Shirley Meyer Blankenship

Hi Chris, I listened to some of your music on YouTube and found it to be intriguing. Thank you for the link which I have sent to another composer who is currently writing string music. The style reminded me a bit of my Duo for violin and cello and also my composition Terse Trio for violin, viola and cello. Thank you again for the share and I hope you will eventually become a participant in The Harp Legacy Project!

It should be assess-thank you! The fee is roughly based on the rate of $40 per hour. Most of the scores that I have edited cost the composer $45 to $200. I am currently editing a 48 page score that will require 50-100 hours of my work. Since my fees would be prohibitive at $40 per hour, and since I see his work as potentially historically significant, I offered the composer a really good deal. Our collaborative work has the possibility of setting a standard for harp notation and is therefore valuable beyond monetary considerations. Also, the assessment of the fee does not obligate the composer to submit his/her work to the editing process. I only proceed once the fee has been agreed upon.

Hi Dominic, Following are my responses to your question in BOLD " lemme get this straight..... We compose a piece, and you arrange it No, I just edit it by making suggestions to you that you are not obligated to incorporate and possibly I might suggest the rearrangement of some notes to facilitate performance ..... and possibly publish it as your own I don't publish your work rather I donate your composition to the Sousa Archives under YOUR name with my name listed only as the editor/consultant. This way your work has some chance of being preserved. My work is essentially that of an editor and since my work is being preserved, yours can be also. You retain all rights to your music. I don't have to donate your work if that isn't acceptable to you. And we try to publish our works and we get caught for copyright infringement? " What Shirley is offering is her help as both a very experienced composer and as an harpist, to improve the harp parts of our compositions. Only that (as far as I believe), she'd like to have the scores she edits preserved. The editing is part of my work and therefore would be acceptable to the archives. And also she's attempting to reunite a library of works for harp by modern composers, in a way that is easy for performers to access - but only upon agreement. In this way, this would be actually helpful for both - we can improve our harp writing, and our works become accessible for performers. Nevertheless, additional explanation would be helpful. Thank you Austenite for your clarifying commentary. Perhaps a visit to my website would provide additional helpful information. My mission is to assist composers with their harp notation so that their scores become maximally accessible to harpists. www.theharplegacyproject.com

My name is Shirley Meyer Blankenship (harpist/composer). In the 70's, I taught harp and music theory at the University of Illinois where I was the first woman to receive a Doctorate of Musical Arts Degree in composition. Currently I am the principal harpist with the Champaign-Urbana Symphony. It has been all too often that I have encountered harp parts that were, at best, awkward and, at worst, impossible to perform. Major issues that are obstacles for composers involve the need for placing before pulling the strings, pedal markings, the creation of accessible structures, and the designing of notation that accurately depicts the interchanging use of the hands. After years of dealing with problematic parts, I initiated this project entitled The Harp Legacy Project. Via this venue, it is my mission to assist composers in the creation of notation that is comprehensible to harpists. www.theharplegacyproject.com In order to accomplish this mission, I am offering my services as an editor/consultant to composers wishing to participate. In this capacity, I can contribute my skills and expertise to the benefit of both harpists and composers. Like the historical model of Les Six, the group of participating composers could generate a significant body of harp music for the present and next generations and significatnly contribute to the development of viable harp notation After receiving a score, preferably in a pdf format, I will assess a fee and once agreed upon, I will commence with the editing process. Upon completion, I will email (or snail mail if the edit markings are not clear after scanning them into the computer) my comments back to the composer who then can make revisions. Any arising problematic issues can be dealt with via one or more phone conversations. All of the scores that I edit will be donated to the Sousa Archives, University of Illinois, where my life and works are being preserved. Also, by agreement, hard copies will be placed in the music library under the umbrella of The Harp Legacy Project. This project has the potential of creating a direction for the present and future generations of composers interested in the development of creative harp notation that is accessible to harpists. My experience with contemporary harp music is discussed in the following article: SHIRLEY MEYER BLANKENSHIP: CONTEMPORARY HARP MUSIC: COMPOSITIONAL ISSUES IN THE MUSIC OF: RANDS, BRUN, BLANKENSHIP, MARTIN, HAKEN, BERG, BAXTER, ROUSE, JOLIVET TOPICS: SPECIAL HARP NOTATION PEDAL ISSUES PLACEMENTS ENHARMONIC SPELLINGS CHORDAL SPACINGS CHROMATICISM This article is posted on my website along with testimonials, before and after pages where you can compare original scores with the edited versions along with commentary, and a list of compositions that are under the umbrella of The Harp Legacy Project. Testimonial July 26, 2011 Earlier this month I contacted Shirley Meyer Blankenship to seek her advice and assistance with the harp part of a trio that I had recently written. Her expertise and knowledge of the harp was evident almost immediately when I spoke to her on the phone the first time. And within only a few short hours over a three or four day period, we were able to transform my piece into a truly delightful work of art - it went from good great. Her suggestions to alter and even rewrite portions of the part made it completely playable and viable for live performance without compromising the integrity of the work. I couldn't be happier with the outcome, and the feedback I've received on the piece since has been extraordinary. As a result, a premiere performance is in the works! Bravo, Shirley! Thank you for the passion you have for your craft! Timothy Lee Miller Composer Thank you for your kind attention!