..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

DARK and DRONE-Y INSTRUMENTAL CUES are needed by an International Music Library that needs lots of new music to keep up with client requests! Please submit “drone-y” Instrumental Cues in the general stylistic ballpark of the following references: 

Sinister Dark Ambient 

Dark Ambient Background Music 

Please send them subtle Instrumental Cues with very little melodic movement. Your Cues should have a droning quality that delivers an unsettling, moody, sort of ominous feel. Be sure to stick to a singular vibe and sound throughout the entire Cue to keep your piece emotionally cohesive from beginning to end. In other words, don't try to score an imaginary scene. Instead, give them one "vibe" from beginning to end because they'll figure out how and where they want to use it. 

All submissions should be about 1:30 in length, give or take. Non-Faded Endings with a natural decay/ring out will likely work best. Do NOT copy the referenced artists or songs in any way, shape, or form. Use them only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed.

All submissions should be about Two Minutes long (give or take) with non-faded, buttoned/stinger endings. Do NOT copy the referenced examples in any way, shape, or form. Use them only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed.

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

This one is one of my favorites. I like the ebb and flow and the transitions between sections - much fun figuring out new ways to create moods for scenes! 

MINIMALISTIC INVESTIGATIVE TENSION INSTRUMENTAL CUES are needed by a successful. International Music Licensing Company with worldwide distribution through BMG! 

NOTE: This company has just started requesting music from TAXI's members, so chances are you don’t have any material in their catalog yet! 

They’re looking for the kind of Tension inducing Instrumental Cues that could be heard in Crime Drama TV shows or Feature Films in the general range of the following references: 

Crime Scene Music - Police Investigation Underscore Music 

Detroit: Become Human - Investigation 

Your submissions can have some sound design elements like sparse percussion and atmospheric pads – but remember, less is more. This pitch is all about setting the mood.  Electronic and/or Orchestral Instrumentation can all work, but don’t add too many layers, just enough to give your Cue some forward momentum, and to keep it from sounding repetitive. 

Quoting the Music Library: “We are looking for tracks that are minimalist, sparse, and somewhat simplistic. That does NOT mean boring, repetitive, or without evolvement. We prefer to have at least two instruments in a cue. So if you have a solo piece, add another instrument or two and send the newer version.” 

All submissions should be about Two Minutes long (give or take) with non-faded, buttoned/stinger endings. Do NOT copy the referenced examples in any way, shape, or form. Use them only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed.

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

Well, 2 out of 3 forwards out to bad. The second has been forwarded before but hasn't been placed yet.

URBAN DRAMEDY INSTRUMENTAL CUES are needed by a hot International Music Library that’s been signing a lot of TAXI members to keep up with their increasing demand. They love receiving music from TAXI members, and have requested even more! 

They’re on the hunt for Mid-To-Up-Tempo Instrumental Cues that are in the general stylistic ballpark of the examples below: 

Check Yourself: S9 E14 (From 1:27 - 2:01) 

Love & Hip Hop: Atlanta (From 1:23-1:55) 

Please give them well-crafted Dramedy Instrumental Cues with a noticeable Urban vibe, feel, and style. Your Cues should have contemporary instrumentation and solid production values from top to bottom. 

Be sure to build your Cue around a central melodic theme, while adding and subtracting layers of instrumentation as it progresses to create dynamics and movement. Please avoid anything that sounds overly busy, as it could distract from a scene’s dialogue. If you can picture your Instrumental Cue working well in a variety of comical scenes in Urban-centric Reality TV Shows, send it in! 

TAXI Tip: This library needs a bunch of fresh Instrumental Cues in this genre; so if you’ve got the goods, don’t be shy about submitting multiple pieces for consideration! 

All submissions should be at least 60 seconds in length (somewhere in the ballpark of 60 seconds to 2 minutes is probably your best bet.) Good edit points and Non-Faded, Buttoned/Stinger endings are strongly encouraged. Do NOT copy the examples in any way, shape, or form. Use them only as a general guide for tempo, tone, texture and overall vibe. Broadcast Quality is needed.

