On 6 Jul 2005, at 20:30, Darcy James Argue wrote:
There is no "New Window" menu item on the Mac.
Where are you looking? This menu item has been in every version of
Finale I've had, from 3.0 to 2005b. It's in the "Window" menu.
Michael Cook
___
Fi
On 07 Jul 2005, at 3:21 AM, Michael Cook wrote:
On 6 Jul 2005, at 20:30, Darcy James Argue wrote:
There is no "New Window" menu item on the Mac.
Where are you looking? This menu item has been in every version of
Finale I've had, from 3.0 to 2005b. It's in the "Window" menu.
I stand correc
On Jul 7, 2005, at 1:10 AM, Darcy James Argue wrote:
It just strikes me as potentially confusing to have separate windows
for each part (plus the score) when they are not, in fact, separate
documents. The name in the title bar is different for each part
(obviously), but this really is like
On Wed, 6 Jul 2005, "Richard Yates" <[EMAIL PROTECTED]>, wrote:
>>> > What does a 12th-note look like?
>http://www.yatesguitar.com/misc/TwelfthNote.jpg
I make that a 3/32 note.
--
K C Moore
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Finale@shsu.edu
http://lists.shsu.e
Tyler wrote:
Now if you want to get specific,
the reason other people wanted it was because those
other people saw a point in it. And quite frankly so
did the people at MakeMusic. But when it comes right
down to it, the reason to include the feature stems
first from the fact that people WANT it.
Paul Hayden schrieb:
Two questions about using "tacet":
1. An instrument is not used in the first movement of a multi-movement
work. Should the instrument be included on the first page of music in
the score (and then perhaps deleted on other pages of the first movement)?
I was recently editi
Johannes Gebauer wrote:
2. When creating the part for that instrument, should I just put "I.
TACET" and then start the second movement directly below on the same
page?
Yes. If the first movement is short your could also consider notating it
as multimeasure rests, but it is not necessary
Owain Sutton wrote:
Noel Stoutenburg wrote:
David W. Fenton opined:
part extraction is something *everyone* has to do, unless they aren't
preparing any performance materials at all.
Among the sizeable areas of publishing today do not make much use of
part extraction: 1) hymn tunes an
Richard Yates wrote:
Among the sizeable areas of publishing today do not make much use of
part extraction: 1) hymn tunes and song books, which are prepared and
printed in close score, and 2) songs, including pop vocal music, and 3)
choral music, where the voice parts are printed in full score,
Richard Yates wrote:
What does a 12th-note look like?
http://www.yatesguitar.com/misc/TwelfthNote.jpg
That's a joke, right?
I am sure that it will turn up in Finale2007 if enough people ask for it.
Apparently only if those people who ask for it aren't currently Finale
users -- many o
Mark D Lew wrote:
On Jul 6, 2005, at 3:46 AM, dhbailey wrote:
And I fail to see how this linked score/parts would not benefit
practically every Finale user.
Well, it wouldn't benefit me, since I almost never extract parts. My
work is about 99% piano-vocal or choral, so there's never any p
David W. Fenton wrote:
On 6 Jul 2005 at 20:40, Christopher Smith wrote:
[re: Human Playback:]
Some items, like trills, are surprisingly good, though.
How do you control what note it starts on?
And are the trills metronomically regular, or do they start slow and
then speed up? Can they be
> >>> > What does a 12th-note look like?
>
> >http://www.yatesguitar.com/misc/TwelfthNote.jpg
>
> I make that a 3/32 note.
>
Maybe we should drop all of this fraction nonsense, join the rest of the
world, and go with the metric system.
___
Finale mailin
Richard Yates wrote:
What does a 12th-note look like?
http://www.yatesguitar.com/misc/TwelfthNote.jpg
I make that a 3/32 note.
Maybe we should drop all of this fraction nonsense, join the rest of the
world, and go with the metric system.
