrics. You know, we want it to make sense that can be really time consuming, like the little clip I'm about to show you. It took up by our to pull this off. You can also add it the video, dine and have 32nd versions for Instagram on For Fist Back where people maybe don't want to invest a whole three or four minutes into watching your video. So have fun with best, and I hope it works like well for you. If you find this useful, please do subscribe. I've got lots of the news right. There are music careers, Andi, music, education, especially on singing and songwriting on. I've got quite a few courses up on you to me in music as well, so you'll find links in the description 39. Going Live on Facebook or YouTube: in this video, we're going to talk about an amazing two for musicians or two amazing tools. One is going live on Facebook. On the other is going live on YouTube. So the obvious question to be asked, there is should I go live on Facebook or on YouTube? And the answer is, Go live where you most want to grow your audience because going live on either of those platforms is likely to drive. It's a more attention to your channel or to your Facebook page. You see here that I've chosen to go with my Facebook page because I tend to go live on Facebook rather than on new shape. I have a lot more followers in his book, so I'm going to start perhaps using YouTube live. But it's a great way to draw people into your world. If people see that your life they have the fear of missing, I think something's happening and bell tune right in, and it used to be back in the day. The recites like periscope where you could go on live on, performed people. Andi, they actually well, in my case, they attracted a lot less attention than going live on Facebook does. So I think the trick off hosting a successful live event to start with its first of all, publicize it. Don't just go live and let people be surprised. You know, for about a week before, let people know it's gonna be happening. Keep repeating. That's gonna be happening. Perhaps creating event on invite people contact your kneeling list and let them know you're gonna be going live. Give them a little teaser of what you're gonna dio. And then for the performance itself, I would advocate playing live for people on while your life interact with people reply to their comments. You know, they want to feel that you're all kind of having a party together during this live event. You know, that creates a kind of nice atmosphere, and you can talk a little bit a bite. You know, the influences behind your songs, why you really just don't buying on it on because people like to hear the songs do the talking. Obviously, I would end to keep it at a bite 20 minutes. That's manageable if you make a mistake when you're playing live and is my experience that nobody will notice if you want me to be added to your mailing lists? I'm always happy to attend live events on Facebook. By the way, just drop me a private message on Give me the link where I can sign up to your mailing. Less done. I'm happy to do so. 40. Twitter: Okay, We're looking at Twitter, obviously also a hugely popular social media platform. So good way of writing a tweet as use short text on. Obviously you can't write too much and Twitter, then post link and then post to hash tags. Any more than two hash tags on the Tweet will look incredibly cluttered on a little bit unprofessional. So tweets with pictures look better in people's feats. So I've given you an example here, basically the images saying exactly the same thing that the tweet itself does. But the image is more eye catching. So if you can imagine this in my Twitter fades, where I've got dozens and dozens of tweets to rate, you know, the bright yellow of this image really stood out to me, which is why I chose it to share with you. And as you can see, it's got 2.5 1000 likes, so you know people are paying attention to it. Hashtags can help you reach a much wider audience. You need to choose them carefully because, as I say, it doesn't look great to post about six of them at once. If you're only going to use to, they have to be the right to choose your time tweeting carefully as well. Otherwise your tweets just sink. They get lost. There's a certain amount of research that says the best time to tweet is around dinner time when people have just finished work on you can sh agile tweet So you can, you know, opt for it to be posted at the time of your choosing during the day. Don't post tweets where it would be more appropriate to send an email. I looked at one artists Twitter profile, and it basically said, Hey, Mr So and so please play my track. Hey, Miss So and so please play my track About 15 ties on that doesn't look great. 41. Instagram: Instagram, not This is the former social media that I feel does best for my music. But of course, everybody is different. Only use high quality pictures. So anything really blurry, not fast image. You sort of falling out of the pub drunk with your mitts. Maybe an instagram that's there to promote your music isn't the place for those particular photos. So choose of Filter, which represents your browns on. There's something to be said for consistently using the same filter. The video facility is actually really good now. You can only really post about a minute of video so you can't fit in a whole song. But you can fit in enough of a song to get people's interest, and you can get some of your live performances like they're on. If you use the right hash tags on Instagram, you can get quite a lot of attention. And it's not like Twitter, where you would really only want to be using two hashtags. You can use quite a lot of hash tags on the instagram