Return-path: Received: from www1.aussie.com.au (aussie.com.au [203.166.17.131]) by email.dmn.com.au (Rockliffe SMTPRA 4.2.4) with ESMTP id for ; Thu, 17 May 2001 07:18:15 +0800 Received: from email.dmn.com.au ([203.62.199.2]) by www1.aussie.com.au (Post.Office MTA v3.1.2 release (PO205-101c) ID# 0-0U10L2S100) with ESMTP id AAA346 for ; Thu, 17 May 2001 07:23:41 +0800 Received: from kis (kewdale_server.www.kewdale.com.au [203.62.199.162]) by email.dmn.com.au (Rockliffe SMTPRA 4.2.4) with SMTP id for ; Thu, 17 May 2001 07:18:08 +0800 Message-ID: <001901c0de5e$c4c96940$a2c73ecb@kis> From: "K.I.S. Newsletter" To: Subject: K.I.S Newsletter - August Date: Thu, 17 May 2001 07:20:16 +0800 MIME-Version: 1.0 Content-Type: multipart/related; type="multipart/alternative"; boundary="----=_NextPart_000_0015_01C0DEA1.D25EC120" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 5.00.3018.1300 X-MimeOLE: Produced By Microsoft MimeOLE V5.00.3018.1300 This is a multi-part message in MIME format. ------=_NextPart_000_0015_01C0DEA1.D25EC120 Content-Type: multipart/alternative; boundary="----=_NextPart_001_0016_01C0DEA1.D25EC120" ------=_NextPart_001_0016_01C0DEA1.D25EC120 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Volume 1, Issue 7. August 2000 =20 =20 Hello everyone! =20 Welcome to the July issue of K . I .S .=20 (The newsletter for Keen I ndependent Songwriters)=20 =20 -------------------------------------------------------------------------= ------- In this issue... =20 =20 Contents a.. Songwriting tips - by Stetson G. Bailey a.. The Components of a Song=20 b.. Featured CD a.. Theme for Aldabra - Sonny Morgan c.. Networkers' Niche & Newsworthy Notes a.. Lyricist required for collaboration b.. Resources & Services on the Net - helping the Indie Artist = research information and promote their material. a.. NOMA Music b.. HitQuarters c.. Songwriting competition - ASA -------------------------------------------------------------------------= ------- If you know others who might be interested in receiving this newsletter, = please feel free to forward this on and get them to 'subscribe' by = clicking on the link below.=20 subscribetokis@dmn.com.au =20 =20 NB: If you have received this letter in error and wish to be removed = from the mailing list, please scroll to the end and follow the = instructions...=20 =20 -------------------------------------------------------------------------= ------- SONGWRITING TIPS=20 =20 Topic for August 2000: The Components of a Song=20 The following is an excerpt from the book: =20 Write 'Hit' Songs by Stetson G. Bailey =A9 1997 Genesis Books. Reproduced with kind permission. =20 The Components of a Song Think for a moment about building a house. You have a good idea of what = a house is. It's bigger than a table, especially 'my table', and = somewhat smaller than the property it's on. Could you build a house? = Only if you knew what the components, materials, functions and purpose = was. Above all, you would have to know certain terms in order to build = it. The construction industry is pretty clear on what it calls various parts = of a house. For example, if you see the term WC on a blueprint, you know = of course that it's a toilet. The initials WC come from the term Water = Closet. If you didn't know that, you might think there was a very small = Walk-in Closet in the bathroom. The terminology for the parts of a song is not so clear or standardized. = Hence a lot of confusion and vagueness in songwriting. With a clarity = of definition, we can identify the parts that make up a song and how = each part works in relation with the other parts. Then you can make sure = that the parts of your song work and function together. The parts of a = song are: Core Idea Vehicle Hooks Star Lines Payoffs Melody The Core Idea Every communication has a core idea or concept, no matter how it is = delivered. Most songs are love songs. Let's look at the core ideas for = love songs. I love you.... I don't love you.. I love you and you're = with him.. I love her but I'm with you. I love you and you're here... I = don't love you and you're here... I love you and you aren't here... I = love you and you love me.... I love you and you don't love me.... true = love wins in the end.... true love doesn't win in the end.... etc. You = now have about half of the core ideas for love songs. This is so elementary that I feel embarrassed to discuss it, yet many = writers seem to lose track of the core idea as they write their song. I = once received a song from a writer who managed to convey these ideas in = a little over three minutes of mind rape I love you, I don't love you, I = miss you, I'm glad you're gone, I can't make it without you, and I'm = better off now that you've left.