I'm trying to learn a Ferneyhough piece at th
Matthew Hindson Fastmail Account wrote:
Tyler wrote:
Now if you want to get specific,
the reason other people wanted it was because those
other people saw a point in it. And quite frankly so
did the people at MakeMusic. But when it comes right
down to it, the reason to include the feature stem
Owain Sutton wrote:
Richard Yates wrote:
What does a 12th-note look like?
http://www.yatesguitar.com/misc/TwelfthNote.jpg
I make that a 3/32 note.
Maybe we should drop all of this fraction nonsense, join the rest of the
world, and go with the metric system.
I'm trying to learn
Tyler Turner schrieb:
If 90% of
Finale users will never get the bulk of their personal
compositions performed by real people, don't you think
something like GPO will be more attractive to them
than linked parts?
That is assuming that more than 90% of Finale users use Finale for their
own c
Tyler Turner schrieb:
Personally, I think GPO is going to be a much bigger
selling point that linked parts. Why? How many times
do composers click play as opposed to extracting
parts? I don't believe part extraction is done as
commonly as some people here believe. It wasn't a
frequent topic on t
Johannes Gebauer wrote:
Tyler Turner schrieb:
Personally, I think GPO is going to be a much bigger
selling point that linked parts. Why? How many times
do composers click play as opposed to extracting
parts? I don't believe part extraction is done as
commonly as some people here believe. It wa
Johannes Gebauer wrote:
Tyler Turner schrieb:
If 90% of
Finale users will never get the bulk of their personal
compositions performed by real people, don't you think
something like GPO will be more attractive to them
than linked parts?
That is assuming that more than 90% of Finale users
I haven't followed the whole discussion yet, but I do hope that if/when
Finale reinvents dynamic score and parts linking they also come up with
a new intelligent way of handling cue notes.
Here is what I think would be the least:
1) Mark target part.
2) Command Cue Notes
3) Mark source part
Th
Tyler Turner schrieb:
If 90% of
Finale users will never get the bulk of their personal
compositions performed by real people, don't you think
something like GPO will be more attractive to them
than linked parts?
Thinking about this theory even more, why on earth any of these
composers who
If a plugin has trouble doing cue notes, why would it be any easier in the
native program? If you care how the cue notes look, no automation MM is likely
to come up with is like to be good enough. If you don't care, then TGTools is
sufficient, although there are a few tweaks that would be helpfu
Tyler Turner schrieb:
If 90% of Finale users will never get the bulk of their personal
compositions performed by real people, don't you think
something like GPO will be more attractive to them
than linked parts?
Johannes Gebauer wrote:
That is assuming that more than 90% of Finale users use Fi
Yes, that's at the top of my list too: Intelligent vertical spacing for
staves within each system and between each system.
I can't imagine which users would not benefit from this feature. As a
performer, I'm sick of having to use scores where the staves are too
far apart: in many cases people
Johannes Gebauer wrote:
That is assuming that more than 90% of Finale users use Finale for
their own compositions - hardly likely. Probably more like 10%.
I just took a quick mental survey of all the people I personally know
who use Finale. Out of the 25 or so users, only 2 use it exclusively
Randolph Peters wrote:
Johannes Gebauer wrote:
That is assuming that more than 90% of Finale users use Finale for
their own compositions - hardly likely. Probably more like 10%.
I just took a quick mental survey of all the people I personally know
who use Finale. Out of the 25 or so users,
Randolph Peters schrieb:
Johannes Gebauer wrote:
That is assuming that more than 90% of Finale users use Finale for
their own compositions - hardly likely. Probably more like 10%.
I don't know what percentage I'm in, but I use Finale only for my
compositions, I get my compositions performe
Robert,
I don't think you quite understood what I am after. I find the basic
concept of how cue notes are included in the first place very short
sighted. Simply adding them to a free layer is always going to cause all
sorts of problems. What I want is a separate cue notes layer.
The reason I
On 7/6/05, Tyler Turner <[EMAIL PROTECTED]> wrote:
>
> Personally, I think GPO is going to be a much bigger
> selling point that linked parts. Why? How many times
> do composers click play as opposed to extracting
> parts? I don't believe part extraction is done as
> commonly as some people here b
On 7/6/05, Aaron Sherber <[EMAIL PROTECTED]> wrote:
> In dynamic parts, each part is nothing more or less than a special
> view of the score.