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

The happy marimba suddenly becomes not-so-happy!

LIGHT MARIMBA-Based TENSION INSTRUMENTAL CUES are needed by a very successful, NON-Exclusive Music Library that gets tons of placements in TV Shows, Films, and TV Commercials. 

NOTE: Due to the unique nature of this request, we purposely didn't include references as we felt they could potentially be more misleading or limiting than helpful. 

Please submit Down-To-Mid-Tempo, Light Tension Cues that are built around the Marimba. Cues that can support scenes with sad or reflective moods have been requested. Build your Cues around a central melodic theme, while adding and subtracting layers of instrumentation as they progress to create dynamics, interest, and forward movement. Please avoid submitting anything that’s busy enough to interfere with dialogue. 

NOTE: Your instrumentation can include electronic and/or organic elements, but the Marimba should be the focal point of the Cue. 

All submissions should be about 90 seconds long (give or take). If you go a little long, don’t sweat it! Non-faded, buttoned/stinger endings will work best. Broadcast quality is needed. 

The blog series that highlights a selected song from my latest album, "III"   

 Episode 9 : HERE'S OUR BLUE SKY

It occurred to me that this song is apropos for the kind of crazy weather we've been seeing of late.

"Skies" may be dark but it's the blessing of those we love that can help bring us through to the blue skies. And if there isn't a cloudless one at the moment, create your own together. And with that, I guess that would be the "story of the song" - about the important things in life.

The bird you hear is real. Recorded at my own house. It's the annual mockingbird (or ?) that's shows up in the spring/summer and continues it's song just like this, sometimes through late night, early morning! There's nothing in the song about birds, but I guess I thought it sort of fit - a reminder of blue skies.

All vocals and instruments performed by me. Recorded and mixed with Logic Pro on a MacBook Pro.

Get the album "III" HERE

To see past song stories, CLICK HERE

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

Exhibit A: Steve investigates how to create an investigative mood. 

INVESTIGATIVE TENSION INSTRUMENTAL CUES are needed by a U.K.-based Music Library that's using TAXI as its primary source of new music for a large-scale catalog expansion. They need a bunch of Cues in this style! 

Please listen to the following references to get an idea of what might work for this pitch: 

Crime Scene Music 

Stealth Music - Crime Scene 

Please submit suspenseful Tension Instrumental Cues that could enhance the emotion, mood, and atmosphere of Crime-based scenes in TV Shows and/or Documentaries. Your style and production value should sound current when compared to today’s standards. Your instrumentation can contain organic or electronic elements, or a hybrid of both. 

Be sure to craft your Cue around a suspenseful and tension-filled melodic idea. Keep it simple, while adding new layers of instrumentation as it progresses to create dynamics, interest, and forward momentum. Remember that this is all about setting the mood! 

All submissions should be about 1:30 in length, give or take, with Non-Faded, Button/Stinger endings. Do NOT copy the references in any way, shape, or form. Use them only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed.

The blog series that highlights a selected song from my latest album, "III"   

 Episode 8 : SAY HELLO TO MY LITTLE FRIEND

I have never seen the famous Al Pacino movie, "Scarface". But I've certainly heard the phrase, "say hello to my little friend". And I know where it came from. And couldn't resist fitting it in a song somehow. I hunted down the clip on YouTube for reference. This is kind of like my version of the Eagles "Get Over It" I guess. Ha ha.

I thought of the quirkiness of songwriters like Randy Newman and Harry Nilsson when it came time to record this little gem.

All instruments performed by little, old me. Recorded and mixed with Logic Pro on a "little" MacBook Pro.

Get the album "III" HERE

To see past song stories, CLICK HERE

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

It didn't fit for the pitch I originally wrote it for because of the "build" at the end. But it worked for this one!

