Pitching songs that are exceptional is a critical part of the equation for success\u2014whether you write those songs or publish them. No matter how well you take care of business, it\u2019s unlikely there will be any business to take care of\u2014unless your songs are strong.<\/p>\n
But regardless of how good they are, before your songs can be recorded by artists, or included in television shows and movies, you need to get them heard by the right people\u2014the decision makers who have the power to say, \u201cYes.\u201d This article will address what to do\u2014and what to avoid doing\u2014when pitching songs.<\/p>\n
How Many Songs to Pitch<\/strong><\/p>\n Without the benefit of a crystal ball, it\u2019s impossible to anticipate which song might be the life-changing one that a music publisher, A & R executive, record producer, or recording artist might feel is perfect for a given project. When an opportunity to play songs for an industry professional presents itself the temptation is strong to play as many songs as possible while that door is open.<\/p>\n But time is valuable, and part of your job is to narrow down your list to only your very strongest material\u2014those songs best suited for the project or the company with whom you are meeting. Industry pros don\u2019t need twenty more \u201cperfectly crafted\u201d songs; they only need those rare, exceptional songs that separate themselves from the pack and jump out of the proverbial pile. It\u2019s unlikely that even the most successful writers and publishers have a glut of songs that fit this description.<\/p>\n Danny Berrios, Creative Manager, A&R at Downtown Music Publishing Group stated, \u201cI think a good number of songs for a writer to play in a meeting would be three to five. As far as when I pitch\u2014I try to stick to around five, give or take a couple.\u201d This sentiment was echoed by virtually all the publishers to whom I asked about the ideal number of songs for a writer to play during a meeting.<\/p>\n Tim Hunze, Partner, Parallel Music shared, \u201cIf I leave the door open to send me other songs, don\u2019t send more than one at a time\u2014and only when you really, really believe in it. \u00a0If you send too many and too often that\u2019s an immediate turn off. \u00a0I do the same when I pitch to people.\u201d<\/p>\n Less is more. When you email or drop off one song it makes a statement that you feel strongly about this particular song. One song is more likely to make its way to the top of the pile than a submission of three or more.<\/p>\n When pitching by mail or email it is always best to ask what format the recipient prefers. While some request MP3s, others prefer a link, while others would rather receive a CD.<\/p>\n What to Do Before You Pitch<\/strong><\/p>\n Prior to your pitch, research the kinds of material the company or individual works with and be sure the songs you plan to play are appropriate. You can check online to learn about the writers a publisher represents and the artists on a record label\u2019s roster.<\/p>\n Before pitching your songs digitally (i.e., MP3) it is imperative to embed your recordings with metadata<\/em>. Metadata can be thought of as the label on a digital recording. It provides contact information as well as info such as the names of the writers, artist, and publishers. iTunes and Sony Sound Forge are among the programs that allow you to easily include this information in your music files.<\/p>\n At a conference I attended, a music supervisor stated that when she receives an MP3 that is not embedded with contact information, after the song has been downloaded it is no longer possible for her to know where it came from. She described this scenario as her #2 pet peeve. #1 was receiving a song she loves and hopes to place, then subsequently learning that the synchronization and master use licensing rights are not available. The music supervisor who shared this was joined by the others on the panel as describing failure to pre-clear<\/em> songs as the \u201ccardinal sin\u201d when pitching to them.<\/p>\n Pre-clearance means confirming that all of a song\u2019s synchronization and master use rights owners (including writers who control their own share of the publishing) are on board to license the song\u2014before<\/em> pitching it. Note that for songs that have multiple publishers, it takes only one publisher to issue a mechanical recording license that grants permission for the commercial release of an audio recording. However, music supervisors and music libraries require permission from every<\/em>publisher and rights controller of a given song before they will represent it or place it in a television show or film.<\/p>\n At Your Meeting<\/strong><\/p>\n It might go without saying, but respect the person with whom you are meeting by arriving on time and turning off the ringer on your phone. Be sensitive to your host\u2019s cues and resist the temptation to extend your time when the meeting is winding down.<\/p>\n It\u2019s important not to \u201chype\u201d your songs. Describing your song as \u201cthe next GRAMMY-winning song of the year,\u201d or saying that your work is \u201cbetter than the junk on the radio,\u201d is a sure-fire way to be perceived as an amateur. Let your songs speak for themselves.<\/p>\n Downtown Music Publishing Group\u2019s Danny Berrios summarized this. \u201cA big turn off when meeting with a writer is someone that\u2019s too confident. Being confident in your craft is really important, but so is a willingness to learn and improve.<\/p>\n Tom Luteran, Vice President of Creative, Sony\/ATV Music, stated, \u201cA great attitude also goes a long way because if you decide to work with someone you need to know that they will be able to make it through the highs and lows that every writer experiences. Conversely, a negative or know-it-all attitude is a huge red flag for me.<\/p>\n In terms of the writing, lyrics that sound like they came out of a rhyming dictionary never work for me.\u00a0When I meet with a new writer I am looking for someone who does something different. It doesn\u2019t have to be 180 degrees different than anything going on now; just slightly different is always a positive. Chorus melodies are great ways to separate yourself from other writers too.\u201d<\/p>\n When pitching face-to-face, prepare a list of songs you plan to play, and have them readily available. You don\u2019t want to keep someone waiting while you rummage through your briefcase to locate a particular CD, or try to locate files in your phone or computer.