Instructional | Hans Erik

Music Education Resources and Tips for Teachers

Music education has been included in many curricula in different nations around the globe. However, since not all students are musically-inclined, not all of them are motivated to learn music. As a result, they are no longer excited to experience formal music schooling inside their classrooms. With this conflict of interests, music teachers are then challenged or pressured on how they could make their students learn and love music at the same time.

To basically adhere to the problem, they are determined to research the latest music teachers’ resources. Since both teaching and learning are two dynamic processes, music teachers and their students should meet half way – adjusting to the kind of individuals they are.

And because they are up to music education, these music teachers need to update their lists and records with the most modern trends and techniques, which are believed to be very effective and influential with the kind of students they have right now. From time to time, there could have been new music teachers’ resources that could improve their teaching strategies as well as their way of relating to their dear students.

Today, music educators incorporate theories and application to give a well-rounded musical experience and to teach music in various perspectives intended for international understanding. To meet many demands and expectations of their students, music teachers keep on upgrading their available music teachers’ resources by doing some researches over the Internet. In just a matter of few clicks, they would be aware of what is really the latest in the music academe as well as the newest style and approach in teaching that they can utilize in their everyday instruction.

The perceived effort to enhance music teachers’ resources also results in a greater number of students, who are now more motivated and determined to learn and love music. When their music teachers use some personal touches as part of their resources – sharing their own insights, thoughts and experiences on a particular topic, the learners become more eager to attend to their music classes and listen to their classroom discussions. This happens simply because they feel that they have something to relate to and such experience could also happen to them in time.

Indeed, teaching and learning music can be both fun and enjoyable. Just like in real life and in our daily activities, when we integrate music into anything that we do, it amazingly turns out to be more special and a lot of fun. After all, music gives most of us such inspiration and motivation to look forward to something better and brighter. Love music and enjoy tomorrow.

This music education website offers many useful music teachers resources and tips. Visit it now.

Earl Marsden started developing a passion for music at the early age of twelve. He first learned to play the guitar at thirteen, and from there he pursued the study other instruments including the violin, piano and flute. Currently, he devotes some of his spare time to writing articles about music teaching while managing his own music studio.

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Creative Music Teachers Resources: Effective Ways to Motivation

Most music teachers consider teaching music to their dear students both their profession and passion. Most of them have the heart for arts and music – making each student love learning music and music as a whole. With this kind of outlook and disposition in teaching music, the inspired and motivated music teacher tends to begin his search for consistent improvement in his teaching strategies as well as his effort for personal and professional growth.

Indeed, there is a wide variety of creative music teachers resources that students can certainly enjoy and get excited working on with. According to studies, the integration of audio and video recording in music education has been an effective technique to catch the attention and grab the interest of the learners. This is believed to be an effective tool in raising the level of interest and motivation among music learners.

Current practice in music teaching favors a practical and a hands-on approach in emphasizing performance and composition. The use of recorded music as a teaching resource has tended to take a back seat. However, recordings are the predominant vehicle of musical experience today. As the students are expert listeners to recorded sound, major developments in the access to and presentation of recorded music are opening up new educational possibilities to most of them.

Targeted to be implemented in most music classrooms, the production and engineering aspects of recorded sound to online music libraries and teachers’ experiences of using recordings in the classroom have been randomly practiced and taken into consideration.

When a classroom setting has a relaxed atmosphere, informal learning may take place yet anxiety, tension and pressure would neither rule the learning situation. Hence, when there is relaxed supervision with no teachers behind the desk, the students would be more eager and interested to learn music. Students may also work in groups – giving them more chances of friendship and peer support. In this case, cooperative learning is found effective. The music teacher may encourage the students choose various musical instruments of their choice and eventually master such.

After they finish recording, they may organize or set-up a short play or a mini-concert to show their rendition of songs and other performances. These activities can heighten the learning process as they get too excited in meeting their objectives and getting high grades. These can also help them boost enough self-confidence and self-esteem. Through these music teachers’ resources, the music teacher tends to meet most of his objectives all at the same time.

These creative techniques in music education intend to motivate the learners from different ages and with different lifestyles. So start your quest to amazingly creative music teachers resources now. Be inspired to share your knowledge as well as the joys of music to your students. Make them realize that learning music is fun so they have to do it all by heart. Happy teaching!

Get to know more music teachers resources, visit this music teacher’s website.

