E-books On How To Sell Your Own Music On The Web

Do you mean something like this?

http://promuoveremus...uzione-musicale

In the meantime, I would remind you of this topic

http://www.pianoconc...i-propri-brani/

Try to take a look at this link

http://blog.ijamix.com/ebook-in-promozione-offerta-valida-per-2-giorni/

Thanks CromaDiBrera for the stimulus, this is incredible

http://autoproduzion...muovere-la.html

As for an ebook I wouldn't know, I am looking at Gennarino's report

Bit wrote:

Do you mean something like this?

http://promuoveremus...uzione-musicale

Very useful, thank you. Actually, I was mainly looking for an articulated publication that also provided the complete "know how" to move with a certain ease, but even this is extremely interesting for me since I am taking my first steps. In relation to the content of your link, I would also be lucky since I have a Mac...

In the meantime, I would remind you of this topic

http://www.pianoconc...i-propri-brani/

Thanks, I remembered it, but it hadn't gone into much detail.

Lucas wrote:

Thanks CromaDiBrera for the stimulus, this is incredible

http://autoproduzion...muovere-la.html

As for an ebook I wouldn't know, I am looking at Gennarino's report

Yes, this one by Grancagnolo is an e-book on the subject. It's just that it costs about 50 euros...! Aside from the price, I am undecided whether to buy it or not for two reasons: the first is that it insists heavily on a certain rhetoric (the "redemption" of the musician mortified by society), which in the long run I find unprofessional (and even a bit irritating); the second is because he writes really badly, with random punctuation, and it is truly exhausting to read. His e-book (the first in Italian) was "pilfered" by Giorgio Costantini (a successful composer who climbed the iTunes charts), who sells the same content for less than 20 euros. In fact, these are the Italian texts I have found on the subject, but I was specifically looking for an opinion.

Hello CromaDiBrera.

1. They are texts written to "round off" and finish riding the wave. I write songs, climb the iTunes charts, write a text on how it's done, and collect the last few cents.

2. If it depended only on the lyrics, how many climbs would there be? And would that explain it to you (or me, etc.)?

3. Aside from opinions, there is nothing better than reading a text and forming your own idea ... 20€ is affordable.

4. A purely "small" part will be done by the music, right?

Now the point is, okay, knowing how to sell yourself, but with what music? One of the main operations I perform when I find myself getting too close to the tonal when writing is precisely to purge those parts of the Sanremo shadow—the right note in the right place that the average lower-class audience expects and buys from iTunes.

If I were forced, I would do it immediately, but since it is systematic, when I think of certain music, I remove it and transform it into something that has little to do with it and escapes Pausini's customers (no offense, I like her too... and to tell the truth, I prefer Giorgia)... what interest would a climb have for me if the premises clash with my vision of music?

I know this is partially OT, but I need it to make you understand why I won't spend 60 euros on tricksters

Hi, Zazza.

Zazza wrote:

1. They are texts written to "make ends meet" and finish riding the wave. I write tracks, climb the iTunes charts, write a text on how it's done, and collect the last few pennies

If you are referring to Costantini, I wouldn't say he is out collecting pennies. He has had a consolidated musical activity for a long time, supported for some years by the system he describes. He is not the only one, moreover, who lives very well off music by exploiting only the web and remaining independent from publishers, record labels, SIAE, etc.

Zazza wrote:

2. If it depended only on the lyrics, how many climbs would there be? And would you explain it to yourself (or me, etc.)?

I didn't understand. In any case, it is not about climbing charts, but about living or earning a decent living making music; in this sense, there are many musicians who have organized themselves like him, especially in the USA.

Zazza wrote:

4. A purely "small" part will be made by the music, right?

Well, that is obvious.

Zazza wrote:

Now the point is, okay, knowing how to sell yourself, but with what music? One of the main operations I perform when I find myself getting too close to tonality while writing is precisely to purge those parts of the Sanremo shadow—the right note in the right place that the average low-brow audience expects and buys from iTunes

If I were forced, I would do it immediately, but since it is systematic, when I think of certain music I remove it and transform it into something that has little to do with and escapes the clients of Pausini (no offense, I like her too... and to tell the truth I prefer Giorgia)... why would a climb interest me if the premises clash with my vision of music?

We see it very differently: you write as if there were Sanremo on one side and atonality on the other, and you have to manage between these two presumed opposites; I am not interested in pop songs at all and I don't have any problem with tonality or not; I cultivate a genre practiced mainly in music for images (auteur films, reportage, documentary, etc.), where one can make both an atonal track and a very catchy one, and use both a string quartet and electronic sounds. The genre has its admirers and I am just looking for a way to propose my work; that's all.

Zazza wrote:

I know it is partially OT, but I need it to make you understand why I won't put 60 euros on these tricksters

I don't see why publishing books is something for tricksters... Unless you already know what it is about and believe that the proposed content is a joke. I think they are not, because, precisely, in the musical landscape there are more and more musicians and composers who live very well off their own music without needing the classic publisher, CD distribution, etc. And this has, by now, become a fact of life.

From your last response, I got the impression that you know exactly where you're going with this, so I wouldn't deprive myself of the possibility of reading one of the 2 ebooks.

For the reasons you listed in your premise, I have always "refused" to get it for myself. 60 euros for a product of mediocre writing that plays right into what you contest about Zazzà: the stereotype of the composer who doesn't earn money.

I repeat, from what I've read anyway, I would buy it.

CromaDiBrera wrote:

I cultivate a genre practiced mainly in music for images (auteur films, reportage, documentary, etc.), where one can create both an atonal piece and a very catchy one, and use either a string quartet or electronic sounds. The genre has its admirers and I am just looking for a way to propose my work; that's all.

Do you mean music for images ...without images, or what... in relation to iTunes?