>From a software engineering standpoint, this is the way it should be.
Word processors and many other applications have been doing this for
years: Store t
I do see what you are after (a cue note layer). I just don't see enough added
benefit to enough users that it will happen. That said, from what I've seen
starting in Fin04, MM has laid the groundwork for more than 4 layers. Whether
they ever implement them remains to be seen.
Obviously, you car
At 11:51 AM -0600 7/6/05, John Abram wrote:
A twelfth note is a triplet eighth note. They are sometimes used in
new music (eg Mark-Anthony Turnage has used it frequently I believe)
Henry Cowell was way ahead of the game with this sort of thinking.
Why is 12/12 not like 12/8? Because 12/8 is n
John Howell wrote:
If it quacks like a duck, it's a duck. If it sounds like triplets, it's
triplets.
Except if it's not grouped in threes.
Feel free to invent your own notation; just don't
expect us old fogey traditionalists to read it.
We're not inventing it - we're nearly a centu
At 8:27 PM -0600 7/6/05, John Abram wrote:
On 6-Jul-05, at 5:19 PM, [EMAIL PROTECTED] wrote:
You're really splitting hairs here -- putting 3 evenly spaced notes
within one beat sounds like triplets to me, no matter how it's
represented in the time signature.
Yes it sounds the same, like "witc
At 01:08 PM 7/7/05 -0400, John Howell wrote:
>Poor example, I'm afraid, and one that suggests you are not a singer.
>"Which," "whoa," and other "wh" words like "where" properly start
>with a phoneme produced by a puff of air blown through pursed lips.
>"Witch," and "woe" and "ware" do not. The
On Jul 7, 2005, at 7:44 AM, Richard Yates wrote:
What does a 12th-note look like?
http://www.yatesguitar.com/misc/TwelfthNote.jpg
I make that a 3/32 note.
Maybe we should drop all of this fraction nonsense, join the rest of
the
world, and go with the metric system.
You've been readin
Putting the mechanics aside for a moment, could someone please explain what you
can do with 12/12 that you CANNOT do using standard meters, or combinations
thereof ?
There must be a good cause to write something that most accomplished musicians
may have difficulty sight reading because of some
On Jul 7, 2005, at 2:00 AM, Noel Stoutenburg wrote:
Christopher Smith wrote:
Yet my concern about slowdown holds even more with a new beam
algorithm. Even now, I often find myself "getting ahead" of Speedy
Entry. I discovered, disconcertingly, that Finale "remembers" the
numeric keypad keys
Hey all,
If you have any requests for improving Human Playback, you should send
them directly to the guy responsible for the feature, Robert Piéchaud.
He's very nice and very responsive.
<[EMAIL PROTECTED]>
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 07 Jul 2005, at 7:30 AM, dhbailey w
At 5:45 PM +0100 7/7/05, Owain Sutton wrote:
John Howell wrote:
If it quacks like a duck, it's a duck. If it sounds like triplets,
it's triplets.
Except if it's not grouped in threes.
In which case it doesn't sound like triplets!
Feel free to invent your own notation; just don't expect us
Some people simply have, for whatever reason, a vested interest in
superficial complexity.
(Flame-retardant suit snugly on. Somebody has to say that the Emperor
sometimes has little or no clothing.)
- Original Message -
From: <[EMAIL PROTECTED]>
To:
Sent: Thursday, July 07, 2005 12:4
I once read an article on the subject of the "modern composer's" love
affair with making life as difficult as possible for the performer. The
article ended with an example. The rythms were amazingle complex and the
example looked someone had spilt a bag of sharps and flats over the page.
--- dhbailey <[EMAIL PROTECTED]>
wrote:
> Johannes Gebauer wrote:
>
> >
> >
> > Tyler Turner schrieb:
> >
> >> If 90% of
> >> Finale users will never get the bulk of their
> personal
> >> compositions performed by real people, don't you
> think
> >> something like GPO will be more attractiv
On Jul 7, 2005, at 1:49 PM, [EMAIL PROTECTED] wrote:
Putting the mechanics aside for a moment, could someone please explain
what you can do with 12/12 that you CANNOT do using standard meters,
or combinations thereof ?
