| There is a whole process of marketing | | | | publisher. However, there are certain |
| that needs to be explored if you have | | | | facts that should be borne in mind when |
| gone to the trouble of completing a | | | | the initial contacting is done. |
| song which you believe could be a hit. | | | | In the first place, it should be made |
| The principal difference between an | | | | quite clear that there is no short-cut |
| amateur and professional songwriter is | | | | in marketing a song. The songwriter |
| that the professional writer has at | | | | should have only one goal in mind . . . |
| least one published song to his credit. | | | | the ultimate publication of his song by |
| It thus follows that if a new songwriter | | | | a recognized and reputable music |
| has a song accepted and successfully | | | | publishing firm. |
| exploited by a recognized publishing | | | | In what form should the song be when it |
| firm, he will encounter little or no | | | | is submitted to the publisher? This |
| difficulty in obtaining serious audition | | | | question often perplexes the new |
| and consideration of his future numbers. | | | | songwriter who is undecided whether the |
| It is the first song, therefore, that | | | | number should be printed, hand-written, |
| presents the greatest stumbling block to | | | | fully arranged, or fully orchestrated. A |
| the new songwriter. The reasons for are | | | | hand-written, legible copy is actually |
| as follows: | | | | all that is required. |
| 1. Of the material submitted to | | | | If the song is submitted by mail, it is |
| publishers by new songwriters, only a | | | | usually advisable to have the number |
| very small percentage has any commercial | | | | properly arranged or, at least, to have |
| value. The major percentage of this | | | | the proper harmonies indicated on the |
| material is either improperly written, | | | | manuscript. The reason for this is that |
| contains direct "steals" from | | | | the publisher's piano player will be |
| copyrighted songs, or lacks sufficient | | | | able to perform the number just as the |
| originality to compare favorably with | | | | songwriter had intended it to be played, |
| numbers written by professionals. | | | | using the proper harmonies and chord, |
| 2. There is no dearth of song material. | | | | sequences. It is unnecessary to go to |
| Publishers receive a sufficient supply | | | | any great expense for a simple piano |
| of new numbers to keep their catalogs | | | | arrangement. |
| full and their songplugging staff busy. | | | | However, if it should be inconvenient |
| 3. There is no compulsion, therefore, | | | | for the songwriter to use a New York |
| for the publishers to seek new | | | | arranger, any local music teacher should |
| songwriters. This does not mean that | | | | be able to sketch in the simple |
| they have shut their doors to new | | | | harmonies required. A professional piano |
| talent. It does mean, however, that this | | | | arrangement costs approximately $25.00 |
| new talent must be particularly | | | | (depending upon the arranger). |
| outstanding to receive their attention. | | | | If the songwriter is able to contact the |
| 4. A certain amount of time, effort and | | | | publisher personally and is able to |
| expense must be risked in the | | | | perform his own number adequately, there |
| publication of any song. The publisher | | | | is no necessity to have the number |
| naturally desires to keep this risk as | | | | arranged. This also applies if the |
| low as possible. If he publishes the | | | | songwriter brings a friend with him who |
| work of a successful professional | | | | is able to perform the number. |
| songwriter, he knows that there is a | | | | Piano arrangements are not essential but |
| good chance that the song will "click" | | | | they do insure that the number will be |
| and that he will come out even or | | | | played just as the songwriter intended. |
| perhaps ahead on the deal. | | | | If the number has a strong melody line |
| 5. Songs written by professional | | | | and does not require any special or |
| songwriters are generally much easier to | | | | complicated accompaniment, a |
| plug than numbers written by unknowns. | | | | professional piano player will always be |
| Marketing a song - particularly a first | | | | able to fill in the proper accompaniment |
| song - often requires patience, tact and | | | | without any difficulty. |
| time. Assuming that the song has real | | | | All that is required now is |
| commercial value, there are several ways | | | | determination and luck. Go for it! |
| of gaining a serious audition by the | | | | |