Open mic' offerings

[Tom]

What I don't understand is how YouTube is able to publish so many performances (amateur and professional) of music that would otherwise require a performing rights license  ???

Here's one, somewhat superficial, explanation in the ASCAP/YouTube agreement announcement.

 

[SeilerBird]

What I don't understand is how YouTube is able to publish so many performances (amateur and professional) of music that would otherwise require a performing rights license  ???

Here's one, somewhat superficial, explanation in the ASCAP/YouTube agreement announcement.

It is called Fair Use:

https://www.youtube.com/yt/about/copyright/fair-use/#yt-copyright-four-factors

 

[scottydl]

Copyright on the video, or the written music? Usually, copyright applies to copies of written music, whereas performing rights apply to performing or broadcasting music. Usually, the venue is covered for performing rights under a license with one of the 3 main performing rights organizations (ASCAP, BMI or SESAC); If the venue doesn't have a license, it's down to the performer(s) to have a license. I'd be surprised if the church didn't have a license.

I know the church has bought annual licenses for certain replays (music or movie clips) in the past; and in church services, writing "credits" are required for each tune, which are put on the last projection slide of lyrics.  Honestly I don't know all the reasons in this particular case, just that the weekly email forward with our links mentions that the recordings are for our own review but cannot be shared elsewhere online for copyright reasons.  I haven't asked for further explanations. 

 

[Tom]

[quote author=SeilerBird1]It is called Fair Use:[/quote]

I understand fair use in respect of copyrighted material, but I was talking about performing rights. Let's say I perform a cover of Tom Seiler's composition of the song Condors Over Grand Canyon at a public event. I'm not distributing copies of the music score (or a video of TomS' performance), but TomS is entitled to payment for the right for me to perform his work.

If the venue for the performance has the respective ASCAP, BMI or SESAC license, TomS gets paid by that organization (payment is a little confusing, because of various levels/types of license), and I don't need to worry about infringing TomS' performing rights. If the venue doesn't have a license, it's my responsibility to have a license.

I get my other half to video the performance and I upload it to YouTube. It's unclear how TomS gets paid for the countless 'public performances' (views of the video); There's just a hint in the ASCAP announcement I linked to in my prior message.

 

[Tom]

Thanks Scott. Sounds like the Church has its bases covered.

 

[Tom]

Some of the open mic' offerings by individuals and breakout groups were extremely well done. Two weeks of this (second half of our weekly practice) have produced an additional 16 or 17 songs as candidates for our upcoming concert playlist. FWIW I didn't add a third number to my open mi'c offering...

A week late, but I gratuitously played/sang Auld Lang Syne for folks who might want to sing it with family and friends at midnight on new years eve. Not something the band would play/sing at a concert.

My other offering was an arrangement of Tom Jones' Delilah. I tend to mimic the big band he used to have as a backing; I add strums to the end of sung lines, and also add some antiphonal sounds that mimic some of the brass instruments. The uke Band thought the additions were hysterical. I doubt this number will make the cut for the concert, although my arrangement of one of his other songs was in a prior playlist.

If we had another open mic' session, I would have performed some Irish songs from my personal portfolio, in time for St. Paddy's Day.

Meanwhile, our portfolio (Song Book) of arranged songs continues to grow.

 

[Tom]

Delilah made the first cut by the Music Committee, and is in the short-list of 28 songs. We started banging on the 'new' (to the Band) songs on Tuesday; Some need a lot of work, and we'll continue at next week's practice. Then the list will be pared to the final 22 songs that will be in the concert program, and we'll have 6 further rehearsals to hone our playing and singing, harmonies and solos.

We have a patient and talented Music Director and, seeing him change/re-arrange numbers in mid practice, it never fails to amaze me.

Rather than wait until the last minute (as I usually do), I've begun working on some future open mic' numbers for future inclusion in our Song Book. I thought I'd look at numbers by Mr Ballad/Love Song, Englebert Humperdinck. I've developed an interesting and entertaining intro on the singer.[