=20 No, It wasn't a comedy song. If it was, the core idea would have been = 'I'm all screwed up' or 'I'm so confused'. The core Idea is not = necessarily ever mentioned in the song. The ship does not arrive at the star it steers by. The core idea is the = star that keeps your song on course and on target. The Vehicle The vehicle used to communicate the core Idea has many names but the = purpose is always the same. Plot, script, theme, scenario, and story = line are just a few of them. They are the vehicle that delivers your = communication, the core idea. This is where you get to be unique, = devious, clever, insightful and a raving genius. Coming up with 'brand = new' ways to deliver the oldest messages in the universe is where it's = at, and discovering new ways to say it is what keeps the customers = buying the same idea over and over. The idea of the song and the means of delivering the idea are not the = same. Many erroneously say they have this great idea for a song, when = what they mean to say is that they have a great plot or story line to = deliver an idea. Don't get them confused or your song will lose its = focus and impact. By the way, the word 'discover' means to uncover. In order for you to = uncover something, it must already exist, have being. The word 'reveal' = (as in revelations) means to bring to light again. In order for you to = bring it to light again, the presupposition is that it must have been in = light before. The term 'in light' means visible, having being. All = poems, songs, etc. were written before the beginning of time. You, the = songwriter, take part in the process of bringing them to light again, = discovering them again, revealing them again. There is nothing new under = the sun. I rest my case. What is a HOOK? We're going to modify the use of a confusing term from advertising and = songwriting, and give it clear use. The term is 'hook'. It is especially = abused in songwriting wherein no two people can ever seem to agree on = what it is and what it does. I have a friend who is a pretty good = songwriter. He took an award winning song to a publisher. The publisher = listened to about thirty seconds of the song, which very charitable = nowadays, and then turned it off. My friend told him he should have = listened to the rest of it because the hook was at the end. The = publisher told him if he had hooked him he would have heard the end of = the song. What my friend had in his song was what we will be calling a = Payoff. More about that in a few words. You've got about fifteen seconds to snag the listener with your song. = Don't try to tell me that your song is for the public, that they would = love it if you could just get the publisher to publish it, the producer = to produce it, and singer to sing it. They're people too. The industry = pushes stop buttons on the tape recorder while the public hits a button = to switch stations. The public only gives you about fifteen seconds. If = you're going to 'hook' them into listening to all of your song, then = you've got to 'hook' them in that first few seconds. To borrow a phrase = from a cigarette commercial from years ago, "It's what's up front that = counts. If it hasn't got it there, it hasn't got it." When we use the word 'hook', let's have it mean INVOLVE, to attract, = catch the attention of. Once you have the person INVOLVED in what you = are saying, you have them 'hooked'. No, use the same technique to keep them hooked, INVOLVED. Now that we have a working definition and concept of the word, we can = come up with ways that 'hook' people into what we are saying, get their = attention, and hopefully keep them INVOLVED in, taking part in our song. = If you want the fish in the frying pan, you'd better keep him hooked = until he's in the boat. You can hook a fish for a few seconds and then = lose him. Same result as if you had never hooked him in the first = place. The following are a partial listing of 'hooks' or 'involvers' that get = people INVOLVED in what you are doing with your song, especially in the = early stages. The primary hooks are the ones that involve people's = senses of; sight, sound, motion, taste and smell. Images... visual, pictures, colors, sights Kinesis. motion, emotion, feeling, touch, temperature Olfactory.... smells, fragrance Auditory... sounds, noise Gustatory... taste Nostalgia... remembering Identification. familiarity Topic.... sex, outer space, Nonsense Word/s Imagination... fantasy Surprise. shock, Mystery.... intrigue, suspense Strong Statements... Question.... Roles.... our gang, group Curiosity Humor Conflict, stress Melody Musical Figure or Signature Singer... Voice Rhythm Tempo Arrangement / Production In the seminar, I let the participants come up with various examples of = these 'involvers' from their own listening experience. Since you are a = seminar of one, I'll let you come up with them rather than give you = examples that you may not be familiar with. Fill in the above with = titles of song that are examples of each 'hook' for you. It may take = you a while but once you have the examples you will have your ears tuned = and be one step closer to using them in your writing. These are a few of the 'things' that interest and involve people. A = good song uses at least three verbal hooks in the opening line, plus = music and production hooks. Great writing loads every line with these = people involvers. You will have a chance to use and learn the use of = these in the song Study Section a few pages from now. This is heavy = stuff. Let's rush on to something light and fun. Payoffs A payoff is the 'feel good' or feel rewarded part of a song. It can be = a twist at the end, like in The Green Green Grass Of Home. It can be = an image for the listener, such as 'I Am Woman' by Helen Reddy and Ray = Burton. One of the strongest Payoffs you can have in a song having written it so = someone can sing along with it the first or second time they hear it. I = have a pet philosophy that you can write a song that children sing along = with you have a monster on your hands. Barney, the Purple Dinosaur = sings songs that children can join in on. How about when Billy Ray Cyrus = put out a Don Van Tress song called Achy Breaky Heart? Kids went = 'bonkers' over it. Star Lines A Star Line, in and of itself can be a Payoff. Some Star Lines are = Payoffs, but not all Payoffs are Star Lines. A star line is quote, a = real play on words, or a totally unique a quotable way of saying = something. Often times the Star Line is the Title of the song. A catchy = title never hurt a song. It can even help. A whole lot more about = titles later...