RE: [Finale] OT Novice Question
At 3:56 PM -0800 1/28/10, Lee Actor wrote: The solo repertoire for "classical" saxophone is indeed on the thin side; furthermore, even the best of this repertoire (e.g., Ibert, Glazunov. etc.) tends toward a lighter or less serious treatment (for lack of a better term) than composers often use when writing concertos for other instruments. [snip] and given the expressive possibilities of the instrument, I'm surprised that more composers haven't written such pieces for it. I can think of a couple of reasons, at least. Perhaps most important, young composers are inundated (I hesitate to say brainwashed) about the importance of orchestral instruments, virtually all of which have histories (and repertoire!) going back 300 to 500 years. Certainly ensemble repertoire, and often solo repertoire as well. The sax, pace those French composers who tried to add it to the conventional orchestral instrumentarium, has never become a regular member of the orchestra, especially when it's played by a doubling clarinetist rather than a sax specialist when it IS called for. (I wonder when the first sax professor was added to the faculty of the Paris Conservatoire?) Second, I do agree with whoever wrote that it has been too closely associated with jazz through the majority of the 20th century, which again might tend to scare "serious" composers away. Although I wonder whether Hindemith wrote for it as he did for other under-served instruments. (And any instrument which depends on transcriptions of music written for other instruments is, by definition, under-served.) Actually the violin had exactly the same reputation in the first century of its existence, being considered a dance instrument and best left for "professionals and other servants" while the viola da gamba was considered the high class instrument suitable for lady and gentleman amateurs. And third, the almost unbreakable tradition of solo instrument concertos (especially if one counts both 18th and 19th century works) has been so very heavily skewed to piano first, then violin, with cello in a lagging 3rd place and anything else being pretty much invisible, has been awfully hard to buck. Pianists and violinists grow up learning concertos and expecting, some day, to play them. I'd guess that we're still a couple of generations away from sax rising to that level of expectation, or having the repertoire to back it up. And I'd also hazard a guess that the breakthrough will likely come in wind ensemble music rather than orchestral. (Which once again will relegate it to second class status in the minds of too many living composers!) But Lee is exactly right: it's an instrument whose expressive possibilities have been explored more in jazz and in classical chamber music than in a major classical solo role, which means that it may be about time for the best players and the best composers to get together and create the beginning of a 21st century repertoire that will finally exploit the instrument's possibilities. Then, of course, there was the negative influence of Carmen Lombardo! 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] OT Novice Question
Not wild about the term "art music," even if it is used in scare quotes. But there are lots of great classical saxophonists now who are certainly up to the fiercest challenges of contemporary classical music. Brian Sacawa, for one: http://www.briansacawa.com However, Chuck raises an important point -- all of the great classical saxophonists I know are *thoroughly* versed in the jazz saxophone tradition, and it *definitely* informs their approach to, say, Berio. The great saxophone virtuosi are all jazz musicians. Every serious classical saxophonist I know is aware of this. (Of course, the players I know tend to be younger.) To further amplify Chuck's point, for a classical saxophonist to be ignorant of Lester Young and John Coltrane would be like a jazz cellist who was ignorant of Pablo Casals and Jacqueline Du Pré. Cheers, - DJA - WEB: http://secretsociety.typepad.com On 28 Jan 2010, at 7:01 PM, dhbailey wrote: > I think it's kind of a self-fulfilling concept -- "art" music composers don't > write for saxophone because they are aware of so few saxophone players who > are up to the demands of art music, ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT Novice Question
The solo repertoire for "classical" saxophone is indeed on the thin side; furthermore, even the best of this repertoire (e.g., Ibert, Glazunov. etc.) tends toward a lighter or less serious treatment (for lack of a better term) than composers often use when writing concertos for other instruments. Not a criticism (I think the Ibert is a very fine piece), but "classical" saxophonists looking for a concerto of substance, similar in approach to what exists in abundance for pianists and violinists, have very little to choose from. I hope to make a modest contribution to the "serious" side of the repertoire with the premiere of my Concerto for Alto Saxophone and Orchestra next month in northern California. The soloist for whom the piece was written has an actual career playing solo classical saxophone, and during our conversations about the piece-to-be expressed a strong desire for a dramatic, even quasi-theatrical concerto. This fit my thinking exactly, and given the expressive possibilities of the instrument, I'm surprised that more composers haven't written such pieces for it. Lee Actor Composer-in-Residence and Assistant Conductor, Palo Alto Philharmonic Assistant Conductor, Nova Vista Symphony http://www.leeactor.com > These responses have missed whatever point I probably shouldn't have > bothered trying to make here, and that was that there is so little > significant repertoire for "classical" saxophone, despite the > existence of a number of fine players in that style, that favoring > that style in music departments over the jazz style is the equivalent > of hiring a jazz violinist over a classical one. There is a > disprportion of repertoire and