The Top Twelve E-Mail Mistakes That Can Sabotage Your Career

The following article is presented to adapt to a career in music, as your email correspondences are another part of your professional image as well. Keep these tips in mind when writing and responding to your fans, friends and potential music business inquiries.

You return to your office from an afternoon meeting and decide to check e-mail. You wonder where your day went after spending hours downloading messages, reading some, deleting others, crafting replies and filing those that you want to work on later. Your e-mail box was full when you arrived at work this morning and tomorrow promises to be no different.

What is this e-mail explosion? Was there a point in time when the entire world decided to use the Internet as their business communication tool of choice? Are there rules for managing these messages and being a professional and polite user of electronic mail? There are, but not everyone has gotten the word.

Your e-mail is as much a part of your professional image as the clothes you wear, the postal letters you write (assuming you still do), the greeting on your voice mail and the handshake you offer. If you want to impress on every front and build positive business relationships, pay attention to your e-mail and steer clear of these top twelve e-mail mistakes:

1. OMITTING THE SUBJECT LINE. We are way past the time when we didn't realize the significance of the subject line. It makes no sense to send a message that reads "no subject" and seems to be about nothing. Given the huge volume of e-mail that each person receives, the subject header is essential if you want your message read any time soon. The subject line has become the hook.

2. NOT MAKING YOUR SUBJECT LINE MEANINGFUL. Your header should be pertinent to your message, not just "Hi" or "Hello." The recipient is going to decide the order in which he reads e-mail based on who sent it and what it is about. Your e-mail will have lots of competition.

3. FAILING TO CHANGE THE HEADER TO CORRESPOND WITH THE SUBJECT. For example, if you are writing your web publisher, your first header may be "Web site content." However, as your site develops and you send more information, label each message for what it is, "contact info," "graphics," or "home page." Don't just hit "reply" every time. Adding more details to the header will allow the recipient to find a specific document in his/her message folder without having to search every one you sent. Start a new message if you change the subject all together.

4. NOT PERSONALIZING YOUR MESSAGE TO THE RECIPIENT. E-mail is informal but it still needs a greeting. Begin with "Dear Mr. Broome," "Dear Jim," "Hello Jim," or just "Jim." Failure to put in the person's name can make you and your e-mail seem cold.

5. NOT ACCOUNTING FOR TONE. When you communicate with another person face to face, 93% of the message is non-verbal. E-mail has no body language. The reader cannot see your face or hear your tone of voice so chose your words carefully and thoughtfully. Put yourself in the other person's place and think how your words may come across in Cyberspace.

6. FORGETTING TO CHECK FOR SPELLING AND GRAMMAR. In the early days of e-mail, someone created the notion that this form of communication did not have to be letter perfect. Wrong. It does. It is a representation of you. If you don't check to be sure e-mail is correct, people will question the caliber of other work you do. Use proper capitalization and punctuation, and always check your spelling. Remember that your spellchecker will catch misspelled words, but not misused ones. It cannot tell whether you meant to say "from" or "form," "for" or "fro", "he" or "the."

7. WRITING THE GREAT AMERICAN NOVEL. E-mail is meant to be brief. Keep your message short. Use only a few paragraphs and a few sentences per paragraph. People skim their e-mail so a long missive is wasted. If you find yourself writing an overly long message, pick up the phone or call a meeting.

8. FORWARDING E-MAIL WITHOUT PERMISSION. Most everyone is guilty of this one, but think about it. If the message was sent to you and only you, why would you take responsibility for passing it on? Too often confidential information has gone global because of someone's lack of judgment. Unless you are asked or request permission, do not forward anything that was sent just to you.

9. THINKING THAT NO ONE ELSE WILL EVER SEE YOUR E-MAIL. Once it has left your mailbox, you have no idea where your e-mail will end up. Don't use the Internet to send anything that you couldn't stand to see on a billboard on your way to work the next day. Use other means to communicate personal or sensitive information.

10. LEAVING OFF YOUR SIGNATURE. Always close with your name, even though it is included at the top of the e-mail, and add contact information such as your phone, fax and street address. The recipient may want to call to talk further or send you documents that cannot be e-mailed. Creating a formal signature block with all that data is the most professional approach.

11. EXPECTING AN INSTANT RESPONSE. Not everyone is sitting in front of the computer with e-mail turned on. The beauty of Internet communication is that it is convenient. It is not an interruption. People can check their messages when it suits them, not you. If your communication is so important that you need to hear back right away, use the phone.

12. COMPLETING THE "TO" LINE FIRST. The name or address of the person to whom you are writing is actually the last piece of information you should enter. Check everything else over carefully first. Proof for grammar, punctuation, spelling and clarity. Did you say what needed to be said? How was your "tone of voice"? If you were the least bit emotional when you wrote the e-mail, did you let it sit for a period of time? Did you include the attachment you wanted to send? If you enter the recipient's name first, a mere slip of the finger can send a message before its' time. You can never take it back.

E-mail makes everything easier and faster including making a powerful business impression and establishing positive professional relationships. The businessperson who uses the technology effectively and appropriately will see the results of that effort reflected in the bottom line.

(c) 2004, Lydia Ramsey. All rights in all media reserved.

About the Author:
Lydia Ramsey is a business etiquette expert, professional speaker, corporate trainer and author of MANNERS THAT SELL -ADDING THE POLISH THAT BUILDS PROFITS. She has been quoted or featured in The New York Times, Investors' Business Daily, Entrepreneur, Inc., Real Simple and Woman's Day. For more information about her programs, products and services, e-mail her at lydia@mannersthatsell.com or visit her web site http://www.mannersthatsell.com

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Where do you want your music to fall into? The Biz or the Everything?

To quote a question from my favorite movie Almost Famous, "What do you love about music?"... the answer,"Well, to begin with.... everything!" The “Music Industry” is mainly made up of artists- people who love to sing, play and perform or sometimes just listen to the music that they live for. They'll play for little or no money just because they love the "everything" about music. However, there is also the “Music Biz", which is very different. Yes, the "Biz" seems like fun and excitement, but the people who are in it, are in it to make money. With artists in the "Biz" it's not only about the music, its about building your fan base and keeping them. Now your music isn't just your "everything" anymore, it's your brand. Half of the battle to making it in the "Biz" is keeping your brand afloat and marketable. The other half of it consists of marketing this "brand" and making sure that you aren't taken advantage of too much so that you can make as much money as you and your music deserves. And throughout all of this "bizzness", an artist has to remember that they were once just a part of the "Industry".

Music is an art. However, when it comes to the “Music Biz”, music is about money! A record label is a business created by companies that specialize in recording, producing, manufacturing, distributing and promoting audio and video recordings on various formats including CD's, LP's, DVD's. Sounds technical and formal, doesn't it? That’s because it is! Labels aren't interested in how much you love your "everything", they need to know if they can make money by marketing your music. In the "Biz" you have to worry about the manager, the attorney, the booking agent, and the tour manager. Then there's the decision of going for the major labels, the affiliate labels, the independent labels, and the true independent labels. Working within this confusing mesh of “bizzness”, it’s pretty hard to succeed while keeping one foot in each pool, the Music Industry, and the Music Biz.

Fortunately, in today's world there are allot of way's to stay in the Industry while promoting your own music and making your own money. We have the chat room, the music forum, and the mecca of the unsigned artist... MySpace.com. Unknown artists have to work hard to get the buzz going about their music. But by becoming actively involved in these music communities, artists can find themselves absorbing an abundance of music industry knowledge that can help in furthering their respective career agendas. Artists are increasingly using the web to distribute their music, also. And now because of this new online music industry revolution, we have the Internet Record label.

