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The Guild of International Songwriters and Composers Songwriting & Composing Guild Member Profile Duncan Hopper Songwriter, author, film financier, movie producer, writer of screen plays,books and documentaries 4th Quarter 2020 The magazine for International Songwriters Lyricists & Composers NEW Songwriter Challenge for Lyricists , Songwriters & Composers + Results of the second competition

Songwriting & Composing 4th

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2020 4th Qtr Songwriting and Composing Magazine 2020Songwriting & Composing
producer, writer of screen plays,books and documentaries
4th Quarter
T h e m a g a z i n e f o r International Songwriters Lyricists & Composers
NEW Songwriter Challenge for Lyricists , Songwriters & Composers + Results of the second competition
Is the Magazine for International Songwriters and Composers, is published by The Guild of International Songwriters and Composers. The range of services available to Guild members, being amateur and professional songwriters, composers, lyricists, artistes, singer /songwriters, offers an exciting opportunity to enable the progression of the songwriters’, composers’ and performers’ craft, to assist with the placement of the songwriters’, composers’ and performers’ works and recordings and any necessary information required regarding the music industry.
COPYRIGHT SERVICE The Copyright Service, which was established in 1986, provides the opportunity for members to register their rights of ownership and copyright works FREE of charge, therefore, safeguarding the Guild members’ copyright. A Copyright Certificate is issued to the Guild member outlining details of the copyrights registered on that specific date. The Copyright Service can be used for the registration of songs, instrumental themes, manuscripts, lyric sheets, paper documents, poetry, traditional arrangements of songs/ instrumentals, musicals, poetic, dramatic, recorded works. Full details are given in the membership pack upon joining.
Part of the Guild’s magazine, which contains information outlining the requirements and musical styles of publishers, record companies, artistes, managers, producers, etc seeking songs and artistes.
SONG ASSESSMENT SERVICE Members may have their songs, lyrics, instrumental themes, performances, productions, etc assessed and analysed. The Guild gives opinions as to the quality and commercial value of songs, performances, lyrics and manuscripts. All songs/performances sent by email to the Guild’s Assessment Department at gisc@songwriters- guild.co.uk will be analysed free of charge.
MUSIC COMPOSERS The Guild’s quarterly songwriting challenge, for lyricists, songwriters and music composers to enter free of
charge to members, with some valuable and unique prizes to be won in each section. The song writing challenge is ‘specifically themed’ every quarter and there will a winner in each category of best lyric, best song and best instrumental composition.
If you are unable to write melodies or lyrics then you may need a partner with whom to collaborate. The Guild’s Collaboration Department can put you in touch with other members seeking to collaborate. Guild members who wish to be included on the Collaboration Register should notify the Guild. This service is free of charge to all members and most GISC members, normally, give full particulars for inclusion on the register when applying for membership.
The Guild offers free advice to its members with regard to problems that may exist within the music industry or with any difficulties a member is experiencing. Legal documents and contracts can be examined as to their validity and fairness and the Guild can also advise members on their right to receive royalty payments. Contact info for publishers, artistes, record companies, management companies, etc and much more. Again, this is a free service to all Guild members.
INVESTIGATION SERVICE The Guild assists, free of charge to members, with information on the business or company with which the member intends to deal. The Guild can act as arbitrator between members and other parties and can advise on many aspects of the music industry.
The Guild works in association with Songwriting, Composing and Musical Productions (S.C.A.M.P.) recording studio and members who wish to have demos produced may submit their songs for recording through the Guild.
WHILST EVERY EFFORT Has been made to ensure the accuracy of the information in this publication, no responsibility can be accepted by the publishers for any errors or omissions or for the return of promotional material.NEW
Duncan Hopper Guild Member Profile
Duncan Hopper is a Londoner who has lived in Brighton for over 30 years. A Film Financier and Producer for
MagicHour Media he is also author of “Stopover Stories”, has written for trade magazines and national newspapers such as The Independent and is a credited screenwriter for two documentaries.
He was Executive Producer on "A Good Woman" the screen adaptation of Oscar Wilde's Lady Windemere's Fan starring Helen Hunt and Scarlett Johannsson and is currently working on “Travels with my DNA” short stories from around the world.
A GOOD WOMAN Set in the 1930’s on the beautiful Amalfi coastline. A GOOD WOMAN is an elegant, witty romantic comedy based on Lady Windermere's fan by Oscar Wilde.A tangled web of intrigue emerges as a young couples marriage is put in jeopardy. A dark family secret lies beneath the surface. Directed by Mike Barker award winning g director for the Handmaids Tale. It stars
Helen Hunt, Scarlett Johansson and Tom Wilkinson. Duncan Hopper Executive producer for Magichour Media. A worldwide release which did well in the US, Japan, Australia and Europe.
THE RIVER SEINE - PARIS A film by Mark Nelson for First Light Films. Original music by Mark Nelson. 30 Minutes. The majestic Seine flows through Paris the capital of France. The ancient river bears witness to the history of this magnificent City.The Seine and Paris has seen the early French Kings and the first Paris tribe that inhabited its banks. The rise of the Sun King, the turbulence of the French revolution
and Foreign Invaders. A spiritual journey, from the Arc De Triomphe to the Eiffel tower and the modern miracle of Les Arcs.Script research by Nadia Hopper. Script by Duncan Hopper. Voice over Michael Jayston. Available by enquiry. Available on Amazon. Duncan Hopper is author of "Whatever Happened to Lyn Roe?”
As a prolific writer, Duncan has written numerous highly acclaimed books, the majority of them are available to purchase on Amazon Books. We recently received from Duncan, a review copy of his latest book entitled ‘The Canterbury Lockdown Tales’ and we thoroughly enjoyed reading it and would highly recommend it.
Songwriter, author, film financier, movie producer, writer of screen plays, boks and documentaries.
In early 2020 a group of pilgrims is meeting at a Blackfriars Hotel on the Thames to walk to Canterbury. They are a mixed bunch of characters all, some English and some from overseas. They assemble in the morning when they are informed the walk has been cancelled due to the lockdown. The book tells their stories. Available on Amazon Books
Additional books written by Duncan include
Musicals written by Duncan include
Kinnimont, successful West End producers, and adapted by Tom with a score from Marilyn’s films and a plot featuring the character of Billy Wilder as the narrator. This was performed at RADA in London starring Tom Conte.
Marilyn - A Musical Drama & Whatever Happened To Marilyn? Two separate productions, Marilyn - A Musical Drama, and the play, Whatever Happened to Marilyn? Both by Duncan Hopper, Presented by MagicHour Theatre.
Marilyn The Star It is 2006. An old woman may hold the key to a dark secret about Marilyn Monroe. In her memory, her carers become characters from Marilyn's life, as she relives the stars triumphs and tragedies. But is she blurring fantasy and reality?
Marilyn Monroe personified Hollywood glamour with an unparalleled glow and energy that enamoured the world. Although she was an alluring beauty with voluptuous curves and a generous pout, Marilyn was more than a '50s sex goddess. Her apparent vulnerability and innocence, in combination with an innate sensuality, has endeared her to the global consciousness. She dominated the age of movie stars to become, without question, the most famous woman of the 20th century.
In this new production experience Marilyn's rise to fame; combining dutiful biography and speculation, this engaging drama is an incisive take on the life of Marilyn Monroe.
On a script writing study programme, Duncan met Liam Badger a Film producer. They pooled their resources and launched Magichour Media, which with its syndicate of investors, produced “Ashes and Sand“ with Nick Moran and “A Good Woman” with Scarlett Johannsen and Helen Hunt. They both did well at the Film box office in the UK, US, Europe and the Far East. https://duncanhopperwork.wixsite.com/website
MARILYN THE MUSICAL Original Lyrics by Duncan Hopper. Music by Luca Celano. The original play about Marilyn Monroe was adapted and performed at The Brighton Fringe Festival to critical acclaim. It was then taken up in a cooperation with Laurence Myers and Tom
Duncan has had a distinguished career in business, however, his first love is writing plays and books. Previous works such as, Lyn Roe, I and Lady Montagu and Helen's Shadow, have been well received. He has specially adapted this show for the Brighton Festival.
