[Finale] OT: midi versions of nancarrow studies?
does anyone know if these exist? and what would be involved in preparing (in finale) and playing a couple of them in concert (playback over loudspeakers)? would a midi version constitute a new adaptation of the work, what are the implications of this? etc. etc. etc. studies are published by schott. apparently carlos sandoval (nancarrow's assistant in the 90s) has midi versions... for sale... for 2000 eur... cheers, jef ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: midi versions of nancarrow studies?
Hi, Wolfgang Heisig may have what you need, Jef. http://www.wolfgang-heisig.de/ http://www.heisigrollen.de/ I met him in Koln a number of years ago. He has a self-made machine to punch rolls from MIDI files. Wise guy... Saludos, Javier The 05/09/09 12:59, shirling neueweise escribió/wrote: does anyone know if these exist? and what would be involved in preparing (in finale) and playing a couple of them in concert (playback over loudspeakers)? would a midi version constitute a new adaptation of the work, what are the implications of this? etc. etc. etc. studies are published by schott. apparently carlos sandoval (nancarrow's assistant in the 90s) has midi versions... for sale... for 2000 eur... cheers, jef ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Right I knew that ... I just wondered if you were receiving bucks in any way ... Thanks, Dean On Sep 4, 2009, at 5:08 PM, Darcy James Argue wrote: Hi Dean, Some of my pieces are published via Really Good Music, the rest I self-publish. But that's got nothing to do with live performance royalties from BMI or ASCAP! Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 7:12 PM, Dean M. Estabrook wrote: Darcy ... I'm just curious ... have you published any pieces, and if so, have any been bought? If so, I assume you have received, or will receive your 10 or whatever percent of said sales. Dean On Sep 4, 2009, at 3:58 PM, Darcy James Argue wrote: Hi Terry, If I were a classical composer, I would (theoretically) get BMI or ASCAP royalties on all live performances. Because I'm a jazz composer, I get nada -- at least, for US performances. What's especially galling is that venues like the Jazz Gallery still have to pay for BMI and ASCAP licenses, even though *none* of that money actually goes to the composers whose work is actually presented there. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 6:27 PM, terry cano wrote: I'm not much up on this subject but if you own it and it is published by you you get royalities on any performance correct? May not be big bucks though. You could write up the document for one time performance yourself it would be very straight forward Terry ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Canto ergo sum And, I'd rather be composing than decomposing Dean M. Estabrook http://deanestabrook.googlepages.com/home ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale Canto ergo sum And, I'd rather be composing than decomposing Dean M. Estabrook http://deanestabrook.googlepages.com/home ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2008 and new Mac Snow Leopard OS...update
Leigh Daniels wrote: Can Sibelius copy a layout from one part to another like the Transfer Layout tool does? Yes, it has a dedicated button for this in the Parts window. Works fine. Best, -WR ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Wow, I was unaware of the live performance non payment, So what is the deal when ASCAP would hire folks to go to venues and list the songs that were played? I had friends here in LA that would pick up extra bucks when there were no gigs. As for the Serious part, I'm pretty serious about what I write and I'm pretty sure all of you are too.this is not good. How do we change it? Terry ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Sheet music rental license example
Hi Darcy, You may find some useful information at the MOLA website: www.mola-inc.org/ , since orchestra librarians deal with similar issues all the time. Is there a local orchestra librarian you can speak to? Good luck, Greg Greg Hamilton Music Service www.greghamiltonmusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Hi Terry, When ASCAP sends their spies to go document the songs being performed, they are only trying to prove that ASCAP-licensed works are being performed at an unlicensed venue, so that they can then go and threaten that venue with legal action unless they pony up for a license. But if that venue is a jazz venue, then none of the money ASCAP collects from that license actually goes to the jazz composers who perform their own original works there. Instead, it goes to serious composers, and to the songwriters whose works are played by the top 200 touring acts. By contrast, SOCAN (the Canadian PRO) lets you file your own repertoire reports online, and compensates for all club performances where the cover charge is $6 or greater, regardless of genre -- but obviously, this only holds true for Canada. This is why I never joined ASCAP/BMI when I moved to the US -- even though my bigband