DOCSLIB.ORG

Secret Songwriter Tips and Techniques

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Secret Songwriter Tips and Techniques The Songsculptor Method Secret Songwriter Tips and Techniques By Award Winning Songwriter and Music Educator Richard Melvin Brown Chapters One, Two, Three and Four of this eBook and Course deal with writing lyrics that are MUSIC Friendly. Even though your lyrics may look and read absolutely wonderful on paper, does not mean they will necessarily sound good when interpreted by a vocalist as a song composition in melody form. Find out what you can do to make them Music Friendly. Chapters Five and Six deal with composing an appropriate and ear pleasing melody and chord structure to your lyrics, quickly and easily, without having had years of formal training in Music Theory and/or Composition. The remaining Chapters, Appendixes and Excerpts deal with General Songwriting Information, and Useful Facts pertaining to the Business of Music and Songwriting. Contents Include: OVERTURE: An Introduction to Marketable Songwriting Chapter One: LET'S START WITH THE SONG'S STRUCTURE You have to start somewhere, and this is a great place to begin. It's kind of like laying the foundation of a house, but much easier to build, and a whole lot more fun. Chapter Two: HOOKLINE AND SINKER "The Hook, The Hook" Yes, the hook is everything, well almost everything. It's totally meant to bend the ear, but a hook is something that should not be feared. Chapter Three: FINDING YOUR HOOK It's easier than you think Life is full of hooks, Just look around, Listen, and release your creative juices. Chapter Four: FINDING YOUR SINKER The rest of the lyrics Creativity, Play on Words, Tricks of the Trade To rhyme or not to rhyme, Should you or Shouldn't you, Depends on the flow from deep inside your pen. Songsculptor.com If you're a lyricist only and need a Musical Collaborator we can help Chapter Five: MUSIC Cheerful earful, catchy tune, agreeable sound, pleasing melody, cordial composition, delightful ditty, raunchy number, cool tones. Chord Progressions, the meat and potatoes The Nashville Number System > Wow, is this ever easy. Music is just a bundle of numbers which translate into a cluster of sound. Variations on a Theme, and more easy ways to compose. Chapter Six: AREN'T COMPUTERS WONDERFUL Playing, Composing and Recording Your OWN Music, With Your Personal Computer. It's Easy and Fun with today's incredible music/software programs that even the most inexperienced can soon comprehend. Chapter Seven: COPYRIGHT PROTECTION (Safe Songwriting) Copyrighting your material is much easier than most people tend to think. All you ever need to know about protecting your invaluable creative works. Chapter Eight: MORE IMPORTANT THINGS YOU NEED TO KNOW IN SUMMARY Don't make the mistakes of the Un-informed. Chapter Nine: THE TOP TEN (Final Words Of Wisdom) The 10 MOST Important things you need to know. Happy Songwriting Chapter Ten: A WORD ABOUT COLLABORATION Translation > working together in Harmony Sometimes two heads ARE better than one 23 FREQUENTLY ASKED QUESTIONS THE SECRET Is there really a SECRET to writing a GREAT Song ? Appendix 1: Over 75 SONGWRITING ORGANIZATIONS Most of them are FREE to join, and packed full of useful information and invaluable contacts. We've got the big national ones and scores of local organizations listed. If there's a Songwriting organization in your neighborhood you can find it here. Appendix 2: PERFORMING RIGHTS ORGANIZATIONS You need these guys to get paid for your songs, and > Best Of All < Most are FREE (or charge very little) to join. Get the information on all the Performing Rights Organizations in the world right here. Appendix 3: MUSIC INDUSTRY PROFESSIONALS IN SEARCH OF MATERIAL Address’s, Phone Numbers, E-mail address’s, and Web Sites of: PUBLISHERS, PRODUCERS, RECORD COMPANYS, MANAGER/AGENTS etc. A much larger list of Music Publishers is included in Appendix 7 Appendix 4: SONGWRITING CONTESTS Address’s, Phone Numbers, E-mail address’s, and Web Sites: Appendix 5: WEBSITES OF INTEREST Website address's related to Songwriting, Lyric Writing, General Music, Digital Music and MP3 Appendix 6: Songwriting Associations with links to their websites, See if there's one in your area Appendix 7: Over 675 Music Publishers many of which are in search of fresh new material. Address's, phone numbers, and many include e-mail address's and links to their websites. THE FINAL REFRAIN A Note from the Author: I have received a great deal of enjoyment putting together this songwriting book and course, and through my many years as a songwriter, record producer and studio musician I have learned some valuable lessons from the school of hard knocks. As in every creative endeavor each of us takes a little different