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Everything posted by nikolas

  1. For some reason if I close my browser and come back a few minutes later I am logged off. And it's getting annoying to be having to log on constantly! so sometimes I just leave and it and check around totally invisible, as a visitor, rather than myself... Thanks for filling the survey, btw! ^_^
  2. You're right that I forgot it, but I think there is the "other" option there, which can be filled by singers... * Nikolas goes ashamed...
  3. Thanks Jaap. :) If you need me you know where to find me (especially now that you've got me on facebook as well! :D)
  4. Thank you! ^_^ I really appreciate it. Any questions, as always I'm here (although hidden most of the time... (since YC is kicking me out with every visit I get. so I stay 'offline'... :D))
  5. Hi all, I would be greatful if you could take a few minutes (5-7 approximately) to fill in a survey about music, music scores, buying habits, the Internet, etc. AS you can understand, the members of YC belong to my, so called "target group" advertising wise, as well as market research wise. So your opinions and answers matter A LOT to me! https://spreadsheets.google.com/viewform?formkey=dHJEbHNvMmQzYUhHVWRKMHBncmR6Q3c6MQ This survey (evident from the title) will be helping me conduct a small market research on certain things/issues I have in mind. Thank you for your time filling in the survey and if you have any comments please feel free to post here, PM me, or fill the text in the questionaire (second to last question). Regards, Nikolas
  6. J, I've PMed you, since I'm also trying to be flexible with my pricing methods. If you feel that any of the info in the PM is public worthy, by all means post it here. I don't mind! :)
  7. Hello all, For those who do not know me, my name is Nikolas Sideris and I currently live in Greece. I hold a PhD in composition from Royal Holloway, supervised by Brian Lock and Phillip Cashian (now head of composition in the Royal Academy of Music in London) and my other academic credentials include a diploma in piano and degrees in harmony and counterpoint. I have taught composition and orchestration for quite a few years now online and face to face and I thought that it is time to advertise further, so here I am! I'm taking in students interested in learning more about music, composition, analysis and orchestration with an emphasis (but not limited) to contemporary music. The courses are tailored for each individual and communication can be done with a number of different ways, either via skype voice chat (or MSN), through a webcamera, text chats, e-mail exchange or a combination of those. Following are a few links with my music as well as a few examples of my scores, in PDF format (watermarked, sorry...) The City Under Different Eyes For Solo Piano www.nikolas-sideris.com/stuff/CUDE.mp3 www.nikolas-sideris.com/stuff/cude.pdf MFL For Violin Duet www.nikolas-sideris.com/stuff/mfl.mp3 Exeliksis For String Orchestra www.nikolas-sideris.com/stuff/exeliksis.mp3 www.nikolas-sideris.com/stuff/exeliksis.pdf What Goes Around Comes Around For String Orchestra and Trumpept www.nikolas-sideris.com/stuff/wgaca.mp3 and Unique For Piano and Trumpet www.nikolas-sideris.com/stuff/unique.mp3 www.nikolas-sideris.com/stuff/unique.pdf My personal website can be found at this location: www.nikolas-sideris.com If you wish to contact me you can either: PM me here (or post in this thread) e-mail me at mail@nikolas-sideris.com or find me at skype (nikolasideris) or MSN (nikolasideris@hotmail.com) Prices are very reasonable and payable either by bank translfer, or paypal, or any other secure ways we can agree on. Finally, as already mentioned, I try to be as flexible as possible, which includes the lesson length, excersizes, frequency on a monthly bases, etc... Thank you for your time, Nikolas
  8. A bit of cleaning up could help. Unfinished works cannot really be 'concerto NO.3 op 16' or something. They are a Draft 2 concerto. Finished works that you should want to keep number them any way you like. But opus numbering seems rather outdated. Usually pieces are now named and not just after the form you use "symphony No. 10", but also with other names "like The Bells". THen again if you only work on concertos and symphonies, etc then you have few alternatives really.
  9. I rather like her songs, her image and her lyrics. Nothing profound in there really, but it does appear somehow to be honest... :-/ Not sure there's more to say here.
  10. No you won't! I'll steal the name! :D (kidding)ben is right: The self-publishing idea seems to be working better for smaller time composers. I'd love to get promotion from schott, but let's not kid ourselves: I prefer to do it on my own and manage my own self, music and efforts!
  11. No I didn't hear, and trust me I have my ears and eyes open, plus I've done my research.Further to that, your comment is off topic! :D Now, really, I agree that things for large industry are rather pale, but not for a small publishing company, just starting out! ;)
  12. Everyone: Thanks for your ideas. ^_^ AntiA: I'd like to be kept silent of these editions, although it will be me behind. I think publishing your own works shows a tiny bit of 'weakness'. Editions Sideris publishing the works of Sideris. Not so 'real' editions are they now? I also think that I'm already too diverse with teaching, authoring, composing 'classical' and media music. If I also enter the realm of publishing, I will be too diverse for my own good I think.
