At 10:38 AM 4/20/04 +0200, Johannes Gebauer wrote:
Just be careful, floppies are _very_ unreliable for backups.
I've heard this said, but I started using floppies in 1980 (TRS-80 and
Color Computer), and even those are still readable nearly a quarter-century
later. A friend who still has a
At 04:31 PM 4/21/04 -0400, Darcy James Argue wrote:
However, it's still weird that Finale updaters leave the old
application intact by default. This is not standard at all -- the
expected behavior is that the old version will be replaced by the new
version.
Is this a Mac/PC difference?
Dussault - Canada, registered since FinWin 97 and Mac since 2001
Hans Swinnen - Belgium, reg since FinMac 1.0
Jon Kristinn Cortez - Iceland, registred since FinMac 2.0.6
Tim Thompson - Florida, registered since FinMac 3.0
Dennis Bathory-Kitsz - US, registered since FinWin2.2, holding out
At 10:42 AM 4/1/04 -0800, Brad Beyenhof wrote:
On 4/1/04 9:48 AM, Ken Parsons wrote:
How do you enter two time signatures for a piece that oscillates back
and forth between them - e.g. 3/4 6/8? I'd like to enter these in the
first measure, and not have to put them in every time the grouping
At 09:55 AM 3/29/04 -0800, Brad Beyenhof wrote:
To a limited extent (i.e. not for TGTools), you can arrange the Plugins
folder so that the menu is more organized, creating folders for whatever
sorts of categories you want. If it doesn't affect the loading time too
much for your taste, I suppose
At 12:35 PM 3/29/04 -0600, Johnson, Mark wrote:
Though not an extensive index, Finale Power! describes
many of the plug-ins throughout and when to use them.
I guess what I'm asking is if anybody has taken the time to create an
index, much like the Finale reference card, of the plugins. Back in
At 08:42 AM 3/31/04 -0500, Aaron Sherber wrote:
At 08:15 AM 03/31/2004, Dennis Bathory-Kitsz wrote:
The sorting isn't very helpful when the plugins are inconsistently named
and with hidden features. And especially the TGTools mess -- a great plugin
set, don't get me wrong, but one seriously
At 12:19 PM 3/19/04 -0500, Andrew Stiller wrote:
Seldom true. The usual practice is to diphthongize the collection of
vowels, or to suppress one of them.
Consider this, from the vaudeville at the end of Don Giovanni:
Questo e il fin di chi fa mal
Mozart asks the singers to sing -o e il on a
At 01:49 PM 3/18/04 +, Owain Sutton wrote:
I was wondering if anyone has any experience of using a graphics tablet
with the program? Does it work well, better, worse than with a mouse?
Any suggestions of what to look for or avoid?
I'm using a Wacom Intuos-2, but it's not really very
At 01:49 PM 3/16/04 -0500, Phil Daley wrote:
I can't imagine needing to see more than a whole page at once, in 100% page
view, that would take up about a half a screen.
I can't image what possible purpose there would be in maximizing a scroll
view. Whole width, obviously, but maximized would
At 08:39 AM 3/7/04 -0500, Cecil Rigby wrote:
Dennis' is one workaround. WIN users can also use PDF995. (Which device
driver do you print to, Dennis?)
I use the Adobe Distiller (to PS File) as my driver. Previously I used the
Apple Laser Writer Pro 630 driver. When creating PDF for publication
Oh, and the singular of data is the safe version: data point.
Dennis
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At 12:44 PM 3/6/04 -0500, David H. Bailey wrote:
I agree with all of the words Andrew is talking about except phenomena.
I never hear anybody speak of the plural of phenomenon. I don't hear
the singular that often either, but I do hear it far more frequently
If you listen to enough CNN
At 03:08 PM 3/6/04 -0700, jef chippewa wrote:
i still can't print to acrobat from
finale, getting this message:
%%[ Error: invalidaccess; OffendingCommand: def ]%%
Stack:
-dict-
/FinaleDict
/Courier
%%[ Flushing: rest of job (to end-of-file) will be ignored ]%%
%%[ Warning: PostScript error. No
At 05:46 PM 3/6/04 -0800, Mark D Lew wrote:
The same might apply to platypi.
