One of the most essential, yet occasionally overlooked pieces of becoming a professional musician is ensuring your musical creations are copyrighted. Not only does this protect you from theft or fraud, it registers the song or album as a unique, singular creation which can never be duplicated or repeated.

From the U.S. to around the globe, there are a number of methods to safely and effectively copyright your property.

Moving hand in hand with the ongoing increased online convenience in today’s industry, the U.S. Copyright Office allows artists to register and protect their music right over the internet.

Using the eCO Online System, you can create an account, specific to your property and begin the process of copyrighting your hard earned success. eCO provides a tutorial, help system, and a complete walk through of the process, but you should still be careful while registering, making certain everything is completed completely and accurately.

After finishing the online form and double checking all of the info, eCo utilizes a simple online checkout process, wrapping everything up cleanly and swiftly. Of course, nothing in this world is free, right?

The U.S. Copyright Office charges $35.00 for an online registration, after which you’ll receive a confirmation email with further instructions.

Finally, the form must be printed and mailed in with a physical CD, or a digital upload if that’s easier for you. For those not particularly internet savvy, you can also complete a hard copy of the form to mail into the Library of Congress, which costs $50.00.

Once the forms and music are sent off, all that’s really left to do is wait. It usually takes about six months up to one year for processing, but once this is done, you’re officially registered and protected.

When mailing anything into the Library of Congress, be sure to use a shipping method with tracking numbers or confirmation, providing back up proof of your submission.

So in the end, what’s the fuss about copyrighting? The largest aspect is the protection copyrights offer you, guaranteeing a song or record is forever 100% yours. If anyone attempts to rip off one of your registered creations, the penalties can be quite high, and a lawyer can file a formal criminal complaint against the offender.

Aside from all the legal jargon, copyrights also allow artists to copy, distribute, perform, and display the products at will, maximizing the ability to promote and spread their music.

The music business can easily become a harsh place to fight for success, and copyrighting your tunes is another important way to establish yourself as a professional musician. Once an album is ready for release, check out the eCo system and see if it’s the right choice for you, as everyone’s career path is unique.

My Free Copyright.com is another method to register single songs, but doesn’t provide grounds for seeking damages on an infringement. Remember, writing exceptional music is always the priority, but one can never ignore the realities of the digital world we currently all live in.

About The Author: Use our Music Promotion Services to get the most exposure in the music industry. For details visit ArtistPR.com

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Depending on how you’ve started your songwriting process you may at this point have a tune, melody, singing line or even a complete chorus or verse worked out. So your masterpiece is now beginning to take some shape:) The next thing to turn your attention to are the song lyrics and title. Something catchy and singable.

So you get yourself settled down with a brand new writing pad and new pen and your all set to fashion a classic song! Well the hardest bit is surely in the bag isn’t it? Getting that tune sounding good was tough and now the lyrics will just write themselves…won’t they?

So first thing is getting a theme and then scribble out those lyrics. And as the minutes and hours pass by and you stare blankly into space you begin to realize that lyric writing isn’t quite as easy as you thought. Better get another drink!

So the next drink goes down, the pen gets another chew, more staring into space and still nothing to show. “OK, maybe I’m just not in lyric mode today after all” you think to yourself. “I’ll try again tomorrow.” We’ve all been there and this is generally what’s known as writers block. I once went a whole 2 week vacation with writers block. Got through plenty of coffee in those couple of weeks:)

Some would say that it’s not possible to learn songwriting, that you can either write songs and lyrics or you can’t. Well I disagree with this because I have learned over a short period of time some simple techniques that help with songwriting.

Yes, some people are just natural writers and find it easy and are just very creative, but that’s not to say that anyone, given some simple methods can write great songs. If these techniques are put into practice then song writing becomes much easier.

So here are just a few simple tips that should get you scribbling in no time:

• Try to write words that people can identify with and give a simple message.
• Although you can use a few cliches try to limit the number and rethink a cliche into your own words.
• Lines don’t necessarily have to rhyme and sometimes forcing rhymes can affect sing-ability.
• Try telling a story in the past tense. It’s much easier to write about something that has already happened.
• Try Writing about something that is going on right now. It could be a scenario that is happening to you, a friend or a family member.
• Try writing about something that could occur in the future. Perhaps if you came into money, or if your partner had an affair. Write about how this might pan out.

