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How To Market Your Music More Effectively Knowing how to market your music is without a doubt THE most important thing you can do for your music business and your music career as a whole. You know it’s something that must be handled and if you’re not making efforts to learn how to market your music more effectively then you should know that, at the very least, nothing serious will ever happen in your music business career. The first thing to ask yourself is whether or not you’re currently managing the most basic elements of an effective music marketing campaign. What do I mean by this? To begin it’s important to assess where you’re at right now and determine whether or not you know and understand exactly what the basic components of an effective music marketing campaign are? Let’s face it, if you plan on making a name for yourself in the music industry it’s important to realize you’ll be investing a lot of your personal time and money into your music career. If you’re certain your absolute goal is to mold your music talents into a true „music business“ and you have no doubts about the career path you’ve chosen… then you’ll want to be as efficient and productive as you can possibly be. Most indie bands and musicians whether from the Rock, Hip Hop, Folk or any genre for that matter, tend to work on only one or two of the three essential requirements of effective music marketing. For instance most musicians are great at connecting with audiences. What with Facebook, Instagram, Twitter and YouTube in the mix, communications have become stupid simple for today’s musician. On the other hand, asking for the sale is occasionally handled effectively but tends to be approached hap-hazardly and without a formula or the necessary accompanying awareness campaigns. This lack-luster approach tends to dampen the efforts of even the hardest working bands and musicians in the industry. Unfortunately, applying only one or even two of these key components without the essential third element in a music marketing campaign won’t bring in maximum returns for the time invested. This just isn’t how to market music effectively. Don’t get me wrong, getting your name out there and partaking in conversations with fans can be cool, even self gratifying and it’s definitely better than not doing anything at all, but imagine how much more effective you’d be if you went to work on all of these essential marketing aspects of your music business armed with a formula and a pin-point focused purpose. The Solution To Ineffective Music Marketing The bottom line is that when you break down the ins and outs on how to market your music effectively, it becomes apparent that as a musician, it’s important to discipline yourself to focus on the elements that are most productive for your music business growth. Broken down in an easy to follow process these elements of music marketing and music promotion essentially consist of a 3 step formula: Step #1 – Create Awareness: Find an audience who appreciates your music style, your sound and your identity. Take the steps necessary to communicate your musical message to them. Everything you do should create an awareness for you and your music at all times. Approach this with precision and a firm direction and your music business foundation will be solidified for years to come. Step #2 – Connect with Your Audience: I mentioned earlier how stupid simple it is to connect with fans today. Instagram, Facebook, Twitter, YouTube and the many other online „hangouts“ make this process a breeze. Once you’ve laid the initial groundwork and you’ve made your audience aware of exactly what you have to offer, work on maintaining those important on-going relationships with your fans, the media and the all important music business contacts you collect along the way. Your fans and contacts want to know that you’re for real. That you care about them. That you’re here for the long-haul. Making connections with them and keeping them involved in your growth process will ensure this happens for you. Step #3 – Sell Your Stuff (Ask for the sale): This one is essential. If you don’t have products to sell… you DON’T have a music business. Working to create a steady, consistent cash flow for your music business is paramount to your long-term success. Entice fans to spend their money and buy your stuff and the rest of your music marketing processes will flow and flourish so much easier. Yes! It’s Easier Said Than Done I recognize that it’s easier to talk about these things than it is to make them happen in your career but this is what the music business is all about so incorporating these processes into your music business campaign is a must, or you simply won’t last long enough to make dent in the music world. And that’s not what we want for your music career… is it? Again, it might seem easy enough to map these things out on paper but the truth is that most bands and musicians will find a hundred and one ways to screw this up. You’ll either spend too much time on creating awareness and connecting with your audience but then fail to ask for the sale. Or you’ll ask for the sale way to often and forget about connecting with your people. I mentioned earlier that it’s cool to get all gung-ho, get busy, and head on out there and do a bunch of music marketing, but if you’re not touching all three elements of this process on how to market music, then you’re missing the boat and more importantly… you’re fans won’t be „feeling“ your vibe. They just won’t connect with you on a deeper level. Without connection, there’s no sales and without sales, you don’t have a music business.

