Thanks for this link. Didn’t knowing about this service.
> On Sep 2, 2019, at 9:57 PM, Raymond Horton wrote:
>
> You can leave corrections if it misses a word.
>
> Raymond Horton
> Composer/Arranger
> Minister of Music,
> Edwardsville (IN) United Methodist Church
> Retired Bass Trombonist,
>
This is a pretty trivial matter, but since it is being discused, might as well
get it right😊
Interesting that you say MISSUS is the preferred form of the abbreviation
“Mrs.”. Please provide your reference source.
Missis and Missus are two different words with different uses: missis is the
pre
e:
>
>> FWIW (joking aside) my copy of Merriam Webster correctly identifies
>> "missus" as dialect in one of the definitions, and I would rather avoid
>> that implication.
>>
>>> On Tue, Aug 27, 2019 at 11:12 AM Jon Delfin wrote:
>>>
>>>
Missus isn’t even a word. (What else could you expect from composers?)🙄
> On Aug 27, 2019, at 12:05 PM, Jon Delfin wrote:
>
> For what it's worth, the sheet music for "Mrs. Robinson" uses "Mis-sus."
>
> On Tue, Aug 27, 2019 at 11:54 AM Robert Patterson <
> rob...@robertgpatterson.com> wrote:
>
abbreviation of "Mistress", but no one says that
> any more. Hence, there is no generally accepted way to spell it out how we
> pronounce it.
>
> On Tue, Aug 27, 2019 at 8:51 AM timothy price
> wrote:
>
>> Isn’t Mrs. the abbreviation of Missis? Mis-sis.
>
Isn’t Mrs. the abbreviation of Missis? Mis-sis.
> On Aug 27, 2019, at 9:28 AM, Robert Patterson
> wrote:
>
> Has anyone ever had to divide "Mrs." into two syllables for vocal underlay?
> Any suggestions?
> ___
> Finale mailing list
> Finale@shsu.edu
I generally put files into Dropbox, or Icloud, (large file site) and give the
access privileges to anyone who has requested the files. Easy
tim
> On May 14, 2019, at 7:28 AM, Raymond Horton wrote:
>
> An orchestra in Australia has purchased a copy of my orchestral transcription
> of the Rims
This printer maxes out at 8.5 x 14 in just so people are aware... what
composer would want it?
tim
On Apr 29, 2018, at 4:45 AM, Eric Dannewitz wrote:
> Ugh, why not just buy a new printer
>
> https://store.hp.com/us/en/pdp/hp-la
For works that I intend to last, I have been using Mohawk Solutions 18" by 12"
Soft White i-tone linen paper.
It is available from the www.thepapermillstore.com. You will find that there
is a large selection of papers to chose from.
It has been my experience that the best results are obtained
Am at a disadvantage, never having heard a ghost, however, the sound of wind
and thunder are sometimes thought of as scary.
Easy to do with a sampling synthesizer, having these sound programmed in as
many do, or more cumbersome, with a thunder sheet and a wind machine.
tim
On Aug 14, 2017, at
Three thumbs up !
tim
On Apr 26, 2017, at 7:53 AM, Dennis Bathory-Kitsz wrote:
> It would be really great if Finale shipped with default percussion output that
> automatically matched the VSTs provided, or, even better, if they would switch
> to the system other programs use: drag this sound fr
Hi,
Am curious why you want to do this at all? Am certainly no expert, but I
cannot think of any "best practices" that would suggest this sort of staff
change.
If you share what it is you need the players to do, then perhaps there will be
some suggestions forthcoming that will do
what you need
As a Mac user I can only expect that if you click on "Applications" under
"places" in your Finder window, the newly installed program should appear in
the alphabetical order, ie. after "Es".
You can also run "Spotlght", the little magnifying glass on the top right of
your screen. Type in Finale
My deepest sympathy.
> On Feb 18, 2017, at 11:56 AM, Dennis Bathory-Kitsz
> wrote:
>
> It's 4 pianos, 90 pages, 11x17 landscape, with tons of little adjustments and
> changes because the composer's notation is idiosyncratic and often wrong
___
Final
3 measures of 2/4 is what you need.
> On Dec 7, 2016, at 2:39 PM, "j...@thomastudios.com"
> wrote:
>
> I agree with David and Raymond, 3/2.
>
>
> ***
> J D Thomas
> ThomaStudios
>
>
>
>> On Dec 7, 2016, at 11:09 AM, Lee Dengler wrote:
>>
>> I have a theory questio
It shouldn’t sound as a tempo change at all and it is not intended for the
> musicians/conductor to follow any indication, therefore I don’t want any
> markings in the score. It’s for Finale "playback purposes only”. Thanks
> anyway.