Use these simple ideas to try and beat songwriters block.

Learn some great tips for songwriting on guitar and visit songwriting4guitar.com, Beginners Songwriting, and LearnSongwriting On Guitar Grab a totally unique version of this article from the Uber Article Directory

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Songwriting is most definitely a skill. In time, you will come up with many of your own tricks, tools and guidelines. My “three rules of thumb” have proven to be my most valuable tools when it comes to the art of writing songs. Here they are!

Before I explain my three rules of thumb, I’d like to say that these were developed over time, after much trial and error on my part. They have saved me much time and frustration. It has transformed my songwriting into an easy process that works well for me.

Rule number one – Write it down

Even if you’re not in love with your idea or word, write it down anyway. It is so much easier to work with “something!” than “nothing!” A blank piece of paper, can be very intimidating, particularly for the new writer. It doesn’t have to be a great idea to get you started — just write it down!

And don’t wait until very long into your session either. Just write it down and start working it. Many a bad line has led to a good one. It gets you started! And that’s worth more than you can imagine! Ask anyone who has experienced writer’s block.

Rule number two – Don’t move on if you don’t like it

Once I have got something to work with “on paper, ” then I apply the second rule. It is important to note “once I have something on paper,” otherwise you may never get anywhere.

So, once I have something written down, I don’t move on to the next word, line, chord or whatever form I’m working, if I “dislike” what I wrote. I don’t have to like it, particularly, or think it’s the best I have ever written, I just have to not “dislike” it. Chances are if you dislike something right from the beginning, your feelings are not going to change.

So to restate, if I don’t “dislike” what I wrote, then I move on.

If, however, I do “dislike” what I wrote, then I stay there and work alternatives until I find something that I don’t “dislike” before moving on to rule number three.

Rule number three – Never change what’s on paper unless it’s absolutely, without a doubt, better

This one has saved me a great deal of time. When I first started out I was always changing and never finishing what I was working on. So in order to stop all that inner struggle (and remembering that basically anything can work, if you work it) stick with your original idea and move on unless you are absolutely sold that a new idea is better.

Now, if I’m not satisfied with what I’ve got down on paper and I’m undecided about a new idea, I do what I call “trying it on” for awhile. I still don’t change what I wrote on paper, but I make a rough note in the margin, to remember my new idea. Then for the next while, every time I play my song, or that section, I’ll play this new idea and see how I like it. (And so while you’re trying on this new idea, for a few days, a week, whatever — you move on in writing your song.)

I stand firm, I do not change my written record unless I am sold on a new idea being better. Sometimes I end up liking the new way and I’m sold and other times, I just rub out my notes and concede that it’s not better and that’s the rule. I stick with my original idea.

These rules can speed up your process tremendously

After I developed these three rules, indecision was a thing of the past. You know when you love an idea. These three rules sped up my writing tremendously. I also found that many ideas worked that didn’t seem to at first.

Each rule is vital. As I saw the value in them, I never wavered and now always follow them to the letter.

Benefits of the three rules

The benefit of the three rules are this. Rule number one gets you started. Each rule is as important as the other. They work together. Rule number two and three are of no value if you have nothing to work with.

Rule number two eliminates those bits in your songs that always bug you! I had so many songs I loved but in each one was something I didn’t like — something I never liked from the beginning. It does a lot for your performance if you work out those little glitches in your writing. If you feel deep down inside that you are totally satisfied with your writing, that you worked through anything that felt off or bad, you can perform your song with so much more conviction and confidence. It’s not about what the audience will accept — it’s about what you will accept!

Rule number three saved me endless hours! Oh my. I can’t stress this enough! I don’t think I’m the only one that kept changing and rearranging my songs endlessly. Every idea, whether it’s a real good one or not, still needs to be worked out. So that means every time you rewrite, you are, in essence — going right back to square one!

