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Posts posted by nikolas

  1. But they don't help with giving cues. When staves have their lines consistent horizontally it is easier for the eye to follow them *across* the page from the instrument name in the left margin to the right where the music is. With no lines its easier to miss this relationship and cause errors. That's why I don't like them, because they make my job as a performer (and composer, for that matter) harder.

    Fair enough. As I said I see your point.

    But as far as I'm concerned, and for studying purposes it's easier (especially with 4 instruments above the piano, there's little chance of missing who is what and what now...). You don't need a horizontal five line staff to connect you to the instrument that's playing!

    As a performer, in this case you would either be getting your own parts, perfectly logically set up (no cutaway on parts, no reason to), and if you're the pianist you should be looking to what's going on above. This is the ideal situation of course and I do understand that missing the staves for the piano is not a stellar idea on many accounts, but still...

    But as I said your opinion is well taken and understandable! Thanks

  2. I hate them with a firey passion. They're more difficult to read than traditional scores and they don't serve much benefit other than to reduce the total amount of ink on the page. I can see where things start just fine without having to deal with sudden blank staves. Also, there's the issue of rests being musically important too. In order to have sound there must also be silence, and the length of a rest is just as important as a length of a note. So show the rest, don't be lazy.

    If you hate something with a firey passion it already means that you're SO biased that your opinion isn't really THAT important. Still this post serves a purpose: If I am to ever send you a score (which you would have to buy of course) I would make sure that it's a normal full score.

    BTW, the purpose of a cutaway score is NEVER to reduce the ink on a page (since printers do NOT charge by the ink, but by the page). The idea is to show clearly the intentions of the composer in a much more visible way (and to help offer cues all round).

    Finally, I know that this is an expression of sorts, or something similar, but if you think for a second that the above score is like that because "I'm lazy" you're hugely mistaken!

    For the record, if I'm conducting and a composer hands be a cutout score I would hand it back and tell them to get me one with all the staves put in correctly.

    Yes, already covered that, but just one little thing: It's not "correctly", but "how I prefer them". Better this way!

    - Politcially police out

    tuohey: Thanks. I'll see if I can find it and have a look. I know other scores that have these features, I'm not alone at this, of course, or unique, and this style is not my idea. I can't take any credit for that.

  3. thanks tuohey! These are exactly my thoughts.

    For performance, the performers will be getting their parts (normal parts), so there's no issue there, but the pianist, who most likely will use this score, will have severe issues: When not playing, his staves are taking away, which means that instead of counting 8 bars of rests, he has to be very careful to what's going on in order to get back when it's his time to play.


    Both Sibelius and Finale have this option!

    In sibelius7, since you've asked, you do the following:

    Home -> Instrument change (I have it assigned to "i") -> others (expand) -> No instrument (hidden). You decide if you want the other options mentioned or not and then (or before hand) you chose the staff you want this to happen.

    If you try it, you'll figure out the little details.

  4. Composition is ALSO about aesthetics (which can be taught). I would have a VERY hard time being taught by Zimmer (for example). It's simply not my style and I'm not sure he can get away from an academic point of view (though I find his music in the latest films to be simply stunning, don't get me wrong).

    So one to one lessons are valuable in music and even more so in composition! It's worth every penny!

  5. Hi all,

    I'm getting ready to print yet another bunch of scores. And I'm very keen on using the idea of cutaway scores, as seen in the images bellow:




    But the score, as it currently stands is problematic for use in performance. The cutaway features get in the way of most performers and most performers do NOT enjoy that. So I've decided to use a full, normal, score for performances (along with the parts of course).

    Analysing and composition is another matter however. As a composer (and an engraver and a publisher) I very much find that the above score depicts in every detail the ideas of the composer and should be easier for composers to study it. So I would still like to use this type of a score for a study score (smaller size, etc).

    How do YOU (as composers) feel about this, please?

  6. I think that any critisism might include something useful to take: Even the 'gently caress you Nikolas your music sucks' means that the person posting this doesn't like me one bit and this extends to my music. So it's not about my music, but about myself and since we are social beings and we are public figures, through our music it's worth looking into the reason for that quote...

    PS. that quote is actually real! :D

    • Like 1

  7. The ability to hear inside your head what's going on without the aid of an instrument, or the computer is something that can be gained little by little with effort and experience...

