Do you have lots of songs "in your head" or written out quickly in a file "somewhere" until you have time to work through the music or develop lyrics?
Here is the easy method I use that results in creating full completed songs in less than a week sometimes (and I'm up to 225 songs, see www.DianaDeeOsborneSongs.com for the index list and free audio example and music sheets)...
1. Create a single enclosing folder such as "Songs 2012".
2. Within that folder, create 4 new folders:
a. Lyrics Drafts - to contain DOC style files of song words.
b. Music Sheet Drafts - to contain draft scores or DOC files of notes for chord progressions, etc.
c. Recorded Music Drafts - to contain BAND or MP3 or other files. You can create sub-folders depending on the type of music recording. For example, I have a GARAGEBAND folder and a VOICE RECORDER folder here (like .VPN files).
d. Support files..... see future blogs! These include Copyright records, indexes for journals so you can FIND your handwritten song drafts, etc.
There is SO much fun in taking your draft lyrics and "just playing" songs in your Recorded Music Drafts folder.... and suddenly realizing you have a great fit for your song! With some music already recorded, all you have to do is re-fit a bit either the words or the notes to quickly create a new song. Much joy in developing efficiency as you write songs for others to hear....
©2012 DianaDee Osborne
Monday, May 28, 2012
Saturday, May 5, 2012
5 Tricks for Easy Vocal Tone Matches
As we record vocals for songs or readings, it's normal to sometimes goof.
And frequently we notice the goof as soon as we do it.
Have you ever continued through the song, stopped, gone back to the spot you needed to fix, and re-sung a perfect timing or enunciation or whatever this time -- only to be told "Your tone doesn't match" by either your producer or your own observation.
Perhaps time your voice might have seemed more rich -- or more like a little girl:)
2. If there's not enough break, but there is some space after you've finished the song and you know the piece, sing the piece right there (with the click track still going) even if without the matching music. Then - Same fix as for #1.
3. OR-- Immediately after finishing the first track, create a duplicate vocal track. Re-sing the place where you goofed with the original recording (if the mistake wasn't enough to throw you off).
4. If the mistake WAS really bad--- You can instead cut the mistake to put in FRONT of the area on the new track where you will be re-singing the piece, so your original tone will be fresh in your mind as you re-sing that part with the mistake cut out of the original track.
Much joy to you in singing out music!
©2012 DianaDee Osborne
And frequently we notice the goof as soon as we do it.
Have you ever continued through the song, stopped, gone back to the spot you needed to fix, and re-sung a perfect timing or enunciation or whatever this time -- only to be told "Your tone doesn't match" by either your producer or your own observation.
Perhaps time your voice might have seemed more rich -- or more like a little girl:)
Here are 4 tricks for avoiding the difficulty
of matching your tone for "patching" a vocal, listed in order from most effective to 'worth a try':
1. If there's a break in the music right afterward and you have the space and you know the song well enough, go ahead and sing that piece you'll need to replace RIGHT THERE. You or your sound guy can easily separate it out and move it back to replace that piece where you goofed.2. If there's not enough break, but there is some space after you've finished the song and you know the piece, sing the piece right there (with the click track still going) even if without the matching music. Then - Same fix as for #1.
3. OR-- Immediately after finishing the first track, create a duplicate vocal track. Re-sing the place where you goofed with the original recording (if the mistake wasn't enough to throw you off).
4. If the mistake WAS really bad--- You can instead cut the mistake to put in FRONT of the area on the new track where you will be re-singing the piece, so your original tone will be fresh in your mind as you re-sing that part with the mistake cut out of the original track.
TECHNIQUE for the future:
5. If you haven't already: Start paying close attention to how your throat and upper chest feel as you sing a specific music range. For example, when you sing near middle C, you may have a rumble-y feel around your collar bone, compared to a thin feel around your larynx for high notes, or for song sections where you deliberately avoid a rich tone so that the song will have contrast later.
Thus, when you have to 'repair' a vocal track, it's easier to match your tone by matching the feel in your throat or upper chest.
Just a hint for those days when you're hoping to not have to re-sing or re-speak your entire track just because you got one little word out of place! ..........Much joy to you in singing out music!
