On 21.08.2009 Daniel Wolf wrote:
But the most immediate concern is that I just got a set of parts returned from
a major European radio orchestra. They are completely marked-up, with bowings
and much more. Should the orchestra have cleaned them up? Should I erase all
of these marks, or should
Blake Richardson wrote:
On 22 Aug 2009 at 12:19, David Fenton wrote:
What you get from New Yorkers is no nonsense, no chitchat, no false
courtesy.
As well as an amazing variety of profanity mixed in for good measure.
I love generalizations.
--
David H. Bailey
dhbai...@davidbaileymusicstud
On 23 Aug 2009 at 19:13, Blake Richardson wrote:
> On 22 Aug 2009 at 12:19, David Fenton wrote:
>
> > What you get from New Yorkers is no nonsense, no chitchat, no false
> > courtesy.
>
> As well as an amazing variety of profanity mixed in for good measure.
Well, that entirely depends on which
And usually !...@#$ unoriginal.
David, living there, may, like most NY'ers, become so used to it that
it disappears.
Noel Jones, AAGO
423 887-7594
noeljo...@usit.net
www.thecatholichymnal.com
Friends, life is short and we do not have much time to gladden the
hearts of those who travel wi
Blake Richardson wrote:
On 22 Aug 2009 at 12:19, David Fenton wrote:
What you get from New Yorkers is no nonsense, no chitchat, no false
courtesy.
As well as an amazing variety of profanity mixed in for good measure.
Everyone needs a hobby. :)
cd
--
http://www.livejournal.com/users/dershe
On 22 Aug 2009 at 12:19, David Fenton wrote:
> What you get from New Yorkers is no nonsense, no chitchat, no false
> courtesy.
As well as an amazing variety of profanity mixed in for good measure.
___
Finale mailing list
Finale@shsu.edu
http://lists.s
I'm not sure anyone is going to get any useful information about
CONCERT music rates from a company specialising in GRAND RIGHTS,
which typically run 2 to 4 times as much as concert rights, or even
more. Rodgers and Ham charge way more than other companies, because
they can. I would call AS
> > i remember not seeing any example of parts costing more than 1000
> > (eur/usd) to rent. this "price ceiling" is what large-scale opera and
> > some major orchestral works will cost. there can be 2nd performance
> > (75%) and even 3rd performance (50%) discounts within a certain
> > timeframe
On Aug 21, 2009, at 2:00 PM, shirling & neueweise wrote:
i remember not seeing any example of parts costing more than 1000
(eur/usd) to rent. this "price ceiling" is what large-scale opera and
some major orchestral works will cost. there can be 2nd performance
(75%) and even 3rd performance
On 21 Aug 2009 at 12:19, Patrick Sheehan wrote:
> the receptionist
> people don't like long explanations; they WILL hang up on you (part of the
> rude population of NYC).
New Yorkers are not rude.
There are certainly some people in NYC who are rude, but it's not
because they are New Yorkers, bu
--- On Fri, 8/21/09, Patrick Sheehan wrote:
> Call them up and ask for their librarian or musicologist;
> the receptionist
> people don't like long explanations; they WILL hang up on
> you (part of the
> rude population of NYC).
They have musicologists - tell me more. I'd love to find a job like
also, i have never heard of "clean up" charges actually being
applied, although i'm sure sometimes they are. i think the pricing
is used to encourage the body renting the parts to return them free
of markings under the threat of exorbitant clean up fees if the
publisher has to do it.
_
i seem to remember having come across catalogues online with rental
prices but all the catalogues i saved back when looking at this same
sort of thing are without rental prices listed... but maybe i am
remembering having access to prices through a job i had in an arts
library.
i remember no
At 12:19 PM -0500 8/21/09, Patrick Sheehan wrote:
You should contact Music Theatre International (MTI.com) (a musical rental
company) and find out what they charge for a school or professional company.
Or Rodgers & Hammerstein Theatricals or
Tams-Witmark , the other two major licensing
agen
Rental parts are nothing but a means to make life difficult for any
conductor who wishes to use them.
This is exactly why I don't publish my works; dealing with publishers and
editors and even rentals is something I do not want to be a part of...ever.
If people want to buy my works, they simply co
Daniel Wolf wrote:
I need some collective wisdom from the Finale list about a practical
publishing matter.
The modest publishing cooperative I belong to has recently begun renting
sets of orchestral parts. I'm completely new to this and many of the
trade practices are all very mysterious to
On 8/20/2009 6:43 PM, Daniel Wolf wrote:
bargaining position vis a vis the publishers.) But the most immediate
concern is that I just got a set of parts returned from a major European
radio orchestra. They are completely marked-up, with bowings and much
more. Should the orchestra have cleaned
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