DRONE-Y, ATMOSPHERIC TENSION INSTRUMENTAL CUES are needed for a hard-working Music Licensing Company for placements in a popular Reality TV Show on MTV. 

They’re quickly searching for Down-to-Mid-Tempo Instrumental Cues in the general stylistic wheelhouse of the references below: 

Vice - “Zombie Drug” (Starting From 2:44 – 3:09) 

Vice - “The Deadliest Wildfire In California History” (Starting From 3:00 – 4:40) 

Please submit tension-inducing Instrumental Cues with very little to no melodic movement. They seek Cues that will add a sense of anticipation to a scene. Instrumentation like (but not limited to) Atmospheric synths, pulsing bass notes, softened drumbeats, and lush pads could all work for this request. Your submission should stick to a singular vibe and sound throughout the entire Cue to keep your piece cohesive from beginning to end. No need to go overboard for this request, simplicity, and mood are everything! 

Your submissions should be about 90 Seconds long, give or take. Non-faded endings will work best. Do NOT copy the referenced material in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Broadcast quality is needed. 

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

A RANGE OF INVESTIGATIVE INSTRUMENTAL CUES is needed by an expanding International Music Library that needs lots of new music!They’re searching for dramatic, suspenseful Instrumental Cues that could work in a variety of Crime-based scenes. Please listen to the following references to get an idea of what could work for this pitch: 

Fatal Attraction (1:10 - 2:10) 

Crime Watch (0:00 - 0:39) 

Please submit well-composed Instrumental Cues that could support a variety of investigative scenes and scenarios. Your pieces can include Electronic and/or Orchestral Instrumentation, or a hybrid of both. Build your Cues around a central, tension-inducing melody that will sit easily behind a scene’s dialogue, and add new elements as it progresses to create a sense of forward movement and development. You’d be smart to keep your Cue on the simple side, as this pitch is all about setting an Investigative mood! 

NOTE: Your Instrumental Cues can cover a wide range of Crime Show styles, from what you'd hear during a tense manhunt, to the type of cues that would support detectives searching for clues in the field, to scenes in the lab, etc.  Provide the aural backdrop for those Investigative, crime-show scenes where John Q. Law stops the bad guys! 

Your submissions should be about 90 seconds long (give or take). If you go a little long, don’t sweat it! Non-Faded, Button/Stinger endings will work best. Please do NOT copy the referenced examples in any way, shape, or form. Use them only as a general guide for tempo, texture, tone, and overall vibe. Broadcast quality is needed.
 

The blog series that highlights a selected song from my latest album, "III"   

 Episode 7 : NORDSTRANTANA

Unlike a most of the instrumental tracks I write which are meant to be just background music for a TV show, this is a true instrumental consisting of a lot of guitar as the feature instrument. It was mean to be listened to! 

The name is a bit strange, but I had to come up with something!. It reminded of a hipster "beat" I would hear while roaming the aisles of certain sections of Nordstrom. Also, there was something about it that reminded me of Carlos Santana. I had fun experimenting with pre-recorded instrument and drum loops.

Anyway, it was sitting around inside the "vault" for a while so I finally released it officially. It has been playing in businesses around the world through an online publisher, but now it's on CD and Spotify and all the rest of the streaming locations.

All instruments performed by me. Recorded and mixed with Logic Pro on an MacBook Pro.

Get the album "III" HERE

To see past song stories, CLICK HERE

The blog series that highlights a selected song from my latest album, "III"   

 Episode 6 : CAN'T STAY HERE

I set out from the start to write a moody song. Mission accomplished, I think! Ha ha.

This character hopefully is right on the edge of changing his ways and turning his life around. In my younger days, or wait..... or as a working musician, you are at the gig till the end - closing time. I guess I've heard this phrase more than once- "Don't gotta go home, but you can't stay here!!"

Probably been written before, but silly me said, "Hey, let's write another!" 

On the technical side, the "virtual" drums inside the Logic software gave me a realistic palette of drum kits and fills for me to work with. This is the first song I've put out with the new "gear".

