Composing / Arranging / Songwriting

Whether your bag is pop, jazz, or classical music, or even if you just watch TV occasionally, you've almost certainly heard Richard Niles's work. Mike Senior talks to one of the most versatile men in modern music.

I'm thinking about hiring an arranger to do a half a dozen or so of my compositions so that I can get them recorded...

If something's letting down your pop tracks, it could be the arrangement rather than the song itself at fault. Derek Johnson & Debbie Poyser offer some advice on how to make sure your music gets the star treatment it deserves.

Use of a full symphony orchestra remains a luxury afforded only to the world's top-selling artists or film composers. But with a little help from technology, the sound of convincing strings and blaring brass is achievable on a budget. John Rowcroft reports, and offers advice to anyone seeking to follow his example...

These days, any decent synth or sampler offers plausable orchestral sounds — but there's much more to creating believable arrangements for orchestra than realistic samples. Keyboardist/composer Dave Stewart offers some guidance, passes on some advice from pros, and explains how orchestral samples were used to create an arrangement for the latest Geri Halliwell single.

Big George Webley has survived as a media composer for over a dozen years. He learned the following lessons the hard way; you get them free!

British-based Australian Barrington Pheloung is well known for his prolific film and television work, including the theme music to TV's Inspector Morse. One of his most challenging recent projects was the soundtrack to the biopic of Jacqueline Du Pre, Hilary And Jackie...

By the time you read this, he could be clutching his first Oscar for his soundtrack for the historic blockbuster Elizabeth. David Hirschfelder discourses with Richard Buskin about the art, science and pyschology of scoring for the moving image.

When it comes to emulating acoustic instruments, the modern orchestra probably represents the ultimate challenge. Philip Meehan shows you how to take it on and win.

Sound On Sound caught up with M People's Paul Heard, before the band headed off on their European tour. Christopher Holder puts aside his preconceptions to learn about songwriting, production, musicianship and family sedans.

Debbie Wiseman has been described as Britain's most prolific and emotionally charged film composer, with a long list of TV and cinema credits that belies her age, including the recent Oscar Wilde biopic.

This month, Big George persuades more famous musicians and arrangers to give you the benefit of their hard-won wisdom.

This month, some of the people who actually get their hands dirty with arranging — often for the household names in popular music — pass on their thoughts, hints and tips.

Big George looks at arranging for strings, brass and horns.

Great songs are 1% inspiration and 99% perspiration. Big George mops his brow and takes it to the bridge...

The first album from this chart-topping pianist and chanteuse was a million-seller; her second looks set to continue the trend. Ian Gilby was invited into the Craven home studio to discuss the enduring appeal of MOR.

Headlining the biggest electronic music festival in Europe was a US composer almost unknown in the UK. A contemporary of synth pioneer Don Buchla, Suzanne Ciani enjoys enourmous success in America, yet such recognition has eluded her so far this side of the Atlantic.

In between tours with Ultravox and appearances on Live Aid, Midge Ure somehow found the time to discuss the writing and recording of his first ever solo LP 'The Gift' and his No.1 single with SOS Editor Ian Gilby.

You don't know his name but you'll have heard his refrains. Composer Paul Bliss writes hits for the best of 'em using a UMI-2B sequencer package and several synthesizers. Ralph Denyer finds out how.