Copyright and Music - The Right Way To Protect Your Rights
If you enjoy songwriting and
recording your own music then you probably just want to concentrate on that,
but it is worth taking a few steps today that can
save a mountain of trouble later on. Register your work: As a songwriter, if you want to get published, or even if you self publish your work, you will be sending copies to your agents, record companies, or other individuals. Can you trust those who get hold of your work to respect your rights, or will you discover one day that your music is being passed off as someone else's work, while you miss out on the royalties? By registering your copyrights, you place on record verifiable proof of your copyright claim. This means that you can prove your claim to a copyright should the person copying your songs claims they wrote them first. The Guild of International Songwriters & Composers' www.songwriters-guild.co.uk Copyright Service provides the opportunity for songwriting and composing members of The Guild of International Songwriters and Composers to register free with the Guild's Copyright Registration Centre for copyright protection their songwriting and composing copyrights and ownership of their own and co-written works (songs/instrumentals) with other Guild members copyrights and intellectual property rights FREE of charge within their membership, therefore, safeguarding the Guild members' songwriting copyright and other intellectual copyrights. A Copyright Certificate issued to the Guild member outlines details of the copyrights registered on any specific date to help protect against any copyright theft, claim, infringement or dispute. Copyright protection through the Guild's members free Copyright Service can be used for the registration of songs, instrumental themes, manuscripts, lyric sheets, paper documents, poetry, traditional arrangements of songs/instrumentals, musicals, advertisements, spoken word, literary (consisting of or occupied with books), musical tutorials, manuals, literature or written composition, artistic, belletristic, poetic, dramatic, recorded works, sound recordings such as demos, commercial releases, library recordings, archive recordings, videos, films, mp3s, compact disc CDs, Copyright protection through the Guild's Copyright and Intellectual property rights witnessing service is free to all Guild members of The Guild of International Songwriters and Composers who wish to protect their copyright and intellectual property rights. Q. How much does the Guild's Copyright Service cost? The Guild's Copyright service
is only available to Guild members and is free within the songwriters and composers membership How Long does the Guild's Copyright registration last? Once you have registered your copyright (intellectual property rights) with the Guild then you do not have to register the work again (unless there is a significant change to the work - songs/instrumentals). Your certificate is proof of the registration and your claim is held on our files as evidence of your registration. Don't be fooled into paying for further copyright registrations after a few years to some organisations or companies who have set up a fee paying copyright registration service at an expense per song. There is no need to do this. In the UK for instance your copyright is valid for 70 years after your death where the work then passes into Public Domain. Your membership to The Guild entitles you to register as many of your works as you wish FREE of charge within your membership. The Guild's Copyright Registration Centre has operated its copyright service for its members for the past 35 years. Q. How do I register my works with the Guild? A. Registration is extremely simple and quick. All the information on how to use the free members copyright service is outlined in the membership pack you receive when you become a member. Q. Is there any reason for me to register my works (songs/instrumentals)? A. Absolutely, yes. Registration is evidence of your claim to the fact that you wrote the work and that you have taken steps to identify yourself as the true legitimate owner of the work(s) from a certain date in time. If you have a copyright case to defend where someone has plagiarised/stolen your work, how are you going to prove that you wrote it and that you are the legitimate owner of the work. The Guild's copyright certificate is evidence that you took steps to register the work as your own and that the intellectual property rights are yours. It is extremely important to protect your copyrights which could be a valuable asset where royalty income/money is being generated. Q. I have posted a copy of my works to myself, but have heard this referred to as a poor persons copyright. A. Mailing a copy of the work(s) to yourself is not a good practice in itself. This type of evidence is problematic If the packet/envelope is sealed with sellotape or stapled then it could be argued that it has been opened and resealed, and could be fake/corrupted evidence. We strongly advise against this type of registration as a main registration but is good as a secondary back up to a main registration in support.
Q. At what point should I register my works for copyright? A. As soon as you have finished writing / composing your song / instrumental and you are satisfied that the work(s) is finished then the moment it is written down (lyrics / manuscript) or recorded then that is the time to register your copyright. You should do this as quickly as possible before it is given to anyone for any purpose. Q. When promoting my song / instrumentals should I undertake to do anything to help protect my copyrights? A. The main priority is to ensure that you keep a copy of the letter you have written that you are sending with your demo, and to ensure that you get a certificate of posting with the name of the person/company, to whom you are sending your copyrights. Evidence that your work(s) is in circulation is very important. Always use the copyright symbol © or the word copyright on your lyric sheets and recordings along with your name and the year date. Ensure that you label everything (lyric sheets, manuscripts, recording media i.e cassette, CD, DVD mp3s, Video etc and their cases) with your name, address, telephone number and email contact. Mark all your work with copyright notices: A copyright notice is simply a piece of text that states that the work is subject to copyright and the authors name, it is often followed by the phrase 'all rights reserved' which simply means that you withhold all rights to that work as is your right under the work will still be subject to copyright without one, and the 'all rights reserved' statement adds nothing, (this is assumed unless you explicitly state that you relinquish some rights). So why use them? Simple: It's a deterrent. It makes it clear to everyone that your work is subject to copyright, and that you take your rights seriously. The standard format for copyright notices is 5 elements: 1. The word is "copyright" not to be confused with the word "copywrite" which is an entirely different thing. Copyright means the right to copy which only you have the authority to grant subject to any assignments of copyrights that you may have made 2. The internationally recognised copyright symbol © 3. The year of publication - i.e © 2020 4. The name of the copyright owner - i.e © 2020 Joe Bloggs 5. An optional statement of intent, (not required). For example: ' Copyright © 2020 J. Bloggs. All rights reserved.' The © being a C in a circle is the normal copyright symbol and can be applied to most types of work. It can be found in most word processor programs under the 'insert' menu.
Visit the website: https://www.songdoor.com/
Are you devaluing your music by signing non-exclusive license agreements? Do music supervisors privilege exclusive deals? What are the risks of signing an exclusive deal?
Are you shooting yourself in the foot every time you sign a non-exclusive deal with a new music library? These are some of the questions that come up every time musicians receive an offer to license their music.
The Non-Exclusive License Agreement Definition When you license one of your songs through a non- exclusive agreement, this is what happens: You are the licensor You give the licensee (e.g. a production music library) the right to offer your song to a third-party The third-party can purchase the right to use your song. The licensee pays you part of the fee received from the third-party You can sign another non-exclusive agreement with another licensee to shop that same song around to third-parties Advantages of the non-exclusive license agreement Your song is not tied down with one company who may or may not find you licensing opportunities and you can maximize small opportunities
The Exclusive License Agreement Definition When you license one of your songs through an exclusive agreement, this is what happens: You are the licensor You give the licensee (e.g. a production music library) the right to offer your song to a third-party. The third- party can purchase the right to use your song. The licensee pays you part of the fee received from the third-party You can NOT sign another agreement with another licensee to shop that same song around to third-parties. Note: we’re talking of exclusive deals that cover a given set of songs. That is not the same as exclusive deals for the composer’s entire existing and future catalogue. Definitely don’t sign one of those unless you get paid a huge advance!
Advantages of the exclusive license agreement Music supervisors are more likely to consider it because they know they’re getting the best price i.e. there are not 20 music libraries selling the same track for less and the song won’t be used on 100 low-quality projects, thus devaluing the project the music supervisors working on You are more likely to get a fair price for the sync fee… …unless you gave exclusivity to a really cheap music library. Don’t do that. That’s a crazy thing to do!
Advance If you can negotiate it that is…. A tough ask, especially when you’re just starting out. Biggest risks when you sign an exclusive or non-exclusive agreement?
In the case of an exclusive license agreement, you risk handing out your hard work to a company who doesn’t get you a single placement. If you’re an indie singer/songwriter, that could mean a couple of years working hard to put together your album down the drain in the snap of a finger.
With non-exclusive deals, the biggest risk is devaluing your reputation as a serious music composer. The emergence of hundreds of non-exclusive music libraries pitching a similar catalogue with seemingly random prices has led music supervisors to focus on music they can license exclusively.
Re-Titling Songs for Licensing - Illustration How do you get the best of both worlds? Here’s a simple trick to enjoy the advantages of non- exclusive deals without being perceived as a little nobody musician: use pseudonyms.
So simple! There’s nothing stopping you from uploading some of your songs to non-exclusive music libraries under a pseudonym. That leaves you free to place another section of your catalogue with a more premium agency looking for exclusivity. Now to be clear: you should NOT, under any circumstances, place a song in a non-exclusive library under a pseudonym and then sign an exclusive agreement under your name for the same song. This is NOT what we're suggesting at all! What we are suggesting is that if your catalogue is big enough, you might want to offer say 10 tracks on an exclusive deal and sign non-exclusive deals for another 10.
Exclusive vs Non-Exclusive Music Licensing Agreement - Illustration How to mitigate the risks associated with exclusive deals? Even when you have a fairly large catalogue, signing a few songs on an exclusive deal can be a little scary. There’s always the risk that the company isn’t going to get you the placement that would make your initial music making investment worthwhile.
Here are some things I do to limit that risk to a minimum: Research the company Trying to figure out if they’re likely to place your music… How long have they been around? Are they currently a big player? What are the chances that they’ll just disappear (taking your songs with them) in the next few years? Do they have a huge roaster of composers or will they be hands on and dedicated to my music?
Finally, limit the costs of making music Why? So that, if the library never places your tracks, you haven’t just wasted 20 hours of your time and X amount of money on one song that’s never going to make you any money.
Exclusive vs Non Exclusive: Understanding Music Licensing Deals
WARREN BENNETT - INTERVIEWED BY DAVID A ELLIS. Songwriter, musician and film score composer Warren Bennett is the son of Shadows drummer Brian Bennett. Warren Bennett was born in July 1962 and before deciding on a musical career wanted to become a sports journalist. At school he played in various bands and before leaving at sixteen decided music was the path he wanted to take.
DAE: Did you always want to be involved in music and were you inspired by your dad? WB: Not always. I did want to be a journalist at one point. I did a postal course when I was fourteen. I would have loved to have been a sports journalist. I was in various bands at school and I can't remember exactly when I decided to go for a musical career, but it would have been at some point before leaving school at sixteen. Dad would have encouraged me in whatever choice I made.
