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Guitar Musician e-zine 04/26/2006
In This Issue:
| "... another guitar player who had a tremendous influence
on my life was Howard Roberts ... I'd listened to a lot of Tal Farlow,
Johnny Smith and Kenny Burrell, and I was certainly into those guys, but I
was awestruck at the intensity and fire in Howards' guitar playing... for
me, it became a roadmap..."
- Jeff 'Skunk' Baxter - guitar - Steely Dan / Doobie Brothers
Moral of the story
A teacher gave her class of 11 year olds an assignment: Get their parents to tell them a story with a moral at the end of it. The next day, the kids came back and one by one began to tell their stories.
Ashley said, "My father's a farmer and we have a lot of egg laying hens. One time we were taking our eggs to market in a basket on the front seat of the car when we hit a big bump in the road and all the eggs went flying and broke and made a mess."
What's the moral of the story?" asked the teacher.
"Don't put all your eggs in one basket!", Ashley said
"Very good," the teacher replied.
Next little Sarah raised her hand and said, "Our family are farmers, too. But we raise chickens for the meat market. One day we had a dozen eggs, but when they hatched we only got ten live chicks, and the moral to this story is, 'Don't count your chickens before they're hatched'.
"That was a fine story, Sarah", said the teacher. "Michael, do you have a story to share?"
"Yes. My daddy told me this story about my Aunt Shirley. Aunt Shirley was a flight engineer on a plane in the Gulf War and her plane got hit. She had to bail out over enemy territory and all she had was a bottle of whisky, a machine gun and a machete. She drank the whiskey on the way down so it wouldn't break and then she landed right in the middle of 100 enemy troops.
She killed seventy of them with the machine gun until she ran out of bullets. Then she killed twenty more with the machete until the blade broke. And then she killed the last ten with her bare hands."
"Good Heavens", said the horrified teacher, "what kind of moral did your daddy tell you from that horrible story?"
"Stay away from Aunt Shirley when she's been drinking."
A Lesson For The Learning
Interested in guitar lessons? - Be sure and check out the guitar lessons offered by Andrew Koblick at Amazing Guitar
GUITAR Q AND A
The Blues Scale Formula
Jimmy Edwards; Memphis, TN
Q: Okay, I see that minor/major scales follow a certain pattern using steps and half steps, etc., but on the "E" Blues scale I can't see a similar pattern? Am I correct in this observation and can you give any particular reason this is the case if it does not follow a pattern?
A: The Blues scale is simple in its own right and does have a definite formula.
In the key of "E" the Blues scale notes are: E G A A# B D
The Minor Pentatonic scale formula is: 1 b3 4 5 b7
In the key of "E" the Minor Pentatonic notes are: E G A B D
Hope this helps!
Yours in Music,
Co-Publishing Agreements�How Writers Are Paid
By Jeffrey and Todd Brabec
One of the important aspects of a co-publishing agreement is how the various parties to the agreement share the income that is earned from CD and tape sales, downloads, subscriptions, videos, performances, motion picture, and television synchronization rights, commercials, streaming, and all other sources of revenue generated by a writer's songs.
The most common sharing of income arrangement in this area is known as the "50/50" split. This equal sharing of income (50% to the writer's company and 50% to the major company) refers only to those monies that represent the music publisher's share of earnings.
It does not relate to the writer's share, since the songwriter will still receive his or her 50% songwriter's royalties regardless of the terms of the co-publishing agreement.
A simple diagram comparing the standard writer-publisher contract and the co-publishing agreement can best explain this sharing of income between the writer's publishing company and the major publishing company.
Under the standard music industry publishing contract, the writer generally receives 50% of the net income earned from uses of his or her songs, and the publisher receives the other 50%. For example, if a total of $100,000 is received by the music publisher from the sale of CDs or downloads, the publisher is entitled to retain $50,000 and the writer receives $50,000.
Under the co-publishing agreement, however, the writer receives not only his or her 50% share of songwriter income but also receives a share of the publisher's share. If we keep our previous example of $100,000 received by the publisher from CD and download sales and assume a 50/50 co-publishing arrangement, the income would be shared as set forth below.
As can be seen, the songwriter receives 50% of all monies received, with his or her publishing company and the major publisher sharing the remainder equally. In effect, the writer and his company receive 75% of all monies earned, and the major "copublisher" receives the remaining 25%.
To illustrate the arrangement once again through the use of actual dollar figures, the sharing of income is shown in Figure 1.
The basic 50/50 co-publishing agreement is not the only type of royalty split encountered in the music industry. Another type of co-publishing agreement provides for a 75/25 split of publishing income between the writer's company and the major publisher.
Under such an arrangement, the writer will receive his or her full writer's share of income (50% of all monies that are earned) as well as an additional 25% of the publisher's share of monies earned (25% of the remaining 50% of all income).
Assuming our $100,000 example, the writer's company would receive 25% of the $50,000 publisher's share ($12,500) and the major co-publisher would receive the other 75% ($37,500).
Under this arrangement, the writer and his or her publishing company would receive an aggregate total of $62,500 of the $100,000 earned and the major publisher would receive the remaining $37,500.
This article is based on information contained in the new, revised paperback edition of the book "Music, Money, And Success: The Insider's Guide To Making Money In The Music Industry" written by Jeffrey Brabec and Todd Brabec (Published by Schirmer Trade Books/Music Sales). www.musicandmoney.com.
Brought to you by TAXI: The Independent A&R Vehicle that connects unsigned artists, bands and songwriters with major record labels, publishers, and film & TV music supervisors.
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