violinists want more money
- tubacdk
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violinists want more money
what do you all think of this?
http://cnews.canoe.ca/CNEWS/WeirdNews/2 ... 68-ap.html
I agree with the music director.
http://cnews.canoe.ca/CNEWS/WeirdNews/2 ... 68-ap.html
I agree with the music director.
- Z-Tuba Dude
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- docpugh
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If they don't like it, they can find a job elsewhere. For each one of them, I'm sure there are three other violinists who'd love a paying orchestra job.
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Ivan Darrell Pugh, Jr., DO
http://docpugh.mav.net
docpugh@yahoo.com
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Ivan Darrell Pugh, Jr., DO
http://docpugh.mav.net
docpugh@yahoo.com
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Maybe all of us Tuba players should get paid by how much we sit and count (or read).
Bryan Doughty
http://www.cimarronmusic.com/
http://www.cimarronmusic.com/
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That's what I think too. Everybody should get payed by the volume of sound they produce. Brass and precussion would get payed the most.[/quote]
Or the conductor!
Or the conductor!
Bryan Doughty
http://www.cimarronmusic.com/
http://www.cimarronmusic.com/
- docpugh
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YES! I think we're on to something here.TubaNewsRose wrote:I think there's a very complex formula involved...but with some minor modifications, I think we come out better then the concert master/mistress.
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Ivan Darrell Pugh, Jr., DO
http://docpugh.mav.net
docpugh@yahoo.com
==============================
Ivan Darrell Pugh, Jr., DO
http://docpugh.mav.net
docpugh@yahoo.com
==============================
- MileMarkerZero
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My heart bleeds.Violinists in a German orchestra are suing for a pay raise on the grounds that they play many more notes per concert than their colleagues do
SD
I am convinced that 90% of the problems with rhythm, tone, intonation, articulation, technique, and overall prowess on the horn are related to air issues.
I am convinced that 90% of the problems with rhythm, tone, intonation, articulation, technique, and overall prowess on the horn are related to air issues.
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Memo FROM: Tempo Subcommittee on Orchestra Salaries; Howard
This is article that appeared in Chicago Tribune March 26th on this Subject:
http://www.chicagotribune.com/features/ ... etempo-hed
By Howard Reich
Tribune arts critic
March 26, 2004
News reports this week that string players in Germany have sued to be paid more than their colleagues because they "play more notes" inspires us to propose a new pay structure for American orchestral musicians. Rather than the tired old union formula of salaries based upon years of service, musicians heretofore should be paid per note, a much more democratic approach, based on the following formula*:
64th note: 1 cent; this is basically the most fleeting and insignificant note.
32nd note: 1.01 cents; it's hardly different from the 64th note.
16th note: 1.02 cents.
8th note: 1.5 cents; it's slow enough that you actually can hear the thing.
Quarter note: 2 cents, and not a penny more.
Half note: 1 cent; because it's half as easy to play as a quarter.
Whole note: .5 cent; easier still.
Fortissimo: Loud notes earn a .5 multiplier, because they require some effort.
Pianissimo: Soft notes take a negative .5 multiplier; they require less effort and no one hears them anyway.
Staccato: Crisply articulated short notes merit no additional compensation.
Legato: Doesn't matter how you phrase them, notes are notes.
Two notes at once: Played concurrently, paid concurrently. No extra monetary value.
Chords: Ditto.
Rests: Count toward vacation time.
*Musicians are responsible for counting the notes they play. This is an honor system, so remember, mistakes do not count. Follow the score as directed and we won't have to levy fines for playing sharp or flat.
Copyright © 2004, Chicago Tribune
http://www.chicagotribune.com/features/ ... etempo-hed
By Howard Reich
Tribune arts critic
March 26, 2004
News reports this week that string players in Germany have sued to be paid more than their colleagues because they "play more notes" inspires us to propose a new pay structure for American orchestral musicians. Rather than the tired old union formula of salaries based upon years of service, musicians heretofore should be paid per note, a much more democratic approach, based on the following formula*:
64th note: 1 cent; this is basically the most fleeting and insignificant note.
32nd note: 1.01 cents; it's hardly different from the 64th note.
16th note: 1.02 cents.
8th note: 1.5 cents; it's slow enough that you actually can hear the thing.
Quarter note: 2 cents, and not a penny more.
Half note: 1 cent; because it's half as easy to play as a quarter.
Whole note: .5 cent; easier still.
Fortissimo: Loud notes earn a .5 multiplier, because they require some effort.
Pianissimo: Soft notes take a negative .5 multiplier; they require less effort and no one hears them anyway.
Staccato: Crisply articulated short notes merit no additional compensation.
Legato: Doesn't matter how you phrase them, notes are notes.
Two notes at once: Played concurrently, paid concurrently. No extra monetary value.
Chords: Ditto.
Rests: Count toward vacation time.
*Musicians are responsible for counting the notes they play. This is an honor system, so remember, mistakes do not count. Follow the score as directed and we won't have to levy fines for playing sharp or flat.
Copyright © 2004, Chicago Tribune
David C. Ellis
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Phi Mu Alpha Sinfonia-Alpha Lambda Chapter
Crystal Lake Concert Band
Northwest Symphony Orchestra
Woodstock City Band
McHenry County College Band
Wessex TE665 "Tubby" Eb
Kanstul 90S CC For Sale
MiraFone 183 Eb For Sale