In my opinion, in this day of the independent artist and this internet music haven that we all have created, the dam between these two pools ("The Music Industry" and "The Music Biz") is steadily disintegrating. It will always be true that if any label feels that your music will not make them money, there will be no interest in your music. But now, if you love and believe in your "everything" and just want to make a living doing what you love... you actually have a chance on your own.

About the author:
Amanda Julynn, originally from the New York music scene and is now experiencing the west coast scene, is a recognized aficionado in the world of music. Her web site, www.RockBandCentral.com is backed by a network of pro musicians recommend their favorite instruments, gear and services to any rocker, whether they are just starting out or already touring.
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Artist Song Demos - How To Break Through And Sell Your Songs!

As writers, it's often difficult to be objective about writing and any aspect related to writing and creating the demos that are used to shop songs. As a former talent booking agent with the William Morris Agency, I can tell you that with all of the vast array of talent and gifted writers, only a few make it to the inner circle. There are various reasons for this, but none that come close to what we will spend the remaining time in this article talking about. Many a hopeful writer and artist walked through the doors of William Morris only to find that the magic they thought they had come upon, vanished in a moments notice. Why is that? Why do some get the writers and artist deals with virtually no writing innovation, while others, with up in your face talent, not getting the due recognition and artist album cuts so richly deserved? Let's spend a few minutes together talking through a few basic concepts to hopefully get you moving in the right direction.

As founder of ReelMusician.com, it is and has always been my goal to see rising talent succeed and make it to the top. We strive to always remain approachable, authoritative with music industry resources and information and provide relevant services such as creating master quality song demos for rising song writers, top notch jingle demos for singers trying to break into singing commercials and effective press kit writing for artists trying to establish their careers. We are already in that mode of how to help singers and writers break through, which is the foundation to why we exist and with all of that in mind, I want to share with you some ideas that will help you get your career jump-started.

Always remember that content is king. You can't very easily take a story without a decent plot and try to pitch it. Same thing holds true for your writing and career. One of the problems today, is that many would be artists and writers clutter the playing field by utilizing technological advances and use their friends computer, keyboard and mic to record music and think they have a chance. And because music equipment and software has become so affordable, many who would not ordinarily approach the idea of writing or becoming an artist now feel that they have to have their chance at stardom and so the A&R, managers, booking agents and all other ancillary music industry offices are flooded by material that is not even close to being a go. It's a waste of everyone's time. The thinking is just because so and so made it, I could make it to. Well that might be true, but for the every one of the so and sos that make it, there are thousands to possibly millions that don't. Think about that. Go for your dream, but make sure that you have a decent plot to back up your artist story line.

Once you have established that you have credible talent, and the fact that you are reading this article is probably a good indication that you have some credible talent, you will want to figure out the best approach to selling your songs, artist deal or break into jingle singing, whatever the case might be. I will tell you, as I've stated before, that everyone has their own story to tell in how they broke into the music industry, but I will tell you that there are a few golden concepts that you should employ to increase your odds. Always remember that creativity coupled with authenticity will go along ways in your career. There are so many phony people out there inside the industry and out, that when individuals who are decision makers inside the industry find authentic and truly gifted talent, they are pulled to it. Do you have a record cut or a record deal, maybe, maybe not. But the fact that you now have an ally inside the inner circle creates a much broader platform for your career to take off from. The fact that now someone who holds some influence and who has taken a liking to you is strong – really strong. You develop these types of relationships whether at area writer's meetings, artist showcases, or other various ins that you can find and think of in your area, and you will be well on your way to getting your demos not only listened to, but listened to with interest and on an inside path. Don't be users. Figure out ways where you can have conversations totally outside the music industry where an individual truly thinks you care – if your career comes up the conversation great, but if not that's fine to. And if it does come up in the conversation, don't make a big deal of it.

Your song demos have got to be the best no questions asked. Your productions better sound better than what's on the radio. Figure out the key musicians in your area and produce your song demos with no excuses. I've said it before and it's worth repeating, that it's better to have a slimmed down song demo version with an incredible guitar or piano player and vocals that just melt, than a fully produced song demo that's pretty good. You hear that. Don't produce pretty good demos – They're not good enough. When you get the opportunity from a heavy weight in the industry to listen to your song demo, artist demo or jingle reel, it's far better to have an incredible demo done with a few musical elements that just wow the listener. Chances are you won't get another chance, and so your listener better remember that your demos not only sound good, but will make him or her look good when they go to pitch your material. Don't hesitate to contact us at ReelMusician.com if you have any questions about demos, what you'll need and your current writing and artist demos.

In closing, and I never feel like I have enough space to cover all of the relevant ideas in a given article, please take these few simple concepts seriously and implement them in your career goals. Don't get all stirred up about the latest and greatest this or that or your having to be in the "in" musical crowd to get a record deal or to get your songs cut. Just develop authentic relationships and make sure that your song demos, jingle reels and artist demos are simply the best! Please feel free to contact us for any questions you might have!

About the Author:
Tom Gauger
Mr Gauger is a former talent booking agent with the William Morris Agency and founder of www.ReelMusician.com You may contact the author at tgauger@reelmusician.com. Free e-books “The Jingle Singer’s Guide,” and “Secrets To Great Song Demos,” may be downloaded at www.ReelMusician.com

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Great Free Solutions To Make Your Music Heard!

I read an article in a well known magazine the other day and found that they were advising musicians to spend out hundreds in advertising costs to get themselves known. True.

Is there another way?

Well yes, there is. What we have useful to us all is the Internet. This great medium is so underrated it is unbelievable.

The key to getting yourself known is to spread yourself all over the internet. Pretend that the Internet is a slice of bread, a bagel...hmm...yum.

Sorry, stay with me, you need to follow this one. If you bought some really nice spread, costing $100 and you only spread one quarter of the bagel (this expensive food doesn't go far). Now you have only one bite, only one and a random one at that, so you randomly bite into the bagel, more than likely you will have much less chance of being found than if you spent less money on a similar spread and used all of it, all over the bagel.

Now this is what happens every time someone logs onto the Internet. You have one shot, you are being targeted roughly by random and too much money spent in one area is a very bad idea. So what do you do?

Well, the main thing is not to spend any money if possible. If you have music to distribute then do that. Sign up to all the MP3 hosting sites that you can find, there are so many now on the Internet that they are free and offer some cool incentives (like unlimited bandwidth, hard drive space and such like). The more you apply to, the more likely that you are not going to be missed by anyone.

This technique also reduces the possibility of your paid site being shut down, having any failures in the future, or being ranked less in the search engines (with so much competition this is a high possibility).

Phase two, make sure that you have your own website. On each site put a link back to your own site, this then increases your PR rate with the search engines and increases your link status (roughly: more links in the higher you rate). Also you gain free traffic for many years from these sites.

Make your homepage appealing, offering blogs and newsletters, even "guides and DIY articles". Why? Well once someone comes to your site and goes away the likelihood of them returning is very low, and then you have lost them. This is why the newsletters and blogs are so important, they keep the one-time visitor coming back for check-ups to YOUR site, without them trying to find you again (very unlikely).

One thing that I can never understand when I am searching through MP3 hosting sites is "why do people give a range of their work on one page?" All fair and well, and much kudos for doing so, but I think that this is a waste of Internet real-estate. Your site should be targeted, your name should be targeted. I am into techno etc, so it is rare that I will hunt out jazz songs. But this is what I find when I go onto a techno artists site. My tip would be to call yourself something different for each genre that you do. For example: DJ Harsh for your electronic music, Earthly for your New Age music, The Fields for your Country and Western music...you get the idea.

