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 07:11:36 +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 AAA344 for ; Thu, 17 May 2001 07:17:02 +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 07:11:29 +0800 Message-ID: <000d01c0de5d$db33be20$a2c73ecb@kis> From: "K.I.S. Newsletter" To: Subject: K.I.S Newsletter - December Date: Thu, 17 May 2001 07:13:43 +0800 MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_0009_01C0DEA0.E8521140"; type="multipart/alternative" 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_0009_01C0DEA0.E8521140 Content-Type: multipart/alternative; boundary="----=_NextPart_001_000A_01C0DEA0.E8521140" ------=_NextPart_001_000A_01C0DEA0.E8521140 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Volume 1, Issue 11. December 2000 =20 Welcome to the December issue of K . I .S .=20 (The newsletter for Keen I ndependent Songwriters)=20 =20 Hello and Season's Greetings to all!=20 =20 May the festive season bring you happiness and the new year bring you = much success! Not only is this issue of K.I.S. the last for this year, I am taking = advantage of the fact that January is usually a quite period to take a = break and so the next new Volume and Issue will not be out until = February 2001. -------------------------------------------------------------------------= ------- In this issue... =20 =20 Contents a.. Songwriting tips - by Pat and Pete Luboff a.. An excerpt from the book; 12 Steps to Building Better Songs a.. More tips - Good vocal habits for singers a.. Featured CD a.. Feel the Same - No Flowers a.. Networkers' Niche & Newsworthy Notes a.. Collaborator sought=20 b.. New Australian Label is launched - seeking new artists c.. Material required by chart topping European band, Rednex =20 d.. Songwriting Competitions - International & Local =20 PREVIOUS ISSUES: =20 Please feel free to contact me for earlier issues of K.I.S. =20 -------------------------------------------------------------------------= ------- 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 I apologise sincerely to anyone who has received this newsletter in = error or more than once. Please just scroll to the end and follow the = instructions to be removed from the mailing list. =20 Don't forget to indicate which addresses you wish to have removed if you = use more than one.=20 =20 -------------------------------------------------------------------------= ------- SONGWRITING TIPS=20 Topic for December 2000: 12 Steps to Building Better Songs The following is an excerpt (the Introduction and first part of Step One = ) from the book by Pat & Pete Luboff;=20 12 Steps to Building Better Songs =A9 2000 Pat & Pete Luboff - reprinted with kind permission They have found from their travels and workshops that many songwriters = start writing a song, i.e. lyrics that rhyme and fit (or don't fit) a = structure before they've thought about what it is they want to say. = =20 In their 12 Step process, they do five very long steps before word or = note number one (except for the title) is written.=20 ".... Dear Songwriters,=20 There are many ways to start writing a song. The initial inspiration can = be a feel, riff, concept, sound patch on your keyboard, anything. And = you can finish the song by discovering where the inspiration takes you = as you write. There is no one right way to go about writing a song.=20 It's not unusual to have great starts to a lot of unfinished songs, or = finished songs that don't add up. This happens when the intention of a = song, lyrically and musically, isn't clear in your head while you're = writing it. You don't have to have this intention in your mind when you = start; you can just follow wherever your inspiration takes you. But at = some point, knowing the song's intention becomes crucial. What's the = main emotional message of the song, expressed in a few sentences? How = can you get all the elements (melody, lyric, arrangement, feel, etc.) = working together to support that message?=20 =20 12 Steps to Building Better Songs explains a method that evolved in one = of our ongoing songwriting workshops as an experiment in group = collaboration. In order to get 10 writers on the same page at the same = time, we developed a system that takes the group step-by-step through = the process of writing a song It's not only a great collaboration tool; = it also works well in getting all the voices in your own head to agree. = Working these steps will yield a good, if not great, song.=20 Why Bother?=20 Some creators believe that letting their audience interpret the work any = way they want to makes the song more accessible; that this is how you = really communicate and connect with people. These writers contend that = ambiguity lets listeners make a song their own. But we don't think so. = Listeners want to hear and relate to what you have to say. They feel = uncomfortable and lose interest when they don't understand your message. = Songs are more accessible when they express a writer's specific vision = in detailed ways. That's what really makes the song's character unique. = Unexpected connections in an understood environment communicate most = effectively. Vagueness, abstractions and generality make it hard to = understand what's going on. Most listeners won't even try.