©2012 DianaDee Osborne
Monday, January 2, 2012
Easy COPYRIGHTING, Part 2
Let's say you're interested in publishing your original songs. Some websites are overwhelming, but the U.S. Copyright Office is pretty easy to follow except for navigation from help screens back to an application in process. So the starter hint is to try to know definitions before you start!
1. As soon as your write something "in tangible form" (by definition that means a PRINTOUT is a good idea --"touch-able") it is "copyrighted." INFORMATION:
http://www.copyright.gov/help/faq/faq-general.html#protect
2. Even though your work is protected as soon as it's in a tangible form including in personal letters or church newsletters, you might want to further protect it by adding a DATE after the word 'copyright' or its symbol to your tangible-form work like this:
©2012 My Name
The year is needed because the year shows when protection begins -- they keep changing the law, but it's a lot of years. Still, it's useful to show the start date:)
3. Technically, your work is copyright-protected. And the U.S. has an agreement with most countries to honor that protection. But it is more "safe" to officially register your work with the U.S. Copyright Office -- and that's both easy and inexpensive. You might not know -- it's within the 'depths' of the govt copyright office website! --
It costs only $ 35 to copyright ("register") an entire book....
even if there's hundreds of files, if you have a file per chapter... You just create a PDF-format file for each of your documents (.DOC or whatever you edit with) files. Just check the internet -- there are some really good free download programs that will enable you to "print to PDF file."
4. You don't have to wait until your work is in a final form --
you just give your draft work a different title. For example,
you could protect your drafts by registering the Book Title as 'Collection of Whispers 2011"
You just need to separate published works (such as those in bulletins) from unpublished ones (such as those still only in your office) because one of the application questions asks if the work has been published, so you need a single answer:)
5. If you decide you want to check this out,
a. Go to www.copyright.gov
b. Select the eCO program (Electronic Copyright Office) by clicking on the blue circle button (icon) in the right column.
c. When the info screen comes up, click on the same style eCO blue button to "Login."
d. When a "Security ... Privacy:..." screen comes up, read it and click on the button that says "Continue to eCO." HINT: On slow dial-up connections, hit the Stop button X and then "Reload" to get the screen to come up faster if it seems 'stopped' in progress 3/4 of the way through.
e. The first time you use the program, look right below the Login button on the left.
The bottom line says "If you are a new user, click here to register." BEFORE YOU DO SO --
YOU MUST TURN OFF YOUR POP-UP BLOCKER to register OR to upload files (a future blog will provide easy upload hints).
REGISTRATION HINTS:
1. You'll need to use an electronic check (Payment screen's TOP section) or scroll down the page (NOT clearly mentioned on the site) to enter credit card or debit card to pay the fee. You might want to use a private computer, not one at the local library or local Free Wi-Fi place, to do your registration. You do NOT need fast internet to register... it's slower but not sluggish. AND you do not need to upload any files when you first open a "case" for your work's title. (Sample title for multiple songs registered together = "Song Collection #1).
2. You do NOT need fast internet to upload text files including even 12-page piano scores.
3. On the other hand... good luck trying using a dial-up internet connection to upload an MP3 audio version of your music. My average is 17 minutes per song! Once you've registered your case, you are asked for a password (you can then later change), but not your credit card info... Borrow a computer with fast connection or go to a WiFi place to upload huge files.
4. The Government site warns you that there is a 60-minute limit for uploads. Since there's no limit on how many files you can upload for a song (etc), you may want to divide up the files rather then sending them all in one batch.
THIS IS HOW I DIVIDE MY UPLOADS.... of course there's no "right" way -- this is just easy, I've found:
1. I send each individual song in one upload:
a. Audio file in .MP3 format (Copyright office required format for audio files);
b. Lyrics file in PDF format (required format).
c. A PDF file of the piano track's Music Sheet (using the OTEN music notation method described at www.DiDoReflections.com), and
d. A PDF file of the Music SCORE (using GarageBand's Print-to-PDF feature for the SCORE for EACH important track.
e. Depending on the song, I'll also register special DRUMTRACK files in .MP3 format,
SOUNDTRACK files in .MP3 format, and indivudual instruments' SCORE files (PDF).