interest. Anyone for a jazz oboe > teacher? > > Chuck > > Sent from my iPhone > > On Jan 28, 2010, at 3:30 PM, dhbailey > > wrote: > > > Chuck Israels wrote: > >> I have always thought the classical music of the saxophone is what > >> Coleman Hawkins, Lester Young and Charlie Parker played, and that > >> music departments that don't recognize that are failing to see the > >> world as it is - to almost everyone's detriment. > > > > While that's true, since what they played embodies the vast majority > > of saxophone music, their approach to music reading and > > interpretation is quite different from that used by all the other > > instruments/voices within what is traditionally labeled the > > "classical" (Dennis' Non-Pop) realm. > > > > And if their saxophone playing is truly the classical music of the > > saxophone, where do people like Sigurd Rascher fit in? King > > Curtis? Illinois Jacquet? > > > > Not trying to be argumentative -- truly interested in trying to come > > to grips with the use of these terms in relation to an instrument > > which very clearly straddles the two worlds but has a larger life in > > the jazz world. > > > > And would we then say that Louis Armstrong, Dizzy Gillespie, Miles > > Davis are classical trumpeters? > > > > It's an interesting idea to toss around and clearly illustrates how > > these terms ultimately are meaningless since they can't deal with > > cross-boundary issues. > > > > -- > > David H. Bailey > > dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Novice Question
David W. Fenton wrote: On 28 Jan 2010 at 17:45, Chuck Israels wrote: These responses have missed whatever point I probably shouldn't have bothered trying to make here, and that was that there is so little significant repertoire for "classical" saxophone, despite the existence of a number of fine players in that style, that favoring that style in music departments over the jazz style is the equivalent of hiring a jazz violinist over a classical one. There is a disprportion of repertoire and interest. Anyone for a jazz oboe teacher? One of the members of my viol consort is a very fine classically- trained saxophonist (though his education included full training in jazz, etc., too), and he and I were puzzling a few weeks ago over the lack of interest of modern "classical" composers in writing for saxophone. It's a marvelously versatile instrument and comes with the built-in doubling on the different instruments for any reasonably advanced player. There are also lots of players who'd be really eager to play new music written specifically for the instrument. Perhaps it's too jazz-flavored in the minds of most "serious" composers? Because I happen to have a saxophonist available, I've actually written a piece for soprano sax, piano and viola da gamba. It's not finished, so I don't know if it sounds as good in reality as it does in my head, but I just don't see why more composers of "art" music don't use such a wonderful family of instruments. I think it's kind of a self-fulfilling concept -- "art" music composers don't write for saxophone because they are aware of so few saxophone players who are up to the demands of art music, so the saxophone players who are indeed up to those demands never get the opportunity to play much new music for their instrument, so the composers who attend concerts of new music notice the lack of saxophones in the concert and decide there isn't much interest. I would hate to think that at this late date the stigma attached to saxophones at their birth which precluded all but a few bold (and already established) composers to include them in their orchestral works is still at play. I would love to think we've all grown beyond those old prejudices, but perhaps not. Perhaps the composers of that music still feel that since it has such strong roots in jazz and rock music that writing anything for the saxophone would somehow diminsh their position in the "art" music world. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Novice Question
Chuck Israels wrote: These responses have missed whatever point I probably shouldn't have bothered trying to make here, and that was that there is so little significant repertoire for "classical" saxophone, despite the existence of a number of fine players in that style, that favoring that style in music departments over the jazz style is the equivalent of hiring a jazz violinist over a classical one. There is a disprportion of repertoire and interest. Anyone for a jazz oboe teacher? What, you're going to resurrect Mitch Miller? ;-) I agree that there is a much smaller body of "classical" saxophone repertoire than for any other instrument. And there are certainly far more jobs for jazz/rock/pop sax players than there are for classical sax players, whose main employment is as teachers of other classical saxophone players, it seems. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] F2010 moving from OSX.4 to now
I'm not skepticalI've seen it work and not work. It isn't a huge deal to fix though, and if worst comes to worse you can just create a new user and get all your stuff move to that.except that generally you lose some preferences, but it isn't a huge issue. Like the 10.4 to 10.5 upgrade I did on a G4 mini this last weekend. It was an upgrade (no migration) but it seemed like it worked until it came up with a login screen (which it never did before) and NO USERS.So, I had to create a new user, and then manually moved some folders and stuff and it worked fine. On 1/28/10 3:10 PM, Randolph Peters wrote: Because I had problems with Migration Assistant going from PPC to Intel, I did some research online and found that there was indeed quite a lot of discussion about the issue. It works without flaw for many, but others, such as myself, found that the program would hang. The main solvable problems had to do with some programs or plugins that weren't Universal, Rosetta not installed, and permissions not properly set. Other issues remain unsolved. If anyone is still