and get people noticing you and finding you that way. Post plenty of music related pictures. Now that might sign silly if you're running a channel dedicated to promoting your music. But, you know, you might end up posting your cat or a particularly interesting dinner that you had last week on INSTAGRAM. Everybody doesn't just make sure there's plenty of music on there from where you are. Who, when you where were you go in? There's no cannon calling given O R E. 42. Paying for traffic: Okay, So in this video, I'm going to talk by a slightly, maybe a little bit of an icky subject on that is paying four streams and views online. Not back in the day. If you had wanted to release the track for the radio, it was perfectly acceptable to go pay a plugger toe, help you get onto radio channels. So surely paying for streams in Spotify views on YouTube. Isn't that exactly the same thing? Well, not quite. So on a search page here, um, as you can see, there are umpteen results for increasing your place on YouTube. Lots of companies that will offer to do this for a fee. The thing is, what are you really getting light of doing? That you're most likely just getting bots to play your videos. And I know recently I was on a YouTube profile where there was 20,000 views on a video, but the person only had about 200 subscribers, and it's pretty obvious to anybody actually looking at, but but a lot of those views of being paid for So it's better really to try and grow organic traffic with riel. People know Google does have its own facility for advertising on YouTube. And actually this fresh result hair, um, sprays E. They basically use Google's absense. And so what you do is you find some artists who you think you signed quite like some good keywords, and you start running a camp pan and then your video will be, You know, one of those videos. That's fate church before the man attraction, almost like a trailer and maybe the one that we always click. Skip. That's what will happen. No, that may get you some more views, but quite often it will damage your channels standing in that the YouTube algorithm places ah, lot of importance on view retention. It regards the successful video as a video that people are watching for more than 50%. So if you're one of those annoying videos that people click, Skip bomb, you're probably only going to get in a like maybe wall 30 seconds. Viewing time you could create are really, really short, like 32nd promotional video of one of your songs. That might be a good thing to do, but in the long run, just get abuse is maybe not going to help you towards your objectives that much. Marketing is obviously something that we all have to do. You can go onto Facebook and pay to promote a video there. You can look into using Google absense, which again will drive traffic to your videos. But it's just, you know, weighing the cost against the results isn't really gonna achieve your ends. So I'm gonna do another search here on this is quite a scary phenomenon going on at the moment. On that is people paying. I'm just gonna move my face so I can type Sorry. People paying for streams on Spotify night. There's a great article that you'll find several places in the Net. I might post a link to it on the resources of this video where the guys from noisy Danmark basically medicine. Then you was awful. They made a so May new sucked and then they paid for it to get 10 thighs and streams on Spotify. On that way it got out of the playlist. It showed up in algorithms but they made the point that on Spotify you're actually paid restrained like very, very lower mind to pay about 0.2 to 0.7 cents. But still, when people pay four streams, they are in fact scamming the system on their taking money away from legitimate content creators. So Spotify has really tightened its algorithm on there, looking for like irregularities, like if you're only getting four or five streams day and all of a sudden you got several 1000 in one day, that's going to get you into trouble. And that's what a new, awful lot off these services you'll find if you do a search like this are offering their basically just offering to ratchet up your streams, that could get you into trouble. In fact, in some cases people have had their Spotify air kinds completely closed dime. Because of this, their music has become unavailable, but also just bots playing your music. What do you really getting? I thought you're not reaching genuine fans. Your not having people follow you. You're not building any kind of engagement, and I it's perfectly fine to use a legitimate bugger on spot kids. You know, Spotify is the equivalent of trying to get on radio stations in the past, but I would say a legitimate service is one that doesn't just accept anybody. It's not a case off while pay some money and I can get onto playlists. Legitimate plugger should be having some kind of quality assurance. I'm not accepting everybody who applies. That would be one thing. But I would say the way to get a high number of streams legitimately on Spotify is to get out of two playlists. But quite often it's difficult to find the contact details for playlists. Curator is not. You can apply for Spotify Editorial playlist from your Spotify For artists up, you need to do that more than a week before your song is due to be released. You can also contact the curator's of, you know, bigger private playlists. And, as I say, it can be difficult to find their contact details. But if you basically you know, click on their profile, check the might follow their playlists, google them, you can find them on Twitter. You can find them on Instagram, you know, do follow them. Appreciate the fact that a lot of people contact