A platypo. :)
Dennis
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At 07:50 PM 3/1/04 -0800, Carl Dershem wrote:
Spiffy! What kind of thing do you anticipate writing?
They want 10 minutes (of course, the American standard new music
commission, it seems) and, in their words, audience-friendly. They'd also
like some sort of Vermont theme, but I don't do tone
At 06:50 AM 3/2/04 -0800, George Ports wrote:
Hi, Would anyone know if there is a font that has circled
letters.like an R or L in a circle.
It's best to make your own with the enclosure, because then they are very
portable in Finale, and you can double the letters or mix with
...as of this afternoon, so I can announce it.
I'm very pleased to tell my Finale friends that I have received the annual
commission from the Vermont Symphony Orchestra. The new work will be
premiered on September 22, and played ten times during the orchestra's
statewide tour from September 22 to
At 12:40 PM 2/28/04 -0500, you wrote:
Apparently one of the subscribers of this list has set up a Spam
whitelist.
THIS IS A PHENOMENALLY STUPID THING TO DO
I just got 12 of them. I didn't see them because my Spam filter sent them
to my trash box. I went to look and voila, there they were.
At 09:45 AM 2/27/04 +0100, Johannes Gebauer wrote:
I am not sure whether you are joking or being serious. Whatever the case,
cross staffing is much easier than that in Fin2k4. Select the notes, select
the plugin, click GO and you are done.
I wasn't joking. One of the things I like about Graphire
At 05:28 PM 2/27/04 +0100, Johannes Gebauer wrote:
weren't you refering to cross staffing? I don't know Graphire at all, but
going from the instructions on the web site this seems incredibly
complicated. It needs ghost notes to start with. This is much easier in
Finale, especially when using the
At 06:55 PM 2/27/04 +0200, Mr. Liudas Motekaitis wrote:
(1) Although I'm not sure, but as an educated guess, I'd say that most of
Finale's bugs, kludges, and bad programming that infuriate Dennis have to
do with the fact that the programmers who work on music notation software
have to be
At 07:34 PM 2/27/04 +0200, Mr. Liudas Motekaitis wrote:
This is from Robert Patterson's plugin description on his webpage:
Metric is similar to Set, but the right bracket starts out flush with the
next metric position following the tuplet. (If the tuplet is at the end of
the bar, the bracket
At 06:02 PM 2/27/04 +0100, d. collins wrote:
Dennis Bathory-Kitsz écrit:
Lyrics difficulties are legion
(as I was about to send this, Johannes is having a problem with placing
punctuation where it belongs).
Where it belongs is a matter of opinion. A vast majority seem to think it
belongs before
At 08:05 PM 2/27/04 +0200, Mr. Liudas Motekaitis wrote:
I'm wondering if there isn't a faster way for you to do that. For example
setting the measure metrics for each measure according to the actual tuplet
lengths, using no barline. Then just add the barlines with the
All-New-Super-Duper-I-Love-It
At 04:20 PM 2/27/04 -0500, Darcy James Argue wrote:
[I should add that I don't know if this is supported -- or even
possible -- on the Windows side of things. It's possible in OS X
because OpenGL is such an integral part of the OS. The OpenGL
integration is not supported in Sibelius for OS 9,
At 03:55 PM 2/27/04 -0500, David W. Fenton wrote:
I have a set of Microsoft fonts that I picked up about 10 years ago,
the Lucida Bright Math family, and every such sign you'd want is in
there in one of those three fonts. They're pretty high-quality fonts,
too. They are all copyrighted 1991 by
Matthew,
Thanks for the comments. I agree about the third-party plugin developers
doing a great job and being very responsive -- though I have trouble with
the TGTools UI (see http://maltedmedia.com/photos/tgtools.gif).