The government program is really easy to follow; your work has a service request registration number as soon as you create your account.
--- You get a case number (SR 1-xxxxxxx) for your title.
--- The copyright date will be when you finish uploading all files (and pay the $35 bucks:)
--- You get the paper copy in the mail for about 5 months. In fact, in January 2012, the site reports a mere 3-month turnaround time.
If you use public domain songs like old hymns within your music, you can find a lot of information at www.ccli.com.
A Joyous NEW YEAR with 12 more months of music to you and yours!
©2012 DianaDee Osborne
1. As soon as your write something "in tangible form" (by definition that means a PRINTOUT is a good idea --"touch-able") it is "copyrighted." INFORMATION:
http://www.copyright.gov/help/faq/faq-general.html#protect
2. Even though your work is protected as soon as it's in a tangible form including in personal letters or church newsletters, you might want to further protect it by adding a DATE after the word 'copyright' or its symbol to your tangible-form work like this:
©2012 My Name
The year is needed because the year shows when protection begins -- they keep changing the law, but it's a lot of years. Still, it's useful to show the start date:)
3. Technically, your work is copyright-protected. And the U.S. has an agreement with most countries to honor that protection. But it is more "safe" to officially register your work with the U.S. Copyright Office -- and that's both easy and inexpensive. You might not know -- it's within the 'depths' of the govt copyright office website! --
It costs only $ 35 to copyright ("register") an entire book....
even if there's hundreds of files, if you have a file per chapter... You just create a PDF-format file for each of your documents (.DOC or whatever you edit with) files. Just check the internet -- there are some really good free download programs that will enable you to "print to PDF file."
4. You don't have to wait until your work is in a final form --
you just give your draft work a different title. For example,
you could protect your drafts by registering the Book Title as 'Collection of Whispers 2011"
You just need to separate published works (such as those in bulletins) from unpublished ones (such as those still only in your office) because one of the application questions asks if the work has been published, so you need a single answer:)
5. If you decide you want to check this out,
a. Go to www.copyright.gov
b. Select the eCO program (Electronic Copyright Office) by clicking on the blue circle button (icon) in the right column.
c. When the info screen comes up, click on the same style eCO blue button to "Login."
d. When a "Security ... Privacy:..." screen comes up, read it and click on the button that says "Continue to eCO." HINT: On slow dial-up connections, hit the Stop button X and then "Reload" to get the screen to come up faster if it seems 'stopped' in progress 3/4 of the way through.
e. The first time you use the program, look right below the Login button on the left.
The bottom line says "If you are a new user, click here to register." BEFORE YOU DO SO --
YOU MUST TURN OFF YOUR POP-UP BLOCKER to register OR to upload files (a future blog will provide easy upload hints).
REGISTRATION HINTS:
1. You'll need to use an electronic check (Payment screen's TOP section) or scroll down the page (NOT clearly mentioned on the site) to enter credit card or debit card to pay the fee. You might want to use a private computer, not one at the local library or local Free Wi-Fi place, to do your registration. You do NOT need fast internet to register... it's slower but not sluggish. AND you do not need to upload any files when you first open a "case" for your work's title. (Sample title for multiple songs registered together = "Song Collection #1).
2. You do NOT need fast internet to upload text files including even 12-page piano scores.
3. On the other hand... good luck trying using a dial-up internet connection to upload an MP3 audio version of your music. My average is 17 minutes per song! Once you've registered your case, you are asked for a password (you can then later change), but not your credit card info... Borrow a computer with fast connection or go to a WiFi place to upload huge files.
4. The Government site warns you that there is a 60-minute limit for uploads. Since there's no limit on how many files you can upload for a song (etc), you may want to divide up the files rather then sending them all in one batch.
