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tunesmithth last won the day on June 4

tunesmithth had the most liked content!

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1,162 Nectar Of The Gods

About tunesmithth

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    a work in progress

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  • Gender
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    United States of America

Music Background

  • Band / Artist Name
    Tom Hoffman
  • Musical / Songwriting / Music Biz Skills
    singer-songwriter, home studio tech
  • Musical Influences
    Goo Goo Dolls, Springsteen, Allman Brothers, Bonnie Raitt, Clapton, Billy Joel, Keith Urban, Sheryl Crow, Marvin Gaye, The Doors...and countless others


  • Songwriting Collaboration
    Not Interested

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  1. ...smilin' on the inside
  2. Honestly, I'm a little fuzzy on it Randy. Last time I filed was 2012. Since I wasn't sure, I looked it up for. Here' the link to my 2012 registration. http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=16&ti=1,16&Search_Arg=Songs by TEH&Search_Code=TALL&CNT=25&PID=C5aEKa5H4oNbmyEmdqsbzV0fKTT9&SEQ=20170627202745&SID=1 I did file it as a sound recording...total of 6 songs, many of them refilings (improved versions of previously copyrighted tunes). All of my early, manual filings were registered as "works of performing art" (form PR). Honestly, I'm not even certain the sound recordings category existed back then. I did upload the files in mp3 format. Seems like there used to be a maximum allowable data limit per filing, but that very well may have changed. In the old days (mail-in filings), you were limited by the number of works you could fit on a single cassette or CDR. Once you completed the process, which is pretty simple, they'll email you a series of receipts containing tracking ID #s, a receipt of payment & a detailed breakdown of which songs were registered broken down by title, file size & type, date & time. I've still got my email print-outs along with a page of notes from the filing. BTW my notes include a username & password, so if this is your first online filing, you'll probably be required to set up an account. Hope this helps ! Tom *Sorry Randy, seems those individual filing links time-out after a while. Here's the link to the page containing all of my filings...scroll all the way down to Volume #17. Hopefully, this URL isn't set-up to time out...guess we'll find out. http://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?Search_Arg=Songs+by+TEH&Search_Code=TALL&PID=ZrJDcfX3TI8fsIKaGLUt7tti4yY7X&SEQ=20170627234931&CNT=25&HIST=1 ***Pulled this up again this morning...unfortunately, the 2nd link times out also. LOL So, here' what you can do. Click on this link (which will not time-out) - https://www.copyright.gov/ In the "Resources" column, click on "Search Copyright Records" Once the search page appears, leave it set to the default (titles), enter Songs by TEH in the "search for" box, then click on the "Begin Search" box. My records should appear. Scroll down to the very bottom (Volume 17) & click to open the registration.
  3. ...or purchase something through our Amazon store ...perhaps a tee shirts?
  4. Based on that example, we've circled back around to "call & response" That's how I'd refer to it. To know for certain, we'd probably have to hear it. As far as notation of it, your color coding format works for me. If you include a footnote explaining intent, it should work well. Here's some supplemental info for you to peruse... Taken from this article - https://en.wikipedia.org/wiki/Call_and_response_(music) One example they give is "My Generation" by The Who..."people try to put us down" being the call phrase / "Talkin' 'bout my generation" the response.
  5. Good call David ! So, if I'm understanding this correctly, you're describing a sub-melody/lyric occurring in the background of a primary melody/lyric? In other words, they occur at the same time, in the same space...with one serving as the dominant while the other serves as background. Something like the Beatles used in the verses here...with the "Love" harmonies serving as the background (secondary) vocal? If I am on the right track, then yeah...I'm in total agreement with David. What you're describing is more of a background vocal. Matter of fact, musically speaking, you could probably call it "counterpoint" (a stand-alone sub melody supporting a primary melody...with both occurring in the same musical space). Tom
  6. One of my all-time favorite lyrics...excellent arrangement too ! Just a great track all around.
  7. Absolutely...when I constructed mine, I was simply winging it. Honestly, call & response vocals can take many forms, but proper notation of them...I just did what made sense to me. As far as the type of call & response she's describing, yes...chances are she's talking about something closer to what I used in "Fool Me Once" or "Too Small To Save", where the secondary vocal is almost a mimic of the primary. "Fool Me Once" uses variations on that theme, but "Too Small To Save" is strictly a reiteration of the hook. Like I said....many different forms of this concept. She's the only one who can truly know what she's attempting to describe. I just tried to give her a starting point. Tom
  8. I had the lyrics for Sunday Christian saved in my documents files...copied the ending in below, so you could see how I set it up. As I indicated earlier, this is another type of call & response, introducing new lyrical lines each time, rather than simply repeating (re-enforcing) key words or phrases. - Primary Vocal - Secondary Vocal Sunday...one day Christian Could be you or me Repeat Harsh reality Repeat Hope to God we see Repeat Life as it could be Copyright 2007 - Tom Hoffman