=20 =20 Available for US$24.95 from: =20 Genesis Books Drawer 40247 Nashville TN 37204 USA=20 Fax: +1 615 331 6904=20 (Please also include US$3.00 for handling and $2.05 state tax for TN = residents)=20 -------------------------------------------------------------------------= ------- BACKGROUND: Write 'Hit' Songs has evolved from a powerful songwriting seminar that = Stetson G Bailey conducts in Nashville. The purpose of the book and = seminar is twofold...directing the creative process and ensuring the = commerciality of songs. =20 =20 Stetson is also more than happy to talk with writers who sincerely wish = to develop their craft and so if you require further details about his = book/s or seminar, you can always phone him. =20 Ph: + 1 615 331 7646=20 Connie's note: I found this book well worth the investment of US$24.95 - it not only = gives you exercises to develop your songwriting skills & craft but it = really gives you a deeper insight into the creative process and how to = tap into it. I purchased it direct from Genesis Books since it is not = available in Australia and they do not currently have a Web Site. =20 =20 I am also currently reading another book of Stetson's called; 'Survival Guide for Songwriters & Artists - WARNING' =20 This very informative book gives an invaluable insight to the workings = of the Music Industry and it's pitfalls, particularly in Nashville - but = it's applications are global. =20 -------------------------------------------------------------------------= ------- Still interested in more songwriting tips? =20 Visit the 'Songwriting Tips' page at Kismana Music by clicking HERE and = check out this month's excerpt, 'Charles' Songwriting Notes' - by = Charles Wolff.=20 Be sure to visit the ARCHIVES as well! -------------------------------------------------------------------------= ------- FEATURED CD Sonny Morgan, THEME FOR ALDABRA DESCRIPTION: Sonny's latest album, oozes with catchy tunes and cross = rhythmic music, blending funk, reggae, sega & latin rhythms to herald = this generation's Bob Marley. Even though it is considered 'World' = music, this album's appeal is universal leaving no doubt that Sonny has = matured as a musician and songwriter. Theme For Aldabra boasts more = than 50 minutes of playing time over eleven well-produced, quality = tracks that keep you bopping along to these intricate rhythms & songs. =20 =20 =20 Good News! The theme track from this album has been licensed to USA Network = (American Cable TV) to be used as background music for one of their = sports shows. =20 NOMA Music Services was instrumental in placing Sonny's material. =20 To hear an MP3 sampler of Theme for Aldabra or samples from other = independent artists, check out the Kismana Ko-Op Catalogue by........=20 =20 CLICKING HERE Please note:=20 If you are interested on joining the Kismana Ko-Op (a co-operative of = Independent Australian Artists) and have a quality product that you feel = would be suitable, please feel free to contact me for details. -------------------------------------------------------------------------= ------- NETWORKERS' NICHE & NEWSWORTHY NOTES =20 Songwriters of the World Unite - SenTinel and K.I.S. have teamed up!=20 Our dual aim here is to provide a service that helps to pair off = songwriters in collaboration with other songwriters. Therefore, if you = are a lyricist searching for a composer or vise versa, then why not send = your details to either myself or Jon Bate at SenTinel (UK based) so = that we can publish them for like-minded writers to link up? =20 or... If you want to make contact with other people in the industry and/or put = a message relating to music and songwriting in this section, please = contact me at: subscribetokis@dmn.com.au (Please remember that we have the right to vet these messages if = necessary!) =20 -------------------------------------------------------------------------= ------- a.. Jon Bate is currently looking for somebody who can write killer = lyrics to a piece of music that he has recently composed. The style of = song will be ballad and so anyone who may be interested can contact him = via SenTinel and he will be happy to send out a tape of the song. -------------------------------------------------------------------------= ------- a.. Mike Wyner at NOMA MUSIC is looking for great songs, music and = lyrics. If you think you have something suitable, please contact Mike = first at : nomamusic@noma1.com for permission to submit your music to = their publishing company. You may wish to check out the other artist