THIS IS HOW I DIVIDE MY UPLOADS.... of course there's no "right" way -- this is just easy, I've found:
1. I send each individual song in one upload:
a. Audio file in .MP3 format (Copyright office required format for audio files);
b. Lyrics file in PDF format (required format).
c. A PDF file of the piano track's Music Sheet (using the OTEN music notation method described at www.DiDoReflections.com), and
d. A PDF file of the Music SCORE (using GarageBand's Print-to-PDF feature for the SCORE for EACH important track.
e. Depending on the song, I'll also register special DRUMTRACK files in .MP3 format,
SOUNDTRACK files in .MP3 format, and indivudual instruments' SCORE files (PDF).
The government program is really easy to follow; your work has a service request registration number as soon as you create your account.
--- You get a case number (SR 1-xxxxxxx) for your title.
--- The copyright date will be when you finish uploading all files (and pay the $35 bucks:)
--- You get the paper copy in the mail for about 5 months. In fact, in January 2012, the site reports a mere 3-month turnaround time.
If you use public domain songs like old hymns within your music, you can find a lot of information at www.ccli.com.
A Joyous NEW YEAR with 12 more months of music to you and yours!
©2012 DianaDee Osborne
Monday, September 19, 2011
Why Bother With Journaling?
These 7 hints are for anyone's info... why you can benefit from keeping a bound book of notes that you carry with you. A future blog will show how to use your journal to efficiently write dozens of songs, if you want :)
JOURNAL DETAILS: Size and style depends on your special needs. I use an 8x10 fake-leather bound lined journal with 400 pages... The first and last 25 are for organizing NOTES and QUOTES. I fill up about 350 pages every 2-1/2 months.
There are currently about 190 original songs written and performed by me on DiDoReflections.com (last update: 12/31/2011) and I have journal notes WITH sketched out music for another 100 or so, written in only 3 years. I could not write so many songs if I didn't keep my journal WITH me almost always, and record ideas immediately. (I'm forgetful... as we all are when "Life happens.") If there are songs in you that you yearn to write, you can easily do the same!
REASONS TO JOURNAL
1. To feel better. Writing helps us to “work out” why we feel as we do, helps us learn who we really are. Seeing the causes for why we feel as we do often helps us to control our emotions and to see that feelings aren’t always logical – or, sometimes, even based on truth.
2. To learn from mistakes. When we record our mistakes, we’re more likely to remember them and learn....
3. To provide a place to record our insights. One day these might make great songs... like the humor of noticing a giant tail on a tiny squirrel, which led to my complete song WONDER.
4. For just plain fun sometimes, to go back and see how we thought or what we did years ago. (It’s good to be able to laugh at yourself:)
5. As a comfort to remember as you read about the bad things that happened to you that you pushed out of your memory, that you survived them... even if not in the ways that you wanted at the time. A cool Bible verse is 2nd Corinthians 1:4 observes that we can comfort other people with the comfort that helped us in the past. There's joy in helping other people. And we can see a bit of good come from whatever happened to us.
6. Journaling provides a data source - important for songwriters. We can record facts and ideas that we can later come back to. It’s especially useful to use margin symbols (like a moon for dreams and music note for song idea). These can help us teaching, recording songs or inventions or magazine article ideas, etc. Example: I recorded in my journal cool research on migratory studies; later I used them to write WHO TAUGHT BUTTERFLIES as a song full of both humor and actual scientific information.
7. Journals provide a good location for records. I jot down info from notes I send friends, and even staple or tape things like cards from people in mine for future enjoyment. And a journal makes a safe place for your Christmas Gift list:)
Much joy to you in preparing your resource journals for future songwriting!
©2011 DianaDee Osborne
JOURNAL DETAILS: Size and style depends on your special needs. I use an 8x10 fake-leather bound lined journal with 400 pages... The first and last 25 are for organizing NOTES and QUOTES. I fill up about 350 pages every 2-1/2 months.
There are currently about 190 original songs written and performed by me on DiDoReflections.com (last update: 12/31/2011) and I have journal notes WITH sketched out music for another 100 or so, written in only 3 years. I could not write so many songs if I didn't keep my journal WITH me almost always, and record ideas immediately. (I'm forgetful... as we all are when "Life happens.") If there are songs in you that you yearn to write, you can easily do the same!
