Stuart wrote:
> The practice of naming tunes after people to curry favour or say thanks for
> services rendered is a long an honourable tradition which includes the
> planxties and fancies of earlier periods. I saw a tv prog once about
> flamenco which talked about the tradition of 'homage' composing in that
> culture.
>
> I've tried to carry the tradition on: "The Old Man Hoy" was composed for
> Derek Hoy to avoid having to buy him a proper 40th birthday present,
> "Bellany's Brush" was written for the painter in the hope that he would give
> a priceless canvas in return, "The Boston Cuffes" was for guitarist Tony and
> his family to pave the way for a free holiday in the States,.... the list
> goes on.
Stuart's attitude nicely sums up the grasping attitude of musicians in these
parts. I have tried it myself, but there is one fatal flaw in the Tune as
unit of currency- it has least value when it's just written.
I tried to peddle a composition in the local butcher's last week, but he
argued he had no idea of the potential value as it was unplayed. A couple of
sausages and a slice of black pudding was all he'd hand over.
Safeways definitely doesn't accept Tunes as payment, but I haven't tried Asda
yet.
The real value of a tune is only realised when it has become played in and
popular. So the successful tunesmith should give a tune a catchy place-holder
(A Man Getting Off a Bus, The Price of Mince, Warm For the Time of Year, ...),
plug it like hell (mp3.com seems to be the new place :) then auction it off to
the highest bidder.
Derek
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