cboody

That's a beautiful story and a loving thing to do Chris. Thanks for sharing it. Chuck Boody

I'm not sure what you are talking about. To me, a folder is a place to put a collection of related items, just as a file folder is in a file drawer. What it holds might be documents of many sorts including PDFs and others. And, some questions 1) From where to where are you trying to transfer things? 2) In what format are the documents you are trying to transfer? PDF? ABC? GIF? JPG? or something else? 3) What program or app is going to read the files once you have transferred them?? Maybe with that info we can be a bit more helpful. Don't worry about lack of knowledge here, just keep providing us info and eventually someone here will be able to help you out.

Well, I'm sure I can''t afford it. But, I'd certainly like to have some vague idea of the amount you want. Any way to get that??

There are companies that specialize in transferring LP to CD. You may find one of them that will do it. If you find a turntable and decide to do it yourself a quarter (US) sized coin placed near the center will help keep the flimsey plastic from slipping.

Another possibility on this side of the pond: Greg Jowasis. Does lovely work and will match to your dimensions. He's a frequent contributor here, so can speak for himself...

I only came on here for a bit of a mooch around and now I've been and gone and learned something. ABC Explorer displays .| as three vertical dashes, I'll generate a PDF later and see what it does with that. About time I taught you something. It usually goes the other way.

If you have your tunes in ABC and don't want to go with a text based cheat sheet you can use EasyABC to make a notation based cheat sheet to put in your iPad/Kindle/whatever. A very handy feature that...

I don't agree with your feelings about spiral binding, especially for music. That is, IMNSHO, the best solution for "working" collections. Still if you really want to bind things into a "real" book here in the states you can get it done for quite a bit of money. I had one done for about $45.00 perhaps 10 years ago and that was a very small book.

I published two books of music last year. I didn't need A3 paper (and you may not either since the print programs can usually be instructed to fit the page). In the US most of the commercial printing places (Kinkos, Staples, Office Depot and the like) can spiral bind the music for you. Spiral binding is a good way to go because the music stays flat and you can add covers to strengthen things. DON'T get those horrible plastic clamp kind of binding though. Go with a real spiral binding. To make things useful for yourself be sure to arrange the music in some consistent fashion (mine were alphabetical) and create an index with page references. If you've access to Adobe Acrobat you can collect the PDFs together into a single file and add header or footer page numbers easily. In the process it is a good idea to check to be sure any two page pieces are arranged so page 1 is on an even numbered page and page 2 is on the following odd numbered page. Then both pages will be available when the book is open. Finally, since your favorites will change with time the spiral binding can be removed and new pages inserted and the collection rebound with minimal difficulty (if you stick with the same binder so the holes line up). If you are thinking of a publication there is lots more to consider, but I rather gather that is not the case. I see several folks are responding right now, so my apologies for any repetition...

I'll give another listen, but it is 1 AM so not now!

I use GoodReader for PDF files, and Tunebook for ABC files. I'm thinking though that ForScore or others might add some features (like set lists). See http://techinmusiced.wordpress.com/2010/07/11/a-comparison-of-five-ipad-sheet-music-readers/

I can certainly understand where Geoff is coming from, but I disagree with his conclusions. Those Northumbrian theme and variations things may well be intended to be flexible in rhythm from variation. Ms. Tickell uses the tempo change to increase the excitement for the listeners. She speeds up as the variations become more complex. Yipe! As to key centers of tunes in most of the Northumbrian books: My experience is that they are mostly in G or related modes so should go fine on Anglo or EC...Great finger twiddling exercises as Goeff says, but sometimes only interesting on instruments where you can "pop" out the melody notes. (The Wheatstone is playing great Geoff, and is my weapon of choice most of the time.) Chuck Boody

In re those words Steve: I volunteered, and still could do it, but since I have NO knowledge of the language It is probably better to find someone else who can break things into syllables as needed. I'd still be willing, but I'm afraid the results might be quite laughable.

Use .| for a dotted bar line according to Guido Gonzato's AbcPlus manual. In EasyABC it does not show on the page, but does show in the pdf created. I'll be dropping Jef a note about that.

Well Tallship, when's the abc transcription coming? I might could add the words (very slowly) if anyone wanted them.

One final comment and then I'm out of here too. Life is too short to constantly discuss things when folks confuse what they want to do with what the law says they can/should do. My perspective was the OP asked about the legal rights. My post above pretty much made that issue clear in point 1. Legally, at least in those countries subscribing in some way to the general copyright laws that exist, if the item is in copyright the owner of that copyright controls the work. Period. End of report. If the work is public domain and you can prove it you can do what you wish. There are lots of details left out of this summary, and it would never be sufficient in a court of law. But, it pretty much covers the legal aspects of the situation. Fair use in the US is essentially limited to educational situations is quite limited and has not been held to be a useful defense outside that realm as far as I know. I don't know about the UK or other places. For what its worth I don't much care for the copyright situation. But that makes no difference. I'd never advise anyone else to knowing break those laws. Also for what it is worth I've asked many times for permission to use things (usually tunes). Once I was asked for a $4.00 contribution. In every other case the permission was granted free. It is much more comfortable knowing I'm free of legal hassles.