=20 We believe in communicating from the heart as clearly as possible. Each = of us as individuals and creators wants our point of view to be = understood; or at least have someone acknowledge that we were heard, = even if s/he doesn't agree. No matter what was heard or understood, = people will still interpret what we're trying to say in different ways. = Any way our creative vision is interpreted, what makes it unique and = accessible is our individual viewpoint. It's hard work to express this = clearly, especially when we're not sure what it is we're feeling or = trying to say. We pursue the impossible dream, that someone else will = understand where we're coming from.=20 The Inner Game of Songwriting=20 The difficulty of expressing ourselves is why the challenge of = songwriting is a choice of lifestyle. It's more than something we do, = it's a way of life. We're always growing, pushing our limits, out in = the unknown, uncomfortable, not knowing whether what we're doing is = working or not. We're willing to grow personally and face things that = others are reluctant to work through. But songwriting feels so good and = necessary to do that we'll do it no matter what. It's guaranteed, the = more we write songs, the better we get at expressing our vision of = universal truths in simple, direct forms.=20 Failure and improvement is at the heart of learning to communicate = better. If you're not failing, you're not trying. Open mindedness to = experimentation is a key aspect to the 12 Step process. There's no one = right way to do or say anything. There's always a different word or = phrase, melody, feel, arrangement that might express our feelings more = strongly. Trying new techniques and avenues of thought keeps the = writing process fun and interesting.=20 Your Mission, Should You Decide to Write Songs=20 Writing with intention is not a cop out. It's not selling out to = commercialism, or just regurgitating old concepts, or telling people = what you think they want to hear. We see it as trying to share what = you're saying as clearly as it is in your power to do.=20 This 12 Step process is one way to go about getting all the elements of = a song working together to share your experience. Try writing a song = from scratch using this method and let us know how it works for you. A = feedback form is provided at the back of the book.=20 Write On!=20 Pete & Pat Luboff=20 STEP ONE: START WITH A STRONG TITLE=20 Why?=20 A strong title gives you the true North by which to steer your song. = Can you imagine taking off in an airplane and not knowing where you = intend to land? Would you fly around aimlessly? Land somewhere in the = middle of nowhere? Crash and burn? Without a title to focus on, your = song might do all of these things. When you have a strong title, you = know your goal, the essence of what you want to say. And so, you know = your job: to build a song that completely supports and embellishes the = title.=20 The title is the hub of your song. All the lyric lines are like spokes = that point to it and support it. All the music (melody, tempo, chords, = arrangement) is the emotional expression of the sentiment of the title.=20 The style of the language of the title will influence your choices about = musical feels. Certain title concepts will suggest song structures. = The placement of the title determines the structure of the song. The = title will sit on the focal point of the music; the part that stands out = the most in the melody. The title is the first thing a professional = listener knows about your song. Professional listeners are only human. = They want to be amazed and amused and attracted to your song from the = get-go. The title is the name your listeners will use when they call in = to the request line at the radio station wanting to hear your song. = These are not all of the reasons why to begin the songwriting process = with a strong title. ..." Excerpted from "12 Steps to Building Better Songs" by Pete & Pat Luboff, = available only through their Web Site at http://www.writesongs.com.=20 To purchase from outside the USA, please send $16.50 in U.S. FUNDS = (includes airmail postage). In the U.S., credit card facilities are = available or send $12. to:=20 P.Luboff, P.O. Box 330537, Nashville, TN 37203-0537, USA.=20 Other services to songwriters include workshops and private = consultations.=20 E-mail for more information: pluboff@writesongs.com=20 -------------------------------------------------------------------------= ------- BACKGROUND - Who are Pat & Pete Luboff? Pat & Pete are songwriters, music publishers and songwriting educators. = For many years they were music business photojournalists and arts = administrators.=20 As songwriters, they have had success with "Trust Me," the first single = on Snoop Dogg's "Topp Dogg" album, "I Wish He Didn't Trust Me So = Much," a No. 2 chart recording by Bobby Womack and currently on Calvin = Richardson's "Country Boy" album, "Body Language" by Patti LaBelle (gold = album) and the featured song in the John Travolta movie, "The Experts," = among others. They have been teaching songwriting workshops since 1979 and currently = teach a unique collaboration workshop in which all the writers = participate in writing a song together. The collaboration workshop started out as an experiment and developed = over four years into a process that produces amazingly strong songs.