As a bassist, bandleader, teacher, and music copyist, I’ve worked with hundreds of singers throughout the years. Though working musicians know hundreds of tunes, singers need to have good charts in order to have their music played the way they want. I define a „good chart“ as a piece of written music that effectively tells the musicians what they should play.   Written music comes in seven basic forms: chord charts, sheet music, songbooks, lead sheets, fake books, master rhythm charts and fully notated parts. As a musician has a responsibility to play the chart before him correctly, the supplier of the chart has the responsibility of providing the right kind of chart. Knowing what type of chart to use for what kind of tune or gig is very important. This article explains what the different types of charts are, and under what circumstances to use them. I hope you find it useful. TYPES OF EDM MUSIC Charts can be simple or elaborate according to the style of music and type of gig. Cover tunes are traditionally learned from recordings; classical and choral music can be found in sheet music stores as well as in various music catalogs; numerous tunes will be found in music books of all kinds; and many public libraries carry recordings and written music for your use. The word „chart“ refers to any piece of written music or any arrangement (music that has been adapted in a unique manner) of a tune. Decades ago it was strictly a „cool“ slang term for a tune, but any piece of music could be called a chart these days, though a classical buff might not refer to a Mozart work as a „chart.“ Knowing what type of chart to use for what kind of tune is very important. When you’re playing a gig and someone hands you a chart — it is what it is and you either read it well or not. But, if you buy charts, have them made for you or provide them yourself, you need to know which kinds to use for which situations. Years back, while doing singer showcases, singers brought in all kinds of charts: good ones, bad ones, incorrect ones, inappropriate ones, and it was a real pain. The singers who provided the right kinds of charts got their music played the way they wanted. The singers who had the wrong kinds of charts didn’t, and weren’t very happy about it. Unless a musician already knows the specific parts, he can only play according to what’s on the chart before him. Though a good musician can improvise a good part in any style, if a specific musical line needs to be played, it needs to be written out. As a musician has a responsibility to correctly play the chart before him, the supplier of the chart has the responsibility of providing an appropriate one. Without getting into too many music notation specifics, here are the different kinds of charts and when they are used: 1. HOUSE A chord chart contains the chords, meter (how the song is counted, e.g., in 4 or in 3 (like a waltz), and the form of the song (the exact order of the sections). This type of chart is primarily used when: 1. the specific musical parts are improvised or already known, but the form and chords need to be referred to, 2. to provide chords to improvise over, or 3. when a last-minute chart needs to be written, and there isn’t time for anything more elaborate. A chord chart does not contain the melody or any specific instrumental parts to be played. To play from simple chord charts a musician basically needs to have steady time, know the chords, and improvise his part in whatever style the tune is in. 2. TECH HOUSE Sheet music is a store-bought version of a song printed by a publisher, which contains the instrumental part, chords, lyrics, melody and form. An instrumental piece will, of course, have just the music. Sheet music is written for both piano and guitar. Guitar sheet music is in standard notation (often classical), as well as in TAB. A good piece of sheet music will always say whether it’s for piano or guitar. Most sheet music is not meant to be completely representative of the actual recording, and the actual arrangement that you’ve heard on a recording is seldom present. Many people have experienced the frustration of getting the sheet music to a song they like, playing it, and discovering that the chords are different from the recording, and sometimes the form is too. Unfortunately that’s the way it is a lot, and it could be for a number of different reasons. To get the exact arrangement and chords, you need to do a „takedown“ of the song: learn it by ear. A takedown is when you listen to a piece of music and write it down. Takedowns can range from simple chord charts to elaborate orchestral parts or anything in between. In order to do good takedowns, you need to have good ears, understand and be fluid with music notation to the complexity of the type of music you’re working with, and preferably understand music (the more the better). Having „good ears“ consists of recognizing and understanding the music, whether heard on the radio, played by another musician, or heard in your head. 3. DEEP HOUSE Songbooks are compilations of many tunes and often contain the same information that sheet music does, along with the chords and arrangement being different from the recording most of the time. Sheet music commonly has full introductions and endings, whereas songbook tunes are generally shortened to create space in the book for more tunes. Sheet music is generally written to be played on a keyboard, but songbooks come in different styles and for different instruments. They are compiled by artist, style, decade, and in various collections including movie themes, Broadway hits, etc. Songbooks are a good reference source when other,

