Re: [Finale] OT: CD Replication
Am 24.06.10 19:33, schrieb Kim Patrick Clow: The odd thing is that classical music sells so well on iTunes! I heard a significant portion of iTunes sales is classical. Something like 15 percent (I may have that wrong though). I do wonder what they count as classical, though. Film music? Soft Classical? André Rieu? We are in a different section, and I rather doubt much sells through itunes. However, I myself have started using iTunes much more these days and just bought a whole opera through Itunes, which was much cheaper. Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: CD Replication
Am 24.06.10 20:04, schrieb David W. Fenton: Can others chime in here? Dennis and Johannes have provided really good responses, but if CD Baby is not the one-stop-shopping that my group needs for this first recording, then what should we do? It is probably the best you will get. Having looked at the programme you are going to record I don't think there is a large audience which will buy the CD anyway. You will almost certainly sell more CDs after a good concert than through CDBaby in a whole year (of course minus the friends and relatives you specifically send to CDBaby, though you get more if you sell to them privately - even CD Baby wants to make some money...) The problem is that most people who buy CDs (in a shop or online) are looking either for a specific composer, or even a specific set of works by a composer, or for a (better known) ensemble. Not many customers are looking for compilations, unless they have a recommendation. I have seen several ensembles try this, and although it works well as a demo, it never sells. On the other hand, if a demo is what you have in mind, it will be fine. Just don't expect to get the money back directly. If I were you I wouldn't bother with an extravagant booklet. Just get the standard 4 page booklet, with a nice colour photo of yourselves, and a little blurb about your group. For a detailed description of the repertoire add a weblink. You can save a lot of money, and it won't make a difference to the sale. Then use at least 300 of the 500 CDs for promotion only, ie send them to concert promoters, radio stations, etc. Sell the rest to all your friends and relatives and you may even get the cost back in. You can put it on CDBaby, but this won't require more than 50 CDs for the next few years. Just my opinion, of course, you may have a different perspective. One more piece of advice: Concert promoters listen to a lot of commercial CDs, some of them phantastic. A mediocre Demo CD will not help much, the Demo needs to be excellent, so don't save on the production. Do a fully edited one, not a run-through and take the best out of three. Fully edited means record in Takes and have someone edit it properly eventually. You can do that yourself, but you need some good advice and the right software. Make sure the producer knows a bit about this kind of music. Don't let your pop music expert do the recording. He may have very expensive equipment, but most of it is useless for classical. Johannes Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: OT: CD Replication
On 25 Jun 2010, at 1:00 PM, Rick Deasley rdeas...@tempomusic.com wrote: With regard to liner notes, why not add an enhanced partition to your audio CD with some html pages so that it will come up on your computer...You could also provide links from these pages to your website and other vendors of your music. I have a brand new recording just out on Navonna Records. They are one of those small labels where the artists share in the expenses. They have gone to the enhanced partition method of making CDs, so that a full, color, program booklet AND the scores of the recordings are included on the CD only. You put the CD in your computer, and the second partition shows up, containing the booklet and the scores. I would rather see a booklet -- but this way is much cheaper, and it means that there is virtually no limitation in what you can include and how you can make it look. Navonna is distributed by Naxos. That means that both the recording and the booklet (but not the scores) are nearly instantly available via the Naxos Music Library. If you have access to that, check my recording out there. Search for David Froom. The Navonna recording is the first listing, and a link to the booklet is at the left of that recording's page. You might also listen to my piece (a sonata for solo violin, performed by the incredible Curt Macomber). Regarding the discussion of recordings in general: I have other recordings (the other one on Naxos, one on Bridge) that came out without my having to pay. The expenses, since they clearly can not be recouped by sales, were covered by grants, written by me, by the performers, or by the record labels. I have a number of others like that, and a couple in which I participated financially. I think of recordings of new music as things that are useful towards getting performances and other commissions. Most money for composers comes from commissions, with performing royalties a distant second. I think that publishing and recording have netted me maybe a few hundred dollars over 20 years (95% of that from publishing). On the other hand, I've gotten MANY performances and some rather nice commissions that came to me only because I had these recordings out there. David Froom ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] grey notation
I received a flyer recently from Barenreiter and noticed that several instruments in the orchestral score made use of passages printed in grey - to quote from the ad text. The notation (noteheads, stems, beams, ties) was in grey on a regular black staff. There were other elements in grey as well: tempo marking, selected voice names, and figured bass numbers. I know that Finale can allow for grey colored noteheads, but can it also do stems and beams? Is there a plugin available for Finale that lets you set such colorization within a voice? It looked really nice. Lance Ottman A-R Editions, Inc. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Finale and iPad
Does anyone know if it's possible to load a version of Finale onto an iPad and run Finale from there? Martin Martin Banner mban...@hvc.rr.com http://www.alliancemusic.com/peopledetails.cfm?iPeopleID=22 http://hinshawmusic.com/search_results.php?keyword=bannersearch=Search http://collavoce.com/search.php?cmd=searchmode=normalwords=Banner http://carlfischer.com/Fischer/search.cfm?cfT=cfC=BannercfID= http://lorenz.com/results.aspx?srch=quickcid=Martin+Banner ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale and iPad