>
>
> On Nov 4, 2016, at 9:20, timoth
Have asked that question myself and realized that having the tempo change
visible in the score is helpful, if you hope to hear it performed that way.
Conductors take liberties, as they might, but at least they would have a clear
indication of YOUR intent first. Like with jazz, it is best to kno
Something which I have found to be very useful: I have partitioned my hard
drive into 3 parts. I have different OS versions on two of them, and on the
3rd I have reserved exclusively to file storage.
You could keep your old system on one drive, and upgrade on the other as you
get to it, and al
Am now getting two copies from the Finale list of all posts.. one is fine, and
one is a mess. Yes, it has to be something has changed with my provider. It
only occurs with the Finale list.
Thanks for your help.
tim
On Oct 12, 2016, at 10:08 AM, David H. Bailey wrote:
> Nor on mine either --
Raymond Horton
> Composer, Arranger
> Minister of Music, Edwardsville (IN) United Methodist Church
> Retired Bass Trombonist, Louisville Orchestra, 1971-2016
>
>
> On Oct 11, 2016 11:39 PM, "timothy price" wrote:
>
>> Point of order: Is anyone else receiving em
Point of order: Is anyone else receiving emails with an enormous amount of
header material?
Don't know what it for or why.
thanks
tim
On Oct 11, 2016, at 11:07 PM, Ryszard Pusz wrote:
> Hi,
>
> I am running Finale 2014 on Mac 10.7.5. How can I change the staff names from
> the default? I
As I use an older version of Finale, v. 2011 which has been super for my needs,
there may be newer ways to deal with your issue which has always been around,
so far as I know.
To deal with it, I always reset volumes for each instrument in the score at the
beginning of new sections... or even mo
What I suggest is to make sure that you have located the measure where the
volume reduction begins, and that you have a copy of that section in another
file for reference. Completely remove the measure stack in the section you
are working with. Try playing playing the piece and see if the red
On Mar 24, 2016, at 5:54 PM, Lee Actor wrote:
> tabloid
> (11x17) is unwieldy, tends to be floppy on many music stands, and doesn't
> fit in most briefcases.
Thank you Lee for telling us about your preferences.
Noticed this section of West Side Story recording session.
Watch, starting at 3:
This seems the most simple and correct, imo.
The Bb major chord is only altered by the tonic being raised a C.
I think that this resulting chord, as a passing tone,
could unimaginatively resolve to an F maj. second inversion.
tim
On Mar 24, 2016, at 2:56 PM, Steven Larsen wrote:
> In a word, n
For works that I intend to last, I have been using Mohawk Solutions 18" by 12"
Soft White i-tone linen paper.
It is available from the www.thepapermillstore.com. You will find that there
is a large selection of papers to chose from.
It has been my experience that the best results are obtained
>> “flat seventh” (a major triad with a flatted 7th.)
This is the most obvious assumption, imo.
On Mar 12, 2016, at 8:42 AM, Christopher Smith wrote:
> If the term is being used correctly, it would be bVII in Roman numerals
> (pronounced “flat seven”), and it would indeed be B flat major in th
Graeme,
Thanks for mentioning the Mac feature. As you know, 90 plus % of the time we
are reading snafus regarding Microsoft and PCs. For us Mac users it is a pretty
unproductive time spent reading other people's endless hassles and shortcomings
with Microsoft.
Cheers,
tim
On Feb 13, 2016,
Agree with Christopher, however, i was raised on trackballs, so prefer them,
without a cord, a trackball requires no additional space to move precisely and
fast. For all graphics work, think trackballs are easier on the hand and arm.
Again, personal choice.
tim
On Feb 5, 2016, at 8:00 PM, C
Christopher, your #4 was what I was thinking would be most accurately
reproduced.
thanks again,
tim
On Jul 20, 2015, at 11:20 AM, Christopher Smith wrote:
> I was doing some more thinking about the chord, and for some people, saying
> #11 necessarily implies that a 7th is present. Maybe Em
but yes, Virginia, we CAN come up with a name
> for it. Em(#11) would do it.
>
> Where do you live? All the trains around me sound the same.
>
> Christopher
>
>
> On Mon Jul 20, at MondayJul 20 11:00 AM, timothy price wrote:
>
>> Asking for some help as I am no
Asking for some help as I am not very familiar with this:
I live about a mile from a rail line. Each engine has its own particular horn
sound... some major, some 7th, some minor, diminished, etc..