skeptical (Eric?), see some of the discussion in the following pages: http://discussions.apple.com/thread.jspa?threadID=1571689&tstart=0 http://support.apple.com/kb/TS1963 http://www.macosxhints.com/article.php?story=20070117075034219 http://reviews.cnet.com/8301-13727_7-10330398-263.html http://episteme.arstechnica.com/eve/forums/a/tpc/f/8300945231/m/245006246931 http://www.macosxhints.com/article.php?story=20070829091612810&query=Migration+Assistant http://discussions.apple.com/thread.jspa?messageID=1872713 I agree with Darcy, however, that you should give Migration Assistant a try. It could take a long time and appear to hang. It may take a couple of tries. If you have problems after all of that, then try some of the hints in the articles linked above. -Randolph Peters Darcy James Argue wrote: Hi Jef, Just use the Migration Assistant. Choose your options sensibly and it will almost certainly be fine. On 28 Jan 2010, at 4:22 PM, SN jef chippewa wrote: it's definitely PPC The first Mac Mini was PPC, but all the rest were based on Intel chips, so I would check that before you start. ___ 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
Re: [Finale] OT Novice Question
On 28 Jan 2010 at 17:45, Chuck Israels wrote: > These responses have missed whatever point I probably shouldn't have > bothered trying to make here, and that was that there is so little > significant repertoire for "classical" saxophone, despite the > existence of a number of fine players in that style, that favoring > that style in music departments over the jazz style is the equivalent > of hiring a jazz violinist over a classical one. There is a > disprportion of repertoire and interest. Anyone for a jazz oboe > teacher? One of the members of my viol consort is a very fine classically- trained saxophonist (though his education included full training in jazz, etc., too), and he and I were puzzling a few weeks ago over the lack of interest of modern "classical" composers in writing for saxophone. It's a marvelously versatile instrument and comes with the built-in doubling on the different instruments for any reasonably advanced player. There are also lots of players who'd be really eager to play new music written specifically for the instrument. Perhaps it's too jazz-flavored in the minds of most "serious" composers? Because I happen to have a saxophonist available, I've actually written a piece for soprano sax, piano and viola da gamba. It's not finished, so I don't know if it sounds as good in reality as it does in my head, but I just don't see why more composers of "art" music don't use such a wonderful family of instruments. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] F2010 moving from OSX.4 to now
Because I had problems with Migration Assistant going from PPC to Intel, I did some research online and found that there was indeed quite a lot of discussion about the issue. It works without flaw for many, but others, such as myself, found that the program would hang. The main solvable problems had to do with some programs or plugins that weren't Universal, Rosetta not installed, and permissions not properly set. Other issues remain unsolved. If anyone is still skeptical (Eric?), see some of the discussion in the following pages: http://discussions.apple.com/thread.jspa?threadID=1571689&tstart=0 http://support.apple.com/kb/TS1963 http://www.macosxhints.com/article.php?story=20070117075034219 http://reviews.cnet.com/8301-13727_7-10330398-263.html http://episteme.arstechnica.com/eve/forums/a/tpc/f/8300945231/m/245006246931 http://www.macosxhints.com/article.php?story=20070829091612810&query=Migration+Assistant http://discussions.apple.com/thread.jspa?messageID=1872713 I agree with Darcy, however, that you should give Migration Assistant a try. It could take a long time and appear to hang. It may take a couple of tries. If you have problems after all of that, then try some of the hints in the articles linked above. -Randolph Peters Darcy James Argue wrote: > Hi Jef, > > Just use the Migration Assistant. Choose your options sensibly and it will > almost certainly be fine. > > On 28 Jan 2010, at 4:22 PM, SN jef chippewa wrote: > >> >> it's definitely PPC >> >>> The first Mac Mini was PPC, but all the rest were based on Intel chips, so >>> I would check that before you start. >> ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Novice Question
Having suffered through a college degree to get a major in saxophone performance, we studied classical music only in lessons. There is a lot of repertoire out there for it. Plus a lot of the Oboe repertoire has been arranged for saxophone as well. Then there is the whole quartet aspect. And there are a lot of great pieces Creston, Desenclos, and Glasnouv to name a few. Anyhow, it is a ballbuster technique wise. I don't regret doing it at all. It helps in the jazz playing I do now. Oh, and I do teach jazz to my Oboe studentsthey have all pretty much done the Bolling Suites for Flute that I redid for Oboe ;-) On 1/28/10 2:45 PM, Chuck Israels wrote: These responses have missed whatever point I probably shouldn't have bothered trying to make here, and that was that there is so little significant repertoire for "classical" saxophone, despite the existence of a number of fine players in that style, that favoring that style in music departments over the jazz style is the equivalent of hiring a jazz violinist over a classical one. There is a disprportion of repertoire and interest. Anyone for a jazz oboe teacher? Chuck ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Novice Question