Having a separate name for each of your styles will then target 2-3 (or however many genres you do) times more visitors- a possible 100-200% increase in visitor downloads. But again, you would link each site to each other just in case. You would even make up separate websites for each genre anyway. Most people in the artist world do this. For example: Les Rythmes Digitales who made "Jacques your body (make me sweat)"- a cool techno song, and Stuart Price are one of the same. Who is Stuart Price? Madonnas new producer under his real name. The KLF, The Doctors in the Tardis, and The Justified Acients of MuMu (no joke) are all one of the same.

Diversify yourself to get yourself known, apply to everywhere that you can and keep on adding great music.

About the Author:
Dominic Hough
Making your own remixes, and adding your own beats to your favorite MP3s is easy and fun. Using this free guide http://www.make-your-own-dance-and-techno-songs.com/free-dj-software.html Dominic shows you how to make your own electronic/ trance/ techno music for free.

Article Source: www.iSnare.com

Musicians and Mailing Lists - "Real Business" Tips for Rockstars

In all of this talk about freeing musical restrictions and the evil record biz, sometimes we forget that we are actually IN this business of music. With that said, always be on the lookout for nuggets of wisdom from the rest of the biz world to help build your enterprise.

A big tip from the Internet marketing world...

BUILD YOUR MAILING LIST and market to it over and over again!!!

Look, about the smartest thing you can do - even before you write the song - is build a list. Your mailing list is THE MOST important tool your band will ever have. Period. Your list knows who likes you. It knows who's going to your shows. It knows who bought or will buy t-shirts from you. It knows all!!! (If you're doing it right.)

If you already have a good sized mailing list at your disposal, and you've been diligent about building it up at shows then you're way ahead of the curve on this one. However, even to you guys, I'm going to ask you a few questions that may provoke some thought....

#1 Do you collect the info of everyone you sell a CD to?
#2 Do you collect the info of everyone you give ANYTHING to?
#3 Do you mark down where the info came from?
#4 Do you mark down who bought/took what item?

If you haven't considering doing any of these, you could be missing a huge opportunity!!!

Now listen because this knowledge is powerful...

You can't sell anything to anyone unless you know what they want!

Well, how are you going to find out? ASK THEM!!!

This is one of the pillars that the new music business will be built upon and it highlights a major credo that will be adopted by many - Community BEFORE commerce!

Encourage your fans to write in or comment on your website. Ask them what they'd like from you next or what song they think it would be cool for you to cover at your next show. Give them stuff. Incentivize them by giving fans free tickets for getting their friends to sign up for your list. Set up a forum on your website or a blog that fans can sign up to.

The point is to include these people that will sustain your career. Make them feel like they're part of your family and that you welcome what they have to say. Ignore this at your peril!!! Once you turn your back on them, they will also do in kind. Frankly, if you don't respect and appreciate your fans, you should probably stay home anyway.

Now you're well into the process of collecting info and further building your list. Be a good pen-pal and keep in touch, will ya? Communicate with your list at regular intervals (though not TOO often.) and continue to give them things - even if it's just the inside track on what the group has been up to. But while doing this, always continue to market to them. Offer them exclusive goods and a variety of them at different price ranges. Find out which items sell the best and you'll know better how to market to the next batch of signups. You can even encourage fans to suggest products they'd be willing to buy from you.

I'm going to tie this off with a few truths you should get hip to very soon.

#1 If you want to earn a living as a musician you will be in the music business.
#2 Marketing is smart - ignore this and you may not make it.
#3 Everyone is a potential mailing list signup. EVERYONE!!!
#4 The music biz is commercial.
#5 MUSIC is not. Give it away.
#6 The music business is also known as the TOURING business.
#7 The music business is not the RECORDING business. Let it go.

...and one more thing...

Make sure you collect physical mailing addresses - direct mail is a great tool for fan contact!

About Author:
As an experienced studio and touring musician, producer and writer, Aaron Trubic has proudly garnered numerous commercial recording credits for both major and independent labels spanning 16 years.

Article Source: http://www.articlecrack.com

You Don't Know How Write To A Song ... You're Not A Musician!

This is something I briefly touched on in a previous newsletter - ...over and over I get asked "will I write better songs if I'm a musician"?

What's the answer?

Yes AND no.

Confused?

Let me explain. For the sake of simplicity, here I'll talk about the 'music' aspect of songwriting.

First up, I'll tell you that I'm a musician, songwriter and a vocal coach. And I have worked with both songwriters who play instruments and songwriters who don't. Which group are a better bunch to work with?

It goes like this. Those who play an instrument (to a certain degree) are more prone to understand timing, tempo and perhaps some syncopation. Sometimes, musicians will also understand the creation of melody a little more than non-musicians. They'll understand the structure of harmony and some music theory that goes along with it.

Because of the various 'pieces' or 'songs' they have played with their instruments, these musical and rhythmic elements are more or less naturally embedded in their brain - in practice and in theory.

Of course, this is GOOD thing. It's an advantage. Now yes - there are non-musicians who are gifted with these elements also, but I'm just talking in general terms here. For the most of it, more musicians will have these elements than non-musicians.

Now here's the twist. It's because of this very same reason that many musicians find it hard to write great songs. How? Well, because there are musicians that are pre-programmed into believing that perhaps a melody should flow a certain way, or maybe a chord sequence shouldn't fall in that pattern, etc, BECAUSE they get caught up in the theory that indirectly tells them "this isn't right".

You see, songwriters who don't know anything about music theory or playing an instrument will write freely. Meaning they won't think about whether something is 'musically right' or not. Of course, you can't write a song of pure non-musicality and expect to get a welcoming reception. You'd be mad to.

But it's nice when you don't think too much about something 'sitting right' musically in the song. Why care? It's a song. If the second verse has 10 bars and the first verse has 8 - so what? No big deal.

On the flip side, there are non-musical songwriters who just need that little push to learn some very basic chords on a piano or guitar...just to give them that edge and sometimes to even super-charge their creativity. So...

...here's my conclusion. If you play an instrument and you wish to be a songwriter, then don't think too much about what's musically correct. Let the chords and melody take you away. Don't think about it too much. Yes, stick within the rules of music, but don't get caught up in it.

If you are a non-musician and you write songs, then a great idea would be to learn some very basic chords on the keyboard. This isn't completely mandatory, but it will definitely give your songwriting a boast. Just the basic chords will do. You'll be amazed the kind of music you can make with learning the basic stuff.

And why did I say the keyboard and not the guitar? Well, I believe the keyboard to be fundamentally easier to learn than the guitar, as you can blatantly see the notes for the intervals you are playing face-front.

But please, don't let me deter you from learning the guitar if that's in you to do so. It's a wonderful, natural songwriting accompanying instrument.

If and when you do decide to learn an instrument, I wouldn't get too caught up in the theory, unless it's your desire to really learn about it...

...and if you wish to do so, then try to draw a firm line between your musical ego and your songwriting craft. This is the key here. As much as they may fight against each other, they *can* work together, if you consciously try to find a balance.

About the Author:
Calvin Rele shows us that anyone can learn how to write a song with his free songwriting tips. Check it out at www.SongwritingTipsOnline.com

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Raising A Child Who Appreciates Music

Music is an important part of life for both children and adults. We use music to relax, to motivate our physical activity, and simply because music is fun and enjoyable. An appreciation of music can increase creativity and the exploration of beats and rhythms provide an understanding of patterns. Music also promotes language skills and a budding appreciation of poetry.

Expose your child to a variety of music. Classical music offers clear, repetitive beats that are pleasing to children. There are a number of bands that only perform fun, educational music specifically for children. Introduce your child to the many different genres of modern music before he is old enough to select his personal favorite. Before the age of ten, most children have chosen a favorite style of music and may prefer not to listen to anything else.

