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The Real Deal: by Just Plain Folks Mentor Mark Keefner
Music for TV: How it works and how much you can make!
Our interplanetary songwriters' and artists' community guru, Brian Austin Whitney, asked me to write an article on the fast and furious world of writing music for television specials -- so here ya go!
First of all, a little history. I've been working with Richard Middleton doing television specials since the middle of 1999, when we got our first gig together doing music for the Fox Teen Choice Awards. How we got that first job is an article unto itself, but suffice to say that we were presented with the opportunity to create a theme on spec, and through a lot of creative work and going back and forth with the producers, we came up with something they loved.
Since then, we've done numerous specials from a Jodie Foster tribute, and Britney Spears' "Home is Where The Heart Is" to the American Red Cross Christmas Specials, Billboard Awards and Music Mania Concerts. The 2001 TV Guide Awards airing March 7, 2001 is our latest project. When we got the call to do the TV Guide project, we drove down to meet with the producers and director of the show to discuss the thematic quality and sensibility they were looking for. They played us some uptempo, party-type music as an example of the direction for the theme. Following that, we discussed the numerous pieces of music in different styles that would be required to accompany the varying sensibilities and emotional peaks and valleys within the show. Here's a list of their requirements based on our meeting with them:
1. Show Theme:
1 Piece 1:30 minutes - In the same feel and sound as the party music we gave you for an example.
2. Rejoin/Bumpers:
5 to 7 pieces 5 to 10 secs. - Variations of the show theme (i.e., uptempo, medium and mellow) with endings.
3. Bumpers to Commercial:
5 to 7 pieces 15 to 30 secs. - Variations of the show theme (i.e., uptempo, medium and mellow) with endings and fades.
4. Play-ons and Play-offs:
10 to 12 pieces 30 secs each - Varying sensibilities and tempos, not necessarily show-theme driven. Can be experimental and cutting edge.
5. Package Underscores:
5 to 7 pieces approx. 1 min. each - To go under dialogue for packages; again, with varying themes and sensibilities; should not sound like the theme.
6. Special Underscores:
1 piece approx. 1 min. - To accompany a tribute segment of the show.
Our first mission (and we did decide to accept!) was to complete the music for No. 5, Package Underscores. These package underscores are pieces of music that go under the nominee clips for each award category. On this show, there are 15 to 19 award categories. The reason this was a priority is because they edit these clips together before the taping of the show. We put together some drum loops in the pop/R&B/funk vein and elaborated on them, creating several different one-minute package underscores, as well as several using live drums and guitars. A total of nine package underscores were created. After burning some CD's for the producers and director for their approval, we moved onto No. 1--writing the theme.
In wanting to create something unique and contemporary, we started with an upbeat drum loop and then sampled the modem sound (the one you get when you sign onto AOL) and tried different combinations and tunings of that sound in the track. We added funk guitar, Fixx-type chord slams, hand-claps, percussion, a rock guitar melody line (doubled, then doubled again in octaves) and party sounds in the background. The modem sound found its way into the bass part and became an awesome double for the Moog bass sound. We then created two different two-minute versions, utilizing various combinations of instruments, to give the show's producers a choice for the theme. We burned CD's for them, and after their approval of version #1 of the theme, (and the nine package underscores), proceeded on with Nos. 2 and 3 - Rejoin/Bumpers and Bumpers to Commercial.
The operation for creating rejoin/bumpers and bumpers to commercial (the underscore that plays when you come back to the show from a commercial, and when you exit the show to a commercial) is an exciting creative process. It entails utilizing different combinations and elements from the basic theme and introducing new elements (such as half-time drum loops, sitars, etc.) to vary the emotional sensibility while retaining the thematic quality. The pieces varied from 5 seconds to 30 seconds in length.
Our next project was No. 4--designing music for the play-ons and play-offs. These are the sections that "play-on" and "play-off" the awards presenters and winners as they enter and exit the stage. We composed a wide range of styles and tempos to accommodate the various presenters and winners, including dramatic, jazzy, orchestral, comedic, etc., and delivered a total of 24 pieces for Nos. 2, 3 and 4 to the show's producers (whew!).
The last piece that was needed was No. 6 - a Special Underscore for a tribute segment of the show. We came up with a beautiful piano piece that captured the emotional essence of the tribute, and with that we completed the project for the TV Guide Awards 2001 show.
Total time spent on the project was about 2 weeks, approximately 100 hours of work. In our experience, the all-in budget for underscoring this type of show (which includes composing, studio time, musicians, mixing, etc.) ranges from $6,000 to $12,000, the average being $8,000 to $10,000. The payment schedule for the all-in fee is typically one-half up front and one-half upon delivery of all the music. In addition, royalties range from $10,000 to $20,000, depending on the network it's aired on, the time of day, number of airings, etc.
If you have any additional questions I can be reached via our Waymomusic.com website Email at Waymomark@waymomusic.com and Richard can be reached at Richard@waymomusic.com. Again, the air date is March 7 at 8:00 PM on FOX if you want to check out the show. Peace, Mark Keefner