These responses have missed whatever point I probably shouldn't have bothered trying to make here, and that was that there is so little significant repertoire for "classical" saxophone, despite the existence of a number of fine players in that style, that favoring that style in music departments over the jazz style is the equivalent of hiring a jazz violinist over a classical one. There is a disprportion of repertoire and interest. Anyone for a jazz oboe teacher? Chuck Sent from my iPhone On Jan 28, 2010, at 3:30 PM, dhbailey > wrote: Chuck Israels wrote: I have always thought the classical music of the saxophone is what Coleman Hawkins, Lester Young and Charlie Parker played, and that music departments that don't recognize that are failing to see the world as it is - to almost everyone's detriment. While that's true, since what they played embodies the vast majority of saxophone music, their approach to music reading and interpretation is quite different from that used by all the other instruments/voices within what is traditionally labeled the "classical" (Dennis' Non-Pop) realm. And if their saxophone playing is truly the classical music of the saxophone, where do people like Sigurd Rascher fit in? King Curtis? Illinois Jacquet? Not trying to be argumentative -- truly interested in trying to come to grips with the use of these terms in relation to an instrument which very clearly straddles the two worlds but has a larger life in the jazz world. And would we then say that Louis Armstrong, Dizzy Gillespie, Miles Davis are classical trumpeters? It's an interesting idea to toss around and clearly illustrates how these terms ultimately are meaningless since they can't deal with cross-boundary issues. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ 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
Re: [Finale] Finale Productivity 5.0.1
Many of Bill's fonts never worked correctly with OS X. The problem was only with specific character slots (cmd-opt-2, for instance). If you never use the glyphs at those spots then you wouldn't encounter the problems, but if you did need those glyphs, until now you were out of luck. Bill originally sold the fonts a la carte for $20-40 each, which does not seem unreasonable to me. Cheers, - DJA - WEB: http://secretsociety.typepad.com On 28 Jan 2010, at 5:38 PM, Eric Dannewitz wrote: > Hopefully it will be really reasonably priced (as in like $20). I mean, the > fonts work fine for me as they are (Mac 10.6, latest Finale).so.what > would be the incentive to upgrade them? > > On 1/27/10 2:04 PM, n...@npcimaging.com wrote: >> It's in the bookstore. Here's the direct link... >> http://www.npcimaging.com/books/BillDuncan.htm >> Pricing for the package and the two bundles is at the foot of the page. >> I'm working on a font-files-only upgrade. >> Nick >> >> > > ___ > 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
Re: [Finale] Finale Productivity 5.0.1
Hopefully it will be really reasonably priced (as in like $20). I mean, the fonts work fine for me as they are (Mac 10.6, latest Finale).so.what would be the incentive to upgrade them? On 1/27/10 2:04 PM, n...@npcimaging.com wrote: It's in the bookstore. Here's the direct link... http://www.npcimaging.com/books/BillDuncan.htm Pricing for the package and the two bundles is at the foot of the page. I'm working on a font-files-only upgrade. Nick ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] O.T. iPads/Kindles/Electronic books for music editions?
Blake Richardson wrote: From: "Dean M. Estabrook" Reply-To: Date: Wed, 27 Jan 2010 13:32:36 -0800 To: Subject: Re: [Finale] O.T. iPads/Kindles/Electronic books for music editions? I've wondered the same thing myself. I say it won't be long before an ensemble will be playing with E books in front of them instead of paper music ... with some sort of page turning device available, say a foot pedal or such ... The only drawback I can see is that I remember from my playing days, during rehearsals, the conductor was always making slight changes‹ repeating a section only once, even though the music indicated two repeats, or adding a long sustain on some note or beat or whatever‹ and you¹d just pick up your pencil and make the appropriate reminder on your music. Can¹t really do that when the music is on a screen rather than on paper. On the electronic music stands, you can mark the music because there's a touch-sensitive screen. And the conductor can mark it from his stand and it appears in all the musicians' stands. Of course that sort of a setup is extremely expensive. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: Re: [Finale] O.T. iPads/Kindles/Electronic books for music editions?
From: "Dean M. Estabrook" Reply-To: Date: Wed, 27 Jan 2010 13:32:36 -0800 To: Subject: Re: [Finale] O.T. iPads/Kindles/Electronic books for music editions? > I've wondered the same thing myself. I say it won't be long before > an ensemble will be playing with E books in front of them instead of > paper music ... with some sort of page turning device available, say > a foot pedal or such ... > The only drawback I can see is that I remember from my playing days, during rehearsals, the conductor was always making slight changes repeating a section only once, even though the music indicated two repeats, or adding a long sustain on some note or beat or whatever and you¹d just pick up your pencil and make the appropriate reminder on your music. Can¹t really do that when the music is on a screen rather than on paper. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] F2010 moving from OSX.4 to now
Hi Jef, Just use the Migration Assistant. Choose your options sensibly and it will almost certainly be fine. Cheers, - DJA - WEB: http://secretsociety.typepad.com On 28 Jan 2010, at 4:22 PM, SN jef chippewa wrote: > > it's definitely PPC > >> The first Mac Mini was PPC, but all the rest were based on Intel chips, so I >> would check that before you start. > > ___ > 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
Re: [Finale] F2010 moving from OSX.4 to now
it's definitely PPC The first Mac Mini was PPC, but all the rest were based on Intel chips, so I would check that before you start. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] F2010 moving from OSX.4 to now