them during the week so, you know, be respectful of their time. Listen to the playlist carefully and don't submit inappropriate material. It goes without saying. But just to conclude there's an awful lot of services on line that look like a quick fix. Just looked like Oh yeah, I can just ratchet up my subscriber numbers on UK back and just ratchet up my place and Spotify There isn't really a quick fix building a YouTube channel or building a Spotify following just basically takes time, and there's no way around that. 43. Email Lists : Now let's talk a little about email marketing, so there are some very good reasons tohave an email mailing list. According to CD Baby email remains the most effective way of reaching people online. On when you think about it, when you go onto your Facebook a kind or you're on Twitter, you have post after post after post rate containing videos and articles and tracks. You're kind of overwhelmed with messages, whereas if you send an email to someone is just a bit more of a direct, personal way of contacting someone. The most popular HTML email service is male chimp, and that enables you to do some quite killed things. You can sound emails that contained tracks and images. You can keep lists, a monitor who is opening your emails on who's clicking on the links, they contend, so you can see who is really engaged with your work, and there's a whole host of other useful stops. Importantly, it gives subscribers an unsubscribe option and every email which keeps you in line with data protection legislation. You can choose music related templates for CD launches for tours and for calendar death, so you know you can pick a template that suits the news that you're standing ICT via email . You can, of course, on should use your own logo on your own. Branding within male chimp e mails. You can post sign up forms on your website and social media, or ask Fonds to sign up at gigs. One thing you must never do, though, is add someone to your mailing list who hasn't given you permission because that is against data protection legislation. It's nice to offer an incentive, such as a free track or an exclusive video to people who sign up to your mailing list because you're mailing lists should be a little bit like your fan club on. There should be a reward for being part of it. Try not to email to frequently, or people might report you for spam on unsubscribe, but not so infrequently as people. Forget about your music once a month. This is a good M or when you have really big news that you want to share with people 44. Musician Websites: Now let's look at something very important, and that is musician websites know some of you might be thinking, Can't I just have a Facebook page or a Twitter account? But on Facebook or on Twitter, you don't control the experience off the visitor, whereas you do on your own musician website on your own website allies you to put your music, your images, your calendar, debts, everything that people would want to know about you in one place. So I thought the best way to start looking musician websites was to have a look at a few famous examples. So here's a little screen cap of Miley Cyrus's website. You see the really bright colors, which says something about her as an artist. You'll also notice here that she's only got home events news video shop. She's only got five little tabs. We don't want to have too many. You can always use sub menus, otherwise you'll just confuse people. But if you want to pause this for a second and look of the brown doing here, the pink stars and that kind of thing and just ask yourself what kind of messages is this website sending light? What age ranges. She aiming at what? Jan drugs, she aiming outs? Where might the people she's aiming at? Live that kind of thing. So Jennifer Naps Website new album, Love Comes Back Around ICT nigh on very importantly, a little button where we can buy it. Because sometimes people have to go off and look for a place to buy it. They'll say to themselves, Oh, I'll do that later and then they won't do. Do you want to make things easy for people? And you can see that you can actually play music quite easily at the bottom of the pitch? I don't set tracks toe auto play because it's genuinely, really annoying when you log onto a website and it just sort of plays music without your having asked it to. That does annoy some people again. Not too many tabs, um, clear image. Swear, you know, she's really at the forefront. So again, if you want toe polls this video and think a little bit about the different messages that are coming actually from the homepage of Jennifer Naps Website, one of my favorite bands, The Divine Comedy. So note the divine comedy, The font that's used very elegant. And, of course, they have that very elegant, witty style on were left under no doubt that they, at the moment have a release. That site nigh on again the button that says Purchase so you can buy it as soon as you hit their website. If you're looking for their new album, you don't have Teoh Hunter. I'm front. You just Google Divine Comedy. Go on to the website. There it is on Click Forever Land. You know the artwork, clearly conveying the kind of message kind of side that you expect to go with the divine comedy. If you haven't heard from them, i m It's very sort of sharp, witty lyrics with an almost new classical signed all the social media icons very easy to find so that you can follow them online and various places. And then we see the little menu icon in the top left hand corner. So it's all easy to navigate. It's very clear. Notice the lack of text. There's not a huge mind of text on any of these artists websites. When you first hit their