Chris is certainly right about the trick to prove ownership, but in at least one case in the US an unopened certified letter was not accepted by a court. Go figgur....

These discussions just keep coming. 1) If a work is in copyright someone owns it and can demand payment. If they knew of a use and chose to they can pursue the violation. Exactly what "in copyright" might mean is going to vary from country to country, but the end result is the same. One can wriggle around with "no one is hurt" as much as one wishes, but the legal answers remain substancially the same. 2) One can elect to ignore the copyright situation as one wishes and most often, if one is not producing lots of copies for sale (that is profiting from the use) the copyright holder will often ignore or at least be very reasonable about a violation that is discovered. On the other hand, in many cases no one will know and you may be just fine. The morals and perils of the situation are yours to decide. 3) Morally even if the work is not in copyright and certainly if the work is suspected to be in copyright it would be reasonable to try to find the creator and request the right to use it. Sometimes it is difficult if not impossible to do that. "I tried" is not an excuse but will most often be accepted if some sort of "good faith" effort can be proved. Recently a west coast guy got the rights to collect royalties for use of a bunch of common tunes including "Crested Hens" by Giles Chabenait (sp?). The tune has been recorded many many times. He was sending nasty letters demanding $1500.00 as payment (a fiarly unreasonable amount) to avoid prosecution. Apparently he did have the authorization to act as the protector of those works, but he used fear as a tactic to pressure folks. I have two friends, both of whom had recorded the tune and properly paid royalties (through Sam Fox in one case and directly to Giles in the other). They had to convince this guy they were not in violation. I've no idea how many folks got caught in what was really a sort of legal scam. There are ugly folks on both sides of this whole issue.

Certainly not for general use or distribution! I will be contacting the authors this weekend to inform them that I'll be transcribing the book for my own use and offer them the source ABC file, an ABC leadsheet should they want it, and a PDF of the whole book. I'll probably ask that they involve themselves in the process by proofreading and error checking my work as they hold the original. I will also suggest that they offer a PDF file to everyone who buys (or has bought) a copy of the book so that they too can enjoy a clearly printed score. What I won't do under any circumstances is make the abc file or any part of it available to anyone other than the authors. Pete Well, given that the manuscript book is nearly 200 years old, I can't see a problem with copyright, Pete. Obviously, it would be courteous to mention your intention to Colin and Tim and see what they say, but after nearly 200 years, all these tunes would be in the public domain, as they are in William Winter's manuscript book, which was the subject of a similar publishing, some four years ago. If they were made available in ABC format and/or PDF format in a downloadable internet tune book, I can't see it affecting sales of Colin and Tim's re-print, complete with CD, as this is a gem on it's own. Chris Of course you are right about copyright issues Chris, but I think there is a moral issue here too and Pete comes down on the correct side of it. If the authors don't care (and obviously you won't get that nice CD with the abc) I'm sure a grand announcement will happen. Meanwhile, it is well to keep in mind the kindness of those folks who did the original work and not get in their way.

