Am 05.09.2009 um 05:11 schrieb Darcy James Argue:
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
Hi Chris,
Basically, I think if you have performances of your works at a US
venue that regularly reports performances of classical works to the US
PROs (Carnegie Hall, let's say), there might be some chance you'd get
reimbursed for that, regardless of genre. But, as the SOCAN rep made
I hate to throw cold water on this, and what I am saying does not detract
from anything previously said in this thread - composers should be paid for
their work obviously.
(And apologies if I have misunderstood the situation.)
But imagine this scenario.
A player comes to me with a request to
Christopher Smith wrote:
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
What publishers? Jazz musicians don't generally have publishers. They
self-publish. Sometimes the record company takes a slice of the
publishing too, but the only real income they get from that is from
European airplay and performances.
Cheers,
- Darcy
-
djar...@earthlink.net
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
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
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
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
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
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
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
Hi all,
Is there a boilerplate sheet music rental license available online
anywhere I could take a look at?
I never thought I'd be in a situation where I would want to license my
music for a specific performance only, but there's a trumpet player in
my band who wants to perform one of my
James Argue djar...@earthlink.net wrote:
From: Darcy James Argue djar...@earthlink.net
Subject: [Finale] Sheet music rental license example
To: finale@shsu.edu
Date: Friday, September 4, 2009, 9:51 PM
Hi all,
Is there a boilerplate sheet music rental license available
online anywhere I could
teach the band a lesson. If they
like the music, they will have to buy it from you once more.
Klaus
--- On Fri, 9/4/09, Darcy James Argue djar...@earthlink.net wrote:
From: Darcy James Argue djar...@earthlink.net
Subject: [Finale] Sheet music rental license example
To: finale@shsu.edu
Date
wrote:
From: Darcy James Argue djar...@earthlink.net
Subject: [Finale] Sheet music rental license example
To: finale@shsu.edu
Date: Friday, September 4, 2009, 9:51 PM
Hi all,
Is there a boilerplate sheet music rental license available
online anywhere I could take a look at?
I never thought I'd
to buy it from you once more.
Klaus
--- On Fri, 9/4/09, Darcy James Argue djar...@earthlink.net wrote:
From: Darcy James Argue djar...@earthlink.net
Subject: [Finale] Sheet music rental license example
To: finale@shsu.edu
Date: Friday, September 4, 2009, 9:51 PM
Hi all,
Is there a boilerplate
Chuck Israels wrote:
How do these people think composers are supposed to survive? Nuts!
Remember, it's not the Army Band who is asking for the
music, but rather the competition organizers. Why aren't
they paying for the music? The other person person who is
participating in the
arabu...@cowtown.net wrote:
Didn't you know that that's why God gave us computers? So that composers
could have jobs!
Q. What's a performance major say?
A. Would you like fries with that?
--
David H. Bailey
dhbai...@davidbaileymusicstudio.com
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
On Sep 4, 2009, at 3:37 PM, dhbailey wrote:
Chuck Israels wrote:
How do these people think composers are supposed to survive? Nuts!
Remember, it's not the Army Band who is asking for the music, but
rather the competition organizers. Why aren't they paying for the
music? The other
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
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
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
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
I believe the
Hi David,
It's a jazz trumpet competition, so no band -- military or not --
would ever pay any performance royalties for a performance of a jazz
work. That just doesn't happen.
The venue -- a university theatre -- is still responsible for paying
royalties to ASCAP and BMI, but that money
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,
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-
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