approach. The methods I suggest in this book (many of which are > tried and true, and other's of my own preference) have worked very well for me, and it has been my pleasure to be able to share some of the useful knowledge that I have learned while pursuing my own dreams, and making a living at what is the best profession in the world. SONGWRITING. One of the things that I love to do now is help new songwriters and lyricists sharpen their skills, and get their material recorded. If you're a lyricist only, or a lyricist that has "a tune in your head for your words" > but knows nothing about music, please read the section of this book titled SONGSCULPTOR. I hope you will benefit greatly from studying this songwriting book, and may you write the world's next big smash hit. Happy Songwriting. Thanks and Good Luck. Richard Brown OVERTURE: An Introduction to Marketable Songwriting There are some proven methods for writing marketable songs, and with a little bit of effort almost everyone with some creative juices flowing between their ears can come up with some great song ideas and turn those ideas into some pretty good songs. Obviously a good song is made up of 2 basic ingredients. Words and Music Some writers will write the words first and then compose a suitable chord progression and melody to compliment their lyrical ideas. Lyricists will often write a song lyric and then hand it over to a musical composer to compose some appropriate music to it, and turn it into a song. ● If you are a lyricist please read the section of this book just before the Music Section in Chapter 5. It is titled Songsculptor Musical Partner To Lyricists, Poets, Wordsmiths and Storytellers, Together We Write The Songs". Other writers (especially seasoned musicians) will compose the music first, and then either write the words to the already composed melody, or make a tape of their (music only composition) and give it to a lyricist to find the right words to go with their musical ideas. Although I have written many songs with both the words and music, I quite often collaborate with lyricists such as yourself to create good songs. The reason I do this is very simple. I am a much better (music) writer than a lyricist. This is not to say I haven't written some good lyrics, it only means that I am the kind of lyric writer that needs to be inspired to come up with a great story. When I find that I just can't think of anything to say, I try to find a good lyricist to give me a hand. So, don't be afraid of collaboration, most of the time, two heads are better than one. This principle also works in reverse for lyricists who have a limited amount of musical knowledge. If you find yourself with a dynamite lyric but just can’t seem to find the right melody and chord progression to compliment your great lyric then by all means turn your ideas over to a seasoned composer who can help transform your inspiration into a well written and meaningful song. Although there are no absolute rules for writing a great song, there are certain formulas and guidelines that seem to help enormously in creating songs that are pleasing to the majority of people. A commercial song is a song that has wide appeal to the masses. Pop Music, Country, and Rock and Roll are styles of music that are very popular to huge numbers of the population. Although there are exceptions to the rules in songwriting, most popular songs are very simple in structure. A song that comes to mind that seemed to break all the rules of formula writing is Jimmy Web's (MacCarther Park). It is truly a wonderful song, but it definitely does not fit into the mainstream of popular songwriting. To begin with the song is about 7 minutes long. Most pop songs are about 3 minutes in length. Some songs, especially ballads can go as long as 4 minutes, but that is pushing it. Most radio programmers do not want to play songs longer than about 3, or 3 and a half minutes in length. The song MacCarther Park also has a very complex chord progression and melody, not to mention lyrical content that is definitely out of the norm. I think you get the picture, although there are certain formulas that work very well in writing popular songs, that doesn't mean you can't break the rules if you choose to. For beginner and amateur songwriters I think it is a wise decision to keep to the rules and keep your writing as simple as possible, without compromising your creativity. If you were to read one of the books that list the top songs of the year, from away back when until the present time, you would find that the majority of the hit songs use popular and proven song structures, have only 3 or 4 chords in their chord progressions and the lyrical content is also not exceptionally complicated, but simply directed at arousing emotions in the listener.