  13. I need your help. In the previous years you've always helped out and your ideas have very often been great! So I do need a little further help. I'm preparing to launch a publishing company for music scores (at first at least). I have a few composers lined up and other ideas, working with a graphic designer, web designer (might actually be looking for that as well), but I have NO idea what to name the company. You see, traditionally, almost all publishing houses are named after the first editor that founded the company. Example of such editions are: Henle, Ricordi, Schott, Schirmer, Peters except perhaps the International Music Co company... I'm stunned and have no idea what to name my company. Certainly Editions Sideris sucks big time! Further to that I'd like to keep anonymous my involvement in the company. I remain a composer. I hope to concentrate on contemporary classical music, firstly and then anything else, if this springs any idea. Piano music, orchestral music, chamber music, etc. but of course the life of editions is either the renting of parts of orchestral scores, and the selling of small ensembles, duets, etc scores. So, any ideas or propositions are most welcome here. Any other ideas, discussions, or whatever are also welcome! Thank you
  14. Jeez John. No, I'm not a serial composer and atonality has NOTHING to do with serialism. My works are not serialistic (?) or atonal. I enjoy dissonance, I love working with dissonance, I love contemporary music as a whole. As a composer and as a listener. The material you use is your own to choose. Berg was rather lyrical, Webern was rather dissonant in his tone rows. Serialism and atonality are two things, not one, and are old... not new!
  15. nikolas


    I've had a discussion with a few musicians and we were talking about manuscripts. So here's a couple of mine. Fantasia for Piano in D minor www.nikolas-sideris.com/stuff/Fantasia1994.pdf Written in 1994, I didn't have access to Finale back then (which must've been in version 3.0 or something...). So I was doing my manuscripts the best way possible. The piece was written when I was 16 years old or something like that, anyway. It's in a very tonal style, full of promise, written by someone who didn't know anything about harmony back then (but at least had decent ears I think). There might be issues of spelling, but the score is readable I think. MFL for violin duet www.nikolas-sideris.com/stuff/mfl2004.pdf Written in 2004. 10 years after the previous one, I was 26-27 at that time, already in London for my masters degree, with one baby in the house! The initials stand for My F***ing life, exactly because I was facing some extreme difficulties. A few words about the piece. I was also studying the art of fugue with a tutor in Greece, so this piece follows rather close the form of a fugue, with 2 (3 *ahem*) voices, the episodes, the countersubjects, themes, etc. Written in a rather contemporary language, it's still a passionate work. The premier was given a day in December of 2004 in London, and the person responsible for the program accidently misspelled the title to "my f***ing wife"! I felt amazingly stunned by that. Fortunately we managed to redo the program, but at my fault that time I misspelt the name of the first violin. (true story). Finally, here's the final Finale version for comparison reasons, as well as a studio recording of the work: www.nikolas-sideris.com/stuff/mfl.pdf www.nikolas-sideris.com/stuff/my%20fucking%20life.mp3 violin I: Marcus Barcham Stevens Violin II: Alexandra Woods Well... Enjoy.
  16. The J: LOL! Honestly. I don't know you (or don't remember you). I kept in mind how old is Gardener, Robin, Tokke, etc, and thought that these do not exactly have the responsibility to think about making a living right now. Especially not Tokke, as far as I know. It's difficult to KNOW that you will be a father in a year or so, since children take 9 months at most... :D:D My comment wasn't personal at all. Anyways, the point is that at this moment I'm thinking about my next move. Ok, in computer games things are clear. but in general as a freelancer I have to consider on a weekly bases almost my next move and how the world is changing. And thought that this discussion can yield some interesting results. Personally, I find that self publishing and pretty much self doing whatever you can works pretty well. Yes, there is a study that it takes 1,000,000$ to promote a new artist, but I find this largely *ahem*. I'm almost pretty certain that I can promote my self in much smaller scale and not need a million $. I'm positive I can find a way to put some money in and have some money coming out. But it remains that commissions are being reduced and it's almost a fact that music is not exactly in its best (as far as any industry is concerned). From various people I know I've been told that royalties are being reduced. Maybe they were just spoiled... but it remains that things are largely changing and I do want in to whatever is coming! ;)
  17. Because I hardly think this is an issue for genre or stylistic choices. I think that it goes much deeper, into what value the audience puts into recorded music (read: NONE, ergo piracy and rightfully so almost, although I support copyrights) and what value musicians put on themselves (Bieber is an example, indeed! :D) I actually know many composers working only from their compositions. All in media (computer games, ads, telly, films, etc). And I admire them!But personally I could never only do that. I would be dry in a year or so. I have to take breaks, I want to perform music (as a pianist), and I want to teach. Yes, right. We are not just projecting our selves and whatever autistic tendencies we have as composers. We do need to have our antennas geared towards the audience. But I'm just not sure that this is enough. And as a father I am FORCED to worry. Nobody in this discussion has any family obligations, but me. (Robin, you did't have children in the meantime did you? ;)) It's a completely different matter and you are forced to 'mature' (the way that cooporations and the industry wants you)...