services that NOMA MUSIC = offer. -------------------------------------------------------------------------= ------- PRESS RELEASE=20 =20 HitQuarters - a resource site for Songwriters, Artists, Musicians & = Producers! HitQuarters is the most detailed database of names, record companies, = A&Rs, addresses, numbers, recommendations, links, charts, contacts, = classifieds etc. ever made within the music business, free of charge. It is the dominating source of information regarding demo submissions = and making contacts within the music industry, thanks to the unique = feature called HitTracker. It is a search function that will tell you which person within a = record-, publishing-, production- & managing company has been credited = for which successful artist, and reveal these individuals' = track-records. In a complex and personalised industry, such as the music = business, it is very important to find the right persons. Our mission is = to direct you to them by providing information, advice and = recommendations. HitQuarters also features 1000s of business cards from players in the = music industry, in categories such as artist, lawyer, promoter, studio, = tour agency and many more, and it is also possible for you to post your = business card. HitQuarters have also teamed up with 40 music industry professionals. = This panel of record company A&Rs, managers, lawyers, producers, = publishers, copyright organizations, engineers, studio managers, tour = agencies, editors etc. has a broad experience and is ready to answer = your questions. There is one new Q&A ( Question & Answer ) posted each day and you are = welcome to mail them your questions at Q@HitQuarters.com . They will = then distribute them to an appropriate person within the panel. This is a golden opportunity for you to clarify all those question marks = that have puzzled you on your way through the notoriously complex music = industry. No effort is required, simply email them with your queries. If = you wish to address someone within a certain territory or a particular = profession, please mention so. You will be notified when your initiative = is posted. Along with the Daily Q&A, HitQuarters will also release the following = features:=20 - Weekly Success Story, which will reveal to you what kind of strategic = approach a famous artist used to become successful within the industry. - Weekly Interview, which will allow you an insight into the mind of a = well-known business professional and how he/she advises the unsigned = artist. Visit HitQuarters -------------------------------------------------------------------------= ------- MUSIC LINKS In the meantime, if you want to access to over 200 links to Songwriting = and Music Industry resources, then CLICK HERE:=20 =20 -------------------------------------------------------------------------= ------- ASA SONG CONTEST The Australian Songwriters' Association 2000 National Songwriting = Contest closes at the end of this month. To obtain the contest entry = form - contact the ASA National Office and leave your mailing details: =20 Tel: (08) 9485 1011; Fax: (08) 9485 1600 =20 Email: aussong@iinet.com.au=20 Mail: National Songwriting Contest, PO Box 3206, Malaga DC, WA 6945 =20 Or print out the entry form from the ASA website from 16 July: Website: http://home.vicnet.net.au/~aussong/ =20 Proudly sponsored by the Australian Music Foundation, ATSIC, Centenary = of Federation, The Pub, The Marble Man, EIG ANSVAR, Joejam, AUSMUSIC, = and IMMEDIA! Distribution of the entry forms supported by APRA. Entry fees vary according to category and membership status. -------------------------------------------------------------------------= ------- CONTRIBUTIONS=20 Finally, if you would like to contribute to this newsletter by writing = an article, please feel free to contact me. Thanks all and until next time...keep writing! Regards Connie Kis -------------------------------------------------------------------------= ------- =20 If anyone receiving a forwarded copy of this newsletter is interested in = future newsletters, please subscribe by clicking on the following link = and typing 'subscribe' in the message box: =20 =20 subscribetokis@dmn.com.au=20 =20 PRIVACY POLICY:=20 I will never abuse the privilege of having you as a subscriber. I will = not give out your email address to anyone unless I first seek and gain = permission from you. =20 -------------------------------------------------------------------------= ------- Kismana Music Supporting Songwriters and Independent Artists.=20 Visit our Web Site at: http://www.kismana.com.au/ for Songwriting Resources, CD releases from Independent Australian = Artists and MP3 samples of their work. -------------------------------------------------------------------------= ------- PO Box 1254 Bentley DC 6983 Western Australia Ph/Fax: + 61 - 8 - 9367 9340 Email: info@kismana.com.au -------------------------------------------------------------------------= ------- If you don't wish to be sent any future newsletters, please just click = on the link below with 'remove' in the subject box. Thank you.=20 =20 PLEASE also indicate which email address you wish to have removed! =20 removefromkis@dmn.com.au =20 ------=_NextPart_001_0016_01C0DEA1.D25EC120 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
3D""
 
