On 26 Jun 2002, at 14:00, John Howell wrote:
> P.S. It's really getting to be a drag to have to paste in the list address
> for every reply. Did the problems with the new server ever get worked out,
> and would it be possible to reset for automatic reply to the list?
One alternative would be t
At 2:00 PM -0500 6/26/02, John Howell wrote:
>
>On the other hand, a thorough knowledge of the mechanics can help avoid
>embarrasment. So far, in the cello book for "Guys & Dolls," we've found at
>least one low Bb. There's an orchestrator who missed the class on ranges
>of stringed instruments!
Christopher wrote:
>
>OK, I've had a bunch of feedback on this item, which I thought was
>simply a humourous way of pointing out that students don't ALWAYS
>want what they THINK they want. If someone REALLY wants a passage to
>sound a certain way, more power to him, and I can help him with that.
At 7:17 AM +0900 6/25/02, Richard Walker wrote:
>on 02.6.24 2:14 AM, Christopher BJ Smith at [EMAIL PROTECTED]
>wrote:
>
>> On the other hand, some guys like Danny Elfman don't ever touch a
>> piece of staff paper, playing and singing things into cassettes and
>> sequencers and passing it off
on 02.6.24 2:14 AM, Christopher BJ Smith at [EMAIL PROTECTED]
wrote:
> On the other hand, some guys like Danny Elfman don't ever touch a
> piece of staff paper, playing and singing things into cassettes and
> sequencers and passing it off to orchestrators that are more like
> arrangers. This see
Somebody wrote:
>>Along the same lines, although not on the same level, I've always
>>wondered exactly what John Williams does. In the credits, it usuallly
>>says " music by John Williams, arranged and orchestrated by . . ."
>>with 2 or 3 names.
>>Ken
And somebody else--perhaps Christopher--repl
>At 5:20 PM -0500 6/22/02, John Howell wrote:
>>
>>
>>Irving Berlin not only survived but flourished not being able to read or
>>write a note of music.
Christopher wrote:
>I've heard that account from many different sources, and I find it
>hard to beleive that Berlin's assistants were only taking
At 10:51 AM -0400 6/24/02, Andrew Stiller wrote:
>
>It is not true that "only lyrics and melodies are copyrightable,"
>nor was this true in Berlin's day. A chord in and of itself is
>indeed not copyrightable, nor is a chord progression that is not
>part of a piece. The same is true of any othe
At 10:59 AM -0400 6/24/02, Dennis Bathory-Kitsz wrote:
>At 08:00 AM 6/22/02 -0700, Linda Worsley wrote:
>>So here's my question: (at last) Faced with this daunting task, what
>>would you do?
>
>I've been following this for a few days, because I had a student exactly
>like this -- very successful
At 10:13 AM -0400 6/24/02, Andrew Stiller wrote:
>>
>>I get that from my students a lot - "But it's what I WANT!" to
>>which my response usually is, "Then DON'T want it, because it's
>>bad! Want something GOOD instead." That usually gets a laugh out of
>>them, because I'm not as tough as that a
At 3:06 PM -0400 6/23/02, Darcy James Argue wrote:
>
>The way I heard it, Berlin would insist (almost maniacally, at
>times) that the work done by his "assistants" constituted work for
>hire. Whoever was "helping" him write would play the same few bars,
>over and over again, each time with dif
on 6/24/02 2:20 AM, Mark D. Lew at [EMAIL PROTECTED] wrote:
> As far as I'm concerned, the only thing a teacher is good for is helping
> the students learn how to accomplish what they want, not to tell them that
> what they want is good or bad.
Not long after I started teaching almost 30 years a
At 08:00 AM 6/22/02 -0700, Linda Worsley wrote:
>So here's my question: (at last) Faced with this daunting task, what
>would you do?
I've been following this for a few days, because I had a student exactly
like this -- very successful in another field (law), motivated,
self-starter, etc -- wit
>Because of the way copyright laws are set up, the person who worked
>out those beautiful chords to all those Berlin tunes doesn't get a
>penny of royalties, as only lyrics and melodies are copyrightable.
>Yet, IMHO, those songs might not have been the successes that they
>were without the con
Mark D. Lew wrote:
> At 11:15 AM 06/23/02, Christopher BJ Smith wrote:
>
>
>>I get that from my students a lot - "But it's what I WANT!" to which
>>my response usually is, "Then DON'T want it, because it's bad! Want
>>something GOOD instead." That usually gets a laugh out of them,
>>because I
At 11:15 AM 06/23/02, Christopher BJ Smith wrote:
>I get that from my students a lot - "But it's what I WANT!" to which
>my response usually is, "Then DON'T want it, because it's bad! Want
>something GOOD instead." That usually gets a laugh out of them,
>because I'm not as tough as that answer ma
Christopher BJ Smith wrote:
[snip]
> Because of the way copyright laws are set up, the person who worked out
> those beautiful chords to all those Berlin tunes doesn't get a penny of
> royalties, as only lyrics and melodies are copyrightable. Yet, IMHO,
> those songs might not have been the
On Sunday, June 23, 2002, at 11:27 AM, Christopher BJ Smith wrote:
> Because of the way copyright laws are set up, the person who worked out
> those beautiful chords to all those Berlin tunes doesn't get a penny of
> royalties, as only lyrics and melodies are copyrightable. Yet, IMHO,
> those
On 22 Jun 2002, at 17:20, John Howell wrote:
> In the
> long run, he'll have to learn by trial and error, just like everybody else.
> (Except, perhaps, Mozart. I'm not sure he EVER made any errors!)
Yes, Mozart made errors.
