Music Composition

Our services include:

  • Composition of original songs, themes and scores for film, television, theatre or concert hall.
  • Vocal arrangements (solo artists, BV’s, choral, a cappella etc.)
  • Orchestration.
  • Score preparation.

THE BRIEF

Every project starts with a brief:

This might be as simple as, “I need a 10-minute orchestral celebration to celebrate to open a new concert hall!”, or as detailed as a shot-by-shot scene and character breakdown of a film, with every music cue listed.

Whether it is an integrated collaboration (as in musical theatre where the music develops alongside the book and lyrics), or an additive collaboration (as in film where the core writing begins later in the process), all parties should agree early on the intent of the project and the purpose of the music.

Talk to us early in development to:

  • Determine whether music is really necessary, and how it will FUNCTION.
  • Define the TONE and STYLE of the music to fulfil your project or story.
  • Calculate a BUDGET to realise your ideal outcome.
  • Define what RESOURCES are feasible within a specific budget.
  • Advise what music, if any needs to be written or sourced prior to production. *See SOURCE MUSIC below

I strive to explore how we connect with music. This is perhaps why I am drawn to music for film and theatre, and to the great storytelling trinity of character, content and form. This is also what drives me as a singer: to live vicariously through each self-contained story, to relish each cathartic moment; and to rejoice in the power of song.

Scott Cameron

* SOURCE MUSIC

As a general rule, SOURCE MUSIC refers to any music in a film’s soundtrack which is not the SCORE. Yes, there is grey area in here, since one might function as the other!

To use an existing recording in a film e.g. a song by Pink, or a classic Miles Davis track, appropriate rights i.e. a synchronisation license will need to be secured from the record label/publisher. Bear in mind there are a number of levels to copyright in music:

  • Innate IP cannot be bought or sold. This belongs to the writer/composer and refers to the notes, melody, harmony and words.
  • Publishing rights may be bought or sold and determines who makes decisions about how the IP is distributed and used.
  • Mechanical rights refer to a specific recording and are usually owned by whomever owns the master recording – this may be an artist or label.

If DIEGETIC music (music that exists in the world of your characters) is required, this may need to be written and recorded, or sourced prior to filming.

The most obvious example of diegetic music is in a film-musical where actors lip-sync or dance to prerecorded music, but it might also be as innocuous as a band playing in the background of a scene, an advertisement playing on a television screen, or even a ring-tone.