CAN YOU ARRANGE MUSIC? DO YOU WANT TO TRY? Here’s your chance to GET PUBLISHED!

WE NEED ARRANGERS

to help us put together these books! Sure, we can do it ourselves, but that would take forever, and it would limit us to the style and creativity of our own people.

WE NEED YOU to help us out!

We are looking for people to take one of the not-yet-arranged tunes listed on the Books and Tunes page, and arrange it in accordance with our GUIDELINES.

What We’re Looking For:

First, originality. We want arrangements that are FUN! Fun for the musicians to play, and fun for the audiences to listen to. Second, playability. The arrangements cannot be so difficult that “normal musicians” can’t play them. They should also have the main melody easily heard through most of the piece. Finally, permissions. For now, this means either public domain tunes or original works. Please see our Books and Tunes page for a list of tunes we are considering. Other tune suggestions are always welcome.

If this is you – if you can be original and arrange tunes for playability, then keep reading.

Interested?

Send us an email directly, or go to our CONTACT page to ask about getting started, or about submitting arrangements you may have already done.

What’s In It For You?

What you can get out of it depends on how much you’re willing to put into it.

As you probably know, merely arranging the tune itself is only about 10% of the work of bringing a tune to market. This is why traditional publishers only pay about a 10% royalty for published works.

Since this project is being started on complete speculation, without a massive corporate bank account to back us up, here’s what we are offering as of March 2016. By looking at the schedule of offerings below, you’ll be able to get some idea of how much work is involved in actually putting out one tune for the ECB Series.

Please note, Finale^® is the trademark of FinaleMusic and MakeMusic, Inc.

IF YOUR ARRANGEMENT is selected to be included in one of our books:

If you do the arrangement only, in any medium other than Finale^®, you get the joy of having your piece published and seeing your name in print, and we will send you a letter of thanks and reference.
If you do the arrangement only, in Finale^®, in the five voices, you will receive any one book, for free, of the volume in which your arrangement is published.
If you do the arrangement to include all 27 transpositions, plus properly format (see our GUIDELINES) each linked part in Finale^®, you will receive a set of any five books, for free, of the book series in which your arrangement is published.
If you do the arrangement as above, plus provide print-quality PDF files of each part (see our GUIDELINES), This is by far the preferred option. you will receive any ten books of your choice, for free, of the book series in which your tune is published, plus you will receive, in perpetuity, a royalty on all retail sales of the book in which your tune is published. This won’t be a lot, but it will be SOMETHING. Please consider the maximum royalties Silver Clef pays for any normal published work is 70%, and that your tune will be but one of two dozen in the book, all of which will receive a share of the royalties, and you’ll get an idea of what these royalties might be. We’re not trying to scare you off with this, but we do want you to know up front what and what not to expect.

Please note that all the work mentioned above must be done before the PDF files are compiled into the electronic publication, before the first page is ever printed, before the books are assembled and bound, and before inventory, marketing, and distribution are taken into account, and you’ll begin to get an idea of the magnitude of what’s involved in bringing a finished ECB Volume to the public.

Even so, all this work is WORTH THE EFFORT, because we believe the ECB Series is a hugely valuable resource for all musicians everywhere. We hope they will eventually be familiar and well used by everyone who ever plays an instrument!

We strongly believe that music writers deserve to get compensated for their work. Therefore our planned policy as regards sales of these books is this: First, we look to recoup expenses. These basic expenses include all money laid out to bring this project to print, including payment of royalties as stated above. In the event that these books prove to be runaway best-sellers (which is distinctly possible, given the wildfire-like level of interest already generated), we plan to take another large percentage of any profits (above expenses) and distribute those profits among the contributors to these books. The method of distribution has yet to be worked out (we will consult an accountant on this), but it will likely have to do with volume of contribution. Someone who contributes a 24-measure appendix piece will receive less for that contribution than someone who contributes a 124 measure full arrangement. Those are the plans, as of now.