<\/p>\n Have additional songs available as a back-up plan. As the meeting progresses the input and feedback you receive should dictate which songs you play. For example, you might learn there are topics an artist prefers\u2014or prefers not<\/em>\u2014to sing about, or that there is a new musical direction the artist plans to pursue. You might find that specific tempos or time signatures are needed\u2014and that others are to be avoided.<\/p>\n There is no rule about whether or not to include lyric sheets. Many writers and publishers do not send lyric sheets when sending out their material. If the recipient wants a copy of the lyric they will request it afterwards. But it\u2019s a good idea to have printed lyric sheets available at face-to-face meetings, and ask whether the person listening would like to follow along.<\/p>\n How to Get Invited Back<\/strong><\/p>\n When playing songs for a music industry professional, one of the goals is to make an impression that will keep that door open. The person listening might make a comment or offer a critique that you vehemently disagree with. Avoid being defensive. Arguing, or explaining what your song \u201creally\u201d means, will not make them like your song any better. However, it will likely get you branded as a person to be avoided.<\/p>\n I asked several publishers and A & R executives what a writer can do to make a good impression\u2014and what turns them off.<\/p>\n Parallel Music\u2019s Tim Hunze, stated, \u201cIt\u2019s only happened a few times in my career, but being rude or disrespectful is an immediate turn off. I realize my opinion is just an opinion. I\u2019ll be the first to tell anyone that fact. But if you don\u2019t want my opinion, don\u2019t ask me for it. I tell up and coming writers, \u2018Be polite and be cool.\u2019 That will get you a long way with me.\u201d<\/p>\n Noah Gordon, Head of A&R\/V.P. Publishing, Average Joes Entertainment expressed a similar sentiment. \u201cAttitude is so important. Writers often outwardly seem hurt or mad if I don\u2019t take a song. When I hear a song and pass, that doesn\u2019t mean I hate the song or the writer. It only means it\u2019s not what I need right now. As long as I hear strong material and they don\u2019t waste time explaining why the song is good, or why I should record it, I\u2019m always open to future meetings.\u201d<\/p>\n Dan Hodges, Owner\/GM, Dan Hodges Music, shared his thoughts on this topic. \u201cWhen I meet a writer for the first time, I want to make my own judgment on the music and spend the time just getting to know them. If someone comes in telling me how great they are or how the songs are hits before I even hear them, I turn off.<\/p>\n If the writer didn\u2019t handle the meeting very well, it would be hard to take the time to get with them again. \u00a0Time is scarce and you have to put your best foot forward. \u00a0First impressions are important if you want someone to take the time out of their busy day to meet with you. To meet with them again, I\u2019d have to hear a song of theirs that piqued my interest.\u201d<\/p>\n If your songs are not competitive with the current hit makers, or are not appropriate for the person to whom you are pitching, your personality alone is unlikely to get you invited to play additional songs. Butch Baker, Senior VP of Creative Services, HoriPro Entertainment summarized it well. \u201cI try not to judge what they are carrying around with them but the \u2018come back factor\u2019 is always about songs. I love everybody but I need songs that I don\u2019t already have\u2014if that makes sense.\u201d<\/p>\n Woody Bomar, President, Green Hills Music Group, echoed that sentiment. \u201cAssuming that the writer is professional and has a good attitude, it is all about the music.\u00a0That\u2019s what turns me on or off.\u00a0If I find the music compelling and if it has an identity that differentiates it from everything else I hear on the radio, I will likely take another meeting.\u201d<\/p>\n If you collaborate, ask the person with whom you are meeting if he or she might be willing to set you up with one of their writers or artists. Publishers often do this as a test to see how you conduct yourself\u2014and to evaluate the resulting song. But they will only set up a session if the songs you played made a strong, positive impression.<\/p>\n When asked what makes him likely to invite a writer back for a subsequent meeting, Downtown Music Group\u2019s Danny Berrios stated, \u201cI\u2019m willing to meet with a new writer again when I hear potential in their songs. It could be a new track\/writer whose tracks aren\u2019t \u2018master quality\u2019 yet, but there\u2019s something inventive or different about their production. Or it could be a writer whose choruses constantly deliver – even if they still need to tighten up their verse lyrics a bit.\u201d<\/p>\n How to Follow Up<\/strong><\/p>\n There is no rule regarding how frequently to follow up\u2014or how long to wait after a meeting or song submission to do so. Some industry professionals feel that following up is unnecessary; that they will initiate subsequent contact if they choose to do so. Others concur that touching base via email or leaving a phone message one time after a meeting is acceptable. The consensus among those I asked was that repeatedly following up was not appreciated.<\/p>\n Average Joe\u2019s Noah Gordon prefers a follow up once, after about two weeks. He stated, \u201cIf they gave me a song that I LOVED and I told them I loved it, then maybe remind me about the song in a month, because once in a while a great song will get lost in the shuffle. Only because there are so many songs and I\u2019ve only got a limited number of \u201cworking\u201d memory neurons.\u201d<\/p>\n Sending a note expressing that you appreciated and enjoyed the meeting can serve as a gentle reminder if the recipient had promised to take a second listen.<\/p>\n Sony\/ATV\u2019s Tom Luteran stated, \u201cA writer should gauge each person\u2019s interest and follow up accordingly.\u00a0 If the meeting goes well it\u2019s completely appropriate to get back in touch every 4-6 weeks especially if you have a great new song. If you follow up and get no reply, then you know the answer. No answer is a \u201cno\u201d answer.\u201d<\/p>\n Just as there are no ironclad rules regarding how to write songs, there are no rules that address how to pitch them. But there are guidelines.<\/p>\n Limit the number of songs you pitch at any one time. Be sure your songs are appropriate for the recipient, and when pitching them digitally, embed your contact information. Before pitching for television and film be certain you can assign all necessary rights. Don\u2019t hype your songs or defend them, and follow up only once.<\/p>\n And most important \u2026 pitch exceptional songs that are innovative, original, and appropriate for the current market.<\/p>\n