Re: [Finale] Interesting behavior
At 4:29 PM -0400 9/30/09, dhbailey wrote: And I can't think of very many musical situations where you would want some of the musicians to be in one key and others to be in a different key, even if enharmonically equivalent. Au contraire! Writing for a university show ensemble with a 12-piece showband, we always put the music in the right keys for the voices, which often put the alto and bari in multiple sharps. I always crossed over to give them fewer flats rather than more sharps, and never had a problem with it. I agree with Aaron that even if a person wants two different key signatures, it should definitely be the users' decision, not the program's. Absolutely! But most of that writing was in the days of hand copying, and sometimes my mind refused to cooperate! P.S. by the time you're writing music with 7 flats -- it's for advanced musicians who should be equally comfortable playing in flats or sharps. I have to say that my alto and bari players learned to take multiple sharps in stride and sightread them just fine, and these were college students who likely were NOT music majors. They just got used to it. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Interesting behavior
At 2:59 PM -0400 9/30/09, Phil Daley wrote: From what I have seen, string instruments are more comfortable playing in sharps. True (although not responsive to the question), but for two very specific reasons. 1. There are more open strings available in sharp keys. You start losing open strings with the 2nd flat, but not until the 3rd sharp. Not so important in classical music, VERY important in bluegrass and traditional Old Time. 2. Playing in 6 flats forces us to sightread in half position, which is cramped and a bit awkward. Playing in 6 sharps lets us sightread in regular 1st position (actually first-and-a-half position), and is more comfortable. They should be exactly equivalent, but for string players they are not. However, rules of thumb have their limitations. Orchestral string players must and do play in any key that's put in front of us. There's a long section in the middle of 1812 that's in 6 flats (and boring as heck!). Trombones are more comfortable playing in flats. Of course. The instruments are built in a flat key, so the 1st position notes are all solid in flat keys up to Fbs. But trombones can play in any key (as can any instrument, give or take bluegrass banjo). Those rules of thumb are valid for beginners, and to a slight extent for intermediate players. It's more a matter of their never seeing extreme keys on the other side than not being able to play them. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Interesting behavior
Klaus Smedegaard Bjerre wrote: And advanced musicians also will understand that a Db and a C# is the same during instructions. The number of sharps and flats shall always be kept as low as possible. I agree that the number of sharps and flats shall always be kept as low as possible in principle, but one also has to take into account the number of changes from one key to another key. In the work in question, the modulation is from Cb to Ab -- which only changes 3 of the accidentals in the key signature. If the Cb section were to be written in B, then there would be 9 changes of accidentals (5 sharps to be naturalized plus 4 flats to be added), with some notes which had been sharps becoming flats. So to Klaus's rule I would add the following corollary: While keeping the number of flats and sharps as low as possible, also take into account any key changes and select the keys on either side of the change depending on how many pitches would be affected by the change and keep the affected pitches to a minimum. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Interesting behavior
[mailto:finale-boun...@shsu.edu] On Behalf Of John Howell From what I have seen, string instruments are more comfortable playing in sharps. True (although not responsive to the question), but for two very specific reasons. 1. There are more open strings available in sharp keys. You start losing open strings with the 2nd flat, but not until the 3rd sharp. Nice observation. Hadn't thought of it that way. Even more true for guitar, on which you lose an open string with the first flat and every one after that down to c flat (Yah! It's an open string!). Also, on a string instrument, you can always sharp a note by going up on the same string while flatting often requires moving to a different string. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] TAN: Cocoa Booklet no longer working in Snow Leopard
With some worry I have just found out that Cocoa Booklet is no longer working in Snow Leopard. It was my favourite tool to create booklets. Does anyone know of a working replacement? Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Cocoa Booklet no longer working in Snow Leopard