DAE: How old were you when you learned to play an instrument, read music and what was the instrument? WB: I played drums from a very early age. I started to play around on the piano at about the age of twelve. Then the guitar followed that. I have never learnt to read music very well at all. I can look at something and figure it out but I can't sight read.
DAE: How many instruments do you play and what are they? WB: I mainly play and write on piano. I am ok on the guitar and I love playing bass. I still play drums as and when I need to. I can figure stuff out on other instruments, if I need to. On the Cliff and the Shadows reunion tour I had to play the accordion on one song and the harmonica on another, but I wouldn't say I was good at either.
DAE: I see you wrote a piece for ITVs Summer Promotional Campaign when you were fifteen. How did you get this opportunity? WB: That was a piece of library music. Actually the first library music piece I ever wrote. I was fourteen at the time and Dad was making an album for Bruton Music of light happy go lucky tunes. It was a brief given to him and I played him something I'd written and he loved it.
He added a middle eight and it went on the album. It was called 'Cute'. ITV Television picked it up, so I got lucky with my first piece.
DAE: What was your musical training - did you go to university to study music? WB: I didn't go to university or attend music school. I am basically self taught and when I was young if there was an album I liked I'd also buy the songbook and I learnt from those. I had about four piano lessons at school but got bored. Same with the violin. I did play percussion in the school orchestra. If I ever had a problem with anything when I lived at home I would always ask dad. Things like, "what's this chord called?"
DAE: Do you write music and words? WB: I've always written songs, even when I'm busy composing a score. I find it quite relaxing, to be honest. A band I was in, in the 1980s called 'Glass Ties', had a couple of single releases on EMI and I wrote those four songs. I had a track on a Shadows album called 'You Rescue Me', which I wrote the lyrics for. I've also had to write songs for various TV shows and films that I was composing for. I've had various tracks I've written covered by a few people. Recently I co-wrote a few tracks on an album by English singer/songwriter Michael Armstrong that I also produced. We are currently writing again. I have also started writing with Mike Read, the English disc jockey.
DAE: How do you relate to production people, for example a director who is not musically knowledgeable? WB: Well, the man thing to remember is that you are working for them. I am not fussed about a director having limited musical knowledge. It is my job to help him. He'll still know what he wants and if it takes a bit of time to find out what that is, so be it. It is all a collaboration. The director/composer friendship is very important. I would also add that the editor is also in that mix.
DAE: What got you interested in scoring for films and TV? WB: I've always been fascinated by score. I loved the scores to the TV shows I watched as a kid. 'Thunderbirds', 'The Persuaders' and many others. Then I remember Dad playing John Barry albums. When I left school I worked for Bruton Music for a few years in their original offices in Bruton Street, London. That was a great education into watching composers writing to a brief. I learnt so much there.
DAE: What kind of films are you drawn to as far as composing goes, are you happy to tackle any genre?
WB: I am very happy to tackle any genre. I scored my first horror film recently called 'Tales from the Lodge', written and directed by Abigail Blackmore. I Loved working on it and Abigail was a delight.
DAE: Have you a favourite film/TV production you have worked on? WB: I've enjoyed them all. I can honestly say I've never had a bad experience. 'New Tricks' was special. The whole crew was a very happy family. I scored nine series of that show. There were some great directors and editors that I met on that production.
DAE: If you get several offers what is it about a script that would make you choose? WB: I think apart from the script being appealing, it would be the director and the producer. With some scripts you can start to hear what kind of music you'd like to write while reading it. If that happens I am usually keen to start right away.
DAE: Do you watch a rough cut of the film to get a feel for it and do you like to be involved at script level? WB: I like to go to the script read through, if possible. I usually get the script up front but it's far better to hear it being read by the cast. I'll always watch the rough cut and then final cut before a music spotting session. You need to be prepared for the director. If there is time I may start writing before the music spotting session, sometimes after reading the script or attending the read through. If it is something I feel is working I'll send some rough ideas to the editor and director. If they like it, they can use it as a temp score.
DAE: Have you ever tried to tackle everything that has been offered? WB: I have. I remember one occasion where that got a bit out of hand. I was scoring 'London's Burning', sixteen episodes a year and another programme called 'Ambassador', eight episodes a year. At the same time I was on a UK/European tour with Hank Marvin. I remember doing a concert in Copenhagen, getting up the next day, which was a day off at five am to get a flight home to attend a spotting session and then going home to write through the night. Then it was up early the next day to get back to Copenhagen for the next show. That happened a lot on that tour. By the time I'd finished the tour and both programmes, I was completely exhausted.
DAE: Do you enjoy arranging as much as composing? I do like arranging. With some collaborations I have done I have just been sent a top line and chords. I enjoy fleshing those out.
DAE: Do you always sit in on recording sessions? Well, if they are my sessions, of course. I don't conduct if I am using an orchestra, I prefer to let someone else do that. I'd rather sit in the control room and listen and be able to talk with the engineer and director as things are progressing.
DAE: What was your most challenging job? WB: I'm not sure if it counts as challenging but I remember one of the 'Birds of a Feather' Christmas specials I did. I had the full cast along with guest Ray Winstone in the studio to sing a rocked up version of 'The Twelve Days of Christmas'. I believe the session started after the pub had opened. Let us leave it at that. Actually Ray also had to sing a couple of Elvis numbers for that episode. He was great. Elvis was alive and well that day.
DAE: Do you find musical ideas come easily to you? WB: I do to be honest. I have never experienced anything along the lines of writers block. That is not to say everything is always worth pursuing. I have a ton of once great ideas that will never see the light of day.
DAE: Are you versatile can you work in several areas? I like to think so. I'll never turn down a challenge. Nothing is impossible.
DAE: Before you forget an idea do you get it down on a small digital recorder? WB: I'm always putting ideas down on my phone, from piano or guitar sketches to even humming or singing an idea when out on a walk. Before the phone I used cassettes.
DAE: Do you ever worry that a piece you have scored is very similar to one that is already out there? WB: I do, especially when I think it's good. I think all composers have that feeling sometimes. If I am particularly worried I'll send it to someone and ask them if they have heard it before.
DAE: Have you collaborated with your dad? WB: I have collaborated with my dad quite a lot. We recently had an album released on the Scoring House label called 'Coolplay'. We have started something new recently as well. I have also got a couple of other current projects where I am co-writing via drop box, which is actually good fun, just swapping ideas around.
DAE: Have you ever had to rewrite a score several times because the director wasn't happy? There was one episode of 'New Tricks' that springs to mind. It was a particular cue that was a problem. I think I re-wrote it five or six times. In the end everyone was happy. I also managed to reuse the discarded pieces for other scenes in later episodes. So not everything was lost. I don't mind re-writing things. I sometimes re-write cues before I've played them to anyone.
DAE: What would you say was your most interesting experience you have had composing? WB: As a big Jeff Lynne/ELO fan I was thrilled to work with Jeff once. Watching him in the studio was fascinating. We worked, had a takeaway curry, played tennis and talked about the Beatles. It was a great few days and a real highlight for me.
DAE: Does it vary from film to film how long you get to write the score and have you ever felt you could have done with more time to get it how you want? WB: It does vary a lot. You could always do with more time, as I prescribe to the theory that nothing is ever actually finished. You just get to the point where you have to hand it over. I've got things I am still working on that I started ten years ago. They are obviously projects/tracks that are not commissioned. Maybe I'll never get them finished.
DAE: What advice would you give to people starting out? WB: Be nice. Accept you may not get it right first time. Don't get bogged down with too much technology. You don't need to get very new box of tricks that's released. If you are working on a film or TV project, it is the directors film not yours and get a good accountant.
DAE: If you couldn't have been a composer what other profession would you have chosen? WB: A sports journalist or one of the Beatles.
DAE: Why did you decide to set up your own record company and why did you call it Waffles?
WB: I was making an album with the guitarist Mark Griffiths. We just wanted to put it out in a very limited edition. So I set up Waffles Music. I then used it for a few sideline projects and I've released seven albums through it. Waffles was the name of my first dog, a lovely cocker spaniel.
DAE: Do you have your own recording studio and supervise the recordings? WB: I do. I spend every day in there. You need to make yourself go to work. I have a little kitchen area in there and a sofa/TV set up at one end. If I didn't have that I'd be wandering around the house. I do something everyday, even if it is just for my own amusement. I work on my own but when I need something to sound extra special, or posh as I call it, I get recording engineer James Collins to help. He's a great engineer and mixer. He likes biscuits and that is very important.
DAE: When writing for a TV series do you start with an idea for each episode that you follow through, do you score the first scene first and what is the schedule like on them? Some series will have a definite theme that will run through every episode. Some you can treat each episode separately and make them mini scores. I tend to pick the most important scene first because then I can work off of that for the rest. Generally I'd say you get about two or three weeks to start writing and then delivering a finished score on a TV show. But it changes and sometimes you may only get a week. My motto when things seem impossible is always don't panic, it will get done in the end.
DAE: Finally, what type of music do you prefer to listen to and have you any favourite bands or singers? WB: I can listen to almost anything. I have a broad taste in music. Pop/rock/classical/ jazz. I could, I think live with just my John Barry, The Beatles (together and apart) and Bob Dylan collections.