Load more

Recommended publications
  • Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020)
    Record Store Day 2020 (GSA) - 18.04.2020 | (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 375Media Ace Of Base The Sign 7" 1 !K7 Pop SI 174427 730003726071 D 1994 Year End Chart. [ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu SPACE AGE 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL) LP 2 PSYDEL 139791 5023693106519 AT: 375 / CH: Irascible Records and now re-mastered by John Rivers at Woodbine Street Studio especially for RECORDINGS vinyl Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & TIDAL WAVES 375MEDIA BAKER, CHET MR. B LP 1 JAZZ 139267 0752505992549 AT: 375 / CH: Irascible Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and MUSIC two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020. * Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack.
    [Show full text]
  • Master's Thesis
    I Know I Am Someone: Michael Jackson, Thriller, and American Identity by Sara Tenenbaum B.A. in American Studies, May 2006, Brandeis University A Thesis submitted to The Faculty of the Columbian College of Arts and Sciences of George Washington University in partial fulfillment of the degree requirements for the degree of Master of Arts May 15, 2011 Thesis Directed by James A. Miller Professor of English and American Studies © Copyright 2011 by Sara Tenenbaum All rights reserved ii Abstract of Thesis "I Know I Am Someone: Michael Jackson, Thriller, and American Identity" This thesis addresses the cultural phenomenon surrounding Michael Jackson's 1982 album Thriller and uses it as a lens through which to view and analyze the development of a distinct American, primarily youth, identity in 1983 and 1984. It is structured using a three-prong approach that first analyzes the sonic work of the music of Thriller, second explores the characteristics of Michaelmania and the youth identity being constructed within the Michael Jackson pop explosion, and third analyzes the backlash from both the white and African American communities against Jackson in that time to illuminate his subversion and danger to the status quo. I argue that Jackson's act of profound crossover during the Thriller era triggered within the American youth an equally profound act of identity formation that transcended racial stratification in America's past and created a foundational part of our contemporary identity that moves slightly beyond America's troubled racial history. Using both the voices of his fans and his critics to tease out the work his person and his music did in the early 1980's, I advocate we keep Jackson and his work foregrounded in our study of popular culture in the late 20th and early 21st centuries, as his pop explosion fundamentally and permanently effected how Americans understand ourselves and our relations with each other.
    [Show full text]
  • The Poetics of Reflection in Digital Games
    © Copyright 2019 Terrence E. Schenold The Poetics of Reflection in Digital Games Terrence E. Schenold A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2019 Reading Committee: Brian M. Reed, Chair Leroy F. Searle Phillip S. Thurtle Program Authorized to Offer Degree: English University of Washington Abstract The Poetics of Reflection in Digital Games Terrence E. Schenold Chair of the Supervisory Committee: Brian Reed, Professor English The Poetics of Reflection in Digital Games explores the complex relationship between digital games and the activity of reflection in the context of the contemporary media ecology. The general aim of the project is to create a critical perspective on digital games that recovers aesthetic concerns for game studies, thereby enabling new discussions of their significance as mediations of thought and perception. The arguments advanced about digital games draw on philosophical aesthetics, media theory, and game studies to develop a critical perspective on gameplay as an aesthetic experience, enabling analysis of how particular games strategically educe and organize reflective modes of thought and perception by design, and do so for the purposes of generating meaning and supporting expressive or artistic goals beyond amusement. The project also provides critical discussion of two important contexts relevant to understanding the significance of this poetic strategy in the field of digital games: the dynamics of the contemporary media ecology, and the technological and cultural forces informing game design thinking in the ludic century. The project begins with a critique of limiting conceptions of gameplay in game studies grounded in a close reading of Bethesda's Morrowind, arguing for a new a "phaneroscopical perspective" that accounts for the significance of a "noematic" layer in the gameplay experience that accounts for dynamics of player reflection on diegetic information and its integral relation to ergodic activity.
    [Show full text]
  • John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
    THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums.
    [Show full text]
  • Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
    http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music.