But one in particular intrigues me: would describe it as being a G signature,
but one of the E mi
On Apr 7, 2015, at 4:08 PM, Darcy James Argue wrote:
> If there was a way I could instead just sit down at any piano and reach into
> my bag and pull out a slim tablet computer with a stylus and just start
> writing…
Yes, Hayden, Mozart, Beethoven...et.c., were very proficient with quill, pa
on.
>
> Christopher
>
>
> On Sun Mar 22, at SundayMar 22 12:00 PM, timothy price wrote:
>
>> Just finished reading "Score Rehearsal Preparation" by Gary Stith in which
>> he remarks about how composers might simply use text to clarify any possible
&
Just finished reading "Score Rehearsal Preparation" by Gary Stith in which he
remarks about how composers might simply use text to clarify any possible
ambiguity in the score. He invites text notes so that there is no time wasted
in discussion of the intent of the score. .. simply tell us what y
Mentioned this to Brian Williams but should have included all.
"Garritan sounds are somewhat harsh, but there is lots of tweeking you can do.
One thing that I found helped a lot was
recording the Finale file "dry" with Garritan, then loading that file into
Garage Band and using that program for
On Mar 6, 2015, at 1:46 PM, Brian Williams wrote:
> How is this possible?
It isn't.
Garritan is not the best, but way better than SoftSynth, imo.
tim
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Orchestra Director/Freelance Trumpet Player-Teacher/Music Engraver
>
>
>> On Feb 26, 2015, at 12:25 PM, timothy price wrote:
>>
>> Am running Finale 2011 and cmd "R" works fine for redraw. Ummm. Thanks for
>> the info.
>>
>> tim
>
__
Am running Finale 2011 and cmd "R" works fine for redraw. Ummm. Thanks for
the info.
tim
On Feb 26, 2015, at 12:22 PM, Michael Dutka wrote:
> With my Mac, cmd 'R' did something weird, brought up a ruler bracket around
> the screen, but cmd 'D' worked great. Thanks for the suggestion,
>
> Mi
After repositioning, hit "command R" to redraw.
tim
On Feb 24, 2015, at 2:11 PM, Michael Dutka wrote:
> Hi, folks. Running 2010 on a Macbook Pro. I often have a problem when I
> want to reposition hairpins. I click the Smart Shapes tool, and either
> delete and re-enter them, or reposition them
On May 31, 2014, at 3:39 PM, GERALD BERG wrote:
> I have not had to go there lately -- so cannot vouchsafe further on the
> matter. I use to notate my drum rolls in full for playback and increase the
> attack level throughout to get a reasonable sounding cresc.
This is what I do too, and p
I didn't imagine the extent of the problem.
Like much of our society today, we are charged money for "services" of poor
value.
I don't believe that my work would get this sort of criticism.
> Craig wrote:
> You would think that if a publisher is renting a piece for $10,000
> revenue a year (or
Craig, you make an excellent point. But as a composer, it is nearly impossible
to be confident that our manuscripts are what
musicians are comfortable with. There is lacking, imo, the interface between
the good composer, and the musicians, when it
comes to the manuscript.
It would be greatly a
Assuming that you have "active layer only" on, I have no idea.
On Mar 18, 2013, at 8:08 AM, Eric Fiedler wrote:
> FinMac 2012c
> This is embarrassing, as I used to do this all the time and it used to be
> easy - but I haven't done it for a while.
> I have two oboe parts and want to paste them i
On Mar 28, 2012, at 12:03 AM, John Howell wrote:
> And I do think one has to realize that we ALL
> have to learn to trust people to do the right
> thing,
Am glad that this observation is voiced by a musician. ( notice: Goldman Sachs,
et al )
Perhaps this is the core issue facing a society that
Have purchased through Ebay in the past and have saved a lot of money
gotten excellent results.
http://www.ebay.com/sch/i.html?_from=R40&_trksid=p5197.m570.l1313&_nkw=ipod+batteries&_sacat=See-All-Categories
tim
On Nov 10, 2011, at 5:05 PM, Dean M. Estabrook wrote:
> So, I've had my iPod
Here is a pic. of the letter in Lucida Calligraph font.
original post:
f in Lucinda font.pdf
Description: Adobe PDF document
Good points, John. As for the correct placement of the cross stoke,
it does not seem to be in the precisely correct location with this font. My
associati
On Oct 3, 2011, at 5:23 PM, John Howell wrote:
> books that show plates of
> top quality museum violins and have written
> descriptions of them.
