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• You are welcome to submit your own classical MIDI (or MP3) files if:
  • You expressly accept the terms in the Submission Form, with regards to copyrights and permissions.
  • The files are in General MIDI format (GS and XG formats are okay too);
  • The work does not already appear in the Archives, or the quality of the new file eclipses that which does exist.
  
  
• Use the Submission Form to automatically generate the description in the right format and place the file in a message to the CMA. Nothing else is required. The file(s) and description will be uploaded automatically for you. Any other method to submit to the CMA cannot be accepted. So please use the form linked above.
  
  
• Use 8 character filenames that are unlikely to have been used before! (e.i. no "prelude.mid" or the like, please!)
  
  
• Use initials for the first two or three characters. For example if your name is John Note, start your filenames with jn_... and use the remaining 5 characters in the filename to indicate its contents: i.e. jn_jb444.mid is a good name for Bach's BWV444 that John Note is submitting.
  
  A Terrific Resource: Use the Comprehensive Listing of Filename Initials based on the composers' name, dilligently prepared by Marty Weimer (and ported to the Web by yours truly). It ought to become a standard in the multimedia community! Contact him at weimermt@libby.org if you have any comments, corrections, or additions. Tell him where you saw his listing!
  
  
• Submit works in their original keys: As some users will take your file and use the "score" for their own live performance, try inasmuch as possible to use the original key of the composition and don't send transposed works.
  
  
• We usually go through the received submissions once a week. So please be patient. If you do not see your contribution in the Archives within, say, two weeks - it has been rejected due to its lack of, or faulty, description; its incorrect attachment; or because the file, or its /path/num/filename, is inappropriate or faulty; or because the piece is already in the Archives.
  
  
• Although a short Thank You note is usually sent in return, you may not receive an acknowledgement for accepted files. Please consider yourself duly thanked and understand that it is only for lack of time if a personal and heartfelt message of gratitude isn't sent to each!
  
  
• If you send a replacement (better version) of one of YOUR files, make absolutely sure to follow the directions in the Submission Form with regards to replacements. You must indicate that it is a replacement! Uh, please send your pieces the first time when they are already at their best... ;-) It'll save a lot of time and bandwidth.

MOST IMPORTANT: COPYRIGHTS

SHOULD YOU WISH TO HAVE ONE OR MORE FILES REMOVED, PLEASE SEND ME AN EMAIL VIA OUR FEEDBACK FORM.

Under United States Copyright Law, 17 U.S.C. § 106, the owner of a Copyrighted work has the exclusive rights to do and to authorize, any of the following: reproduce the copyrighted work; prepare derivative works based upon the copyrighted work; distribute copies of the copyrighted work to the public; perform the copyrighted work in public; display the copyrighted work in public; and perform a copyrighted sound work in public by means of a digital audio transmission. Under the law, 17 U.S.C. § 501, anyone who violates any of these exclusive rights is an infringer and may be subject to a lawsuit and remedies in the form of injunctions, monetary damages, and impoundment and desctruction of the infringing material made or used to violate the copyright owner's rights. In addition, the infringer may be liable for attorney's fee's and costs. Further, certain acts of infringement may subject the infringer to criminal penalties.

Here are a few suggestions:

1. First, I recommend you get one or more of these books (they can be ordered on-line)
   • MIDI Manual
   • The MIDI Companion
   • MIDI for Musicians
   • The MIDI Files
   • Sequencer Secrets
   • Advanced MIDI Users Guide
   • MIDI for the Professional
   • What's a Sequencer : A Basic Guide to Their Features and Use
2. Use the names of the first two or three tracks to write in ASCII the title of the piece, your name and email, and your copyright notice if any. Mute those tracks.
3. The first thing your sequence should do is to set an instrument to each track used by the sequence. (Otherwise one may hear some strange results, depending on what sequence was played last.)
4. Next you want to set the volume of each used track to the maximum. (I receive a lot of inaudible sequences!)
5. A successful sequence makes use of the VELOCITY, as opposed to the volume, to control dynamics.
6. Make liberal use of the tempo control. A good sequence (especially for post-baroque music) must not sound mechanical.
7. Use the pan and reverb controls. This adds spatial dimensions to the piece which can be very attractive.
8. At the bottom of the file, you may want to duplicate the ASCII information placed in the first two or three tracks. Use an extra two or three track names for that - after the last used track. Mute them too.
9. When rearranging midi files of others, first do ask permission of the original sequencer, and be sure to include the original information (name, email, title) in the file.
10. As space is limited, only a few particularly interesting documentation files are offered. Thus copyright notices which are sent in separate text files may not be automatically included in the CMA. In any case, you may download/copy files for non-commercial purposes only. Although up to 100 individual files may be copied - the Classical Music Archives (CMA) have copyright of Classical Archives, LLC and may not be duplicated. If you do submit an important contribution and you have a text file documenting your work, please send it as well. (See John Sankey's comments with regards to his extraordinary Scarlatti Sonatas collection for a model.)

J.S.Bach Beethoven Brahms Chopin Debussy Handel Haydn Liszt Mendelssohn Mozart Schubert Schumann Tchaikovsky Vivaldi *All*

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