Umno --- send out and aboot on my iPhone --- On Jun 25, 2010, at 1:29 PM, Martin Banner mban...@hvc.rr.com wrote: Does anyone know if it's possible to load a version of Finale onto an iPad and run Finale from there? Martin Martin Banner mban...@hvc.rr.com http://www.alliancemusic.com/peopledetails.cfm?iPeopleID=22 http://hinshawmusic.com/search_results.php? keyword=bannersearch=Search http://collavoce.com/search.php?cmd=searchmode=normalwords=Banner http://carlfischer.com/Fischer/search.cfm?cfT=cfC=BannercfID= http://lorenz.com/results.aspx?srch=quickcid=Martin+Banner ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: CD Replication
On 25 Jun 2010 at 10:49, Johannes Gebauer wrote: [excellent feedback omitted] A mediocre Demo CD will not help much, the Demo needs to be excellent, so don't save on the production. Do a fully edited one, not a run-through and take the best out of three. Fully edited means record in Takes and have someone edit it properly eventually. You can do that yourself, but you need some good advice and the right software. Make sure the producer knows a bit about this kind of music. Don't let your pop music expert do the recording. He may have very expensive equipment, but most of it is useless for classical. We did multiple takes and extensive editing on our 5-track studio recording in 2007, and that's what I'd expect. Runthroughs would never do it, though we might take chunks of different runthroughs. I, for one, believe that the results are better the closer you are to a complete, in-context performance, but realize that makes the task much more difficult. This music is much more sectional than the fantasies we were recording in 2007, so should be much easier to break down that way. I'm pretty sure we have the personnel in place to get the best possible recording with our resources. Frankly, I'm not all that certain what everyone else's expectations are in regard to the results of promotion. Sure, we'd like to perform more often, but we can't really take this program on the road, or perform it 10 times in NYC, so I can't quite be sure what the point is. The group that actually *can* do that is the trio, Margaret, Christina and me, and we have two books of three-part music and at least 3 different 1-hour programs that we can offer. We are also able to prep for a particular performance with only a couple of rehearsals. But none of that music is the glorious stuff the full ensemble does, and there's not a lot of variety. I've suggested for years that we try to get some kind of recording of the three of us, but that suggestion hasn't gone anywhere. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] grey notation
At 2:07 PM -0500 6/25/10, Lance Ottman wrote: I received a flyer recently from Barenreiter and noticed that several instruments in the orchestral score made use of passages printed in grey - to quote from the ad text. The notation (noteheads, stems, beams, ties) was in grey on a regular black staff. There were other elements in grey as well: tempo marking, selected voice names, and figured bass numbers. I know that Finale can allow for grey colored noteheads, but can it also do stems and beams? Is there a plugin available for Finale that lets you set such colorization within a voice? It looked really nice. Nice or not, was there any explanation of WHY they greyed out some parts? Seems rather strange. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] JazzSymbol commercial music chord symbol font released
Greetings fellow music listers. Long in the making, JazzSymbol, the powerful new commercial music chord symbol font, a less formal-looking companion product to ChordSymbol for traditional music, was released today. For font samples and an order form, see _www.virtualconservatory.com_ (http://www.virtualconservatory.com) . Video demos of chord symbol input using our fonts in various applications can be seen at _http://music.iupui.edu/imtc/2010/presenters/kent_williams/_ (http://music.iupui.edu/imtc/2010/presenters/kent_williams/) . With over 1200 characters to ChordSymbol's 2200+, JazzSymbol is a big font with every chord symbol you will ever need for commercial music. Yet it's priced in proportion to ChordSymbol and focused to the needs of its specific market. So I hope those of you who have need for such a tool will find it helpful. JazzSymbol has already received enthusiastic reviews, and I'm very pleased with the look and quality of the font package overall. I'm frankly hoping to make it the industry standard for commercial music, assuming jazzers come to appreciate the greater clarity of engraved versus handwritten fonts. Those who teach theory or history of jazz or other popular idioms should also find it useful, given its intrinsic suitability for instructional settings. We offer steep discounts and an exceedingly low student price for class adoptions of either font, as explained on the flyers posted at our web site. Thanks much. Please let me know if you have any questions--you can order directly by return email; just let us know whether you need Windows, Macintosh, or Both formats, and we'll fill the order immediately. Dr. John R. Clevenger, Manager The Virtual Conservatory 50 S. Patterson Ave., #203 Santa Barbara, CA 93111 Phone and fax: (805) 964-7988 (for fax, ignore answering machine) Email: _jclev...@aol.com_ (mailto:jclev...@aol.com) Web site: _www.virtualconservatory.com_ (http://www.virtualconservatory.com/) ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] grey notation
Hi John-- I believe this is it-- http://tinyurl.com/2dhmtk5 Valuable information to the readings of the autograph score of the Missa can be drawn from the “Dresden parts” of 1733, largely written by Bach himself. The different readings of the parts are clearly differentiated from the readings of the autograph score by the use of passages printed in grey. Also, clcik on the image. Bob Morabito On Jun 25, 2010, at 9:43 PM, John Howell wrote: At 2:07 PM -0500 6/25/10, Lance Ottman wrote: I received a flyer recently from Barenreiter and noticed that several instruments in the orchestral score made use of passages printed in grey - to quote from the ad text. The notation (noteheads, stems, beams, ties) was in grey on a regular black staff. There were other elements in grey as well: tempo marking, selected voice names, and figured bass numbers. I know that Finale can allow for grey colored noteheads, but can it also do stems and beams? Is there a plugin available for Finale that lets you set such colorization within a voice? It looked really nice. Nice or not, was there any explanation of WHY they greyed out some parts? Seems rather strange. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