website, everything is very clear. Easy to navigate on the messages air mostly coming across via image. So if you're going to start your own website, set up your own website, there's certain things you're gonna want to include. But before we move on to that, I would just mention that host Beibei here, related to CD Baby, offer a service for $20 a month where they have great templates that you can put in your own images. Neuron Black branding to set up your website or WordPress for free websites is one of the the bigger services on the Web. There's also a site called Con Va, where you can buy images to use in your website. That means you own the the copyright nets find to use those images. So what to include in your website? You want to have a simple menu with only a bite. Four options so you can use sub menus. So, for example, on my website I have a menu option that says news. Andi, under news I have pressed for all my press that site on calendar, and I also have a widget for the calendar elsewhere, so we want to make it simple so people can advocate it easily. You want to have your bio on. We'll talk a little bit later about high to construct a bio and high not to construct a bio calendar of gigs on interviews or any kind of events you're going to be a involved on if you know your track is being played on a certain radio show. If you're doing a live gig, put all into your calendar because your website should be somewhere that people can go to find out where you're gonna be in when Pinson tracks up, but not whole albums. You know just enough music for people's Get a flavor of your music. YouTube videos Life are also good embedded into your website because record levels and industry professionals will want to know what you signed like live as well as on recordings news. So having a news pigeon keeping up dating it is a great way to improve your ass. T o your search engine optimization when people are looking for you online and you know if your news page isn't regularly updated, if it looks but I'd of debt, people will wonder if you're still in the music business. A sign up form to your email, lest completely essential and, of course, widgets to all your social media on a store. So I love it when people buy my albums by on my website rather than when they buy them on, say, Amazon, because I don't owe anybody any commission. I just make the money. So that's a nice facility to have your artist bio, and I have to be honest over the course of my career when I've done a little bit of work for music blog's and when I've Bean wrecking in an R. I have ransom truly shocking bios that have more put me, often artists and interested me in them. So let's have a lick it harder right and effective bio. It should be a bite. Tan lines. People don't want to raid a war and pace sized bio. They just want you to hit the high notes and tell them what's different about you. Your USP, your unique selling point. It's not supposed to be a work of art, so if you were writing a CV, if you were applying for a job, you wouldn't write it in the form off on epic poem say, because there are some people that view their bio as a work of art, and it's almost like they're writing an autobiography. But professionals like Mate just don't have time to weird through that. I'm not saying it should be billet pointed, but it should be to the point. Include your men achievements? Have you worked with anyone? Kill? Have you played any major gigs? Do you have any special talents such as, you know, playing a really obscure instrument? Or can you sing 5 October? You know, tell us the man core all of your skills and achievements quote should be by other people are not by you. Even if the quote survives, someone have bean to gig rather than by a really fearless music magazine. But I've read things in people's bios, such as Their music has been compared to the Beatles. Well, who compared their music to the Beatles? Because if you don't tell me who said that, it comes across like you said it yourself and that's, quite frankly, a little bit of noxious, give contact details for press and bookings as ever, if you'd like any feedback or you've got any questions, feel free to post them in the Q and A section or to send me a PM on. If you'd like me to give you some feedback on your website, I'd be more than happy to do that. 45. Journos & Bloggers: So you're thinking of approaching journalists and bloggers? Well, the first thing I would say on this topic is be sure to approach the right journalists and bloggers. There's no point in approaching a country music brought Blawg. If you happen to perform metal, that really would be silly. So you need to do a little bit of research on the journalists and bloggers that you're targeting and the kind of acts that they like, I never said nor generic emails right by Tan Blog's sad. An email that shows you know something about the publication that you're aiming at. No journalists and bloggers get dozens and dozens and dozens of emails a day, so you don't want to include a sort of 20 line bio that they're just gonna look at it and go. I don't have time to read this. Three sentences hit the high notes. That's the way to go on. Send links no, and pay threes or even worse waves. Because of you touch files to your email. It's obviously going to take up more memory and the other person's inbox on. They're not gonna thank you if you happen to crash their inbox. So if you don't want to make a track public. You can sand private links Firesign Clyde, and that's what you want to do. But it's probably better to send links to music that's right there that people can listen to you, which can be in battered into a block on either you chip or sign