Music encourages movement and is an important part of large muscle development. Play an assortment of upbeat music and dance with your child. Young children will not only quickly learn to adapt their movement to the beat of the music, they will imitate your dance steps and those they see on television. Dancing is a heart-healthy form of exercise and loads of fun to little ones.

Sing with your child on a daily basis. You musical participation will show your child music is important to you and will encourage him to participate as well. Simple children's songs like "Row, Row, Row Your Boat" or "The Itsy-Bitsy Spider" are easy for children to remember and fun to sing. Singing increases vocabulary and general language knowledge. Don't limit your singing to children's songs. Sing along with appropriate music on the radio or CDs as well.

Incorporate music into reading time. Read stories about music and look at picture books with different instruments. There are some books that are based on songs and you can sing as you read. Musical games can also open a child's eyes to the wonders of music. Start a song by humming the first few notes and have your child finish it. Let your child start the song and you can finish it.

Encourage young children to make their own music with rattles or a pot and a wooden spoon. Play along with the radio or sing a song as your child plays the beat. As your child gets older, introduce musical toys like shakers, tambourines, and percussion blocks. Preschool children can learn the simple finger notes of a recorder. Playing music helps small muscle development and allows your child to experiment with his personal expression through music.

Studies have shown that children who learn to play an instrument, especially at a young age, perform better in both math and reading than those who have no musical training. Research suggests that music lessons for children as young as 3 and 4 can increase reasoning skills and children who receive at least six years of musical instruction before age 12 have expanded vocabularies and mathematical skills compared to those with less training.

Piano lessons are preferred by experts over stringed instruments for a child's first musical experience. Playing the piano provides a child with a better understanding of musical theory and chord progression without the frustration of learning difficult fingering techniques. The Superstart-Music Piano for Kids software program is a terrific tutor for children learning to play the piano.

Immerse your child in music and musical activities every day. Music is a rewarding and enriching part of our lives and is very beneficial to child growth and development.

About the Author:
Nicole Munoz
For more tips on parenting and educational toys, please see our website www.thekidstoystore.com.

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My Monday Mustard: Don’t Waste Your Chance!

- One person’s opinion on what cuts the music mustard

I use the Internet daily for research, marketing, news, new music, and for fun much the same as you do - and much like other people in the business of music. On Friday, I came upon this article:

Lesser-known artists get exposure with tunes for TV commercials

Which got me to thinking, you do not know who, when, or why a person might be looking at your Artistopia pages and music for potential use in media, background music, for the “next big hit” or that much anticipated “record deal”. And then I thought, why do so many music artists join a site like Artistopia, that is there for them to promote themselves – and they don’t use it to the fullest?

Worse yet, they give miniscule information, don’t upload their best music and try to post a link that wants me to go check them out elsewhere? You have that potential business person ON YOUR PAGE RIGHT NOW. This is your 30 second elevator pitch. You might possibly have someone that could change your future right in the palm of your hands, and have on your profile, “To find out more about this artist, see blahblahblah.com”. Excuse me, but why redirect someone (who is usually very busy) to go somewhere else? You might just have lost your golden ticket.

They might get distracted, get a call, only have a few minutes of surf time, who knows…but you have their attention this minute.

New music by new bands, singers and songwriters are found by surfing online now, that’s obvious, making your presence on the Internet a necessity. Quick and easy exposure to fans and music industry is the ultimate goal for the indies and unsigned artists to be discovered on Artistopia. Your Artistopia pages have ample space for you to let the world know what you and your music are about.

If you’ve noticed, Artistopia member’s profile pages load quickly because of certain built-in factors. The easy navigation with artist information sorted into specific tabs, allows the viewer to find information in a logical manner. Well ranked artists rise to the top. I can not tell you how many artists and bands pages have lost me on sites like Myspace because they took so long to load. I do not have the time to sit and wait for this, and who does? You had me at hello, took too long to say.

Artistopia is surfed by some majors and known names in the music industry, we know this. Some members have been contacted for various projects and “deals”. Maybe your profile was viewed, maybe your song was listened to. Did you put your best presentation forward that you possibly could with updated, current and correct facts? Are you doing all you can to rise to the top of Artistopia? Get busy and get noticed!

Artistopia’s Help Center is found at http://www.artistopia.com/FAQs/Index.asp and includes plenty of information on how to write a great profile and other information up and coming musicians need to know.

Vanessa
Artistopia Guest Author
Artistopia’s guest authors opinions are their own and may or may not reflect the opinion of the web site owners and are provided as commentary to what may or may not be relevant on subjects pertaining to music, the music industry and the Internet.

How to Write Original Songs

Motivation ensures that things get done and that first efforts are followed up by additions, revisions, and expansions. Songwriters can get caught in the trap of falling in love with the first draft, deeming it eternally great and unchangeable. When the song is listened to objectively later, there may be silly lyrics that don't relate to each other, or else the chords and melody are lazy and sound like every other three-chord wonder. Blues and country music are often plagued by the restrictive nature of the basic chord pattern, except when there are skilled instrumentalists involved who can fill in the gaps with other elements such as adding several minor chords, key changes, inversions, major seventh chords, and changing the number of beats in a bar. When a country song uses three chords, there are only several melody options, and they've all been used thousands of times before with the same resolve to the end of the verses and choruses. The resolve to these songs invariably end up at the root note of the key signature. That limits the melody possibilities for a unique work.

If technical terms baffle those not schooled in reading score, rest assured that getting a good song structure doesn't require tremendous knowledge or training. Keep a book of chords at hand, and possibly a rhyming dictionary for reference if you are at a loss for words. Those people who are trying to write songs have to clever by definition; they are already armed with influences, favorite styles, and the desire to create original material. If you are at a computer, there are many free sites on the Web that supply everything from scales to a digital metronome. For the purpose of this article, the assumption will be that the songwriter is using a guitar or piano to compose the song.

Where will the seed be found? I will use some examples from my own experience. At first, the obvious first theme is to express your love for someone real or imagined, or to pine over a lost love. Ballads are easy to write and perform, and that was my logical starting point. The songs were slow and sappy – littered with exaggerated emotions that got magnified from what the feelings were originally. I discovered lush major diminished chords that dominated the sound and allowed for a good melody to be suggested, but the temptation to use too many minors or diminished chords can make the song overly-sleepy and amateurish. If you strum the same chords over and over you risk putting your listeners into a coma.

I was writing some mediocre songs many years ago in Boston, making notes as I rushed around, and then settling down in a coffee shop to start the first line. It doesn't matter if you start from the first word of the first line or if you work backwards, thinking about a rhyming word that would make the second line make sense to tell the story. My normal method of writing is this: latch onto a phrase from my thoughts, sit down and write two verses and a rough idea of how a chorus might start. Personally, I do the words first, and they give me a suggestion of a melody. The next step is to put everything aside until you can get to your instrument and work it out. Recall the bits of melody that the lyrics suggest, and find the key that matches your vocal range in that melody.

When I developed writer's block in Boston, I hitch-hiked to Newburyport Massachusetts and met some people who let me stay at their empty cottage on the ocean. I thought that the seclusion and wistful cloudy setting would help me write masterpieces as I sat wrapped in a blanket looking out at the ocean. The effect was just the opposite; I couldn't think of a single thing to write about, and no melodies would come to me during the weeks I stayed there. Without activity going on around me, there was a lull in the creative process and I drew a blank.

Rock music is based on the three-chord pattern of the Blues in major or seventh chords. The Blues turnaround is a basic two bars scaling down from the root note to the seventh, that is, a song in the key of G will resolve its run and end up on the D chord, seven semi-tones up from the root G note. In Rock, the pattern of three chords can be expanded to include several other major chords. Put simply, the more chords in a song, the more room you have to form a unique melody. A necessary section of Pop or Rock music is called the bridge, which gives listeners a break from the verse-chorus, verse-chorus structure. The bridge will relate musically to the main melody, but expand on it with different chords, a jump to a higher melody line, or even a key change. Key changes have to be written so they can integrate seamlessly back into the original key to begin the third verse or the refrain. There's also the option to remain in the new key until the end of the song.

