>Date: Tue, 2 Jul 2002 19:05:12 -0400 >To: John Hughes <[EMAIL PROTECTED]>, [EMAIL PROTECTED] > >When I was arranging for these kinds of revues, I worried about >getting permission to arrange, which I knew from my university >Business of Music class that I was supposed to obtain. I learned that >in reality, even the case of HUGE recordings and MONSTER productions, >permission to arrange is not even an issue, as the publishers want as >many royalty-earning performances of the work as possible, in any >arrangement at all, no matter how bad. They WILL, however, look >askance on you publicly offering for sale competing versions of their >commercial arrangements, as this takes money out of their pockets.
The latter is a core issue if your sole stake in the project is arranging. Unless the band or concert organizer is paying you up front to arrange, the only way that you can generate income from your work is to sell the arrangements. But most publishers are extremely uncooperative about granting permission to make arrangements. THe "it takes money out of their pockets" argument is one I don't follow. If they grant permission for you to publish, sell, and/or collect performing/mechanical rights royalties for your arrangement while taking a cut of the revenue, they would be generating income, wouldn't they? Leastaways that's what I thought, but experience has taught me that publishers don't think like that. I'd be interested if someone could explain how they do think. In the meantime, I'm now sticking to PD material when writing arrangements. -- P. --------------- <http://www.bek.no/~pcastine/Litter/> --------------- Peter Castine | From the Litter Power Thesaurus: [EMAIL PROTECTED] | Logistic distribution: lp.loggie [EMAIL PROTECTED] | _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