Err. That pdf is NOT in C. The key signature is changed to C, but the notes are still where they would be on the staff in E. Here's the abc for that three part version in C X:1 T:Linden Lea M:3/4 K:C %Transposed from E L:1/8 V:1 clef=treble name="Soprano 1" sname="S1" V:2 clef=treble name="Soprano 2" sname="S2" V:3 clef=f name="Bass" sname="B" [V:1]=G,CD|E2 =G2 AG|F2 E2 DC|A,C C2 D2| w: 1.~With-in the wood-lands flow-ery glad-ed by the oak trees mos-sy w: 2.~When leaves that late-ly were a spring-ing now do fade with-in the w: 3.~Let oth-er folk make mon-ey fast-er in the air of dark roomed [V:2]EEB,|C2 E2 FE|D2 C2 B,A,|F,F, =G,2 G,2| w: 1.~With-in the wood-lands flow-ery glad-ed by the oak trees mos-sy w: 2.~When leaves that late-ly were a spring-ing now do fade with-in the w: 3.~Let oth-er folk make mon-ey fast-er in the air of dark roomed [V:3]=ggf|e2 c2 cc|B2 c2 =GA|cc e2 f2| w: 1.~With-in the wood-lands flow-ery glad-ed by the oak trees mos-sy w: 2.~When leaves that late-ly were a spring-ing now do fade with-in the w: 3.~Let oth-er folk make mon-ey fast-er in the air of dark roomed % [V:1]C3 =G,CD|E2 =G2 AG|F2 E2 A,B,|CD E2 D2| w: moot The shin-ing grass blades timb-er shad-ed now do quiv-er un-der w: copse And paint-ed birds do hush their sing-ing high up-on the timb-er w: towns I do not dread a peev-ish mast-er though no man may heed my [V:2]=G,3 EEB,|C2 E2 FE|D2 C2 CB,|A,A, A,2 A,2| w: moot The shin-ing grass blades timb-er shad-ed now do quiv-er un-der w: copse And paint-ed birds do hush their sing-ing high up-on the timb-er w: towns I do not dread a peev-ish mast-er though no man may heed my [V:3]e3 =ggf|e2 c2 cc|B2 c2 cd|ef =g2 g2| w: moot The shin-ing grass blades timb-er shad-ed now do quiv-er un-der w: copse And paint-ed birds do hush their sing-ing high up-on the timb-er w: towns I do not dread a peev-ish mast-er though no man may heed my % [V:1]D3 D=GE|A3 =GEC|D3 D=GE|A3 =GFE| w: foot And birds do whist-le ov-er head and wat-er's bubb-ling in it's w: tops And brown leaved fruit is turn-ing red in cloud-less sun-shine ov-er w: frowns For I be free to go ab-road or take ag-ain my home-ward [V:2]B,3 =G,B,C|C3 CC=G,|B,3 =G,B,C|C3 CCC| w: foot And birds do whist-le ov-er head and wat-er's bubb-ling in it's w: tops And brown leaved fruit is turn-ing red in cloud-less sun-shine ov-er w: frowns For I be free to go ab-road or take ag-ain my home-ward [V:3]=g3 gge|f3 fff|=g3 gge|f3 fff| w: foot And birds do whist-le ov-er head and wat-er's bubb-ling in it's w: tops And brown leaved fruit is turn-ing red in cloud-less sun-shine ov-er w: frowns For I be free to go ab-road or take ag-ain my home-ward % [V:1]D3 =G,CD|E3 =GAG|FE D2 C2|A,C C2 D2|C3 w: bed And there for me the ap-ple tree do lean down low in Lin-den Lea w: head With fruit for me the ap-ple tree do lean down low in Lin-den Lea w: road To where for me the ap-ple tree do lean down low in Lin-den Lea [V:2]B,3 EEB,|C3 EFE|DC =G,2 A,2|F,F, F,2 =G,2|=G,3 w: bed And there for me the ap-ple tree do lean down low in Lin-den Lea w: head With fruit for me the ap-ple tree do lean down low in Lin-den Lea w: road To where for me the ap-ple tree do lean down low in Lin-den Lea [V:3]=g3 ggf|e3 cdc|Bc d2 e2|ff f2 f2|e3 w: bed And there for me the ap-ple tree do lean down low in Lin-den Lea w: head With fruit for me the ap-ple tree do lean down low in Lin-den Lea w: road To where for me the ap-ple tree do lean down low in Lin-den Lea Linden Lea.pdf

Here's abc in G and in C X: 1 %Music T:Linden Lea B:Singing Together, Summer 1961, BBC Publications F:http://www.folkinfo.org/songs M:3/4 %Meter L:1/8 % K:G D G A |B2 d2 ed |c2 B2 AG |EG G2 A2 | G3 w:With-in the wood-lands, flow-'ry glad-ed, By the oak trees' mos-sy moot; D GA |B2 d2 ed |c2 B2 EF |GA B2 A2 | A3 w:The shin-ing grass blades, tim-ber shad-ed, Now do quiv-er un-der foot; A dB |e3 d BG |A3 A dB |e3 d cB | A3 w:And birds do whis-tle o-ver-head, And wa-ter's bub-bling in its bed; D GA |B3 d ed |cB A2 G2 |EG G2 A2 | G3 |] w:And there for me, The ap-ple tree Do lean down low in Lin-den Lea. X: 1 %Music T:Linden Lea B:Singing Together, Summer 1961, BBC Publications F:http://www.folkinfo.org/songs M:3/4 %Meter L:1/8 % K:C %Transposed from G G, C D |E2 G2 AG |F2 E2 DC |A,C C2 D2 | C3 w:With-in the wood-lands, flow-'ry glad-ed, By the oak trees' mos-sy moot; G, CD |E2 G2 AG |F2 E2 A,B, |CD E2 D2 | D3 w:The shin-ing grass blades, tim-ber shad-ed, Now do quiv-er un-der foot; D GE |A3 G EC |D3 D GE |A3 G FE | D3 w:And birds do whis-tle o-ver-head, And wa-ter's bub-bling in its bed; G, CD |E3 G AG |FE D2 C2 |A,C C2 D2 | C3 |] w:And there for me, The ap-ple tree Do lean down low in Lin-den Lea.

Thanks Tallship, As a one time guru in the area of ear training software I was very happy to see this interesting approach. Useful and valid I think. Chuck Boody

For a humorous and totally irreverent commentary on this check out "Backwards through the Folk Song" by Anna Russell I love it...

Thanks Rod for the offer - Texas is a bit too far tho. So, tell uis about price. Someone else might be interested on this side of the pond...

Check out http://www.ebay.com/itm/Estey-traveling-reed-organ-used-fold-up-12-X-30-1-2-X-22-tall-65-lbs-/330685105646?pt=LH_DefaultDomain_0&hash=item4cfe5e45ee or just look up reed organ in eBay.