Editing and engraving (typesetting) of music.

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Permalink Reply by randy on November 8, 2008 at 6:26pm

Are you asking about a music "copyist?"

Permalink Reply by Laurence W. Key on November 9, 2008 at 10:47am

Dear Randy et al.,

Before 1989, I did work as a copyist, with an Osmiroid pen and blank manuscript paper. Computer programs like SCORE, and their competitors like Finale and Sibelius, have really changed the game. There will always be a need for copyists, to prepare parts for studio sessions and imminent performances. And technically, an "engraver" worked with stamps on a metal plate to prepare camera-ready music graphics. All of that work moved briefly to Asia, but the computerized methods are really taking over.

Even though the computer allows me to work as fast as the pen-and-ink copyist, the biggest advantage is seen when corrections must be made; instead of tossing the old work into the trash and starting with a blank page, I can reach in and correct the mistake.

Additionally, the output files can be converted to screen graphics. Take a look at this. (You have to turn on your JavaScript interpreter)

I hope that clarifies the issue. I edit and prepare camera-ready music graphics for publication. What should I call myself to secure employment?

Permalink Reply by John Snyder on November 25, 2008 at 3:35pm

In the world or Finale and Sibelius, I'm not sure where those skills fit in? Could you tell me more specifically what service you want to provide and who might be the market for that service?

You could talk to Hal Leonard Corp, or Jamie Abersold. Both of their companies publish a lot of music and music folios.

Tell us more about your skills and we'll see what we can come up with. Do you write out parts and scores, is that it? Is this something you do by hand or do you use the computer programs.

Do you currently do this work, that is, do you have a history at it?

Let me know. Sorry for the delay in responding. It won't take as long next time. Thanks for your interest and your quesiton.

John Snyder

Permalink Reply by John Snyder on November 25, 2008 at 3:38pm

Let me ask around about this. Seems like any publisher of printed music might be the obvious place to look. I'll ask some of the publishers I know and see if they can use a person of your skills. But if you want, you could take the bull by the horns and just contact them directly. There are various publications that list publishers but a trip to the music store can give you a pretty good list of names as well. Billboard has a directory that you can buy that includes all publishers. And try the ASCAP and BMI sites.

I'll look into it and get back to you. John Snyder

Laurence W. Key said:

Dear Randy et al.,

Before 1989, I did work as a copyist, with an Osmiroid pen and blank manuscript paper. Computer programs like SCORE, and their competitors like Finale and Sibelius, have really changed the game. There will always be a need for copyists, to prepare parts for studio sessions and imminent performances. And technically, an "engraver" worked with stamps on a metal plate to prepare camera-ready music graphics. All of that work moved briefly to Asia, but the computerized methods are really taking over.

Even though the computer allows me to work as fast as the pen-and-ink copyist, the biggest advantage is seen when corrections must be made; instead of tossing the old work into the trash and starting with a blank page, I can reach in and correct the mistake.

Additionally, the output files can be converted to screen graphics. Take a look at this. (You have to turn on your JavaScript interpreter)

I hope that clarifies the issue. I edit and prepare camera-ready music graphics for publication. What should I call myself to secure employment?

Permalink Reply by John Snyder on January 13, 2009 at 1:38am

Mr. Key, The publishers I talked to said they use software. I'll call a few film scorers and see what they say.

Who have you done this work for in the past? Are you in LA?

We don't have anything on the site that really fits this subject, sorry.

Talk to you in a few days. JS

Permalink Reply by Laurence W. Key on January 15, 2009 at 2:31am

John Snyder said:

Mr. Key, The publishers I talked to said they use software. I'll call a few film scorers and see what they say.

Who have you done this work for in the past? Are you in LA?

We don't have anything on the site that really fits this subject, sorry.

Talk to you in a few days. JS

To John Snyder et. al.,
I just saw your first note, from Nov. 25, sitting right above your second note. Thanks for your response. The computer typesetting programs I am familiar with are SCORE, Finale and Sibelius, although SCORE is the program I try to use when there is publication involved. I've done work for MSU press, the LOC, National Geographic Soc., collaborated on an opera by Susa for the DC Opera, and worked for several composers who are into self-publishing. I did a setting of the Armenian Mass for chorus and orchestra for the Friends of Armenian Culture in Boston, and saw it performed in Orchestra Hall, Boston in 2001. So large-scale musical works, textbooks, etc. are no problem.
I've been stuck in Florida for five years, and would be more than willing to relocate. I haven't had success with cold calls to publishing houses, but I'll try again. Thanks again for your advice. Laurence W. Key in Stuart, Fl.

Permalink Reply by John Snyder on January 18, 2009 at 12:26pm

Well, one of my film scoring friends writes to me: "Everyone I know uses Finale or Sibelius. I don't know of anyone, outside maybe some classical composers, who use handwritten music."

Now, I know that this is not simply what you do. If you're trying to sell skills that are no longer applicable, thanks to technology, you're not alone. But your skills imply other skills, I think, and you should identify what those might be. Forgive me for trying to give obvious advice, but if you were to back off from the problem and look at how the same information fits into a larger, different picture, what would you do?

For example, why don't you take your expertise in these very useful programs and do some tutorials and post them on YouTube. Make a presence for yourself on line if off line isn't working. Abandon failing tactics!, as my hard ass professor kept yelling in my ear. Of course, in the other, he was yelling "you can do this!", followed by a list of things to do. He was a problem maker and a problem solver, and it was all about the attitude. Because with the right attitude, your brain works and finds because it has a purpose. It could be just to be open and free, which is like, meditation or yoga. Or it could be quite structured and yet agile in its organized approach to problem solving.

Before I fall headfirst into a slimy pit of metaphors and childish stories, let's get back to you.

I really think the videos are a good idea. But if that's just not your thing, do you think you have a place in education and academia? What subjects could you teach? How can your knowledge of how software works help you master software that might be different from what you're used to?

I'm not sure if this amounts to anything, but a lot of music isn't sent to the Library of Congress for copyright registration. And although you don't have to register your copyright to have your copyright, there are a number of positive consequences to registration that certainly justifies the effort and expense. I'll try to remember to attach a widget about this. For example, you can't sue someone for infringement if you're work isn't registered.

Anyway, maybe there's a business in providing such a service to others. Of course the question is, what others? Universities? They're usually the first to screw up things like that. Publishing companies? You'd think they'd have that together, but you never know. Especially the smaller ones. Little mistakes make a big difference in the publishing business. Maybe you could master that process and then sell your oversight service as an insurance policy against costly "little" mistakes in filing and registration

You know your skills better than I do but you may not know the implications of them as well as you need to. Draw out the family tree of implications of what you do and I'll bet you that you run into something that will work someplace where you don't feel stuck. Stuck isn't good. So unstick yourself. Easier said than done, I know. Requires some new thought processes. Helps to just get out the door. Least for me.

I'll keep thinking about it. JS

Permalink Reply by Laurence W. Key on January 19, 2009 at 3:21am

Dear John Snyder,

That was a thoughtful bit of advice. I just finished a new score, which is why I haven't been networking socially. I'm going to try to send a .PDF of the first 20 pages, so you can see an example of my work.

The typesetting program that I favor has just announced it's first upgrade since 1994! I'm really excited about that, since most have declared the program dead. If this doesn't work, I'll post it tomorrow on my website:
http://home.comcast.net/~flute0001

Look for a file named SCR_L1.PDF, Thanks, L. Key

Attachments:

• SCR_L1.PDF, 4.5 MB

Permalink Reply by Tim Anderson on April 6, 2009 at 12:50pm

The gentleman in the video is incorrect. Here is a quote from official copyright documentation.

Works Originally Created on or after January 1, 1978

A work that was created (fixed in tangible form for the first
time) on or after January 1, 1978, is automatically protected
from the moment of its creation and is ordinarily given a
term enduring for the author’s life plus an additional 70
years after the author’s death. In the case of “a joint work
prepared by two or more authors who did not work for hire,”
the term lasts for 70 years after the last surviving author’s
death. For works made for hire, and for anonymous and
pseudonymous works (unless the author’s identity is revealed
in Copyright Office records), the duration of copyright will
be 95 years from publication or 120 years from creation,
whichever is shorter.

John Snyder said:

Well, one of my film scoring friends writes to me: "Everyone I know uses Finale or Sibelius. I don't know of anyone, outside maybe some classical composers, who use handwritten music."

Now, I know that this is not simply what you do. If you're trying to sell skills that are no longer applicable, thanks to technology, you're not alone. But your skills imply other skills, I think, and you should identify what those might be. Forgive me for trying to give obvious advice, but if you were to back off from the problem and look at how the same information fits into a larger, different picture, what would you do?

For example, why don't you take your expertise in these very useful programs and do some tutorials and post them on YouTube. Make a presence for yourself on line if off line isn't working. Abandon failing tactics!, as my hard ass professor kept yelling in my ear. Of course, in the other, he was yelling "you can do this!", followed by a list of things to do. He was a problem maker and a problem solver, and it was all about the attitude. Because with the right attitude, your brain works and finds because it has a purpose. It could be just to be open and free, which is like, meditation or yoga. Or it could be quite structured and yet agile in its organized approach to problem solving.

Before I fall headfirst into a slimy pit of metaphors and childish stories, let's get back to you.

I really think the videos are a good idea. But if that's just not your thing, do you think you have a place in education and academia? What subjects could you teach? How can your knowledge of how software works help you master software that might be different from what you're used to?

I'm not sure if this amounts to anything, but a lot of music isn't sent to the Library of Congress for copyright registration. And although you don't have to register your copyright to have your copyright, there are a number of positive consequences to registration that certainly justifies the effort and expense. I'll try to remember to attach a widget about this. For example, you can't sue someone for infringement if you're work isn't registered.

Anyway, maybe there's a business in providing such a service to others. Of course the question is, what others? Universities? They're usually the first to screw up things like that. Publishing companies? You'd think they'd have that together, but you never know. Especially the smaller ones. Little mistakes make a big difference in the publishing business. Maybe you could master that process and then sell your oversight service as an insurance policy against costly "little" mistakes in filing and registration

You know your skills better than I do but you may not know the implications of them as well as you need to. Draw out the family tree of implications of what you do and I'll bet you that you run into something that will work someplace where you don't feel stuck. Stuck isn't good. So unstick yourself. Easier said than done, I know. Requires some new thought processes. Helps to just get out the door. Least for me.

I'll keep thinking about it. JS

Permalink Reply by Laurence W. Key on May 18, 2009 at 1:14pm

Dear Himanshu,

Thank you for the note. The website is very attractive, and I'm happy to see that someone in your shop still uses SCORE. I know that each project is unique, but do you generally price your service based on the number of finished pages, or calculate the number of items, lines or measures in a project?

Have you had success with the new Windows version of SCORE? I've used it for simple input, but I still rely on SCORE4 to finish my work.

Warmest Regards,
Laurence W. Key in Stuart, Florida