  18. Tokke: I do hope we will stay clear of any discussion on how contemporary classical music sounds, ok? This was my primary point in this thread! Everything moves forward IN TIME. Everything changes. Everything evolves (to something better?). Same with music. Profitability of any genre needs to be re-discussed and re-examined again and again on a weekly, almost bases. Just look at pop music and it's ever changing character, idioms and production values. Why should classical music be any different? And who's to judge the profitability of any piece of music? This thread was also triggered (to go slightly political) by the current economic crisis in Greece. If someone doesn't know about it, here it is a nutshell: Bastard government for the past few years have been lying through their teeth on the EU on how Greece is doing. New government in, freaks out, tells the truth, sh1t happens. EU denies (germany) to offer money to Greece at normal interest, crisis goes deeper. Government takes the right (imo) steps to gain some more money and put every bastard in Greece in their place (90% of the Greek population!). Incidently, it cuts funding to national theatre and drops 35% the budget of the primary music hall in Athens. As a result no concerts will be videotaped in there again. The uniqueness of the concert is back. No archives, no nothing. And I'm expecting amidst this a government to fund my music making? Sheesss I must be insane!
  19. Thanks for the welcome back! ^_^ much appreciated. Now, on a few thoughts. Yes, playing your own stuff is obviously one way to do it. And I've found a way with sample libraries, piano music, etc. But still it just feels better to have your music played! :D But then the question comes: Who is doing who a service? Composers get commissions normally, but if you want a performer to perform your work, you can rent their services! So it's both ways. Another thought is the idea of your 'client'. I've also found a solution there in working for computer games. My clients are NOT the audience, although they can influence very indirectly my career. My client is the developers, or publishers and as such I actually don't really care about piracy and what not in a direct way. The game will get pirated, not my music. And if my music does get pirated, then YAY! Cause it's already been bought out! A third thought lies to what SSC mentioned: I love teaching, I really do, and I actually have an internet based lesson in 10 minutes (Greece-London, on composition. Successful!). But I am still a creator, an inventor of sound if you want. And I want, I need, I strive for my music to exist, to be performed, to be heard. Plus my worry goes further: If classical music goes further downhill (<-correction, if the idea of music goes downhill. It's not only classical), then why would anyone learn? A lost trade is a lost trade. Sure there's the fun aspect, etc, but if you take the possibility of earning a living, or actually having a career then the lights dim quite a lot! ________________________ I believe that classical music will be the last to actually fall. For a single reason: Pop music involves, largely a passive listening, while piano music can involve active playing, enjoying, sharing, learning and teaching. Already a music file out of your hard drive is not yours any more, despite any legalities saying the opposite. Yes, I own copyrights, but how on earth can I stop you from putting my music to your personal porn file for your enjoynment? (this would be amazing actually! Can you imagine MY music in a porn film? Talk about sick!). I'm ready to bet that there isn't a single member in here who's never downloaded music. Or actually never watched youtube (90% of the stuff in there are illegal to begin with! :D). Doomed this, doomed that, doomed the other. But I love it. And love teaching, love composing, (and obviously still love YC :D)
  20. Hey! Congrats. Hope to get around here a bit more from now on, and hope to get to listen to your works (read the scores, *ahem*). But big congrats on getting two of your works performed! Well done!
  21. Ok. First of, This is NOT a discussion about the different styles and techniques of composition. I'm not even slightly willing to read anything about dissonance, etc... The point is completely different. It's about making a living as a classical composer, if possible. Until now there were commissions, teaching, etc. But it seems to me that the Internet, piracy, and whatever else has changed that. There seems to be little reason to commission a new work. Apart from a government body eager to 'educate' the citizens through this way, and various bodies, I don't think anyone else is commissioning on an individual bases. Maybe I could be wrong, but it remains that I doubt I can get any decent commission without some government financial aid. A choir director who asked me to work on a 30-40 minute piece for choir and possibly orchestra or not, was willing to give me 1000$. He told me that the financial support was cut off, and so on, and I wasn't expecting much, but 1000$? For 6 months work or so? We are talking about a major piece here. I had to decline, although I do see the potential advertisement. I just couldn't bring myself to live on my savings for six months or so (maybe 4, 3?) and provide SUCH a service for free. Someone else, without kids, maybe would take the opportunity, and I'm betting that someone did. Where is this all heading? Where the chance to really write some wonderful piano music, a piano sonata for example (like our old member QcCowboy did, and his works were excellent)? Why do it if you will only get tiny compensation. With hopes of self publishing? Will that disappear as well? What will become of what we happily call and discuss over here "classical music"?
  22. Because when we are with human performers we are aiming for the 'perfect' recording, that we have heard through thousands of times, of myriads of different composers and recordings. Because humans are supposed to be un-perfect, and thus we aim 'higher'. On the other hand computers and digital means are perfect by default and this is strange, weird and plainly wrong for our listening. so we try our best to emitate the behaviour of humans, by destroying perfection. Makes any sense?
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