Not so much 12/12, but say 5/12.
Let's say you were honking along happ
[EMAIL PROTECTED] wrote:
Putting the mechanics aside for a moment, could someone please explain what you
can do with 12/12 that you CANNOT do using standard meters, or combinations
thereof ?
>
Turning again to Ferneyhough:
A passage of four bars, with the following time signatures:
7/
Tyler Turner schrieb:
Addressing the point in another post about the
inclusion of GPO being a catch up to Sibelius Kontakt
implementation - this isn't the case. Finale was
already pretty much on par. The sounds weren't quite
up to Sibelius', but Sibelius only includes 20 sounds,
and only 8 can
On 7-Jul-05, at 11:00 AM, John Howell <[EMAIL PROTECTED]> wrote:
A twelfth note is a triplet eighth note. They are sometimes used in
new music (eg Mark-Anthony Turnage has used it frequently I believe)
Henry Cowell was way ahead of the game with this sort of thinking.
Why is 12/12 not like 1
On 07 Jul 2005, at 2:12 PM, Christopher Smith wrote:
But then later, you are playing some triplets which work out perfectly, but you ONLY NEED FIVE OF THEM, not six. If you needed 6, then a bar of 2/4 with triplets marked normally would be great. But if you want a new downbeat after you've only p
At 08:30 PM 7/7/05 +0200, Johannes Gebauer wrote:
>Well, actually, on any mid-range Mac, my pretty new iBook included, 8
>sounds is already over the top. Crackling, drop outs etc. So don't give
>me that, 64 is probably even impossible on a top range PC.
What's chewing all the CPU? In Sonar, I ca
Darcy James Argue wrote:
On 07 Jul 2005, at 2:12 PM, Christopher Smith wrote:
But then later, you are playing some triplets which work out
perfectly, but you ONLY NEED FIVE OF THEM, not six. If you needed 6,
then a bar of 2/4 with triplets marked normally would be great. But
if
On 07 Jul 2005, at 2:42 PM, Dennis Bathory-Kitsz wrote:
At 08:30 PM 7/7/05 +0200, Johannes Gebauer wrote:
Well, actually, on any mid-range Mac, my pretty new iBook included, 8
sounds is already over the top. Crackling, drop outs etc. So don't
give
me that, 64 is probably even impossible on a
On Jul 7, 2005, at 5:55 AM, Johannes Gebauer wrote:Thinking about this theory even more, why on earth any of these composers who want playback more than output chose Finale in the first place, is am complete mystery to me. And I doubt that even with the latest improvements Finale is going to be the
>
> At 08:30 PM 7/7/05 +0200, Johannes Gebauer wrote:
> >Well, actually, on any mid-range Mac, my pretty new iBook included, 8
> >sounds is already over the top. Crackling, drop outs etc. So don't give
> >me that, 64 is probably even impossible on a top range PC.
>
> What's chewing all the CPU? In
--- Johannes Gebauer <[EMAIL PROTECTED]>
wrote:
>
>
> Tyler Turner schrieb:
> > Addressing the point in another post about the
> > inclusion of GPO being a catch up to Sibelius
> Kontakt
> > implementation - this isn't the case. Finale was
> > already pretty much on par. The sounds weren't
> q
Lee,
It's not Finale. It's the Native Instruments Kontakt Player. The Mac
version sucks. Results are equally awful playing back GPO instruments
from a sequencer.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 07 Jul 2005, at 2:50 PM, Lee Actor wrote:
At 08:30 PM 7/7/05 +0200, Johanne
On 7 Jul 2005 at 0:22, Christopher Smith wrote:
> On Jul 6, 2005, at 11:39 PM, David W. Fenton wrote:
[]
> > Is your MIDI interface USB? If so, you may have something else
> > contending for the bandwidth of the USB interface, and that could be
> > the reason you're having the problem.