At 09:09 AM 2/28/04 +1100, Matthew Hindson Fastmail Account wrote:
Scroll
At 04:52 PM 2/27/04 -0600, Steve Gibons wrote:
On Feb 27, 2004, at 4:26 PM, Dennis Bathory-Kitsz wrote:
Unfortunately, the demo does not load Finale
files, and many of those I tried to load come up with a 'fatal error'
Is that an ETF file you're loading? If not, try that.
Thanks
At 06:06 PM 2/27/04 -0500, Darcy James Argue wrote:
Interesting. Could you do me a favor? Could set the Smoothing
control all the way to the left (i.e., turn off smoothing entirely) and
see what happens?
Almost identical in speed, but it's actually faster to the left ('faster'),
but the
Hi all,
Some time ago I mentioned some of the interesting features of Graphire. The
manual is online, and here is one page that is interesting (have animated
GIFs turned on):
http://www.bandcmusic.com/Stage/editing-12019.html
I sure do like that easy cross-staff beaming. :)
The manual is not
At 04:13 PM 2/25/04 +0100, Johannes Gebauer wrote:
Of all the replies I got on this I have not heard a single one which
actually sells through paypal, ie uses their buy now and shopping basket
services.
I didn't reply to the Europe question, but I sell using both of these.
Don't sell much,
Now *that's* a clear subject line.
Here's the question:
F2K3/Win
I want an articulation on the last note of a tuplet.
The tuplet straddles a barline.
The articulation seems to take and shows the articulation as I'm placing it.
The handle shows in scroll view.
After it's placed and redrawn,
At 09:37 PM 2/23/04 +0200, Mr. Liudas Motekaitis wrote:
The key is to apply the articulation while the note in question is in the
frame in question (the frame in which you are creating the start of your
tuplet.) Simply dragging it with special tools I think will do the trick.
So it does. Plays
At 09:23 AM 2/18/04 +0200, Mr. Liudas Motekaitis wrote:
It might be that there were tremolo markings on those long stems and the
font used is not on your system. Or else some other symbol used on the stem.
This happens to me occasionally when opening Finale 2.2 files in Finale
2000 onward. I
At 06:37 AM 2/17/04 -0500, David H. Bailey wrote:
Paper with acid content yellows with age and crumbles (think of the old
mass market paperbacks or photographs from the 50s, where often the
simple act of turning the page breaks it in half).
Acid-free paper lasts far longer and remains more
At 11:51 AM 2/16/04 -0500, Andrew Stiller wrote:
I, on the other hand, have comb-bound material from 1966 that is
still in perfectly good shape. Not one of the comb-bound scores of my
own publications (1991-present) that I keep as hard backup has ever
shown the cracking and stiffening behavior
At 09:18 AM 2/16/04 +0100, Johannes Gebauer wrote:
On 16.02.2004 5:18 Uhr, Dennis Bathory-Kitsz wrote
But I don't see a creep setting in Finale (Graphire has it, for example).
When I face-trim saddle-stitched scores, there's a creep issue (meaning the
outside margin of the middle pages
At 05:54 PM 2/15/04 -0600, Randolph Peters wrote:
1) They crack or break more easily than other binding methods.
This is important. I never use comb bindings anymore because the
plasticizer deteriorates and they crack. I have books and scores no more
than 10 years old where the combs will not
At 06:01 PM 2/15/04 -0800, Mark D Lew wrote:
I don't know about in music, but in other publishing it's commonplace
to always have a multiple of four pages (or even eight, depending on
the method).
A full signature made from one sheet of paper is often 16 sides.
Compensating for creep in the
At 08:06 AM 2/9/04 -0500, Darcy James Argue wrote:
However, I've run into a situation where my source has the following
rhythm:
quarter rest - eighth rest - a triplet consisting of: two eighth notes
followed an eighth rest - eighth rest - quarter rest
What say you all?
This doesn't strike me as
At 10:35 AM 2/9/04 -0500, David H. Bailey wrote:
I would put 4 16th-rests so the rhythm of the quintuplet is readily
apparent.
There's my opinion as well.