  9. I just have a minute, but I ran across your question. Sounds like you're describing what's often referred to as a "call & response" vocal. I have used the format several times in my writing. One which comes immediately to mind is a tune called "Fool Me Once". Unfortunately, I don't have a snippet of just the call & response section, but you're welcome to access this article which talks about its' use & also includes a link to the video version containing the entire song. If I recall correctly, it's only used in the chorus sections. Here's the article link - I also used it for the ending of a song called "Sunday Christian" which can be found on my Tom Hoffman YouTube channel. A slightly different variety of the format was used there. Best thing I can suggest is to check them out, verify it's the type of thing you're talking about & go from there. As far proper ways to notate it, I'm not sure if there are any established methods. If I recall, when I listed the lyric in that Story of the Song article, I omitted the "response lyric". When I make an actual text record of them for myself, I typically split that section of the lyric into 2 columns. In one column I list the primary lyric, in the 2nd (right-hand side of page) I list the response. Hope this helps...gotta go! Tom
  10. Sorry, couldn't pass up the opportunity to use this overhyped, cheesy piece of commercial garbage ...played at every wedding reception since the dawn of time Electric Boogie / Marcia Griffiths (The video is named after the accompanying dance, not the actual song)
  11. Please Mr. Postman / The Marvelettes
  12. ...an age-old question Sreyashi & one I do not have the answer to. Fortunately, it's not something I need to be terribly concerned about. There are advantages to remaining a hobbyist. Appreciate both your interest & comment...thanks!
  13. I'd like to add one last FYI, if I may. Almost never have I paid to copyright a single work. If you peruse through my copyright records, almost all are registered "as volumes"...containing multiple works. Back when I registered my first copyright, the fee was only $20 per collective filing. That first filing contained 12 songs (Volume 1) - registered all 12 for just $20. Same holds true today. Yes the fee is $35, but that fee covers a single filing, NOT a single song registration. That means my cost per song on volume #1 was only $1.67. If I registered that same filing today, it would cost me $2.92 per song. For math challenged individuals, that's less than $3 per song. Honestly, if it's not worth $3 to guarantee your creative work the maximum protection allowed by law, then what does that say about the value of your song? BTW - all my experience & consequently my advice is based upon song filings, not lyrical filings. When you register an entire song (lyrics & music) you submit an actual sound recording of the work. In the old days we sent them a tape...now-a-days, it's an mp3 uploaded online. I have no idea what it cost to file for a lyric-only, or what's involved. For all I know the process may be completely different. Since Ray is a lyricist, I thought it was important to point that out. Around here, when we use the term "song", we're talking about a complete song. Lyrical works are referred to as just that...."lyrics".
  14. Yep Ray, there are other methods for establishing copyright ownership & time frame. Perhaps I should have worded that statement a little different. What I meant was that it's the only universally recognized method of fully protecting your financial interests. Should you wish to legally pursue a breach of copyright claim in a U.S. court of law, it makes a big difference in eligibility for damages. The quote below is taken directly from the Library of Congress website.....https://www.copyright.gov/circs/circ01.pdf In other words, if you chose to register your work by any other means, a U.S. court will only allow you to recover actual damages & profits. You will not be eligible for statutory damages or attorney fees. So, in a U.S. court of law, legally establishing ownership & eligibility for claims are not the same thing...hence my use of the word "universally". If it doesn't give you same result everywhere, then it isn't universally recognized. Many alternative forms of registration have actual disclaimers on their websites, such as..... They tell you right up front that they are NOT equal to a Library of Congress registration. ...appreciate you pointing out the difference! Tom
  15. I made that statement because... This discussion is taking place in the contest of the "Lyric Critique" section of the site. People post their works here to obtain useful feedback, suggestions & critique of their works-in-progress. I see nothing to make me think that this poster was looking for an education on the fine points & historical evolution of songwriting terminology. Do you? We have essentially hi-jacked this man's thread & turned it into an off-topic discussion. He wanted feedback on his lyric & we are not allowing that to occur. There are specific sections of this website set aside for discussions of this type. That's where it should be taking place. The original posted specified that he is NOT a native speaker of English. Because of that, he indicated that the crafting of this lyric has been a challenging process. This is his 10th attempt at a final format. Even if he were interested in the topic of our discussion, he's probably having a difficult time following it. I'm sure he appreciated your attempted guidance about proper terminology, but once that advice was questioned we really should have taken this discussion to another part of the site. THAT's what I meant when I said another time, another place. It had nothing to do with you personally. *My sincerest apologies to the original poster for hi-jacking his thread. I promise...this is my last comment here. Tom