Volume 1,=20 Issue 7.  August 2000
 
 
Hello everyone!
 
Welcome to the July issue of  = K . I  .S=20 . 
 
(The=20 newsletter for Keen=20 I ndependent Songwriters)=20
 
In this issue...   
 
Contents
  • Songwriting tips = -  by Stetson G.=20 Bailey
      • The Components of = a=20 Song=20
     
  • Featured CD
      • Theme for=20 Aldabra - Sonny Morgan
     
  • Networkers' Niche & Newsworthy=20 Notes
      • Lyricist required = for=20 collaboration
      • Resources & = Services on=20 the Net - helping the Indie Artist research information and = promote their=20 material.
              • NOMA=20 Music
              • HitQuarters
                =
      • Songwriting = competition -=20 ASA
 
If you know others who might be interested in = receiving=20 this newsletter, please feel free to forward this on and get them to = 'subscribe'=20 by clicking on the link below.
subscribetokis@dmn.com.au
 
 
NB: If you have received this letter in = error and=20 wish to be removed from the mailing list, please scroll to the end and = follow=20 the instructions... 
 
 
SONGWRITING TIPS=20

 

Topic=20 for August 2000:  The Components of a Song

 The following is an excerpt from the = book: =20

Write 'Hit'=20 Songs by Stetson  G. = Bailey

 
=A9 1997 Genesis Books.  Reproduced = with kind=20 permission.
 
 
The Components of a=20 Song
Think for a moment about building a house. You = have a=20 good idea of what a house is. It's bigger than a table, especially 'my = table',=20 and somewhat smaller than the property it's on. Could you build a house? = Only if=20 you knew what the components, materials, functions and purpose was. = Above all,=20 you would have to know certain terms in order to build = it.
 
The construction industry is pretty clear on = what it=20 calls various parts of a house. For example, if you see the term WC on a = blueprint, you know of course that it's a toilet. The initials WC come = from the=20 term Water Closet. If you didn't know that, you might think there was a = very=20 small Walk-in Closet in the bathroom.
 
The terminology for the parts of a song is not = so clear=20 or standardized. Hence a lot of confusion and vagueness in = songwriting. =20 With a clarity of definition, we can identify the parts that make up a = song and=20 how each part works in relation with the other parts. Then you can make = sure=20 that the parts of your song work and function together.  The parts = of a=20 song are:
 
Core=20 Idea
Vehicle
Hooks
Star=20 Lines
Payoffs
Melody
 
The Core=20 Idea
Every communication has a core idea or = concept, no=20 matter how it is delivered. Most songs are love songs. Let's look at the = core=20 ideas for love songs. I love you.... I don't love you….  I = love you and=20 you're with him…. I love her but I'm with you… I love you = and you're here... I=20 don't love you and you're here... I love you and you aren't=20 here...    I love you and you love me.... I love you and = you=20 don't love me.... true love wins in the end.... true love doesn't win in = the=20 end.... etc.  You now have about half of the core ideas for love=20 songs.
 
This is so elementary that I feel embarrassed = to discuss=20 it, yet many writers seem to lose track of the core idea as they write = their=20 song.  I once received a song from a writer who managed to convey = these=20 ideas in a little over three minutes of mind rape I love you, I don't = love you,=20 I miss you, I'm glad you're gone, I can't make it without you, and I'm = better=20 off now that you've left.
 
No, It wasn't a comedy song.  If it was, = the core=20 idea would have been 'I'm all screwed up' or 'I'm so confused'.  = The core=20 Idea is not necessarily ever mentioned in the song.
 
The ship does not arrive at the star it steers = by. The=20 core idea is the star that keeps your song on course and on=20 target.
 
 
The = Vehicle
The vehicle used to communicate the core Idea = has many=20 names but the purpose is always the same.  Plot, script, theme, = scenario,=20 and story line are just a few of them.  They are the vehicle that = delivers=20 your communication, the core idea.  This is where you get to be = unique,=20 devious, clever, insightful and a raving genius.  Coming up with = 'brand=20 new' ways to deliver the oldest messages in the universe is where it's = at, and=20 discovering new ways to say it is what keeps the customers buying the = same idea=20 over and over.
 
The idea of the song and the means of = delivering the=20 idea are not the same.  Many erroneously say they have this great = idea for=20 a song, when what they mean to say is that they have a great plot or = story line=20 to deliver an idea.  Don't get them confused or your song will lose = its=20 focus and impact.
 
By the way, the word 'discover' means to = uncover. =20 In order for you to uncover something, it must already exist, have = being. The=20 word 'reveal' (as in revelations) means to bring to light again. In = order for=20 you to bring it to light again, the presupposition is that it must have = been in=20 light before. The term 'in light' means visible, having being. All = poems, songs,=20 etc. were written before the beginning of time. You, the songwriter, = take part=20 in the process of bringing them to light again, discovering them again,=20 revealing them again. There is nothing new under the sun. I rest my=20 case.
 
