Re: [Finale] cut time
Historically, cut time is a half circle with a line through it. The line, in the 16th century, was an indication of a proportion of 2:1 [proportio dupla or diminuto or diminutio simplex]; i.e., the tempo is twice as fast with the same written note values. The same relationship could be notated by putting the half circle backward, with the open part to the left. There is a triple equivalent: a complete circle with a line through it. Again it indicates a doubling of tempo with the same written note values. In 16th-century proportional notation, one could even put two lines through the circle or half circle (like a big X), which would quadruple the tempo (proportio quadrupla or alla longa). See Willi Apel, The Notation of Polyphonic Music, 900-1600, pp. 147- 155, 157-158; Thomas Morley, A Plaine and Easie Introdvction to Practicall Mvsicke, pp. 23-29 (Harman's edition, pp. 40, 43-45, 47-50). GJC Date sent: Sat, 01 Nov 2003 15:41:41 -0800 From: Bob Florence [EMAIL PROTECTED] To: finale [EMAIL PROTECTED] Subject:[Finale] cut time Send reply to: [EMAIL PROTECTED] mailto:[EMAIL PROTECTED] mailto:[EMAIL PROTECTED] Hi all: I know the sign for cut time , a c with a line through it. Is there anything like that when the time signature is 3/2? A friend drew a 3/4 time signature on a part and put a line through it. Is there anything like this? Thanks: Bob Florence ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] alto clef
While I am not sure what repertoire this discussion is about, an in general agree with all the advice given, I cannor resist pointing out one exception to this rule when dealing with historical sources. In seventeenth-century England (and I suspect on the Continent as well - certainly one Cavalli score I have roughly edited), in many scores that have solo,.duet, or trio parts with one or more voices in the alto clef, the part in the alto clef really is intended for tenor (sometimes what now is called a high tenor - not the same thing, in any way, as a counter tenor, rather just a high tenor). Likewise, many scores that look like treble - alto - tenor - bass, are almost certainly intended for what we today would call treble - tenor - tenor - bass. (I can cite evidence if anyone wants a cat fight.) Even the terminology has slid somewhat. In 17thC England, often what was called a tenor really would conform to what we would call a baritone, and what was called a counter tenor then (such as the Lawes brothers in documents for the Triumph of Peace), would correspond now to a tenor voice. GJC Date sent: Tue, 28 Oct 2003 16:17:49 -0800 To: finale list [EMAIL PROTECTED] From: [EMAIL PROTECTED] (Mark D. Lew) Subject:Re: [Finale] alto clef At 5:05 PM 10/28/03, Andrew Stiller wrote: The part should be in treble clef, as others have suggested. The alto clef was used for many alto parts until well into the 20th c. (therefore an alto singer *ought* to be able to read it, though many can't), but the tenor clef is completely out of bounds, since no alto singer will be familiar with it or have any experience w. it. Well, that's not quite true. Many female choristers with low voices will have been, at one time or another in the course of their career, asked to join the men in the tenor section, so it's incorrect to say that no alto singer will be familiar with the octave-displaced treble clef. That said, I concur completely with all the others who say the alto part should be written in a normal treble clef with all the leger lines. I'm pretty confident that alto singers would been even more perplexed by a traditional alto clef than by an 8vb treble clef, but both are unacceptable. mdl ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Word cuts in Italian
Mark D. Lew wrote: Certainly. I thought the question was how *late* it persisted, not how early. Pronouncing the -ed as a separate syllable is the earlier practice, and is pretty much universal for anything before Shakespeare. In mid-seventeenth-century English song manuscripts (beginning a bit after 1635) words with 'd (or just d without an apostrophe) replacing -ed as a separate syllable are very common, so one gets the sense that the separate -ed syllable was on the way out (but not completely). For example, in Wm Lawes's autograph song book, British Library Add. MS 31,432, the dialogue 'Tis not boy, thy amorous look, fol. 27v, systems 3-4, the line ...face soe takes my hart, but lyes confynd, [=confined]...[continues and rhymes with] within the birde of thy mynde [=mind], set with two notes for con-fined so not a separate -ed syllable. The song, Dearest, all fair, fol. has 37v, has the lines, system 3, Such bewtye [=beauty] fades as soone as blowne, and once enjoyed, where enjoyed likewise is set as two syllables en-joyed, so the -ed is not separate. One other example: Be not proud, pretty one, fol. 38, system 3: Sitts Cupid high Enthrond, with enthroned sung as en-throned, so the -ed is not separate. Yet, the song I would the God of love would die, fol. 31v, has the line, system 3, And Armed thus, the fate would proue to wound her hart, where Arm-ed is clearly intended to be two syllables on two notes. GJC ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2004 Review