Well, that isn't true. It might hiccup for some, it worked fine when I went from a G4 Mac Mini to an Intel iMac. But it didn't go so well with my G4 tower to MacPro. Basically, the permissions got screwed up, and after many back and forths with Apple, we simply created a new account and I moved all my data over to that account. Lost some preferences, but no actual data was lost or anything. And all the programs worked fine. So, I'd say it will probably work just fine for everyone. I think I mess with my systems a lot more than most, which probably didn't help. On Thu, Jan 28, 2010 at 1:10 PM, Randolph Peters wrote: > There are known issues going from a PPC Mac to an Intel Mac. Migration > Assistant won't work properly in this case. You would have to transfer most > things manually. (And by all means, use the Target Disk Mode!) > > The first Mac Mini was PPC, but all the rest were based on Intel chips, so I > would check that before you start. > > -Randolph Peters > > On 2010-01-28, at 2:09 PM, Darcy James Argue wrote: > >> Actually, on a new Mac, the Migration Assistant will run automatically when >> you first power it on. It will guide you through all of the necessary steps. >> >> On 28 Jan 2010, at 1:20 PM, Eric Dannewitz wrote: >> >>> Generally, things are easily transferred between a new mac and an old one. >>> You just boot the old mac into target disk mode (reboot it and hold down >>> the T key). Then use the Migration assistant, and you are set. >>> >>> Having transferred many Macs over the years, you do get the occasional >>> problem now and then. When I went from a G4 Quicksilver tower to a MacPro, >>> that was sorta messy. But going from a Mac Mini G4 to an iMac was flawless. >>> Then again, upgrading a Mac Mini G4 from 10.4 to 10.5 was a nightmare. >>> >>> So, one never knows. I'd say it SHOULD go fine for you, but, as always, >>> make sure you have a backup of stuff...and make sure you get updates to >>> plugins and system extensions that are Universal Binary. So, when you boot >>> up the new computer, go to System Preferences->Accounts->Login Items and >>> see what runs, and make sure all those are updated to be Universal Binary >>> and updated to run under 10.6. You also might want to run Activity Monitor >>> on the new computer to see what things are running, and make sure they are >>> Intel (under the Kind column). Things like old Epson printer monitors and >>> stuff might show up in there and not be needed anymore. >>> >>> On 1/28/10 5:49 AM, SN jef chippewa wrote: any issues i should be aware of in moving from mac mini OSX.4.11 to macbook pro with... um whatever member of the cat family they are currently running? getting my first laptop tomorrow and am hoping to minimize time spent adjusting... since i'm in the middle of a big job. > > > ___ > 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
Re: [Finale] F2010 moving from OSX.4 to now
There are known issues going from a PPC Mac to an Intel Mac. Migration Assistant won't work properly in this case. You would have to transfer most things manually. (And by all means, use the Target Disk Mode!) The first Mac Mini was PPC, but all the rest were based on Intel chips, so I would check that before you start. -Randolph Peters On 2010-01-28, at 2:09 PM, Darcy James Argue wrote: > Actually, on a new Mac, the Migration Assistant will run automatically when > you first power it on. It will guide you through all of the necessary steps. > > On 28 Jan 2010, at 1:20 PM, Eric Dannewitz wrote: > >> Generally, things are easily transferred between a new mac and an old one. >> You just boot the old mac into target disk mode (reboot it and hold down the >> T key). Then use the Migration assistant, and you are set. >> >> Having transferred many Macs over the years, you do get the occasional >> problem now and then. When I went from a G4 Quicksilver tower to a MacPro, >> that was sorta messy. But going from a Mac Mini G4 to an iMac was flawless. >> Then again, upgrading a Mac Mini G4 from 10.4 to 10.5 was a nightmare. >> >> So, one never knows. I'd say it SHOULD go fine for you, but, as always, make >> sure you have a backup of stuff...and make sure you get updates to >> plugins and system extensions that are Universal Binary. So, when you boot >> up the new computer, go to System Preferences->Accounts->Login Items and see >> what runs, and make sure all those are updated to be Universal Binary and >> updated to run under 10.6. You also might want to run Activity Monitor on >> the new computer to see what things are running, and make sure they are >> Intel (under the Kind column). Things like old Epson printer monitors and >> stuff might show up in there and not be needed anymore. >> >> On 1/28/10 5:49 AM, SN jef chippewa wrote: >>> >>> any issues i should be aware of in moving from mac mini OSX.4.11 to macbook >>> pro with... um whatever member of the cat family they are currently running? >>> >>> getting my first laptop tomorrow and am hoping to minimize time spent >>> adjusting... since i'm in the middle of a big job. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] F2010 moving from OSX.4 to now
Actually, on a new Mac, the Migration Assistant will run automatically when you first power it on. It will guide you through all of the necessary steps. Cheers, - DJA - WEB: http://secretsociety.typepad.com On 28 Jan 2010, at 1:20 PM, Eric Dannewitz wrote: > Generally, things are easily transferred between a new mac and an old one. > You just boot the old mac into target disk mode (reboot it and hold down the > T key). Then use the Migration assistant, and you are set. > > Having transferred many Macs over the years, you do get the occasional > problem now and then. When I went from a G4 Quicksilver tower to a MacPro, > that was sorta messy. But going from a Mac Mini G4 to an iMac was flawless. > Then again, upgrading a Mac Mini G4 from 10.4 to 10.5 was a nightmare. > > So, one never knows. I'd say it SHOULD go fine for you, but, as always, make > sure you have a backup of stuff...and make sure you get updates to > plugins and system extensions that are Universal Binary. So, when you boot up > the new computer, go to System Preferences->Accounts->Login Items and see > what runs, and make sure all those are updated to be Universal Binary and > updated to run under 10.6. You also might want to run Activity Monitor on the > new computer to see what things are running, and make sure they are Intel > (under the Kind column). Things like old Epson printer monitors and stuff > might show up in there and not be needed anymore. > > > On 1/28/10 5:49 AM, SN jef chippewa wrote: >> >> any issues i should be aware of in moving from mac mini OSX.4.11 to macbook >> pro with... um whatever member of the cat family they are currently running? >> >> getting my first laptop tomorrow and am hoping to minimize time spent >> adjusting... since i'm in the middle of a big job. >> >> ___ >> 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 mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Novice Question