Thanks for the heads up. I like this program as well and will be looking for a replacement. Here is what the developer says on his web site: http://www.iconus.ch/fabien/page33/page33.html Snow Leopard compatibility: Without warning, Apple has completely removed all the Cocoa-Java components in Snow Leopard. Since all of my applications rely heavily on Cocoa-Java and Java, they will all require a complete rewrite to work with Snow Leopard. Since developping software applications is a hobby and since I have a full time job to pay the bills, I cannot spend my whole time working on rewriting my applications. Therefore, I cannot make any promise for a new release date, but I will do my best. *** -Randolph Peters On 2009-10-01, at 8:04 AM, Johannes Gebauer wrote: With some worry I have just found out that Cocoa Booklet is no longer working in Snow Leopard. It was my favourite tool to create booklets. Does anyone know of a working replacement? Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Cocoa Booklet no longer working in Snow Leopard
If you use an HP printer, you can easily create booklets using the print driver. Brian On 10/1/09 10:00 AM, Johannes Gebauer wrote: With some worry I have just found out that Cocoa Booklet is no longer working in Snow Leopard. It was my favourite tool to create booklets. Does anyone know of a working replacement? ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] TAN: Cocoa Booklet no longer working in Snow Leopard
On 01.10.2009 Brian Williams wrote: If you use an HP printer, you can easily create booklets using the print driver. Brian I have an HP LJ 5000 but the booklet option is grayed out, no? How does it work? Acrobat prints booklets, but I simply liked the Cocoa Booklet approach... Johannes ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Interesting behavior
I suspect the A# major triad(s) in my brass quartet gave the players involved a chance to cash in some practive routines that they don't get to redeem very often! ajr At 4:29 PM -0400 9/30/09, dhbailey wrote: And I can't think of very many musical situations where you would want some of the musicians to be in one key and others to be in a different key, even if enharmonically equivalent. Au contraire! Writing for a university show ensemble with a 12-piece showband, we always put the music in the right keys for the voices, which often put the alto and bari in multiple sharps. I always crossed over to give them fewer flats rather than more sharps, and never had a problem with it. I agree with Aaron that even if a person wants two different key signatures, it should definitely be the users' decision, not the program's. Absolutely! But most of that writing was in the days of hand copying, and sometimes my mind refused to cooperate! P.S. by the time you're writing music with 7 flats -- it's for advanced musicians who should be equally comfortable playing in flats or sharps. I have to say that my alto and bari players learned to take multiple sharps in stride and sightread them just fine, and these were college students who likely were NOT music majors. They just got used to it. John -- John R. Howell, Assoc. Prof. of Music Virginia Tech Department of Music College of Liberal Arts Human Sciences Blacksburg, Virginia, U.S.A. 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:john.how...@vt.edu) http://www.music.vt.edu/faculty/howell/howell.html We never play anything the same way once. Shelly Manne's definition of jazz musicians. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] O.T. Telemann's Heroic Marches / Heldenmusic
Good Day: The 12 Heroic Marches by Telemann are a staple for trumpet players and weddings; and the music is recorded a lot on organ/trumpet CDs. Telemann published these 12 (or it could have been 24) marches and offered them for sale in a 1728 flyer. Telemann's ad specifically mentioned that while all of the marches could be played on solo keyboard, there were two treble instruments and in some marches a trumpet and horn part was provided. The only copy of Telemann's print that survived was located in Konigsburg, Germany at the University library. That sizable music collection went up in smoke, but Ernst Paetzold apparently made an arrangement for solo instrument and piano (NOT organ) prior to World War 2 (that is my assumption - I don't know this for a fact), and it was published in Berlin in 1949. While I was looking for around online for editions of this piece, I've noticed there are a lot of arrangements for sale (usually by trumpet or organ players). Since the original Telemann source(s) vanished, I would assume these new arrangements based on Paetzold's edition. Would these be in copyright violation, especially in Europe where they seem to have much tighter restrictions on public domain than here in the United States? I'm curious because I'd like to do an edition myself and base it on the Paetzold, since it's the closest thing we have to the original unfortunately. But would that be legal? Thanks, Kim -- Kim Patrick Clow Just be yourself! Everyone else is taken! ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
