Dear Arnold,
If you are using the multi-file uploader to add more than one version of a work (like an edition or the original work plus your own keyboard arrangement), please check the "Force one file per entry" box at the bottom. As you can see from this page for Dit le Burguygnon, we had to split the files you uploaded in order for the category walker to pick up the keyboard / harp arrangement. Also note how the editor and arranger templates have been employed. Thanks, Carolus 01:23, 30 September 2011 (UTC) (IMSLP Copyright Admin)
I think I made the same error with the subsequent files by Alexander Agricola. But I now understand the meaning of the Force one file-box. Thank you. Arnold den Teuling
OK, time to learn some more details, When you are uploading ...
Practice these simple steps with each upload and things will be approved faster. You will also save the admins and review team here time.
Thanks, Carolus 01:36, 4 October 2011 (UTC)
Thank you for your remarks. I hope I rightly understood them. I uploaded until now two versions of the same work at one time only when there is only one file for the original and no separate parts. Is not that correct and does it cause extra work for you? Of course I will try to use the codes you described.
Hi Arnold! Just to let you know that on this page, somehow the bass part at notated pitch was not transferred - there were two copies of the tenor part instead. Thanks, KGill talk email 21:52, 12 October 2011 (UTC)
I miss all entries I made of today and yesterday, in the section Rimes Françoises et italiennes. When may I complete the work? Christian Mondrup solved this problem for me, but now I have a new one: the last files I uploaded appear in the list of Contributions, but not in the page Rimes. How can I solve this?
I noticed the error and uploaded it some moments afterwards seperately, so it is now to be found under the file group. Can you, please, put it in its right place? Sorry for my errors. I have much to learn! Arnold
After making a rather complicated page in Reger opus 135a and trying to submit it, I got the message that I should have been logged in. So I think the time of logging in had passed and my account has been automatically closed. Is it possible to regain the work I did? And how long can one be logged in?
Hello Arnold,
I note that each variation has been split into separate parts. This is really not so good from the standpoint of having an intelligible page. The parts all appear to be single pages also. I really think that all the parts should be combined (Descant Recorder 1, Descant Recorder 2, Tenor Recorder, Bass Recorder) instead of having separate files for each variation, which are not usually done as stand-alone items. I have the page organized for now. As you can see it is quite cumbersome. I gather that the separate parts are for the items which call for 4 recorders, while those calling for 3 play from pages of the score. If so, the best procedure would be to insert the pertinent score pages into the separate files created for each part. Also, please note that it is simpler to use Treble recorder 1, Bass recorder instead of the florid term "part for treble recorder 1". We try to avoid file descriptions breaking into 2 lines, if possible. Thanks, Carolus 00:11, 29 October 2011 (UTC)
Under the page organization rules we employ, complete items (like an arrangement of the complete Goldberg Variations) goes above selections. Thus Jan Kok's arrangement of the complete work will go above all arrangements of selections from the larger whole. That is why I was recommending combining the existing parts with pages of the score for the variations which lacked separate parts. If that were done, the parts for Kok's arrangement would appear beneath the score. We might be able to do that anyway if we include a notice about using pages from the score for those movements which lack separate parts, since one could theoretically perform his arrangement of the entire work this way. Carolus 03:33, 31 October 2011 (UTC)
Dear Arnold, It is really not such a good idea to have scores and parts of an arrangement of a work like this divided up into separate movements as has been done with HWV 312. If the complete concerto was arranged, the split scores and parts files should ideally be combined. Please take a look at the "Arrangements and Transcriptions" section of the page to see how it has to be done under the layout rules we use. If there is some reason (see below) that it is essential that the work be split up in this way, you will need to upload each movement separately. This appears to be an increasing problem with WIMA items and I am going to need to address this issue on the forum so we can come up with a workable solution. Could you explain this 3-page limit you mentioned above in our discussion of the Goldberg Variations? Also, I am struck be the fact that nobody appears to be paying any attention to the site notice about the server upgrades so we have 455 items uploaded today, which is starting to overwhelm the copyright tagging capacity. Thanks, Carolus 02:57, 31 October 2011 (UTC)
Dear Carolus, As a beginner I was not aware of the fact that it is not desirable to upload when there are server upgrades going on. I will pay attention to that next time.
The only reason to split up the three movements of the Handel concerto was that there should be used different recorders in the second movement. The solution which is displayed on the site now is good enough for me. But there is no problem in combining existing pdf's to what ever combination is desired. So I can combine the three full scores to one, and also all 12 parts in one file, or four parts in 4 files. Please tell me which one is preferred. Is there a special note on arrangements and transcriptions in general?
Until now Jan Kok only made separate parts when that was necessary for performance; our quartet plays Variations 1-4 from the complete score, nr 5 from separate parts and nr 6 and 7 from the complete score etc., because more than 3 pages do not fit on our music stands, so the different treatment is purely practical. The parts of the Variatiations with separate parts are identical with the Variations which are in the complete score only. But Jan Kok told to me that he was prepared to make separate parts for all the variations. Shall I ask him to combine them to as few files as possible? Greetings, Arnold den Teuling
Dear Mr. den Teuling: When you do typesets of Gregorian Chant, are the transposed parts meant to be for recorder? I needed to make a differentiation between original and arrangement, so the recorder version is now under an arrangements tag. Since the original wouldn't have been instrumental, I want to know whether the transposed part goes with the original or the recorder. Steltz 19:11, 4 November 2011 (UTC) Dear mr. Steltz, The "problem" with Gregorian chant is, that there is no fixed pitch and that in this way every transposition will represent the original. When I prepare a piece for my chant choir, nearly every piece will be sung in some transposition, depending on the average age of the choir (and even the moment of the day). But indeed, some transpositions are fit to the treble recorder, (and less fit for singing), and next time I will tell (in a note or so) which ones are and which are less. And so your solution seems to be practical. Indeed I intend to upload some cd-tracks with my own recorder performances. Arnold den Teuling
Did I use the correct category? And I did not know how to make the performer name indexable {{LinkPer| etc.? I have only transferred the MP3-files from WIMA and not the MP4, but if it is desirable to add the MP4's, I will do it more correctly after your answer. The rest of my sound files are computer generated only, so I made less hurry to transfer them. Arnold den Teuling
I remarked some lack of consequence in the placement etc of both pieces. It concerns the two arrangements for 4 recorders by Albert H. Kuipers, which I uploaded last month. You placed an arrangement for 4 recorders of the unauthentic BWV 555 by Kompy on the page Kleine Preludien und Fughetten, and the work is also accessible via the instrumentation index. On my suggestion (inspired by Albert Kuipers) you added a separate reference page from J.L Krebs to J.S. Bach under the title Prelude and Fugue in e minor, however it lacks for instance in the index of instrumentation. I suggest you replace this page to Kleine Preludien and Fughetten like Kompy's, and we would be very grateful if you will refer on the same page to BWV 558, now on J.L. Krebs only. By the way the autorship of J.L. Krebs is by no means certain, another candidate is J.T. Krebs. One more reason to make these rather popular pieces accessible via J.S. Bach too. Arnold den Teuling
I made a mistake by not determining the performer or performing category. Of course it should be synthesized MIDI (I tried simply midi but this was not accepted). Sorry.
