So here you are at my blog. PeriODDically... is just as it sounds; mostly periodic postings and often odd insights into being Daniel J Hay.
Many times I have postings ready to upload and then decide to dump them because they are either bragging about myself which I find I am prone to doing, or complaining about my health or life, which I can't stand doing but again find that I am prone to lapsing into.
This posting, however, is not going to flow in either vein. No bragging and no complaining.
Actually this posting is a request for assistance in naming the piece of music I just composed. You see, I've been getting a backlog of instrumental pieces with no name. This will make it difficult to include them in the annual subscription service I maintain and makes it look like an uncompleted list when I list the titles. The attached opus number just doesn't look completed without also having a title to go with it.
Therefore, if you will listen to the piece listed in the sidebar, (Opus 516), and then send me a comment for a name I would appreciate it. From the names submitted here and via private communication I will select a winning name and then add the submitting person's name in the dedication on the sheet music.
This piece is voiced in Oboe because I find that my composing software sounds best as Oboe voice, (or Cello or Bassoon). It is, however, suitable for most orchestral instruments.
Please note that if this posting is not at the top of my blog then it is likely the piece of music shown may no longer be Opus 516. You can always visit http://danielhay.podbean.com and look for the piece that will include 516 in the title regardless of how long after this posting you are visiting. Also be aware that only a small number of my pieces are uploaded to podbean.
To see which pieces of music I have had printed you can visit http://danielhay.magcloud.com and for information on subscribing to my annual sheet music service please visit http://bit.ly/g9muFh
Showing posts with label Cello. Show all posts
Showing posts with label Cello. Show all posts
22 April 2011
30 April 2010
Publishing Music...
There are many ways to publish. I have two fields of endeavor needing publishing so I'm always looking for the best way. Not only do we have various technical ramifications we then have marketing concerns for our publications. If they don't sell we don't make an income.
I find publishing music to be even more difficult than the process to get published in the big publishers arena. Knowing that with about 200 pieces of music to publish it would take me years just to query half of them I chose to begin publishing as an independent music press.
The first round, or rather the first effort, is now going to press. I have chosen to use MagCloud.com as the publishing house. They produce magazine format material. Although not the standard for sheet music the format does suffice for collected works of solo music, and for longer works in any chamber groupings. At the time of this posting I have already uploaded four issues of the Solo Music magazine and one issue of the Music of Daniel J Hay magazine.
I call them magazines because that is the format used, the paper type, and the publisher is a magazine publisher. In my own mind I think of them as books. In either case, they are on line to be ordered at any time, are produced only when ordered, and MagCloud.com maintains the files, handles the order, prints, and ships. Then they send me my profits. It may not be a perfect world, but this process is a good substitute.
Having lost all my music once before I don't want to loose the new works at all. So I do have a variety of backups in different locations, and now will have a printable and salable form in another safer location. This does not limit my efforts though. I can, and will, be releasing my music in other forms and to other markets because exposure is required. I don't feel my marketing via MagCloud.com would give me a large share of my intended market. And, in any case, this does not cover the mp3 format at all.
So there will be further publishing to cover different formats and markets. At this time you can access my music issues at http://danielhay.magcloud.com
I find publishing music to be even more difficult than the process to get published in the big publishers arena. Knowing that with about 200 pieces of music to publish it would take me years just to query half of them I chose to begin publishing as an independent music press.
The first round, or rather the first effort, is now going to press. I have chosen to use MagCloud.com as the publishing house. They produce magazine format material. Although not the standard for sheet music the format does suffice for collected works of solo music, and for longer works in any chamber groupings. At the time of this posting I have already uploaded four issues of the Solo Music magazine and one issue of the Music of Daniel J Hay magazine.
I call them magazines because that is the format used, the paper type, and the publisher is a magazine publisher. In my own mind I think of them as books. In either case, they are on line to be ordered at any time, are produced only when ordered, and MagCloud.com maintains the files, handles the order, prints, and ships. Then they send me my profits. It may not be a perfect world, but this process is a good substitute.
Having lost all my music once before I don't want to loose the new works at all. So I do have a variety of backups in different locations, and now will have a printable and salable form in another safer location. This does not limit my efforts though. I can, and will, be releasing my music in other forms and to other markets because exposure is required. I don't feel my marketing via MagCloud.com would give me a large share of my intended market. And, in any case, this does not cover the mp3 format at all.