That's only for rests, though -- note groupings are an entirely different
matter, and sometimes tough to decode, whether composer, engraver,
At 04:45 PM 1/28/04 +0100, Johannes Gebauer wrote:
Situation: Several voices in one staff. A middle voice is tied. The tie
collides with other notes. I would like to white out the tie around the
other notes. Unfortunately this doesn't seem to be possible. I can white out
the notes, but the tie
Hi,
Finale 2K3 Windows.
I have a score where the composer wants all the articulations to be at the
same (absolute) vertical position above the staff. Maybe I'm looking in the
wrong place, but I can't find an option in either the articulation
definitions or the plugins to line up articulations ..
At 10:43 AM 1/26/04 -0600, Thomas Schaller wrote:
My solution would be to put them in as lyrics (or staff expressions).
They're all in place now. :( I just want to move them. (And everything
has to play back, too.)
The TGTools align/move feature doesn't seem to do articulations.
Dennis
At 09:59 AM 1/26/04 -0700, Carl Donsbach wrote:
Under Document Options, Grids and Guidelines, check Snap to Grid.
Snap-to-grid options (at least in 2K3) don't seem to include articulations.
And even with everything checked (just in case), articulations don't seem
to snap.
Dennis
At 07:24 PM 1/26/04 +0200, Mr. Liudas Motekaitis wrote:
I think you can redefine the combination of Vertical position and the
Handle positions to yield the articulations in a line, and then use Mass
Edit -- Move Articulations by replacing the old articulations with the new
ones (the new
At 09:10 PM 1/22/04 -0800, Glenn Adams wrote:
Does anyone on this list know where to get 9x12 paper?
Aside from what Noel said, you can also get precut, packaged 9x12 at an art
supply shop or through art supply catalogs. I suggest this because print
shops can be unwilling to help, and paper
At 11:38 AM 1/21/04 +0100, Johannes Gebauer wrote:
Well, adjusting the beat chart is more work than it is worth, imo. If you
are not bothered by the spacing problems, then that's fine for you. I am.
Creating two measures on entry is less complicated than changing the beat
chart, I find.
The
At 01:50 AM 1/21/04 +0100, Jörg Peltzer wrote:
Why not simply define a custom line starting with ad lib. Followed by - - -
- - and a down hook -| and draw that around the measures you need to be
marked.
When I've needed extra barlines, I've used one of these:
1. Use them as expressions. The
At 03:33 PM 1/17/04 +0100, Johannes Gebauer wrote:
Can someone recommend a soundfont that works well as allround GM soundfont
for classical music? Preferably a free soundfont.
The ones I use are not GM. Does your soundcard require it, or can you use a
RAM- or disk-based player? And does the new
At 06:49 PM 1/17/04 +0100, d. collins wrote:
If I may add my own question to this thread: what software does one need to
use soundfounts directly through a midi keyboard on a PC? I.e. to simply
play on the keyboard using these soundfonts.
The standalone version of VSampler does this. (I use
At 09:39 PM 1/17/04 +0100, d. collins wrote:
Now I'd like to find a nice continuo organ soundfont.
Find the lovely soundfont Jeux, a complete pipe organ set, here:
http://members.aol.com/realmac/jeux1.htm
(There's also a .gig file of a massive Belgian organ, but unfortunately I
can't yet afford
At 03:58 PM 1/15/04 +, Robert Patterson wrote:
As of now, plugins are only automated editing tools.
That is, their effects do not depend on the existence
of the plugin. This may change in the future, but it
should be obvious if it does.
At 04:55 PM 1/15/04 +0100, Johannes Gebauer wrote:
Hi all,
A question that may have some importance later for me: Do the results of
plug-ins carry over when opening a Finale document in a version that
doesn't have the plug-ins? I assume the plug-ins merely manipulate the
existing Finale data in very clever ways, but want to be sure.
Dennis
Linda,
Thanks for this response. I think it gets to the heart of what such
general/vague musical words help us express.
At 01:28 PM 1/11/04 -0500, Linda Worsley wrote:
But non-pop strikes me as horrible...
