American Composers Orchestra Appoints George Manahan Music Director

Protect the copyright in your songs. Have them written out professionally in music. For details click on lead sheets to send an email. Enter "Lead Sheets" in the subject line.

Anyone reading my articles, will know I’ve always had a great passion for the piano – and pianists famous for their different styles of music, from Franz Liszt to Duke Ellington, Ray Charles, Jerry Lee Lewis, Billy Joel and so on.

The reason I make the point is, I just found a program called Rocket Piano. If you’re looking to take up the piano as an instrument to learn –

or improve your current level as a pianist, before you do anything else, take a close look at Rocket Piano. So, what is it? In a nutshell, it’s a guide for teaching you how to play the piano. I would say that’s putting it mildly.

When I looked at the package, I could see they’d put far more into it than most other courses I’ve seen to date. You're shown how to read music, how to improvize, play Jazz, Pop, Rock, Classical or Blues, and how to play like a professional. It’s packed with impressive information, with lots of helpful diagrams, sound files, videos and step-by-step instructions which actually train you to read music and play by ear – so you can do both!

I’m from the school that says you should always read music the orthodox way – but I have to say I was impressed with this simple method of how to read music from nothing but chord symbols! Absolutely fascinating. From this you’ll be able to look at a page of chords and be able to play the song straight off. I know lots of musicians who become really nervous when they have to play something they haven't practiced in advance! Once you learn this simple method you’ll find it easy.

You get three books of step-by-step lessons, video demonstrations and high quality sound files. These lessons take you on a journey from beginner to an advanced skill level by fast-tracking your development, while covering every aspect involved in learning to play piano. I wished I had this course when I started playing the piano in the seventies.

Who’s behind Rocket Piano? An organization called Rock Star Recipes. They’ve been providing piano lessons online for 5 years with an award winning team made up of passionate musicians and music teachers. The piano teachers who worked on Rocket Piano have a total of 30 years combined musical experience of teaching, playing and performing.

n-Track Studio is a multitrack recorder for Windows 95/98/ME/NT/2000/XP.

Click on the image below. It's a complete recording studio in your PC: all you need is a card and some free space on your hard disk to store audio data.

The program supports simultaneous recording from multiple 16 and 24 bit soundcards, and real-time audio effects can be applied non-destructively to each track, allowing the user to listen immediately to the result of a change in the parameters of an effect: up to 25 combinations of effects per track are allowed. Built-in effects include Reverb, AutoVol, Echo, Pitch Shift, Chorus and Track EQ.

The program can use third party DirectX and VST plug-ins to process in real-time audio signals in a number of different ways. Effect can also be used to process the recorded signal in real-time so that the computer can act as a multi-effects device.

The program uses 24 bit (32 bit floats) resolution for mixing and effects processing. Various wave files formats are supported, mono & stereo tracks are can coexist in the same song and wave editing operations can be performed from within the program.

MIDI tracks can be imported end exported to regular MIDI files, and edited using the built in piano-roll based MIDI editing.

All the audio tracks are saved as standard wave files and mixed "on the fly" during playback.

Volume and pan evolution can be programmed by drawing on the timeline window.

When all the tracks have been recorded and all the settings are correct, it's possible to mix-down all the tracks to a single wave file for recording it to a compact disk using a CD recorder or for distributing it through the Internet (using the built-in mp3 encoder).
Click on the image, below:

Everything You Need To Start and Operate a Record Digital Label. (Dennis R. Sinnott)

Anyone with a talent for music - particularly writing and recording songs - is now sitting on a potential gold mine.

What would have been unthinkable just a few short years back – is now not only possible, it’s being done with enormous success by individuals across the globe. What am I talking about? A digital record label.

Before I discuss the advantages of running your own digital label - I'd like you to imagine what it would have been like starting a physical label just ten years ago. A minimum investment of $350,000 would have been needed. This would have enabled you to rent an office sufficient to hold yourself plus a secretary, an a&r manager, a talent scout, a plugger/ promoter, and a receptionist. You would also need a copyright and royalty manager.