Structure is usually set up as two verses, then the chorus – also know as a refrain. After the second chorus, a band will do instrumental solos and go into the bridge, then onto the last verse and refrain. An ambitious composer may want to extend the song to more verses. To get away from the ballad style, force yourself to concentrate on upbeat chord changes and look for lines that could be considered universal. Laziness or convenience result in songs that repeat words like "baby" and phrases such as "all my heart", "until the end of time", or "in my dreams". I once wrote a song to rid all future songs of the term "baby" and called it "Baby, You've Been Cancelled", a comedy send-up of country music. You can hear some pop songs where "baby" is the only word in the song that can be made out. Some people just have nothing to say and make word sounds to fill in the singing. Other songs have words and lines that don't mean anything when used in combination (see "Whiter Shade of Pale" by Procul Harum). Even the band America admitted that the words to one of my favorite songs, "Ventura Highway" were just a smattering of rhyming words that sounded great with the music, but had no meaning. The "alligator lizards in the air" were a convenient rhyme to "seasons crying, no despair" but had an obvious lack of meaning. I still love the song and their live show, even if they crossed the desert on a horse with no name. Water would be a more urgent need, but water doesn't rhyme with anything. They chose to rhyme "name" with "rain", and then "name" again, then "pain". You can't argue with a hit song, and those lyrics can't be changed 'cause they're in the hall of fame with the rain and the pain and the name of the sane brain gone lame in the game – I claim there's no one to blame when you can't ride the tame train with the creative flame. Where's that rhyming dictionary?

About Author:
Pat Boardman is a songwriter and member influenced by Blues, Folk, and Rock music. He uses carefully-crafted lyrics that stand out as a beacon for the music. His work is downloadable at Rock Music Records and MP3 Extension. The Cold River CD features Pat Boardman on guitar, harmonica, piano, and autoharp, with guest Jesse Cook.

Article Source: http://www.articles4free.com

It’s Never Too Late to Rediscover the Musician Inside Of You

Do you recall the day you traded in your guitar for a job at the bank or gave up your piano lessons to become a doctor? Have you been thinking about rediscovering your musical roots as soon as your retirement kicks in? Are you still hoping that some day you'll get to dust off your sax and join the local jam session? If this sounds all too familiar, you're not alone. In fact, it's more common than you think for people in the latter stages of life to get the itch to return to their musical beginnings.

Like most closet musicians, you likely arrived at a turning point in your life where you had to decide between the certainty of a job and the uncertainty of a life in the music business. And, like the vast majority, you chose the more stable path. Do you ever wonder though, what it would have been like if you had enough courage to pursue the other path - even if it would have totally freaked your parents out?

As a professional concert pianist I have people say to me all the time that they would give anything to do what I do. A lot of these folks wish they just could turn back the clock and get another shot at it, even if it might not have been the responsible thing to do.

That's why I'm so grateful for the path I have chosen, not only because I love it but because, I never have to worry about what I might have missed. The truth is; I love music and what it does for my soul. I wake up every day with excitement because I really don't know what's going to happen or where I'll end up. That to me is a gift, not a liability. The only thing certain in my life is uncertainty and that I can always count on.

But, our society is not programmed to think in these terms. We're groomed in school to play it safe, get a job and pay the bills. It's definitely the easy thing to do but is it the right thing? I think we were all born to learn something new and exciting every day. For most people who go to the same job day after day, a job they most likely hate - how is this learning?

Many people find themselves at a turning point in their latter years when they think to themselves, "What exactly happened to my dreams?" But, then you think to yourself, "I got married and had kids, it would have been completely irresponsible of me to follow my dreams because so few actually make it." That's true, except why couldn't you have been one of the few?

In any case, I often say to people, "Why don't you quit your job now while you still can?" To my mind, living every day in a situation you hate will only lead you somewhere you don't want to go. It's important to choose a goal in life that you really are passionate about because, that's what will make your life exciting and challenging. Anybody can get a job.

But, even if you absolutely cannot give up your job, why not take up music seriously at the same time? For now, start practicing in secrecy. Then eventually you'll be good enough to perform for others. And, if you're passionate enough, you may even get to be the performer that you've always admired from a distance. You know, the one you've often cheered for with mixed delight and sorrow because, you know you could have been that person?

The good news, it's not too late!

Take my friend Bruce for example. With three years left to go to his retirement as a bank executive, he reintroduced himself to blues guitar. Shortly thereafter he reunited his high school band and now they're actually booking themselves for dances, concerts and private functions.

And, my friend Mary Ann is doing the same thing. She had a music degree in classical piano which, she eventually gave up to become a family doctor. Now, several years later she's formed a jazz quartet with some friends and another doctor on drums, and the band performs at least 5 nights a month around town.

These are just two examples of people who understand that they can have it all; both a successful professional career and a life in music. Like them, you don't have to wait for your retirement to get back to doing what you love.

So next time you feel the need to rejuvenate your life with music, come on out of the closet. Because, the truth of the matter is the only thing stopping you, is you. Take my advice and start living your life the way you want and not the way everyone else expects of you. Live the rest of your life doing what you love because, the only risk in life is not taking one.

About the Author:
If piano music is your passion, check out Paul Tobey's website at www.paultobey.com. There you will find free downloadable piano music for you enjoyment.

Article Distribution by www.reprint-content.com

Expand Your Definition of a Live Performance

Let me ask you ... What has to happen for a person to be converted into being a fan of your music? There are a number of possible answers, but at the most basic level, one thing has to happen: The person must hear your music.

And there are only so many ways someone can hear your music: on the radio or on television, on the Internet, in a dance club or a retail store, from a friend on a home or car stereo or ... during a live performance.

Let's focus on that last one, because even with all of the advancements in technology, live performance continues to be one of the best ways to connect with fans, sell CDs and prosper as an artist.

Hopefully, your marketing plans include a heaping helping of live shows. But what type of live shows do you plan? The problem is, many musicians get stuck in live performance ruts and fail to think outside the box. For instance, most rock bands flock like lemmings to nightclubs. Most acoustic singer-songwriters obsess over coffee shops and folk venues. That's fine, but they end the thought process there -- and then complain that there aren't enough gig slots for all of the acts who want to play.

The solution: Redefine your live performance goals. And ask yourself the right questions. If you only ask, "How can I book more shows at clubs?" you'll rarely look outside that possibility. But if you ask, "How can I reach more of my ideal fans through live performances?" then your list of potential venues is suddenly wide open.

Where can you play in front of more potential fans? If nightclubs is one answer, great -- continue to pursue that. But what about community festivals, neighborhood block parties, grand openings, rallies, auto shows, craft fairs, the finishing line of a city marathon, a public beach on a sunny day ... anywhere that large groups of people gather is fair game.

Sure, not every option will have the logistics for a sound system, a stage, etc. But any glimmer of an idea along these lines is worth looking into. And I guarantee you, the number of other acts competing for a spot at one of these offbeat events will be much less than the number you find at the traditional live music venues.

So ... expand your definition of a live performance, ask yourself empowering questions, and open your mind to the many new ways you have to reach fans through live performances.

About Author:
Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that deliver marketing tips, self-promotion ideas and other empowering messages to music people of all kinds. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.

(The above article is excerpted from my new audiobook, What Every Musician Should Know About Self-Promotion.)