A Teacher’s Passion for Music

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Mining Your Metaphors: Writing Lyrics in Veins

“With the jungle cats, lions and tigers, leopards and cheetahs

For gazelle you get chased like a zebra, they blaze cheeba-cheeba

And dominate the weaker on the street

Hungry bellies only love what they eat and it’s hard to compete

When they smile with your heart in they teeth”

- Mos Def, Habitat

When miners are digging for metals they are looking for precious veins of ore. A vein can run extremely deep and travel a great distance, twisting and curving, folding back on itself. Hitting the start of a vein can be extremely profitable for a miner. It’s no different for a writer. Sometimes it takes only one real good metaphor and writing in the vein of that metaphor to create an entire lyric. Random metaphor creation is fine and can give some startling results but some pretty interesting things can happens if you stick in a metaphoric vein for longer than a phrase.

In the above example Mos Def is using a jungle metaphor for the street. People are lions, tigers, leopards, cheetahs, gazelles, and zebra. By writing in the vein of the jungle Mos Def has mined his metaphor to get it to pop out all kinds of messages and meanings. First he is telling you about the hierarchy of the street from behind his metaphor. The jungle is a place where the stronger pray on the weaker, like the street (that’s the connecting idea). By staying with his metaphor he reveals yet another interesting point: you consume what you love on the street. That’s kind of a startling revelation, that on the street you might only love someone out of hunger but simultaneously be consuming them, which would eventually kill them. But the real home run is the last line, “it’s hard to compete, When they smile with your heart in they teeth.” Now you are the gazelle or zebra, and the lions and tigers and leopards and cheetahs are sinking their teeth into your heart with every grin. You only see you’ve been eaten when they smile. Pretty amazing. The streets have been compared to a jungle before (check out The Message by Grand Master Flash: “It’s like a jungle sometimes it makes me wonder how I keep from going under.”) but never have they “smiled with your heart in their teeth.” All because Mos Def stayed in the vein of his metaphor. Here’s how you can do it. Let’s use Mos Def’s metaphor: The city is a jungle.

Creating a Worksheet

Now we’re going to begin to tie many of the techniques we’ve worked on these past few weeks together. Start with your initial idea and do an object writing on it. Choose one side of the metaphor, in this case either the city or the jungle.

1. Idea Generation

Remember, no more than 10 minutes using as many of your senses as possible. I chose the jungle:

The humid air makes everything stick to me. My shirt is sucked onto my body. The heat comes in waves, is hot like breath. The jungle’s breath. The squawking of monkey’s in the towering canopy above. Chattering cries. The trees seem to reach up forever forming a perfect lid on this thick air. An air-tight seal in steam and sweat. Even plants have teeth as they chew at my skin. Hot drops of water from the weeping trees, it’s dark here, even in the middle of the day. Fear hides in every shadow. Are we being stalked? A panther? The stillness is worse, what you can’t see can hurt you.

2. Make a List of Interesting Words or Phrases

humid air shirt sucked onto my body

the jungle’s breath squawking

towering canopy chattering, crying

a perfect lid an air-tight seal in steam and sweat

weeping trees dark in the middle of the day

fear hides in shadows plants have teeth

stalked

3. Two Questions Modified: Super-Imposing

We just spent 10 minutes elaborating on what characteristics the jungle has so we’ve already answered the first question of metaphor making. We are trying to cross the jungle with the city so the question we must now ask is “what in the city shares these qualities?” Look back at our list. The way we are going to accomplish this is by taking the action words and images from the jungle and super-imposing them on the city.

Humid air doesn’t get us much, nor does shirt sucked onto my body. But starting with the jungle’s breath we can maybe get somewhere. The city has breath too, it’s hot and full of exhaust. The squawking in the city is no longer the monkey’s but could be car horns and sirens. The towering canopy is no longer trees but sky scrapers. The chattering and cries are from people, maybe the collage of languages one can hear in most larger cities. The weeping trees could be the drainpipes that still spout rusty water after the rain. Darkness in the middle of the day is now the result of the towering buildings, indeed in Manhattan the sun shines on the street for just a few hours a day. And shadows can be dangerous in the city too, murderers, thieves, or muggers can be waiting, or even stalking you. Now we are ready to write in the vein The City is a Jungle.

The City is a Jungle

The city is a jungle. It’s humid exhale sucks my shirt onto my body. Horns and sirens squawk and cry out. Above, a towering canopy of sky-scrapers block the sun forming an air-tight seal in steam and sweat. People chatter in their native tongue while drain pipes weep rusty water. Fear hides in every shadow here. Panthers pine for your purse. And the stillness is worse, what you can’t see can hurt you.