Your next task would have been to acquire good commercial recordings - with emphasis being on the word "commercial". Finding recordings was one thing, (as is the case today), finding good commercial product is something else. Unless you were able to acquire ready made masters under license from a third party, you would have had to pay for your artists to record the masters yourself. In addition to hiring a recording studio, you would also have had to pay a producer - plus a recording engineer (although the engineer's costs were usually included with the studio hire) - thus eating further into your $350,000 budget.

Assuming your product proved to be commercial (after heavy promotional costs), and sales from your first album had started to feed back from around the world. Eighty percent of your income would have been taken up in overheads through royalty payments to the artist, producer and the music publisher (mechanical license). Then, there would have been your general overheads: salaries, expenses, office rent and so on.

But we're getting ahead of ourselves. Before selling any records you would have needed a reliable manufacturer and a distributor to create and disperse your cds, (and maybe some dvds to promote the records), to the shops.

Getting a distributor in the first place was one of the most difficult things for any new record label. Ever watchful of stores and outlets unwilling to give shelf space to unheard artists, (i.e. artists yet to achieve a playlist position on radio), many would refuse to get involved with a new untried label. Not surprising when, given the choice, retailers could choose from any of the big selling artists such as Nickelback, Beyonce, Pussycat Dolls, Justin Timberlake, James Blunt etc against the poor new artist. So, you with your new label and new artists, would be forced to plough more money to promote your record, in the hope of getting on the playlist – in the hope of securing that elusive distribution deal. At this stage you would be wondering why you had started a label in the first place.

So, what enormous monstrosity of a thing happened in the music industry to change the old physical method of selling records? Enter, the golden dawn of digital music. Now, suddenly every artist, songwriter, producer, engineer and, even manager who once had a notion of starting his/her own physical label but didn't have a $350,000 budget - is able to start and operate his/her own digital label for about the price of a new laptop.

For the first time - individuals have a great opportunity of developing their own label from zero up - and making a very healthy living. Unlike the older physical system of starting and operating a label - with all the huge overheads - the digital label operator can start a catalog and operate it at his own pace without the need to employ several individuals. You can start with as little as two tracks - and build a catalog at your own pace - concentrating on your niche in the music industry, testing and probing the markets as you go along. Compare that to a physical label spending wads of money hoping their records chart. Failure to chart would often spell disaster for many a physical independent and domestic label - leaving only the majors to compete. Not so for a digital label. If a particular recording isn't selling over a period of time - you simply delete the product from your site. Updating your catalog can be done in minutes. Some digital labels regularly update their catalogues every few days.

If you're not an artist yourself - but someone who is drawn to a special style or genre - or just someone interested in music in general - here's what you can do to start your digital label: Firstly, you'll need a good web host. Basic as this sounds, some people go with an outfit they think is good - then, six months later they vanish into cyber space - leaving you and your site high and dry. So, please do homework before opening a web host account. I recommend you check for independent reviews on hosts you're thinking of going with. Once your web host is confirmed, you should get a confirmation email from your host confirming your space is ready so that you can move forward and publish your site.

Some people are very creative and skillful in being able to create their own web site. Others, like me, are not. I was contemplating having someone design my web site for me when, by chance, I came across a web design system called Xsitepro, but there are many to choose from. As with the web host, look for independent reviews before making a decision.

Next, make sure you have an up to date digital contract - one you can offer artists (or the owner of the masters). If you're not an artist yourself, you can enter into a license deal with any artist or production company willing to have you promotes and sell his/her product. By knowing a particular field or style of music well, will help you no end build your catalog faster than if you're someone learning as he/she goes along. However, enthusiasm will go along way. What you need to do when you start off is to ask yourself this question - "Why would an artist license his/her rights to me and not someone else?"