Why Play Cover Songs

Playing covers is a great way to learn your instrument and help you grow your own style of playing. While there is no substitute to writing and playing/recording your own songs, listening to and picking out what another musician wrote is rewarding in its own way.

The challenge of figuring out just what the musical instrument guitar, bassist, drummer, etc. are playing makes you explore ways of approaching your instrument that you may never have thought of. Or it allows you learn a different way of approaching rhythm, structure or phrasing that may never have occurred to you. And then when you write your own music, that knowledge will enhance your own creativity and style, without necessarily pilfering the other songwriter's ideas.

I have a friend who's a very competent songwriter. He claims he's never played cover
songs-that all he's ever played is original music. He's a good musician but I can't help feel he would be much better if he ever had to stretch his abilities and learn songs by other bands. I think it would open his eyes to new ways to approach his musical instrument guitar and songwriting that he never dreamed of.

I mean, I prefer playing my own stuff too but learning covers has helped me with my own writing and playing enormously. And it can be fun and rewarding to learn and play a song you love. It can even be rewarding to learn a song you don't like. For instance, I had to learn "Walk on By" by Burt Bacharach. I was never fond of the song. It wasn't until I had to learn it and play it with a band that I really appreciated the structure and brilliance of Bacharach's craftsmanship. I now have an understanding of why other songwriters are in such awe of Burt Bacharach's abilities in creating pop songs.

Over this past weekend I watched "Some Kind of Monster," the movie about Metallica. It shows their approach to creating music, which, although similar to most other bands approaches, still gave me a new way of thinking of how to write songs. Everything from their riffing on musical instrument guitar to begin and turning the riff into a song, to the technicality of reading the computer readout of the snare drum and discovering that it was out of time in one part of the song.

My current band, Psychotronics, http://webpages.charter.net/dominicschaeffer/html/psychotronics.html is in the style of a free form jazz band (think Miles Davis, Coltrane) but rocks and is essentially a rock band.

My writing for Psychotronics involves creating riffs and we jam on them. Not structured songs, with some exceptions, but improvisational playing in a jazz style. Not even as structured as most of the jam bands I've heard. But I'm also starting a cover band to play weddings and anywhere else we can gig. I know that my playing is improving and my writing is growing because I have to learn a wide variety of songs I never would have played
otherwise.

So listen closely and learn what other musicians are doing in their songs. What approach do they take to playing their instruments? You'll find your ability to play and create will grow rapidly by the exercise of learning covers. And keep in mind, the Beatles and Stones started out playing covers, and they did ok.

About the author:
Vincent Hely is the owner and creator of www.chewurmusic.com, a site where you can find musical instrument guitars, basses, musical instrument accordions, violins, accessories, instructional media and more at bargain prices.

Article Source: http://www.Free-Articles-Zone.com

Radio Play: Will Topping The Charts Make You Bigger Than Elvis?

Every true life rock ‘n’ roll television melodrama has the same scene: the unknown artist/band gives their freshly cut 45rpm single to the local disc jockey. He spins it on his top 40 radio show…and a star is born. This legend has been passed down through the generations of wannabe popstars like an ancient family recipe. The ingredients may differ, but in the end you get the same glorious results: radio play equals fame and fortune.

But does this Top of the Charts fairytale still apply today in the sardonic post new millennium world we call “today”? Can a band in our current music scene walk into a radio station with a CD single in their hot little hands, impress and wow the DJ with their enthusiasm and chutzpa, obtain the magic and golden FM radio spins and then ride the wave of success all the way to Graceland? Well, then, I guess the real question would be, “Do you believe in fairytales?”

Unfortunately, the music industry, like the entire Earth, has become so overpopulated and so oversaturated with artists, music, CDs, and radio stations/shows of all kinds, that the chance of your own personal radio fairytale coming true is probably slim to none. But, don’t give up on your favorite audio media outlet. Radio may not catapult you to instant superstardom but it certainly can help to push you down the path to success.

The following are a few tips that will help you to make your own music fairytale and get your music heard throughout the airwaves:

1.) Get Out Of Major Market The Top 40 Station Mentality---There was a day when getting played on a big city Top 40 radio station was like winning a gold medal at the Olympics. Bands that were chosen for play were handpicked by the voices of the airwaves whose ears were finely tuned to pick out the next new rising star. Today, things are a little different. Radio has become a huge corporation with three major conglomerates owning most of the stations in the United States. Sadly, Disc jockeys are no longer the innovators their predecessors were. Station management hands down a playlist (made exclusively of artists signed to mostly major labels) and the voices you hear on your radio are just that…talking heads animating a script. It’s nearly impossible for an unknown band to break into mainstream large metropolis radio and a waste of your time and money to send packages blindly to a medium that will more than likely reject you again and again.

2.) The Specialty Show Is Your Ticket In---Still determined to get played on that hot radio station with 10 million listeners and a celebrity DJ? Well, there is a backdoor that you may be able to slip through. It’s the specialty show. Many huge stations feature a weekly show structured just to highlight the little guy…to showcase unsigned artists from that station’s area and sometimes beyond. These shows are always worth sending your press package to, as they tend to base their playlist on your music and your credentials on not on the typical corporate artist roster. This is where you just might wow that innovative disc jockey and garner play on some of America’s biggest stations.

3.) College Radio Still Rocks---One area of radio that has stayed unaffected by the huge corporate retooling is the college/university station. Unlike companies/labels deciding what the listening audience thinks is cool or hip, college radio DJs and program directors are still setting their own cutting edges, breaking new artists, and finding the hot fresh stars of tomorrow hiding in their local clubs, coffee houses and garages. It’s always beneficial for unsigned artists to send as many CDs (or email as many MP3s, if the station will accept that medium) to as many college stations as you can find. You will find stations to play you and people will be listening. This could lead to new fans, tour possibilities, and will definitely look fantastic on the radio page of your website or EPK. Whether or not it will actually make you a rockstar, it will sure make you feel like one.

4.) The Unlimited World Of Independent Radio---Back in the early days of radio, indie stations were limited to audio pirates in their basements stealing airwaves from unsuspecting Top 40 giants. Now, thanks to the internet, satellites, cell phones, iPods and cable TV, independent stations outnumber their AM/FM constituents in the thousands and new ones are created every day. Since doing a search of indie radio stations online has been known to cause a brain embolism in some, know that you will probably never be able to solicit them all in one lifetime and just relax and enjoy sending music to whomever you can, as you will probably garner hoards of airplay. Furthermore, your wallet will grow to love you as most of these stations will allow you to submit MP3s online.

It’s true that the legendary story of the unknown band that got one single played on the radio and became superstars within a month is probably as outdated as the 8-Track tape. But that doesn’t mean that the process of artists soliciting music for radio play has become archaic. Radio remains, to this day, one of the best ways for musicians to promote their music and their projects in their area….and now, thanks to terrific technological advancements, nationally and worldwide. The repetition of your single in the ears of even the most jaded radio listener, may lead to: CD and merchandise sales, gigging opportunities in your city and others, visits to your website, posts to your fan club forums, potential press and even maybe industry attention. So, don’t stop sending those CDs, and emailing those MP3s because the next person who hears your song on the radio might just be the one who leads, either directly or indirectly, to your much sought record deal. And who knows? You might just wind up becoming bigger than Elvis.

About Author:
Sheena Metal is a radio host, producer, promoter, music supervisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on over 2,400 affiliates to more than 126 million listeners. Her musicians’ assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area, where she resides. For more info: http://www.sheena-metal.com.

Why Musicians Should Take Music Licensing And Copywriting Seriously

Music licensing is very important for almost any musician. Its especially important for a serious musician, whether he plays jazz, rock and roll, folk, or even classical or some other genre. It is crucial for a musician to keep his rights, and that means licensing and copyrighting his work properly.

If you write a particularly successful song, some one else might want to license your music from you, and that means big bucks for you. I had a friend once, a classically trained violinist. Even though he rarely composed songs, one day he decided to enter a contest to compose a hit new piece of music for a commercial for a popular fast food chain which shall remain nameless. He though he had made out like a bandit when he won a $500 award for his song and heard it played on the television, but soon he realized that he had been robbed.

He hadn't used music licensing, and so when the company sold the rights to another fast food company, and then to a movie for a soundtrack, he realized that he wouldn't even get a penny of the rights. The license now belonged to the business which had held the contest.

If you are a consumer of music, music licensing can be bad for you. Many common practices of music listeners are actually illegal. For example, making a mix tape for a friend, if you are caught doing it, can actually, at least in theory, cost you thousands of dollars in legal fees. If you trade music, either in person or on the internet, the penalties can be much worse. It is important not to let yourself be lured in by the promise of free music. Many of the songs put up on file sharing websites are actually nothing but noise, but there by the companies that own the music licensing, to fool you into downloading them and wasting your time. This way, you can't find the music you want. You will probably, they hope, give up and go buy the CD.

There are, however, unlicensed songs on the internet, put there so that you can listen to them, and maybe discover the bands that made them. Among musicians, this is a popular way to get discovered by new fans. It's so easy to log onto a band's website and listen to their music, and if the band isn't already on a big label with lots of fans, they have everything to gain by you listening to, and trading their songs and giving you their music licensing.

Author:
Muna wa Wanjiru
More articles from this pro: http://www.ArticlePros.com/author.php?Muna wa Wanjiru

My Monday Mustard: A Music Newsletter Is A Good Thing

One person’s opinion on what cuts the music mustard

Your Music Newsletter Builder on Artistopia

One of the coolest resource tools available on Artistopia is the Newsletter Editor available within the Indie Pro memberships. Why is this so cool?

Things you can do with your personal newsletter:
Customize your own, email newsletter with your own artwork/logo
Post pictures of recent shows, posing with fans – great public relations (PR)
Post your music for sale
Announcements, press releases, media coverage
Let your fan base know what merchandise you have for sale
Song contests you are a part of and perhaps need votes on
Promote a contest you want to hold for your own merchandise/CDs
Post your own ads and earn income/exposure
Add your views on a subject
Post upcoming gigs, events, appearances
Write a great article about a venue or city you just played – good PR
Write about a charity event you are going to play
Write about another local band you gig swap with
Personal life cool stuff and tidbits on your family or band members
Ask for fan feedback on projects
Keep your street team informed/recruited
Do you have an area of expertise that you can share tips or suggestions?
Your sponsors logo/business ad
Gain more traffic to your Artistopia profile and get people to listen!

As a music artist, you have been working hard to build your fan base, collecting emails from online as well as from your shows. They signed up as a fan, so they DO want to learn more about you. So give them that info!

Creating your own newsletter enables you to build rapport and strengthen your relationship with your fan base – world wide or locally if that’s how you have filed them. The best way to use your newsletter is to provide information of real value, is newsworthy, and to regularly provide that information. What do your fans need to know about you or your band? Where are you playing next? When is your next CD being released? What kudos, great reviews or awards have you received? What other useful information can you include?

Keep it fresh, let it be you, make it interesting, and make it scanable (like a newspaper). And you should always provide recipients a way to unsubscribe. Get inspired and get started on writing your own newsletter today!

Vanessa
Artistopia Guest Author
Artistopia’s guest authors opinions are their own and may or may not reflect the opinion of the web site owners and are provided as commentary to what may or may not be relevant on subjects pertaining to music, the music industry and the Internet.

Beginners Guide To Options For A Career In Music

The growing popularity of music is good news for all music lovers. Who does not want to make a mark in this exciting field? You get lots of recognition, an enviable fan following, a wonderful life with great moolah. All that can be yours if you make a beginning in the field. Remember that even the high class performers had to start modestly and you are only following their foot steps. Keep reading, you can get some ideas.

If you are still a rookie, don’t lose heart. Probably you would have already been through with your music recording by now. Visit your nearest record stores and request the storekeeper to play your albums all day long. Use music production software to add zing to your music. People love musicians who connect with them, who listen to their ideas and who exude positive vibes. So make an appearance in retail stores for the full day. Get exciting leaflets prepared and distribute them. Give special discounts and play their favorite music. Also have your CDs packaged and put them on display. Play them along and invite people to be a part of your story. Believe me you will be able to sell copies to people who would otherwise simply gloss over your CDs in stores.

Have you heard of the term busking? If not don’t worry, as a budding musician, you can do a lot of it for earning good money and building relationships. Busking means playing live music in public places and fairs for tips and donations. A large number of musicians give live performances to build a rapport with their audience and to earn decent money alongside. You can also do it and more. Keep your CDs and albums ready and handy. Play them along during regular breaks through a Discman and personal stereo. You can sell a number of copies and also allow people to hire you and your band in future.

Busking today is a great means of promoting singing and instrument playing. It is preferable to play your own music so that you earn a royalty. Entertain and humor people and they will love it. Act as a disc jockey in between to bring variety to your talents. With your ear for good music, it won’t be a tough proposition at all. Give free CDs to people for playing in their car audio system. Remember free publicity never hurts. It only creates positive notes about your credentials.

Foot tapping music, whether acoustic or lightly amplified, is encouraged by all the major cities in the world. Just check the norms applicable to your city and be a part of the growing tribe of happy buskers. It is a great way to make money and stay connected in festivals and gala events.

Entertainment and fun are two great ingredients of making people happy. Be a showman. Touch people’s hearts with symphony and music strings. Make them love your music with a fine performance and lively attitude.

As an individual music performer, the choice is between reaching out to people and sitting at home. Playing music full time is an option now and it is possible to carve a niche out in the field with your initiative and positive attitude.

About Author:
Sarika Kabra
The author loves music. You can get some studio equipment and set up your own home recording studio easily. With the help of music software, it is not difficult to make your own music.

Article source:
Source: http://www.articlealley.com/article_183800_48.html

Booking Gigs

Divide and Conquer: The secret to booking gigs

Most everything you are told about booking gigs is wrong. An average band hears so much advice from so-called experts they can write a book about it. Most misconceptions are harmless. The ones that cause the most damage are the ones that are the most popular. Popular opinion should almost ALWAYS be avoided when dealing with the music business. This report is meant to deprogram you and tell you what no one will share about really booking better gigs.

It is important to attack the root of misconception fast. Therefore I will take a stab at it now. If you are a good band playing horrible gigs it is most likely because you have a skewed perspective of "time line". This article will be littered with the term "maintaining time line". This is not some trendy "industry term". This is simply the best way to describe your main priority in the quest to tour on your own 4 wheels.

What is "time line"?

Time line is a concept. It doesn't really exist. You have to think of it as rule that governs your music business habits. If your time line is too short, your success at gigs will be sporadic. If your time line is too long you will remain stagnant. You have to handle your gigging schedule with precision and thought. You must tweak your time line in order to correct what ails your band.

LESS IS MORE
This may be a cliché you hear tossed around a lot in the music business, but it is seldom followed. Playing too often in any market will kill your draw. That is the bottom line. Don't listen to anyone who tells you otherwise. I will spare you all the metrics and sterile accounting speak that proves this point. You must break free of the shackles of saturation if you are going to maintain time line and reach booking zen.

THE WAR
You want to think of booking your band like a war. There are territories you must win. From here on out we will refer to these as markets.

You have to find a way into each market and begin your campaign. For the remainder of the report these will be referred to as gigs.

You must find allies that align with your intentions and best interests. In other words, bands.