has only performed in Canada three times, I actually got live performance royalties for those performances. Theoretically, if I were represented by ASCAP/BMI, SOCAN would send that money to the US PRO, but who knows whether it would ever eventually find its way to me? Where SOCAN falls short is radio -- like ASCAP/BMI, they don't collect the entire playlists from radio stations -- even though this would be trivialy easy for them to do in this digital age. (My publicist receives radio logs from almost every station that programs my music.) Instead, they survey for 3 to 4 days A YEAR and extrapolate from that. It's absurd. The only exception is the CBC, for which SOCAN logs everything. (This makes me *extremely* grateful to Laurie Brown, who is the only CBC DJ who actually programs my music!) Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 5 Sep 2009, at 3:05 PM, terry cano wrote: Wow, I was unaware of the live performance non payment, So what is the deal when ASCAP would hire folks to go to venues and list the songs that were played? I had friends here in LA that would pick up extra bucks when there were no gigs. As for the Serious part, I'm pretty serious about what I write and I'm pretty sure all of you are too.this is not good. How do we change it? Terry ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
Hi Greg, Thanks. I was able to work it out with the US Army Blues -- they signed a rental agreement indicating they would destroy all hard copies and digital copies following the single authorized performance. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 5 Sep 2009, at 3:06 PM, Greg Hamilton wrote: Hi Darcy, You may find some useful information at the MOLA website: www.mola-inc.org/ , since orchestra librarians deal with similar issues all the time. Is there a local orchestra librarian you can speak to? Good luck, Greg Greg Hamilton Music Service www.greghamiltonmusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2008 and new Mac Snow Leopard OS...update
Yes, but not as comprehensively TGTools. JB On Sep 5, 2009, at 1:39 PM, Will Roberts whrcompo...@fastmail.fm wrote: Leigh Daniels wrote: Can Sibelius copy a layout from one part to another like the Transfer Layout tool does? Yes, it has a dedicated button for this in the Parts window. Works fine. Best, -WR ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] MIDI volume send?
Each time I press play, before a single note has been played (even if no notes are entered in the score yet) volume controller messages are being sent to my MIDI keyboard for each track. This is volume, not key velocity. I've tried turning off H.P., unchecking send patches before play, and changing the values of the levels in the instrument list and mixer, all to no avail. The volume leveles are being set to 64 even though they say 100 (or anything else) in the instrument list. I created this score using the wizard. Anyone know what is going on? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: Re(2): [Finale] Finale 2008 and new Mac Snow Leopard OS...update
Oh yes! I am with Eric on this! History shows that third-party stuff kicks ass, and as soon as MakeMusic get it, it starts sucking (or not working properly, which is the same thing.) christopher On Sep 4, 2009, at 10:22 PM, Eric Dannewitz wrote: No no, TGTools needs to be where it is. I'd rather have Tobias take his time and make sure it works before updating. Can you imagine MakeMusic breaking something in TGTools, and then NOT fixing it until Finale 2011.forget that! On Sep 4, 2009, at 6:53 PM, Leigh Daniels wrote: I consider TGTools essential, too. Especially the Transfer Layout tool for parts. I wrote Tobias a few weeks back and he said there would be an update soon. If MakeMusic were smart (big if), they would just buy TGTools from Tobias and continue to update them along with Finale. Can Sibelius copy a layout from one part to another like the Transfer Layout tool does? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Sheet music rental license example
I am incredulous! I am also a little bewildered, as I am quite sure I got royalties paid for some of my works performed in the States. Perhaps, since they were at concert halls, they were under the impression that my works were serious ones, rather than frivolous ones like yours (that was a joke! Big joke!) Why do you think that you got no payments even after you re- registered your works as serious? SOCAN never stops telling us (the members) that the society is ours, and we should participate in consultations and let our views be known. I imagine the same holds for BMI and ASCAP? I would get the jazz guys together and make some big noise, as that situation is nonsensical! Why would a jazz musician even join one of those organizations if their works are never going to be compensated, yet money is going to be collected from the presenters of their works? There must be many more jazz composers than even classical composers, so your collective voice would carry some weight. I would make some serious waves, in your situation. SESAC pays on broadcasts, don't they? (I