Firstly, to have an artist (or production company) freely license his rights to you - you need to convince him/her that you have a powerful distribution system. Unlike physical labels, with a web site, you have the ability to create your own "built in distribution system". Having a digital distribution account is an excellent idea - but you will still need to promote your product if you want to draw large numbers to your site. In my view, a newsletter, blog or e-zine, is the one of the best ways of drawing a high reading audience. Ten thousand plus is a good target to work toward. This will help you pick up more recordings from artists looking for a site attracting thousands of hits - assuming of course artist's genre works well with your label. There are some excellent publishers, blogs and newsletters hungry for good topical articles, presenting you with another outlet. Keep your articles fresh and original, and your audience will grow steadily with each article.

Since distribution is the key to your success - this is where you need to concentrate if you want your label to expand and prosper. Obviously, if your newsletter or e-zine readership is increasing, it's because people are enjoying the articles and information you're publishing - and more people will want to buy your product. A healthy situation all round.

Now, a note on your digital agreement, you can use a contract repeatedly for different artists. I would recommend you acquire rights non-exclusively. Keep in mind that a contract may need to be updated from time to time as new copyright laws come into effect to deal with technological changes. As a rule of thumb you can check back every six months to see if your contract needs updating.

Next, ensure you have a terms and conditions policy on your site. Anyone starting off a digital label, should have a general list of conditions, setting out criteria for accepting product online, together with a privacy policy.

Next, you'll need a strong accounting system. No matter how effective you are selling product online - if you're not accounting to your artists accurately and to the letter of your contract - you're dead in the water. In my view there is nothing worse than a company with a bad reputation for paying royalties. For me, trust and reputation is everything.

Work closely and be up front with the artists who put their faith and trust in you. Your good reputation and name will spread.

Since 1997, Songsalive! is the largest international non-profit membership organization dedicated to the nurturing, support, promotion and education of songwriters and composers worldwide.

Founded in 1997, by songwriters Gilli Moon and Roxanne Kiely in Sydney, Australia   Songsalive! is run by volunteer songwriters for songwriters and has reached the far corners of the globe with over 25 chapters worldwide (International head office in Los Angeles, CA, USA) We provide a "home", a family, for songwriters and composers through our programs, resources, community and support, all focused on the art and business of songwriting. It acts as an epicentre, a heart of the international songwriting community and music markets, bridging the gaps, tapping songwriters into the pulse of the business and at the same time giving them and their music the support they deserve. Through Songsalive!, songs and songwriters can be accessed by the whole world and when the hunt is on, Songsalive! is a one-stop song shop! Songsalive.org

New York, NY (Vocus) January 20, 2010 -- American Composers Orchestra (http://www.americancomposers.org) (ACO) is pleased to announce that conductor George Manahan will join the orchestra as Music Director. His tenure will begin with the 2010-11 season, during which he will lead all three of ACO’s concerts presented by Carnegie Hall in Zankel Hall. Mr. Manahan will also continue in his post at New York City Opera, where he is in his twelfth season as Music Director. He will be ACO’s third Music Director since its inception in 1977, following founding conductor Dennis Russell Davis (1977-2002) and Steven Sloane (2002-present).

Now in its 33rd year, American Composers Orchestra is the only orchestra in the world dedicated to the creation, performance, and preservation of music by American composers. To date, ACO has performed music by 600 American composers, including 200 world premieres and newly commissioned works.

As Music Director of ACO, George Manahan joins the orchestra’s unique leadership structure, which, in keeping with the ensemble’s mission, includes not only the conductor but composers as well. Mr. Manahan has worked closely with Artistic Director Robert Beaser and Creative Advisor Derek Bermel in shaping the 2010-11 concert season, which will continue the orchestra’s focus on emerging and mid-career American composers, combined with works by seminal composers such as Charles Ives, Jacob Druckman, and John Luther Adams. The season will see the continuation of ACO’s Playing it UNSafe, the nation's first professional laboratory for creating cutting-edge orchestral music; as well as the world premiere of the second work commissioned as part of ACO’s innovative partnership with luxury goods company LVMH Moët Hennessy Louis Vuitton. The new work will reflect the theme “A Greener New York City,” emphasizing the connection between new music and today’s issues.