=20 12 Steps to Building Better Songs was written to pass on this process to = other songwriters. It is not only a great collaboration tool, it also = works well to get all the voices in your head to agree! For almost 20 years, Pete conducted the Monday night workshops at the = National Academy of Songwriters. Pete and Pat now conduct Monday night = workshops at the Music School on Music Row in Nashville. Pete also = taught advanced songwriting at UCLA for 13 years. They have travelled = throughout the United States teaching songwriting and recently completed = a cross-country tour during which they conducted workshops in every = state from California to Tennessee.=20 -------------------------------------------------------------------------= ------- Interested in songwriting tips? =20 Visit the 'Songwriting Tips' page at Kismana Music for songwriting tips. =20 Be sure to visit the ARCHIVES as well! -------------------------------------------------------------------------= ------- Good Vocal Habits - Tips for singers Throughout this past year, I have endeavoured to bring you valuable tips = and information on Songwriting. I hope you have found them useful. In my wildest dreams, I would never consider writing anything on = Songwriting myself, knowing all too well that I still have much to = learn. As I sat down to consider what I could offer in this month's newsletter, = it dawned on me that perhaps I could write a few tips on good vocal = techniques. I know that at one stage or another, most songwriters also = have to 'sing' their song and since I work as a singer and teach voice = not only privately but at TAFE and UWA Extension, I thought perhaps it = was my turn to contribute a few tips.=20 So here 'tis . very briefly. a non-definitive list ... a few tips to = help develop good vocal techniques. Posture:=20 a.. Always maintain a good posture=20 b.. Keep knees unlocked, spine straight, head aligned with the spine - = practise balancing a book on your head=20 c.. Do not 'reach' for high or low notes. (Performers - consider the = positioning of your microphone - don't reach up or down for it) Breathing: a.. At all times (not just when singing) breathe using the diaphragm. = Shoulders do not rise up when you take a deep breath, but your chest = expands outward. b.. Consider this concept: Not much breath is required to produce a = tone but steady breath pressure is. The greater the breath pressure, the = louder the tone. c.. No not think about the breath when singing - think about the tone = you produce and the breath will follow. d.. Consider the term breath support (breath supporting the tone) as = opposed to breath 'control'. Producing Sound a.. Vocal sound is produced in the larynx ('Adam's Apple'). At all = times, when singing and even speaking, endeavour to keep the larynx = stable and in a rested position. There is a tendency for the larynx to = shift up when singing high notes and drop down when singing low notes. = If this happens, it usually means that the muscles outside your larynx = have come into play (to help you hit those notes). This undesirable = tension in the muscles around the larynx may result in damage and the = development poor vocal habits. b.. Relax the lips and tongue wherever possible. Tension in the lips = and tongue will also result in tension in the neck and the muscles = around the larynx. c.. Shouting and whispering can be harmful to your voice since they = are the result of an imbalance of air and muscle. d.. Be aware of your natural overtones and resonance - 'sculpt' your = tones by creating and changing the shape of the space in your mouth. = Tonal qualities are enhanced overtones produced in resonant spaces. = Explore your possibilities. If you are interested in more tips on good vocal technique, let me know = and perhaps I can add to this list in the next issue of K.I.S. All the best Connie -------------------------------------------------------------------------= ------- FEATURED CD Title: No Flowers, FEEL THE SAME DESCRIPTION: Fueled by the search for the perfect song and driven by the = desire to make good music, No Flowers have developed a sound that is not = easily pigeonholed or defined. Warm guitars, expressive rhythms and = melodies lend themselves to a very accessible almost 'retro' pop/rock = style. No Flowers have existed at the fringes of the Perth music scene = since 1992 and have produced an eclectic collection of past recordings. = This CD however, delivers their strongest, most consistent work to date. For local Perth readers, No Flowers is gigging Dec 23 Hyde Park Hotel, = East Perth, Dec 24 Waikiki Hotel, Waikiki Hear an MP3 sample from Feel the Same and...Check out the Kismana Ko-Op = Catalogue for samples from other independent artists by... CLICKING HERE = =20 KISMANA KO-OP Please note: 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 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 and edit these messages = if necessary!) =20 Collaborator wanted; Hi.. I am in desperate need of an above average, creative, original, = different lyricist for "middle of the road" pop songs for a female = artist. My forte is music and arrangement and although I can write some = lyric, I just don't have the time nor the passion for words. If you know of an outstanding word smith, could you please get us in = contact. Thanks Eugene Mueller =20 More Info;=20 Eugene lives in Western Australia and has a PC recording setup