Clyde. So you know that such the kind of professional courtesy also interact with the block Post comments on the book you know, don't just want to promote your own stuff on rum. You know, take a bit of an interest in the work that they're doing, if you possibly can. Another important thing to bear in mind is you need to have a decent standard, high res photographs for a journalist to use, whether that's the album, cover off your latest release. But you know, you do need to have a decent ham Children shot off herself. That's really quite high Raz as part of your press pack, because you never want to have low standards photographs right there. You don't want sort of badly taken selfies. Are you falling out of the pub with your mitts? You need to have a professional photograph there because image is very important in blocking, As you know. So I'm hoping that you'll think give approaching journalists and bloggers this week or at least start Raid a some of the music blog's. But all right, there I had some good success with being promoted and Celtic Music thumb online, but they, of course, cover my kind of music. So I can't possibly give a list of all the major blog's and all the different genres that something you're gonna have to Teoh a little bit over start job. There's also books online that will relate to your own local area, maybe for nd artists in your own local area. And they can be great for establishing a relationship with not just for getting a bit of PR quotes for your website, but also for making connections, meeting other songwriters, meeting movers and shakers in the music industry where you live. So it's something really wafting bloggers. No, a lot of people 46. Song Gates: so just a very, very short video for you in this week's email. Despite this really cool website that I find Cole hype debt, you can see the website here on height that you could make these things which are called dialog. It's so what this basically is is a pretty little link that you can share on your Facebook or an email where someone constrain your soul. I see. Then, if they want to dine, load it. They need to follow you on to save the song on Spotify, and that way they get an MP three. So this is actually a great way to build your followers. You can actually use it with Sign Cloud as well on building following on soundcloud. Or you can collect people's emails with it. So it's a fantastic idea, hoping you're gonna have some fun. Bullet. Yeah, see, women. It's asking me to connect on Spotify. It's not gonna work from a because obviously I'd be linking it to my own kind. But I can't recommend this highly enough. It's being free. It 47. Offline Marketing: No. Marketing is not just in online thing wherever you are. If you're there to represent your business, you must have a professional attitude. Now there's several places that you can market your business off line. Um, the most obvious is live gigs When you're right performing life when you're chatting to people after the gay, give get goers, come up and start a chat with you. Remember, you're representing your business when you're talking to them, and so you want to be letting them know what you're doing. But you don't want to be, you know, saying so that person by my CD by my CD. By my C date, you know you want to build a good relationship. That because marketing is actually all about relationships, another place you might be marketing your business is up music conferences and hopefully there are some good ones near you. Sort of major international ones would be saved by Southwest and Oxford in Austin, Texas, on Meet Em, which takes place in cans and fronts. But there is a lot going on locally and regionally as well, So if you happen to be at a full day conference, remember that you're there to represent your brown, so you're gonna want to do certain things. You're going to want to have copies of your music with you because there's no point if you meet like, say, a really cool publisher, saying, Oh, right, yes, don't have any songs with me because, you know, by the time they get home, they might have gotten who you are. They could have spoken to 10 people that day. So you want to have music with you, and you wanted to be labeled with all your contact details on your Web presence. You also want to have business cards. Not someone said to me once, and I think it's a really great idea. Have your photograph on your business cards because that if the person finds the card in their pocket a couple of weeks ago, Oh yeah, that was that person. Whereas if it's just your name, they might know, actually, remember who gave it to them. There's a certain logic said people aren't using This is cars quite as much. I still think they're useful to have, but quite often people are swapping Instagram's instead. Just, you know, in personal spot so good to have your instagram up today. It's just a kiss that happens. Um, just remembering as well about your grounding on your CD cover on your business card. You want to keep that kind of grounding consistently, giving like a consistent message on when you're in conversation as well. And it goes without saying, You know, even if you're tired, grumpy and you've had about day, you are representing your business when you're chatting to people in person, whether that's gig goers, whether that's publishers, whoever that might be. A so you always want to maintain a professional tone. Another great thing to do to market your business offline is to form good relationships with record stores on venues in your own time on other local businesses. So it's worth just going into a local record store. Take again some CDs on having a chat This will genuine generally work a