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About June

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  1. I don't think it's either possible or meaningful for work so far out of copyright. No way to measure (and in practice, no descendants to speak of, unlike more recent public figures)...
  2. Non-bel-canto singing is becoming much more prominent in high-cult rep; I think you just haven't found the rep yet. Start with Judah Adashi (his perfect example of this, Sestina, is on soundcloud), Caroline Shaw (her Partita is everywhere and won a Pulitzer), Ted Hearne, Du Yun (also Pulitzer for an opera in every style from bc to punk), most of what Roomful of Teeth does, and all the other artists recommended from searches on those artists. Even in the most uptown of the new-music-focused choral groups like The Crossing, vibrato isn't the default; they use it carefully and often sparingly.
  3. I like Ken320's suggestion of using ties between the rearticulated notes. (Again, my question is about how to indicate specific timing of bow changes *in a way the player is LEAST likely to interpret as meaning I want any extra emphasis -- any more emphasis than has to happen physically -- on any rearticulated note.*)
  4. I think I didn't express this clearly enough. I'm talking about a single solo player in a small-chamber context (say, this string player plus two or three other instruments). I'm asking for suggestions about marking specifically *where* the changes should happen (because this is a piece where I want not bow changes ad lib, but rather changes at specific points relative to what other instruments are doing). Upbow and downbow symbols are one possibility, but those suggest I care whether each given segment is bowed upbow or downbow (I don't care at all, but more importantly, I don't want to give the player the impression that the starts of the ones marked downbow should be more emphasized).
  5. Long held notes for a string player, in a solo or small-chamber context: Is there any way to indicate "this point is where you change bow direction" OTHER than ending the existing note and starting a new note? I find players interpret a new note to mean I want some audible accent on that note -- that I want it clearly rearticulated -- even if I have a verbal indication in their part that they should make the smoothest bow changes possible. In my current piece I can't just say something like "bow changes as necessary, as smooth as possible" because I do have specific places where I want the bow changes to happen. This is even more of an issue in a piece with sustained double stops -- they'll need to change more frequently AND the changes can't be as smooth as with a single note (meaning it's even more important that they not have that instinct to accent any changes). What do you think -- should I just combine new notes and a really clear verbal request to change smoothly? (Assume I won't get to coach any of the players in person, and the players are excellent/pro level.)
  6. The only kind of reporting that seems to have a strict deadline is Plus awards, for which you can only report the last calendar year's performances. In your own experience, what is the longest time between the date of a performance and the date of your successful reporting of it to ASCAP? (Successful meaning you were credited and paid for it as an individual concert performance, not as part of a Plus award.)
  7. I'm sorry about the time you spent on it, but Tokkemon is right: you can't just arrange other people's themes without licensing them. This can't be performed in public without a license from the owners.
  8. A global point about triple stops: it's not possible to sustain them like that. Your performer (unless you instruct him or her otherwise) will arpeggiate and then sustain the top two notes or just the top note (usually top two if it's easily possible in context, as with yours). Double stops are easily sustainable but not for very long (the player will need to change bow directions so there will be a very audible stop in the sustain - consider notating where they should change bow direction). Can you meet with a violin or viola playing friend and try out some of these things?
  9. Remarkable site - thanks for pointing it out.
  10. As of a few years ago, in order to join you needed to show you'd had at least one reportable performance in a non-institutional venue (not a school/church/etc.). Maybe they've since realized it's to their advantage to get people on the books as early as possible. :) (Edit: for people who don't know, the U.S. has two PROs of about equal size -- we're the only country where this is true, as far as I know -- and they both spend a lot of money and focus on advertising to try to get people to choose them over the competitor.)
  11. Oh, and the proper time to join is as soon as you qualify - no advantage in waiting.
  12. Assuming you're talking about performing rights orgs such as ASCAP in the U.S., GEMA in Germany, etc., there aren't international ones. Just national ones (and agreements among the national ones to administer rights -- e.g. I am an ASCAP member but have received payments [much later] from other national societies that they paid to ASCAP because I had a perf in their country). You can, if you want to, join more than one national org at a time. Few people do this because it's more complex and needs some ongoing attention, but reportedly it can be more profitable. Check film music discussion boards for arguments about this, pro and con -- some of those film folks are obsessed with royalties and think about them a lot more than I ever have. :)
  13. For very short scores (for example, the full score is only 2 pages long) I've always had both performers play from the score and they've appreciated this.
  14. Robin, can you recommend your favorite Muhly pieces please? Based on what little I've heard, I haven't really 'gotten' his fame yet (aside from cult of personality, which he's obviously an expert at) but I feel like I could be missing something great.
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