That worked out pretty nice. Now it’s your turn.

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ASCAP, BMI, and SESAC: Understanding Performance Rights Organizations

The purpose of a Performance Rights Organization is to figure out who’s music is getting played and then paying that artist, writer and publisher for public performances of their work. It’s hard to put a price tag or a number on how important music is to the world but long ago, when the record business was just getting started, artists and writers of music argued that what they were doing was of some value to the world. And radio stations and bars and clubs and concert halls and shopping malls all agreed, music definitely was good for business. So around this time the first Performance Rights Organization was created. It was called the American Society of Composers, Authors, and Publishers or ASCAP. It’s job was to figure out all the ways and places in which music was being used publicly and how to turn that into dollars for the people creating the music. They came up with a scheme that was pretty simple to understand and quite effective. They did this by selling licenses to any place of business that used music. If you wanted to start a radio station you had to buy a license from ASCAP. If you owned a club where live music was going to be performed you had to buy a license from ASCAP. If you owned a store where you were going to play music to create a relaxing atmosphere for your shoppers, you had to buy a license from ASCAP. And it remains the same today, but now there are three major organizations that collect performance money, one is ASCAP, another is BMI and the last is SESAC. All do the exact same thing: Collect money for artists, writers and publishers for the public performance of their songs.

Before we go any further let me explain a few ins and out of Performance Rights Organizations. Let’s start with a few definitions:

Artist: The person performing the piece of music. Some artists write their own music and lyrics, some do not. As you will see there is quite an advantage to being a writer as far as Performance Rights Organizations are concerned. In fact artists who only perform other people’s music do not get any money from the public performance of that music. The author of the lyrics and the music that the artist is performing is the one sitting back collecting checks!

Composer: The person writing the music. In a traditional songwriting arrangement the person who makes the music gets half of the writer’s share. More on that later.

Author/Lyricist: The person writing the words to the music the composer wrote. As you know, not all music has lyrics, but for the last 70-80 years most popular music has. In a traditional songwriting arrangement the person who writes the lyrics gets half of the writer’s share. If there are two lyricists they must split the lyricist’s half in half. So two lyricists are each only getting a quarter of the total writer’s share.

Publisher: The publisher is someone who works for Artists, Composers, and Lyricists (and themselves) to publicize musical works. This means it is their job to try to find ways to make money on the music they represent. This may include getting a song placed in movies or on TV shows. It can include getting songs used in commercials, it can even include helping artists get in touch with more people that can help them, like record labels, promoters etc. The bottom line is that publishers are trying to get the music they represent to the public to make money for themselves and their Artists, Composers and their Lyricists.

Now, each Performance Rights Organizations has it’s own way of calculating how to pay their artists, composers, and publishers that I’ll look at in a later post, but all of them do a few things the same:

They all sell licenses to use their music. That means that someone wanting to start a radio station today must buy three licenses to broadcast music, one from ASCAP, one from BMI and one from SESAC. That’s because Ciarra may be represented by one and T-Pain is represented by another. If a radio station wants to play Ciarra’s music and T-Pain’s music it needs a license for both. Remember: ASCAP, BMI and SESAC represent ALL the music made in the United States.

They all split the money they collect from licenses and pay half to the Writers of the music and half to the Publishers. What? You mean if my song gets played I only get half the money? Well, yes and no. Let’s look at the typical arrangement first. If you have a song on the radio that generates $10,000 dollars your Performance Rights Organization pays you $5000 and your publisher $5000. Why? Because Publishers are not paid by anyone, they make their money when you make your money. Remember, it is the Publishers job to publicize your work, and what better motivation to get out there and make money for you than for them to also be making money for themselves.

“But I want ALL the money!” you say. Ok, you can have it: By being your own publisher. All the Performance Rights Organizations let you also start publishing companies with them so that you can collect your writer’s share and your publisher’s share! And don’t be scared by the idea of starting your own company. It’s as simple as coming up with a name that hasn’t been used and then giving your social security number and stating that you are the sole proprietor (I will go into further detail about different kinds of companies in a later post including what a ‘sole proprietor’ is).