So there will be further publishing to cover different formats and markets. At this time you can access my music issues at http://danielhay.magcloud.com
26 February 2010
Pay It Forward Project...
Some of my friends and readers will recall that I lost most of my instruments in the aftermath of Hurricane Katrina. Along with the file box of over 300 pieces of my composed music, all of my handmade wood Recorders, and my handmade Cello were stolen while I was helping a family retrieve their items from a partially submerged car.
I still have not replaced all of my instruments. I probably will never be able to because of the expense, however, I have received several handmade recorders since then as gifts. I can never thank those people enough for their help. I still don't have a cello although I did buy a very cheap one which actually fell apart in the repair shop. I have since composed another 100+ pieces of music. So, life goes on...
As those people helped me I try to help others. There is a delightful lady in Brazil, Clara Borges, who plays Cello in several orchestras, plays piano, and Recorders. She also teaches music. Her cello is needing repairs that she can not afford to have done. Can you help her?
I have created a webpage at http://bit.ly/cuoxts just to help raise donations to help Clara. Any donation amount will be most appreciated. Please read the webpage for details. Please note the return policy if enough money is not raised.
All donations will also receive a pdf file of one of my compositions. The greater the donation the more pieces of music I send. I have pieces suitable for most orchestral instruments so be sure to tell me what you prefer.
I still have not replaced all of my instruments. I probably will never be able to because of the expense, however, I have received several handmade recorders since then as gifts. I can never thank those people enough for their help. I still don't have a cello although I did buy a very cheap one which actually fell apart in the repair shop. I have since composed another 100+ pieces of music. So, life goes on...
As those people helped me I try to help others. There is a delightful lady in Brazil, Clara Borges, who plays Cello in several orchestras, plays piano, and Recorders. She also teaches music. Her cello is needing repairs that she can not afford to have done. Can you help her?
I have created a webpage at http://bit.ly/cuoxts just to help raise donations to help Clara. Any donation amount will be most appreciated. Please read the webpage for details. Please note the return policy if enough money is not raised.
All donations will also receive a pdf file of one of my compositions. The greater the donation the more pieces of music I send. I have pieces suitable for most orchestral instruments so be sure to tell me what you prefer.
24 November 2009
Recorder Music...
When I was younger, in school in Hastings, Nebraska, I started playing Cello. The strings program there, in fact all the orchestral instruments, was fantastic. Then my family moved to New Jersey, and I had to go along with them since I was just 12-years old.
I spent two years at North Warren Regional High School. The first year I was the only string player in what was mostly a marching band that did two concerts on stage per year. I got featured in a front stage position and they taped a mic to my cello. Our band director didn't really understand strings and couldn't deign to note that I was trying to tune my cello from a string slippage. My A-string broke as I frantically tried to tune and I ended up playing the last two pieces entirely on the D string using advanced finger positions that I didn't really have mastered. Only a few people noted the difficulty, the adjustment, and the beads of sweat forming on my forehead. Two of those few were my mother and myself.
I learned to play both trombone and baritone and actually marched a few times with the band. I had tried using a wheeled device to trundle along the cello but it just wasn't successful. I wish now I had learned the flute or oboe then, or later.
Then I transferred to Blair Academy and although I still was not in a strings program I did have a private
teacher come out from NYC. I fear that teenagedness took over parts of my brain and I did not pursue my cello education as I should have -- but I did get a college scholarship on it and in voice.
While at Blair I was asked if I would join a starting Recorder Class. Ms. Kathyrn Phillips-Price, flautist, got me started on an instrument I have played ever since. In fact, even though hurricane Katrina was the indirect cause of loosing most of my music scores, and Recorders, and Cello, I still have the Soprano, Alto, and Sopranino Recorders from my Blair days. That makes a few of my instruments well over thirty years old.
Now I compose a great deal of music and much of that is for solo instruments. I started doing that because I wanted more music to play without having to buy it. On the computer I often voice them as Oboe because it sounds better, but I play most of them on Recorder. I like to think most are suitable for Cello as well and I have transposed some for Cello.
