Hi Chris,
Well, I'm just talking about the essential parts of a composition,
not the orchestration.
And in that, I certainly agree with you. My name with my students for
what you are calling parts is gesture.
Phew! I'd consider changing that term for this context if I was you. Do
a quick
In a message dated 08/01/2004 06:10:28 GMT Standard Time, [EMAIL PROTECTED] writes:
I was led to believe that thorn is unvoiced th and edh
(ð) is voiced th.
thorn and eth (capital eth = Ð) were used interchangeably, often within the same document - often within the same sentence. Just something
On 8.1.2004, at 14:30, [EMAIL PROTECTED] wrote:
In a message dated 08/01/2004 06:10:28 GMT Standard Time, [EMAIL PROTECTED] writes:
I was led to believe that thorn is unvoiced th and edh
(ð) is voiced th.
thorn and eth (capital eth = Ð) were used interchangeably, often within the same
At 6:47 PM -0500 1/6/04, [EMAIL PROTECTED] wrote:
In a message dated 06/01/2004 23:44:39 GMT Standard Time,
[EMAIL PROTECTED] writes:
The conductor (who is looking at the score) wants to know what the piece
SOUNDS likeso write everyting at sounding pitch. And emphasise this
on the cover
Christopher wrote:
Well, the problem with octave clefs is that those instruments DON'T
read in those clefs, they read in regular treble and bass clef, and
use of an octave clef for say, double bass, (or even worse, guitar
or glock, for which parts are routinely notated in wrong octaves)
would
At 03:36 PM 1/8/04 -0500, John.Howell wrote:
If the conductor sees a C# but the player has it notated as an Eb,
you're making communication difficult and wasting rehearsal time.
Thus the conductor would have to speak in concert pitch, and the
player would have to do the transposing.
You're not
John.Howell wrote:
At 6:47 PM -0500 1/6/04, [EMAIL PROTECTED] wrote:
In a message dated 06/01/2004 23:44:39 GMT Standard Time,
[EMAIL PROTECTED] writes:
The conductor (who is looking at the score) wants to know what the piece
SOUNDS likeso write everyting at sounding pitch. And emphasise
At 3:54 PM -0500 1/08/04, John.Howell wrote:
Christopher wrote:
Well, the problem with octave clefs is that those instruments DON'T
read in those clefs, they read in regular treble and bass clef, and
use of an octave clef for say, double bass, (or even worse, guitar
or glock, for which parts
At 5:43 PM -0500 1/08/04, Dennis Bathory-Kitsz wrote:
That's why I said this was a religious debate. There ultimately are no
compelling arguments on either side.
It's the same answer I give to my students when they ask why trumpets
transpose. It's not because it's easier to read (like alto clef
At 07:58 PM 1/8/04 -0500, Christopher BJ Smith wrote:
At 5:43 PM -0500 1/08/04, Dennis Bathory-Kitsz wrote:
That's why I said this was a religious debate. There ultimately are no
compelling arguments on either side.
It's the same answer I give to my students when they ask why trumpets
A few observations and a few questions:
One of the worst things about C scores are the horn parts. Neither treble
nor bass clef works well, and alto or tenor clef really seems odd. The F
transposition is so idiomatic for horn - it's not the least bit in the
category of a common convention or
On Jan 8, 2004, at 12:54 PM, John.Howell wrote:
Various kludges were tried by various publishers, including a G-clef
with a little bracket thingy on 3rd-space C and (by Novello, I think)
Ricordi uses a big bracket thingie. I've seen a smaller one somewhere,
but I can't recall where, and I
At 8:56 PM -0500 1/08/04, Dennis Bathory-Kitsz wrote:
I've heard lots of preferences expressed on this list from composers and
conductors, but no horror stories. Has anyone actually encountered an
in-the-flesh, contemporary objection to one or the other that resulted in a
refused or aborted
http://www.winexpose.com/
*That* didn't take long.
Although I'd get it while you can -- I'm sure Apple's legal team will
be filing an injunction, oh, any second now.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn NY
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