Ready To Get Started? Send us an email, or use our CONTACT page to get started, or to ask about submitting an arrangement you may have already done. Be sure to read our GUIDELINES first, then let’s get rolling!

Transpositions Available for Each Part in the ENSEMBLE CONCERT BOOKS SERIES

This chart describes each transposition available for each voice in the Ensemble Concert Books Series, along with a list of most of the instruments that can be appropriate for playing that part. This will give you a good idea of which books to order, based on which instruments you have. The preferred instruments for each part are highlighted in red.

SOPRANO 1:

In C. This part includes both the high octave, suitable for flute, piccolo, and violin, and the low octave, suitable for oboe or brass instruments in C.
In Bb. This part is suitable for trumpets, (soprano) clarinets, and soprano saxophones.
In Eb. This part is suitable for and voiced for the Eb soprano clarinet. It can also be played by an Eb sopranino saxophone. If necessary, it can be played by an alto saxophone, but it will not be in the right register, and it would be good if the alto sax player could play it an octave above the written notes.
In F. This part will be available only on request. Please allow six weeks for us to produce it. It is available in the event that a French horn or F trumpet is the only instrument you have to play this voice, and it will require a horn player with a good high range to play it.

SOPRANO 2:

In C. This part is voiced for oboe and violin. It is possible for a flute to play it as well, but this part will frequently be in the lower range for a flute and therefore might lose some power.
In Bb. This is the part to get for (soprano) clarinets, trumpets, and soprano saxophones.
In Eb. This part is voiced for alto saxophones and alto clarinets. It can also be played by an Eb soprano clarinet, but should be played an octave below the written notes.
In F. For French Horns.
In Alto Clef. For violas. This part is only available on request. Please allow six weeks for production.

ALTO:

In C. For violin, viola, or any other C-pitched instrument playing treble clef n the alto range.
In Bb. For soprano clarinets. It can also be played by a trumpet, as it has higher-octave cue notes for those notes that go below the range of a trumpet. It can also be played by tenor saxophones and treble clef baritone horn, but that player should play an octave above the written notes.
In Eb. For alto saxophones, and alto clarinets.
In F. For French Horns.
In Alto Clef. For violas, and those rare (and strange) trombone players who prefer to read alto clef. This part is only available on request. Please allow six weeks to produce it.
In Bass Clef. For trombones and baritone B.C. players. This part will usually be in the higher end of the range of these players, but not uncomfortably so.

TENOR:

In Bb. This is for tenor saxophones and baritone horns who play treble clef.
In Eb. This can be played by alto saxophones, although it will be somewhat low in their register.
In F. For French Horns. This is not the preferred instrument for this part, but they CAN play it.
In Tenor Clef. For violas, and others who prefer tenor clef. This part is only available on request. Please allow six weeks to produce it.
In Bass Clef. For trombones, baritone horns, and cellos. It can also be played by bassoons when needed.

BASS:

In Bb. For Bass clarinet and contra-bass clarinet. Also for Bass Saxophone and brass band type tuba/bass players who read Bb treble clef bass parts.
In Eb. For baritone saxophones and Eb Contra-alto Clarinets.
In F. For experienced horn players only. This part is only available on request. Please allow six weeks to produce it.
In Bass Clef - High. For string bass players.
In Bass Clef - Low - for tubas and bassoons.

MISCELLANEOUS PARTS:

Piano. If you cannot fill in all five other parts, adding a piano player may give you all the extra harmony notes you need.
Drum Set. While not required, adding a drum set to your performances, especially when you are using ten or more players, will definitely enhance the presentation.

Like this:

Transpositions Available for Each Part in the ENSEMBLE CONCERT BOOKS SERIES

What is a VIRTUAL CONCERT?

And how do we make one?

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Like this:

Transpositions Available for Each Part in the ENSEMBLE CONCERT BOOKS SERIES

What is a VIRTUAL CONCERT?

And how do we make one?