send the midi at my email adress with instructions describing what you want exactly.

you'll find my email in the contact section.

You already have the midis. Both are in the sounds folder of the remake already.

But perhaps they are not the best option. There are notes missing from them (fMSX logs PSG as MIDI, but in a poor way). I´d suggest you to log the title screen song as a WAV (ParaMSX is specially good in that) and then try to create new versions...

What do I want...

It seems to me that the author deliberately tried to make the songs sound like a piano (the second song is the Maple Leaf Rag by Scott Joplin, a piano song). So I´d simply like the new songs to be piano versions, just like the original. And very faithful to the originals. Or in another way... Just do to the music what I did to graphics... Improve their quality without changing their appearance. By the way, just now I realized that you created nice MSX versions of other songs... Sorry if this task is too simple (and boring) for you.

I understand but then, you basicaly need a transcription of the original songs and i am afraid i am not interested at all to do it for two reasons :
- The original songs as they are presented don't fit my tastes.
- This is realy a boring task
I am deeply sorry, i can't help at the moment.

I understand, J-War... But perhaps, wouldn't you be interested in remastering then? I mean, keeping the piano as the main instrument, adding some more instruments in the background and improving the piano (chords with more than three channels)?

Would it be a copyright problem if you just used a .wav or mp3 of the Maple Leaf Rag, played by someone on a real piano?

then the one who played it on the real piano has the performing (c) .. basically if you cover someone else's tune, then the arranger gets a bit of the composer's share ..

If I'm not wrong (I never looked more than once into those details) the arranger gets 33% and the original composer gets 66% .. that's ofcourse based on the part that was meant for the composer anyway.. which is usually 66% of the whole sum, since 33% goes to a publisher

Then there's (in NL) the SENA organisation, who control performing rights.. (like, if you hire violin-players for a cd--recording, then the violin players get paid from SENA money) ..

anyway..
(1) you use that tune, after contacting and arranging something with rights-organisations

(2) you don't care

Well, wasn't there a law stating that a song becomes "a bird on a wire" (vogelvrij? Help me out here) when it's older than 15 years?

In that case I'm offering to play it on the piano. I'll not nag about performing (c)... Might cost ya some beers though...

Wasn't I making sense? I meant to help you out...

75 years then, not 15

Really? Oh well, too bad...

Say, Wolf_, do you perhaps know if this is true:
I once heard, that when you totally rip off a song, but only change, for instance, the baseline, that according to law, it's not even the same song anymore?

It's officially ripping when 4 measures are the same.

And unofficially it's all a grey area, that's why at music-right organisations there's a a number of people that handle all thos plagiaism cases.

I remember a (in NL) case in the 80's by BZN and Annie Schilder (who just parted from BZN to go solo). A.S. made a song that's almost identical to one of BZN's. Now, I don't remember anymore what the judges said about it, but as a musical-jury I would say that it's plagiaism If two artists come from the same cultural background, yet better: if they were once group-members, then you can assume that some ripping would be quite obvious. However, I wouldn't have much problems when unknown person A in Alaska makes filmmusic with a romantic theme for some love-scene, while some unknown person B in India makes 99% the same music for something completely different. They don't even know echother, they haven't heard things from eachother, so this is just coincidence. Ofcourse, legally there's potention for a case as the tunes match for 99%. Bit this is truly an example of a grey area. If I would be in that jury then I wouldn't call this plagiaism.

While everyone would argue that amount of different music in the western 12-tone scale as we know it today is nearly infinite. However, very often music is based on a set of rules. And filmmusic is the best example of following a set of rules! When there are rules then there are cliches, when there are cliches, then people learn music by listening and adapting those cliches. Once people use those cliches for their own music, you really can't do anything about the fact that your music will sound like that of others.

So, in short: grey area, judged by experienced musicians from copyright-organisations.

ps. one thing I don't know about those 4 measures is if you are allowed to 'rip 4 measures and transform them into 2 measures at half bpm-speed and with double-speed notes

so: in trackernotation:
C 4
...
...
...
C 4
...
...
...

becomes:

C 4
...
C 4
...

and you adjust the speed to make it sound the same

Yeah, so you can start waving copies of the score around in court to prove you didn't steal it.
"And by the way, song X is keyed in E, while my song's key is Fes!"

The tonescale isn't relevant here.. as judges would look at it from the do-re-mi system..

*damn* All my evil plans just went down the drain...