Ricardo -> RE: Cositas buenas book (Oct. 11 2020 17:44:24)
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quote:
ORIGINAL: machopicasso quote:
When you see an excellent transcription of ANY guitar piece, 99 out of 100 cases, whoever did that work had to PAY out to a publisher a good portion of revenue for the rights to create it. But to what extent is that true for flamenco transcriptions? More importantly, to what extent is that true of the good flamenco transcriptions? Also, is the printed score clause (i.e. your '(c)') included in the contract for every recording flamenco guitarist? If so, why don't we see any official transcriptions of Antonio Rey's music? The publisher will look at sales of (p) and decide if it was worth it to pay thousands to print some book version of (c) that they own and keep on file. I hoped to get lucky with polygram Iberia that I could pay them mechanicals and publish my own book of Tauromagia back in the 90s, as I noted the disc only printed (p), no (c). Via a mutual friend, Manolo offered us the green light to do the work. Later, before I was done with the project, Manolo’s manager informed him that Polygram did infact already have a BS score or sketch of the album on file, in other words they had (c) already, but flatly refused to give Americans permission to use the work at all, and admitted it wasn’t worth it to publish anything themselves! Manolo was pissed to discover he didn’t own the work himself! Since then we do see some European transcribers such as Encuentro, worms, Leiva, etc, have had an easier time securing rights from Spanish publishers to print books. But I restate, MOST of the “good” transcriptions are done illegally and sold under the table.
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