All said, though, don’t underestimate the power of a publisher. A good publisher is often well connected, much better connected to people who could use your music than you, so you need to weigh carefully the pros and cons of each scenario. Then again, you can always start your own publishing company and then when a better opportunity presents itself you can re-assign your publishing rights to a bigger publisher. Either way, never give away publishing rights for anything other than publishing. Don’t trade beats for publishing. Don’t give your lawyer publishing (unless they can prove that they can make you money publicizing your work). Save your publishing for someone who can really do something for you.

Now, remember what I said earlier about how the Writer’s Share is traditionally carved up. Traditionally, the writer of the music gets half of the writer’s share and the lyricist gets half of the writer’s share. So of this $10,000 the lyricist will only get $2500, half of half!

Now if you have two lyricists they are expected to split half of their half of their half! Like this:

You get the idea, it only gets worse the more lyricists you have on your song. And look at that Publisher way up there with his $5000…makes you want to go into publishing doesn’t it!

Lastly, I’d like to point out that there is no artist in this equation. You better be an artist who writes, or composes music if you want to get paid this way. Better yet, be an artist who does both…and has their own publishing company!

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Better Metaphors: Two Questions To Help You Create Better Lyrics

Last week I talked about the essence of metaphor creation, that they are essential the collisions of ideas or things that don’t belong together. We explored this through an exercise called Word Collision, which is essentially the “accidental” creation of metaphor through the random pairing of nouns and adjectives. This week I’d like to be a little more purposeful and give you two guiding questions that drive and inform all good metaphor creation.

The trick is in identifying the connecting idea. Here are the two questions you need to get to the heart of it:

What characteristics does this idea have?
What else has those characteristics?

Let’s see this in action. I’m going to pick something to illustrate how the metaphors come tumbling out with just these two questions. I’ve picked the police as my subject. Now I ask myself, “what qualities do the the police have?” and just start listing the fragments:

protect
corrupt
peace keepers
abuse
power
control

We’ll start there. Now I ask myself, “what else has those characteristics?” Just take one of the words to start. I’ll take protect:

Guns protect
So do houses, buildings, and bomb shelters
Clothing protects, raincoats, sorrels, gloves.

Let’s see what we have:

The police are the guns of society

The police are the bomb shelters of the city

A raincoat of police

I kind of like that last one. You can just see the police fanning out. Let’s keep going. Corrupt:

The Mob is corrupt
Dictatorships are corrupt
A computer virus corrupts a computer file.

The police are the mob of the city

The police are the dictators of society

A virus of police

Again, I like that last one. It’s a bit abstract, (what exactly does a virus of police look like?) but it gives me the general impression of an out of control force working towards a bad end. Alright, one more. Let’s take power:

Hurricanes have power
So do horses
Ferrari’s have power
The United States has power
Cannons, tanks, and explosions have power.

A hurricane of police

An explosion of police

The police are society’s cannons

Again, interesting. I never would have thought to say, “a hurricane of police”, but I think it is a rich metaphor in that I can see them moving with the speed and ferocity of 100mph winds. See how many metaphors I’ve generated? And that was just from three of our words. There’s no limit to the number of ideas you can generate. Now you try. And by all means, drop me your favorites in the comments below.

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Getting Music Onto College Radio: How to Run Your Own Radio Campaign

Statistically, college-aged people are more open to new things and actually seek novel experiences. This makes college campuses a great place to promote your music. I ran college radio campaigns for both my bands, HanZsolo and Hanz Erik and the Hims, and am going to detail how you can do the same.

What You Need To Start

Professionally mixed and mastered CD’s: This may be in the process of changing but for now assume that college stations require a physical and at least professional looking/sounding CD. If they don’t they will tell you (in Step 1).
Spreadsheet software: I use Google Docs almost exclusively these days, it’s free and you can access the information from anywhere.
A one sheet: One sheet of paper with a photo of you, a bio, track listing highlighting singles, and any reviews of your music.
A phone
Postage and padded envelopes
Time and diligence

Let me start by saying that radio campaigns are not hard to do, but they take time and careful diligence. If you are not organized you will be wasting your time, money and energy. Let me also say up front that you should really think about what you are trying to accomplish with your campaign. Are you trying to get more gigs in your region? Are you trying to chart with CMJ (College Music Journal)? Either of these scenarios means something different for your time, money and energy. If you are starting out I’d recommend doing a regional radio campaign, maybe like 30-50 stations. You will get your music heard, be able to actually get to the studios to perform live and undoubtedly will build support for your music. Charting with CMJ is a whole different level of diligence, time and effort, though not impossible. To chart with CMJ you have to send your music to around 300 stations. This is a hefty loss for most beginning bands and while charting certainly looks good to labels and other industry professionals, that’s really all it’s good for. It isn’t practical in any other way because you can’t follow up with a physical presence in most of those 300 places. Either way, once you have decided upon and created all of the above, here is what you do:

