with hit songwriter and recorder producer
*over 65 million sales*
Six-time Oscar, Grammy, and Golden Globe Nominee for songwriting, with more nominations and awards
to artists who performed songs composed... 65 million record sales.
* Wrote hit single and Oscar / Grammy-nominated Run to You sung by Whitney Houston in the hit film "The Bodyguard," and recent worldwide hit musical.
* Numerous hit songs including #1 on Billboard Hot 100 – “I Don’t Have the Heart” by James Ingram.
* 2016 Grammy Museum night celebrating my writing partner's and my achievements in the music world.
* 5 Most Performed Song Awards from BMI and ASCAP.
* Early songs recorded by star artists Barbra Streisand, Ray Charles, Leann Rimes, Tina Turner, Toni Braxton, Chaka Khan, Rod Stewart, Oleta Adams, Tenors, Gladys Knight, and Dave Koz.
* Two recent #1 singles by Italian superstars Giorgia and Elisa (one the biggest single of the 1st half of 2016).
What makes a great song? A HIT song? How do you break through as a songwriter?
How are songwriters actually making - or not making – money these days?
How can you best use your interests and talents to monetise your music?
Collaboration is a HUGE part of the modern music business and anyone who wants to be a professional songwriter.
How does one succeed as a songwriter in today's "real world", not the classroom.
What does it take or even mean to write a "great" song or a "hit"?
What can you do to have the best chance of getting your music heard in the modern world?
Why is collaboration so helpful both creatively and on a business level. Are you writing hits? If not, what's missing?
What do you really need to know about the "business" side of music.
Why does a song "work" or "not work"
I will provide all the answers and help in all areas: generating and developing your ideas, lyrics, music, the difference between writing for yourself as an artist and writing for someone else, what makes a great lyric and melody and how to make collaborations work. I will show how you to avoid the common pitfalls of new and even established writers, such as lyrical cliches and “old” chord structures, and how to be ready when – as often happens – you are called upon to make changes to your music quickly, even in the studio while a song is being recorded. And always, we will keep our eyes on the ball of writing something that is not only great but also contemporary and commercial. Join me and lets write that hit song! Jud Friedman.
Here is what some of the writers who have attended my workshops and mentoring sessions have had to say:
“Jud is an amazing teacher! He was able to listen to my songs and critique and give me some amazing pointers to make my songs more commercial friendly. Plus his knowledge of the business and getting songs placed was phenomenal! Was just an amazing experience.”
“I had an incredible experience at the workshop… Jud’s expertise, experience, and genuine desire to help songwriters grow and thrive in today’s world of music enriched everyone’s way of thinking, whether we were experienced or very new to the game. I highly recommend these experiences!”
"Jud brings a brilliant mix of seasoned expertise and heartfelt openness to the creative energy of the moment. He fosters a safe, comfortable, and warmhearted learning space… Highly recommended to anyone looking to establish, improve, or master their songwriting abilities!!!”
“Jud and I have worked together since the beginning of our respective careers.
He’s actually one of the first songwriters that peermusic signed after I started with the firm.
The man knows how to write hit songs!
In fact, he should give lessons on the perfect structure of writing pop hits. On top of his creative talent, he has a wicked intelligence and a great sense of humor.”
President and Chief Operating Officer, peermusic