You must find a marketplace that has something to gain from your war. This report will refer to them as promoters.

WHO WILL HELP YOU THE MOST
The one thing that will probably surprise you the most is where to start getting better gigs. Many of you started out "cold calling" clubs out of the phone book or local rag and ask for a gig. Although this smash and grab attempt can create some lucky opportunities here and there, it will destroy your time line. The truth is, bands that are already successful in that venue will be your greatest ally. If already have some "cherry popping" gigs under your belt, or a demo, this will be crucial in forging a relationship with bands.

Many good drawing bands will have very strong connections with local promoters. Promoters are drawn to them because these bands are a vital commodity in their industry. Club owners and promoters plan to have these bands a certain many times in the year and account for so much business. Usually, in this type of relationship the band can book virtually at will and many times can create bills, or cards. Your best bet is to align with such a band. If you can do this it will launch your time line correctly.

WHEN TO DO IT YOURSELF
Assuming your first gig at a venue was under the circumstance outlined above you should make sure you meet the promoter and/or club owner that night. You want to make an impact. When a promoter feels like giving you a bone he doesn't want to throw it. Your initial gig at a venue via another band is the best time to see if the promoter was even paying attention. If they were they might need you for another bill, but you have to come to them.

LEVERAGE
Your draw in your home market will determine your leverage against other markets. In other words, a following in your market will create opportunities in others. This does NOT mean "create buzz here and then everyone will beg for us elsewhere". This means you can now find other bands in other markets that are successful and trade shows, or "swap gigs". Other bands that want to break into your market will want to align themselves with you. Repeating this across multiple markets, and applying a solid time line, will create success. You will also always have a good show supporting locals who draw at least as much as you do on other markets. Creating this leverage, by raising your draw, will be the key to routing better gigs across markets. How does one do this? Simple. Maintaining time line.

HOW OFTEN SHOULD YOU GIG IN ONE MARKET
When you are fist starting out, it is important to play whatever gigs you can to get the hang of how it works. Think of those early gigs as practice. Think of the gigs you do supporting better drawing bands as where you really iron out your craft. Eventually you are going to want to test the waters and see what you are really worth. A band will, at some point, have to go out on its own and try to "headline", or put their own bill together as the "biggest" band. The first couple of times you do this it should be no more than once every 6 weeks. When your time line is ready to be set at optimum performance you should not headline any one market more than 4 or 5 times a year, or once per season. That's right, your time line gets longer, not shorter. When everything is working properly you will play less gigs, but with significantly more draw at each.

CHOOSING THE RIGHT VENUE
You want to fight battle you know you can win (we will talk more about battles in a moment). You want to play where you are confident you can draw. If you know a certain venue is famous for having death metal bands, and your name is DECAYING FLESH, you should probably put that club high in the running to become your home venue.The venue you draw the most at should be the one you concentrate on in the market.

WAR IS MADE UP OF BATTLES
As General, it is important to have a keen sense of delegation. You must be aware that the entire campaign is on your shoulders, but you have resources and a team of people to help you. Your band may not seem like an awesome war machine now, but you have to think logically. You have to delegate.

The easiest way to start creating a draw is to first hit your friends via your band mates. Delegate a realistic amount of responsibility to the other players in your band with a real value. You should start with "heads", or people they bring. Every member of your band should feel they are responsible to bring 20 heads that pay to get in. Instead of looking at your promotional campaign as a daunting war you will gain more ground with your band fighting smaller battles at once.

Some of the members of your band will have 20 cousins who will love to come. Some of your band members will have to resort to begging ex-girlfriends they dumped. Most of you will go the traditional route and hand out fliers at shows. No matter how, you each must meet your goal of 20 heads.

The PR and marketing front is a whole other battle. The Internet has made it possible to have your music heard, gigs found, and pictures seen across the world in hyper-speed. Properly presenting your image will be very important on this front. If you feel you need help in presenting your image you should refer to my previous article "The Truth Behind Press Kits, Bios, and Controlling Your Image". Remember, there are bands in other markets looking for bands to swap with, so make sure you are easy to find on the Internet.

OPTIMIMIZING YOUR TIME LINE
At first, you might be surprised that you do not meet our goal of 20 heads per member. Do not be discouraged. But when you finally create that watermark you are ready to begin stretching your time line and playing less gigs. You should reserve your headlining events for once a season and only break that rule for an opening slot for a national act or a great promotional opportunity like a benefit.

GROWTH
At this point you should be concentrating only on creating new fans. Think of the first wave of friends as your new soldiers. Delegate some task to them with a real value. A good starting point is having all your friends get at least 2 people to the next show or to at least sign up for the mailing list on your website. You have a website with a mailing list don't you?

You should not neglect historical methods of creating interest. Giving away free tickets to people who sign up to your list always gets some response. Promoting the fact you are giving away something for free at the next gig works too.

The actual venue that you play is often overlooked as a great place to promote. Not just by handing out fliers to patrons, but perhaps posters and banners. Most clubs will not have a problem with you putting up promotional materials around the venue. Always get a professional artist or art student to create your posters and fliers. This is the first thing many people will see promoting your band, make sure it counts.

MERCH
If you can afford merchandise, or "merch", like apparel and stickers, it can be a great revenue stream for your band. But again, you have to apply time line to your stocking habits. You want to be able to create and sell a new item at every couple of shows. Even if all you can afford are some new stickers or a new style button, do it. So if you really want to get those expensive glow-in-the-dark sweaters that say your band's name when you press a button make sure you have enough to get some more new merch soon.

New merch is a great way to train your fanbase. You have to train your fanbase to bring money to your gigs. When your fans are expecting new merch they are more likely to come prepared, or "armed with dough". Go to Scenejumper.com for more info

DIVIDE AND CONQUER
Use your newfound leverage to repeat success across multiple markets. Trade shows wisely and always do your research. Always make sure a gig swap is really worth it. Choose your markets carefully. It should be practical and affordable to gig other markets. You want to move out from your home base logically. Eventually you will be able to easily route yourself across your surrounding markets. Applying the proper time line and work ethic you can do mini-tours every season.

About the Author:
Bruce Prokopets aka Bishop Dolarhyde, is co-founder and editor of music news blog http://www.scenejumper.com. Bruce had his first live gig at 15 and has had various jobs in the industry since. He spent years as a guitar tech, tour manager, endorsement liaison, bassist in a national act, and promoter in the Tampa Bay area of Florida.
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The Audition - Proving You Have Talent

Now, Talent isn't something that can be easily demonstrated in 5 minutes. If you were an expert in fruit and vegetable carving and I gave you 5 minutes to prove it what would you be able to do? Not a lot!

You could show me pictures of work you had already completed and I might trust that you did it yourself. (Your resume) Or you could use those 5 minutes to impress me with a small part of what you can do. (An audition) By showing me that you knew how to handle the tools of the trade and could make a carrot end into a flower maybe you could convince me to hire you to carve centerpieces for the table at my wedding out of melons.

An audition is exactly the same. It is a practical interview. Whether or not you are required to present a resume and photograph (and I'll come back to the do's and dont's of those in a later lesson) it is no good relying on how good your Publicity Shot is or how much great past experience you have. What counts is the next 5 minutes - the practical interview - your audition. Your chance to show you have TALENT. And talent is a combination of Ability and Sparkle.

REMEMBER: At an audition a director is looking for the spark that indicates you have talent not necessarily the full living proof.

What the director sees at audition is not expected to be the final performance but a suggestion that you will be able to deliver the goods once the rehearsal process is complete. Therefore, if you can't do the basics like deliver a line, speak up, make eye contact or look confident when you are nervous under the pressure of auditions why should he believe that you can do it on performance night, when 30,000 people could be watching you.

"I'm ner