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I think it is time that the American Federation of Musicians started lobbying for better rules regarding this. It does not make sense to me that people cannot buy an orchestra part if they need it. As a sometimes-composer myself, I would want people to have access to my music, instead of being blocked from buying it. I am curious; does anyone know the logic behind this? How does this benefit the copyright holder?
Here is more information on VSOIW:
Vancouver Symphony Orchestral Institute at Whistler, Whistler, BC, Canada, 604-684-9100 ext 246, website (www.vsoinstitute.ca)
June 26 – July 5, 2016
THE VANCOUVER SYMPHONY ORCHESTRAL INSTITUTE AT WHISTLER offers young musicians an experience and education like no other, joining together the GRAMMY® and JUNO Award-winning VSO with Whistler, one of the world’s finest mountain resorts. Students will be immersed in a collaborative musical environment alongside and mentored by a world class symphony orchestra, under the direction of the VSO’s internationally acclaimed music director, Maestro Bramwell Tovey. Participation in the Whistler Institute Orchestra, chamber music, individual and group coachings, as well as a variety of unique performance opportunities will fill students’ warm summer days and cool, refreshing evenings in the mountains of beautiful British Columbia in Canada. Whistler Institute Orchestra 2016 program includes Richard Strauss’ Don Juan.Lighting is so important for harpists! Ideally, there should be light focused from the side so that it illuminates the strings, and some focused on the music from a different angle. If you have a steady gig, it is worth the effort to ask the venue to have your lighting adjusted in this way, so that you don’t have to re-invent the wheel every time you go.
I used to be able to buy orchestral harp parts from http://www.lyramusic.com/OrchestralParts_ep_41-1.html.
Why would Schott not want to sell individual parts? I can’t see how it violates copyright if it is being paid for. Also, if you want to show someone a fingering idea, is it allowable to send an excerpt with the fingering or the edition shown?Hello, Philippa! No, I have not had one of my students take the online bulletproof musician course. If anyone has, we would be very interested to hear how it went!
Hello, Carl! I watched a couple of different videos, and they do different things with the mufflings. My guess is that it means to muffle the bass and the middle notes as well, before proceeding on to the quiet sections starting at bar 135 and 160.
http://www.bulletproofmusician.com/ has got some of the best advice on practising that I have ever seen.
This most recent one is gold!There are several good lists of lever harp music in the harp syllabuses from the Trinity College UK, ABRSM and the Royal Conservatory of Music. Just google “harp syllabus” and you will find them. My original pieces for lever harp are in the RCM and Trinity syllabi, for example.
Check the harp syllabuses online for the Royal Conservatory of Music and Trinity College UK. They list pieces for lever harp.
https://examinations.rcmusic.ca/sites/default/files/rcme/online_syllabi/Harp_Syllabus_2009.pdfhttp://www.trinitycollege.com/site/?id=1054 click on the 2016 Strings syllabus and it will download.
Yes, Carl, the fingerings work like a charm. There’s a particularly good one in the first scale passage, that’s worth the price of the whole thing.
Hello, Catherine! Along with the original, it’s nice to have the Salzedo edition for the great fingerings. He changed a lot of notes, which I changed back to the original. For example, there is no problem doing the one-handed trill in the slow movement. Also, his edition shows the flute part, which is very helpful. I have used the Reinecke and the Nino Rota cadenzas, both of which I like very much.