What is a=20 HOOK?
We're going to modify the use of a confusing = term from=20 advertising and songwriting, and give it clear use. The term is 'hook'. = It is=20 especially abused in songwriting wherein no two people can ever seem to = agree on=20 what it is and what it does. I have a friend who is a pretty good = songwriter. He=20 took an award winning song to a publisher. The publisher listened to = about=20 thirty seconds of the song, which very charitable nowadays, and then = turned it=20 off. My friend told him he should have listened to the rest of it = because the=20 hook was at the end.  The publisher told him if he had hooked him = he would=20 have heard the end of the song. What my friend had in his song was what = we will=20 be calling a Payoff.   More about that in a few = words.
 
You've got about fifteen seconds to snag the = listener=20 with your song.  Don't try to tell me that your song is for the = public,=20 that they would love it if you could just get the publisher to publish = it, the=20 producer to produce it, and singer to sing it.  They're people = too. =20 The industry pushes stop buttons on the tape recorder while the public = hits a=20 button to switch stations.  The public only gives you about fifteen = seconds. If you're going to 'hook' them into listening to all of your = song, then=20 you've got to 'hook' them in that first few seconds. To borrow a phrase = from a=20 cigarette commercial from years ago, "It's what's up front that counts. = If it=20 hasn't got it there, it hasn't got it."
 
When we use the word 'hook', let's have it = mean INVOLVE,=20 to attract, catch the attention of. Once you have the person INVOLVED in = what=20 you are saying, you have them 'hooked'.
 
No, use the same technique to keep them = hooked,=20 INVOLVED.
 
Now that we have a working definition and = concept of the=20 word, we can come up with ways that 'hook' people into what we are = saying, get=20 their attention, and hopefully keep them INVOLVED in, taking part in our = song.=20 If you want the fish in the frying pan, you'd better keep him hooked = until he's=20 in the boat. You can hook a fish for a few seconds and then lose = him.  Same=20 result as if you had never hooked him in the first place.
 
The following are a partial listing of 'hooks' = or=20 'involvers' that get people INVOLVED in what you are doing with your = song,=20 especially in the early stages. The primary hooks are the ones that = involve=20 people's senses of; sight, sound, motion, taste and = smell.
 
Images... visual,=20 pictures, colors, sights
Kinesis… motion,=20 emotion, feeling, touch, temperature
Olfactory....=20 smells, fragrance
Auditory... sounds,=20 noise
Gustatory...=20 taste
Nostalgia...=20 remembering
Identification…=20 familiarity
Topic.... sex,=20 outer space,
Nonsense=20 Word/s
Imagination...=20 fantasy
Surprise…=20 shock,
Mystery....=20 intrigue, suspense
Strong=20 Statements...
Question....
Roles.... our gang,=20 group
Curiosity
Humor
Conflict,=20 stress
Melody
Musical Figure = or=20 Signature
Singer...=20 Voice
Rhythm
Tempo
Arrangement /=20 = Production
 
 
In the seminar, I let the participants come up = with=20 various examples of these 'involvers' from their own listening = experience. =20 Since you are a seminar of one, I'll let you come up with them rather = than give=20 you examples that you may not be familiar with.  Fill in the above = with=20 titles of song that are examples of each 'hook' for you.  It may = take you a=20 while but once you have the examples you will have your ears tuned and = be one=20 step closer to using them in your writing.
 
These are a few of the 'things' that interest = and=20 involve people.  A good song uses at least three verbal hooks in = the=20 opening line, plus music and production hooks.  Great writing loads = every=20 line with these people involvers.  You will have a chance to use = and learn=20 the use of these in the song Study Section a few pages from now.  = This is=20 heavy stuff. Let's rush on to something light and fun.
 
Payoffs
A payoff is the 'feel good' or feel rewarded = part of a=20 song.  It can be a twist at the end, like in The Green Green Grass = Of=20 Home.   It can be an image for the listener, such as 'I Am = Woman' by=20 Helen Reddy and Ray Burton.
 
One of the strongest Payoffs you can have in a = song=20 having written it so someone can sing along with it the first or second = time=20 they hear it. I have a pet philosophy that you can write a song that = children=20 sing along with you have a monster on your hands.  Barney, the = Purple=20 Dinosaur sings songs that children can join in on. How about when Billy = Ray=20 Cyrus put out a Don Van Tress song called Achy Breaky Heart?  Kids = went=20 'bonkers' over it.
 
