Showing posts with label Kurt Knecht. Show all posts
Showing posts with label Kurt Knecht. Show all posts

Wednesday, November 5, 2014

Music Publishing Trends, Part Five

Today in our series is a guest blog from MusicSpoke, a very new company started by talented composer/accompanist Kurt Knecht and his wife, the entrepreneur Jennifer Rosenblatt. This company launched in July of this year and has already attracted composers such as Andrea Ramsey, Dale Trumbore, Connor Koppin, and Timothy Tharaldson. MusicSpoke has turned the traditional model on end- they have taken a totally new course in publishing and their utilization of start-up funding, and other help from a business accelerator, NMotion, based out of Lincoln Nebraska, is brilliant. The rate of royalties for MusicSpoke composers is incredibly high! Here is the guestblog from Kurt:


What if getting your music into the hands of a conductor meant you didn’t have to settle? What if the working relationship between composers and performers  simply…worked?


Paul has done a wonderful job explaining some of the frustrations facing composers today. About a year ago, I was dealing with some of the same frustrations. I felt like I should get a bigger cut from my publishers. I was tired of forfeiting my copyright and seeing pieces “die.” I also wanted a closer connection with the people buying and performing my music.


My wife is a successful entrepreneur. One day she said, “We need to fix this problem.  If we can fix it for you, we should fix it for everyone.” That’s how MusicSpoke was born. Above all, MusicSpoke is about creating community between composers, conductors, and performers.


We began by talking to lots of composers. They all had the same frustrations that Paul so eloquently outlined: giving up copyright and control of original works, not receiving a fair share of the revenue, and no way to find out who is purchasing the music. After speaking with composers, we started talking to conductors. The conductors we talked to had two main complaints. They wanted to be able to hear and see the entire score before purchasing it. Too many had been burned by buying a piece that suddenly split into eight parts on the page you couldn’t see. They also wanted a convenient way to interact with composers. So we built MusicSpoke.


MusicSpoke is a marketplace, not a publisher. We are a tool to build community and help composers get their music into the hands of conductors. We put composers’ scores on a website where conductors can search, hear, see, and purchase the music. Best of all, the conductors can rate the pieces, send messages to the composers, ask questions about the music, or even set up a Skype rehearsal.


We let the composers control their own music. Since we are a marketplace and not a publisher, the composers retain their copyrights. If we use Paul’s $1 analogy, [click here for that discussion in an earlier blogpost] we give the composers 70 cents of every dollar instead of 10 cents. We are using the 30 cents that we keep to maintain the marketplace and promote the composers through advertising and conferences.


This summer, we were accepted into the NMotion Accelerator program in Lincoln, Nebraska that came with seed funding and a 100 day intensive start-up program. In addition to the initial $20,000 funding from the NMotion Accelerator, MusicSpoke was recently awarded a $50,000 prototyping grant from the State of Nebraska. Since launching in July of 2014, MusicSpoke has had over 14,000 page views and has increased sales 245% month over month. We have already expanded into art song and will continue to expand into additional genres.


We are the ideal team to create a new model for composers and conductors. I am a composer, conductor, and performer, so I am personally invested in finding a better solution for all of us. If I were just another composer trying to figure out a solution alone, I wouldn’t have much of a chance. I’m fortunate to be married to a very brilliant lady. My wife and co-founder, Jennifer, has already built a successful, award winning business. Her company, Argyle Octopus Press, is in its fourth year of business and was recently awarded the SBA 2014 Nebraska Small Business of the Year for CD1. She has the business and marketing background to make this idea into a sustainable and thriving alternative to traditional publishing. MusicSpoke is what happens when a musician and an entrepreneur get together. We have already collaborated on other successful projects including Zach (age 22) and Avi (age 19). We are excited to build something that creates a stronger community and a more equitable solution for all of us.


Please visit the site at musicspoke.com and feel free to drop us a note at notes@musicspoke.com to share your thoughts. Most of all, check out our wonderful composers. We are adding new ones all the time. They are super people writing amazing music. When you use MusicSpoke, you can be confident that the majority of your money is actually going to the people who create the music that you love.

Dr. Kurt Knecht


Kurt is the cofounder of MusicSpoke, a marketplace dedicated to musicians. He is also the music director at St. Mark’s on the Campus Episcopal and on the composition faculty at the University of Nebraska - Lincoln. Learn more at http://kurtknecht.com

Jennifer Rosenblatt


Jennifer is the cofounder and CEO of MusicSpoke. She is an entrepreneur with a diverse background in business, marketing, and sales. Her award winning company, Argyle Octopus Press, helps with the design and marketing for MusicSpoke. Learn more and connect with Jennifer at http://about.me/jennifer.rosenblatt.