    That said, the piano/instrument/computer are all tools that help you hear what you're composing. They are not there to compose instead of you! If you have problems composing this is not because of the tools you're using but because of how your mind works right now.

    You need to build some confidence. Try something out and then post it here (for example). People will offer valuable feedback and you can take what you feel is worth taking... Then try again, and again. You can't fly before you learn how to run and you can't run before you learn how to walk, and you can't walk before you learn how to crawl and you can't really crawl if you don't know how to breathe...

    • Like 3

  8. I like that the most. If you don't do subscriptions, you could make sure that each piece on the site is represented like that. Of course, you could pick a different site than youtube, considering it blocks everything in some countries.


    We do realize that selling stuff of the internet, needs some special care and promotion techniques.

    At the same time, I do hope you realize that we cannot just offer everything out and hope some kind hearts will buy the scores... Some things need to be kept for the paying customers...

    And, yes, we are also working to put stuff to vimeo, but as with everything it takes time. (if you have any other suggestions on where to host videos (recordings are hosted to our own website at www.musica-ferrum.com), then by all means share!)

  9. Get it? I think there's a lot of people who like to get their stuff in print, and if you have to perform it it's very obvious you'll need it in print. However just selling the music printed isn't going to help people look into the music to see if they like it. I mean that's why you need recordings (which you say you already have, okay.) I'm not sure if you plan to sell the recordings as well either (or rather how are you going to sell them?)
    As I said... subscribing model won't help to preview stuff (especially since it's not readily available...). You're talking about preview possibilities, which is right there in the website, in youtube, etc... And as I said there's a lot more going on, but it's simply too early to show/tell! Get it? ;)
    Another thing is that, well, if people are subscribed and they're not getting new stuff each month (or during the month) obviously they'll stop subscribing. I don't see a problem with it all being digital since you're still selling the printed versions anyway.
    Well, let me break it down a little further:

    a. Right now EMF sells 29 works and has secured another 20 works for 2012 for now. Could be more, could be slightly less... It's VERY difficult at this point, and with 3 days of running time to actually predict anything for the future in order to offer any promise of 'getting new stuff each month'.

    b. Offering digital format straight away is like putting your head on the mouth of the lion right now, sadly. I'd love to go all digital (it would certainly save us money), but the very fact that P2P services would love it as well is a draw back, don't you think?

    What I'm getting at is that contemporary music is a niche "market," and that as it is right now it's pretty inconvenient to access the music. I mean, all the public domain music is getting represented by the IMSLP right now as the main force that should make a lot of publishers making money on publishing warhorses' works worry, since people actually really need access to that music for a lot of reasons. Hell, I know of a couple of underground sites for composers where entire libraries of modern music are exchanged, since literally all students and a lot of people need the stuff but it's horribly stupid not to use the internet for what it's good at: distribution.
    Again... you're mixing things:

    Distribution of info/preview material? Or distribution of services? Or distribution of media? I don't like DRM, so a PDF file would be completely unsecure over the net and I certainly don't think any of us in EMF would like that. Distribution of info/preview material is already there and happening.

    You're mostly talking about marketing which is all and swell. (BTW, IMSLP wouldn't touch EMF since all EMF scores are from living composers and copyrighted).

    In other words. There's a website, there's recording for more than 50% of the works and counting. There's youtube, you can preview pages from the scores and for those scores which are on youtube you can get the full score streaming through there. There's me talking about the works (and actively so), there's every composer who is living and breathing, thus you could have access to them as well! What more do you want? Cause from my point of view and from everybody in EMF this is already A LOT!

    Hell, I know of a couple of underground sites for composers where entire libraries of modern music are exchanged, since literally all students and a lot of people need the stuff but it's horribly stupid not to use the internet for what it's good at: distribution.
    This is quite interesting. As I said above there's every possible information, but the full score available RIGHT NOW. FOR FREE! On the web, as far as EMF is concerned. Don't you dare tell me that these composers do not have access to these information cause it's right down silly. Give me their info and I'll personally make sure each and everyone gets an e-mail from EMF about everything that is available (full recordings, preview of pages, info from the composers themselves, etc). Or is this not enough? You better tell me that it's a matter of cost/effectiveness which should be something we could very well talk about, or plain greed!

  10. After I die I'm too dead to care about what happens to my music, copyright law, or anything. To me it's more important what happens when I'm still alive, and as such I'd rather protest in any way I can.