Step 1: Gather Information and Get Organized

Program Directors and Music Directors are constantly changing at college radio stations but these are the people you will be initially seeking. So I’d start with a list, here’s one from Wikipedia, and here’s another from an old colleague of mine at Vitriol Radio. You can also sometimes buy them, but beware, information goes out of date very quickly at college radio. Best to collect it yourself. Then go to the station websites and identify the Music Director, their preferred method of communication and when they are available. If you can’t figure this out online pick up the phone and call the station and ask them who to contact about new submissions and how and when they like to be reached. They often have set office hours when they deal with the public. One idea is to approach stations as “someone else”, as in, not the artist. Some don’t like to deal with artists directly, so make up a name and say you are working for your band as a radio promoter. Make up a promotions company name if you want. Tell them you are just getting started out and “they” (as in your band) are you’re first client. Some are happy to work with artists. It’s kind of a tough call.

Here is where you will begin using your spreadsheet software. Create headings, as many as you need. I start with:

Station Name or Call Letters
Contact Name
Office Hours
Address
Phone
Email
Status
Notes

Add any others you find useful, if you’re working stations across time zones maybe make a column for time zone. Or make a separate column for the State the station is in so you can easily see all your stations in New York for example. Build to suit your needs. And the beauty is, you can always add columns!

Step 2: Send Your Music Out

Put a copy of your CD, your one sheet and a letter stating that you would like to be considered for placement in rotation at their station into a padded envelope. Mail them all out, ideally at the same time.

Step 3: Follow Up and Tracking

Roughly 10 days after you send your discs out you need to reach out to that Music Director and make your initial contact. Ask them if they received your disc, if they had a chance to listen to it and if they put it into rotation. If they haven’t listened to it ask them when they think they’ll have a chance to get to it, make note and follow up accordingly, in exactly the manner they prefer. Remember, they are being inundated with requests for their time and attention. Follow their rules and you will get farther. It’s really nothing to them to just throw your music away, suddenly you’re one less thing they have to deal with. So remain endlessly patient with them. If they listened and did not add you to rotation go ahead and ask them why, you have nothing to lose at that point, your disc is already in the trash (or on Amazon or Ebay). Thank them for their answer, even if it hurts.

Now if you do get into rotation (give a silent cheer) thank them and ask them if they have any particular requests on how you follow up with them for what’s called “tracking”. Tracking is just basically checking in with the station to see how often you are getting played. These are called “spins”. You ideally should be checking in with them once a week to see how many spins you get. If you’re calling on the phone a typical tracking call goes like this,

“Hi, I’m calling to track the Hans Erik album. How many spins did it get this week? You don’t know? Ok, is it in light, medium or heavy rotation? Ok, light rotation, sounds good, thanks very much.”

Some radio stations do their tracking over email, some keep track of exact spins and some just give you a ballpark guess on how much it’s played. If it seems appropriate, as in the person you’re communicating with seems open to talking a bit, ask what the name of the DJ’s are that are playing your music, find out who at the station likes what you do. This information feeds into Step 4. Either way, you have to keep up your tracking. It ensures that you stay present in their minds and will actually drive spins.

Step 4: Capitalize on Success

Undoubtedly someone will love your music. Some Music Director or DJ. Reach out to them, thank them for their enthusiasm and spins and offer to come in and do an in-studio performance or a phone interview. This can be a great experience and an awesome way to promote yourself. Do live giveaways on the air. The important thing is to let them know you are available to them. Time it with a gig in town to build a greater audience for your show, or work backwards, approach local clubs and tell them that you are getting airplay at their local station, that you will be in town to do an in-studio performance on such and such a date and that you’d like to play a show later that night. Parlay your successes in one area into even greater opportunities. That’s how it’s done.

There really is nothing like the excitement of hearing your music coming out of the radio. I hope you get to experience it and I hope my posting has helped you on your way toward it. Best of luck to you!