Non pop equals =
* Not popular (in the sense that people don't generally like it, not
in
At 09:14 AM 1/11/04 -0500, Linda Worsley wrote:
I record
mostly serious or :classical music... I call it art music, but
honestly there is no good word for it, is there?
Art music and serious can apply to many genres, and classical carries
too much baggage.
Try nonpop as your meta-genre.
Some
At 09:17 AM 1/11/04 -0600, Randolph Peters wrote:
Nonpop goes a certain distance, but it ultimately fails as
nomenclature because it only says what it is not rather than what it
is. As a non-insect I believe we can do better!
But we haven't done so since classical began to fail as a useful term
At 11:01 PM 1/11/04 +0200, Mr. Liudas Motekaitis wrote:
I like the german: they have U-Musik and E-Musik. (Unterhaltungsmusik and
Ernste Musik, which would roughly translate to music for entertainment and
serious music).
The attractive thing is that they shorten it to U-Musik and E-Musik. That
At 12:07 AM 1/9/04 -0500, Christopher BJ Smith wrote:
I have witnessed
crossed wires, wasted time, frustrated musicians, and fast phone
calls by orchestra administrators during rehearsals to composers, as
well as wasted studio time in recording sessions. But if those things
could be avoided,
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
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
transpose
At 10:13 AM 1/7/04 -0800, Harold Owen wrote:
The question of C scores and octave clefs has been discussed here
quite a bit, and the debate is far from being settled.
It is, to my mind, one of those religious debates. I switched to being a
C-scores-only composer about 1970.
Dennis
At 02:45 PM 1/7/04 +1100, helgesen wrote:
How do I ask (tell?) Windows to always list by name (by default), and never
by Icon.
It's been a while, since mine have been arranged by name some forever, but
try this:
Set up your folder to your taste, then Tools | Folder Options | View |
Folder Views,
At 11:25 PM 12/16/03 +0100, Johannes Gebauer wrote:
OK, since you didn't understand the text on the Panther web site
Johannes,
Thanks for the explanation. It turns out I did understand most of the Apple
page, except how it made small windows to mouse around for selection.
This is not about
At 09:54 PM 12/16/03 +0100, Johannes Gebauer wrote:
See what I mean? The whole point is you have to have used it to understand
what it does. What you think it does is not what it is for.
I'm sure you have to use it didn't come up in the coding phase, so
somebody must have a way of expressing it,
At 09:07 AM 12/14/03 +, [EMAIL PROTECTED] wrote:
WinFin2004
Windows 98SE
Since upgrading to WinFin2004 I have had several lockups associated with
the following dialogue:
Cannot Create Font DC
Has anyone else seen this? The dialogue box has an OK button but usually
the result is a restart.
I
At 10:31 AM 12/11/03 +0100, Johannes Gebauer wrote:
On 11.12.2003 1:19 Uhr, [EMAIL PROTECTED] wrote
I know the quality isn't always as good, but I still listen regularly to
cassettes I recorded 25 to 30 years ago - they still sound okay. I
recently
copied them all onto newer cassettes in case
Re last message, my tape restoration info and audio samples are here:
http://maltedmedia.com/mmrestoration.html
Dennis
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At 07:20 AM 11/23/03 -0500, David H. Bailey wrote:
iTunes is free -- it'll screw up your installation of WinAmp
Are you sure about that? And how does it manifest itself? I'm always wary
of Apple software on the PC (I have 4 machines and QT has screwed up on
each one), but Winamp is a staple here.
At 05:42 PM 11/14/03 -0500, John Hines wrote:
I'm trying to set up my brand new 2610, and I've never even used a laser
printer. The instructions say to pull the two strips out of the toner
cartridge. There is no clue offered as to how this is done. The
strips seem to be concealed in the
At 01:20 PM 11/12/03 -0800, Harold Owen wrote:
Thanks for your response, Harold. Very helpful. So, if i understand
correctly, there isn't a font library with the Penderecki symbols in
Finale?
Appreciatively;
No, but one could be devised easily enough. I'm not aware of such a
font existing.
