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You want a contract. Without one, you’ve got no recourse if you show up one night and they say, “Gee, it’s slow tonight so we don’t need you,” or “Season’s over. Bye!”.
A deposit isn’t usual for a steady, at least not that I’ve ever heard. You might do one day so they can see for sure that they want you, but then you should get a contract with some kind of notice clause (for both sides), unless you are as skilled as a friend of mine is at getting restaurants to agree that he only shows up if he hasn’t got something else better that day. (I wish I knew how he gets them to agree to that.)
I’ve usually done a 4-week notice clause in the past, and I used to figure pricing based on my two-hour minimum for three or four hours. In other words, when I was charging $250 for a two-hour casual, I’d do a three hour brunch for that.
However, everything is pretty weird right now, so I’m not so sure that any of this applies anymore. But you do need to consider the situation where they may suddenly make a change and you’ve turned down other jobs because you expected to be playing there.
I don’t anchor much below middle C (depends on type of strings–need to go lower for lever gut, for instance) and I’ve never had a problem. It’s true that in the fifth octave and a few strings up from there that the knot isn’t going to pull through.
Yes, but if you opt to self-publish, you will have to pay a largish sum up front for the permissions on copyrighted music, since they don’t like writing contracts for a small number of copies.
This is where you start researching the copyright holder:
http://www.mpa.org/copyright_resource_center/
And be aware there are two different kinds of permissions:
1. Permission to arrange–this is ONLY legal permission to alter an arrangement for your own performance, not to publish print copies of that arrangement.
2. Print permission as a work for hire. That’s what you will need.
Do you have any kind of link for this, Patricia? I’m aware of substantial changes in copyright law in Canada and New Zealand as of Sept. 1, and some in the UK, but the US Copyright Law doesn’t list any change as of that date:
(Look in the preface for the master list of changes since 1976.)
There are certainly many suits in litigation right now that could eventually radically change many aspects of what’s considered fair use, but I wasn’t aware of any that had recently reached Supreme Court level, so I’d be very curious to see exactly what these changes are, if you can point me to a source.
Hi, David. I was referring to the original part (old old) vs the Alyssa Hess redo (new old) that’s been standard for so many years now. I much prefer the original and play that version whenever the music director will let me.
Oh, I should have mentioned that if you play lever harp, there’s one version that works better than the longest versions. They have a three page version that’s still pretty close to the original but has no key change. (You can just play a single 16th note G for the repeated 32nd notes in the passage on the second page, if that’s hard for you.)
>But I do know that that the newer models (2008-2011) did not fit my harp.
Yes, they changed the wheelbase quite a bit for the 2008 model (when it began looking a bit less like an athletic shoe and more pseudo-baad).
You can use the apple earbuds with mic, the jellybean mic, or any mic you can attach via a cable like the one from peterson or one of the other more expensive cables like the iRig. I used my regular old clip on pickup or the cable from the built-in pickup on my harp that had one.
(Later ipods do have a mic built in, but it tends to hear everything, so I still would use an external for this–it’s not like the mic in the iphone.)
Oh, I remember now–you need to remove the batteries for a while to let it reset the power level it expects.