Star = Lines
A Star Line, in = and of itself=20 can be a Payoff.  Some Star Lines are Payoffs, but not all Payoffs = are Star=20 Lines. A star line is quote, a real play on words, or a totally unique a = quotable way of saying something. Often times the Star Line is the Title = of the=20 song. A catchy title never hurt a song.  It can even help.  A = whole=20 lot more about titles later... 
 
Available = for=20 US$24.95=20 = from:      <= /DIV>
Genesis=20 Books
Drawer=20 40247
Nashville
TN = 37204 =20 USA 
 
Fax: =  +1 =20 615  331 =20 = 6904 
 =20 (Please also include US$3.00 for handling and $2.05 = state tax=20 for TN residents) 

BACKGROUND:

Write 'Hit' Songs  = has=20 evolved from a powerful songwriting seminar that Stetson G Bailey = conducts in=20 Nashville.  The purpose of the book and seminar is = twofold...directing the=20 creative process and ensuring the commerciality of=20 songs.  
  
Stetson is also more than happy to = talk=20 with writers who sincerely wish to develop their craft and so if you = require=20 further details about his book/s or seminar, you can always phone=20 him.           &nb= sp;      =20

Ph: + 1  = 615  331 =20 7646
Connie's = note:
I found this book = well worth the=20 investment of US$24.95 - it not only gives you exercises to develop = your=20 songwriting skills & craft but it really gives you a deeper insight = into the=20 creative process and how to tap into it.   I purchased it = direct=20 from Genesis Books since it is not available in Australia and they do = not=20 currently have a Web Site.  
 
I am also currently = reading=20 another book of Stetson's called;
 
 'Survival Guide for=20 Songwriters & Artists - WARNING'
 
This very = informative book gives=20 an invaluable insight to the workings of the Music Industry and it's = pitfalls,=20 particularly in Nashville - but it's applications are=20 global.  =20

    Still interested in=20 more songwriting tips? 
     
    Visit the 'Songwriting Tips' page at = Kismana=20 Music by clicking HERE and check out = this=20 month's excerpt, 'Charles' Songwriting Notes' - = by Charles Wolff.
     
    Be sure to visit the=20 ARCHIVES as = well!
     

    FEATURED=20 CD
     
     
    3D""Sonny=20 Morgan, THEME FOR ALDABRA
    DESCRIPTION: = Sonny's latest=20 album, oozes with catchy tunes and cross rhythmic music, blending = funk,=20 reggae, sega & latin rhythms to herald this generation's Bob = Marley. =20 Even though it is considered 'World' music, this album's appeal is = universal=20 leaving no doubt that Sonny has matured as a musician and = songwriter. =20 Theme For Aldabra boasts more than 50 minutes of playing time = over eleven=20 well-produced, quality tracks that keep you bopping along to these=20 intricate rhythms & songs. 
     
     
    Good News!
    The theme track from this album has been licensed to USA = Network=20 (American Cable TV) to be used as background music for one of their = sports=20 shows. 
    NOMA Music=20 Services was instrumental in placing Sonny's=20 material.
     
    To hear an MP3 sampler = of Theme for=20 Aldabra or samples from other independent = artists, check=20 out  the Kismana Ko-Op Catalogue by........
     
    CLICKING HERE
     
    Please note: 
    If you are interested on joining the Kismana Ko-Op (a co-operative of = Independent=20 Australian Artists) and have a quality product that you feel = would be=20 suitable, please feel free to contact me for details.
     
     
    NETWORKERS'=20 NICHE   &   NEWSWORTHY = NOTES
     
     
    Songwriters of the World Unite - = SenTinel=20 and K.I.S. have teamed up!
     
    Our dual aim here is to provide a service that helps to = pair off=20 songwriters in collaboration with other songwriters.  Therefore, if = you are=20 a lyricist searching for a composer or vise versa, then why not send = your=20 details to either myself  or Jon Bate at=20 SenTinel (UK based) so that = we can=20 publish them for like-minded writers to link up? =20
    or...
    If you want to make contact with other people in the = industry=20 and/or put a message relating to music and songwriting in this = section,=20 please contact me at: subscribetokis@dmn.com.au
    (Please remember that we have the right to vet these = messages=20 if necessary!)
     
    • Jon Bate is currently looking for somebody who can write = killer=20 lyrics to a piece of music that he has recently composed.  The = style of=20 song will be ballad and so anyone who may be interested can contact = him via SenTinel and = he will be=20 happy to send out a tape of the song.
    • Mike Wyner at  NOMA MUSIC is looking for great = songs,=20 music and lyrics. If you think you have = something=20 suitable, please contact Mike first at : nomamusic@noma1.com for = permission=20 to submit your music to their publishing company.
    You may wish to check out the other artist services=20 that  NOMA=20 MUSIC  offer.
    PRESS RELEASE =
     
    HitQuarters - a = resource site=20 for Songwriters, Artists, Musicians & Producers!