    [Show full text]
  • Chart Book Template
    Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts.
    [Show full text]
  • The Devils' Dance
    THE DEVILS’ DANCE TRANSLATED BY THE DEVILS’ DANCE HAMID ISMAILOV DONALD RAYFIELD TILTED AXIS PRESS POEMS TRANSLATED BY JOHN FARNDON The Devils’ Dance جينلر بازمي The jinn (often spelled djinn) are demonic creatures (the word means ‘hidden from the senses’), imagined by the Arabs to exist long before the emergence of Islam, as a supernatural pre-human race which still interferes with, and sometimes destroys human lives, although magicians and fortunate adventurers, such as Aladdin, may be able to control them. Together with angels and humans, the jinn are the sapient creatures of the world. The jinn entered Iranian mythology (they may even stem from Old Iranian jaini, wicked female demons, or Aramaic ginaye, who were degraded pagan gods). In any case, the jinn enthralled Uzbek imagination. In the 1930s, Stalin’s secret police, inveigling, torturing and then executing Uzbekistan’s writers and scholars, seemed to their victims to be the latest incarnation of the jinn. The word bazm, however, has different origins: an old Iranian word, found in pre-Islamic Manichaean texts, and even in what little we know of the language of the Parthians, it originally meant ‘a meal’. Then it expanded to ‘festivities’, and now, in Iran, Pakistan and Uzbekistan, it implies a riotous party with food, drink, song, poetry and, above all, dance, as unfettered and enjoyable as Islam permits. I buried inside me the spark of love, Deep in the canyons of my brain. Yet the spark burned fiercely on And inflicted endless pain. When I heard ‘Be happy’ in calls to prayer It struck me as an evil lure.
    [Show full text]
  • The Entrepreneur's Guide to Doing Business in the Music Industry
    THE ENTREPRENEUR’S GUIDE TO DOING BUSINESS IN THE MUSIC INDUSTRY by Gian Fiero Copyright 2005 by Gian Fiero All rights reserved. No part of this guide may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing by the author. ii iii Acknowledgements To all of my clients and the artists I’ve represented over the past 10 years: Thanks for choosing me when you have so many choices. I never forget that your trust in me is more valuable than any service I could ever offer. To my associates in Northern & Southern California: Thanks for the inspiration, encouragement, and support. iv v TABLE OF CONTENTS The Purpose of This Guide ...................................................................................... 1 Definition & Overview of This Guide....................................................................... 5 The Real Cash Cows of the Music Industry .........................................................11 Advice for the Potential Record Label Owner.......................................................15 Advice for Music Producers ...................................................................................19 Playing a Different Tune as a Music Artist ..........................................................23 Taking the Right Angle to Get a Deal ...................................................................29 Approaching Investors ...........................................................................................33
    [Show full text]
  • A Narrative Approach to the Philosophical Interpretation Of
    A NARRATIVE APPROACH TO THE PHILOSOPHICAL INTERPRETATION OF DREAMS, MEMORIES, AND REFLECTIONS OF THE UNCONSCIOUS THROUGH THE USE OF AUTOETHNOGRAPHY/BIOGRAPHY A Dissertation by ANTONIO RIVERA ROSADO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Major Subject: Curriculum and Instruction A NARRATIVE APPROACH TO THE PHILOSOPHICAL INTERPRETATION OF DREAMS, MEMORIES, AND REFLECTIONS OF THE UNCONSCIOUS THROUGH THE USE OF AUTOETHNOGRAPHY/BIOGRAPHY A Dissertation by ANTONIO RIVERA ROSADO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Co-Chairs of Committee, Stephen Carpenter Patrick Slattery Committee Members, Valerie Hill-Jackson Toby Egan Head of Department, Dennie Smith May 2011 Major Subject: Curriculum and Instruction iii ABSTRACT A Narrative Approach to the Philosophical Interpretation of Dreams, Memories, and Reflections of the Unconscious Through the Use of Autoethnography/Biography. (May 2011) Antonio Rivera Rosado, B.A., Interamerican University of Puerto Rico; M.Ed., The University of Texas at El Paso Co-Chairs of Advisory Committee, Dr. Stephen Carpenter Dr. Patrick Slattery The purpose of the present study aimed to develop a comprehensive model that measures the autoethnographic/biographic relevance of dreams, memories, and reflections as they relate to understanding the self and others. A dream, memory, and reflection (DMR) ten item questionnaire was constructed using aspects of Freudian, Jungian, and Lacanian Theory of Dream Interpretation. Fifteen dreams, five memories, and five reflections were collected from the participant at the waking episode or during a moment of deep thought.
