This Schedule shall not apply to copyists, or to any personnel rendering Muisc Copying related services, such as Proof-readers and Librarians; FYI: The orchestrator minimums listed in the contract are not what actual orchestrators charge. They start at about twice those numbers and go up from there. Prices for arranging are left to the discretion of the person doing the work, provided however, that the price charged shall never be less than the minimum wage for orchestration.
A composition is considered complete in from when it fully represents the melodic, harmonic and rhythmic structures. IMO what you did would technically be considered arranging if you were on Broadway.
In the real world, of course, we have to be a little flexible without letting ourselves get abused. That is sometimes difficult territory to navigate. I am doing the Orchestrations, Arrangements and "Synth Programming" for a new show right now which is eventually intended for Broadway. In NY these would be separate jobs and normally are not allowed to be done by the same person. FYI: There is a spread-the-work rule which doesn't allow one person to do everything in a Broadway show.
The current production is regional and, of course, they don't have the money for Broadway prices or to pay separate people for all the different jobs. However, I, the set designers, lighting designers, director, etc. So, I'm being quite flexible with this situation in the hope of future rewards. Hope all of this helps.
Yes thank you for good information PJ which confirmed what I generally thought. It would be nice to hear some of your work in this wonderful field of music which has suffered creatively as so many musical genres seem to have in the last years: film, TV, Pop etc. You cannot post new threads in this forum. You cannot reply to threads in this forum. You cannot delete your posts in this forum.
You cannot edit your posts in this forum. You cannot create polls in this forum. You cannot vote in polls in this forum. Forums Search Latest Posts. Dave Connor. Actually, this is essentially whan an orchestrator does. A composition is considered complete in form when it fully represents the melodic, harmonic and rhythmic structure.
Thus the composer's sketch is expected to be very detailed. When an orchestrator does anything more fill in background lines, rework chord voicings, etc. Most, if not all, orchestrators charge more than basic orchestration scale for arranging.
In fact, even the AFM clearly defines this difference as follows: Any alteration of or addition to the structure of a composition is defined as arranging. Most of the confusion between these terms comes from the fact that many orchestrators are actually doing arranging work, but don't call themselves arrangers. That's what the job is supposed to be I agree but that is not the reality on the ground in at least Hollywood these days.
I agree with you as well. Your MIDI mockup statement is definitely right on. I deal with this firsthand every day. Most people I know bill for it as if it's arranging but are content to let people refer to it as orchestrating.
You say tomato Most composers when writing for orchestra don't think, "I need an arranger. Be Well, Poppa Any tone or group of tones can preceed, succeed or sound simultaneously with any other Poppa Any tone or group of tones can preceed, succeed or sound simultaneously with any other Poppa This interests me because I recently did an arrangement of an original broadway style tune for a private party and was asked to write an instrumental bridge.
I pointed this out because it was pure creative writing on my part and I considered it beyond the scope of the job. I did it nonetheless and didn't gripe but only mentioned it for further consideration. Would the Union consider this type of thing writing a bridge of say eight bars in a three minute song as orchestrating?
I'm not sure about that, my friend. It might be a 'Bridge' too far! On a more serious note, i think the lines have become somewhat blurred between the aforementioned distinctions. And it may only be 'isolated global pockets', as it were where the differenc is even known. Bill and Daryl both made telling comments in another thread about the lack of fundamental elements in modern musical education Counterpoint, Fugue, etc.
It may be the same 'modern' mindset, coupled with the technology more and more of us are using, that have helped this to happen. Can it sound like Led Zeppelin? Can it sound like Olly Murs? It can be quite tricky to work out what someone has put into a track on a fake string or brass sound, because it can get mixed up in guitars and other things. Leave it to the people who are used to doing it. And if you are producing a manuscript, ask the players for advice. Or they have played it on a keyboard without quantising and just printed it out.
MIDI files can be confusing when not quantised. I literally print out my Logic score, write notes on it, scan it back, and give that to him. Avid Sibelius. Sally also has some advice for anyone wanting to avoid paying for a commercial studio.
You also need space. Flowing, melancholic, lovely and uplifting are the sort of words I hear a lot! You have to make a judgement as to whether it is interesting or just a mistake. Or notes that are not happy in the chord and sound wrong.
More normally though, too many ideas is the problem. Embryo arrangers always make the mistake of using too many ideas. The reality is, in pop particularly, that the string part is not a big part of the picture. So if the embryo arranger comes along with 10 ideas it becomes a sonically crowded mess. When asked if one of the problems is instruments clashing in terms of their sounds and articulation details, Nick is insistent that there is no simple rule to adhere to, only professional knowhow.
They were trained classical musicians and knew what combinations would make a good sound, so that was their skill as hopefully ours is now. Although orchestral arrangements tend to be added to pre-recorded productions, the arranger often has to be ready to alter their work when there are late changes to the mix or basic arrangement.
Sometimes the arranger gets asked to write the score with reference to a demo, only to find that by the time they start recording the orchestral parts, the track has moved on! Needless to say, it is better to keep the arranger in the loop and indicate, if possible, whether or not the track is finished or in a state of development.
Often, they are not finished and you have to keep going back to them, so when you finally get in the studio you are not surprised to find the track is in a different key or tempo! It was unrecognisable, so I had to rewrite the score there and then. One is Hans Werner Henze, though he might argue that is not what happens. In the past, he has had students orchestrate his works, based on his instructions and oversight.
I know this, because I was at a music festival in Montepuliciano, Italy, where Henze was the resident composer.
The student explained that Henze often involved his students in orchestration work, and that it was considered part of the educational experience. It might work for Henze, whose work is not strongly oriented toward orchestration, but not be possible for a composer like Thomas who writes works that study and explore orchestral timbres.
He composes by ear and cannot write it down. He creates synth arrangements of his compositions and gives them to orchestrators. Or at least this is what was reported in Keybaord Magazine several years ago. It won a Grammy and is simply astounding art that any composer could aspire to. And interestingly, Mendoza is a graduate of Ohio State and not one of our high falutin conservatories that have put out notable strings of nobodies. Hollywood has its drawbacks, but sometimes honest practicality seems to produce better art than grand and pompous aspirations.
Whether its the composer themselves or others. Yet the problem is;. If you want to fine-tune your subscription prefences please do it below, or come back and visit your settings page later. From the Counterstream archives, take a deep dive into new music.
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