Tim Maryon is an Soundfly Mentor, an award-winning composer, and film scorer. He has an MA in film scoring from the Royal College of Music, and has written music for documentaries for the BBC, scored animations for BFI, and worked with major brands. His original works have been performed all over Europe. You can read more about him and hear his music here. Want to work with Tim on your project? Fill out this form to tell us about your musical goals and be sure to mention his name in your response!
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Like any new entrepreneur, songwriters may themselves experience cash flow problems and look for additional financing to keep the lights on. However, unlike businesses that have inventory to put up as collateral, songwriters have only their intellectual property and the royalties that property can earn. This limits the options from traditional banking sources and requires songwriters to seek out alternative funding that’s available as an advance against royalties or from selling some rights in exchange for quick cash.
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“Sicko Mode”: Wow! So this song is basically three songs in one. Part one is Drake singing in B♭ major pentatonic over a digi-cricket-wahwah-fog of harmonies that broke my brain so hard I had to use a lifeline. Thankfully, Martin Fowler on the Soundfly staff pegged it for me as Cm9 to B♭Maj7, which then switched the voicing just barely to E♭Maj7 and a D7♭13 without the C. What a thick mess!
I’m not sure if it’s interesting or anti-interesting that our meter chart matches almost exactly with last year’s, at thirty-seven 4/4s, two 12/8s, and instead of the uncommon gatling gun 24/16, we found a somewhat-rare-in-its-own-right 2/4 meter.
The best way we’ve found to practice identifying note intervals by ear is to associate each interval with a familiar song or melody that you could likely sing in your head already. All you have to do is commit a piece of the melody to memory, and voilà, you’re on your way to interval recall!
When pitching to venues, being completely honest about what you can deliver is essential for building trust and solid relationships for years to come. A promoter might ask: “What’s your draw for Kansas City?” If it’s 25, say 25, even if that means you won’t get booked. If it’s zero, say zero, but say you’re willing to boost Facebook ads in the area and send a bunch of press releases out.
But “Blurred Lines” was hardly the first copyright case to rattle Lady Justice’s scale. Here are five important music copyright infringement cases that every songwriter should know about.
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One of the best things you can do as a working producer is to analyze music by the artists who inspire you. This will help you understand how they build their tracks, and develop their ideas for when you start working on how things are arranged and orchestrated.
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Finally, we come to the latest album in the list, although Ambiant Otaku is, like many of the others, the debut solo album of a legendary minimalist artist. Tetsu Inoue has been active since the early ’90s and has collaborated with other electronic artists such as Bill Laswell, Pete Namlock, Taylor Deupree, and others. Enjoy this last spacey, spectral, synthesized voyage!
In this landmark case, Judge Kevin Thomas Duffy ruled that Warner Brothers had to stop all distribution of Biz Markie’s song and album, and that Markie owed O’Sullivan $250,000 in damages. Judge Duffy began his opinion with the biblical admonition, “Thou shalt not steal,” and referred the case to criminal court on the grounds of theft (Markie was not charged this time).