am a little underinformed on them, since SOCAN covers everything in Canada.) They might be a viable alternative, since even a couple of SESAC venues beats zero from BMI. Christopher On Sep 4, 2009, at 11:11 PM, Darcy James Argue wrote: Hi Chris, Believe me, I have talked to the people at SOCAN about this multiple times. I've talked to BMI (my US affiliate) as well as a number of US-based jazz composers. I have always gotten the same answer: BMI and ASCAP do not compensate composers for live performances of non-classical music, except for the works performed on the top 200 grossing US tours. The type of venue has absolutely nothing to do with it. In fact, here's the specific email I got from SOCAN's Marc Fedak on this subject: Recently, you submitted several concert notices for 2006-2007 shows at Bowery Poetry Club in New York. Were your Bowery Poetry Club shows part of a major US tour or festival? The reason why I ask is because both BMI (your US rep) and ASCAP pay royalties only for the top 200 grossing US tours of the year, and therefore it would not be worthwhile reporting US concerts unless you believe these may be part of a major US tour or festival. (This only applies to the US. In Europe and elsewhere, it seems like the performing rights societies there will pay royalties even for small concerts as long as the promoter has paid the license fee.) In response to that, I asked: it is also my understanding that composers of serious music are always compensated for live performances of their music, even by ASCAP and BMI, even though none of those serious performances would remotely come close to being one of the top 200 highest- grossing anything. Is that also correct? His response: You are correct that BMI and ASCAP's rule about paying royalties only for the top 200 grossing US tours does not apply to serious music, which is generally considered to be classical music. I then re-registered all of my compositions as serious music with SOCAN, but this does not appear to have made any difference whatsoever, as I have yet to receive a single penny from BMI (my US affiliate) for any US performance or radio broadcast of any kind. I've gotten royalties from performances and radio broadcasts in Canada, Germany, Austria, the Netherlands, the UK, and even Australia (where I have never been). But I've been in the US for almost ten years now, the vast majority of performances of my music take place in the US, and I've never gotten any kind of payment whatsoever from BMI. This isn't unusual -- most of my peers have never gotten a cent from BMI or ASCAP either. SESAC *does* in fact, compensate for live performances of all genres at SESAC venues -- this is one of their selling points, something they pushed hard at this year's Jazz Journalist Association Awards -- but good luck finding a SESAC venue. Basically, the US performance rights organizations appear designed to funnel money to the people who are already the top earners (top 200 grossing tours, those in heavy rotation on the radio, etc). They give the serious composers special treatment for historical reasons, and because there is prestige attached. Cheers, - Darcy - djar...@earthlink.net Brooklyn, NY On 4 Sep 2009, at 9:16 PM, Christopher Smith wrote: I can't imagine how that would be true. ALL compositions are supposed to be eligible to get royalties, no matter what the style, as it isn't up to ASCAP or BMI to make any kind of judgement about that at all. If you were a classical composer and one of your works was performed in a club, the performance wouldn't be logged, so you wouldn't get a royalty. If the performance WAS logged, you would get a royalty. I understand that club performances are not logged, so it is harder for
Re: [Finale] Sheet music rental license example
On Sep 5, 2009, at 3:24 PM, Darcy James Argue wrote: Where SOCAN falls short is radio -- like ASCAP/BMI, they don't collect the entire playlists from radio stations -- even though this would be trivialy easy for them to do in this digital age. (My publicist receives radio logs from almost every station that programs my music.) Instead, they survey for 3 to 4 days A YEAR and extrapolate from that. It's absurd. Heh, heh! Every six or eight years one of my pieces gets sampled in a radio survey (probably CKUT or some other college station). That quarter I get a big cheque (well, a hundred bucks or so!), far out of proportion to the amount of airplay I ACTUALLY got, as they assume I am getting played more often since I showed up in the survey. But it makes up for all the quarters when my occasional radio play gets missed and I get nothing at all. The only exception is the CBC, for which SOCAN logs everything. (This makes me *extremely* grateful to Laurie Brown, who is the only CBC DJ who actually programs my music!) I hear you. Before the CBC programs got gutted, I was similarly grateful to Ross Porter and Katie Malloch. Laurie Brown is about the only one left who has a mandate to play anything that we are likely to write. Christopher ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MIDI volume send?
