At 04:02 PM 9/18/03 -0500, Richard Huggins wrote: >I'm curious if that $2500 included engraving/score prep or if you (or >someone) got extra for that. Typically do you include that in your >commissions?
That was everything, no score prep included. The full score was in manuscript and the parts more nicely inked (it was 1991). But no, there has never been extra money for parts. The American Music Center has several grant programs for preparation, but I've never been graced with one. As I understand from many composers, there are four informal commissioning tiers: famous, resident, competition, and other. Famous composers demand and receive good sums regularly. Resident composers (which includes associate/attached composers, those with some sort of official relationship to an orchestra) get good sums for a limited period, and if they're lucky, the ability to move on to another ensemble. Competitions are one-shot, and can be good sums, but don't guarantee performance. And they there's everybody else, folks who take whatever they find tolerable at the moment (including only for performance). There are also academics who have student/resident performances, but that's a kind of slave labor, so it doesn't count. :) I've been commissioned 58 times. No commission, including subsequent royalties, has yet come close to minimum wage. Dennis _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