    I'll tell you what: If you can offer your stuff on CC license you can do whatever you please. a 5 year license won't do you much harm and either way in the end you CAN do what you please with your music, despite the current copyright laws, right? ;) so complain all you want, but as far as YOUR music is concerned you can do as you please.
    Uh, yeah but you didn't address anything I actually said. I still think a subscription model + selling printed scores is the best option. I'm not saying you should give the stuff away, I'm saying you should make it convenient.

    Apart from your assumptions and your decline to address how we work in EMF, and apart from the fact that I told you about the existence of recordings and so on... what else is missing?

    Let's be honest here, I won't offer a free business setup to anyone nor will I give an economic analysis of the world of publishing, etc. Your idea about subscription + printed scores (which should be the last thing to talk about in order not to claim that I 'haven't address anything') is not too bad, but there are a few drawbacks... For example:

    a. All subscription based models work either on digital means (itunes, amazon, etc), or if there are physical objects it's VERY clear on what you will be getting (12 copies, once every month of Time magazine...). Naxos has a subscription based model but... it's digital. It's not going out and sending CDs to customers, are they? They are still selling their CDs (correct me if I'm wrong... I'm not subscribed to anything).

    b. All fair and square but since EMF just launched, don't you think it's too difficult to establish such a trust so as to offer subscriptions? I mean really... would you subscribe? You didn't even take a closer look before talking (otherwise you would've noticed that more than half the works have recordings attached (or excerpts) and every work has preview pages of the score)... If you haven't had a look and you posted about it, would you... give your money on any kind of promise I'd do (for future comings of works)? don't get me wrong it's not unreasonable to think about a subscription model but right now it's insane to even consider it business wise.

    c. Digital scores do exist but do not sell for many reasons, which I won't quote right now. There IS a reason that no serious publishing house has gone into the PDF option (or other format). Plus I loath DRM (believe it or not...). And btw, I totally dislike the current copyright laws as well! ;)

    Anyhow I AM glad to be doing this discussion with you! Really... And I'm not 100% negative on a subscription model, but it's certainly not the right time! :)

  11. Tokke: Thanks.

    Jcraner: It's utterly free. We do NOT charge for the services we do. We trust in the composers we work with and we believe in the works we publish! Ergo we think that there is a reason for these works to be published! Simple as that! At the same time it does mean that we are rather strict in how we decide which works get published, etc...

    On a personal comment: I find that it is brave, but at the same time it would be stupid not to do it. In order for EMF to launch there was no loan involved and all interested parties and involved collaborators have been fully paid! There is a great trust in the works we publish and even more to the composers we represent! It's music that, I, personally, love to listen to and perform! I've got CDs of the works in my car... :)

    • Like 1

  12. Why not hang on to the rights for as long as you please (example: For as long as you live) and then live a letter saying that you leave copyrights in public domain? Simple as that!

    Secondly, you're really not thinking things through or in any commercial sense. Promoting stuff costs quite a lot of money, despite the fact that you don't believe so. Additionally music NEEDS to be printed and NEEDS to be bind. This costs money. I'm doing all this through the publishing house! And I'm doing it at a great quality, as opposed to any inhouse lazer printer.\

    Also who said I don't have recordings? Who on earth implied that? I have recordings for every work that I publish, of my own, and many others as well. Just because you don't see it, it doesn't mean it's not there! ;)

    Finally, the publishing house is a day old (not even that). Personally I would hold on saying to much before seeing a little more. Unless you've already decided for yourself how you feel about this, in which case... there's nothing more to discuss! ;) But I can promise you that there is.

  13. Hiya you grumpy SSC! ;)

    1. This is different than advertising (as the bottom thread shows)... I just linked the thread in YC and nowhere else (though I kinda messed up the link... Must edit that).

    2. You're not being really careful with what you're readin'. YOU keep the rights and your dealings with EMF stops in 5 years. If you like what we're doing you're most welcome to carry on publishing your works with us, otherwise you can just grab the scores and go (though we will keep all the copies until the stocks vanish). So in other words we are NOT locking your copyrights, and certainly not for 70 years after your death...

    3. I actually agree with you in regards to the length of copyrights (WOW! we're discussing something), but at the same time I've been burned with CC license and I would suggest people who are serious about what they do to steer clear of such licenses... (and you may recall that my stuff used to be in IMSLP... And I still support IMSLP and what it does)!