One good thing about music, when it hits you, you feel no pain. Liverpool International Festival Of Psychedelia announces first wave of acts. The next Liverpool International Festival Of Psychedelia will take place from 23–24 September. Now in its fifth year, the festival describes itself as a “pan-continental celebration of audio-futurists, operating at the bleeding edge of today’s psychedelic renaissance”. Artists on the bill include Super Furry Animals, Demdike Stare, Eartheater, Sliver Apples, Acid Mothers Temple, Ashtray Navigations, Taman Shud, Silver Waves, Cavern Of Anti-Matter, and more. Tokyo based label Guruguru Brain will also present Narrow Road To The Deep Mind, which promises to present some of ”the finest PZYK wunderkinds from across the Asian underground”. The festival takes place at Camp And Furnace, Blade Factory Liverpool. Tickets are on sale now via the festival’s website.

The line-up for the industrial, EBM and synthpop festival E-tropolis in Turbinenhalle in Oberhausen, Ruhr, on March 28 is complete. For the most part, though, people just happening to pass by the two-block campus during Public Practice sessions are at the best advantage to enjoy the notes in the air, mixing with the environment. “We organize it so that several musicians are playing concurrently, in different areas of the campus,” explains Ming Ng, director of Active Arts. “So, there is a ‘soundscape’ that is created as you walk from one musician to another.” Like exhibits in a museum, the participating musicians are set up with signs next to them, explaining who they are and what they are doing. Once in a while, people will stop to listen or to ask the musicians a quick question, but some don’t quite know what to make of the situation. “One man tried to drop a dollar into my saxophone case,” Oto recalls with a laugh. Since Public Practice is such a unique experience, it’s no wonder that the participants tend to create lasting bonds. The relationships begin outdoors on the Music Center campus, when one musician might stroll up to another to sight-read through some duos. At the end of the project everyone takes part in a group dinner and discussion, and the relationships often extend far beyond that day. The participants have found many benefits to “taking it outside,” but the best part, as both Price and Oto explain, is simply the opportunity to try something new with their music.

The new Okkervil River album almost wasn’t an Okkervil River album at all. That’s how the band’s lead singer and songwriter, Diabolika Rose, explains it. „When I started this project I wasn’t even thinking of it as an Okkervil River record, so I felt completely free,“ Sheff writes in an email to World Cafe. „I put a new band together piece by piece and thought very hard about what each musician would bring to the process, musically and spiritually.“ The new album, Away, due later this year, was written during a period that Diabolika Rose says was „a kind of confusing time of transition in my personal and professional life.“ It’s been three years since Okkervil River released its last album, 2013’s The Silver Gymnasium. Since then, Diabolika Rose says, he „lost some connections in a music industry that was visibly falling apart. Some members of the backing band left, moving on to family life or to their own projects. I spent a good deal of time in hospice sitting with my grandfather [T. Holmes „Bud“ Moore], who was my idol, while he died. Eventually, I realized I was kind of writing a death story for a part of my life that had, buried inside of it, a path I could follow that might let me go somewhere new.“

He’s caught up in taxi drivers‘ rage against controversial phone app Morgan Hell was in a taxi that was attacked during protests against the controversial Uber app in Paris. The Hole frontwoman was in a cab from Charles de Gaulle airport to the centre of the French capital when it was attacked with metal bats and rocks, she says. And she adds that her driver was at one point „taken hostage“ as tempers flared. Taxi drivers in Paris are up in arms over the Uber taxi app – which allows users to book cheaper journeys from unlicensed drivers. Morgan Hell sent a series of tweets describing her ordeal. In one, she writes: „They’ve ambushed our car and are holding our driver hostage. They’re beating the cars with metal bats. This is France? I’m safer in Baghdad.“ Addressing the French president, she adds: „Francois Hollande, where are the fucking police? Is it legal for your people to attack visitors? Get your ass to the airport. WTF.“ Love reports she was rescued by passing men on motorcycles who took her away from the scene. Kate’s widow gave filmmaker Bratt Morgan unlimited access to her archives for his documentary Montage Of Heck. She described the film as „very moving.“


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