772Re: [CalontirDance] Re: [CalontirBards] What's the story on Al Cafrin - How much arranging makes a new arrangement? - Sent to wrong list
- Feb 8, 2007Hi! Here I am!
Fernando e-mailed me for info for the Bards¹ list (I¹m not on that list).
Anyway, hope the info is useful.
The other pieces you asked about are also from Al¹s book (Early Dances). And
thanks for taking off the website right away! The Cofrin books really are
terrific. I use those books more than any othersand by a long shot. I
highly recommend them.
I¹m not sure what the question is. Geoffrey has two nice arrangements (Ly
Bens and Contrapasso) that we use a lot. He¹s from Dragonscale Consort, in
the Middle. He¹s a very nice fellow, and I¹m sure he¹d give you permission
to use his pieces if you asked him, but I don¹t think he gives a full-use
permission on his music, either.
Anyway, I think I missed something. What¹s the question?
On 2/8/07 11:42 AM, "Christian M. Cepel" <christian@...> wrote:
> Thank you. Very complete answer. So I'm partially right and partially
> wrong. It also means that I need to get CrystalBall23 pdf off the
> stone's music site asap. Ok. Done. Sorry to Conna and Al.
> I'm curious about those files I mentioned that are under the name of
> another but that stylistically look identical to the layout used by Al
> Cafrin's music. What's the deal there.
> Also, on the Calontir Camerata group, someone suggested I use this copy
> instead with this comment
> http://members.cox.net/calonkat/Lilies2004/ has Geoffrey of Exeter's
> transcription, which included a newly written descant line. As well as
> some links for dance music if you want to find more, that would
> definitely be free for distribution in the SCA.
> I mailed back last night the following, and I'd like to hear opinions here as
> I'm having a little difficulty with the Geoffrey of Exeter
> transcription. If the Cofrin transcription is indeed legally
> copyrighted, then I don't think changing one note in 11th and 12th
> measures of the second voice, and keeping every note of the other three
> voices exactly the same would in any way be legal grounds for claiming
> that Cofrin's copyright did not apply and that it could as you say be
> free for distribution in the SCA. Maybe someone else knows musical
> copyright law better than I do, but I think this is real shaky. The
> descant line could of course copyrighted and rights extended to the SCA.
> I very much like the descant line btw.... Stylistically would it be
> considered a match for the period? I'm not asking because I have
> doubts, but rather because I do not know. I had the embarrassing
> experience of saying how much I liked Duchess Rondallynn's Pavanne (
> Implied in that is how I thought it sounded 'medieval' ) only to be told
> that it was a Mannheim Steamroller (or was it Allen Parson's Project)...
> anyways, completely modern.
> Any opinions? I'm a little confused about the second hand thing. I
> thought Mistress Conna was on this list?
> Fvigil@... <mailto:Fvigil%40aol.com> wrote:
>> > Conna indicates that she uses his arrangements because she thinks
>> > they are better than the others available, and because she (and a
>> > few other folks) have his specific permission to use them in their
>> > music pits.
>> > She has permission to e-mail them privately to people who request
>> > them from her, so that they can practice for each ball, and she
>> > only sends them to people who tell her they will be there. But
>> > those people do not have permission to use them for other things
>> > without purchasing his book. (available at:
>> > http://www.istanpitta.com/i_009.htm)
>> > He specifically does not make them available online. And he denied
>> > permission for them to be used at balls when the organizer
>> > wanted put downloadable pdfs on the web.
>> > Conna also notes that she makes a point of telling the musicians
>> > in her pits that these arrangements are available in Avatar's
>> > Early Dances book, and that they should buy one if they can.
>> > Hope this clarifies things,
>> > Fernando
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