That's approximately how I feel about academic discounts. I understand the software company's motivation for offering them, of course, but it still ticks me off to know that kids who are living off their parents and/or taxpayers get a better deal than others who have to work for a living. I imagine the reduced rate is to get students using and learning the software so that is what they will choose when in professional situations, and may continue to use the rest of their life. It is only the first purchase that is cheaper; upgrades are as expensive for them as everyone else, so over their lifetime they save about $350 compared to the non-academic. Note, many students are NOT living off their parents. None I know of are living off taxpayers. Most of my students are living off loans. When they graduate they are often $40,00 to $50,000 or more in debt, after a 4-year period, or 5- or 6-year if doing a Master's degree, when they have been earning little or no income (and owning nothing, so getting no home equity, etc.), paying tuition to the tune of $5,000- $8,000 (or much more elsewhere) per year, plus paying rent, food, required books at more than $100 each, plus other software. (For example, to be a graduate student at a univ. or conservatory in NYC can cost more than $40,000 per year.) Teachers and professors generally earn about 30-60% of what others with similar education levels earn. A PhD these days can run to $120,000 by the time the student is finished, yet the student has often spent six to twelve years in university with little or no income. GJC ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] RE: 2004 Panic
One problem that has not been mentioned (I think) is where a single individual is responsible for multiple installations on many computers. We are an institution where everyone (students, faculty, librarians, etc.) has an institutional laptop. Because the laptops are mobile, users do not use networked software (for most things); rather all software is installed on each machine. Standard stuff is on a template, so can be installed collectively. Specialist software (such as Sibelius/Finale) must be installed individually. One year, I had to install 70 individual copies of Sibelius one at a time. The registration codes were a nightmare, since each and every code had to be read from the computer, sent to tech support (70 e-mail messages each way), the answer codes read and then fed individually into each computer. It took several days, during the first week of classes - normally a busy time anyway.. Added to this was the problem of computers that went wrong due to accidents, viruses, etc. These had to be done all over again. (One student I re-installed seven times in one term!) In this case, the response-code type of registration is impossible to manage. GJC To: J. Simon van der Walt [EMAIL PROTECTED], David H. Bailey [EMAIL PROTECTED] From: William Roberts [EMAIL PROTECTED] Copies to: [EMAIL PROTECTED] Send reply to: [EMAIL PROTECTED] Subject:Re: [Finale] RE: 2004 Panic Organization: Lycos Mail (http://www.mail.lycos.com:80) Date sent: Sun, 10 Aug 2003 12:58:55 David H. Bailey wrote: Then you have to contact Sibelius (which does NOT have 24/7 live or electronic installation assistance) and meekly ask for permission to start using your legally purchased software again. I can't believe that I sound like a Sibelius apologist, but in the interest of even-handedness, it *is* possible to re-register your copy of Sibelius over the internet by filling in a form on their web site at any time of the day or night, without the need to talk to somebody there. I agree that this still poses problems if you don't have internet access, but for most people this is probably good enough. Best, -WR Get advanced SPAM filtering on Webmail or POP Mail ... Get Lycos Mail! http://login.mail.lycos.com/r/referral?aid=27005 ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: old times
Barbara Touburg [EMAIL PROTECTED] wrote: Thanks David, that led to the solution. It turned out I had to install the program while in DOS-mode and run it there too... No Dos-box ... Now find out how to re-animate the mouse in DOS... If you are talking about SCORE, there are MOUSE tips at: http://ace.acadiau.ca/score/4xp.htm#mouse GJC ___ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