Monday, February 25, 2013

Kurt Knecht's How to Sing in Ten Easy Steps

I kind of stumbled upon a really funny post by Kurt Knecht today (I didn't know Kurt was blogging). Silly me for not keeping track of everything happening in Nebraska (oh settle down Nebraska- I'm messin' witchoo)! It really resonated with me since I was a choral accompanist for 14 years before I ever directed a choir. This is really fun tongue-in-cheek (or is it diaphragm-in-THE MASK?) stuff. Kurt says he doesn't mind that I repost the whole thing here (well at least it is in the special WarrenBuffettNebraska font italics). Check out some of Kurt's other blog posts- many are very funny and display a highly educated, sharp and slightly off-center wit- my kind of stuff!

And parenthetically, here is a link to a blog post of mine from awhile back if you want further amazing singing advice:

http://paulcarey440.blogspot.com/search/label/free%20voice%20lessons




http://kurtknecht.blogspot.com




I'm not a lawyer, but I have watched a lot of Law and Order, so I feel some amount of confidence in my courtroom expertise. In a similar way, I'm not a vocal teacher, but I have spent the last 25 years playing for hundreds of voice teachers and choir directors. Some of them are famous in their field. Most are not.  Since I have a compendium of knowledge that would be tragic if lost, I have distilled my years of experience into 10 easy steps which any singer can follow.  Since many vocal teachers can be confusing (phonascus obscurum syndrome), I have added some clarifying comments.

1. Breathe in the shape of the vowel. Since there are about 19 different vowel sounds in English alone, you have lot of breathing to learn. Once you master the English vowels, you can progress to der Umlaut breathing exercises.

2. When you sing, drop your jaw North and South, not East and West. North North East by South South West is also acceptable. When you press into the NorthEast and SouthWest jaw dropping, you are approaching the danger area, and East North East and West South West are right out. Obviously, if you live in the Southern Hemisphere, everything needs to be inverted, so drop your jaw South and North.

3. When you sing, think of the vowel as a circle of sound. After you can imagine the circle, imagine the vowel as a trapezoid of sound and then a rhombus. Finally, imagine the vowel as a triangle with angles of 92, 68, and 20 degrees.

4. For an open throat, imagine the beginning of a yawn with a softball sized scoop of canard à l'Orange with pomme de terre and arugula salad in the back of your mouth.

5.  Keep the tone forward in the mask of the face..but not too far forward and not too high or low in the mask. Once the tone starts slipping into the side of the mask, you are in deep trouble. If you find yourself in this situation, it's best to begin by placing the tone in the left eye. From there, progress to the left ear and gradually work your way around the back of the head and then move back around to the center.

6. When you sing with your whole body, the sound will seem to come from the depths of your soul. At first, it may be difficult to sense where your soul is located, but as your singing develops, you will begin to feel a sensation roughly between the kidneys and the adrenal glands. That's where your soul is. As you mature, you will be able to use not only the depths of your soul but you will also have access to the shallow end and wading pool.

7. When you sing, think of your body as a tree. Your head is a branch with new leaves and a birds nest. Your body is the trunk with initials carved in the trunk inside a heart shape. Your feet are the roots which a small dog is using...actually, I don't think I've ever understood this one.

8. Breathe from your diaphragm. Since it isn't really possible to breathe without your diaphragm, I also encourage the use of lungs. Some teachers prefer to use clearer imagery for the instruction of breathing like "breathe from the abdominal muscles", or "breathe from your pelvic muscles." I was surprised to learn that most people in the medical profession are simply unaware of the role of the pelvic muscles in the breathing mechanism. 

9. Once you have mastered singing with proper pressure from your abdomen, imagining a large enough object in your mouth, centering the tone placement, and dropping your jaw, add vibrato. Now take it away.  Now try things in different combinations. Vibrato, a small live bird in your mouth, jaw East by Northeast, breathing with diaphragm and pelvic muscles but not abdomen. The possibilities are endlessly fun.
10. Sing in tune.

Here is the REAL Mask- and now all of you who didn't quite get all that there voice studio jargon until just this very moment ("light bulb" in Steve Carrell's character voice from Despicable Me), you can each send me one dollar:




And here is some more great input on how to get your whole body and mechanism to get those soundwaves into motion- these sounds can't be produced by amateurs: