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You should Czech on WikiSource. It's basically a big public domain library. It's got tons of stuff, not just literature. It's got court documents and government pamphlets, etc. Anything in the public domain. Still, the stuff is organized pretty well, so you should be able to find a ton of poetry on there. A lot of the poetry is organized as part of the books they were originally published in. So for example, if I'm an old poet, I probably published a book of poetry. So on WikiSource, my poetry would be organized under my name>my book>my poem. Sometimes tho it's just poet>poetry. Either way, it's pretty easy to navigate, and you shouldn't have much trouble. At the bottom of each page, there's usually a gray box with a stricken-through copyright symbol on it telling you that it's in the public domain for such-and-such a reason, so you can be sure it's in the public domain. There are some txts that are only in the PD in certain countries, and others that have creative commons licenses, but that grey box at the bottom should tell you everything. This library is immense, so I'll try to start you off with a few authors, but I encourage you to explore until you find something that truly resonates with you and your beliefs. Lets see here... well there's Emily Dickinson. I've never been a huge fan of her poetry, but you might be! There's a Canadian poet, who is little known in the US, named Emily Pauline Johnson. She was part Native American, so a lot of her poetry has that theme to it. A lot of people set poetry be Sara Teasdale. Songs like "I Am Not Yours" by Z. Randall Stroope and "There Will Be Rest" by Frank Ticheli are all settings of her poetry. Remember, though, just because it worked for them, doesn't necessarily mean it'll work for you. Choose a poem that really speaks to you, not just one that's popular. (Cuz also someone might be like, "Oh, that was cool, but I like Z.R.Stroope's better....") Still, Teasdale has a ton of poetry on WikiSource, so definitely check out her stuff. It's gorgeous. It might get a bit depressing at times, but she does a real good job conveying intensity of love. I'm not sure if ALL her poetry is in the PD. Idk if "There Will Be Rest" is, cuz I couldn't find it on WikiSource. Still, everything of hers on WikiSource should be in PD (just Czech the grey bar at the bottom.) Let's try a man now... hmm William Wordsworth has a good amount of poems concerning the beauty of nature. Give him a look. I also like Oscar Wilde and Edgar Allan Poe, but I've never set any of their stuff. Wilde's stuff can be really heavy at times, and Poe writes most of his stuff in an annoying bacchic trimeter (one-TWO-THREE one-TWO-THREE one-TWO-THREE). It sounds great at first cuz you think it'll make a great tune in 6/8. But then after a while, you're like, "This is really starting to get boring." But still, Czech those guys out. I hope this helps you and anyone else out there looking for some decent poetry that they know is in the PD. :D (lol, Czech.) --Miggy Torres

Promotion, in the music world, is getting pieces mentioned in catalogs, getting the pieces promoted at regional readings, getting the piece (or a group of pieces like it) promoted at major conferences, and direct advertisement to the consumers, especially educational people. And, despite all the hype about web being the way to go (and in many cases it is), when you're selling hard copy of something that needs to be materially delivered to the director of an ensemble, they like to see it before they buy in large quantities, which complicates the process further. This is why catalogs are so crucial to the publishing industry. Luckily, certain distributors have made sort of "online catalogs" like J.W. Pepper among others. But there certainly is a feeling in the US Publishing scene that if you're not on J.W. Pepper, you're a nobody. And even then, you need more advertisement. That's just a beginning step. BTW, novels are a completely different ball of wax than scores. Scores are used less frequently but more heavily. They are also subject to less editorial control and printed in far fewer quantities than novels. The two business models should not be compared without those qualifications.

Hi everyone, I just wanted to let you know that Edition Zeza Music Publisher is accepting submissions from composers, arrangers and engravers. They are a brand new Canadian publisher, that focuses on high definition print of scores and orchestral parts, producing scores up to 12x18 inches. Publishing with them costs between little to nothing (it's absolutely free for high quality submissions of public domain content) and they take care of manufacturing, billing, shipping to the customer, and advertise your works at SheetMusicX.com and Amazon.com Here are some of the advantages of publishing with them: - You will receive an ISMN number (International Standard Music Number) - manufacturing and shipping is taken care of. Your book remains in-stock, without inventory, made on-demand when customers order. - A high quality book to be proud of: Our covers are printed on 280gm/2 thick paper (colored cover) and laminated for durability. The inside is printed on 110gm/2 thick paper (black and white content). - Exposure to millions of potential customers: with your own ISMN code, your book can be available at music stores, online sellers and other sales channels such as SheetMusicX and Amazon. - You will receive royalties from the sales of your books. Royalties are paid bi-annually, in January and in July. A minimum of $20.00 has to be accumulated in order for royalties to be payable. You'll still hold the copyright for your own compositions/arrangements, so you're free to also sell them in other websites. They also offer editing services in case you'd like your score to be professionally engraved, and that allows you to have Edition Zeza's logo on the book cover as a mark of quality. If you're interested in knowing more about this great opportunity for us composers to get our music out there, check their Publish My Music page.

Quote Mining's FUN! Eh. I mean part of me wants to make the argument that nothing's changed since 1890. Uh... Nah no one did that before 1950. *kaff* the entire history of western music *kaff* Look at the Bolero for earlier than 1970 minimalism. Incidental music goes back as far as Shakespeare and Greek Tragedy. Futurists. (1920-ish) Because timbre wasn't a big deal for say, opera writers in Italy. (Why a castrati instead of a female?) You mean like the well-tempered clavier? See, I hate that mentality. Why is it hard to tell what's good music? It's not like classical's been the momentum for music for at least 100 years, and to make the argument that it was before might be more a classist revisionism than historical fact. Now, of course I'm being more than a little pithy/flippant about it, but love of modern stuff is a two-sided coin: there's precedent for everything.

1. "The biggest misinterpretation he made there was that you needed to somehow be a millionaire or famous to even get published.", wasn't my post exactly the opposite? That anyone should be able to publish, hence trying to get your work out there?? 2. "Say if you write a very well-done work and the publisher promotes it and band directors catch on it it and it sells a few thousand copies". Again you're clueless about selling and about publishing, but whatever floats your boat. If you really think that unknown composers get to sell a few thousand scores, then why aren't you doing it since you think you know all the tricks of the trade? Funny how in your mind publishers will make you sell thousands of pieces lol. Now THAT'S "loltastic". 3. I mentioned John Williams as an example of a famous living composer, where did I mention copyright, film industry? But we all got your point, you're not interested, that's your problem. There are many others who are interested and thanks for bringing attention to this topic, it has paid off tenfold :D

The biggest misinterpretation he made there was that you needed to somehow be a millionaire or famous to even get published. This is simply not true. If you're a composer that writes top-notch quality works but are unknown, it is in the publisher's best interest to promote you. Say if you write a very well-done work and the publisher promotes it and band directors catch on it it and it sells a few thousand copies, the publisher will make a boatload of money because they promoted the good quality music. Music buyers are not stupid. They know if a work is good or not, often by looking at the first page. If a work is accessible to their ensembles, themselves, and especially their audience, then the piece will sell well if the publisher does his job of promoting TO those directors. The key is to get yourself known to the publishers and that requires either submissions to them (if they allow it) or promotion through other avenues like major concerts or conventions. If you make marketable material, they will sell it if they're willing. The flip side is, of course, simple reputation and/or word of mouth. These composers don't need publishers. John Adam's pieces will sell many published copies (or rented copies) simply because he's John Adams regardless of quality. That's something the normal composer doesn't have. Fad composers such as Eric Whitacre also fall into this boat. A more interesting case is a guy like Samuel Hazo. He's been around for at least 15 years now composing stuff for band and none of it is particularly notable. But it is well crafted music and ensembles enjoy playing it even if it isn't the most "modern" or difficult music around. His publisher, Hal Leonard, caught onto this and now he's one of the leading educational band composers out there. BTW, it is almost impossible to get real John Williams scores other than his "special edition" stuff. Almost all of the copyrights are owned by the film companies and they won't release that stuff in a million years (the original scores I mean). So film composers are in a different boat as well. Using him as an example was loltastic.

Don't be interested. This kind of dreck is bad for your career if that's what you're into. To take the mentality of novels (which I agree isn't comparable), this, on first glance, is like an e-book publisher. But I don't know much about the real world -- I self-publish (if that's what you call it).

You make some gross assumptions about the industry which I don't have the energy to correct. If you're interested in hearing I'll teach you.

Don't fall under the illusion that all publishers will do that; and definitely, don't even think that publishers will do that for completely unknown composers. If a composer is indeed receiving all those services (it's fairy tale btw unless you're John Williams or very well known in the field), then it's because that composer is already established in the business, has connections, his pieces are performed often, and that doesn't seem to be the crowd that hangs out here, no offense. Composers like John Williams or Danny Elfman aren't exactly waiting for the next topic that shows up on YoungComposers. Most composers I know don't make a living out of composing, they have 2-3 jobs; so I think that the opportunity to actually get your work out there (even if below your elite promotional standards) is better than having it at home collecting dust. Just my 2c. But... you can always wait for some publisher to sign you a million dollar contract, if that makes you feel better when you go to sleep :)

This seems like a good way to start. However, it minimally promotes it. First of all, SheetmusicX does not seem to be that active of a site with not too many visitors. And though Amazon is a big site, it's so big that no one's probably going to end up just randomly stumbling upon your needle in the haystick, especially if you don't have any rep. I may use this, but due to the minimal promotion, I may have to promote it myself by setting up my own website or promoting myself through youtube or... etc.

They are not a publisher in the strictest sense, just a *printer*. They don't do any promotion of the work nor do they do distribution. Those cost WAY more money than the physical printing itself, but it is those things that make pieces sell. Unfortunately, only the largest publishing houses these days can make significant sales because they have reputation or mountains of money to fall back on. The first red flag is this: If *you* have to pay to get something printed, run the other direction, fast.

Tokkemon, you were very quick to judge without actually checking them out. 1. They are not just a printer, they publish new editions as well as new works form living composers. 2. If you don't consider assigning you a free ISMN code (which allows the book to be distributed in stores), advertising you on both SheetMusicX and Amazon websites, and including your work in their catalog that is distributed internationally, then what exactly do you consider promotion? 3. You're not paying to be printed, they are taking care of several costs you don't have to such as: a working website with a payment gateway, promotion of the website, billing and shipping fees (except the shipping rate which is paid by the customer), printing costs (top notch printer, high quality paper, toner, maintenance). If you'd try to publish with other publishers, here is what will happen: 1. They will deny you because you're not famous and can't generate a minimum of 50k dollars a year. 2. They will deny you claiming that you "don't fit their catalog requirements", one of which is "generating a minimum of 50k dollars a year". 3. They will accept you, if you cover a print run of 3000 copies upon being published. Try to publish a novel and you'll see how that goes. The publisher will make you pay the print run of a few thousand books, and you're supposed to make them sell, they will just store it and ship it, and you have a start up cost in the few thousand dollars. And you're complaining about a 40$ fee that covers website maintenance, product page display for your book without expiration date (on SheetMusicX and Amazon), printing, handling, shipping to the customer, while you make 1/3 of the sale?