Chuck Israels wrote: I have always thought the classical music of the saxophone is what Coleman Hawkins, Lester Young and Charlie Parker played, and that music departments that don't recognize that are failing to see the world as it is - to almost everyone's detriment. While that's true, since what they played embodies the vast majority of saxophone music, their approach to music reading and interpretation is quite different from that used by all the other instruments/voices within what is traditionally labeled the "classical" (Dennis' Non-Pop) realm. And if their saxophone playing is truly the classical music of the saxophone, where do people like Sigurd Rascher fit in? King Curtis? Illinois Jacquet? Not trying to be argumentative -- truly interested in trying to come to grips with the use of these terms in relation to an instrument which very clearly straddles the two worlds but has a larger life in the jazz world. And would we then say that Louis Armstrong, Dizzy Gillespie, Miles Davis are classical trumpeters? It's an interesting idea to toss around and clearly illustrates how these terms ultimately are meaningless since they can't deal with cross-boundary issues. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] RE: Classical saxophone
At 11:58 AM -0500 1/28/10, Chuck Israels wrote: >I have always thought the classical music of the saxophone is what >Coleman Hawkins, Lester Young and Charlie Parker played, and that >music departments that don't recognize that are failing to see the >world as it is - to almost everyone's detriment. John Howell responded: There are two "worlds," the classical world and the jazz world (and of course offshoots and crossovers from and into both). I don't think there SHOULD be, but there are. And both worlds have players who are consummate artists and others who are duffers and a whole bunch in the middle who get by. (The venerable bell curve, you know, which is a pretty accurate representation of both human abilities and human capabilities.) But with the differences in mouthpiece, reed selection, and tonal concept, the dividing line is probably more obvious among saxists than with most other instruments. I respond: Of course there is a "classical" jazz way of playing saxophone, as exemplified by those fabulous players. The world of "classical" classical saxophone is a bit older, going back into the 19th century. When I played saxophone, I tried to learn both ways, but there is a different sound, a different technique, different equipment and different repertoires. I think, these days, that it is ideal for someone to learn both, but the same could be said of pianists or bass players or percussionists (or violinists or trumpet players or singers or really anything else). I think there should be no special requirement of saxophonists that doesn't apply universally to all musicians. And, in response to the comments above, it would be a shame to neglect the so-called classical or "straight" saxophone world, as it is really wonderful (I'm speaking as a composer of a number of "classical" saxophone works, and as a fan of the saxophone in "classical" contexts). Among the members of that world, there is a slightly better chance than with most instruments that someone might be able to occupy both worlds (Steven Mauk at Ithaca is a terrific player and teacher who does both). But there are many jazz players who are lost in the "classical" repertoire, as there are many "classical" players who are lost in the jazz repertoire. And so, many of the big institutions have two different sax teachers (or departments of sax teachers) to allow specialization. I don't think this is a bad thing. There should be room for everyone. As Ellington famously said, "If it sounds good, it IS good." I wish there were another word to use besides "classical," but that seems to be what were stuck with. Non-pop has been suggested, but that leaves out jazz and alt rock and world musics and a lot of other things. "Straight" or "serious" or "concert" clearly don't work. David Froom ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Novice Question
"abso-freakin-lutely." I love it in the Army, I quickly became used to the insertion of four-letter words between standard syllables. It became an art form. Thanks for the memories ... Dean On Jan 28, 2010, at 6:19 AM, Ray Horton wrote: abso-freakin-lutely Canto ergo sum And, I'd rather be composing than decomposing Dean M. Estabrook http://sites.google.com/site/deanestabrook/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] F2010 moving from OSX.4 to now