bit better than e mailing. If there's things that you can do in person or by phone, it's better to do that than emailing because, you know, it's just a more personal mode of communication. So maybe a little challenge for this weight. Kobe. Find one person who could help you write on, speak to them in person 48. Spotify: So the most popular site for prising music online is Spotify on. You can see here that it suggests playlists to the listener. Here's one of mine. The Discover weekly on your real goal is to get your tracks into these playlists. For that, you need more than 250 followers on Spotify. So once you have a Spotify a kind you're gonna have to get out there on really promoted. So the Billboard top 100. If you want to be working in music industry very important playlist to follow, as it will tell you, a bite commercial Trans at the moment. So we're gonna look at it, see what the big tracks are, the moment we'll talk in the next video about high to get your music on Spotify. 49. CDbaby: a really useful service online is CD Baby on CD. Baby can help you get your music onto Spotify onto Amazon iTunes, Deezer. They also put your musical on YouTube just basically anywhere where people can reach it where you can be paid for it. You can select an option that says anything that pays, or you could basically put it anywhere online with CD baby. They also provide a little widget for you to have a store on your website or Facebook on. They sell your physical CD's plus. They'll give you barcodes on my SRC codes for your CDs, which are pretty much essential if you want to sell music in stores. 50. Bandcamp: another popular service online, where you can sell music is bomb camp on. As you can see down the right hand side here, it's showing you what's popular in certain genres, it suggesting artists. So it's a great place for music fans to find J. So let's go in on a search for an artist. Just so as you can see what an artist profile looks like and what Oh, deviates Archie Athol. So if we cook on him, it will bring up all his releases, as you can see here so you can set your own price on bomb pap for what you want to sell your music for. So let's click on one Wiltshire winter on. You can see that he has that up for £10. Blomkamp will also give you a little store that you can use on your website or on your social media as well 51. Lifestyle of a pro songwriter: So in this video, I'm going to talk about by the lifestyle off a songwriter what it's like to actually be a professional songwriter. And obviously it's an amazing job to have, because you're in essence, doing the thing you love your working with music on. You're also working with some amazing people. I would have to say one of the best things about being a songwriter is that I've met people who we'll just be friends for life, you know, because so writers half JB empathetic and they have to understand something about the human condition so they can obey, you know, fun to highlight with. Also, there's a lot of travel involved, which can be a plus or a minus, depending on your personal circumstances. But, you know, within the past few months, I've being to Nashville. I've been to Norway. I'm a bite to have despaired on a couple of days. Then I'll be in London. You know, I get to see quite a lot of the world on experience, new cultures, other. Sometimes I'm going to really exciting places and only saying the inside a recording studio , which I have to say is a bit of a sham, So those are the definite places off it. The dine sites would be. It's a form of self employment. Even if you have a publishing deal, you are in essence, self employed. Unlike any form of self employment. You know, income can walk somewhere and it can be unstable. It can be very good, but it's unstable. So you really do need to work a portfolio on the other things to keep yourself going financially. I teach. I sell digital content. I have picks on Kendall. I have online courses. Obviously I saw Stop music my upon five and all that kind of thing. You know, you really do. You have to have your backups for times of year, where your royalties might go down a bit. Um, the other dawn side would be the traveling. It's very, very exhausting at if you have caring responsibilities. If you've got young Children, older parents look after you really need to ask yourself whether inal it's realistic. Um, because, well, it depends really where you happen to be best. If you live in London or in Nashville, you might actually be able to build a career with, like traveling that much. I come from Northern Ireland, so they just wouldn't be a big pool of people here for me to write with artists for me to write for. So I do need to dio a certain amount of traveling. If you're a singer songwriter and your artistas well, you know you are going to have Toso. It's whether or not that's gonna fit in with your lifestyle. Like any other industry, it has its problems. Like I saying, I've met some lovely people, but there are definitely scammers right there. You know, people who will basically just take advantage of people's desire to work in music. So your best protection against scammers is actually to be as informed by the industry as you possibly can be. I know back in my early days, I got charged a huge amount of money by these people. He said, Oh, your songs are good, but they don't have enough energy. Let us record them and produce them for you and then we'll manage. It was so obviously a scam like I can't believe I fell for it. They charged me about thighs and ponds and recorded me to tracks that were just really pearly produced. I was totally ripped off when they were quite aggressive to May. You know, this kind of thing