One day, perhaps, I'll begin marketing the music through a publisher. At this time I just fill an annual subscription to customers that gives them nearly everything I compose. This includes duets, trios, quartets, quintets, etc... in various instrumental groupings. Composing has become a large part of my life and I think I owe part of that to Blair and the Recorders.
So from Nebraska and my Cello, to brass and Recorders in New Jersey, there is an instrumental part of me that coincides with my vocal part. I've been in the business world and enjoyed the money but I much prefer the musical part of me, the peace within after completing a new piece of music, even if it means I join the starving artists.
I spent two years at North Warren Regional High School. The first year I was the only string player in what was mostly a marching band that did two concerts on stage per year. I got featured in a front stage position and they taped a mic to my cello. Our band director didn't really understand strings and couldn't deign to note that I was trying to tune my cello from a string slippage. My A-string broke as I frantically tried to tune and I ended up playing the last two pieces entirely on the D string using advanced finger positions that I didn't really have mastered. Only a few people noted the difficulty, the adjustment, and the beads of sweat forming on my forehead. Two of those few were my mother and myself.
I learned to play both trombone and baritone and actually marched a few times with the band. I had tried using a wheeled device to trundle along the cello but it just wasn't successful. I wish now I had learned the flute or oboe then, or later.
Then I transferred to Blair Academy and although I still was not in a strings program I did have a private
teacher come out from NYC. I fear that teenagedness took over parts of my brain and I did not pursue my cello education as I should have -- but I did get a college scholarship on it and in voice.
While at Blair I was asked if I would join a starting Recorder Class. Ms. Kathyrn Phillips-Price, flautist, got me started on an instrument I have played ever since. In fact, even though hurricane Katrina was the indirect cause of loosing most of my music scores, and Recorders, and Cello, I still have the Soprano, Alto, and Sopranino Recorders from my Blair days. That makes a few of my instruments well over thirty years old.
Now I compose a great deal of music and much of that is for solo instruments. I started doing that because I wanted more music to play without having to buy it. On the computer I often voice them as Oboe because it sounds better, but I play most of them on Recorder. I like to think most are suitable for Cello as well and I have transposed some for Cello.
One day, perhaps, I'll begin marketing the music through a publisher. At this time I just fill an annual subscription to customers that gives them nearly everything I compose. This includes duets, trios, quartets, quintets, etc... in various instrumental groupings. Composing has become a large part of my life and I think I owe part of that to Blair and the Recorders.
So from Nebraska and my Cello, to brass and Recorders in New Jersey, there is an instrumental part of me that coincides with my vocal part. I've been in the business world and enjoyed the money but I much prefer the musical part of me, the peace within after completing a new piece of music, even if it means I join the starving artists.
21 November 2009
To Tell a Tale of Three Trios...
The last three trios, in reverse order, Op 477 Romance Turmoil, Op 472 Taking Tea With Lady Grey, and Op 470 Shasta Snow Light. While picking pieces for the Cello music collection I realized I probably have a collection of trio. Problem is they aren't all the same trio configuration.
Regardless of the instrument configurations I went through the list this early a.m. and find the second piece I wrote and the last piece I have written are trio works. The first, Two Flutes and a Cello I wrote at Blair
Academy and there it had its only performance thanks to Louise Ewing and Donald Blocker on flute and myself on cello.
I seem to have migrated to more Oboe and Cello groupings because I play Recorders and the Finale Allegro voicing for Recorder is poor - but the Oboe is great. The Cello voicing is great, but the Viola isn't. Its a shame since 477 is for Oboe, Viola and Cello.
Oh well, some day I'll have the extra cash to upgrade the software, (and then the hardware, and then the brain surgery too).
Regardless of the instrument configurations I went through the list this early a.m. and find the second piece I wrote and the last piece I have written are trio works. The first, Two Flutes and a Cello I wrote at Blair
Academy and there it had its only performance thanks to Louise Ewing and Donald Blocker on flute and myself on cello.
I seem to have migrated to more Oboe and Cello groupings because I play Recorders and the Finale Allegro voicing for Recorder is poor - but the Oboe is great. The Cello voicing is great, but the Viola isn't. Its a shame since 477 is for Oboe, Viola and Cello.
Oh well, some day I'll have the extra cash to upgrade the software, (and then the hardware, and then the brain surgery too).
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