REASONS TO JOURNAL
1. To feel better. Writing helps us to “work out” why we feel as we do, helps us learn who we really are. Seeing the causes for why we feel as we do often helps us to control our emotions and to see that feelings aren’t always logical – or, sometimes, even based on truth.
2. To learn from mistakes. When we record our mistakes, we’re more likely to remember them and learn....
3. To provide a place to record our insights. One day these might make great songs... like the humor of noticing a giant tail on a tiny squirrel, which led to my complete song WONDER.
4. For just plain fun sometimes, to go back and see how we thought or what we did years ago. (It’s good to be able to laugh at yourself:)
5. As a comfort to remember as you read about the bad things that happened to you that you pushed out of your memory, that you survived them... even if not in the ways that you wanted at the time. A cool Bible verse is 2nd Corinthians 1:4 observes that we can comfort other people with the comfort that helped us in the past. There's joy in helping other people. And we can see a bit of good come from whatever happened to us.
6. Journaling provides a data source - important for songwriters. We can record facts and ideas that we can later come back to. It’s especially useful to use margin symbols (like a moon for dreams and music note for song idea). These can help us teaching, recording songs or inventions or magazine article ideas, etc. Example: I recorded in my journal cool research on migratory studies; later I used them to write WHO TAUGHT BUTTERFLIES as a song full of both humor and actual scientific information.
7. Journals provide a good location for records. I jot down info from notes I send friends, and even staple or tape things like cards from people in mine for future enjoyment. And a journal makes a safe place for your Christmas Gift list:)
Much joy to you in preparing your resource journals for future songwriting!
©2011 DianaDee Osborne
Tuesday, September 13, 2011
Fast Practice for Difficult Singing
Many songwriters record their draft tracks in a home studio. If you do, you'll really love this hint. And if you don't, it still will help you "warm up" before recording a vocal track at the studio.
This hint works for any recording program; I use GarageBand myself, so that's my familiar example to share:)
1. Create a duplicate of the track that you sing to, and label it "TEMP" (temporary).
2. Find the place where you want to strengthen your singing with more practice.
3. Split the track a little before and a little after that place.
4. Open the Notation View (Score) and look at the very front top of your separated-out practice region. You'll notice a little ➤ arrow enclosed in a box after the name of the region, just above the ruler.
5. If you click on that arrow, GarageBand will play the region over and over and over until you press the space bar to stop the play. Other recording programs are capable of doing the same.
Hints for splitting GarageBand tracks are on my blog at
dianadeegarageband.blogspot.com
especially in August 2011.
Much joy to you in strengthening confidence as your note region repeats!
©2011 DianaDee Osborne
This hint works for any recording program; I use GarageBand myself, so that's my familiar example to share:)
1. Create a duplicate of the track that you sing to, and label it "TEMP" (temporary).
2. Find the place where you want to strengthen your singing with more practice.
3. Split the track a little before and a little after that place.
4. Open the Notation View (Score) and look at the very front top of your separated-out practice region. You'll notice a little ➤ arrow enclosed in a box after the name of the region, just above the ruler.
5. If you click on that arrow, GarageBand will play the region over and over and over until you press the space bar to stop the play. Other recording programs are capable of doing the same.
Hints for splitting GarageBand tracks are on my blog at
dianadeegarageband.blogspot.com
especially in August 2011.
Much joy to you in strengthening confidence as your note region repeats!
©2011 DianaDee Osborne
Monday, September 5, 2011
Great Mistakes - Lost in the Music
My July 28th post mentions that sometimes you should KEEP your mistakes long enough to really listen to them... because sometimes they turn out to be fantastic unpredictable music that adds a unique variety to your music that no one else would think of. Besides.... if you keep your mistake, it is no longer an error but a Design!
This hint is for songwriters who record initial tracks into their computer, such as with a GarageBand program. Sometimes when you play from your draft written music, you "get lost" and just sort of keep playing until you figure out where you were. At least, if you like me are not a perfectionist... if you're eager to record before you've completely mastered your music. The common response is to go back into the Notation view for the recorded track (let's say piano) and delete all your wrong measures and notes.