A professional critique i got on this was "classic rock". I suppose the electric guitar lent itself to this. I loved the "Brian May" (Queen) guitar tone I discovered and I couldn't resist not using it!. There was no guitar amp in the room. It's all computer software doing it's magic. My Elton John roots did cross my mind as well as I was working on this one.

All vocals and instruments performed by me. Recorded and mixed with Logic X on an iMac.

Get the album "III" HERE

To see past song stories, CLICK HERE

***** LYRICS *****

CAN'T STAY HERE

The spark of a tongue
Saying you're done
Then you slam the door

Look at you now
Closing it down
Watching the whiskey pour

The barmaid's barking like a buccaneer
Don't gotta go home
But you can't stay here

A flood of regret
Muddles your head
Like an empty glass

Love on the line
Losing your mind
Used to hurt so bad

All you wanted was to disappear
Don't gotta go home
But you can't stay here

And as you're spilling off that barstool
Empty hand around your phone
You reach out for some blonde to break your fall

Hit with the lights
Nothing to hide
Nothing to feel at all

Except for the hole
Shaking your soul
Like an altar call

The spirit's willing, but the flesh can't steer
Don't gotta go home, but you can't stay here

© 2018 Steve Probst

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

URBAN-Based TENSION INSTRUMENTAL CUES are needed by a European Music Library that's expanding and needs lots of new music. 

They’re looking for Mid-To-Up Tempo Instrumental Cues in the stylistic ballpark of the following examples below: 

Basketball Wives (0:13 – 0:53) 

Love & Hip Hop: New York (2:09 – 2:39) 

Please send them contemporary sounding Instrumental Cues, built around a rhythmic Urban/Hip-Hop beat that would support tension-filled scenes in Reality-based TV shows. Build your Cues around a central melodic theme, while adding and subtracting layers of instrumentation as they progress to create dynamics, interest, and forward movement. 

TAXI Tip: Please avoid anything that’s overtly busy, as it could potentially interfere with dialogue. 

All submissions should be at least 90 seconds long (give or take). Non-faded, buttoned/stinger endings will work best. Please do NOT copy the referenced examples in any way, shape, or form. Use them only as a general guide for tempo, texture, tone, and overall vibe. Broadcast quality is needed.

The blog series that highlights a selected song from my latest album, "III"   

 Episode 5 : A GIRL AND HER DOG

One summer day at a New Jersey park for load-in and soundcheck, I spied, across a wide open green expanse, a girl and her....dog...interacting under a tree.

Purely on thinking it was a good title, I went from there with any kind of story line this song might take. At the time of writing this I remember thinking this one as breaking out of the normal type of song I would write. It was fun coming up with the soft brass and woodwind lines in the chorus. (All sampled instruments -  meaning, not played by real players, at my house, in front of a microphone - all from the computer). I'm really happy with the outcome.

All vocals and instruments performed by me. Recorded and mixed with Logic Pro on a MacBookPro.

Get the album "III" HERE

***** LYRICS *****

A GIRL AND HER DOG

Looking out across the green
Not a soul to be seen
Just a girl and her dog

Just like any other day
Till my thoughts began to stray
Toward the girl and her dog

We spend our lives tugging on the leash
Whatever's out of reach looks so inviting
We wag our tails until the bitter end
Every now and then we think get our way

I turned away to watch the clouds
Dancing shadows all around
The girl and her dog

CHORUS

Like a bulldog with a bone
I can't leave well enough alone
And so this song
About a girl and her dog

© 2012 Steve Probst

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

"Pizzi" is short for "Pizzicato Strings" With a short, plucking style of playing, they can sound sneaky or kind of cute, depending on the track. 