Lots of his earliest works were written down by his father, and it's
At 11:27 AM -0400 6/23/02, Christopher BJ Smith wrote:
>At 5:20 PM -0500 6/22/02, John Howell wrote:
>>
>>
>>Irving Berlin not only survived but flourished not being able to read or
>>write a note of music. He could play what he wanted (supposedly only in
>>the key of F#, and I guess the pianos r
At 1:14 PM -0400 6/23/02, Christopher BJ Smith wrote:
>The term "arranger' is hardly used any more, as his duties in the
>industry now seem to be covered by the title "producer", who used to
>be the guy who assembled the team and arranged financing and
>distribution, but now makes musical dec
>On Sun, 23 Jun 2002 11:27:43 -0400, you wrote:
>
>>Because of the way copyright laws are set up, the person who worked
>>out those beautiful chords to all those Berlin tunes doesn't get a
>>penny of royalties, as only lyrics and melodies are copyrightable.
>>Yet, IMHO, those songs might not have
At 5:20 PM -0500 6/22/02, John Howell wrote:
>
>
>Irving Berlin not only survived but flourished not being able to read or
>write a note of music. He could play what he wanted (supposedly only in
>the key of F#, and I guess the pianos rigged with movable keyboards to let
>him do this are right th
At 2:42 PM -0700 6/22/02, Linda Worsley wrote:
>
>Ah... we did that. We recorded some of the stuff live (with really
>good performers), and he was able to see many of the problems. That
>was the point where I was able to pull him back to the piano/vocal
>version... reducing each song to its b
At 2:46 PM -0700 6/22/02, Linda Worsley wrote:
>At 11:19 AM -0700 6/22/02, Chuck Israels wrote:
>
>For learning harmony and voice leading in the 21st Century (and
>according to your description of this man's music), I would assume
>the seventh chord as the basic unit rather than the triad. The
>From the description of your student, it sounds like the only problem is in
his perception of what he needs.
He says he wants to orchestrate. OK, fine. Let him try. Let him go ahead
and score something, whether he's "ready" or not. Then let him hear an
orchestra play it. Possibly he'll be satis
At 10:36 PM +0100 6/22/02, Javier Ruiz wrote:
>Dear Linda,
>
>The magnificient book "Music Theory Resource Book" by Harold Owen is a must.
>It is one of the best book of my library.
>And since Hal is in the list you can ask him if he agrees with me.
He does, and I'm going to get the book.
Thanks
At 3:49 PM -0400 6/22/02, David H. Bailey wrote:
>Anything I can think of for materials is going to be a real
>challenge for a head-strong student.
>
>I can think of a few books to assign him and tell him to call you
>with any questions:
>
>1) Gardner Read's Music Notation: A Manual of Modern Pr
At 11:19 AM -0700 6/22/02, Chuck Israels wrote:
For learning harmony and voice leading in the 21st Century (and
according to your description of this man's music), I would assume
the seventh chord as the basic unit rather than the triad. The
advantage of this, besides the fact that it would s
At 1:59 PM -0400 6/22/02, Christopher BJ Smith wrote:
>At 8:00 AM -0700 6/22/02, Linda Worsley wrote:
>>
All the songs are way, way too complicated, two thick, and can only
be played or "sung" by machines, not humans.
>
>
>This last point may not be the problem it appears to be, unless the
>sc
Dear Linda,
The magnificient book "Music Theory Resource Book" by Harold Owen is a must.
It is one of the best book of my library.
And since Hal is in the list you can ask him if he agrees with me.
Saludos, y suerte.
Javier.
> So here's my question: (at last) Faced with this daunting task,
Linda Worsley asked:
>
>So here's my question: (at last) Faced with this daunting task, what
>would you do? What materials, books, methods, etc. would you employ?
>I have taught babies and adult beginners and everything in between,
>and I know about how to take a student sequentially from point
With regard to his needing instruction in chord structure and notation:
I've done some work recently for someone who was accepted into BMI's Lehmann
Engel workshop who did not have a very strong knowledge of chords or
notation. They apparently pair themselves up with someone who can fill in
>...I have no CLUE as to materials for someone like my student, who
>jumped over all the basics and started writing huge "scores". I
>have a few ideas, but I thought I'd throw this at the group, and try
>to get some guidance and recommendations.
>
>Linda Worsley
I was a zoology major as an un
Anything I can think of for materials is going to be a real challenge
for a head-strong student.
I can think of a few books to assign him and tell him to call you with
any questions:
1) Gardner Read's Music Notation: A Manual of Modern Practice;
2) Andrew Stiller's Handbook of Instrumentation;
Title: Re: [Finale] OT LONG: help with adult
student
Dear Linda,
This is at the same time, a fascinating and difficult puzzle, and
it will probably require constant adjustment.
I have a few suggestions:
For learning harmony and voice leading in the 21st Century (and
according to your
At 8:00 AM -0700 6/22/02, Linda Worsley wrote:
>
>For the past two years I have been sorting out and converting to
>Finale files really awful files he has created, by guess and by
>golly, in Encore (ugh), mostly playing them in with synthesizers,
>and creating huge "scored" versions of songs fo
Linda Worsley wrote:
> [snip]
> So here's my question: (at last) Faced with this daunting task, what
> would you do?
>
I'd shoot myself!!
All I can say is, best of luck (I think you're going to need bushels of it, and
black coffee by the tanker-load).
Let us all know how it goes!
Apologies to Listers also on Orchestralist. I am in need of help, an
have sent this message to both lists.
I've been a teacher, as well as a composer, most of my life, and have
taught music at every level from Kindergarten to College, and lots of
private students of composition, and even pian
39 matches
Mail list logo