I
At 08:07 PM 10/16/03 +0200, Daniel Wolf wrote:
However, not once has Coda ever emailed me with update
information or offers, despite my registration, repeated purchases, and
repeated requests for upgrade info.
Maybe your ISP's spam filter is trashing it. My filter did, because they
send HTML
At 11:17 PM 10/13/03 +0800, Stanford Chong wrote:
Oh c'mon, I am a computer newbie and according to my friends, online means
something in the internet and not inside the CD.
Your friends must be young. :)
Dennis
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At 12:19 AM 10/12/03 -0800, Mark D. Lew wrote:
At 12:01 PM 10/10/03, Dennis Bathory-Kitsz wrote:
Is this the same Pamela Z who was in the SF Symphony Chorus about 10 or 12
years ago?
I'm not sure. There are two with similar names: Pamela Z and Pamela Zero.
Both do vocal work, extended voice
At 08:48 AM 10/10/03 -0800, Mark D. Lew wrote:
Is this the same Pamela Z who was in the SF Symphony Chorus about 10 or 12
years ago?
I'm not sure. There are two with similar names: Pamela Z and Pamela Zero.
Both do vocal work, extended voice.
Pamela Z: http://www.pamelaz.com/
Pamela Zero:
At 11:52 AM 10/10/03 -0400, Tim Thompson wrote:
Is this happening to others? I sent a request to the list help request
box.
Yes. I looked at the headers, and it appears this is happening in a loop at
the shsu server. Hope it doesn't start re-looping!
Dennis
\
At 11:38 PM 10/6/03 -0800, Mark D. Lew wrote:
Every contemporary opera composer I've met so far
(about a dozen, I'd guess) is very flexible in accommodating the needs of
the singers and the stage direction. Perhaps this is my bias showing, but
if I were to meet one who is inflexible, I would tend
At 03:13 PM 10/7/03 -0400, Stu McIntire wrote:
Carter still, I assume?
Rochberg, or has attention moved on for the most part? What about Adams,
Corigliano, Schwantner, Tower, Kirchner?
Over, over, over, over, over, over, over. :)
Or have we entered a period so
wide open that it is impossible to
At 10:59 PM 10/6/03 +1000, Michael Edwards wrote:
However, an anomaly exists in the score for this piece, at least in my
edition: there are just *two* bars in the middle of the piece which are
marked
senza Ped..
Now, in good conscience, what should I do here? Follow the instruction
At 10:55 PM 10/6/03 +1000, Michael Edwards wrote:
Do players really up and leave just because they don't like being asked to
do something the composer has written in a piece? You have to treat them
like
delicate china lest they take offence at a reasonable request or suggestion?
Stories follow.
At 10:56 AM 10/6/03 -0400, Andrew Stiller wrote:
Repeat signs. Last time this came up, one member of this list
insisted that all repeat signs, in whatever repertoire, were, in
fact, optional. Well they're not in my music!
Likewise. I have stopped using them. Copy/paste is just as effective in
At 11:48 AM 10/6/03 -0400, David H. Bailey wrote:
Just a minute, Dennis! You admit to ignoring wrong notes? You came
down on me so hard for even suggesting that in the limited rehearsal
time of my amateur band I had to let some things go.
I was speaking as the composer who's there to consult,
At 04:59 PM 10/5/03 -0500, John Howell wrote:
Dennis, you are indeed arguing for strict adherence to the printed
socre. The problem is that musical notation never has, does not
today, and never will give the performer absolutely all the
information needed for a performance. There are always
At 08:05 AM 10/4/03 +1000, helgesen wrote:
I wholeheartedly agree with Ray and others. Players- especially 'non-pros',
tend to treat 8ves (up or down) as optional. And to Richard- Yes, I'm afraid
that outside of the do it or you're fired world of the pros, leger lines
are more respected than 8ve
At 07:09 PM 10/3/03 -0400, David H. Bailey wrote:
Conductors are often caught between a rock and a hard place -- balancing
the preparation of many weeks of concerts with the strict adherence to
the printed score.