with = Cakewalk. His main instrument is keyboards. He has a library of over = 200 original songs, ranging from just conceptual stage to finished = product. Some songs are just a feel or a backing track with or without = a melody, others have a hook or just a verse. Being a musician = primarily, he tends to write the music first, but would be happy to = compose music to existing lyric. =20 He is flexible as far as collaboration's concerned, but feels a personal = approach may be the way to go. He says..."If I want average lyric, I = can write it quite easily. Furthermore, I need somebody who can write = more, than "I love you and I miss you and I'm so sad" songs..." =20 If you wish to make contact with Eugene you can do so through = subscribetokis@dmn.com.au=20 -------------------------------------------------------------------------= ------- NEW INDIE LABEL SEEKING MATERIAL & ARTISTS =20 NEW INDIE LABEL - AURAL ECSTASY RECORDS www.legacyofsound.hl.com.au Newcastle's newest addition to it's ever increasing local music scene is = Aural Ecstasy Records, an independent record label promoting various = styles of music from rock to reggae, including jazz, ambience,heavy = metal,techno, country,pop, you name it, if it sounds good they promote = it. Currently the main band Aural Ecstasy promotes is an act known as Legacy = of Sound who have been promoting their music since 1992 throughout most = of the public broadcasting stations in the Sydney metropolitan area. Visit their Website www.legacyofsound.hl.com.au and you can download = a sample of legacy of sound's music, plus there's a chance to win an = autographed CD. The site also offers audio streaming for easier = listening.=20 Aural Ecstasy Records also offer a wide range of musical resources from = musical tuition to distribution deals, they are also interested in = hearing from any keen artists looking to promote their music. Aural = Ecstasy will also be running a course early next year which will cover = all aspects of the music business which will be especially good for band = members serious about pushing their own product. =20 You can contact Aural Ecstasy Records from their Website = www.legacyofsound.hl.com.au or email ANN MALLAM - DIRECTOR at = annmallam@hotmail.com =20 -------------------------------------------------------------------------= ------- Chart topping band REDNEX seeks material=20 FIREBRIGADE MUSIC PRODUCTION & PUBLISHING have just released the second = album for Rednex in Europe and the single "Spirit Of The Hawk was No.1 = in the Germany for 9 weeks and is now currently No.2. They are already = preparing the third album and are seeking material. Musical Guidelines for 3rd Album of Rednex: a.. Party dance/pop compositions along the lines of Aqua, Vengaboys = etc. b.. General playful tunes with an edgy/rocky dance vibe, such as = "Cotton-Eye Joe" with football choir choruses such as Ricky Martin "Cup = Of Life", Opus "Life Is Life", "Que sera sera" mixed with rough = productions such as Apollo 440 "Ain't Talking About Dub", Bomfunk MCs = "Freestyler". c.. Modern Country pop such as "That Don't Impress Me Much"/Shania = Twain, "Breathless"/Corrs etc. d.. Atmospheric Indian chants such as "Spirit Of The Hawk", "Power Of = American Natives" and Ennio Morricone-like prairie spaghetti-western = atmosphered tunes. e.. Miscellaneous songs that are completely freaked out and doesn't = seem to fit anywhere else could be made by Rednex. Their production team do not mind listening to rough material that might = not be advanced in terms of technical quality of the recording. They = expect to "Rednexify" most of the material anyway. Send your material to 'Rednex' care of the following address; FIREBRIGADE MUSIC PRODUCTION & PUBLISHING Postbus 150 38, 1001 MA, Amsterdam, The Netherlands Tel.+31-(0)20-492 20 44 Fax. +31-(0)20-492 46 26 E-mail sorin@firebrigademusic.com -------------------------------------------------------------------------= ------- SONG CONTEST - USA SONGWRITING COMPETITION=20 Attention all songwriters, composers, bands, artists,lyricists! Win a grand prize of over US $50,000 in cash & merchandise. =20 Winners' will be determined by top Music Industry Professionals. Enter in 15 different categories - pop, rock, R&B and many more... Open to all, regardless of nationality. Judges include Walt Disney Music Publishing, Sony Music, Tommy Boy = Records, Warner/Reprise etc. Visit www.tiac.net/users/asn/ for more = details. -------------------------------------------------------------------------= ------- Local Happenings - Western Australia The annual WA Song Contest is happening now! =20 =20 The WA Song contest 2001 is now in it's ninth year. Uniquely Western = Australian, the contest recognises the abundance and diversity of = songwriting talent in our state and encourages the development and = exposure of this talent. $16,000 in total prize money. Prizes also include free recording & = performance opportunities. For more information contact WAM on; (08) 9227 7962 or visit the Song = Contest Website at; www.wam.asn.au=20 -------------------------------------------------------------------------= ------- 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 addresses you wish to have removed! =20 removefromkis@dmn.com.au =20 ------=_NextPart_001_000A_01C0DEA0.E8521140 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
3D""
 
