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Just a hobbyist me, a tyro among experts, but recently I put together an album of tunes for classical guitars for friends and family and also to see if a library might like them. My pension could use a slight top-up.
I have some decent tunes but simply arranged. I feel that some of them could do with further orchestration, string,brass, perc etc. to support the guitars and add interest, alt versions etc., and some might be useful simply as tunes for orchestration starting from scratch. I won’t be doing this since I haven’t got me head around the technology and can take three days to make a cello sound real for eight bars.
So, a couple of questions. Are tunes useful? Do composers who are good orchestrators sometimes want a good tune they can just borrow and develop into finished pieces? Or, would be it interesting/fun to
take a piece for three guitars, say, and add orchestration as appropriate for certain sync uses?And might it be worthwhile financially if the revues are split appropriately, so that the pieces are more widely submitted and more versions exist?
Of course, this all depends on the tunes. But say someone sent you Greensleeves. Would you be pleased to make some arrangements and exploit them via sync, or is it more likely to be ignored, perhaps due to ‘not invented here’ syndrome.
Not that I’ve written such a good tune, but before making it about me I thought I’d ask generally about this idea. I find modern recording lonely and miss the days of ten people in the studio for days having a laugh. Even collaborating by post seems sociable these days. And I do have some decent tunes.
Or is this all uninteresting for a busy pro?
…Or, would be it interesting/fun to take a piece for three guitars, say, and add orchestration as appropriate for certain sync uses?….Or is this all uninteresting for a busy pro?
It’s not that it’s uninteresting, it’s that it would take a composer just as much time to fully create their own original piece of music to licence as it would to take one of your pieces and arrange/orchestrate it.
My 2 cents: if you feel confident your stuff is good, put it out there as is. Wouldn’t it be great to find you have a paying audience for your music — exactly as it is?
Best of luck.
I’ve co-written parts before with other writers where i thought they could add things to it that were totally in their ballpark. ine would not have stood as a stand alone track without those other parts. Stuff is stating to get placed, FWIW, but too early to tell. The track and I think the “placeability” were the better for it. My 2 cents.
In terms of working with another composer. I feel I would have to hear the music first. Then decide if I could enhance the arrangement in some way after a dialogue with the other persons ideas. It is all very well suggesting ideas about commenting on a piece which is completely finished, but then adding additional orchestrated further work is what an arranger might do. This type of work which I feel you are wanting is orchestrating your composition. There are arrangers who could do this but they may well require a fee.
I can write/record your guitar tracks for a split of the writing or as a payed sideman. Add some real dimension to your tracks. I would be open to having a real piano player/organist on certain tracks, post here if you wouldn’t mind doing that but would be on a track by track basis for future tracks only.
If you can play saxophone, that woud be something I may want to add as well. My Ascap sheets are starting to bulk up, as I have stuff placed already.
On certain tracks I can play what I have in mind to give a general idea, but as a nonpianist to sit here and re-record and tweak things to get it to sound just so…may be easier to just have a real pianist/organist/sax player ho knows what he is doing.
My soundcloud page: https://soundcloud.com/chuck-mott
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