On 2009/09/05, at 15:51, toronado...@gmail.com wrote: Each time I press play, before a single note has been played (even if no notes are entered in the score yet) volume controller messages are being sent to my MIDI keyboard for each track. This is volume, not key velocity. I've tried turning off H.P., unchecking send patches before play, and changing the values of the levels in the instrument list and mixer, all to no avail. The volume leveles are being set to 64 even though they say 100 (or anything else) in the instrument list. I created this score using the wizard. Anyone know what is going on? Apology if I am not understanding this, but are you talking about _volume_ as in CC7? I have a feeling you are mistaking with channel gain as in CC11. If you do not wish that to happen, you should filter it at the destination. If you use a MIDI interface such as MOTU MTP/ AV, you can filter it on the hardware. I'd imagine you can insert CC11 at the beginning of each track in Finale, no? Altho you are seeing 64 is odd. The standard is 110. -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Greater Boston http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MIDI volume send?
On Sat, Sep 5, 2009 at 7:20 PM, A-NO-NE Music anonemu...@mac.com wrote: On 2009/09/05, at 15:51, toronado...@gmail.com wrote: Each time I press play, before a single note has been played (even if no notes are entered in the score yet) volume controller messages are being sent to my MIDI keyboard for each track. This is volume, not key velocity. I've tried turning off H.P., unchecking send patches before play, and changing the values of the levels in the instrument list and mixer, all to no avail. The volume leveles are being set to 64 even though they say 100 (or anything else) in the instrument list. I created this score using the wizard. Anyone know what is going on? Apology if I am not understanding this, but are you talking about _volume_ as in CC7? I have a feeling you are mistaking with channel gain as in CC11. If you do not wish that to happen, you should filter it at the destination. If you use a MIDI interface such as MOTU MTP/AV, you can filter it on the hardware. I'd imagine you can insert CC11 at the beginning of each track in Finale, no? Altho you are seeing 64 is odd. The standard is 110. The standard is 110? For which? Controller 7 or 11? I'm pretty sure I'm talking about controller 7 because this is the basic volume level of each MIDI channel. If I create a new default document and in the instrument list, the level for the default first staff is 101, and it becomes 110 on my MIDI keyboard when I press play. So something is multiplying it by like 109% or something. But if I create a new document without libararies I get the expected behavior of exactly what appears in the instrument list in the vol. column being sent to the MIDI keyboard. This is the way I normally set the overall volume for tracks. So there is something in my default document (and apparently also in the documents I create with the Wizard) which differs from this. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MIDI volume send?
On Sat, Sep 5, 2009 at 10:39 PM, toronado...@gmail.com wrote: On Sat, Sep 5, 2009 at 7:20 PM, A-NO-NE Music anonemu...@mac.com wrote: On 2009/09/05, at 15:51, toronado...@gmail.com wrote: Each time I press play, before a single note has been played (even if no notes are entered in the score yet) volume controller messages are being sent to my MIDI keyboard for each track. This is volume, not key velocity. I've tried turning off H.P., unchecking send patches before play, and changing the values of the levels in the instrument list and mixer, all to no avail. The volume leveles are being set to 64 even though they say 100 (or anything else) in the instrument list. I created this score using the wizard. Anyone know what is going on? Apology if I am not understanding this, but are you talking about _volume_ as in CC7? I have a feeling you are mistaking with channel gain as in CC11. If you do not wish that to happen, you should filter it at the destination. If you use a MIDI interface such as MOTU MTP/AV, you can filter it on the hardware. I'd imagine you can insert CC11 at the beginning of each track in Finale, no? Altho you are seeing 64 is odd. The standard is 110. The standard is 110? For which? Controller 7 or 11? I'm pretty sure I'm talking about controller 7 because this is the basic volume level of each MIDI channel. If I create a new default document and in the instrument list, the level for the default first staff is 101, and it becomes 110 on my MIDI keyboard when I press play. So something is multiplying it by like 109% or something. But if I create a new document without libararies I get the expected behavior of exactly what appears in the instrument list in the vol. column being sent to the MIDI keyboard. This is the way I normally set the overall volume for tracks. So there is something in my default document (and apparently also in the documents I create with the Wizard) which differs from this. Just wanted to clarify one thing... In the document in question (the one I originally asked about), if I set the vol. in the inst. list to 101, it becomes 64 on the MIDI instrument, if I set it to 100, it becomes 63, if i set it to 50, it becomes 31, if I set it to 90 it becomes 57, and so on. So something is multiplying it by some less than 100% factor in this docment. In the default document it gets mutliplied by slightly more than 100%. If I create a document without libraries it is multiplied by excactly 100%. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