Generally, things are easily transferred between a new mac and an old one. You just boot the old mac into target disk mode (reboot it and hold down the T key). Then use the Migration assistant, and you are set. Having transferred many Macs over the years, you do get the occasional problem now and then. When I went from a G4 Quicksilver tower to a MacPro, that was sorta messy. But going from a Mac Mini G4 to an iMac was flawless. Then again, upgrading a Mac Mini G4 from 10.4 to 10.5 was a nightmare. So, one never knows. I'd say it SHOULD go fine for you, but, as always, make sure you have a backup of stuff...and make sure you get updates to plugins and system extensions that are Universal Binary. So, when you boot up the new computer, go to System Preferences->Accounts->Login Items and see what runs, and make sure all those are updated to be Universal Binary and updated to run under 10.6. You also might want to run Activity Monitor on the new computer to see what things are running, and make sure they are Intel (under the Kind column). Things like old Epson printer monitors and stuff might show up in there and not be needed anymore. On 1/28/10 5:49 AM, SN jef chippewa wrote: any issues i should be aware of in moving from mac mini OSX.4.11 to macbook pro with... um whatever member of the cat family they are currently running? getting my first laptop tomorrow and am hoping to minimize time spent adjusting... since i'm in the middle of a big job. ___ 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
Re: [Finale] OT Novice Question
At 11:58 AM -0500 1/28/10, Chuck Israels wrote: I have always thought the classical music of the saxophone is what Coleman Hawkins, Lester Young and Charlie Parker played, and that music departments that don't recognize that are failing to see the world as it is - to almost everyone's detriment. There are two "worlds," the classical world and the jazz world (and of course offshoots and crossovers from and into both). I don't think there SHOULD be, but there are. And both worlds have players who are consummate artists and others who are duffers and a whole bunch in the middle who get by. (The venerable bell curve, you know, which is a pretty accurate representation of both human abilities and human capabilities.) But with the differences in mouthpiece, reed selection, and tonal concept, the dividing line is probably more obvious among saxists than with most other instruments. My opinion, of course. 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] OT Novice Question
I have always thought the classical music of the saxophone is what Coleman Hawkins, Lester Young and Charlie Parker played, and that music departments that don't recognize that are failing to see the world as it is - to almost everyone's detriment. Chuck Sent from my iPhone On Jan 28, 2010, at 12:37 AM, John Howell wrote: At 11:55 PM -0500 1/27/10, Ray Horton wrote: Really, now, how many "legit' sax players do you have around V. Tech, anyway? Most of them. Our sax professor is straight classical, and when we had a jazz sax teacher on the faculty (whom we lost during the first state budget crisis) they did NOT get along. And I have to say that both our professor and our best sax students play really beautifully. But you're right; stereotyping is never a good idea, but it's quick in order to get an idea across. Back in the '60s my quartet performed in a special concert with the Cincinnati Symphony, and at the end of one of our arrangements I had a long, Henry Mancini-like falloff in the whole orchestra. In rehearsal the principal cellist looked up and asked me, "Howell, what the hell is a falloff?!!!" 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] Lunga
I just noticed that Sibelius has one. I've made them as a visual, but this seems a no-brainer for Finale to provide. Henry Howey Professor of Music Sam Houston State University Box 2208 Huntsville, TX 77341 (936) 294-1364 http://www.shsu.edu/music/faculty/howey.php Owner of FINALE Discussion List ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] beaming problem
dc wrote: Here's my beaming problem. I have a piece in common time where some of the beats use the typical rhythm of a 12/8 time sig: dotted 8th + 16th + 8th in the value of a quarter note. So I define use a tuplet with "1 dotted quarter in the space of 1 quarter", and I get my three notes. But the beam for the 16th is on the wrong side, i.e. between notes 2 and 3 instead of notes 1 and 2. Rebeaming the music doesn't change this. www.collins.lautre.net/files/beaming.jpg (what I want, and what I get) What am I doing wrong, or how can I get around this? I don't know that you're doing anything wrong, but the solution is to use the broken beam tool (part of the special tools pallete) which will move the broken beam to the proper side of the note. ns ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT Novice Question
John Howell wrote: At 11:55 PM -0500 1/27/10, Ray Horton wrote: Really, now, how many "legit' sax players do you have around V. Tech, anyway? Most of them. Our sax professor is straight classical, and when we had a jazz sax teacher on the faculty (whom we lost during the first state budget crisis) they did NOT get along. And I have to say that both our professor and our best sax students play really beautifully. But you're right; stereotyping is never a good idea, but it's quick in order to get an idea across. Back in the '60s my quartet performed in a special concert with the Cincinnati Symphony, and at the end of one of our arrangements I had a long, Henry Mancini-like falloff in the whole orchestra. In rehearsal the principal cellist looked up and asked me, "Howell, what the hell is a falloff?!!!" John That was the 60s. Many, many, many, many things have changed since then. One of them is the fact that Cincy is probably the best pop orchestra around, and abso-freakin-lutely guarantee the cellists know how to play a falloff. Now, if jazz players will learn to play in tune, we will really get somewhere. RBH ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] beaming problem