*************

ORIGINAL, PIZZICATO-BASED INSTRUMENTAL CUES are needed by an A-List Music Publisher/Music Licensing Company with a long history of placements in Film, TV, and Commercials. They're eagerly looking for simple Pizzicato Instrumental Cues that would fall in the generalstylistic ballpark of these examples they provided to us: 

Dad’s Who Play Barbie (Starting at 0:16 - 1:16) 

Did You Know 

Please send simple, well-composed Pizzicato String Instrumental Cues that could work for many kinds of happy, optimistic, and lighthearted moods in commercials. Instrumentation that could work well for this pitch includes (but is not limited to) Pizzicato Strings, Timpani, Light Percussion, Piano, Oboe, Warm Sustained Strings, or Drums. 

Your Cues should be built around an optimistic central melodic theme while layering instruments in and out as your Cues progress to create a nice developmental arc. You’d be smart to avoid submitting anything that’s frenetic, overly quirky, or just plain silly. 

All Instrumentals must be 1:00 in length (including ring outs and reverb tails) with non-faded, buttoned/stinger endings. In this context, we think One-Minute really means 59.5 seconds. That makes it more usable for TV Commercials! Please do NOT copy the referenced music in any way, shape, or form. Use them only as a general guide for instrumentation, texture, tone, and overall vibe. Broadcast quality is needed.

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

DRAMEDY-Style INSTRUMENTAL CUES are needed by a legendary, Major Music Library with tons of top-notch placements in TV Commercials, Hit TV shows, and Feature Films. They’re looking for Mid-to-Up-Tempo Dramedy Cues in the general stylistic ballpark of the following examples:

KUWTK (From 0:29-1:24)

Love & Hip Hop: New York | VH1 \(From 0:48-1:12\)

Please send them well-composed Instrumental Cues that could be used in a variety of quirky, playful, mischievous and comedic scenes in Reality TV Shows. Build your Cues around a central melodic theme while adding and subtracting layers of instrumentation as it progresses to add dynamics, interest, and some forward momentum. You’d be smart to avoid submitting anything that’s overly busy for this pitch, as it could distract from a scene’s dialog. All submissions should be about 2 minutes long, give or take. Non-faded, Buttoned/Stinger endings are encouraged for this pitch. Do NOT copy the referenced songs in any way, shape, or form. Use them only as a general guide for feel, texture, tone, and vibe. Broadcast quality is needed.

The blog series that highlights a selected song from my latest album, "III"   

Episode 4 : MAMA GONNA WHOOP YOU

There isn't any long, inspirational story to this song. My good friend and one-time traveling buddy, Kevin, with Hotel California, told me how his mom used to say "Mama's gonna whoop you" or something to that effect. Naturally, heard a song title right off the bat, wrote it down for later. 

Later arrived and so did the song in all it's uncomplicated blues/rock mischievousness.

Anyway, MAMA GONNA WHOOP YOU has been released to the masses! 

Get the album "III" HERE

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film pro that will hear it next."

DRAMEDY-Style INSTRUMENTAL CUES are needed by a hot European Music Library that’s expanding their reach and catalog size. They’re looking for Mid-to-Up-Tempo Instrumentals in the general stylistic wheelhouse of these examples: 

WARNING:  The subject matter in some of the reference videos might require Viewer Discretion. 

“KUWTK” (From 0:29 – 0:50) 

“RHOC” (From 0:00 – 0:26) 

“Little Women: Dallas” (From 2:21 – 2:35) 

Send them fun Dramedy Instrumental Cues that could work for silly, funny, or sneaky scenes in Reality TV Shows. Instrumentation that could work for this pitch can include Pizzicato Strings, Marimba, Xylophone, Clarinets, Whistles, etc. Structure your Cue around a central melodic idea, while layering instrumentation in and out as your Cue progresses to add dynamics, keep it moving forward, and to keep your Cue from sounding too repetitive. Simpler is better for this pitch! 

TAXI Tip: Tastefully adding an instrument that isn't often heard in this genre could help your music stand out. Stick to something that works well in context, and doesn't make end users say, "OMG!" when they hear it. Try things like a touch of bassoon or maybe a tiny little pinch of mouth hard here or there. Whatever you try, do it sparingly... don't overdo it! 

