The Everything Songwriting Book by Watson, C.J. -- Read -- Imperial Library of Trantor

Index

Cover Title Page Dedication Copyright Contents Acknowledgments Top Ten Characteristics of a Great Song Introduction 1 - History of Songwriting

Origins of Music Ancient Music Middle Ages and the Renaissance Baroque Music Classical and Romantic Music The Birth of American Music Expansion of Music Media The Hit Parade Era Songwriting Empires

2 - Getting Started

The Most Important Points The Songwriter’s Toolbox A Good Writing Environment Where Do I Begin? Realistic Expectations When Is a Song Finished?

3 - Thinking Like a Songwriter

Where Good Ideas Come From Write What You Know Developing Your Idea Getting the Story Across Painting a Picture Making a Movie Dealing with Writer’s Block

4 - Elements of a Lyric

Different Lyrical Styles Targeting Your Market Writing Rhymes Pay Attention to Meter Prosody, Alliteration, and Clichés Visual Writing Finishing Touches

5 - Elements of a Melody

Melodic Styles Writing Effective Melodies Prosody, the Sequel Melodic Range Looking for Memorable Melodies Keeping Up with Current Trends Getting Out of a Rut What If I Can’t Sing?

6 - Parts of Song

The Sum of All Parts First Up, the Intro Writing the Verses What about the Hook? The Chorus Section Lift, Channel, or Ramp Adding the Bridge Instrumental Passages Getting to the Finish Line

7 - Song Structure

Chorus and Refrain The AAA Song The AABA Song The ABABCB Song “ABACAB” and Other Oddities Points of Notation Modified Structures

8 - Troubleshooting Solutions

Interpretation Dependency Clarity Issues Cute or Trite? Sweet or Sappy? Meter Adjustments Melodic Difficulties Too Much Range Necessary Sacrifices

9 - Playing an Instrument

The Benefits What If I Have No Talent? Choosing Your Instrument Using the Computer Buying an Instrument Learning How to Play How Good Is Good Enough?

10 - A Crash Course in Music Theory

What Do You Really Need to Know? Where Can I Learn Theory? Music Charts The Nashville Number System Charting with the Nashville Number System The Rest of the Theory Theory as a Troubleshooting Tool

11 - Entering the Big Leagues

Making a Commitment Getting Organized Scheduling Time Support and Feedback Going Public The Importance of Having a Life

12 - Writing for the Commercial Market

Viable Formats Keeping Up with the Competition Good Songs, Great Songs, Hit Songs Depth Cuts Writing for Yourself or Your Band Writing Songs for Others

13 - Recording Your Songs

Demo Options Home Recording The Players Choosing a Singer Mixing a Song Demo The Last Step

14 - Arranging/Producing

The Producer’s Role How a Song “Feels” Genre and Style Choosing a Tempo Instrumentation Sonic Impact Key Changes Solos and Instrumental Passages

15 - Writing as a Team

Great Teams The Joys of Co-Writing Finding Co-Writers Compatibility Setting Ground Rules Different Types of Writers Carrying Your Weight

16 - Getting Heard

Find a Music Hub The Decision-Makers Pitching Your Songs Hire a Plugger Forwarding Services Web Presence Single Songs and Spec Pitches Beware of the Sharks! A Word about Contests

17 - Legal Basics

Copyright Laws Exceptions to the Rule Copyright Infringement International Copyright Law Single-Song Contracts Staff-Writer Contracts Before You Sign Anything

18 - Getting Paid

Performing Rights Organizations Registering Your Work Performance Royalties Synch Rights Mechanical Royalties DART Money In the Future

19 - Moving to a Music Hub

Planning Ahead Digging In Spend Some Time Networking Writer’s Nights Being Proactive Setting Goals Keeping the Faith

20 - Careers in Songwriting

Staff Writing Film Scoring and Movie Music Television Music Commercial Jingles Children’s Music Religious Music Classical and Jazz Composers Being Your Own Publisher Going Big, the Three-Year Plan

Appendix A - Songwriter’s FAQ Appendix B - Seeking Professional Help Appendix C - Glossary Index