THanks for your reply: (I'm assuming this came from Jef) Please see my responses inserted below.
>>(1) As a Copyist, I am finding that I am having a hard time locating new clients, as many composers/arrangers have also purchased >>notation packages and do their own work, as have several of my >>former clients. What advice does anyone have on this? > > take a few scores you think are out of your league in regards to notational challenges or quality and bring yourself up to and beyond that level, which will provide you with examples of your work you are proud of. I have visited your site and am familiar with the samples you have posted and the level at which you are working (cutaway scores, etc.) is beyond anything I have done thus far. However, there are examples of scores & parts I have done on my site that presented unique problems and solutions that are explained in the descriptions of the samples I provide. They involve some departure from traditional "legit" notation, even though not to the extent of the work you folks specialize in. I have provided finish copy to Boosey & Hawkes, Theodore Presser, Advance Music (GMBH), Seesaw Music/Subtio Music, and numerous composers, musicians, bandleaders, Broadway producers, recording studios, etc. over the years, with positive feedback from all parties. The quality of the work has never been an issue so far. > > develop your own fonts. > Here is something that I have not spent a lot of time with, as most of the time clients have certain preferences I respect. I usually ask what they prefer. Howevere, I am very interested in exploring a replacement for the Jazz Font which I find to be clumsy and at times, even though I do get requests for it. I'm even willing to learn how to create a font from scratch, but feel that this is probably a huge learning curve that will dig deeply into time I could be writing new music. Anyone suggestions regarding fonts that work well with Macintosh and Finale would be greatly appreciated: I'm going to look into the Bill Duncan fonts that Chuck Israels has mentioned. > make better scores than others and learn how to work efficiently under unreasonable deadlines. > That has been the norm for the past 30 years. I have yet to miss a deadline (even when I get a sudden unexpected set of revisions). I'm usually way early and waiting for the composer to approve the final proof. > contact the people you want to work for and propose something to them explaining - very diplomatically - why your work is so great that they should hire you. you may or may not hear back from them (soon, or at all). This ties into the second question I asked about locating & contacting people. > > repeat the above from the top have done & will continue to do > > repeat the above from the top. Is this the department of redundancy department? ;-) > >>Some of the people I want to contact cannot be found with my attempts at Googling them; probably because they don't want to be found. > > or because they receive 400 other such emails per week and so don't post their email address. As you probably experience as well, and I do appreciate your response and your candor; thank you again. > shirling & neueweise ... new music publishers > mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com _______________________________________________ > Finale mailing list > [email protected] > http://lists.shsu.edu/mailman/listinfo/finale > _______________________________________________ Finale mailing list [email protected] http://lists.shsu.edu/mailman/listinfo/finale