Many community bands come together for a rehearsal or two and then
essentially to
At 09:51 PM 10/3/03 -0400, Ray Horton wrote:
I'm glad you can hear every tuba pedal A that goes by in every crazy piece
of new music that gets played, because our conductors haven't been able to!
It's not about the pedal A, it's about the attitude -- we'll change
whatever the composer wrote /
At 10:47 PM 9/29/03 -0400, Tim Thompson wrote:
I was rehearsing a piece today on tenor sax with a pianist. My part
went up to C (5 lines above), and I don't have to think too hard about
that, as I am only reading one line, but the pianist was constantly
asking what's that note?
I work with a
At 10:10 AM 9/30/03 -0400, Tim Thompson wrote:
On the senza misura question, I know from personal experience that many
performers want to know exactly when to play, and don't do well with
approximate rhythmic notation. But as soon as one makes the notation
more specific, then the freeness is
At 07:29 PM 9/26/03 -0500, Williams, Jim wrote:
you're writing as if Graphire has expired..has it?
No, it's been re-worked. There was an announcement recently that Barbara
Touburg forwarded me from the Score discussion list:
===
I think it would be a good idea for me to put my two cents in at
At 03:04 PM 9/20/03 +0200, Johannes Gebauer wrote:
On 20.09.2003 11:14 Uhr, David McKay wrote
At the moment I am receiving a deluge of viruses purporting to be messages
from Microsoft or mail undelivered messages.
Same here, a real nuissance!
Nuisance is an understatement. I got 1,195 copies
At 11:09 PM 9/18/03 -0400, Christopher BJ Smith wrote:
So is there any advantage for a self-promoter like me to go with
these guys?
See my post to David Bailey.
Dennis
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At 06:36 AM 9/19/03 -0400, David H. Bailey wrote:
University hiring committees are not stupid (no matter how that might
appear from some hiring/firing decisions) and they know what vanity
recordings are.
What recordings in the new nonpop world are *not* vanity recordings at some
significant
At 12:43 PM 9/18/03 -0400, Daniel Dorff wrote:
Also, I agree with Andrew's point that their prices are high.
I'm not sure who actually receives these high commission amounts in the
U.S. It may go hand-in-hand with fame. My largest US commission was $2,500
for a 25-minute orchestral work. There
At 04:02 PM 9/18/03 -0500, Richard Huggins wrote:
I'm curious if that $2500 included engraving/score prep or if you (or
someone) got extra for that. Typically do you include that in your
commissions?
That was everything, no score prep included. The full score was in
manuscript and the parts more
At 05:12 PM 9/18/03 -0500, Richard Huggins wrote:
Perhaps we can take solace that with us at least a certain catch phrase of
American society has been altered in favor of the arts, i.e. You want
polyphony with that?
Wonderful! Is it yours? May I appropriate it?
There is, of course, more to all
At 09:15 PM 9/18/03 -0400, Christopher BJ Smith wrote:
What a coincidence that this subject came up. I was just called a
couple of days ago by John Rousseau (I am guessing at the spelling of
his last name) of the Contemporary Music Society (or the Contemporary
Record Society
The latter, I'd
Hi all,
Our Kalvos Damian pages have Google ads served based on page content.
Javier Ruiz was perplexed to find some particular ads on our Golden Bruce
Award page. See the Notice Board at http://kalvos.org/ for a pix.
:)
Dennis
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Finale mailing
At 04:53 PM 9/16/03 -0400, Andrew Stiller wrote:
In that case, the birthplace of our nation was in Fluffya.
Yo, I lived jussuparoad in Trenn f'10 yeahs.
Now in Vuhmaunt. Place names like Calais (CAL-ess) and Barre (Berry).
Dennis
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At 08:17 AM 9/16/03 -0700, Brad Beyenhof wrote:
On Tuesday, September 16, 2003, at 06:59 AM, Dennis Bathory-Kitsz
wrote:
Our Kalvos Damian pages have Google ads served based on page content.
Javier Ruiz was perplexed to find some particular ads on our Golden
Bruce
Award page. See
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