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Making Metaphors: Word Collisions

“Against the canvas of the night,

Appears a curious celestial phenomenon…”

-Mos Def, Astronomy (8^th Light)

Is the night sky really canvas? No. When you read this line do you suddenly see the sky as a thick black material arching above you? I do. This is the power of metaphor. Metaphors are mainstays of good lyric writing and creative writing as well. In their simplest sense, metaphors are the collisions of ideas or things that don’t belong together. Metaphors must not be a physical reality. Like we said, the night sky isn’t literally canvas, it’s just a bunch of atmosphere without sunlight. But what if you look up in the sky and see, as Mos Def probably did, something thick and black with stars almost painted on it? Now the sky can seem like a canvas against which curious celestial phenomenon appear.

Humans are endlessly capable of weaving seemingly unconnected ideas into something with meaning. Metaphors are perhaps the greatest example of this. Let’s take a look at some ways to generate metaphors.

The Connecting Idea

Metaphors work and often arise from one simple principle:

Something has a quality, in the case of “the night” it could be thickness, or blackness, or even the fact that the sky can look like a surface. Now, something else shares one or more of those qualities, in this case it’s canvas. Thickness, blackness or surface all connect “the night” to “canvas”. They are the connecting idea. Metaphors that couple two nouns like this are called expressed identity.

Expressed identity metaphors come in three flavors:

One is “X is Y” (as in the night is canvas)
Another is “The X of Y” (like the above example, the canvas of night)
The last is “X’s Y” (as in night’s canvas)

Another kind of metaphor is called a verbal metaphor. These involve conflict between the verb and its subject. His cut was crying blood. Cuts don’t really cry, but by taking one characteristic of wounds, that they bead up and drip, and using an unusual verb that also describes this phenomenon, crying, we have created a collision. The connecting idea in this case is beads up and drips. In one case it’s blood and in another case it’s tears, but both bead up and drip.

The last kind of metaphor is called a qualifying metaphor. In this kind adjectives qualify nouns and adverbs qualify verbs. Examples of this could be a furious storm or laughing blindly. Storms don’t have emotions nor can laughter be blind but qualifying metaphors use an unrelated adjective or adverb to infuse some new meaning into a noun or verb.

Creating Your Own Metaphors With Word Collisions

Alright, now you’re going to create your own metaphors using word collisions. For the first part of this take a piece of paper and write 5 adjectives on one side and 5 nouns on another.

Now take your lists and start cramming the words together and see which combinations are interesting. Remember, metaphors must not be able to be real. Swollen eyes is not a metaphor because someone can actually have swollen eyes. Swollen railroad is a metaphor because railroads can’t really be swollen.

Now mix them up for a second round.

You should be able to start to see some real possibilities for your metaphors. I could see how both my railroad metaphors could lend themselves to a lyric about how the railroads “gobbled up” the countryside and brought a whole new level of traffic to previously untouched wilderness. Or how much that crass, crotchety lawn mower bothered me the other day while I tried to nap. All from the blind plucking of words out of the air. Word collisions yield some surprising results. Give them a try and leave me a comment with some of your favorites!

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Creative Writing Exercise: Object Writing for Better Lyrics

Have you ever looked at clouds in the sky with a friend and been completely amazed that they couldn’t see the “turtle” floating by? I mean, there’s it’s head, there’s it’s shell and that wisp right there is it’s tail. Right? But they couldn’t see it. That’s because every one of us is a unique individual. There has never been, nor will be, in the history of the world, someone who thinks, feels and perceives the world exactly like you. Many beginning writers worry that they don’t have anything original to say but the truth is, you have a world inside of you that is uniquely yours and the key to that world is your senses.

Object writing is an exercise that enables you to dig deep into your senses. It works like this: Pick an object, at first it must be a real object, something you could touch or hold. Then write about that object with as many of your senses as you can. Most of the time when asked to describe something we use just one of our senses: sight. But the purpose of this exercise is to activate all of our senses. How does it feel? Rough? Smooth? How does it smell? Does it make any noise? What would it sound like if it were dropped? What would it taste like? (I know that seems silly but it’s not). And to your five senses of touch, taste, sight, sound, and smell I’d like to add two more for you to write with. Your sense of motion, both inside your body and out, and your sense of emotion.

Let your mind wander. There is no where you can’t go. The object is really just a starting point. Pushing the shovel into the ground the first time as you begin digging into your experiences.