Volume 1,=20 Issue 11.  December 2000
 =20
Welcome to the December = issue=20 of  K . = I  .S=20 . 
 
(The newsletter for Keen I ndependent Songwriters)
  
Hello and Season’s = Greetings to=20 all! 
 
May the festive season = bring you=20 happiness and the new year bring you much success!

Not only is this issue of K.I.S. = the=20 last for this year, I am taking advantage of the fact that January is = usually a=20 quite period to take a break and so the next new Volume and = Issue will=20 not be out until February 2001.

In this issue...   
 
Contents
  • Songwriting tips = - by Pat and Pete Luboff
      • An excerpt from the book; 12 Steps to = Building Better=20 Songs
  • More tips=20 - Good vocal habits for singers
  • Featured CD
      • Feel the = Same - No=20 Flowers
  • Networkers' Niche & Newsworthy=20 Notes
      • Collaborator=20 sought=20
      • New Australian Label is launched - seeking = new=20 artists
      • Material = required by=20 chart topping European band,=20 = Rednex  =20
      • Songwriting=20 Competitions - International &=20 = Local  
PREVIOUS = ISSUES: =20
Please=20 feel free to contact me = for=20 earlier issues of K.I.S.
 
 
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
 
 
I apologise sincerely to anyone who=20 has received this newsletter in error or more than once.  = Please=20 just scroll to the end and follow the instructions to be removed = from the=20 mailing list. 
Don't forget to indicate which addresses = you wish to=20 have removed if you use more than one. 
 
 
SONGWRITING TIPS=20

 Topic for December = 2000:  12 Steps to Building Better Songs

The=20 following is an excerpt (the Introduction and first part of Step One ) = from the=20 book by Pat & Pete Luboff;

  12=20 Steps to Building Better Songs

=A9 = 2000 Pat &=20 Pete Luboff - reprinted with kind permission

They have found from their travels and = workshops that=20 many songwriters start writing a song, i.e. lyrics that rhyme and fit = (or don't=20 fit) a structure before they've thought about what it is they want to=20 say.           &nb= sp;           &nbs= p;       =20

In their 12 Step process, they do five very = long steps=20 before word or note number one (except for the title) is written.=20

".... Dear Songwriters,

There are many ways to start writing a song. = The initial=20 inspiration can be a feel, riff, concept, sound patch on your keyboard,=20 anything.  And you can finish the song by discovering where the = inspiration=20 takes you as you write. There is no one right way to go about writing a = song.=20


It's not unusual to have great starts to a = lot of=20 unfinished songs, or finished songs that don't add up.  This = happens when=20 the intention of a song, lyrically and musically, isn't clear in your = head while=20 you're writing it. You don't have to have this intention in your mind = when you=20 start; you can just follow wherever your inspiration takes you.  = But at=20 some point, knowing the song's intention becomes crucial.  What's = the main=20 emotional message of the song, expressed in a few sentences?  How = can you=20 get all the elements (melody, lyric, arrangement, feel, etc.) working = together=20 to support that message?
 

12 Steps to Building = Better=20 Songs explains a method that evolved in one of our ongoing=20 songwriting workshops as an experiment in group collaboration. In order = to get=20 10 writers on the same page at the same time, we developed a system that = takes=20 the group step-by-step through the process of writing a song  It's = not only=20 a great collaboration tool; it also works well in getting all the voices = in your=20 own head to agree.  Working these steps will yield a good, if not = great,=20 song.

Why Bother? =

Some creators believe that letting their = audience=20 interpret the work any way they want to makes the song more accessible; = that=20 this is how you really communicate and connect with people. These = writers=20 contend that ambiguity lets listeners make a song their own.  But = we don't=20 think so.  Listeners want to hear and relate to what you have to = say. They=20 feel uncomfortable and lose interest when they don't understand your = message.=20 Songs are more accessible when they express a writer's specific vision = in=20 detailed ways.  That's what really makes the song's character = unique. =20 Unexpected connections in an understood environment communicate most=20 effectively.  Vagueness, abstractions and generality make it hard = to=20 understand what's going on.  Most listeners won't even try.=20

We believe in communicating from the heart as = clearly as=20 possible.  Each of us as individuals and creators wants our point = of view=20 to be understood; or at least have someone acknowledge that we were = heard, even=20 if s/he doesn't agree.  No matter what was heard or understood, = people will=20 still interpret what we're trying to say in different ways.  Any = way our=20 creative vision is interpreted, what makes it unique and accessible is = our=20 individual viewpoint. It's hard work to express this clearly, especially = when=20 we're not sure what it is we're feeling or trying to say.  We = pursue the=20 impossible dream, that someone else will understand where we're coming = from.=20

The Inner Game of = Songwriting=20

The difficulty of expressing ourselves is why the = challenge of=20 songwriting is a choice of lifestyle.  It's more than something we = do, it's=20 a way of life.  We're always growing, pushing our limits, out in = the=20 unknown, uncomfortable, not knowing whether what we're doing is working = or=20 not.  We're willing to grow personally and face things that others = are=20 reluctant to work through.  But songwriting feels so good and = necessary to=20 do that we'll do it no matter what.  It's guaranteed, the more we = write=20 songs, the better we get at expressing our vision of universal truths in = simple,=20 direct forms.

Failure and improvement is at the heart of = learning to=20 communicate better. If you're not failing, you're not trying. Open = mindedness to=20 experimentation is a key aspect to the 12 Step process. There's no one = right way=20 to do or say anything.  There's always a different word or phrase, = melody,=20 feel, arrangement that might express our feelings more strongly.  = Trying=20 new techniques and avenues of thought keeps the writing process fun and=20 interesting.

