eupher61 wrote:If you put the original march into a larger font, on larger paper, that's a substantial change. (Bob Reynolds did this, I think. I could be mistaken.) If you rewrite a part down 3 octaves, that's a substantial change.
I see your point, but believe my opposite view to be valid as well. In this instance, I suppose we'll just have to agree to disagree with no ill will intended.
Sorry to all again for my harsher posts earlier - just enjoying the lively debate as always!
Just to clear some things up from what I've been reading on this thread...
1. With any piece of music, there are a number of copyrights attached to it. First, you have the music (as in, the artistic creation) and the right to perform the music. Second, there are mechanical rights. These are rights to record, broadcast, reproduce, and, in certain cases, the right to listen to the artistic creation. In the case of music that appears on paper, there is, as eupher61 points out, technically a third right regarding the physical rendering of the artistic creation (the sheet music itself). This third right exists because it is possible, in most cases, to copy the artistic creation without copying the physical medium. Think "cover band." Conversely, one could copy the 2nd Clarinet part to a recent composition, and while not infringing the artistic creation, one could be infringing the copyright of the physical medium.
2. A derivative work is one that is "derived" from the original. Using S&S as an example...if one were to enter all of the parts into a notation program WITHOUT changing any aspect of them and then spit out a score and parts, one would be creating a COPY, not a derivative work. The minute that you alter ANYTHING about the music (articulations, dynamics, OCTAVE, etc.), no matter how small (the change does not have to be "substantive"), you have created a derivative work. Because S&S is a public domain work, you may copyright your derivative work of it as your own (and then proceed to market and sell your work with full rights) without any need for authorization or license. This is how the Fennell editions work. To clear up the debate from earlier in the thread, you TECHNICALLY need to have Mr. Guzis' permission to use his write-out of the picc. solo, though I seriously doubt that cease and desist letters would start flying over Tubenet if you didn't. As Todd has pointed out, if there are only very minor editions made to an original, then the resulting derivative is indeed an exercise in intellectual laziness; however, copyright law does not say that the derivative works must be "good" in order to be protected.
Reviving an old thread here. Does anyone have a scan of the SASF piccolo solo written out for tuba in the key of Eb? I've been asked to work it up for our community band's next season and they haven't handed anything out yet. The piccolo part I found on-line is written in the key of G (for Db piccolo), and I can't find a C piccolo part. Don't mind reading TC but reading TC plus transposing is somewhat of a problem. Thanks for the help!
2014 Wisemann 900 with Laskey 30H
~1980 Cerveny 4V CC Piggy
1935 Franz Schediwy BBb
1968 Conn 2J (thinking of selling)
Tampaworth wrote:Reviving an old thread here. Does anyone have a scan of the SASF piccolo solo written out for tuba in the key of Eb? I've been asked to work it up for our community band's next season and they haven't handed anything out yet. The piccolo part I found on-line is written in the key of G (for Db piccolo), and I can't find a C piccolo part. Don't mind reading TC but reading TC plus transposing is somewhat of a problem. Thanks for the help!
The solo also works very well on a 5-valve CC tuba, if using alternate fingerings. I play (most but not all) Eb & Ab with 5/1 instead on 23. You can then get the Eb to F trill by holding down the 5th valve and trilling with the 1st. Also use 2/3 to 3 on the C-Db trill. The Ken Singleton arrangement for brass quintet has the picc solo as a tuba feature (I took a little liberty at the end):
OffuttTubaGuy wrote:The solo also works very well on a 5-valve CC tuba, if using alternate fingerings. I play (most but not all) Eb & Ab with 5/1 instead on 23. You can then get the Eb to F trill by holding down the 5th valve and trilling with the 1st. Also use 2/3 to 3 on the C-Db trill. The Ken Singleton arrangement for brass quintet has the picc solo as a tuba feature (I took a little liberty at the end):
bloke wrote:The piccolo in a band, probably, is featured less often than is the tuba.
Let them play their solo.
They know how to play it, sound good playing it, everyone likes it, and no one gets the joke (ha-ha ) when some tuba player walks up to the front and plays it.
With respect, as this was conductor's discretion, thankfully not my choice. In our community band, the tuba is not often featured so I'll take what I can get! Practiced my *** off and, in my little world, stood up with an Uncle Sam hat and killed it last night on both strains (second with the piccolo) to a rousing standing ovation at our SRO community band Patriotic Concert. Shout out to BISONTUBA for the 1909 HN White Helicon that projects like crazy and brought the house down. Sousa's collaboration with JW Pepper to develop the Raincatcher for concert application was on point, although this Helicon is an able concert instrument, and delicate if properly handled. The original Equa-Tru 26 which came with the horn seems best matched by far. Get to do it one more time in a couple weeks. I say if you get a chance, as long as you've worked it up properly, why not?
2014 Wisemann 900 with Laskey 30H
~1980 Cerveny 4V CC Piggy
1935 Franz Schediwy BBb
1968 Conn 2J (thinking of selling)
A few years ago, the principal tuba in the Reno Philharmonic, Russ Dickman, posted a tuba version of the S&SF piccolo solo. It is downloadable, but I can't seem to find it in the archives.
Back when I was tuba in one of the local orchestras, I got asked to do this part. Then they asked for two more things equally time-demanding and performance-stressful, and I realized they were not replacing one with the next but wanted me to do all three. That was major EEEK-dom. But Mark Nelson happened to be playing tuba with us that concert, and so I logically asked him to do the piccolo-tuba solo. He of course nailed it and I would have floundered it.
) when some tuba player walks up to the front and plays it.
