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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 know it is late in the evening. However, I would not consider a deal of this sort. You are signing your ideas, creative skills and ingenuity away. The company are not offering anything but a slim hope of placing your music. Personally, I feel the music publishing is not a good deal either…. A music publisher still has to find an artist to record a particular song to do this they will need to have lots of conversations with artists, managers etc.
I would assume the music they are interested in is an actual song and not an instrumental piece.
I would advise caution before you agree.Hi Haynes Music. The problem with the Old established music production libraries (often linked to music publishing and actual labels) in the UK at least. My experience is you need to get some form of introduction from someone in the company. Even if you do there is still no guarantee your music will get used.
I feel you might be better approaching a smaller library with your music. A company like Universal may well approach established names to write music for them even tho they may not be as imaginative as you are, the fact that they are a ‘Name’ seems to clinch the deal.
I have noticed this in a very large London library.
Phil.Hi, I am interested in doing something similar. I mainly work with independent corporate film makers. Contacts I have made over the years. For example Composing music for specialists areas such as films for museums , historical films. National Trust etc. I am a Lutenist, string and recorder player…. And studied early music at Trinity College London. So My music tends to be of the kind where authentic music is essential…. That means no midi only acoustic instruments. I usually compose the music for a fixed fee. The music can be used without PRS being involved. However, I feel if the music were to be used in Tv national broadcast programmes, then really the TVs company must fill in a separate sheet for PRS. Composers should get money… ( backend) for broadcast otherwise they are really giving potential earnings away. I am still thinking about this though.
Yes Paulie, I know it is tough particularly for young performers. I took a path in the uk I might add and became a music teacher initially…. I carried on and I am still am having a wonderful time teaching music part time now. Ok I am not earning a full on living writing music as a career but you are right, hey Philip Glass was working as a plumber in the 70’s to supplement his income. John cage had to give lectures. I think it is popular music where there are fantastic incomes to be earned for only a few lucky artists… The rest of us have to carry on with what we do and develop it.
I feel that if students wish to develop a career in music they should be aware of the skills they have to understand. It is certainly not enough to be computer aware and know how to handle a mixing desk … That is music technology and can be learned through working in a studio or in a band or live sound this is modern technology. However, learning an instrument to a very high level… Particularly piano. Violin, guitar, trumpet etc can also lead to many opportunities. Also being able to arrange an orchestral or jazz ensemble may well lead to opportunities which are never really considered .. I really enjoy composing music for film and soundtracks but there are so many (composers) sending music to libraries I feel I cannot compete or be bothered with writing 50 or more tracks to keep sending to libraries, So I use my music education in a different way. Eg…. The music was a an orchestral sample arrangement we want it written for a string quartet or a brass group, or we want it arranged for a renaissance group. Could you do this for us. I do and I make a fair amount per hour for the service. I suppose what I am trying to say is there are several artists out there who record music…with live ensembles such as string quartets someone has to arrange it , write it out etc.
There are many benefits to studying music at degree level and if a student is imaginative and skilled enough a good living can be earned supplementing the music skills they have acquired.Hi, regarding some of your questions. if the libraries are in the uk. Check the contracts.
1 join PRS. They will send you the standard reg number which you will need for log in. Register each piece on the Cd….The name of each piece etc. You will be given a no.code so you can refer to the usage in the future.
2 make sure PRS have your address and email. They send regular updates.
3 in the uk it is not necessary to register your pieces. Although you may wish to pop a cd into a registered letter and post it your yourself making sure the date is clear on the envelope. Do not open the letter when it arrives but store it. This goes somewhere towards proving that your cd was produced by at least the date on the envelope.
Good luck.To answer all questions relating to notation always go with your ears. If it sounds good then go with it … For example in art..Picasso created his own language he must have studied the painting of those who went before but then so did Stravinsky … There where riots in the auditorium when the Rite of Spring was perforformed in the early 20 th Century. Much of the music is very rhythmic and exciting. But why? What was it that made the music so vibrant at least to the modern ear? So if one wants to progress at least as an orchestral influenced composer it would be useful to study such scores and learn. I feel this is the advantage of a composer interested in wanting to compose for orchestral soundtracks! If you don’t, well maybe you just will not command respect when you have to realise what you have written in front of a live ensemble .ok you can always commission an orchestration specialist to produce the music for you…. These people do earn mega bucks!!!
I feel it is essential to be able to understand music notation if you are composing orchestral based music. It makes life much easier if you know how orchestral music works and even to study a score from from great composers from the past. This certainly helps in learning how instruments and there timbre work. Eg how a brass section works with the woodwind or the instruments range… It will not sound good in certain types of music if chords move in parallel motion eg 5ths and octaves…. Great in rock music eg power chord progressions… Not so in a classical style piece. Sometimes a brief may call for such a style. So I believe if you are intending to compose for orchestra it would be useful even essential to be able to understand the rules of harmony.