Why Don't You Try

•Centrum Dystrybucji Nut•				System sklepów muzycznych

Please read this first!
Why I wrote this book
Why we need to bend
For beginners who can't wait
My Notation System
Degrees of bending
The blues scale
About blues licks and riffs (The "I'm a man" lick...The "Spoonful" Lick)
Exploring your mouth (Tongue exercises, Articulation, Closed nose)
The pre-bending effect (Bob Dylan Style, John Lennon Style)
Getting single notes
The major scale
General instructions (listening to the slowest tongue, the Whee-Oh, The Whistling Analogy)
Different Harps: Which to use?
The Bends (draw, Troubleshoooting, If you can't seem to get it)
Advanced techniques
Blow Bending
Bending the Chromatic
The Scales
Other harp books

Preface
Introduction: The real you
1: Bands
Auditioning Members
Leading a Band
One Chief, Many Indians
Two Cases in Point: The Knack and Mozart
Naming Your Band
Photo Sessions
The Press Package
Demo Tapes
Rehearsing
2: Personal managers
Management Traits
Who needs management?
Self - Evaluation
Management Options
Finding a Manager
Creating a "Buzz"
How Managers fing new talent
Attracting clients
The management contract
3: Music attorneys
Start Shopping Now
Attorney Checklist
Considerations and Complications
Who reps who?
4: Business managers & booking agents
Business managers
Compensation
Booking agents
How agents work
5: Record companies
Inside a record company
Recording contracts
Don't do this!
Names and Numbers
6: A & R
Makin' Records
Knowledge is good
Don' call us...
Decisions, decisions
Kerner's klass
Kenny's kids
Cartoon Boyfriend
Why your tapes get trashed
The three A&R deals
Signing Ingredients
The three A&R games
How to get it done, really
7: Publishing
Copyrights
Mechanical vs. Performance Royalties
How It works
Start Your own publishing company
Hang on to Your songs
"Music Publishers" by John Braheny
8: Songwriting
The Golden Rule
Hit songs vs. Hit Records
Observations
Structural Pointers
Dummy Lyrics
9: Demos & press kits
The Demo
Choosing Your best songs
Pre - production and recording
Reproducing your tapes
The press kit
Artist photos
Cover Letters
Following up
10: Self - promotion
Promote Your Shows
Press releases
More homework
Deadlines and publication dates
Paid advertisements
Merchandising
"Self - Awareness" by Dennis Anderson
11: Meeting & greeting
The "In Crowd"
What to Say
Telephone talk
Looks can kill
Getting ahead
"People Power" by Dan Kimpel
Rewind: Looking back
Review: Q&A
Recommended Sources
About the Author

1 - The demo - breaking through: history, attitude and your demo
What is demo?
The demo: A multi - purpose tool
1. What is Label? ... and what the hell does A&R stand for anyway?
What is A&R?
What is a Record Label? Major vs. Indies
Record Label Architecture
Independent Promotion: More Indies
Summary
Workshop
2. Three case studies in breaking through: Nirvana, Def Jam, and Bob Dylan
The Essential Quality in an Artist
The problem
How Artists really get signed: A signing drama
The solution
Case 1: Nirvana - How Nirvana got their record deal
Case 2: Def Jam Recordings - The importance of the visionary at the label
Case 3: Bob Dylan - How Dylan got his record deal
Summary
Workshop
3. Demo track selection and sequencing: Start with the songs
How A&R people listen to demos
The Importance of Song Sequence: put your best song forward
How many songs, and why
Workshop
4. Recording Your Demo: getting it down
The recording studio
A schedule for making the most of your studio experience
Costs associated with studios
Home recording
Pro Tools
Home recording tips
Copryhights and demos
Workshop
5. Packaging and presenting your demo: All dressed up and everywhere to go
Elements of a Successful demo package
What's Inside the envelope
Summary
Workshop
2. The Team: Agents, Managers, and Lawyers
6. Performances and booking agents: The live life
How performing impacts all facets of your career
Maximizing the gig
Gigs outside your home town
Booking agents: how they work and when you need them
Building a following
Summary
Workshop
7. Management: Finding it and making it work for you
The three "Must - Have's" of Management
The Importance of Money: How management gets paid
Managers and publishing
Finding the right manager
Labels and Artist managers
Summary
Workshop
8. Lawyers: Protecting and Serving
The role of lawyers
When to get a lawyer
Finding the right lawyer
How lawyers differ from managers
Summary
Workshop
3. Additional Players - Giant steps: independent publicity and promotion, publishing, distribution, and labels
9. Publicity and Promotion: getting the word out
How publicists work
Maximizing your publicity experience
Publicity costs
Radio Promotion
When usigned artist should consider Indie promo
How promotion can help you get a deal
The cost of Indie promo
How to get and keep radio play
When to Hire an Indie Promoter
Summary
Workshop
10. Publishing: Rights and wrongs
Mechanicals
Why Publishers want you to get a record deal
The "Controlled Composition" clause
The importance of the Mechanical
Administration Deals
Co - Publishing Deals
Syncs and Placements: your Music in Movies and TV
When to get a Publishing deal
Publishing Pitfalls
Performance rights organizations (ASCAP, BMI, SESAC)
Summary
Workshop
Distribution: Moving Product
How Distribution Works
Co - op
Distribution follows marketing
Starting Your Own Label
P&D Deals: Distributors as Marketers and Manufacturers
Why Distributors Avoid Unsigned Artists
When to Consider Distirbution
One - Stops and Rackjobbers
Summary
Workshop
12. Contracts: getting the best deal
The Royalty deal
How Royalties are calculated
Profit Sharing / Joint - Venture Deals
Term ("Licensing") Deals
Demo Deals
Important Contract Points
Summary
Workshop
13. You've got a deal! or did you know that "Utopia" Means "No Place?"
What happens when you get signed
Issues surrounding scheduling your release
Atwork
Working with Your A&R Person
Key People at the Labels
Keeping the Label Focused on You
Summary
Workshop
Appendix A: Sample contract
Appendix B: Suggested reading
Appendix C: "From the Field" Bios
Index

Why Don't You Try

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