    [Show full text]
  • Songs by Title
    Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C.
    [Show full text]
  • Inventory of American Sheet Music (1844-1949)
    University of Dubuque / Charles C. Myers Library INVENTORY OF AMERICAN SHEET MUSIC (1844 – 1949) May 17, 2004 Introduction The Charles C. Myers Library at the University of Dubuque has a collection of 573 pieces of American sheet music (of which 17 are incomplete) housed in Special Collections and stored in acid free folders and boxes. The collection is organized in three categories: African American Music, Military Songs, and Popular Songs. There is also a bound volume of sheet music and a set of The Etude Music Magazine (32 items from 1932-1945). The African American music, consisting of 28 pieces, includes a number of selections from black minstrel shows such as “Richards and Pringle’s Famous Georgia Minstrels Songster and Musical Album” and “Lovin’ Sam (The Sheik of Alabami)”. There are also pieces of Dixieland and plantation music including “The Cotton Field Dance” and “Massa’s in the Cold Ground”. There are a few pieces of Jazz music and one Negro lullaby. The group of Military Songs contains 148 pieces of music, particularly songs from World War I and World War II. Different branches of the military are represented with such pieces as “The Army Air Corps”, “Bell Bottom Trousers”, and “G. I. Jive”. A few of the delightful titles in the Military Songs group include, “Belgium Dry Your Tears”, “Don’t Forget the Salvation Army (My Doughnut Girl)”, “General Pershing Will Cross the Rhine (Just Like Washington Crossed the Delaware)”, and “Hello Central! Give Me No Man’s Land”. There are also well known titles including “I’ll Be Home For Christmas (If Only In my Dreams)”.
    [Show full text]
  • Shana Petrone to Tennessee Ernie Ford
    Sound Extreme Entertainment Karaoke Show with Host 828-551-3519 [email protected] www.SoundExtreme.net In The Style Of Title Genre Shana Petrone This Time Country Shane McAnally Are Your Eyes Still Blue Country Shane McAnally Run Away Country Shane McAnally Say Anything Country Shane Minor I Think You're Beautiful Country Shane Minor Ordinary Love Country Shane Minor Slave To The Habit Country Shangri-las, The Leader Of The Pack Country & Pop Shania Twain Ain't No Particular Way Country Shania Twain Any Man Of Mine Country & Pop Shania Twain C'est La Vie Country Shania Twain Come On Over Country & Pop Shania Twain Don't Country Shania Twain Don't Be Stupid (You Know I Love You) Country & Pop Shania Twain Forever And For Always Country & Pop Shania Twain God Bless The Child Country Shania Twain Home Ain't Where His Heart Is (Anymore) Country Shania Twain Honey I'm Home Country & Pop Shania Twain I Ain't Goin' Down Country Shania Twain I Ain't No Quitter Country Shania Twain If It Don't Take Two Country Shania Twain If You Wanna Touch Her, Ask Country Shania Twain If You're Not In It For Love (I'm Outta Here) Country & Pop Shania Twain I'm Gonna Getcha Good! Country & Pop Shania Twain I'm Holdin' On To Love (To Save My Life) Country Shania Twain I'm Jealous Country Shania Twain I'm Not In The Mood (To Say No)! Country Shania Twain In My Car (I'll Be The Driver) Country Shania Twain Is There Life After Love? Country Shania Twain It Only Hurts When I'm Breathing Country Shania Twain Juanita Country Shania Twain Ka-Ching Country Sound Extreme Entertainment www.SoundExtreme.net www.SoundExtremeWeddings.com www.CrocodileSmile.net 360 King Rd.
    [Show full text]