Ditto Music is an online music distribution company. It distributes music to 160 digital music stores, including Spotify, iTunes, Google Play, Amazon, VEVO, Apple Music, Beatport, Deezer and Shazam. It currently operates from its head office in Liverpool, England. And, as of 2017 it has 22 offices across 19 countries. Ditto's main distribution service offers unlimited releases to all major online stores on an annual subscription basis starting from £19.00 per year for one artist or songwriter. The company claims to operate non-exclusive deals with artists keeping 100% of their royalty earnings. Alongside its core music distribution service, Ditto Music also offers record label services including PR, social media and playlist pitching to independent artists.
KEEP EVERY PENNY You’ll retain 100% of the rights and royalties to your music. They won’t take any of your earnings, and your money will be paid quickly and securely into your bank account whenever you request it. NO HIDDEN COSTS They’re upfront about all their prices, from distribution to the world’s biggest stores, to optional extras like pre-release, chart registration and more. They also provide free ISRC and UPC codes with every release. TRACK YOUR SALES & EARNINGS Stay up-to-date with your royalty earnings and projected sales across iTunes, Spotify, Amazon and Google Play with daily trending and analytic reports delivered straight to your personal Ditto dashboard. THE BIGGEST MUSIC STORES
They will distribute your music to every major online store… Spotify, iTunes, Google Play, Amazon, Vevo, Apple Music, Deezer, Beatport, Shazam and many more... CHARTS REGISTRATION Want to break into the charts? . VEVO DISTRIBUTION Get your music video live on VEVO and start earning royalties from the world’s biggest music video site. From channel setup to video uploads, they’ve got you covered. GENRES - They work with ALL genres including Rock, Pop, Alternative, Country, Jazz, Singer/Songwriter, Latin, World, Afrobeat, Dance & EDM, Hip Hop, R&B and everything else. Visit the website for more information at: https://www.dittomusic.com/
Competition Winners for the Guild’s ‘Happy Song’ Songwriting Challenge
We are pleased to announce the winners of the second GISC Songwriting Challenge which was advertised in the 3rd quarter Songwriting & Composing magazine published in August 2020
We asked members to write a themed ‘Happy’ song and the three categories where:
1. Submit a Lyric 2. Submit a Song
3. Submit an Instrumental track
We would like to say thank you to all members who took part in this ‘free to enter’ competition and after careful consideration the winning entries are:
The Lyric Category - My Busking Song by Colin Leonard (Winning a melody created specifically for the song and a fully produced demo recording arranged and produced by SCAMP Studio)
There are 3 winning entries in - The Song Category Beautiful by Phil Taylor
Happy by Kenny Olofinmoyin Happiness Is A State Of Mind by Stephen Hardaker
(All Winning a Song Video created and produced by SongandMedia and uploaded to YouTube and also supplied as an mp4 video file)
The Instrumental Category - Happy With You by Peter Duval (Winning a Song Video created and produced by SongandMedia and uploaded to YouTube and supplied as as mp4 video file)
Thanks to all members who took part in this songwriting challenge and we welcome entries for the next challenge themed around
Lyricists can submit a ‘well structured lyric’ incorporating the word ‘HOPE’ in a repeating chorus that highlights the‘hook’ of the song. The winning entry will have a melody created for their lyric and be professionally recorded by SCAMP Studio with either a male or female vocal and you will be given ownership of the finished song to promote as your own.
Songwriters can submit an mp3 song of between 3 to 4 minutes in length together with a typed lyric sheet for judging. The winning song will have a Song Video created by SongandMedia to include stock video footage and high quality images (with or without typed lyrics) and uploaded to YouTube and / or supplied as an mp4 Video file to you to promote your song.
Composers can submit an mp3 instrumental composition of 3 to 4 minutes in length that reflects The winning composition will have a Song Video created by SongandMedia to include stock video footage and high quality images and uploaded to YouTube and / or supplied as an mp4 Video file to help you to promote your instrumental.
RULES: Each current Guild member can if desired submit One Lyric entry and One Song entry and One Instrumental entry or just one of each. The songwriting challenge is free to enter and is OPEN NOW. To submit your entry go to https://www.mailbigfile.com/songwriterchallenge/ to upload your entry. Once uploaded you will receive an email confirmation advising that you have submitted your entry. Only one entry per member per category. It is important that everyone that enters, follows the instruction to type in their Name, Guild membership number and their lyric or song or instrumental title in the relevant boxes. The closing date for entries for the next quarter challenge is 23rd January 2021. Entries will be judged and the winning entries will be announced in the 1st quarter Songwriting & Composing Magazine due out in the first week of February 2021.
The winning prizes cannot be exchanged for cash or monetary equivalent. Good Luck to all who are up for the challenge
Create a song about ‘hope’ or a song Lyric with ‘Hope’ in the chorus or an instrumental Music Theme that expresses the
feeling or emotion of ‘hope’
service, founded in 2013 by American entrepreneur Philip J. "Pud" Kaplan. DistroKid principally offers musicians and other rights- holders the opportunity to distribute and sell or stream their music through online retailers such as iTunes, Spotify, Pandora, Amazon Music, Google Play Music, Tidal, Deezer, iHeartRadio and others.
DISTROKID advises they will get your music into Spotify, Apple Music, TikTok, Pandora, Amazon, Instagram, YouTube, Tidal, iHeartRadio, Deezer, plus a ton of other stores & streaming services.
DISTROKID allows you to keep 100% of your earnings, get paid monthly.
In stores 10 to 20 x faster than any other distributor, at a fraction of the price.
Pay only $19.99 to upload unlimited albums & songs for a year (their competitors charge at least 2 x that is just to upload one album).
Keep all your earnings—or set up "splits" to automatically route any percentage of earnings, from any track, to anyone.
Bonus features! Distribute cover songs legally Get paid when other people use your music in YouTube Unlimited backups · Instant Spotify verified checkmark · Manage your Apple Music page · Get your credits & lyrics into stores · Get a YouTube Official Artist Channel · Spotify pre-save · So much more...
In July 2015, a DistroKid release by musical act Jack & Jack went to #1 worldwide in the iTunes charts. This was particularly notable because DistroKid does not take a commission of royalties, making this the first time a #1 charting artist was able to keep 100% of their earnings.
In May 2016, DistroKid launched a feature called "Teams" that makes it possible for royalties to be automatically sent to collaborators and shareholders. Since then Distrokid has made several other developments including partnering with Spotify to support cross- platform uploads for Spotify artists who upload directly or have direct licensing deals with the company and an investment from Silversmith Capital Partners.
What Is DistroKid? DistroKid is a service that musicians use to put music into online stores & streaming services. These include iTunes, Spotify, Apple Music, Google Play, Amazon, Deezer, Tidal, and many more.
DistroKid collects earnings & payments, and sends 100% of these earnings to artists, minus banking fees/applicable taxes.
Some of the many benefits you’ll find at DistroKid:Automatic revenue splits - just tell them who to pay, and how much to pay them. They’ll do the rest.
HyperFollow - you’ll have a pre-save marketing page within minutes of uploading your music. Once your release goes live on all stores, they’ll add links to the same page automatically. Lyrics support - add lyrics to your songs, and we’ll send them to stores for you. Global timed release dates - your
release will go live at the exact same time everywhere on Spotify
How Much Does It Cost? DistroKid offers multiple plans, ranging from a singles artist/band plan, to Label plans for up to 100 artists. Musician (Songwriters or Music Composer): 1 band/artist, $19.99/yearMusician Plus: 2 bands/artists, $35.99/year (save 10%)
Who Owns My Music? You do! DistroKid does not take any ownership or intellectual property rights from artists. You keep 100% ownership.
How Is DistroKid Better Than TuneCore? Both services upload your music to stores and give you 100% of your earnings, minus banking fees/applicable taxes.
DistroKid is much less expensive, and gets your music into stores faster.
TuneCore charges $49.99 per year per album. $29.99 for the first year.
DistroKid charges $19.99 per year and lets you upload unlimited songs and albums.
EDITORS NOTE: If you are looking for a way to monetize your songs and music consider checking out DISTROKID for yourself. The Guild does not receive any financial gain and is not linked to DISTROKID or receives any benefit in kind - we are brining this to members attention as a way to help them to distribute and make money from their songs or music without the need to have a publishing, record or licensing deal. .
Welcome to Songbay Songbay is a unique marketplace for the buying and selling of original Music, Lyrics and Poems. They
are proud of the quality and diversity of their music/lyric library which is composed, performed and recorded by artists from around the world - just like you if you decide to join them.
Sell Music and Lyrics online. Advise they are always on the lookout for talented Songwriters and Lyricists: • they publish your Songs and Lyrics • they showcase your songwriting abilities to a global audience. • they promote your music and lyrics. • they copyright your music and lyrics. • they're a world leader in original Lyric and Song Sales. • You keep all the sale fees and royalties. they take NO commission! • You retain the copyright of your music and lyrics • You set you own sale fees. • You have absolute control of your work and flexible selling options. • You can receive work offers from music professionals, agents, producers and record companies.
Lyricists Required They are always on the look out for lyricists/ poets of every genre. In order to maintain the quality and integrity of their lyric library and to keep an appropriate balance between sellers and buyers, they cannot accept all uploads. they assess all work for literary, musical and emotional qualities. they gladly accept lyrics which make use of devices such as metaphor, personification and alliteration. they reject lyrics which lack originality or emotional depth or are simply rhymes for the sake of rhyming. they reject all work which is religiously, culturally or racially offensive, or gratuitously violent in content. If your work is rejected, they will explain their reasons for refusal.
As a lyricist on Songbay, you set your own sale fees and keep all the royalties and income earned. You also keep total control of your work. Unlike other companies, they take No royalty or percentage cuts, their philosophy is very clear. What you make, you keep!
They offer a variety of selling options, from licensing to copyright exchanges. they clearly explain all of these options to you and advise you on the correct market prices to charge. they also supply professional legal contracts without charge.
Seller membership is by inexpensive monthly subscription with no tie ins. For their latest seller membership options, see Membership Options at Songbay, the world's largest original lyric library!
To find out more - Visit https://songbay.co/membership-options/
FEES: Entry Level £1.99 per month or £21 a year Basic Level £2.99 per month or £28 a year Advanced Level £6.99 per month or £58 a year Ultimate Level £9.99 per month or £71 a year
A Professional Approach To Songwriting Writing a song with unforgettable melodies and creative
lyrics can be challenging. Even the most experienced songwriters go through writer's block at some point in their career, and there are many different approaches to songwriting. Here are some helpful ideas used by many professional songwriters.
WHERE TO START WRITING YOUR SONG Getting started is often the hardest part of the songwriting process. Developing your song’s main melody or central chorus is considered by some to be the best place to begin writing your next track. Once you’ve got your hook or key chord progression, you can build the rest of your song around it. But don’t worry if you're struggling to find the perfect melody straight away, this method isn’t for everyone.
Starting with your song’s main riff or hook isn’t ideal for every songwriter. Some songwriters prefer to start at the beginning of their track by writing a killer intro, which will lead them naturally into the rest of the song, while others will get the lyrics down first, and then worry about the tune afterwards. There’s no rule when it comes to writing a new song. It’s down to the songwriter, the song and the original inspiration to determine your starting point.
LYRICS MATTER Unless you're producing instrumental music, the lyrics are arguably the most important part of your song. Lyric writing can often be the most frustrating and difficult aspect of the songwriting process, especially for amateur songwriter's lacking in experience.
Having a clear idea of what your song will be about is a good start. You could write down exactly what you want to get across in your lyrics, then play about with the rhythm, structure and cadence of your words to fit them around your melody. A solid lyrical hook for your chorus is particularly important, while the verses and bridge can be built around your central theme.
RECORD ANY SPUR OF THE MOMENT INSPIRATION There’s nothing worse as a songwriter than coming up with an amazing melody or riff, only to completely forget what is was an hour later. Forgetting your ideas can be really frustrating, so it’s important to make a note of your idea while it’s fresh in your mind, even if it’s just recorded quickly on your phone or scribbled on a scrap of paper. You’ll be glad of the reminder later when you return to continue working on the song.
WRITE FROM EXPERIENCE As obvious as it may sound, some of history’s greatest songs are about personal experiences, with artists drawing on real-life events and traumas to spark their creativity. Whether you’ve been through hard times or great times, you can use your life experiences to great affect. Put those feelings into a song you can be proud of.
COLLABORATE WITH OTHER MUSICIANS If you’re suffering from writer’s block (everyone does at some point!), then collaborating with other musicians can offer a great way to break new ground and get a fresh perspective on your track. Show them what you’ve got so far, discuss any new ideas they might suggest, and see what comes out of it. Getting an outside perceptive on your track from a fellow musician can help to bring the best out of your music. Two heads are always usually better than one.
KEEP IT SIMPLE AND BUILD ON IT Keeping your track as simple as possible at first is an excellent way to accelerate the songwriting process and work out the structure of your song. Many complex songs from 5 or 6-piece bands started life as a few chords strummed on an acoustic guitar. Once you’ve the basis of the song in its simplest form, you can go about adding drums, strings, brass or any other additional elements afterwards. Don’t make things harder for yourself by overcomplicating your track right from the beginning.
MAKE SURE TO TAKE BREAKS Writing a song from scratch can sometimes be frustrating and mentally tiring work, especially if the ideas aren’t flowing as easily as you’d like. Often a 15-minute break away from your instrument or lyrics pad can help get the creativity flowing and stop your mind from becoming too clouded to see the ideas and inspiration you’re searching for. Whether it's written in two hours or two months, the final product is all that's important, no matter how long it takes.
DON'T OVERTHINK IT Musicians and songwriters are often our own worst critics. If you judge your own songs too harshly you’ll never get anything done, so it’s important to keep an open mind, and while it’s great to take your time and carefully consider each facet of a new song, it’s often easier to get things done when you let the songwriting process flow, stop worrying and just get on with it. Over thinking can be your worst enemy. Get the basis of your song down, and you can always go back and change things afterwards.
ASK FOR FEEDBACK It’s easy to lose sight of how good or bad your song is after you’ve spent hours and hours working, changing and creating it by yourself. So find someone you trust to give honest advice, and who’s opinion you value, and ask them to critique it for you. You might find they have some fantastic insight into how it could be improved. Don’t just play it for someone who might be afraid to hurt your feelings - you want honest opinions, not just yes men.
DON'T BE AFRAID TO FAIL Apologies for the cliché, but if you’re failing and struggling to write the song you know is in you – just keep going. There’s no secret formula for successful songwriting, other than the combination of hard work, positivity and talent.
Song Title | Artiste | Record Label | YouTube Link for 34 songs from the Top 40 singles charts
The following information about the song title, artiste, record label and a link to the official YouTube video, will assist you to identify the style of songs that the artistes
record, the style of the songs the record company releases. This information will also assist songwriters trying to place songs for recording with the artiste and also assist singer-songwriters/performing artistes who are seeking a record deal as they are able to identify with the style of songs and performances the record company releases.
Chart Position 1 Title: POSITIONS Artist: ARIANA GRANDE Label: REPUBLIC RECORDS YouTube: https://youtu.be/tcYodQoapMg
Chart Position 2 Title: LEMONADE Artist: INTERNET MONEY/GUNNA/TOLIVER Label: TENTHOUSAND PROJECTS YouTube: https://youtu.be/_7w7OMt9eyU
Chart Position 3 Title: REALLY LOVE Artist: KSI/CRAIG DAVID/DIGITAL FARM Label: BMG YouTube: https://youtu.be/e1lFNMo5qcQ
Chart Position 4 Title: SEE NOBODY Artist: WES NELSON & HARDY CAPRIO Label: EMI YouTube: https://youtu.be/ZltFPVHNvwg
Chart Position 5 Title: YOU BROKE ME FIRST Artist: TATE MCRAE Label: MINISTRY OF SOUND YouTube: https://youtu.be/AG-erEMhumc
Chart Position 6 Title: AIN’T IT DIFFERENT Artist: HEADIE ONE/AJ TRACEY/STORMZY Label: RENTLESS YouTube: https://youtu.be/IMPr9XXGymA
Chart Position 7 Title: WHAT YOU KNOW BOUT LOVE ARTIST: POP SMOKE Label: REPUBLIC RECORDS YouTube: https://youtu.be/z-Zs_hGQHpk
Chart Position 8 Title: SWEET MELODY Artist: LITTLE MIX Label: RCA YouTube: https://youtu.be/r4P-WOOUPk4