does happen. Also in the UK, only 14% of songwriters professional songwriters anyway are women. I'm actually part of the musicians union. She grows project trying. Look at why that is. You know, what are the barriers to women entering the profession on high coming overcome them? I also have rheumatoid arthritis, so I find the lifestyle of being a songwriter. You know, for people with certain health conditions, it can be very, very exhausting. Like I have Teoh work out. I'm gonna manage all the travel and even just the carrying of heavy kit. I'm also I put in a very, very long ours. Professional writers really write a song a week, and those have to be recorded to broadcast standard who played as well. So you know you can put in a more than 50 are weak doing that. It's very labor intensive. I'm not gonna pretend it's not glamorous. It's a really exciting field of work. But there are long ours involved in the work and also in the learning. You have to be constantly learning you have to keep on top of industry trends. You have to keep your skills and your instruments and then music production going. And of course, you know the craft of still writing itself. You need to be constantly studying that, which is actually something that I really love about song writing the constant learning. Um, but travel long ours. Those are the two things I really want to get across. So if you really want to be a professional songwriter, you know, just thinking about high that might fit into your personal circumstances. 52. Music challenge: Hello. And here we are a Belfast Titanic Quarter to talk about what to do this week. If your music career is giving you that sinking feeling, we're going to talk about some practical ways that you can raise yourself up. Okay, so the plan for day one and this is just really simple. Why don't you just finish something? You know, that great idea for a song you've had in your head or those lyrics that have been lying rind in your notebook for a couple of months? Or that chorus that you've never find a verse to go with? Well, this week, why don't you sit don and finish that today, too? And this is something that's going to be really important for the whole rest of your music career, that is, seek ites some feedback. Think of someone whose opinion you really trust might be a music teacher. Might be a producer. Might be a fellow artist, might be a publisher. Someone whose opinion is going to be really informed on is gonna be given in a constructive way. So why not take what you finished earlier this week and send it to that person for their feedback. Hope it goes well, Day three. And this is a really good thing to do. If you're stuck in a rut, why not collaborate with someone on on artist that you respect? You could collaborate with a friend. Or you could reach out to someone that you've heard on YouTube on Sign Clyde on Spotify that you just think is really cool and see if they're interested in writing with you on. You just never know what kind of new signs you might come up with That way day for at a great thing to do is to find, like, what? Music conferences, a music business. Events are going on in your area. You could do a certain amount by email and on via YouTube and Facebook and reaching people . But there's nothing like actually making personal connections of people them knowing who you are. Because then the next time you send them an email, they might go, Oh, yeah, that was that person and, you know, they're more likely to read it. So that's my challenge to you today is to try and find really cool music industry events to book yourself intake. So Day five Challenge is to use the tool that's just really useful to musicians, and that is Facebook life. Something I like to do on Facebook is to do one cover, one original every week because people will listen to the cover and then hopefully stay for the original. So that's my challenge for you today. So day six. Hopefully, you're starting to get out of your music, right? Nine. You've got a few stories to tell. A few ideas kicking right? Why not contact your meal? Inglis. The people that support your music on tell them about what you been up to. And if you don't have a milling list, it's a really good idea to get one, because that's greater. Social media is. All the research suggests that the best way to reach people is still by a veil, a nice personal note into their inbox Day seven Challenge. And this is probably the scariest one contact. Somebody knew somebody that you would really, really like to hear your music. Maybe it's an artist that you'd like to write for. Maybe it's a publisher that you've always wanted to work with. Maybe it's just to reach out to someone. You're a big found off and tell them that you think they're co. But today that is the challenge. Contact somebody you that you really want to be in contact with about your music that you've never contacted before. So hopefully there's some ideas there to keep you afloat musically for a while. Do post in the comments and let me know what project she came up with after watching this video. 53. Now You've Finished the Course...: So now I have come to the end of the course. I'm hoping that you find that useful. Remember, Saul, writing is something that takes practice. So just keep writing and writing and writing and co writing and writing, and you will refine your skills. No, I've included in this that land section a list of useful organizations that are all hyperlinks. So you just have to click on them to help take you forward from here. If you have any questions or any feedback by any element of the course, just feel free to send me a message on Thank you so much, once again for subscribing.