George Manahan has had an unusually wide-ranging career, embracing everything from opera to the concert stage, the traditional to the contemporary. His most recent appearance with ACO was in February 2009 at Carnegie Hall’s Zankel Hall. Mr. Manahan led a concert of world premieres, which included the much-praised multimedia works BREAKDOWN! by Margaret Brouwer and Kasumi, Rand Steiger’s Cryosphere, and Fang Man’s Resurrection. In 2006, he led performances of music by emerging composers Anna Clyne, Fang Man, Robert Gates, and Paul Richards during ACO’s Underwood New Music Readings. On May 21 and 22, he will again lend his leadership to up-and-coming composers during ACO’s 2010 Underwood New Music Readings at Columbia University’s Miller Theatre. In addition to his work with ACO, this fall Mr. Manahan furthers his commitment to working with young musicians, joining the Manhattan School of Music as Director of Orchestral Studies.

“George Manahan brings a rare combination of enormous musicality and adventurous imagination that will be a perfect fit with the American Composers Orchestra,” said ACO Artistic Director Robert Beaser. “George has built his international reputation on making strong cases for overlooked masterpieces, for reinvigorating warhorses, and trekking in uncharted musical territories. We all enthusiastically embrace his upcoming tenure here and look forward to a rich and energizing collaboration.”

George Manahan looks forward to the challenge. “I am extremely happy to be the next Music Director of the American Composers Orchestra and to make music with an orchestra that has such a long tradition as advocates and trailblazers for 20th and 21st century composers,” he said. “To give voice to rarely heard music and emerging composers is a privilege, and I look forward to finding ways to explore America’s vast repertoire and engaging our audiences in that excitement of discovery.”

At New York City Opera, Mr. Manahan helped envision the organization’s groundbreaking VOX program, a series of workshops that provide unique opportunities for composers to hear their concepts realized, and introduce audiences to new compositional voices. In addition to established composers such as Mark Adamo, David Del Tredici, Lewis Spratlan, Robert X. Rodriguez, Lou Harrison, and Bernard Rands, through VOX Mr. Manahan introduced composers on the rise including Adam Silverman, Elodie Lauten, Mason Bates, and David Little.

“We congratulate George Manahan on his appointment to the indispensable American Composers Orchestra, and congratulate ACO on gaining the brilliant leadership of George Manahan,” stated George Steel, general manager and artistic director of New York City Opera. “At City Opera, we know the great insight, energy and commitment that George brings to contemporary music – a field that we are proud to share with ACO. We are no less proud to be sharing George's formidable talents with ACO.”

George Manahan’s passion for the music of our time was ignited in 1980 when he was chosen as Exxon Arts Endowment Conductor of the New Jersey Symphony. He made his mark on the opera world in his debut with Santa Fe Opera, conducting the American premiere of Schoenberg’s Von Heute Auf Morgen. His wide-ranging recording activities include the premiere of Steve Reich’s Tehillim, recordings of Edward Thomas’s Desire Under the Elms, Joe Jackson’s Will Power, and Tobias Picker’s Emmeline. His enthusiasm for contemporary music continues today; he has conducted numerous world premieres including major works by Charles Wuorinen, David Lang, and Richard Danielpour.

In 2009, Mr. Manahan conducted the sold-out world premiere of Ask Your Mama! at Carnegie Hall. A multi-media setting of Langston Hughes’s poem, the work is a collaboration among composer Laura Karpman, soprano Jessye Norman, the Orchestra of St. Luke’s, and The Roots. Ask Your Mama! was also performed at the Hollywood Bowl, with the jazz world’s Nnenna Freelon joining the cast, and will be recorded this spring.

Mr. Manahan has also conducted the symphonies of Atlanta, San Francisco, and Milwaukee, as well as the National Symphony Orchestra, Warsaw Philharmonic, at Music Academy of the West and the Aspen Music Festival. He has led the opera companies of Santa Fe, Portland, Seattle, and Chicago, the Opera Theatre of St. Louis, Opera National du Paris, Bergen Festival (Norway), Casals Festival (Puerto Rico), and Minnesota Opera. As music director of the Richmond Symphony for twelve years he was honored four times by ASCAP for his commitment to 20th century music.

For more information about ACO visit www.americancomposers.org.

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