Co-writes and Collaborations

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  • #27268 Reply
    PeteJ
    Participant

    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?

    #27272 Reply
    Paolo
    Guest

    …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.

    #27273 Reply
    PeteJ
    Participant

    Thanks Paolo. I rather thought that your first paragraph might be generally true. I just doubted it was true for everyone.

    The music is going out there. It’s good. But some of it it has the potential for re-orchestration and while I can write the parts with a pencil I’m not into realising them on a PC.

    But fine. If others agree with you then I have my answer. I was just exploring an idea.

    #27278 Reply
    PeteJ
    Participant

    Also, I was thinking that maybe it would liven up the day for some composers to be working on something they wouldn’t have written themselves and especially if it has parts ready that they don’t have to record themselves. But it seems not.

    #27279 Reply
    ChuckMott
    Participant

    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.

    #27283 Reply
    Philtunes
    Participant

    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.

    #27285 Reply
    PeteJ
    Participant

    ChucMott – Yes, that’s the sort of thing. As Philtunes says, in real life it’ll all depend on the music. In my case I’m not seeking an arranger but just thinking that I might offer the tunes around to see if anyone wants to create further versions and split the vast income that’ll immediately start to flow in.

    Also it works the other way around. Someone might want to take an old cue and add some classical guitar, not a widely played instrument, which can brings to life tracks that are sounding too programmed or ‘in the box.

    I’m a fan of the music for Morse and ‘Rpsemary and Thyme’ and love that use of the guitar, but can’t fake the rest of the band.

    Just exploring ideas really.

    #27300 Reply
    PeteJ
    Participant

    Right. Time to take my life in my hands.

    I see that my question needs an example to make sense. I didn’t want to post recent work but here’s a tune I did as an experiment in sketching.

    It could stand a big arrangement but Kontact does my head in and there’s no way I can fake a real orchestra convincingly. There’s three variations on the tune and an interlude. It’s a sketch that I won’t be able to develop without learning to use the technology better, but I wondered if someone else might like to take it on. Short tunes are easy but long ones less so, and I like this one a lot.

    #27317 Reply
    PeteJ
    Participant

    Bump. Simple question. Might a tune like this be of any use to anyone? It was designed as the raw materials for a piano/orchestra piece but it’ll a long time before I can use Kontact well enough to fake it. If not that’s fine. I was just wondering…

    #27323 Reply
    PeteJ
    Participant

    I’ve changed my mind about this and have taken down the track. As you were…

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