So those are my three rules of thumb for writing songs. Songwriting can be a very fulfilling experience and gets even more enjoyable as you improve with time. As you find your way, I’m sure that you’ll come up with some great rules of your own.

Gail Karen (G.K.) Eckert is a vocalist, musician, songwriter, author and teacher. She founded Musikhaus Studio of Creativity in Kitchener, Ontario, Canada in 1987.

She has written numerous articles on learning to be a pro.

Visit her personal blog on Wellness and Creativity GKEckert.com

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EzineArticles.com – Songwriting-How-to-Write-Song

Do you find it easy to write songs? Too easy? Well, I at least have had a problem with this.

If you would visit our home and my garage you would find a lot of unfinished songs and a lot of manuscript paper with some notes on them showing that I wanted to say something with music but never finished it.

Maybe you always finish your songs, record them or have well documented lists with your songs for easy access. That’s the way I work now but obviously didn’t work before.

Nowadays I have started to realize the importance of finishing songs that I have found enough important to start writing in the first place.

I think it is important for you and me to complete songs we have started to write for the following reasons:

1. It is when songs are complete that other people can benefit from them and you can feel that you have contributed something to the benefit of others and to yourself.

2. It has a positive effect on your subconsious mind to take your composition the whole way to completion. It will give you the realization that you can write songs. It’s that simple!

3. As I mentioned before you will avoid having a lot of unfinished songs hanging around. It can be unfinished recordings or pieces of paper with a few words on them indicating an attempt to create something that probably meant a lot then but now is just words.

If you are signed to a recording company you will be more or less forced to produce things. The product will hopefully be a CD with maybe twelve songs on it and a show for your promotion tour.

It seems like slavery to be forced to produce a product like a CD. But having this obvious goal to work towards and the pressure involved can actually promote creativity.

If you are not signed to a record label you can benefit from working with your songs in a similar way.

1. Set a goal to produce for example three songs and set the prerequisites like writing one love ballad, one uptempo song and a waltz.

2. When you have made the songs record them and burn them on a CD.

3. Learn the songs by heart and sing and play them for your friends.

Doing this will increase your faith in your ability to produce songs and I think you will feel a greater joy and satisfaction in your great enterprise to write songs for the benefit of mankind and, of course, yourself.

Peter Edvinsson is a musician, composer and music teacher. Visit his site Capotasto Music and download your free sheet music and learn to play resources at CapotastoMusic.com

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1. Don’t try and make something happen.

Trying blocks the creative flow and will result in blocks.

2. Don’t expect to create something good.

Expectations will always come with judgments and, consequently, you’ll end up feeling let down.

3. Don’t worry about what is “coming out.”

Improvisation is about play and freedom to explore. Abandon unrealistic expectations and experience the joy of improvisation.

4. Don’t try and please others.

The first person you must please is yourself. This may seem obvious but don’t underestimate the strong need to please – ESPECIALLY WHEN IT COMES TO THE ARTS!

5. Don’t try and accumulate a “lot of knowledge.”

All it takes to improvise is a few chords and the proper attitude.

6. Don’t think.

Improvisation is about FEELING. It’s about being in the moment and experiencing the moment through the music.

Thinking will take you away from your intuition, which will guide you if you listen to it. Intuition will lead you places thinking never could!

7. Don’t quit.

Practice is what makes intuition stronger. The more you practice or play, the stronger your intuition will grow and the more you will trust it.

Your unique voice will emerge and will grow stronger each time you sit down to play.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at QuiescenceMusic.com for a FREE piano lesson!

How To Construct Basic Chords on the Piano

The easiest way to start learning how to build chords is to practice their constructions in the key of C Major. You’re just playing all white keys.

All you have to do is play every other white key to create a 3-note chord. A 3-note chord is called a triad. A 4-note chord is called a 7th chord. And a 5-note chord is called a 9th chord.

Now you have the option of playing your chords in one hand or you may use both hands! It depends upon the sound you want to produce.

How to Improvise Melodies

There’s something irresistible about a real melody. If you can convince the listener that they’re hearing a melody when you improvise, they will stay riveted to every note.

Well, you can – and it’s not really that difficult. The one element that is common to almost all good melodies is: repetition.

Repetition.

Repetition and more repetition. I’m referring specifically to the repetition of ideas (motifs, as they are often called). Sometimes the idea is repeated exactly as it occurred the first time, as in the Holiday tune “Jingle Bells.”

More often, the motif occurs higher or lower than it did originally. The notes are different but the rhythm and the shape of the line remain intact, as in “Happy Birthday.” This type of repetition can be defined as “pitch-shifting.”

What I’m describing here is a process often called motific development: the spinning out of ideas through the use of repetition, pitch-shifting, and extension.

So that’s it … if you want your improvisations or solos to sound like a melody, you need to use a lot of repetition.

Ironically many musicians avoid using repetition for fear of sounding repetitious, i.e., boring. You bore a listener if you try to elicit the same emotional reaction from him/her two or three times in a row, but that’s not what you’re doing when you repeat an idea.

When you first introduce an idea, it’s new. The listener waits with open anticipation to hear how the idea spins itself out. But when you repeat the idea, their reaction is very different. Now they can gain a certain sense of control, by connecting what they’re hearing to what went before.

Just listen to some of your favorite songs, and you will definitely hear repetition!

Ron Worthy is the owner of MrRonsMusic.com. He is a Music Eductor and Performer. His site offers online piano instruction for all ages. He specializes in Rock, Pop, Blues and Smooth Jazz Piano disciplines.

Should you copyright your song? If you’re a songwriter, sooner or later you will probably have some questions about getting your material copyrighted. Since I’ve already been down this road before, you might be able to benefit from my experience. Though I am not an expert in the field, I do believe that I have some valuable information to share with you.

I’ve noticed that there seems to be a bit of confusion regarding the subject of copyrighting. A fairly common question among people who frequent songwriting forums is “How do I copyright my song?” which, of course, is quite understandable.

Just imagine what it would be like to have one of your songs stolen, only to find out later that it grossed several hundred thousand dollars for some band you never even heard of. You might think that you would be able to console yourself with the idea that this only proves you can write a good song, but I doubt it.

More than likely, you’d be pretty upset over the whole matter and want to take legal action. The sad thing is, most people never do prosecute because they don’t have the money to hire an attorney. Even if they did, it’s not likely to be an easy case to win without proof of copyright, and many would probably “lose their shirt,” so to speak, in the process.

Nowadays, however, due to the popularity of the internet, people are sharing their original material as never before. Have you ever wondered if this is a safe thing to do? How does a copyright protect your material anyway?

Well, as far as the first question goes, I have found most people to be pretty trustworthy with regard to my own material. At least, nothing out of the ordinary has come to my attention yet. But that doesn’t mean it can’t, or won’t. Then again, I took the steps to copyright and register my original songs with the Library of Congress prior to sharing them online.

What you need to realize upfront is that your song, or lyric, automatically obtains a legal copyright from the moment you put it down on paper with your signature and a date. But don’t just take my word for it, read the following quote taken from the U.S. Library of Congress website:

“Copyright protection subsists from the time the work is created in fixed form. The copyright in the work of authorship immediately becomes the property of the author who created the work. Only the author or those deriving their rights through the author can rightfully claim copyright.” ~ U.S. Library of Congress

When you register your song with the Library of Congress, they simply act as a witness to the fact that you are the author of the song. And, I guess if you need a witness, the federal government should be as good as any!

But the Library of Congress does not and will not provide any legal defense for you in the event that your material is stolen. All they can provide in such a situation is the written and/or recorded version of the copyrighted material which you signed, dated and submitted to them. However, this documentation would be considered evidence in your favor and should stand up in any court of law.

Something else which I have done in the past and you might consider also, is to have my songs notorized. A Notary Repulic is another authorized government offical who will bear witness to your copyright claim by placing their seal and signature upon your work. This will be another means of providing proof that you wrote the song, should the need arise.

And, just to be safe, why not put the notarized copy of your song in an envelope and send it to yourself in the mail? Though there are some people who don’t think much of this practice these days, it certainly can’t hurt.

Besides, the U.S. Post Office is another branch of the federal government and thus a credible witness to your copyright. The date which is stamped on the front of the envelope provides further evidence of when you wrote the song. But be careful that you DO NOT OPEN the letter when you receive it! Instead, place it in a safety deposit box at the bank.

So, the important thing to remember when it comes to protecting your song, is being able to establish enough evidence via credible witnesses in order to verify the facts. Have fun and strut, I mean share, your stuff with others. You never know, the opportunities are boundless and you might just make the right connections out there.

But I suggest that you do take the necessary precautions and protect your songs by obtaining a registered copyright through the Library of Congress. After all, it’s your future.

Kathy Unruh is a singer/songwriter and webmaster of ABC Learn Guitar. She has been writing songs and providing guitar lessons to students of all ages for over 20 years. For free guitar lessons, plus tips and resources on songwriting, recording and creating a music career, please visit: ABCLearnGuitar.com

Congratulations! Your singing has become amazing, and it’s time the world knew. You’ve also written some songs that are just kick you-know-what. They need to be recorded, MP3ed and put on the net ASAP. But you’ve got two problems. First, you can’t afford a studio, let alone a band for all this stuff. Second, you don’t play all, or any, of the instruments.

Well there is good news. With a deft combination of the internet and today’s software, you can do wonders. While it’s never going to be the same as a true band in a real studio, which you had better hire for that big record company showcase, you can still create great backing tracks.

First, repeat after me. “I love MIDI.” Thank you.

MIDI, to refresh your memory, is like sheet music for a pianist. The paper itself makes no noises, but the pianist gets all the information he needs from it to let us hear Beethoven (especially if the music is also Beethoven!). In your computer set up, the MIDI file is the sheet music, the MIDI sequencer or playback program is the pianist, and your computer’s sound card and synthesizer are the piano. That’s all you need!

Before we get started, I’ll mention the ultimate cover song shortcut – the internet! There are tons of great MIDI files of almost every piece of popular music out there. All you have to do is find them. If you can’t, or you’ve got your own material, read on. Be legal, though!

If You Play Keyboard or Guitar Well

First, thank your parents for the lessons. Then, get your hands on a sequencer program and record your tracks. Using MIDI, you can choose the instrument sound for everything – all you need to do is input the notes. For drums, you can either record them from your keyboard or use a plug-in drum machine. If you choose to record them, a quick way to do it is to record a couple of measures and then copy/paste to fill out the song. But don’t forget to put in some drum fills!

If Your Playing Is Limited to Little or Not at All

For you there are wonderful programs, like Band in a Box and Jammer, to create backing tracks. They are very stylish, meaning, they function in styles. You must, at the very least, know the chords for your song. You simply enter the chords, choose the appropriate musical style, and click a button called “compose” (or some reasonable facsimile). Before you can say “Holy guacamole, Batman,” your music is playing. The drawback here is that your band will sound canned. And well it should, for it is! But, have no fear, there are ways to mitigate that quite well.

Making it Human

Best thing? Play what you can, at least the melody. That, in and of itself, will help tremendously, as it’s no longer just a band style playing chord progressions.

Next up, record a counterpoint. Counterpoints make ordinary songs exciting. They are secondary melodies that complement the main melody. They usually have a slightly different rhythm, and fill in where the melody has breaks. A great example is in the song “The Winner Takes It All,” by Abba. Listen to the theme that is always playing underneath the melody – it really drives the song.

Another thing you can do to put life into your tracks is to customize the style. Depending on how good you are with your software and its capabilities, you can create your own riffs and mix them into the song. Also, vary similar styles throughout the song to break the monotony. And, again, don’t underestimate drum fills!

Creative use of layering is a very effective technique. When all the tracks play all the time, it can be very boring. Wait to bring in some instruments till later in the song. That creates a “building” feel. Then, at some point towards the end, take them out again briefly to create a “break” or “bridge”. When you bring them back, it is very powerful.