But consider: The phrase "pregnant pause" has meaning in music too. Quite often, you've gotten lost after a really strong music section. That pause meandering over the keys until you figured out "where you are" just might provide the mood change that bridges your song pieces and adds tremendous depth to your song. That gives the listener time to think and contemplate the lyrics. That gives time to really feel the music.
One of my favorite songs where I kept getting lost is "Prayer Pre-Requisites"... it's full of meandering note sections that I listened to during the song development and decided to not only keep but to copy through the length of the song. AS IN LIFE, MISTAKES OFTEN ADD INTEREST AND COLOR.....
Much joy to you in enjoying PLAYING music... not "working music"! :)
©2011 DianaDee Osborne
DianaDee Osborne GARAGEBAND Deliberate Percussion Mistakes
This hint is for songwriters who record initial tracks into their computer, such as with a GarageBand program. Sometimes when you play from your draft written music, you "get lost" and just sort of keep playing until you figure out where you were. At least, if you like me are not a perfectionist... if you're eager to record before you've completely mastered your music. The common response is to go back into the Notation view for the recorded track (let's say piano) and delete all your wrong measures and notes.
But consider: The phrase "pregnant pause" has meaning in music too. Quite often, you've gotten lost after a really strong music section. That pause meandering over the keys until you figured out "where you are" just might provide the mood change that bridges your song pieces and adds tremendous depth to your song. That gives the listener time to think and contemplate the lyrics. That gives time to really feel the music.
One of my favorite songs where I kept getting lost is "Prayer Pre-Requisites"... it's full of meandering note sections that I listened to during the song development and decided to not only keep but to copy through the length of the song. AS IN LIFE, MISTAKES OFTEN ADD INTEREST AND COLOR.....
Much joy to you in enjoying PLAYING music... not "working music"! :)
©2011 DianaDee Osborne
DianaDee Osborne GARAGEBAND Deliberate Percussion Mistakes
Thursday, September 1, 2011
Copyright Package Description (updated 1/2/2012)
An amusing Viewpoints newspaper article here on East Coast of the U.S. began with these words after the Virginia earthquake on Tuesday (that never happens in Va!), horrendous thunderstorm on Thursday, Hurricane Irene on Saturday, and resulting floods ---- "Now that we've had the Dress Rehearsal for the Apocalypse...."
Perhaps now we all might be writing the "songs in our heads" a little faster! This is the first of several blogs with hints on how to make preparation for your copyright package a lot (LOT) easier, based on my trials and exciting discoveries of how to streamline the organization.
To begin: You probably know that you can copyright any song just by writing
©2012 Your Name
with your song title. If it makes you feel better, you can add "All Rights Reserved." Of course, in real life, we know that the happier results tend to go to whoever has the biggest lawyer, and we're not discussing seatbelt size.
Did you know that it is REALLY inexpensive AND pretty easy to officially copyright your song with the U.S. Government Copyright Office?
Better yet, did you know that you can copyright 50 songs for the same cost as a single song?
1. The government copyright office (just google that phrase) has set up a rather use-friendly site for filling out the application with their eCO system (see 1/2/2012 blog for more details). The hardest part for authors is trying to figure out exactly what categories fit what you're copyrighting. For musicians it's easy: SOUND RECORDING.
If it is all original material, you still want to select "Music Arrangement" as well as music, lyrics, text, editing, and don't forget audio files.
"Music" = the notes; audio files are the recordings of those notes. Music arrangement is your unique adaptation, especially important if you've included any part of a Public Domain song, such as an old hymn. (Check out www.ccli.com for more information on these.)
2. To prepare your copyright package, you will need (a) PDF files for paper versions of your song -- lyrics and scores, OR you can use a music notation method such as the OTEN method described as a resource at www.DiDoReflections.com; and (b) MP3 files for the audio recordings. That's it! A future blog will give hints on easy organization. IMPT -- Your audio recordings do NOT have to be mastered and all gorgeously ready for CD distribution. You need only enough music to convey your creative concept. Don't delay just to get a great sound. The copyright office doesn't care.
3. You also do NOT have to wait until you've filled an album before preparing a copyright package. See #4 for the easy organization method that avoids this need. Later you or your representatives can do a collective album package if you want. These hints are designed more for indie musician-writers like myself who aren't waiting "to be signed".