>
> I ha
On 7 Jul 2005 at 1:10, Darcy James Argue wrote:
> On 06 Jul 2005, at 11:25 PM, Christopher Smith wrote:
>
> > But you HAD objected to the concept of having two different windows
> > open on the same file - why?
>
> I personally much prefer the default Sibelius behavior, where you can
> simply cl
Tyler Turner wrote:
No, I'm quite sure that a large majority of Finale
users use Finale at least in part for their own
personal compositions. I can draw this conclusion from
my own experience dealing with a sampling of thousands
of Finale users as well as other sources.
Compositional use of Fin
Lon Price wrote:
[snip]>
I'm surprised that this dynamic part linking issue is suddenly such a
big deal to everybody. Like I said in an earlier post, MOTU's Mosaic
had that feature, and if MOTU hadn't completely abandoned that program,
I would never have bought Finale. I've always missed this
A sincere thank you for the resposes to my question.
My humble opinion still stands, that using an esoteric meter such as
/12 will return an uncertain performance.
Richard
PS - What is the notation for a twelth note ? If an 8th is a single flag and a
16th is double flag, is a 12th note a fl
dhbailey schrieb:
Now that we have seen how Sibelius has done it (very elegantly from what
I've seen of the demo) and we know it can be done, we're clamoring for
it more.
Although I agree, Robert P. has got me thinking. I do fear that not only
is this going to be a really major change in p
[EMAIL PROTECTED] wrote:
A sincere thank you for the resposes to my question.
My humble opinion still stands, that using an esoteric meter such as /12 will return an uncertain performance.
*Can* result in it, not *will* result.
PS - What is the notation for a twelth note ? If an 8th is
I'm with you, Richard.
The Louisville Orchestra has played as much or more new music as any
other orchestra anywhere in the 34 years of which I have been a member.
Any type of tuplet gets instant recognition. Any type of "12th note"
would meet with confusion and consternation, and would requ
While we are on about it: House styles is another area where Sibelius is
far superior to Finale.
Several times I have suggested ways how some house style functionality
could be added to Finale with as I understand very limited programming
effort (as most of it is already in Finale, just not us
On Jul 6, 2005, at 1:02 PM, David W. Fenton wrote:
It seems to me self-evident that linked parts are the way Finale
should have been designed from the beginning. ...The data
file is a database, and there are various report views for showing
that data and subsets of that data
Then the only q
I don't know how efficient Finale playback is on Macs without GPO, but on
PCs it's horrendous. I use Finale to drive external MIDI devices, which you
wouldn't think would very strenuous, but I can't even reliably record the
audio output from my mixer in another app at the same time, on a very fast
On Jul 6, 2005, at 1:29 PM, Aaron Sherber wrote:
In dynamic parts, each part is nothing more or less than a special
view of the score. The reason that note changes to score are reflected
immediately in the parts and vice versa is because the notes are only
stored in one place. On the other
Thank you Owain for your response.
If I understand your correction of "will" to "can" correctly, you agree that it
can return an uncertain result. Okay, I can accept that.
Richard
>
> From: Owain Sutton <[EMAIL PROTECTED]>
> Date: 2005/07/07 Thu PM 04:17:50 EDT
> To: finale@shsu.edu
> Subje
On 7 Jul 2005 at 1:00, Noel Stoutenburg wrote:
> Christopher Smith wrote:
>
> > Yet my concern about slowdown holds even more with a new beam
> > algorithm. Even now, I often find myself "getting ahead" of Speedy
> > Entry. I discovered, disconcertingly, that Finale "remembers" the
> > numeric k
"Link/Unlink to score" would be great.
- Darcy
Indeed it would--provided that turning on this feature did not
immediately change anything in either linked file.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
___
Finale mai
On 7 Jul 2005 at 19:48, Matthew Hindson Fastmail Account wrote:
> Tyler wrote:
>
> > Now if you want to get specific,
> > the reason other people wanted it was because those
> > other people saw a point in it. And quite frankly so
> > did the people at MakeMusic. But when it comes right
> > down
[EMAIL PROTECTED] wrote:
Thank you Owain for your response.