Example

Here’s an example of what I came up with for the word car:

A car comes sighing toward me. Chipped radiator grill like a broken tooth grin. Rubber tires grip the road tight. They have to be able to haul that weight up the hill. Probably a half- ton of steel and rubber and aluminum and plastic. Amazing to look at a car engine running, to see all that rubber, iron and steel churning, and to think that tiny explosions are happening several times a second inside that black hunk of engine block. All those tiny explosions adding up to enough power to send this thing up the hill by my house. Sucking gas into itself to explode. Drinking gas to spit exhaust. The slight aluminum taste of exhaust in the air when a bus passes you. A trail of bitterness in it’s wake. Faint waves of grey smoke that choke me, my esophagus closes and I’m forced to cough just to be able to breath again, my eyes water.

How did I go from a car to choking? Strange. But that’s the beauty of object writing. Its 100% you and where you’re particular experiences take you. Let’s look at the sense information for car.

Sight: chipped radiator grill, black hunk of engine block, faint waves of grey smoke

Sound: sighing, churning,

Taste: aluminum, bitterness

Touch: (oops, didn’t quite get to that)

Smell: smoke, exhaust

Motion: grip the road tight, haul, churning, explosions, sucking gas, drinking, spit exhaust, choke me, my esophagus closes, cough, my eyes water.

Emotion: (maybe) choke me

So there it is. Heavy on the motion because for whatever reason my mind went with the motion of cars. I completely left out touch which is too bad, there are a lot of textures in a car; the fabric of the seats, the smooth paint etc. So now it’s your turn to try. Just one rule:

10 Minutes-No More, No Less

Most people can commit to something for 10 minutes a day. 20 minutes, a half hour, that’s pushing it. The other benefit of keeping your object writing down to 10 minutes is that an amazing thing happens when you cut yourself off in the middle of an idea. It’s kind of like when someone turns off the stereo in the middle of a song, that song might play in your head for hours. The same thing happens with writing. You will be stuck in your writer’s mind for hours after, just sensing and perceiving, and by all means, write down the fragments that come to you throughout the day.

Every Object Writing should follow this format:

Good luck and many days of inspired writing to you!

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An Alternative New Music Release Strategy For Independent Musicians

My Revised (and realistic) Independent Music Release Strategy

As independent musicians we need to adjust our music release strategy to reflect the way the public now interacts with music. We need to account for the growing way that music is obtained, namely by downloading to a computer to play across a variety of devices, and find ways to fight through the ever growing barrage of real-time information that people are exposed to. In short, the old way of doing things, writing 10-15 song, recording them and then having a release of an entire album once a year just doesn’t cut it anymore. A year is just too long in today’s world.

Last week I did an analysis of a music release strategy put forward by Forrester Research that generated some buzz a month or two ago. They were arguing for a tiered release structure and while I believe in the basis of the notion, I think that there needs to be an alternative to Forrester’s structure. I’ve rearranged some of the key happenings into what I think is a more realistic approach:

Week 1

So in week 1 I am advocating for what I’ll call the Premium Release. This is the release of your song for digital download through channels that you control, i.e. your website and any other digital download site that allows you to simply upload and sell your music. In the coming weeks I’ll discuss how to set up your own digital download channel through your website, but for now know that I am talking about making a song or songs publicly available for sale WITHOUT going through the more traditional gatekeepers of iTunes or Rhapsody. Align this release with a show and promote it as a “Single Release Show”. Build buzz with your most ardent fans, send out an email notice that a new song is available and tweet it, broadcast it and update all your social networks. Maybe even make a video. Seek online reviews, some sites will review a track at a time, try to time it right. Basically make it a mini CD-Release event.

Week 2

After you build your Premium Release event and have your show then start submitting to free or ad supported internet broadcasting music channels. Update all social network profiles with the new track.

Week 3-52

Lastly, and really due to the nature of it all, is the creation of the physical CD for sale. Note, throughout the ensuing year you should repeat this process roughly 10 times, the digital release of your music for sale that is. Once you have 10-15 tracks, pull it all together and throw a proper CD release. Perhaps add a track or two to further entice the purchase of your music. Of course once your music is put in this still industry standard format, you will have access to another tier of publicity and music distribution in CD reviews and physical CD sales as well as digital distributors that only deal with physical product.

Conclusion

Granted, these mini releases won’t pack the same wallop as a full blown CD release, but you can have the best of both worlds. Stay better connected to your audience through a steady stream of output AND then pull it all together to create a traditional CD release event. You will be rewarded by staying closer to your ardent fans and you will be creating more opportunities to talk about and draw attention to your music. Good luck!