Does the name have anything to do with the shape if the letter?
If so, then in English we would use "f " a lower case scripted
character. This is
On May 24, 2011, at 8:17 AM, David W. Fenton wrote:
> But that's no different from a Mac (for which you don't have the
> choice of building your own, BTW).
FYI, here is one of my long time favorite Mac stores, and their "build your
own" page.
http://www.powermax.com/bto/
best,
timothy.pric
The difference between "intermediate" and "advanced" became a bit restrictive,
most notably with the f french horns. The lowest written note permitted was a
F in the base clef below middle C when I would like to take it down to the B.
Actual pitch lowest sound would be, in "intermediate" , C
When we use "check range" when writing for a competent community orchestra, is
there any problem with setting the
parameter to "advanced" for all instruments ?
thanks,
tim
On May 13, 2011, at 7:09 PM, John Howell wrote:
> At 2:53 PM -0700 5/13/11, Mark D Lew wrote:
>>
>> Mahler writes the
On Apr 30, 2011, at 5:27 PM, Dennis Bathory-Kitsz wrote:
> Thanks for locating the cowbell for me.
Mercy, Dennis, how long have you been living in Vermont ? :-)
t
timothy.price
timothy.pr...@valley.net
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For me, using a single line staff, it shows a 5 lines staff in that measure
when you enter the note with speedy entry, and it sets it where a the map
places it, if you have it mapped to cow bell, patch 88; that should be preset
for you all ready. (mine shows it placed on b natural; don't know ho
Hey Dennis, Have you set the channel to #10? Then, with my mac, i have no
problem with cow bell using
smartmusicsoftsynth. However, using the Gerritan Aria Player, set to Basic
Orchestral Percussion, Channel 10,
and under the Menu Bar, Midi/audio you should/might find Device Setup, then
Edit
If you are getting sound at all now, using channel 10, Aria Player. Set the
bank selection to Tap Space Percussion, and under that is
VDL Combo Instruments, and under that is VDLite General MIDI Percussion Map.
That gives me a cow bell.
t
On Apr 30, 2011, at 4:12 PM, Dennis Bathory-Kitsz w
Back to this subject for a moment:
http://www.nytimes.com/interactive/2011/04/18/science/20110419-
music-expression.html?nl=todaysheadlines&emc=thab1
The page that comes up for me has a test of pieces performed by human
and machines, and the mixture of the two. We are asked to
pick the m
With the STAFF tool selected, go to the bar at the top of the screen, and under
STAFF you should find "reorder staves".
Open it. If the voice part is by itself, then highlight the "voice" staff by
clicking on it, using the arrows
to the right side of the window, click the up arrow till the voic
On Apr 7, 2011, at 8:46 PM, David W. Fenton wrote:
> If you're using a conventional mouse properly
Who on this list would think of using a conventional mouse improperly :-)
timothy.price
timothy.pr...@valley.net
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Question about Magic Track Pad
For my architectural work, as well as for all graphic and music programs, I
agree, and have used the Turbo Mouse for many years, and
currently use a wireless version. The greatest benefit to me, besides economy
of movement, is that it supports all of the weight
Where the synth is not used extensively, I have placed it near the percussion
staves, (similar to
the piano part) but expecting a percussionist would be able to play the part.
The score indicates
the patch number, the note and duration, an indication of what the patch
represent, and the volu
On Mar 26, 2011, at 10:16 PM, Dennis Bathory-Kitsz wrote:
> ("between you and me" as "between you and I").
Object form in place of subject.
>
> The American tendency to overcorrect especially applies to foreign placenames,
> perhaps out of a sense of respect, political correctness, or fear of
On Mar 26, 2011, at 2:27 PM, Chuck Israels wrote:
> "He took a picture of my brother and I" so often that I am forced to accept
> that it has become common usage, and I can't wrap my brain around that.
> Makes me want to scream the correction at the offending parties.
But not understanding
Perhaps some on the list would enjoy this video of the
Secret Society, "On Canvas"
http://video.whyy.org/video/1383585488/
tim
On Nov 21, 2010, at 6:26 PM, Randolph Peters wrote:
There is a nice article (and video) of Finale List member Darcy
Argue in Saturday's Globe and Mail.
http://
so easy to work with as a score.or am I wrong?
Is there a more elegant and professional way of working with this?
Using Fin2010 on Win.
Thanks
/D
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timothy price
timothy.pr...@valley.net
Having never seen any other example of your 2nd notation, No. 1 looks
like most of the keyboard literature I have.