If I understand your correction of "will" to "can" correctly, you agree that it can return an uncertain result. Okay, I can accept that.
Yep - and so can any notation ;)
___
Finale mail
On Jul 6, 2005, at 6:52 PM, Paul Hayden wrote:
Two questions about using "tacet":
1. An instrument is not used in the first movement of a multi-movement
work. Should the instrument be included on the first page of music in
the score (and then perhaps deleted on other pages of the first
move
On 7 Jul 2005 at 17:57, Johannes Gebauer wrote:
> I don't think you quite understood what I am after. I find the basic
> concept of how cue notes are included in the first place very short
> sighted. Simply adding them to a free layer is always going to cause
> all sorts of problems. What I want i
On 7 Jul 2005 at 10:15, Technoid wrote:
> On 7/6/05, Aaron Sherber <[EMAIL PROTECTED]> wrote:
>
> > In dynamic parts, each part is nothing more or less than a special
> > view of the score.
>
> >From a software engineering standpoint, this is the way it should be.
> Word processors and many oth
On Jul 7, 2005, at 2:27 PM, Darcy James Argue wrote:
On 07 Jul 2005, at 2:12 PM, Christopher Smith wrote:
But then later, you are playing some triplets which work out perfectly, but you ONLY NEED FIVE OF THEM, not six. If you needed 6, then a bar of 2/4 with triplets marked normally would be gr
On 7 Jul 2005 at 12:37, John Howell wrote:
> Seems to me that talking about "beats" compounds (sorry!) the
> confusion. Yes, 12/8 can indicate 4 "beats" per bar; that's sort of
> the default interpretation. At a slower tempo, however, it can
> indicate 12 "beats" per bar. I've conducted Bach s
On Jul 7, 2005, at 3:36 PM, David W. Fenton wrote:
Do you have a non-USB keyboard port? If so, I'd try getting the
keyboard off the USB bus so that MIDI is on USB and the rhythmic
values you're typing is *not* on USB.
Umm, AFAIK USB is the only option for Mac keyboard plugging in.
That ac
Andrew Stiller schrieb:
On Jul 6, 2005, at 1:29 PM, Aaron Sherber wrote:
In dynamic parts, each part is nothing more or less than a special
view of the score. The reason that note changes to score are reflected
immediately in the parts and vice versa is because the notes are only
stored in
David W. Fenton schrieb:
I've always felt that the key to a sensible implementation of cue
notes was in the MIRROR feature.
But nobody uses that because it's all bollixed up and doesn't really
work.
If they fixed that, it would give you a lot of what you desire with
linked cue notes. If t
Owain Sutton wrote:
[EMAIL PROTECTED] wrote:
Thank you Owain for your response.
If I understand your correction of "will" to "can" correctly, you
agree that it can return an uncertain result. Okay, I can accept that.
Yep - and so can any notation ;)
Now there's no need to bring hemio
Richard
As Creston sez:
It looks exactly the same but what it looks like is a 'transposition'
in that a 1/6 note looks exactly like a 1 quarter note in a quarter
note triplet. In 6/6 the tuplet bracket would still be applied.
Either way this kind of rhythm will entail explication. The probl
On 07 Jul 2005, at 4:24 PM, Johannes Gebauer wrote:
While we are on about it: House styles is another area where Sibelius
is far superior to Finale.
Several times I have suggested ways how some house style functionality
could be added to Finale with as I understand very limited programming
e
On 07 Jul 2005, at 4:36 PM, Andrew Stiller wrote:
On Jul 6, 2005, at 1:29 PM, Aaron Sherber wrote:
In dynamic parts, each part is nothing more or less than a special
view of the score. The reason that note changes to score are
reflected immediately in the parts and vice versa is because th
Owain Sutton wrote:
> [EMAIL PROTECTED] wrote:
>
>> Thank you Owain for your response.
>>
>> If I understand your correction of "will" to "can" correctly, you
>> agree that it can return an uncertain result. Okay, I can accept that.