Your submissions should be around 90 seconds long, give or take. Non-Faded, Button/Stinger endings will work best for this pitch. Do NOT copy the referenced artists or songs in any way, shape, or form. Broadcast Quality is needed.

The blog series that highlights a selected song from my latest album, "III"  

Episode 3 : PHOENIX HOTEL

I believe this tune of mine is the oldest on the album, as far as the writing part is concerned. It's from my personal experience of staying at an actual hotel in San Francisco called the Phoenix Hotel. Hotel California was in town for a corporate show and they put us up in this "boutique" establishment. 

I’m singing real life here: hearing happy couples, sipping free coffee in one of those always-too-small throwaway cups; slippers from home; cozy wall heater, lonely heart…. I think caffeine refills were at the breakfast bar outside under an overhang overlooking the pool. 

Oh, and this is song 1 of 2 set in picturesque San Francisco. 

[“Let’s Take The Stairs” from my album “Window Seat” is also a "San Francisco song" thanks to the “City by the Bay”. Which brings a thought that I haven’t done song stories about the previous album.] Hmmm...

Get the album "III" HERE

The blog series that highlights a selected song from my latest album, "III" 

Episode 2 : MY HAPPY PLACE

The seed of this tune came firstly not from artistic inspiration - "Oh, I must capture this song immediately while the muse flows freely through my ever-sensitive creative soul!!" - Oh no, my friends.

There's a song that I really like by Christ Stapleton called, "Whisky and Me". I decided one day to take the form of the song, rhyme scheme, etc and just write something in the same pattern. As an exercise and a way to "jump start" the writing process. First thing I did was search for a title with the same syllables as "whisky and me" from list of title ideas I'm constantly adding to. I decided on "My Happy Place". I then flipped the sentiment - the former song was sad, mine would be happy.

Click play:

I just started my usual "just writing anything until something sticks" (if anything even would that day). I remember sitting on the floor, "reaching" for the possible song that might be floating around "in the room". Stuff started appearing on my yellow pad:

"Fridge is humming" ?- We have an older fridge thta keeps chuggin along!
 "Browning onions smell like heaven in a pan"? True story. Love it.
"Pillow laying on the floor" - There it was to my left, the couch throw pillow
"That Christmas present that never made it out the door"? There it was, over to my right. 
"Puppy paws" - 2 dogs, 8 paws in the household!

The "tie comes off" bit is a bit of a fabrication. I don't wear a tie and come home from the office every day. (Although I've been know to wear one onstage)

In many songs, the "hook" comes right at the beginning of the chorus. I let "My Happy Place" close out every verse.

The stuff about Disney and New York City in the bridge? That's me. My happy places. But the bridge closes out with very best kind of "happy place"

And of course, the ultimate "happy place" in Verse 3.

-----

It was suggested in a songwriting critique session to rewrite the bridge. But I left it as is to move to another song. Someone else may not want to recorded it, but it has a whole not of "me" in it, so I figured I'd keep it for myself.

-----

There you have it! A song that might never have been born that day if I hadn't practiced a little pro-writer discipline and shown up to the solo "writing session"! 

Check out the photo below. I was surprised to be reminded in my scribblings that "My Happy Place" started at the beach but ended up in the living room! 

I love songwriting! How about you?

Here's the song pattern inspiration for "My Happy Place":

Get the album "III" HERE

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film person that will hear it next." 

Using some new sounds and trying to make it sound as real as possible, I'm always learning something new.
My daughter calls this my "Hallmark Channel" track. :)

INSPIRING, ELEGANT INSTRUMENTAL CUES are needed by a boutique Music Library with tons of credits in big Feature Films, countless TV Shows, and TV Commercials. They’re searching for positive, Mid-to-Up-Tempo Instrumental Cues in the general stylistic wheelhouse of the following reference that we got from our client: Instrumental Reference: https://www.youtube.com/watch?v=IFyAzXSe9Oo&t=75s Please submit elegant-sounding Instrumental Cues that have a modern, inspiring feel and vibe. The client is looking for a crossover of modern and acoustic instrumentation that has an “advertising-friendly” sound and could also work well as background music in a variety of other media. Build your Cue around a central melodic theme and mood while adding and subtracting layers of instrumentation as your piece progresses to add emotion and dynamics. Also, please avoid anything that’s overly busy or frenetic, as it might distract from dialogue. Quoting The Music Library: “Your Cues don’t need a prominent melody – rather, nice musical motives that work well as background music, with some sense of forward movement.”
All submissions should be around Two-Minutes long (give or take) with non-faded, buttoned endings. Do NOT copy the referenced example in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed (great sounding home recordings are fine).

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film person that will hear it next." 

BLUES/ROCK INSTRUMENTAL CUES are needed by a well-respected Music Library with a very solid track record of TV and Film placements. This company ran a lot of listings with TAXI about 10 years ago, and placed a bunch of music from our members. They’ve recently started a New Company, so this is a great opportunity to get in on the ground floor, and they pay an Upfront Fee to Composers! They’re looking for Mid-to-Up-Tempo Instrumental Cues that would fit well on a playlist with the following references: “Howlin’ for You” by The Black Keys: https://www.youtube.com/watch?v=bSCsoQ87MQ8 “Badman Redux” by Brent Lindsay: https://www.youtube.com/watch?v=FC1u-Wia3P0 “Heartbroken, In Disrepair” by Dan Auerbach https://www.youtube.com/watch?v=r0N2xsFiOOo Although the references have vocals, please submit Instrumentals only for this pitch.

Please submit well-crafted Blues/Rock Cues that have an edgy sound with standard Rock band instrumentation, and great musicianship that’s played with conviction, attitude, and authenticity. Adding some “rust” and “grease” couldn’t hurt! Your submissions should be well structured, with catchy, gritty guitar riffs, engaging melodies, and a super in-the-pocket rhythm section. Add and subtract layers of instrumentation as your Cues progress to add dynamics and keep it moving forward. Your submissions should be about 2 minutes long (give or take), with Non-Faded, Buttoned/Stinger endings. Please Do NOT copy the referenced bands or songs in any way, shape, or form. Use them only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed (great sounding home recordings are fine).

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film person that will hear it next." 

Available now for YOUR nearest kids channel!

FUN, EMOTIONALLY UPBEAT INSTRUMENTAL CUES are needed for several $250, NON-Exclusive, Direct-to-Supervisor placements in a new Kids’ Game Show on Major Cable Network. They’re looking for Up-Tempo Instrumentals that are in the general stylistic wheelhouse of these examples: BrainSurge (0:06 - 0:30): https://www.youtube.com/watch?v=occhsPjeDq4 Splatalot! - Season 2 (0:16 - 0:30): https://www.youtube.com/watch?v=sIGWaSM_o5A

Send them emotionally upbeat, high-energy Instrumental Cues that deliver a positive, fun vibe, and sound like something that would work well in the context of an exciting kids’ competition game show. Your Cues can be a little bit crazy or zany, but don’t go too far. Come in fast and strong, and structure your Cue around a central melodic theme while adding and subtracting instrumentation as it progresses to give it dynamics and lots of forward momentum. They need a bunch of Cues in this style, so if you’ve got them, don’t be shy about submitting for this!

Here's the alternate version w/melody:

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film person that will hear it next." 

2nd time for this bit of quirkiness!

QUIRKY DRAMEDY-Style INSTRUMENTAL CUES are needed by a successful Production Music Library with an extremely long list of placements in Commercials, Films, and TV shows. They’re looking for Dramedy Cues that can range from quirky and mischievous, to playful, sneaky, or quizzical sounding. Please listen to the following references to get in the stylistic wheelhouse of what they’re looking for: Will Dives In from “The Little People” (0:00-0:55) https://www.youtube.com/watch?v=RSnuEbcaOY0 Project Runway (:23 - :47) https://www.youtube.com/watch?v=YIukd6qvpu4 Leah Remini: It’s All Relative (0:29 – 1:09): https://www.youtube.com/watch?v=C_RvJqA4pl8
Please send them well-crafted Instrumental Cues that reflect the fun and quirky range of styles in the references above. Build your Cue around a central melodic theme while adding and subtracting layers of instrumentation as it progresses to add dynamics, interest, and some forward momentum. You’d be smart to avoid submitting anything that’s too frenetic or overly busy for this pitch, as it could distract from a scene’s dialog. Feel free to push the envelope a bit, and send them something they don’t already have. Give them something fresh yet familiar if you’d like to make TV show’s editors gravitate to your Cue(s)!
All submissions should be about 2:00 minutes in length, give or take, with non-faded/buttoned endings. Do NOT copy the references in any way, shape, or form. Use them only as a general guide for tempo, tone, texture and overall vibe. Broadcast Quality is needed (great sounding home recordings are fine).

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film person that will hear it next." 

Okay, so one of these days I'm going to get a call back from someone that's actually going to use one of these little creations! But until then, I'll just keep writing, learning, submitting! "Quirky" = Fun

QUIRKY DRAMEDY-Style INSTRUMENTAL CUES are needed by an International Production Music Library with an awesome, 20-year history of great TV and Film placements. They’re very eager to find some fresh Dramedy Cues that can range from quirky and mischievous, to playful and silly.

Please listen to the following references to get in the general stylistic wheelhouse of what they’re looking for: Will Dives In | The Little People” (0:00-0:55) Project Runway (:23 - :47) Leah Remini: It’s All Relative (0:29 – 1:09)

Please send them well-crafted Instrumental Cues that reflect the fun and quirky range of styles in the references above. Build your Cue around a central melodic theme while adding and subtracting layers of instrumentation as it progresses to add dynamics, interest, and some forward momentum. You’d be smart to avoid submitting anything that’s too frenetic or overly busy for this pitch, as it could distract from a scene’s dialog.

TAXI Tip: Many music libraries already have a lot of Dramedy-style Cues, so this company is looking for material that sounds fresh, with that little something extra that will make TV editors gravitate to it. Your submissions should be about 1:30 in length, give or take. Non-faded, buttoned/stinger endings will work best. Do NOT copy the referenced material in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed (great sounding home recordings are fine).

..Which means: “Hey cool track, I'm going to pass this on. It may be usable to the TV/Film person that will hear it next." 

And just like that, another forward to follow the previous "Urban Dramedy" track. This one has been around for a while. You may have heard it. After it was written for a previous pitch, I never heard back, so I released it as a Christmas single. There's even a video!

PUBLIC DOMAIN CHRISTMAS SONGS (In Various Genres) with Male or Female Vocals are needed by a growing Music Library that’s actively pitching to a number of high-end Films and TV shows. Send them great, Mid-to-Up-Tempo Songs that you’d expect to hear on playlists with artist/songs like (but not limited to): “Jingle Bells” by Tiffany Alvord: https://www.youtube.com/watch?v=lDMmJ6u0R3w “Silent Night” Justin Bieber: https://www.youtube.com/watch?v=9WZI4g7qKrg “Have Yourself A Merry Little Christmas” by Hannah Kerr: https://www.youtube.com/watch?v=q_TdWsWPD6E Jingle Bells (Rock Version): https://www.youtube.com/watch?v=JTuXPUP06H0 Do you have a Rockin’ version of Jingle Bells? How about a stripped-down acoustic Singer/Songwriter-style version of Silent Night, or a Jazz version of Joy To the World? If so, this Music Library wants to hear it! Please submit well-crafted Public Domain Covers that capture the true essence of the holiday season, with a great overall performance that sounds really fresh and current. Please stick to the original melody and lyric of the song(s) you choose to cover and submit. You’d be wise not to send something that’s too whacky or outside-of-the-box for this pitch.