Richard, that is it! For some reason this didn't work the last time I tried this (the beamlet changed length), but it works perfectly in 2010! This can be copied from measure to measure as well, so if it shows up many times, Dennis can just copy the edit without the notes. Great! Christopher On Thu Jan 28, at ThursdayJan 28 9:03 AM, Richard Yates wrote: If you must use a tuplet instead of a time signature of 12/8 as four dotted wuaters, then you have to use the Broken Beam Tool to switch the sixteenth beamlet to the other side. Here's my beaming problem. I have a piece in common time where some of the beats use the typical rhythm of a 12/8 time sig: dotted 8th + 16th + 8th in the value of a quarter note. So I define use a tuplet with "1 dotted quarter in the space of 1 quarter", and I get my three notes. But the beam for the 16th is on the wrong side, i.e. between notes 2 and 3 instead of notes 1 and 2. Rebeaming the music doesn't change this. www.collins.lautre.net/files/beaming.jpg (what I want, and what I get) What am I doing wrong, or how can I get around this? Thanks, Dennis ___ 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
Re: [Finale] beaming problem
On 1/28/2010 9:08 AM, Christopher Smith wrote: Oh yeah, I know what you are talking about. I have complained about this bitterly, and the guys at MakeMusic don't even seem to understand the problem. I know that I reported this as long ago as 12/2003. I have a reply from them on 1/5/2004 in which they state they are aware of the problem and are looking into it; tech's name was Thierry. switching the side that the beamlet is on without screwing everything up, so I left it. (Obviously, for publication this would not do at all!) The correction is actually very simple, though time-consuming if you have many instances. You have to use the Broken Beam Tool (in Special Tools) to manually flip the beamlet to the other side. Aaron. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] beaming problem
From the Quick Help: Special tools, select the Broken Beam Then click in the app. maes. the handle to change the broken beam direction (left or right). Hans Op 28-jan-10, om 14:42 heeft dc het volgende geschreven: Here's my beaming problem. I have a piece in common time where some of the beats use the typical rhythm of a 12/8 time sig: dotted 8th + 16th + 8th in the value of a quarter note. So I define use a tuplet with "1 dotted quarter in the space of 1 quarter", and I get my three notes. But the beam for the 16th is on the wrong side, i.e. between notes 2 and 3 instead of notes 1 and 2. Rebeaming the music doesn't change this. www.collins.lautre.net/files/beaming.jpg (what I want, and what I get) What am I doing wrong, or how can I get around this? Thanks, Dennis ___ 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
Re: [Finale] beaming problem
Oh yeah, I know what you are talking about. I have complained about this bitterly, and the guys at MakeMusic don't even seem to understand the problem. Please, if you can make it more clear to them, do so. I never was able to come up with a procedure for switching the side that the beamlet is on without screwing everything up, so I left it. (Obviously, for publication this would not do at all!) What may work is to set an independent time signature for that staff, then change that one measure to 12/8 (that's 4 dotted quarters) while displaying as 4/4. Any ordinary eighth notes in that measure would have to be entered as a tuplet (2 8ths in the space of one dotted quarter, or 4 8ths in the space of one dotted half, depending on the beaming you want) with the bracket and number hidden. I find it strange in the extreme that Finale does this correctly in 12/8, but not in 4/4 inside a triplet. It is also strange that such a kludge is required. Why won't the Special Tools take care of this? Or maybe I just didn't find the right combination... Christopher On Thu Jan 28, at ThursdayJan 28 8:42 AM, dc wrote: Here's my beaming problem. I have a piece in common time where some of the beats use the typical rhythm of a 12/8 time sig: dotted 8th + 16th + 8th in the value of a quarter note. So I define use a tuplet with "1 dotted quarter in the space of 1 quarter", and I get my three notes. But the beam for the 16th is on the wrong side, i.e. between notes 2 and 3 instead of notes 1 and 2. Rebeaming the music doesn't change this. www.collins.lautre.net/files/beaming.jpg (what I want, and what I get) What am I doing wrong, or how can I get around this? Thanks, Dennis ___ 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
RE: [Finale] beaming problem
If you must use a tuplet instead of a time signature of 12/8 as four dotted wuaters, then you have to use the Broken Beam Tool to switch the sixteenth beamlet to the other side. > Here's my beaming problem. I have a piece in common time > where some of the beats use the typical rhythm of a 12/8 time > sig: dotted 8th + 16th + 8th in the value of a quarter note. > So I define use a tuplet with "1 dotted quarter in the space > of 1 quarter", and I get my three notes. But the beam for the > 16th is on the wrong side, i.e. between notes 2 and 3 instead > of notes 1 and 2. Rebeaming the music doesn't change this. > > www.collins.lautre.net/files/beaming.jpg (what I want, and what I get) > > What am I doing wrong, or how can I get around this? > > Thanks, > > Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] beaming problem
Is your 12/8 not set up in the Time Signature dialog box as 4 dotted quarters? Also, your jpg link is broken. Richard Yates > Here's my beaming problem. I have a piece in common time > where some of the beats use the typical rhythm of a 12/8 time > sig: dotted 8th + 16th + 8th in the value of a quarter note. > So I define use a tuplet with "1 dotted quarter in the space > of 1 quarter", and I get my three notes. But the beam for the > 16th is on the wrong side, i.e. between notes 2 and 3 instead > of notes 1 and 2. Rebeaming the music doesn't change this. > > www.collins.lautre.net/files/beaming.jpg (what I want, and what I get) > > What am I doing wrong, or how can I get around this? > > Thanks, > > Dennis > > > > ___ > 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] F2010 moving from OSX.4 to now
any issues i should be aware of in moving from mac mini OSX.4.11 to macbook pro with... um whatever member of the cat family they are currently running? getting my first laptop tomorrow and am hoping to minimize time spent adjusting... since i'm in the middle of a big job. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
