I have decided the best way to give back is this thread

[fusilierb]

Does it alwyas have to have some type of counter-melody? Is there a "jam" section? Can you change keys -- like from major to minor and vice versa -- within the same piece? What length (in minutes) should a track usually be?

All libraries will have different demands on cue lengths, we are 3:00 +/- and I am a crazy fool on counterpoint. To me lack of counterpoint, regardless of how subtle, is either lazy, or lack of crafting skill. Changing Tempo, Key, or Mood is the biggest nono. Never do this and you will be better off. Some rhubato can be acceptable but it MUST be subtle, why. As good as your cue is, the editors and director are not going to reshoot a scene to match your cue. If you go from happy to sad and the scene does not do it with the exact same timing they have a choice. Ditch the tape, or ditch the cue, wanna guess which will happen. Maintain the integrety of the cue throughout. Your best chance lies there.

Hi Mr. Herder,
This has been discussed a lot amongst some of us and I figured this would be a good place to understand the thinking behind this, for the benefit of your current and future "cats". I'm wondering about track length. If a library cue placement rarely (almost never) goes beyond a minute, what are the advantages of writing three minutes of music? Especially since the structure usually repeats sections to make them that long. I know I can personally nail a minute and a half quickly, but extending the ideas out to twice that amount is usually what takes the most time. In a business where volume is key, I was just wondering what are the advantages of 3 minute tracks.

B

PS. This is a really cool thread, thanks for taking the time!

[shellsings]

Hello Cat Herder..

I am just now starting to learn about music in the Film and TV business... I also have little idea about the business side of it either.

If I am currently selling my tunes on itunes and one of them gets picked up for a TV episode or Film, will the fact that I had been selling them be an issue? Would I need to imediatley have to pull the song from itunes? thanks!

[Casey H]

Is it me or does Ludwig van Beethoven (Cat's avatar) look a little like Neil Diamond?

[Casey H]

Hello Cat Herder..

I am just now starting to learn about music in the Film and TV business... I also have little idea about the business side of it either.

If I am currently selling my tunes on itunes and one of them gets picked up for a TV episode or Film, will the fact that I had been selling them be an issue? Would I need to imediatley have to pull the song from itunes? thanks!

Michelle
MY understanding is NO and in fact it is much more likely to be a PLUS. You see a lot of TV shows today want songs from emerging artists and joint market their CDs, iTunes, etc. The fact that you are an artist with buzz can be a big advantage. A lot of libraries strongly encourage their artists and composers to beef up their bio because film/TV sups are very much interested in that.

Also, a great many libraries with exclusive contracts make that exclusivity only as far as film/TV pitches or only regarding other music libraries. So you can sign a song to such a music library and be completely free to do any non film/TV activities with no conflict.

Matt, Cat, etc... Please chime in... correct me if I'm off here or expand...

Casey

[Cat Herder]

I Got A Lot Of Splainin To Do Lucy!

Casey,
1. If you sign an agreement today, any earlier placement should not be affected, If you are the publisher for that piece it keeps this all clean. If you are not then you get into the retitle mess. You should notify the holder of that cue that it is now registered to another publisher to cover future play.

2. If you have a lead for a placement on a cue you have signed with a publisher you should definately refer the production to your publisher. Most likely, if you are with a quality library it is already there, or the production company already does business with that publisher. They will want to know this. You do not want to cross licensinging signals. That can invite problems.

Shanegrla,

Counterpoint in a fuge is counterpoint to its most extreme. Light countermenody in a piece adds to its emotional feeling. You do not want it to be "in your face", then it is too busy. Unless some Bach form of classical is required. Tell the backstory with counterpoint melody without messing up the point melody

bassman,

1. No rule differences from country to country that I know of except what ethnically may be likely.
2. Longer intros may not really be intros, they may be part A. Different libraries may require different things, but one thing is universal. You can run out of scene before you run out of intro which may render your cue useless in many situations. Keep the intro short, 1 or 2 bars unless otherwise instructed by your creative director.

Bryan,

Why 3 minutes. In a 3 minute piece you should always have a piece that builds and moves. That editor may not be particularly moved by your first Part A, and completely excited about Part B or the second part A. Also you eliminate your options for long important feature spots with short pieces. If it is a choice between too long or too short, I will take long every time without question.

Michelle,

It really depends on the agreements you have , not so much with iTunes, but, some compaines for example, may have some licensing options in their agreement. You have to be careful and follow the 3 main rules of dealing with a library, Disclose, Disclose, Disclose. The purest answer is that each library will have a different set of rules, but do not let that discourage you from placing your music in places like iTunes. I my particular case your iTunes placement would not affect my decission to sign your cue.

Sorry for the short answers, I am a bit swamped today, but feel free to submit a follow up to clarify

[Cat Herder]

Ludwig von Diamond. Any resemblance between any person living or dead is purely coincidental and is not intended to represent such person except Neil Diamond and Ludwig von Beethoven. BTW this is my own artwork. Pretty good huh?

[timbutler]

Hi Cat!

Can you expand a little bit on "counterpoint"?

Can it be percussion, chords, or melody?
Should it be present throughout the cue, or come in and out?
How soon should it be introduced?

Thanks so much!

Tim

[fusilierb]

Thanks Herder,
That makes complete sense.
B

[jdstamper]

I reallly appreciate this thread.

Do you have any advice on how a composer for libraries can anticipate what's going to be needed down the road a bit, emerging trends in music that libraries need, what is becoming hot? It would be nice to be able to get ahead of the curve occasionally ... if there is a curve ...

Thanks, Jim

[matto]

I reallly appreciate this thread.

Do you have any advice on how a composer for libraries can anticipate what's going to be needed down the road a bit, emerging trends in music that libraries need, what is becoming hot? It would be nice to be able to get ahead of the curve occasionally ... if there is a curve ...

Thanks, Jim

Watch new TV shows, check out the latest movies, listen to the radio, check out the Billboard charts...
In all of these fields there are trends, and all of those trends will likely be sought after by the clients of production music.