4. I define "package" as a set of more than one song. I use a single "collective" name for every copyright package. My example: I have a dozen or so albums. As I write a new song, I assign it to the album name that best fits its theme, such as Amazing Hope 'n' Humor, or "Amazing Peace 'n' Passion." BUT for the COPYRIGHT package, I use a simple 2-step naming method:
(a) The title of my work for every package is
AMAZING GOD 'N' SONGS, ____
(b) In the space, I put the year and the package letter.
EXAMPLES: My first package was simply "2006 through 2009".
Then in 2010 I prepared and submitted three packages. The last of those is
AMAZING GOD 'N' SONGS, 2010-C.
During 2011 I copyrighted packages in 3-month groups, entitled
AMAZING GOD 'N' SONGS, 2011-D
for January-March, and so on through 2011-G for Oct-Dec.
I continued the alphabet because it's easier in file folder naming... more on that another day.
Much joy to you in the eager anticipation of formally copyrighting your songs!
©2011 DianaDee Osborne
Perhaps now we all might be writing the "songs in our heads" a little faster! This is the first of several blogs with hints on how to make preparation for your copyright package a lot (LOT) easier, based on my trials and exciting discoveries of how to streamline the organization.
To begin: You probably know that you can copyright any song just by writing
©2012 Your Name
with your song title. If it makes you feel better, you can add "All Rights Reserved." Of course, in real life, we know that the happier results tend to go to whoever has the biggest lawyer, and we're not discussing seatbelt size.
Did you know that it is REALLY inexpensive AND pretty easy to officially copyright your song with the U.S. Government Copyright Office?
Better yet, did you know that you can copyright 50 songs for the same cost as a single song?
1. The government copyright office (just google that phrase) has set up a rather use-friendly site for filling out the application with their eCO system (see 1/2/2012 blog for more details). The hardest part for authors is trying to figure out exactly what categories fit what you're copyrighting. For musicians it's easy: SOUND RECORDING.
If it is all original material, you still want to select "Music Arrangement" as well as music, lyrics, text, editing, and don't forget audio files.
"Music" = the notes; audio files are the recordings of those notes. Music arrangement is your unique adaptation, especially important if you've included any part of a Public Domain song, such as an old hymn. (Check out www.ccli.com for more information on these.)
2. To prepare your copyright package, you will need (a) PDF files for paper versions of your song -- lyrics and scores, OR you can use a music notation method such as the OTEN method described as a resource at www.DiDoReflections.com; and (b) MP3 files for the audio recordings. That's it! A future blog will give hints on easy organization. IMPT -- Your audio recordings do NOT have to be mastered and all gorgeously ready for CD distribution. You need only enough music to convey your creative concept. Don't delay just to get a great sound. The copyright office doesn't care.
3. You also do NOT have to wait until you've filled an album before preparing a copyright package. See #4 for the easy organization method that avoids this need. Later you or your representatives can do a collective album package if you want. These hints are designed more for indie musician-writers like myself who aren't waiting "to be signed".
4. I define "package" as a set of more than one song. I use a single "collective" name for every copyright package. My example: I have a dozen or so albums. As I write a new song, I assign it to the album name that best fits its theme, such as Amazing Hope 'n' Humor, or "Amazing Peace 'n' Passion." BUT for the COPYRIGHT package, I use a simple 2-step naming method:
(a) The title of my work for every package is
AMAZING GOD 'N' SONGS, ____
(b) In the space, I put the year and the package letter.
EXAMPLES: My first package was simply "2006 through 2009".
Then in 2010 I prepared and submitted three packages. The last of those is
AMAZING GOD 'N' SONGS, 2010-C.
During 2011 I copyrighted packages in 3-month groups, entitled
AMAZING GOD 'N' SONGS, 2011-D
for January-March, and so on through 2011-G for Oct-Dec.
I continued the alphabet because it's easier in file folder naming... more on that another day.
Much joy to you in the eager anticipation of formally copyrighting your songs!
©2011 DianaDee Osborne
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