    • Like 1

  14. Apart from the commercial announcement which can be found HERE"]http://www.youngcomp...ing-house/]HERE[/url], I'd like to discuss the possibility of publishing your works through Editions Musica Ferrum.

    As you may notice in the linked thread, two of the YC composers are already represented by us (composerorganist (Chris) and Jason (Woodruff). Both of these composers have been excellent in the communication with us and their works are quite frankly great and deserve all the attention that they can gather!

    So if you feel that you have works that should be published, please contact us on info@musica-ferrum.com . We cannot guarantee that the works will be published and of course we reserve the right to... say no!


    We do offer:

    * Competitive %

    * the possibility to retain to the rights of the work.

    * Promotion of the work and the chances to get the work(s) performed, recorded and perhaps videotaped.

    * The editing of your scores to a publishable level.

    and many other features...

    Visit the thread linked above, and our website at www.musica-ferrum.com . Feel free to post here, or in PM or e-mail us for more information.

    Most importantly: Keep composing!

  15. logo_gif.gif

    After several months of hard work behind the scenes it's my great pleasure to present to you the Editions Musica Ferrum, the Music Publishing House which focuses on contemporary concert hall music.

    It is said that contemporary concert hall music is sometimes difficult to approach and remains inaccessible in some ways, not only limited to pricing and the commercial sense. Editions Musica Ferrum addresses those issues by funding interesting composers and publishing fascinating and accessible works; works that are beautiful, handsome scores that are worth owning, (with approachable prices) and materials that are readily available online or in music stores.

    Founded in Greece by award winning composer and performer Nikolas Sideris, EMF has a deep understanding of the needs and rights of the composer as well as the demands of performers in terms of score quality and clarity. Drawing on decades of experience in score development and preparation, all the elements of production, from physical elements such as paper selection and binding to visual elements such as layout and spacing, have been taken into account to be sure that every score that reaches our customers is of the highest order. Previews of each score are available on our website, and where available excerpts of recordings are also available, along with videos of the whole scores of selected works.

    Editions Musica Ferrum hopes to reach out to every performer, teacher, student, conductor, producer, composer and other music lover to help them to discover this treasury of new concert hall works.We are open to any questions, comments, or feedback you may have, and we strive to be always available to our customers and interested parties.

    Composers we represent include:

    Christos Sp. Anastassiou

    Nikos Drelas

    Barnaby Hollington

    Christopher G. Sahar

    Nikolas Sideris

    Jason A. Woodruff

    Subscribe to our Youtube channel, follow us on Twitter and like us on Facebook.

    But most importantly visit our website to listen to excerpts of recordings, watch videos, contact us, read biographies, see previews of the scores and buy the scores we publish.


    • Like 1

  16. I didn't know we were throwing links around! :D


    I got this from Nick, who was very nice to send it express and without much trouble and the CD ROM is great and so are the contents.

    Another book that I don't even care to remember from Berkley Press was rubbish.

    I'd like to get the Behind Bars book, but at 99$ right now and me being kinda broke (saving for other gigs) it's rather hard...

    And a nice review there, Chris!

  17. Exaclty what Ian said. It's not like I support any of the positions I mentioned above. But all these things got thrown into the thread...

    Personally I'm very much in favor of finding the golden ratio between satisfying yourself and the others. I also take special care of the performers, since I'm very much attached to what they will do to my works! ;) It's very much worth considering that if you don't consider your audience, at least consider your performers!

    • Like 1

  18. Oh come on... get real you guys (and gals...).

    This IS an interesting thread, only that it never came to a conclusion due to silly bickering amongst members...

    So... a conclusion perhaps, if I may (though others may continue as they please):

    1. There IS some good music today, but appear to be:

    a. Buried underneath loads of garbage floating around today

    b. Be ignored because it's too good for the audience (and the audience is stupid?!?!?!)

    c. It missing out because the composer(s) are not doing enough promotion themselves (or their publishers?)

    2. There also seems to be a consensus on what needs be done. We should train/educate the audience. We, the composers, or others more fitting than us (but who, I repeat the question which only two replied).

    3. There is a disagreement on why we compose music, or rather who we compose music for. There seems to be two camps here:

    a. We compose music for ourselves, we remain true to ourselves and we do not sell out for the shake of anyone (the audience, the publisher, money, or other).

    b. We compose to please others and take into account the general publics' opinion!

    • Like 5
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