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