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How To Book Your Band

The digital revolution has changed MANY things for musicians. But one thing hasn’t changed much, physically performing your music to a live audience. Nothing can or ever will replace the energy and excitement of live performance. So how do you go about scoring gigs? Here is some guidance to help you on your way.

1. Get Organized

There are several software packages out there that can aid you toward this end, Indie Band Manager , The Band Leader, and online services My Band Link and Bandtastic come to mind. But I find a simple spreadsheet works just as well. I use Google docs (so I can access my spreadsheet from any device) with the following headings:

Collect all the information you can from the venues you’re interested in, go to their websites and look for “bookings” links. Try to find out who does the booking specifically so you can address them directly. If this information isn’t available pick up the phone and call the venue and very politely ask who does the booking and their preferred method of contact.

VERY IMPORTANT: Whatever you find out on how a venue or booking agent likes to be approached, OBSERVE IT TO THE LETTER! There is no surer way to get thrown out of the pool than to go over, under or beyond their requirements. These people have created guidelines to make their lives easier so respect their wishes if you want to play there.

Very critical to your success will be not how many clubs you contact once, but which ones you continue to pursue, so keep detailed notes in your “Status” column on how and when you contacted a venue and the results.

2. Sell To Their Needs

You’re an independent, self-styled, strong-minded artist, you don’t want to think of what anyone else might need from you…but I’ve gotta say, booking is easier if you appeal to the needs of your target market…in this case booking agents. Booking agents are ultimately responsible for making the bar or club money. I know, sad, especially if, like most of us, you are in this because you love music. But the truth is that very few clubs are non-profits or government centers for community betterment. They may love independent music, but ultimately they need to pay the rent, or the mortgage or their kids’ college tuition…whatever the case may be, you will get farther if you approach them with how your playing there will BENEFIT THEM. State up front how many people you can draw to their club. DON’T LIE, you can cite a range, and you can make it specific to days of the week, but don’t over sell what you can deliver. I’ll typically say something like, “we consistently draw between 20-50 people on weekdays and 50-100 on weekends”. Suddenly they know, in concrete terms, what you can offer them.

3. Gentle Persistence

This phrase was coined by my former guitarist, Stein Malvey, and continues to serve me day in and day out. You are reaching out to people, very busy, sometimes happy, and sometimes overwhelmed people. They are not musical masterminds, evil empires or anything else they might seem to be when they respond to you with a short curt quip. They are probably over-worked and under-paid. So be gentle in your approach…BUT persistent. Never personalize their attitude towards you. It has everything to do with them (and a myriad of things that you don’t know) and nothing to do with you. Be friendly, respectfully reach out them once a week, and if they respond, follow up in EXACTLY the manner that they want you to. Consistency is the key, even though they may not respond to you, at the very least, your persistence will push you towards the front of their mind.

4. Your Face is Irreplaceable

One thing that our current digital lives has made easier is communicating with one another…without leaving the comfort of our own homes. This has it’s advantages, BUT there is still no replacement for a good old fashioned face to face meeting, which is the basis of good old fashioned relationship building. Strive to meet the people you’re communicating with. If you find out they run sound at the club on Tuesdays, go down, introduce yourself (when they aren’t busy) and just let them know you’d like to play there. Don’t be another one of 100 emails they get a day. If they appear open to it, chat with them, find out how long they’ve worked there, what it’s like, what else they do, if they play music etc. Really nothing can replace the full multi-dimensionality of face to face contact.

Good luck, comment below with what has worked for you!

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Hans Erik

Stolen, Completely

Music Education Resources and Tips for Teachers

Creative Music Teachers Resources: Effective Ways to Motivation

Mining Your Metaphors: Writing Lyrics in Veins

Creating a Worksheet

1. Idea Generation

2. Make a List of Interesting Words or Phrases

3. Two Questions Modified: Super-Imposing

The City is a Jungle

ASCAP, BMI, and SESAC: Understanding Performance Rights Organizations

Better Metaphors: Two Questions To Help You Create Better Lyrics

Getting Music Onto College Radio: How to Run Your Own Radio Campaign

What You Need To Start

Step 1: Gather Information and Get Organized

Step 2: Send Your Music Out

Step 3: Follow Up and Tracking

Step 4: Capitalize on Success

Making Metaphors: Word Collisions

The Connecting Idea

Creating Your Own Metaphors With Word Collisions

Creative Writing Exercise: Object Writing for Better Lyrics

Example

10 Minutes-No More, No Less

How To Book Your Band

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