Looks normal to me and easy to understand, especially with only one
voice part. Sometimes, with 4 or 5 voices,
it gets problematic and a "r.h." or "l.h." may be added , and then
the file through -39.
But fortunately, going to the previous day's file, I can redo the
score to the form I had finally arrive at, and do it quickly with no
errors.
tim
On May 8, 2010, at 7:14 AM, Christopher Smith wrote:
On Fri May 7, at FridayMay 7 7:17 PM, timothy price wrot
as if although the
file was still open, it was already corrupted when both copies were
made.
Harold
At 18:37 -0400 07/05/10, timothy price wrote:
Did you not have a "copy" of the file also? This is usually the
case with Finale. Also, I always do a save as, every time I close
the
file was still open, it was already corrupted when both copies were
made.
Harold
At 18:37 -0400 07/05/10, timothy price wrote:
Did you not have a "copy" of the file also? This is usually the
case with Finale. Also, I always do a save as, every time I close
a file afte
iginally 2008 files saved
as 2009, erased and started anew.
Any hope here?
Thanks,
Harold
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alternative would perhaps be to remove the 16 feet registers
from the pedal and play that line in the pedal, one octave lower, and
then quickly add the 16 feet and continue playing in the pedal.
Hope it helps,
Pedro
drei...@gmail.com
On Fri, May 7, 2010 at 14:58, timothy price
wrote
Am adding the earlier email, John. It seems to suggest that dynamics
not be included in writing for the organ today.
That was something I would like to make clear: that dynamics are
important in indicating how a piece is to
be interpreted, according to the composer. Have no idea why explicit
On Apr 18, 2010, at 4:24 PM, David W. Fenton wrote:
On 18 Apr 2010 at 9:40, timothy.price wrote:
On Apr 17, 2010, at 7:50 PM, David W. Fenton wrote:
The player could tell from the content of the music what was
intended in regard to all of those parameters. So can any
properly-trained modern
On Apr 17, 2010, at 7:50 PM, David W. Fenton wrote:
The player could tell from the content of the music what was intended
in regard to all of
those parameters. So can any properly-trained modern organist.
That may be the problem with the academic world view of music, thus
one might read a b
On Mar 14, 2010, at 2:03 PM, Robert Patterson wrote:
reversing the mouthpiece *definitely*
does.
As radical an idea as actual experimentation may be, I tried it on my
trumpet, and by gosh, you get a much louder sound
using the reversed mouthpiece. Imagine that !
timothy.key.price
timoth
On Oct 2, 2009, at 8:06 PM, Guy Hayden wrote:
You have ACEbG. Half diminished in sound but
what came before it and what comes after it?
Correction,
Playing in the key of Eb:
BbCEbG: ACEbG; ACEbF; etc.
timothy price
timothy.pr...@valley.net
On Oct 2, 2009, at 8:06 PM, Guy Hayden wrote:
You have ACEbG. Half diminished in sound but
what came before it and what comes after it?
Playing in the key of Eb:
BbCE G: ACEbG; ACEbF; etc.
timothy price
timothy.pr...@valley.net
horn is used which would not sound satisfying with trombone or
horn instead?
timothy price
timothy.pr...@valley.net
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timothy price
[EMAIL PROTECTED]
Hi Dennis,
Was wondering if you had a site where I could stream or download
(listen to) anything using quarter-tones? Have never heard any music,
to my knowledge, composed as such.
What is the basic tonality? I mean, does it mater, whether it is
FYI
Musicians use both sides of their brains more frequently than average
people
Vanderbilt University
Thu, 02 Oct 2008 06:11 UTC
Supporting what many of us who are not musically talented have often
felt, new research reveals that trained musicians really do think
differently than the re
f list)?
>
> John
>
>
> At 11:43 PM + 2/25/06, John Bell wrote:
>> and Ma Mere l'Oye of course.
>>
>>
>> On 25 Feb 2006, at 17:29, John Bell wrote:
>>
>>> Also the works of Byrd and Birtwhistle I suspect.
>>>
>>> J
on 4/16/04 10:37 PM, timothy price at [EMAIL PROTECTED] wrote:
more information about these 64 MB samples
available at:
http://www.sweetwater.com/store/detail/PianoCDv3/>
> Tim Price
> Fairlee, VT
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For those of you who are searching for more realistic piano sounds for your
sampler, you may want to look here.
http://www.sweetwater.com/store/detail/PianoCDv3/
Timothy
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