    HitQuarters is=20 the most detailed database of names, record companies, A&Rs, = addresses,=20 numbers, recommendations, links, charts, contacts, classifieds etc. ever = made=20 within the music business, free of charge.

    It is the dominating source of information regarding demo = submissions=20 and making contacts within the music industry, thanks to the unique = feature=20 called HitTracker.

    It is a search function that will tell you which person = within a=20 record-, publishing-, production- & managing company has been = credited for=20 which successful artist, and reveal these individuals' track-records. In = a=20 complex and personalised industry, such as the music business, it is = very=20 important to find the right persons. Our mission is to direct you to = them by=20 providing information, advice and recommendations.

    HitQuarters also features 1000s of business cards from = players in the=20 music industry, in categories such as artist, lawyer, promoter, studio, = tour=20 agency and many more, and it is also possible for you to post your = business=20 card.

    HitQuarters have also teamed up with 40 music industry=20 professionals. This panel of record company A&Rs, managers, lawyers, = producers, publishers, copyright organizations, engineers, studio = managers, tour=20 agencies, editors etc. has a broad experience and is ready to answer = your=20 questions.

    There is one new Q&A ( Question & Answer ) posted = each day=20 and you are welcome to mail them your questions at Q@HitQuarters.com=20 . They will then distribute them to an appropriate person within the=20 panel.

    This is a golden opportunity for you to clarify all those = question=20 marks that have puzzled you on your way through the notoriously complex = music=20 industry. No effort is required, simply email them with your = queries. If=20 you wish to address someone within a certain territory or a particular=20 profession, please mention so. You will be notified when your initiative = is=20 posted.

    Along with the Daily Q&A, HitQuarters will also release = the=20 following features:

    - Weekly Success Story, which will reveal to you what kind of = strategic approach a famous artist used to become successful within the=20 industry.

    - Weekly Interview, which will allow you an insight into the = mind of=20 a well-known business professional and how he/she advises the unsigned=20 artist.

     
    MUSIC LINKS
    In the meantime, if you want to access to over 200 = links to Songwriting and Music Industry resources, = then CLICK HERE:
     
    ASA SONG=20 CONTEST
     
    The Australian Songwriters’ Association 2000 = National=20 Songwriting Contest closes at the end of this=20 month.  To obtain the contest entry = form –=20 contact the ASA National Office and leave your mailing details: =20
    Tel: (08) = 9485=20 1011;   Fax: (08)=20 9485 1600 =20
    Email: = aussong@iinet.com.au=20
    Mail: = National=20 Songwriting Contest, PO Box 3206, Malaga DC, WA=20 6945
     
    Or print out the entry form from the ASA = website from 16=20 July:
    Website:  http://home.vicnet.net.au/~a= ussong/ =20

    Proudly sponsored by the = Australian Music=20 Foundation, ATSIC, Centenary of Federation, The Pub, The Marble Man, EIG = ANSVAR,=20 Joejam, AUSMUSIC, and IMMEDIA!  Distribution of the entry forms = supported=20 by APRA.

    Entry fees vary according to category = and=20 membership status.
     
     
    CONTRIBUTIONS 
    Finally, if you would like to contribute to this newsletter = by=20 writing an article, please feel free to contact me.
     
    Thanks all and until next time...keep = writing!
     
    Regards
     
    Connie Kis
     
     
    If anyone receiving a forwarded copy of this = newsletter is=20 interested in future newsletters, please subscribe by clicking on = the=20 following link and typing ‘subscribe’ in the message = box: 
     
     
    PRIVACY POLICY: 
    I will never abuse the privilege of having = you as a=20 subscriber.  I will not give = out your=20 email address to anyone unless I first seek and gain permission = from=20 you. 
     
     
    Kismana Music
    Supporting = Songwriters=20 and Independent Artists.
     
    Visit our Web Site at:   http://www.kismana.com.au/
     
    for Songwriting Resources, CD releases from Independent = Australian=20 Artists and MP3 samples of their work.
     
    PO Box 1254
    Bentley DC 6983
    Western = Australia
     
    Ph/Fax: + 61 - 8 - 9367 9340
     
     
     
    If you don’t wish to be sent any future newsletters, = please just=20 click on the link below with 'remove' in the subject box.  =20 Thank you.
     
    PLEASE also indicate = which=20 email address you wish to have removed!  =
     
     
    removefromkis@dmn.com.au=
     
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