>
>
> Yep - and so can any notation ;)
And I can agree with
Hi Chris,
You have two possible solutions:
1) Get a FireWire MIDI interface.
2) Get a USB 2.0 card and a Belkin Tetrahub:
http://tinyurl.com/6s9mf
I have a FW MIDI interface and I never have a problem with Speedy not
keeping up with MIDI input.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On Jul 7, 2005, at 1:08 PM, John Howell wrote:
"Which," "whoa," and other "wh" words like "where" properly start with
a phoneme produced by a puff of air blown through pursed lips.
"Witch," and "woe" and "ware" do not. The pronunciation is often
confused by young children, rap artists, and s
Looking that MOTU just updated Digital Performer to 4.6 for free to it's
4.5 users, and seeing all the GREAT improvements, it makes me laugh at
MakeMusic and Finale. My God, there are a lot of useful, functional
features that I can get for FREE updating to 4.6. Congrats MOTU!
Honestly, this la
On 7 Jul 2005 at 13:08, John Howell wrote:
> At 8:27 PM -0600 7/6/05, John Abram wrote:
>
> >On 6-Jul-05, at 5:19 PM, [EMAIL PROTECTED] wrote:
> >>You're really splitting hairs here -- putting 3 evenly spaced notes
> >>within one beat sounds like triplets to me, no matter how it's
> >>represented
On Jul 7, 2005, at 1:34 PM, Christopher Smith wrote:
Next year, metric clocks!
...which you can see, BTW, on the walls in Fritz Lang's Metropolis.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
___
Finale mailing list
Finale@s
Robert Patterson and Johannes Gebauer have raised some excellent points
about the feasibility of a single-file solution for Dynamic Parts in
Finale. There is also the issue of a possible additional performance
hit if Finale were to implement "live updating" as Sibelius does.
What about a mult
On 7 Jul 2005 at 14:04, John Howell wrote:
> But the
> purpose of notation is, and always has been, communication. I simply
> do not choose to learn or perform music that requires me to learn new
> notation, unless the music itself is so great that the effort is worth
> while.
That's an odd sta
And you can add to these: music examples for books.
BF
Noel Stoutenburg wrote:
David W. Fenton opined:
part extraction is something *everyone* has to do, unless they aren't
preparing any performance materials at all.
Among the sizeable areas of publishing today do not make much use of
par
Christopher Smith wrote:
and I would put a bracketed 3 tuplet over
> the first group, and the same over the second group (even though there
> are only TWO notes in it) for clarity.
while i certainly agree with your post i think that tuplets are redundant
here, as the /12 is meaning that already
On 7 Jul 2005 at 11:46, Lon Price wrote:
> I'm surprised that this dynamic part linking issue is suddenly such a
> big deal to everybody. Like I said in an earlier post, MOTU's Mosaic
> had that feature, and if MOTU hadn't completely abandoned that
> program, I would never have bought Finale.
On 7 Jul 2005 at 11:50, Lee Actor wrote:
> > At 08:30 PM 7/7/05 +0200, Johannes Gebauer wrote:
> > >Well, actually, on any mid-range Mac, my pretty new iBook included,
> > >8 sounds is already over the top. Crackling, drop outs etc. So
> > >don't give me that, 64 is probably even impossible on a t
At 05:52 PM 7/7/05 -0400, David W. Fenton wrote:
>Notation and musical style should be intimately linked.
I agree with you in all respects, from early music to new music.
And, in case I haven't mentioned it, I highly recommend the brand new
"SoundVisions" by Moeller/Shim/Staebler. It's a worthy s
On 7 Jul 2005 at 22:15, Johannes Gebauer wrote:
> However, here is an idea: How about inventing a "Project File"
> architecture, where the linking is done via a project file which
> doesn't include any actual notation data, but just keeps track of all
> linked score and part files. When you need
Gerald Berg wrote:
As for 7/10 or 13/20 -- there's a fraction too far.
Why? It's easily playable, and it's something that cannot possibly be
notated another way, unlike x/12. And, like it or not, it's found its
way into mainstream notation and publication.
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