Despite our… “very real” name change a couple weeks ago, we’ve been hard at work on some exciting projects, and we’re happy to be able to share them with you! Unique highlights include: multiple works with electronics (vibraphone, marimba, ensemble), two incredibly flexible percussion ensemble collections with adaptable instrumentation (1, 2), and a book dedicated to blowing your metronome skills wide open.
For a quick overview of all new releases, check out these brief highlight reels!
Happy New Year! Though 2021 challenged us all, it also proved the importance of community. Thank you for being part of ours!
To kick off this year of new opportunities, enjoy a peek of the latest our artists have to offer! The first video contains all new works for solo player; the second, all new works for ensemble and duet.
If you’re attending The Midwest Clinic this week and need plans to stay out of the Chicago cold, we’ve got some ideas for you. Five ensembles are performing 10 of our pieces, including the WORLD PREMIERE of a brilliant new work by Jeff Ausdemore! See below for the specifics, or click here for the full Midwest schedule.
We won’t be attending Midwest this year, but we’re grateful for these musicians sharing our artists’ hard work regardless. Safe travels to all who are making the trip!
Wednesday, December 15
Harwood Junior High School Percussion Ensemble (2:45 PM – Room W 183) — Crazy Dance by Josh Walker — Deinde by Jeff Ausdemore (WORLD PREMIERE)
Friday, December 17
Wakeland High School Percussion Ensemble (8:30 AM – Room W 190) — Lucid Mantra by Dustin Schulze — Avalanche Lake by Patrick Speranza
Stiles Middle School Honors Band (8:45 AM – Room 375 E) — Escape Artist by Eric Rath
North Forney High School Percussion Ensemble (11:30 AM – Room W 190) — Yurikago arr. by Rika Fujii, Brian Zator — Disguised by Clif Walker — Carol of the Bells arr. by Eric Rath — Aether by Francisco Perez
Stephen F. Austin High School Percussion Ensemble (2:30 PM – Room W 190) — Appalachian Morning arr. by Omar Carmenates
Our latest newsletter is live! In this issue: Preview our latest releases. Questionable Halloween costume ideas. System updates to be wary of as a Virtual Drumline user. Give it a look, it’s short and sweet!
Bust out your sweaters, sip on some pumpkin-spiced apple cider, admire the falling leaves, and get a taste of our newest releases this Fall! We’ve been fortunate enough to publish many new works over the past few months, so we’ve prepared two videos for you. Enjoy a quick preview of the newest stuff out there for solo, duet, and ensemble!
Plus: Introducing a segment called “Tapspace Q&A”, where our team answer reader-submitted questions. In this edition, learn why our audio producer would attend a 1913 ballet riot if given the chance. To submit your own question, follow the link at the bottom of the Q&A!
For music teachers, it can seem increasingly difficult to make sense of all the ways copyright and licensing can affect your musical and educational endeavors — distributing parts, holding concerts, streaming video performances, generating audio recordings, etc. Copyright and licensing factor into each of these activities due to the fact that they all incorporate someone’s intellectual property … but how?
This article, while not legal advice, aims to illuminate various paths you can take to ensure that composers and publishers are fairly compensated for the use of their intellectual property.
Sheet music (a.k.a. music notation or engraving) is one of the primary mediums through which music is communicated. Whether presented on physical paper or in electronic format, this form of music is protected by copyright.
If you purchase sheet music from a publisher, music dealer, or directly from the composer, you’re generally free to use it as intended – to read, play, and perform. Realize, however, that many publishers expressly prohibit photocopying, scanning, or otherwise reproducing scores or parts. It’s important to understand how/when you’re permitted to reproduce a copyrighted work, and the publisher should have its terms clearly spelled out, either in the copyright notice itself (usually at the bottom of the first page of music) or on its website. If scanning and/or photocopying isn’t permitted, don’t do it.
Texas folks! For obvious reasons, TMEA is going virtual this year. We’ve decided to forego exhibiting and have instead put extensive efforts into upping our game at tapspace.com where you’ll find us anytime! Our entire catalog is available there, and most of it is available for instant download. Also, be sure to check out the growing list of Tapspace UIL Titles.
We’re looking forward to seeing you on the Riverwalk in 2022!