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Paco Zyryab book?
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Ricardo
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
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 RE: Paco Zyryab book? (in reply to beno)
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quote:
ORIGINAL: beno
I really cannot emphasize enough the work of our very own foro-member, Richard (xirdneH_imiJ ). He won 2 challenges here so far, and his transcriptions are accurate, well edited. He IS competent. Yet the foro members seems not to notice him....
Except for the taranta, he has all the tracks of the album.
http://tabsflamenco.com
Of course he does EXCELLENT work. No doubt about it. Perhaps he could transcribe MY PLAYING EVEN better than I did a few years ago, in order to sell them on my site.
I don't want to downplay the skill and importance of that in anyway, but I have thoughts about it. I too have been commissioned by students and friends to transcribe things, and gotten paid for my work, knowing full well the implications. First of all, let me admit I am a fan of big coffee table books, and really for no other purpose than my music library I have been waiting for this volume since Fabulosa came out. To remind everyone of why that first volume appeared (admitting that it is NOT well done at the same time), was in order to SECURE (C) ROYALTIES for PDL and family, as it finally had become apparent the torregrossa penned scores were NOT for guitar players, and the good scores done by Faucher (in particular) were sold UNDER THE TABLE, in an unofficial manner. In the old age perhaps someone finally took note of music world making some small $ off of the maestro's name and thought, probably via close Spanish friends (same transcriber did this for Nuñez, with all the best intentions for the composer), and simply wanted to put a stop to it. Faucher attempted to make official volumes for certain artists, giving meager royalties to the living artists. Obviously, not knowing how publishing works, flamencos putting trust in CLOSE friends instead, basically called out Faucher and forced him to pull down certain things from his site.
So, it appears that Richard's site is functioning not unlike Faucher, in the sense these are most likely UNDER THE TABLE scores FOR SALE. As good as they may be, is he sending his royalties to the owners of the (p), and in cases where (c) exists already, acquiring proper rights permission agreements, signed and dated, in advance of putting pen to paper? Probably not, but I don't know.
At the end of the day I may very well invest in under the table scores, for sake of learning the CORRECT VERSION, as a student. I may very well do that some day, although I am quite compentant at MAKING MY OWN TRANSCRIPTIONS!  . But, it will remain till I die that I just love my coffee table books.
Anyway back on topic, please if anybody hears about this Zyryab book coming up for sale, please let me know, it will be my late B-day present. 
Cheers, peace, happy transcribing!
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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Date Feb. 15 2016 18:17:57
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machopicasso
Posts: 973
Joined: Nov. 27 2010
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RE: Paco Zyryab book? (in reply to Ricardo)
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quote:
As good as they may be, is he sending his royalties to the owners of the (p), and in cases where (c) exists already, acquiring proper rights permission agreements, signed and dated, in advance of putting pen to paper? Probably not, but I don't know.
If the artist has not claimed copyright on transcriptions of his music, then I don't see why other transcribers have any obligation to pay the artist royalties.
If you perform your music not only in concerts but also on YouTube videos promoting other peoples' guitars, then, in effect, you're licensing other people to learn how to play your music. Those who produce transcriptions are seizing and developing that opportunity in a particular way. I don't see a substantive difference between that and a guitar teacher who teaches a student how to play the piece within the context of a private lesson.
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Date Feb. 26 2016 10:19:56
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Ricardo
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
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RE: Paco Zyryab book? (in reply to machopicasso)
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quote:
ORIGINAL: machopicasso
quote:
As good as they may be, is he sending his royalties to the owners of the (p), and in cases where (c) exists already, acquiring proper rights permission agreements, signed and dated, in advance of putting pen to paper? Probably not, but I don't know.
If the artist has not claimed copyright on transcriptions of his music, then I don't see why other transcribers have any obligation to pay the artist royalties.
If you perform your music not only in concerts but also on YouTube videos promoting other peoples' guitars, then, in effect, you're licensing other people to learn how to play your music. Those who produce transcriptions are seizing and developing that opportunity in a particular way. I don't see a substantive difference between that and a guitar teacher who teaches a student how to play the piece within the context of a private lesson.
Any artist that records or writes original music and puts it out there is "claiming copyright". Sound recordings are secured with "(p), and written on paper music with (c). Doesn't matter which you have, neither one lets somebody transcribe or arrange the artisti's owned work without permission. Well, honestly, in most pro cases it is the publisher that owns the rights. Publisher makes a deal with artists to handle all the mess. Sometimes an artist gets ownership of his own stuff. A transcription or an arrangement or a public performance requires a license (permission) and royalties to be paid (compensation in pennies ). It used to be a desirable thing to put your music out there so others make arrangements, buy scores, or simply record a cover version so artists could secure royalties. That was before YouTube streaming etc etc. Even in the context of the old days, there is a clause where transcriptions and excerpts are allowed for EDUCATIONAL purposes. In flamenco context that means falseta collections for a student would not require permission. But full album transcriptions for public use is a different story.
Hope that clears up what I was saying earlier.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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Date Mar. 3 2016 20:26:27
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Ricardo
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
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RE: Paco Zyryab book? (in reply to machopicasso)
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quote:
ORIGINAL: machopicasso
quote:
Even in the context of the old days, there is a clause where transcriptions and excerpts are allowed for EDUCATIONAL purposes. In flamenco context that means falseta collections for a student would not require permission. But full album transcriptions for public use is a different story.
Is the clause about educational use still common? If so, then what educational use would a tab transcription serve other than allowing guitarists to study the work of a master? If that's the principal educational use, then it looks like under the table transcriptions would be problematic only if the transcriber were deriving a significant profit from them.
It's called "fair use". Technically falsetas would come under that but a full piece would not. You are correct that if you make money teaching a full composition to a student to perform at a recital say, yes that would be totally under the table thing. But it has always been understood amongst private teachers this is under the table deal. Even with classical music where a book is used that is a (c) arrangement by someone. Remember When Segovia got super psyco pissed at some student for using a Japanese book of HIS arrangement? (Maybe you didn't hear the story but he kicked the student out of the master class cuz Japanese were NOT playing by the (c) rules in anyway back then). But to simply WRITE DOWN on paper, any published piece you hear on a radio or whatever, is simply illegal, without license.
But back to the student recital example, the idea is that university or whatever venue is putting this on, including the teachers etc etc, they are all covered buy a blanket license that allows for performing, teaching, (c) or (p) works etc. It is up to the performing rights organization (ASCAP BMI etc) to keep up with collecting the dues from the venue. While we are talking about pennies for artists, the idea holds that what is published IS protected, and anything else slides under the table. Where you get into "is it worth it" is when you deal with law suits. Same as for any parking ticket you want to contest, it has to be worth your while to care. The real idea behind it all is protect some unknown composer from getting ripped off by Elton John or whoever by performing their composition and racking in the $ without paying some small royalty...it becomes worth it to be protected JUST IN CASE you make a hit that everyone wants to record.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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Date Mar. 4 2016 13:55:41
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