Your Mission, Should You = Decide to Write=20 Songs

Writing with intention is not a cop out. It's = not=20 selling out to commercialism, or just regurgitating old concepts, or = telling=20 people what you think they want to hear. We see it as trying to share = what=20 you're saying as clearly as it is in your power to do.
This 12 Step = process=20 is one way to go about getting all the elements of a song working = together to=20 share your experience.  Try writing a song from scratch using this = method=20 and let us know how it works for you.  A feedback form is provided = at the=20 back of the book.

Write On!

Pete & Pat Luboff

STEP ONE: START = WITH A STRONG=20 TITLE

Why?

A strong title gives you the true North by = which to=20 steer your song.  Can you imagine taking off in an airplane and not = knowing=20 where you intend to land?  Would you fly around aimlessly?  = Land=20 somewhere in the middle of nowhere?  Crash and burn?  Without = a title=20 to focus on, your song might do all of these things.  When you have = a=20 strong title, you know your goal, the essence of what you want to = say.  And=20 so, you know your job: to build a song that completely supports and = embellishes=20 the title.

The title is the hub of your song.  All = the lyric=20 lines are like spokes that point to it and support it.  All the = music=20 (melody, tempo, chords, arrangement) is the emotional expression of the=20 sentiment of the title.
The style of the language of the title will=20 influence your choices about musical feels.  Certain title concepts = will=20 suggest song structures.  The placement of the title determines the = structure of the song.  The title will sit on the focal point of = the music;=20 the part that stands out the most in the melody.  The title is the = first=20 thing a professional listener knows about your song.   = Professional=20 listeners are only human.  They want to be amazed and amused and = attracted=20 to your song from the get-go. The title is the name your listeners will = use when=20 they call in to the request line at the radio station wanting to hear = your=20 song.  These are not all of the reasons why to begin the = songwriting=20 process with a strong title. ..."

Excerpted from "12 Steps to = Building Better=20 Songs" by Pete & Pat Luboff, available only through their = Web =20 Site at http://www.writesongs.com.=20

    To purchase from outside the USA, please = send $16.50=20 in U.S. FUNDS (includes airmail postage).  In the U.S., credit = card=20 facilities are available or send $12. to:

    P.Luboff, P.O. Box 330537, = Nashville, TN=20 37203-0537, USA.

Other services to songwriters = include=20 workshops and private consultations.

E-mail for more information: pluboff@writesongs.com=20


BACKGROUND - Who are Pat & Pete = Luboff?

Pat=20 & Pete are songwriters, music publishers and songwriting = educators. =20 For many years they were music business photojournalists and arts=20 administrators.

As songwriters, they have had success with = "Trust Me,"=20 the first single on Snoop Dogg's "Topp Dogg" album,    "I = Wish He=20 Didn't Trust Me So Much," a No. 2 chart recording by Bobby Womack and = currently=20 on Calvin Richardson's "Country Boy" album, "Body Language" by Patti = LaBelle=20 (gold album) and the featured song in the John Travolta movie, "The = Experts,"=20 among others.

They have been teaching songwriting workshops since = 1979=20 and currently teach a unique collaboration workshop in which all the = writers=20 participate in writing a song together.
The collaboration workshop = started=20 out as an experiment and developed over four years into a process that = produces=20 amazingly strong songs.

12 Steps to = Building=20 Better Songs was written to pass on this process to other=20 songwriters. It is not only a great collaboration tool, it also works = well to=20 get all the voices in your head to agree!

For almost 20 years, = Pete=20 conducted the Monday night workshops at the National Academy of = Songwriters.=20 Pete and Pat now conduct Monday night workshops at the Music School on = Music Row=20 in Nashville.  Pete also taught advanced songwriting at UCLA for 13 = years.  They have travelled throughout the United States teaching=20 songwriting and recently completed a cross-country tour during which = they=20 conducted workshops in every state from California to Tennessee. =

 Interested in songwriting tips? =20
 
Visit the 'Songwriting Tips' page at Kismana Music = for=20 songwriting tips.
  =
 
Be sure to visit the=20 ARCHIVES as = well!
 
Good=20 Vocal Habits – Tips for singers

Throughout this past year, I have = endeavoured=20 to bring you valuable tips and information on Songwriting.  I hope = you have=20 found them useful.

In my wildest dreams, I would = never consider=20 writing anything on Songwriting myself, knowing all too well that I = still have=20 much to learn.

As I sat down to consider what I = could offer=20 in this month’s newsletter, it dawned on me that perhaps I could = write a few=20 tips on good vocal techniques.  I know that at one stage or = another, most=20 songwriters also have to ‘sing’ their song and since I work = as a singer and=20 teach voice not only privately but at TAFE and UWA Extension, I = thought=20 perhaps it was my turn to contribute a few tips.

So here 'tis … very = briefly… a non-definitive=20 list ... a few tips to help develop good vocal = techniques.

Posture: =

  • Always maintain a good = posture=20
  • Keep knees unlocked, spine straight, head = aligned=20 with the spine – practise balancing a book on your = head=20
  • Do not ‘reach’ for high or low = notes. (Performers –=20 consider the positioning of your microphone – don’t reach = up or down for=20 it)

Breathing:

  • At all times (not just when = singing)=20 breathe using the diaphragm.  Shoulders do not rise up when you = take a=20 deep breath, but your chest expands = outward.
  • Consider this concept: Not = much breath is=20 required to produce a tone but steady breath pressure is. The = greater=20 the breath pressure, the louder the tone.
  • No not think about the breath = when=20 singing – think about the tone you produce and the breath will=20 follow.
  • Consider the term = breath=20 support (breath supporting the tone) as opposed to breath=20 ‘control’.

Producing=20 Sound

  • Vocal sound is produced in = the larynx=20 (‘Adam’s Apple’).  At all times, when singing = and even speaking,=20 endeavour to keep the larynx stable and in a rested position. There is = a=20 tendency for the larynx to shift up when singing high notes and drop = down when=20 singing low notes.  If this happens, it usually means that the = muscles=20 outside your larynx have come into play (to help you hit those = notes). =20 This undesirable tension in the muscles around the larynx may result=20 in damage and the development poor vocal = habits.
  • Relax the lips and tongue = wherever=20 possible.  Tension in the lips and tongue will also result in = tension in=20 the neck and the muscles around the larynx.
  • Shouting and whispering can = be harmful to=20 your voice since they are the result of an imbalance of air and=20 muscle.
  • Be aware of your natural = overtones and=20 resonance – ‘sculpt’ your tones by creating and = changing the shape of the=20 space in your mouth.  Tonal qualities are enhanced overtones = produced=20 in resonant spaces.  Explore your=20 possibilities.

If you are interested in more = tips on good=20 vocal technique, let me know and perhaps I can add to this list in the = next=20 issue of K.I.S.

All the best

Connie
FEATURED=20 CD
 
 
3D""Title: No Flowers, FEEL THE = SAME
DESCRIPTION: Fueled by the = search for=20 the perfect song and driven by the desire to make good music,=20 No=20 Flowers have developed a sound that is not easily pigeonholed or=20 defined.  Warm guitars, expressive rhythms and melodies lend = themselves to=20 a very accessible almost 'retro' pop/rock style.  No Flowers = have=20 existed at the fringes of the Perth music scene since 1992 and have = produced an=20 eclectic collection of past recordings.  This CD = however, delivers=20 their strongest, most consistent work to = date.
For local = Perth readers,=20 No Flowers is gigging Dec 23 Hyde Park Hotel, East Perth, Dec = 24=20 Waikiki Hotel, Waikiki
 
 
Hear an MP3 sample from Feel the=20 Same  and...Check out the Kismana = Ko-Op=20 Catalogue for samples from other independent artists by...=20 CLICKING HERE =
 
KISMANA=20 KO-OP
Please note: If you are = interested on=20 joining the Kismana Ko-Op (a = co-operative of=20 Independent Australian Artists) and have a quality product that = you=20 feel would be suitable, please feel free to contact=20 me for details.
 
 
NETWORKERS'=20 NICHE   &   NEWSWORTHY = NOTES
 
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 and = edit these=20 messages if necessary!)
 
Collaborator = wanted;
Hi.. I am in desperate need of an above average, creative,=20 original, different  lyricist for "middle of the road" pop songs = for a=20 female artist.  My forte is music and arrangement and although I = can write=20 some lyric, I just don't have the time nor the passion for words.
If = you know=20 of an outstanding word smith, could you please get us in=20 contact.
Thanks
Eugene Mueller
 
More = Info; 

Eugene lives in Western Australia and has = a PC=20 recording setup with Cakewalk.  His main instrument is=20 keyboards.  He has a library of over 200 original songs, = ranging from=20 just conceptual stage to finished product.  Some songs are just a = feel or a=20 backing track with or without a melody, others have a hook or just a=20 verse.  Being a musician primarily, he tends to write the = music first,=20 but  would be happy to compose music to existing lyric. =20
He is flexible as far as=20 collaboration's concerned, but feels a personal approach may = be the=20 way to go.  He says..."If I want average lyric, I can write it = quite=20 easily.  Furthermore, I need somebody who can write more, than "I = love you=20 and I miss you and I'm so sad" songs..."
 
If you wish to make contact with Eugene you can do so = through =20 subscribetokis@dmn.com.au=20
 
NEW = INDIE LABEL=20 SEEKING MATERIAL & ARTISTS
 
NEW INDIE LABEL - AURAL ECSTASY=20 RECORDS    www.legacyofsound.hl.com.au
 
Newcastle's newest addition to it's ever increasing local = music=20 scene is Aural Ecstasy Records, an independent record label promoting = various=20 styles of music from rock to reggae, including jazz, ambience,heavy=20 metal,techno, country,pop, you name it, if it sounds good they promote=20 it.
 
Currently the main band Aural Ecstasy promotes is an act = known as=20 Legacy of Sound who have been promoting their music since 1992=20 throughout most of the public broadcasting stations in the Sydney = metropolitan=20 area.
 
Visit their Website  www.legacyofsound.hl.com.au   =20 and you can download a sample of legacy of sound's music, plus there's a = chance=20 to win an autographed CD.  The site also offers audio streaming for = easier=20 listening. 
 
Aural Ecstasy Records also offer a wide range of musical = resources=20 from musical tuition to distribution deals, they are=20 also interested in hearing from any keen artists looking to promote = their=20 music.  Aural Ecstasy will also be running a course = early next=20 year which will cover all aspects of the music business which will be = especially=20 good for band members serious about pushing their own product. =20
You can contact Aural Ecstasy Records from their Website=20 www.legacyofsound.hl.com.au  =20 or email ANN MALLAM - DIRECTOR at  annmallam@hotmail.com      =20  
 
Chart topping = band REDNEX=20 seeks material
 
FIREBRIGADE MUSIC = PRODUCTION &=20 PUBLISHING have just released the second album for Rednex in = Europe=20 and the single "Spirit Of The Hawk was No.1 in the Germany for 9 weeks = and is=20 now currently No.2.  They are already preparing the third album and = are=20 seeking material.
 
Musical=20 Guidelines for 3rd Album of Rednex:
  • Party dance/pop=20 compositions along the lines of Aqua, Vengaboys = etc.
  • General playful=20 tunes with an edgy/rocky dance vibe, such as "Cotton-Eye Joe" with = football=20 choir choruses such as Ricky Martin "Cup Of Life", Opus "Life Is = Life", "Que=20 sera sera" mixed with rough productions such as Apollo 440 "Ain't = Talking=20 About Dub", Bomfunk MCs "Freestyler".
  • Modern Country=20 pop such as "That Don't Impress Me Much"/Shania Twain, = "Breathless"/Corrs=20 etc.
  •  Atmospheric Indian chants such as "Spirit Of = The Hawk",=20 "Power Of American Natives" and Ennio Morricone-like prairie = spaghetti-western=20 atmosphered tunes.
  •  Miscellaneous songs that are completely freaked = out and=20 doesn't seem to fit anywhere else could be made by=20 Rednex.
Their production team do not mind listening to = rough=20 material that might not be advanced in terms of technical quality of the = recording. They expect to "Rednexify" most of the material=20 anyway.
 
Send your=20 material to 'Rednex' care of the following = address;
 
FIREBRIGADE MUSIC PRODUCTION & PUBLISHING
Postbus 150 = 38, 1001=20 MA, Amsterdam, The Netherlands
Tel.+31-(0)20-492 20 = 44   Fax.=20 +31-(0)20-492 46 26
E-mail  sorin@firebrigademusic.com=

SONG CONTEST - USA = SONGWRITING=20 COMPETITION
 
Attention all songwriters, composers, bands,=20 artists,lyricists!
Win a grand prize of over US $50,000 in cash = &=20 merchandise. 
Winners' will be determined by top Music = Industry=20 Professionals.
Enter in 15 different categories - pop, rock, = R&B=20 and many more...
Open to all, regardless of = nationality.
 
Judges include Walt Disney Music Publishing, = Sony Music,=20 Tommy Boy Records, Warner/Reprise etc.  Visit www.tiac.net/users/asn/ for more=20 details.
 
Local = Happenings=20 -  Western=20 Australia
 
The annual WA Song = Contest is=20 happening now! 
 
The WA Song contest 2001 is now in it's ninth=20 year.  Uniquely Western Australian, the contest recognises the = abundance=20 and diversity of songwriting talent in our state and encourages the = development=20 and exposure of this talent.
 
$16,000 in total prize money.  Prizes = also include=20 free recording & performance opportunities.
 
For more information contact WAM on; (08) 9227 = 7962 or=20 visit the Song Contest Website at;
www.wam.asn.au

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 addresses you wish to have removed!  =
 
 
removefromkis@dmn.com.au=
 
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