On Mar 15, 2006, at 9:41 AM, Phil Daley wrote:
1. I take a Bach chorale and arrange it for a bell choir.
The Bach chorale is public domain, so you have complete freedom to do
whatever you want with it.
Partial exception: if you happen to be working from someone else's
copyrighted edition
Phil Daley wrote:
2. I take an SATB choral piece and arrange it for TTBB.
I'll propose an answer to this, but would first not the the distinction
between copyright--the right to control the reproduce the physical
medium upon which the music is carried, either the paper of the score,
of
I stand corrected.
Although I don't know the details of Belden's problems. I know the
estate objected; whether they actually had a judge decide or whether
Belden et al decided not to go against the estate's wishes to avoid a
court battle is not clear to me.
It comes out to the same end,
Hi All, This is not strictly Finale related, but this seems like a very knowledgeable group to get some advice from. I was recently sent a job description for some music arranging and typesetting services. In general, I only do engraving work, so I'm not too familiar with the legalities
At 3/15/2006 12:21 PM, Jonathan Smith wrote:
This has always annoyed me.
There is a train of thought that the arranger, in making an arrangement of
a specific work, is doing the composer a big favour by increasing the
performance of the composer's work - especially when it is for a different
On Mar 15, 2006, at 12:41 PM, Phil Daley wrote:
At 3/15/2006 12:21 PM, Jonathan Smith wrote:
This has always annoyed me.
There is a train of thought that the arranger, in making an
arrangement of a specific work, is doing the composer a big favour by
increasing the performance of the
Thanks to everyone who took the time to respond. Clearly a loaded
topic! I suppose my chief concern in all this is getting credit for my
work, so I will try for a clause that reflects that. However, as was
pointed out - I don't really know the composer or the works, so I should
have a look
Scott Amort wrote:
Thanks to everyone who took the time to respond. Clearly a loaded
topic! I suppose my chief concern in all this is getting credit for my
work, so I will try for a clause that reflects that. However, as was
pointed out - I don't really know the composer or the works, so I
At 12:41 PM -0500 3/15/06, Phil Daley wrote:
I arrange stuff all the time for the groups that I direct. Probably
illegal arrangements ;-)
We perform them in church, obviously no monetary situation.
Perhaps someone could even tell me if this is legal:
1. I take a Bach chorale and arrange
On Mar 15, 2006, at 10:46 PM, John Howell wrote:
At 12:41 PM -0500 3/15/06, Phil Daley wrote:
2. I take an SATB choral piece and arrange it for TTBB.
This is a little trickier. There is a Fair Use provision allowing you
to edit or simplify legally purchased music. (Those may not be
I don't know about that -- the same thing happened with Bob Belden's
version of _Turandot_, which was never released due to objections
from the estate.
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On 15 Mar 2006, at 10:59 PM, Christopher Smith wrote:
The
Hi All,
This is not strictly Finale related, but this seems like a very
knowledgeable group to get some advice from. I was recently sent a job
description for some music arranging and typesetting services. In
general, I only do engraving work, so I'm not too familiar with the
legalities
At 3/14/2006 12:44 PM, Scott Amort wrote:
The arrangement would become the property of the composer.
Is this a usual requirement? Does this mean that I am essentially
signing away any claim to this arrangement (i.e. the composer will not
need to credit me, nor obtain my permission to use,
I would, in whatever contract, insist that my name as the arranger be
used, otherwise the composer can find someone else to do it. That way,
even though I'm not going to get anymore money from it, my name would be
on the arrangement and somewhere down the line someone might hear this
On Mar 14, 2006, at 12:44 PM, Scott Amort wrote:
Hi All,
This is not strictly Finale related, but this seems like a very knowledgeable group to get some advice from. I was recently sent a job description for some music arranging and typesetting services. In general, I only do engraving work,
At 12:44 PM 3/14/06 -0500, Scott Amort wrote:
The arrangement would become the property of the composer.
Any advice?
This work for hire method is become more popular because it relieves the
purchaser of any intellectual property entanglements.
I used to do a lot of freelance writing, but when
On 14 Mar 2006 at 10:37, Eric Dannewitz wrote:
The computer comparison seems somehow hollow. The arranger is in no
way obliged to agree to this at all.
Neither is a computer programmer. The comparison is completely apt,
as it's a work-for-hire situation when absent the contract, the
creator
Scott Amort wrote:
Hi All,
This is not strictly Finale related, but this seems like a very
knowledgeable group to get some advice from. I was recently sent a job
description for some music arranging and typesetting services. In
general, I only do engraving work, so I'm not too familiar
On Mar 14, 2006, at 2:41 PM, dhbailey wrote:
Assuming you're in the U.S., the original copyright owner owns all the
copyrights in any derivative works. It's part of the law, not just
what the composer wants.
This is true by default, but the composer CAN decide to re-assign them,
if he
At 12:44 PM -0500 3/14/06, Scott Amort wrote:
Hi All,
This is not strictly Finale related, but this seems like a very
knowledgeable group to get some advice from. I was recently sent a
job description for some music arranging and typesetting services.
In general, I only do engraving work,
Christopher Smith wrote:
On Mar 14, 2006, at 2:41 PM, dhbailey wrote:
Assuming you're in the U.S., the original copyright owner owns all the
copyrights in any derivative works. It's part of the law, not just
what the composer wants.
This is true by default, but the composer CAN
John, as usual, lays it out in very clear and direct language.
He makes it clear (as I didn't) that you don't have much in the way of
rights unless you work it out beforehand.
Now, whether or not you WANT to do things this way is what I was trying
to communicate, and what John addresses in
Scott Amort wrote:
Hi All,
This is not strictly Finale related, but this seems like a very
knowledgeable group to get some advice from. I was recently sent a
job description for some music arranging and typesetting services. In
general, I only do engraving work, so I'm not too familiar
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