Dory Previn died on Valentine’s day. She was 86.
Known mostly for her work on songs for the movies, she also had some success in the pop field with records released in the 70s. She and her first husband, André Previn, were nominated several times for an Academy Award but never won.
Her six records were recorded after her divorce from Previn, her most successful being a live album.
Her songs were intelligent and insightful and most dealt with her personal life, which was a fertile field. Her abusive father was gassed in WWI and suffered severe mood swings which resulted in violent behavior. He deteriorated to the point where he boarded his family up in their home and held them at gunpoint for several months.
She broke into show business as Read more on Dory Previn — 1925 to 2012…
In the past month, I’ve probably seen a dozen local bands/performers and most of them pride themselves on writing their own material.
This is not always a good idea.
I’m the first one to encourage new talent and to urge budding songwriters to go for it. But being in the same ballpark as writing poetry, songwriting can get a little self-indulgent sometimes.
There are plenty of good songs out there — people have been writing them since forever. You can pick and choose among the best. You could really put together a dynamite set or a whole show and not play a single original.
If you are intending to entertain the public, your first consideration should be to entertain — not bore them to sleep. Or worse — annoy them.
If you are wanting to try some new material out to see how it’s going, by all means, sprinkle an original or two in your set. But don’t think that everybody came to hear you (they probably came to drink or pick up a one-night-stand) and don’t think anybody gives the lower portion of a rodent about what you think, feel or have to say.
Most songwriters go about the process intuitively. That means, they don’t study good songwriting structure, they aren’t concerned with a melody and sometimes don’t even have a reason for writing the song.
I mean, what’s the use of contributing one more “You left me and done me wrong” or “I’m feeling good, so let’s party” to the Great American Songbook?
When you get good enough to play only your own material, you will know it. People will actually ask you to do so. They might even pay you to do so.
Meanwhile — learn the craft and develop some artistic sense, and don’t forget to play songs people like when they come to hear you.
ASCAP features British composer Paul Leonard-Morgan — fresh off of his score for the hit movie Limitless, and he tells about the experience of scoring a major Hollywood movie.
He has scored various movies and TV series in the U.K. and worked with popular music bands, but nothing will blow your mind like a major motion picture.
Click here for unlimited access to Paul Leonard-Morgan’s website.
Congratulations to Corey Stewart — he’s in 7th Heaven because he signed a publishing deal with a music publishing company.
His conclusion — “Persistance does pay off in the end.”
Along the way you can sign up for his free report on how to beat writer’s block.
TAGS: Songwriter, publishing, songwriting, Corey Stewart
Record yourself and record everything.
I recently bought a small digital recorder, and it plugs in to my car stereo, awesome way to sing along with the rhythms you lay down as you are riding and thinking, turn off your radio ,let your thoughts roll, and pay attention to your inner conversations,listen for sentences that sounds like something you’ve never heard before, in a book or in a movie, always looking for unique thoughts and sentences. Listen to your friends as they gossip, or are telling you a story…
At this moment, you’re just a click away from discovering the Hit Songwriting Secrets of John Lennon… even if you’re starting from scratch.
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I understand that during these LIVE training calls, you’ll reveal proven songwriting secrets that can dramatically improve my songwriting WITHOUT going through years and years of trial and error…
I further understand that you’ll reveal the identical songwriting techniques that have generated dozens of memorable and enduring hits!
By the end of these calls on April 18th and 19th at 6pm Pacific (9pm Eastern) I’ll have access to…
And so much more!
I will confirm my registration for this Samurai Songwriting live two-part teleseminar as follows:
VIP Code Registration – Saves you on tuitionaction="https://www.mcssl.com/app/adtrack.asp?MerchantID=100024&AdID=302636" method="post"> Enter your Promo Code (JL101) below:
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FREE BONUS! If I’m one of the first 10 registrants for these live calls, I will also be eligible to claim the new “Songwriting Video Tutorial – From Start to Completion Using Today’s Technology.”
Warning: These LIVE teleseminars are available only to the first 50 people who register. Once 50 tele-slots are filled, registrants will be placed on our “Stand-By” list. (Sorry, there are absolutely no exceptions)
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I filed my first copyright in 1978 and am now able to do so electronically. It’s not just vanity. I work at trying to get my songs recorded, licensed or somehow making money for me.
Along the way, I’ve taken an interest in the business side of music. Frankly, if any musician is serious, I think this is a necessity.
Attorney and pianist Janie Gust has the first of a two-part series Who Owns the Song? Intellectual Property and the Musician (Part I)
and her personal web site is http://www.chez-janie.com/