Finally, don’t allow any perfection. Yes, you read that correctly. If your music is perfectly aligned rhythmically, it will sound artificial. Live musicians are never precisely on the beat. Almost all programs have a “humanize” function which corrects this automatically. Otherwise, take the time and slide some notes in the piano roll editor window. If you need quantize (rhythm correction) on the recorded tracks, set it to less than 100%.

When you’ve got your MIDI file, there are two ways to convert it to audio (wav, mp3) for CD burning. The quicker way is with a dedicated program that renders wave files from MIDI files directly. Most software synthesizer programs that have a stand-alone playback feature can do this. Otherwise, open an audio recording program, play the MIDI file, and simultaneously record the output. Make sure your audio recorder is set to receive from the correct input.

If You Play Nothing, and Don’t Know Chords or Theory or Anything

Guess what? You are the one who should hire a musician. Yes, I know that some programs will offer both a chord progression composer and even a melody composer. All you would need to do is choose the style. If you are considering going this route, I have one request for you.

PLEASE DON’T!

Sorry to yell, but think about this. The melody is composed by a computer, the chords are composed by a computer, the band is composed by a computer. It is music that is completely composed by a computer. Oh my gosh! How revolting is that?

No, my friend, hire a qualified musician. You sing the song to them, they create the magic. Do not sell yourself short. Your song is important — it’s part of you! Show it the greatest respect and make it as beautiful as you can.

Seth Lutnick is a singer, songwriter and arranger. Visit his website, getitdone.biz for more on creating and using a home recording studio.

Have you ever been told that you were good at something but not good enough to make it a career or life ambition? Especially with music, if you’re passion is music you are hopelessly outnumbered right from the beginning.

“You better have a back-up job” or “Don’t put all your eggs in one basket” are common refrains heard from well meaning adults who inadvertently had their dreams crushed out of them.

The world has more than enough computer programmers and engineers and these professions are well paying ones. What are we musicians to do? Well, for one thing we can forget about needing “talent” to make it.

What is talent anyway but a person’s ability to connect with his or her audience. You might think that talent means technical proficiency. You couldn’t be more wrong.

Here’s the good news. Connect with yourself and your art and you automatically become talented. This means you don’t have to wait years and years before you begin to share what comes out of you with others.

In fact, most so called “really talented people” last in the limelight for a few years or so and then burn out to non-remembrance. If you consider yourself hopelessly untalented you are focusing on the wrong problem.

The question isn’t “Do you know enough?” The real question is, “Are you confident enough to believe in your own abilities?” If you do, you will go far. If not, there’s not much hope.

Those who are able to let go and connect with the music inside of them are already truly talented.

About the author:Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years! Visit us now at quiescencemusic.com for a FREE piano lesson!

How would you like to spend 4 years in a University learning how to play other peoples music? If you think this is ridiculous, you’re right! Because that’s what thousands of piano music students do each day.

They sit in front of their piano or keyboard with sheet music of a dead composer in front of them. Then they are told to “play it right.”

Have you ever heard of such nonsense? Imagine a budding writer forced to copy another novelists work? In essence, this is what classical piano students do. They copy.

Although many think this is a creative act, it is not. It is a re-creative one. It’s purpose? To give people who are told how to listen to music a chance to hear what is considered “good” music.

Only in classical music is there such pomposity. And it exists because a very few people wish to hear the classics.

Let me tell you something. I love classical music. But I don’t spend my time trying to recreate what has already been created.

No. Instead, I want to connect with my own source and allow the music that is inside me to come out. I want to be creative too! And my philosophy is that anyone can be “a composer.”

All it takes is the desire to create – to want to hear ones authentic self expressed through music. Difficult? Not at all! It’s as easy as putting fingers to keys and playing. Hard to believe but true.

You see, music students have been cheated from the get go by an academic snobbism that destroys the spirit and the will to create.

The suggestion is that the best music has already been created so why bother. The answer is crucial to our own well being. We bother because it makes us feel good. That is all that is required and that is all that is needed to make music.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons.