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Topic: Heard too much Soundtracks...

  1. #1

    Heard too much Soundtracks...

    You know the problem... you compose a melody and you don´t know, if your composing was influenced by a theme, that you had in the back of your mind, f.e. from the soundtrack of XY.

    As you don´t want to steal something, but don´t know, if the theme is your original, you are totally confused, because it somewhat sounds familiar, but you don´t know, if it is from some soundtrack.

    Can you PLEASE tell me, if this

    is from a soundtrack or even too close to one and tell me which one ? I would be very thankful [img]images/icons/smile.gif[/img]
    And don´t judge the strings *g* Only a sketch...

  2. #2

    Re: Heard too much Soundtracks...

    I haven\'t listened yet (downloading something else at the moment), but I get this problem ALL THE TIME. I swear every single theme I have is just TOO familiar to be original except I have no idea where I remember them from!!!


  3. #3

    Re: Heard too much Soundtracks...

    Don\'t worry about it.

    I used to have the same fears when I was composing in college. When I went in to present some of my compositions to my professor, I asked him if a certain composition I was going to show him was similar to any piece of music he had heard, and he said YES without even hearing it or looking at it. The smile on his face told me I never needed to have this fear again. In other words, in tonal music, it\'s all been done before. Someone out there somewhere has used the same notes in the same or similar order with a similar rhythm, but your music is much more than just a single motif. Take a listen to Star Wars and the theme for Born Free. Hmmm. Tiny Bubbles and Raiders of the Lost Ark. Ehhh. Similar ideas, but used differently giving you different sounding music. Just keep on composing and your own style will come through. As the quote attributed to everyone from Picasso to Miles Davis goes: \"Good artists borrow. Great artists steal\".

    The bebop clown

  4. #4

    Re: Heard too much Soundtracks...

    Right on Jazzbozo!

    Also, just being in the same key as a familiar peice is very distracting. Once I rented \"The Last of the Mohegans\", just to make sure it wasn\'t the same melody. I was pleasantly suprised to fing it wasn\'t anything like it but in the same key.


  5. #5

    Re: Heard too much Soundtracks...

    On the other hand, let\'s not forget that John Fogerty was sued by his former record comany because his own new works sounded too derivitive of his old material-and he LOST!

    Plagarizing oneself can be a crime...
    [img]images/icons/rolleyes.gif[/img] [img]images/icons/shocked.gif[/img] [img]images/icons/frown.gif[/img]


  6. #6

    Re: Heard too much Soundtracks...

    Originally posted by thesoundsmith:
    On the other hand, let\'s not forget that John Fogerty was sued by his former record comany because his own new works sounded too derivitive of his old material-and he LOST!

    Plagarizing oneself can be a crime...
    [img]images/icons/rolleyes.gif[/img] [img]images/icons/shocked.gif[/img] [img]images/icons/frown.gif[/img]

    <font size=\"2\" face=\"Verdana, Arial\">Nope, he won the lawsuit. [img]images/icons/smile.gif[/img]

    SUCCESSFUL DEFENDANTS ARE ENTITLED TO RECOVER THEIR ATTORNEYS FEES IN COPYRIGHT CASES, EVEN TO THE TUNE OF $1.35 MILLION DOLLARS (Fantasy v. Fogerty, Northern District California 1995): Twenty-five years after Credence Clearwater Revival founder John Fogerty wrote a song called \"Run Trough the Jungle,\" his legal battle over the song and who should pay for attorneys fees in copyright disputes is over. Fogerty sold rights to the song to the predecessor of Fantasy, Inc., who sued Fogerty after his 1985 release of \"Old Man Down the Road\" claiming that it was \"Run Through the Jungle\" with a new title. Fogerty won the lawsuit but the trial court refused to award him attorneys fees and costs, a decision that the court of appeal affirmed. Fogerty took the case to the United States Supreme Court and won. In an important opinion, the Supreme Court directed all federal courts to apply an even-handed standard in awarding fees in copyright cases and to no longer make it tougher for successful defendants to recoup their fees. The Supreme Court sent Fogerty back to the District Court in California for a decision regarding the amount of fees owed. The court recently awarded Fogerty more than $1.35 million in attorneys\' fees and court costs, making it the largest fee award ever given in a copyright infringement case. The judge ruled that Fogerty\'s lawyers, the Los Angeles firm of Gipson, Hoffman & Pancione, had extensive experience in copyright law, charged fees customary in the area, applied a reasonable deduction in their request for fees based upon issues unrelated to the copyright claim and were reasonable in requesting fees for the lead attorney and two other lawyers who went to the Supreme Court to prepare and argue the case. The judge didn\'t allow for pre-judgment interest in the award.

  7. #7

    Re: Heard too much Soundtracks...

    your use of the initial notes as follows...
    AB,,,ACB,,,EAGDE together with associated harmony etc. is very much of the idiom and mode that most composers will use. Fair enough they will change the first stanza to say ABCA,,,, ADCA and so on but in the end the idiom remains recognisable and thus subject to the critiscism of \"crib\".

    There is nothing remotely different in the timing from much else around and no particularly unusual intervals or harmonies

    That is not in any way to critiscise but merely to point out that much of what anyone does is reminiscent.

    For examples:- The main theme of Star Wars is directly Puccini, both Bruckner and Glazunov have themes directly recognisable as Elagarian (or of course, vice versa). Lloyd Webber (plagiarist in the extreme according to many) doesn\'t steal, merely uses phrases which are recognisably prior - think about \"I don\'t know how to Love you\" for one and then listen to the Mendelsohn Violin Concerto second movement.

    Of course it is always possible to subconciously use things as I did some years ago - \"composed\" a nice little melody which turned out almost note for note to be Arnolds Guitar Concerto which I had heard just once at a Prom on the TV.

    To be different, one has to break rules and therefore the likes of Poulenc etc. break them so far that the music does really sound fresh and original until someone else dose something similar. Likewise John Williams use of very strange and unconventional phrasing/intervals in Harry Potters main theme not only makes it more difficult to remember and play by ear but also sets it apart as being something \"unique\" although there are probably half a dozen well known eastern pieces which will use the same idiom and thus be recognisable to many.

    Do you remember \"a Whiter shade of Pale\" considered to be a direct crib from Air on a G string. Was it ? Maybe, but the crux was the bass line which stated JSB immediately. Analysis shows that whilst there are similarities indeed, that this is not ipso de facto the case. Similarly \"Penny Lane\" used the D trumpet unashamedly to create a Brandenburg reminiscence. Was it a crib or merely a courteous nod in the direction of JSB. We all know now that the Beatles heard the BC at George Malcolms and being turned on by the effect, asked him to incorporate the sound into the piece.

    I shouldn\'t worry unless it\'s absolutely note for note, harmony for harmony and timing for timing.
    Then you can truly be accused of total plagiarism.

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