Chart Position 9 Title: MIDNIGHT SKY Artist: MILEY CYRUS Label: RCA YouTube: hhttps://youtu.be/aS1no1myeTM
Chart Position 10 Title: HOLY Artist: JUSTIN BIEBER FT CHANCE Label: DEF JAM YouTube: https://youtu.be/pvPsJFRGleA
Chart Position 11 Title: TICK TOCK Artist: CLEAN BANDIT/MABEL/24KGOLDN Label: ATLANTIC YouTube: https://youtu.be/yC8SPG2LwSA
Chart Position 12 Title: LASTING LOVER Artist: SIGALA & JAMES ARTHUR Label: MINISTRY OF SOUND YouTube: https://youtu.be/wNMZRTROYuw
Chart Position 13 Title: MOOD Artist: 24KGOLDN FT IANN DIOR Label:BLACK BUTTER RECORDS YouTube: https://youtu.be/GrAchTdepsU
Chart Position 14 Title: LEVATATING Artist: DUA LIPA Label: WARNER RECORDS YouTube: https://youtu.be/TUVcZfQe-Kw
Chart Position 15 Title: HEAD & HEART Artist:JOEL CORRY FT MNEK Label: ASYLUM/PERFECT HAVOC YouTube: https://youtu.be/CRuOOxF-ENQ
Chart Position 16 Title: GIANTS Artist: DERMOT KENNY Label:ISLAND YouTube: https://youtu.be/Fi33qkv4Bjw
Chart Position 18 Title: DYNAMITE Artist: BTS Label: BRIGHT ENTERTAINMENT YouTube: https://youtu.be/gdZLi9oWNZg
Chart Position 19 Title: LONELY Artist: JUSTIN BIEBER & BENNY BLANCO Label: DEF JAM YouTube: https://youtu.be/xQOO2xGQ1Pc
Chart Position 20 Title: UFO Artist: JD-BLOCK EUROPE FT AITCH Label: D-BLOCK EUROPE YouTube: https://youtu.be/aNBax8Tl-a4
Chart Position 21 Title: CHINGY (IT'S WHATEVER) Artist: DIGGA D Label: CGM/EGA YouTube: hthttps://youtu.be/GEUAyneKIlc
Chart Position 22 Title: PRINCESS CUTS Artist: HEADIE ONE FT YOUNG T & BUGSEY Label: RENENTLESS YouTube: https://youtu.be/_Px5l4mQ0H4
Chart Position 23 Title: WAP Artist: CARDI B FT MEGAN THEE STALLION Label: ATLANTIC YouTube: https://youtu.be/hsm4poTWjMs
Chart Position 24 Title: TRAIN WRECK Artist: JAMES ARTHUR Label: COLUMBIA YouTube: https://youtu.be/CveANi17YfU
Chart Position 25 Title: DAISY Artist: ASHNIKKO Label: PARLOPHONE YouTube: https://youtu.be/6i01tOMgBDU
Chart Position 26 Title: PUT YOUR RECORDS ON Artist: RITT MOMNEY Label: RCA YouTube: hhttps://youtu.be/qmZ0mV-rHTw
Chart Position 27 Title: LOOKING FOR ME Artist: PAUL WOOLFORD & DIPLO/LOMAX Label: MINISTRY OF SOUND YouTube: https://youtu.be/estW7sfx-8Y
Chart Position 28 Title: WONDER Artist:SHAWN MENDES Label: EMI YouTube: https://youtu.be/fHeQemJJQII
Chart Position 29 Title: COME OVER Artist: RUDIMENTAL/ANNE-MARIE/TION Label: ATLANTIC YouTube: https://youtu.be/XvJhnJIiZ2Q
Chart Position 30 Title: I MISS U Artist: JAX JONES FT AU/RA Label: POLYDOR YouTube: https://youtu.be/Qt6IXiVN0L8
Chart Position 31 Title: BLINDING LIGHTS Artist: WEEKEND Label: REPUBLIC RECORDS YouTube: https://youtu.be/4NRXx6U8ABQ
Chart Position 32 Title: HEATHER Artist: CONAN GRAY Label: ISLAND YouTube: https://youtu.be/24u3NoPvgMw
Chart Position 33 Title: SAVAGE LOVE (LAXED - SIREN BEAT) Artist: JAWSH 685 & JASON DERULO Label: RCA YouTube: https://youtu.be/Jvcv8trEuao
Chart Position 34 Title: TAKE YOU DANCING Artist: JASON DERULO Label:ATLANTIC YouTube: hhttps://youtu.be/s0-f5RncxcA
Collaboration Register The following is a list of members who are composers. All lyricists wishing to collaborate should
contact any of the following composers with full details of the styles in which they work. Collabo- ration with the Guild’s songwriter members is on a 50/50 basis. No fees, whatsoever, should be paid or asked for by one member to another. Under no circumstances should Guild members part with any money to persons offering to put music to lyrics or lyrics to music. The whole purpose of having the facility to collaborate with another Guild member is that songs can be written and created without expense or financial burden. Unfortunately, there are many organisations and persons within the music industry willing to exploit others. The Guild also exists for the protection of its members’ rights and any member receiving unsolicited material, from any source, should notify the Guild, immediately. The Guild publishes names and addresses in good faith for its members’ use but, unfortunately, these names and addresses may fall into the hands of persons offering musical services for their own financial gain.
Composers must return all lyrics/material that prove to be unsuitable. If a lyricist has taken the time and trouble to email their lyrics, then please have the courtesy to respond back to them. Due to the extensive number of members requesting to be added to the International Songwriters and Composers Collaboration Register it is going to be impractical to list in publication all the names and addresses. The Guild, therefore, only prints composers’ contact information. Lyricists should contact composers for collaboration by email. NOTE: It is important that members do not arrive at other members’ addresses unless prior contact has been made by post or email. Members who have not yet found a suitable collaborator should contact the Guild with their requirements.
Bob Richardson Top 20, Classical, Blues, Instrumental,
Ballad, Rock'n'Roll, Novelty, Show/Musicals [email protected]
Julie Craddock Top 20, Dance, Blues, Ballad, Jazz,
Film/TV Music, Country [email protected]
David Walmsley Blues, Rock'n'Roll
Lorraine McCann MoR, Dance, Gospel, Blues, Instrumental, Ballad, Film/TV Music, Alternative, Indie,
Rock'n'Roll, Novelty, Country, Folk [email protected]
Micky Black Dance, Blues, Ballad, R&B, Soul, Latin,
Reggae, Country, Folk, Childrens, Show/Musicals
[email protected]
Novelty, Country, Folk [email protected]
Country, Folk [email protected]
[email protected]
Religious, Childrens, Show/Musicals [email protected]
[email protected]
Alternative, Indie, Religious, Educational, Folk, Childrens [email protected]
David Rawlinson Top 20, Dance, Jazz, Indie, Folk [email protected]
John Hawkes Top 20, Ballad, Indie, Folk [email protected]
David Himsworth Ballad, Rock'n'Roll, Country, Folk
[email protected]
Ballad, Jazz, Heavy Metal, Soul [email protected]
Ronit Engel New Age, Dance, Classical, Instrumental,
House, Ballad, Techno, Jazz, Film/TV Music, Alternative, Indie, Rap, R&B, Soul, Latin, Religious, Educational, Rock'n'Roll,
Drum'n'Bass, Show/Musicals [email protected]
[email protected]
[email protected]
[email protected]
Terry Mills Top 20, MoR, Gospel, Blues, Instrumental, Ballad, Film/TV Music, Indie, R&B, Soul, Latin, Rock'n'Roll, Reggae, Country, Folk
[email protected]
David Lundrigan Top 20, Dance, Folk, Rock'n'Roll, R&B, Jazz,
Ballad, Reggae, Rap, Alternative [email protected]
Elizabeth Hart Dance, Film/TV Music, Alternative, Indie,
Rap, R&B, Soul, Reggae [email protected]
Stephen Garrett New Age, Blues, Instrumental,
Jazz, R&B, Country, Folk [email protected]
Tracey Taylor Dance, Gospel, Film/TV Music,
Alternative, Indie, Religious [email protected]
Stephen Kirby Top 20, R&B, Ballad, Reggae, Heavy Metal
[email protected]
Ballad, Jazz, Soul [email protected]
[email protected]
George Neave Top 20, New Age, Dance, Classical, Gospel, Blues, Instrumental, Ballad, Choral, Techno,
Film/TV Music, Heavy Metal, Indie, Soul, Educational, Rock'n'Roll, Drum'n'Bass,
Novelty, Country, Folk, Childrens, Show/Musicals
[email protected]
[email protected]
Paul Churchward Top 20, Blues, Folk, Instrumental, Jazz,
Rock'n'Roll, Film/TV Music, Rhythm'n'Blues, Dance, Ballads, Soul, Reggae, Classical,
Latin, Gospel, Brass Band [email protected]
Robert Marshall Novelty, Country, Folk
[email protected]
Latin, Gospel, Brass Band [email protected]
Terence Chambers Rap, R&B, Soul, Educational,
Reggae, Childrens [email protected]
Music, Country, Show/Musicals [email protected]
Heavy Metal, Indie, Religious, Rock'n'Roll, Country
[email protected]
Music, Heavy Metal, Indie, Rap, R&B, Rock'n'Roll, Reggae
[email protected]
Film/TV Music, Show/Musicals [email protected]
[email protected]
Show/Musicals [email protected]
John Cotham Top 20, Dance, Blues, House, Ballad, Techno, Jazz, Film/TV Music, Garage,
Alternative, Indie, R&B, Soul, Drum'n'Bass, Folk, Show/Musicals
[email protected]
James Parker Dance, Gospel, Blues, Instrumental, House, Ballad, Techno, Jazz, Alternative, Rap, R&B,
Soul, Drum'n'Bass, Reggae [email protected]
Film/TV Music, Educational, Childrens, Show/Musicals
[email protected]
[email protected]
[email protected]
[email protected]
Instrumental, Film/TV Music [email protected]
[email protected]
Catherine Blay Alternative, Heavy Metal [email protected]
Henrik Axelsson Top 20, Dance, Blues, House, Ballad, Techno, Jazz, Film/TV Music, Indie, R&B, Soul, Latin,
Rock'n'Roll, Reggae, Country, Childrens [email protected]
Alan Oliver Pop, Rock, Country
[email protected]
[email protected]
[email protected]
Professional Courtesy W o u l d c o m p o s e r s please have the courtesy to respond back and return all lyrics and material that prove to be unsuitable if a lyricist has taken the time and trouble to email their lyrics to you for consideration.
CO-WRITING COLLABORATION AGREEMENT Below is a co-writing collaboration agreement which shows a 50/50 percentage share between a composer and an author. Where there are more than two composer/authors then the agreement should be modified accordingly, for example where there are two composers and one author—where one composer’s share is 10% of the song and the other composer’s share is 40% of the song with the lyric writer claiming 50% of the song; or where you have one composer with two lyric writers—where the composer’s share is 50% of the song, with one lyric writer claiming 20% of the song and the other lyric writer claiming 30% of the song. As you can see by these examples, subject to how many collaborators there are and the percentages they claim, then the agreement would have to be modified to reflect the percentage shares claimed by each and any composer/author, accordingly. Also, where there are more than two collaborators then facilities for the additional parties and the signatures would have to be added to the agreement at the Parties section and at the Signed by section. Ensure that you include the correct date, names, addresses and the song title(s) accordingly—removing the examples given herein. Print one copy for each party (composer(s)/author(s)), each party should sign all copies, each party keeps a signed copy.
THIS AGREEMENT (the “Agreement”) is made the 1st day of May 2020 (amend date accordingly) between the parties set out below
PARTIES (1) JOHN GREEN of 1 The Street, The Town, AA1 1BB, England (hereinafter known as the “Composer”) of the first part and
(2) SALLY BROWN of 99 The Avenue, The Village, CC2 2DD, England (hereinafter known as the “Author”) of the second part
Do hereby warrant and declare that the Composer and the Author have collaborated equally and jointly to co-write one (1) composition (hereinafter known as the “Composition”) of musical work of both music and lyrics entitled “Put song title here”
1. That the copyright and all other rights whatsoever shall belong to the parties in the individual shares as specified hereunder and protected under the terms of the relevant Copyright Act of the Composer’s and the Author’s nationality
TITLE: “Put title of song here” (the Composition) Composer John Green Percentage share of work = 50% (Fifty per cent) Author Sally Brown Percentage share of work = 50% (Fifty per cent)
2. Territory of ownership of the Composition known as “Put song title here” is the World.
3. In any event whereby the Composer and the Author register the Composition known as “Put song title here” with a royalty collection organisation then each of the party’s interest must be acknowledged with all persons identified as to their part being either composer or author or both (both music and lyrics) of the Composition known as “Put song title here”
For the avoidance of any doubt neither party shall in any event be entitled to nor purport to be able to enter into any agreement with a music publisher or other third party which has the effect of assigning or otherwise transferring or licensing the copyright to the Composition known as “Put song title here” other than that party’s individual share thereof. Also neither party shall be entitled to diminish the rights of any other composer/author herein in respect to their rights under the Copyright Designs and Patents Act 1988. Any waiver of any rights in respect to the Copyright Designs and Patents Act 1988 of any composer/author herein must be agreed in writing.
This Agreement shall be construed in accordance with the laws of England whose courts shall have exclusive jurisdiction.
IN WITNESS WHEREOF the parties hereto have hereunto set their hands the day and year first above written.
SIGNED by Composer ………………………………………. Witnessed by: …………………………………………...
SIGNED by Author …………….…………………………….. Witnessed by: …………………………………………...
Topics News and Songsearch
POND 5 - Pond5 Media Ireland Limited, 53 Merrion Square South, Dublin 2, Ireland Become part of an artist-friendly marketplace that enables you to license a variety of media types to buyers from all over the world.
Your Vision, Your Price ABOUT - Pond5 is a global media marketplace providing artists around the world with an opportunity to license their work to an international community of media producers and brands. They work with more than 60,000 contributors in 150 countries, with over 10,000 video clips uploaded to their site every day. With a full collection of over 60 million licensable videos, music tracks, sound effects, photos, motion graphics templates, and more, Pond5 is relied upon as a go-to resource by the world’s most prominent storytellers and agencies. Pond5 is a venture-backed company funded by Accel Partners and Stripes Group with offices in New York, Dublin, Prague, London, and LA. Top Brands they work with, you’ll find Pond5 media in feature films, TV series, documentaries, advertisements, corporate presentations, and just about anywhere else you look.BBC - NETFLIX - National Geographic Channel - VICE - NBC - Disney - History Channel - Discovery - Facebook - MTV - ITN. Pond 5's philosophy is to offer its creators A FAIR SHAKE They offer one of the best payout rates in the industry with a 50/50 royalty split RETAIN YOUR RIGHTS You own your art, they facilitate licensing it to a global network of buyers AROUND THE WORLD Sell your work all over the world - they serve over 150 countries and counting https://www.pond5.com/royalty-free-music/ POND5 Help Centre link: https://help.pond5.com/hc/en-us/articles/200944213-Audio-Upload-Specifications. File Format: Music files may be prepared as 16 or 24bit, 44.1 or 48,kHz WAV or AIFF. Note: They are no longer accepting MP3 or FLAC files. If your audio file is in a different format, please convert it to .WAV or .AIFF before uploading. Another option is to export it natively from your audio editing program as a high-quality WAV. You want to avoid compression as much as you can, so always export as close to native quality as possible. Please check your files before uploading to make sure they are broadcast ready. Music Genres: Action Adventure, Ambient, Background, Battle, Chase, Christian, Cinematic, Corporate, Country, Documentary, Dramatic, Electronic, Epic, Fight, Game, Guitar, Hawaiian, Holiday, Meditation, Movie Trailer, Orchestral, Patriotic, Piano, Pop, Public Domain, Rock, Triumphant, Ukulele, War. Take the time to visit the POND5 website to discover if this could be THE OPPORTUNITY for you to feature your music on a very active website which has repeat clients throughout the world - PLUS you can set your own pricing for the use of your tracks.
Synctracks (Music Publishing), The Playrooms, 2nd Floor, 311-312 Upper Street, Islington, London N1
2TU Main Contact - Jenny Jones Tel: 020 7682 1211 Email: [email protected] Website: http://www.synctracks.com/page/composing Facebook: http://www.facebook.com/synctracks Twitter: http://www.twitter.com/synctracks Soundcloud: https://www.soundcloud.com/synctracks Synctracks is an independent production music library. Work with Composers only. Synctracks is a fresh, independent, London-based production music library. Their music is exclusive and unique to their catalogue, and they've homegrown it all with our talented composers from all over the globe. Synctracks' pre-cleared platform makes music easy to license for use cross-platform, worldwide. Want To Compose For Them? Here’s some information and a few useful pointers from the Synctracks team. They are a non-MCPS library but all music is registered with PRS, therefore you must be registered with a Performing Rights Organisation (PRS, ASCAP, BMI etc.) And have an IPI / CAE number.The preferred initial approach is via email, with links to demos on streaming platforms such as Soundcloud or your own personal site. #Please do not send them emails with files attached. They want to hear the best examples of your work, so please submit any genre or style that you are comfortable with. Experience doesn't matter. They are looking for good music plain and simple. You could be just starting out or you could be a well-seasoned composer. Send demos to Jenny Jones via email: [email protected]
Audio Network Ltd School Farm Studios, Little Maplestead, Halstead, Essex, CO9 2SN
Audio Network Ltd are Library Music Publishers who have an open door policy to accept submissions and advise they’re constantly on the look out for the most exciting artists, composers and producers to work with at Audio Network. If you’ve got something you think they are missing out on – send it to them. They want to hear inspiring and original music from across all genres. To share your music with them, simply send a link containing a maximum of three tracks (Soundcloud or YouTube) to Email: [email protected]
Music Genres They will accept instrumental music in the following genres: Advertising, Brass/Mil/Wind Band, Chamber, Children's, Choral/vocal, Country, Dance/Electronic, Early Music, Educational Folk, Hip-Hop/Rap, Indie, Jazz/Blues/Big Band, Latin, Light, Metal, MOR, New Age, Orchestral, Organ, Pop Music, Punk, R'n'B Soul, Reggae, Religious, Rock, Television, Urban, World Music. Click on the following link to apply https://www.audionetwork.com/content/who- we-are/become-a-composer
20 Easthams Road, Crewkerne, Somerset, TA18 7AQ
Website: http://perfectlyformedsongs.com/ They do not accept unsolicited mail
Please use the dropbox for demos and the contact box to get in touch.
Perfectly Formed Songs is an independent music publishing company based in London and the South West. Established by Ellie Kading. Perfectly Formed Songs offers a bespoke publishing service for song writers and publishing companies seeking representation and administrative support. Perfectly Formed strength is in matching it’s business integrity and knowledge with a genuine love of music. Advise they know that true passion rarely follows logic and offer a practical solution to growing your songs. They are small but Perfectly Formed. Their clients include: 4AD (Beggars Banquet), Delicious Digital, In-spired Production Music, The Really Useful Group Ltd, Abood Music, Distiller Publishing, Manners McDade Music Publishing Ltd, Rockin' Music, BMG Rights Management (UK) Ltd, Distiller Records, Outcaste Publishing Ltd, The Royalty Network, BMG Rights Management (Ireland) Ltd, Felt Music, Perfect Songs Ltd, Tileyard Music
West One Music Group Ltd. Music Publishing
28 Percy Street, London W1T 2DB A&R Dept. - Head of A&R
Email: a&[email protected] Website: http://www.westonemusicgroup.com
Facebook: westonemusicgroup Twitter: WestOneMusicGroup
About Global music agency, working in strategic partnership with clients and creating music of the highest calibre for the film, TV and gaming industries. From hard- hitting trailer cues to epic sweeping Hollywood scores, West One's A&R teams are constantly scouring the globe for the latest trends, talented composers and emerging artists to work with on upcoming projects. Submit your 3 strongest tracks via downloadable link (no CDs), plus a short biog to the above email address for consideration. Genres: All Music Types
K Dragon Records - Music Publishing 98 Wolseley Road, Southampton, SO15 3ER
A&R Dept. - A&R Email: submi[email protected] Website: http://www.kdragonrecords.com
Demo Submission: http://www.kdragonrecords.com/demo-submission1.html
Independent record label, distributor and music publisher releasing music via digital stores and outlets worldwide. Working with a wide range of genres, K Dragon have worked with the likes of Jay-D, The “K”, Lottie Simone, Agent Squarewave, Brian English and Deborah Fennella. Music submissions are accepted from all genres via the form linked above, or as MP3 submissions sent to the above email address. Strive to respond to all submissions.
K Dragon Records aims to give all artists the ability to submit their music to them and take it to the next level. They are independent and strive to give as much back to the artist as possible while expecting minimal commitment. They deliver their clients music to digital stores/outlets around the world including the UK, EU, USA, Canada and Russia. They offer a simple service to get your music to the masses, with simple accounting, friendly advice, no ongoing commitment or additional costs. All clients automatically qualify for their merchandising deal, putting their logo / artwork onto clothing and accessories,. They also, register your music for eligibility to the official charts in the UK, US and Canada Plug your music to radio stations both in the UK and worldwide Collect royalties and pass these on to you Register you music with two of the major music databases which are used as reference points Master your music (if required) via our affiliation with Dragon Studios Handle licensing and sync requests in partnership with K Dragon Publishing Genres: All Music Types
MY HART CANYON MUSIC - Music Publisher and Record Label Exeter A&R Dept. - Kieran Scragg. Email: [email protected] Website: http://www.myhartcanyon.com Facebook: myhartcanyonmusic Twitter: myhartcanyon About - Record label, publisher and sync agent with clients including ABC TV/Disney, ESPN/Disney, Google, Lionsgate/Summit Films, NBC/Universal, VICE/HBO and Warner Bros TV. Deal mainly with Alternative music and Singer Songwriters but are open to hearing all genres. Accept SoundCloud or streaming links via email. Please do not submit MP3s or CDs unless invited to send. Roster includes Iko, Luwten, Chelou, Fort Nowhere, Edgelarks and many more. Genres: All Music Types, Alternative, Singer-Songwriter
A&R Manager - James Hill Email: [email protected]
Website: http://www.xploded.co.uk Facebook: xplodedmusic
Website: https://www.xploded.co.uk/demo/
Xploded Music is a UK based record label distributed by Universal Music Group - set up in late 2018 by Cris Nuttall and Matt Cadman, former founders of All Around The World (AATW) - one of the UK’s most successful independent labels over the past 30 years. The current Xploded roster includes a diverse range of chart-topping acts including Loud Luxury, T2, Armin van Buuren, Tulisa, Yolanda be Cool, Theresa Rex, ARTY + more About Record label and music publisher specialising in the Dance and Pop genres. Current roster includes Loud Luxury, Armin van Buuren, PBH & Jack, Darren Styles and Ben Nicky. Submissions are accepted as links via email to the above address. Genres: All Dance, All Pop
Guild Member - Keith Harwood Male Rock Singer Required
Male rock singer required. Able to self record your vocals and have a strong versatile voice range (low and high notes).
Please email a sample of your voice and price per song to [email protected]
Guild Member - Peter Kraszenin Enthusiastic lyricist searching for a like-minded composer to form an award winning songwriting partnership. Passionate about musical theatre and in particular songs that hark back to a time when a strong melody or catchy tune were not aspirations about which to be embarrassed and lyrics were deftly crafted products of the English language. Forward thinking but never losing sight of the great past masters of their age. Please contact him if you share an interest in this style and genre of songwriting and you too, are seeking a collaborator. Examples of lyrics readily supplied. Please email [email protected]
Guild Member - Julie Craddock Experienced Melodic Female Vocalist Available for paid session work working from home.
Julie advises that she doesn't have a high voice however bottom to mid range seems to work well for her and covers a few genres.
Genres: Pop/Jazz/Country & Ballad.
Please contact Julie direct and she will be happy to supply sample vocals and offer a quote to provide finished vocals via mp3 or wav
Please email: [email protected]
Contact: A&R Email: [email protected]
Website: https://www.roba.com/publish-with-us/ Genres: Most Commercial Styles
ROBA Music Publishing is a leading music publisher in Germany and Europe who offer worldwide high-end music publishing services with a client centric approach for the digital age. The company was founded in 1969 by Rolf Baierle in Hamburg and with foreign missions around the globe. ROBA advise they are passionate about their music and constantly seek great songs and support their authors and partners in the creative process. They promote their songs across a variety of platforms and manage the exploitation, licensing and collection. They always aim to protect and enhance the value of their authors’ and partners’ songs with the utmost commitment. Put simply ROBA and its music publishing experts are your best choice. Benefits: ROBA work with great passion to find and build long term relationships with the best songwriting talent and catalogue owners in the world. They highlight your songs and foster their exploitation. Their creative team proactively pitches and licenses music to leading content creators to increase your income. They deliver an effective registration and income retrieval process that is important to guarantee the flow of royalties directed to the songwriter. They give transparent and comprehensive web accessed information to their clients enabling them to have a better understanding of their income and song catalogue. At ROBA you will find like-minded people who love music as much as you do
Kobalt Music Group Ltd. Music Publishing The River Building, 1 Cousin Lane, London EC4R 3TE President Global Creative - Sas Metcalfe Email: [email protected] Website: http://www.kobaltmusic.com Facebook: kobaltmusic Instagram: kobaltmusic LinkedIn: company/kobalt-music-group Twitter: kobalt YouTube: user/KobaltMusic About Global independent music services company and leading independent music publisher offering unparalleled transparency, online global copyright administration, creative and sync/licensing services, digital collections and pipeline advances to writers, publishers and other publishing rightsholders. Clients include ZAYN, Tom Misch, Dua Lipa, Neil Finn, Julian Casablancas, De La Soul, Wolf Alice and many more. Refer to website for extensive list of artists. Contact via email before submitting any material. Genres: All Music Types
Project Melody - Music Publisher London A&R Culture Manager - Owen Cutts Managing Director - Andrew Radix Email: [email protected] Website: http://www.projectmelodymusic.com Facebook: projectmelodypm Instagram: projectmelodymusic Twitter: projectmelodyp About Independent, commercial record label, music publisher and catalogue acquisition enterprise focused on releasing great music of any genre. Current roster includes Monster Florence, Mr Cutts and Dust In The Sunlight. Music submissions are accepted as SoundCloud or Dropbox links via the above email address. Project Melody is a creative hub that provides expertise, resource and global content management in order to produce dynamic multi genre music and immersive content. They believe the traditional role of a record label has evolved to better serve artists and a more dynamic digital market. They harness content from the creative spark of a song, right up to a globally strategised release campaign that amplifies the introduction of new music to a multi territory audience. “They are a compact dedicated team with decades of experience in music, global marketing, promotion, business and asset management. This backbone gives us the insight and network to scale up our exploitation reach in order to deliver content and campaigns with genuine global impact”. In their pursuit of pre-existing music rights, any investment they consider should not require any leverage to generate our expected investment return. Because we value our sleep, a sensibly constructed acquisition strategy ensures our ability to outstay any form of volatility within natural market performance fluctuations. Genres: All Music Types
KYCKER - Music Publishing Yorkshire Artist Relationship Manager - Frank Wilkes Email: [email protected] Website: http://www.kycker.net Facebook: KyckerMusic Twitter: KyckerMusic About KYCKER aims to provide everything required to have a successful DIY career in music. Offer music publishing, TV/film synchronisation and royalty collection services, along with distribution services to release music via all major online stores, plus live opportunities with no upfront fees. Also look to provide individual career mentoring and exclusive insight into the modern industry. Artists can find details of how to register with KYCKER via the above website. Genres: All Music Types
Crumbs Music Media, Penhunt House, 352 - 356 Battersea Park Road, London SW11 3BY. Email: [email protected] Website: http://crumbsmusic.com/ Ray Williams has been a driving force in the music industry for more than five decades. From discovering and launching the career of Elton John, to supervising and producing music for some of the most epic films of the 20th century, to innovating as a record label executive, Ray is an integral part of the fabric of modern music. At the age of 16, after meeting Cathy McGowan the presenter of legendary UK music show ‘Ready Steady Go’, she invited him to the show, where he became a fixture as an unpaid assistant. Cathy realized he needed ‘a proper job’ and introduced him to Beatles publicist Brian Sommerville who needed an assistant. Ray took the job and worked with The Kinks, Sonny & Cher and Tommy Roe. Through his work with Tommy Roe, he came to know and work with Bill Lowery, whose extensive Lowery Music Publishing Group catalogue he later managed through the acquisition by Sony Music Entertainment. At the age of 19, as head of A&R for Liberty Records he placed an advertisement in the New Music Express looking for talent. The young, undiscovered Reginald Dwight (Elton John) responded to the ad.