[Finale] Loses interface link
Periodically I am losing the link to my interface. Speedy quits working and the icon in Mac OS Audio/MISI Setup is dimmed. The only solution I know of is to do a Restart, which can be danged inconvenient. I've tried just relaunching Finale but that doesn't work. I wonder if anyone has a theory as to what causes this, and/or a suggestion of things to try short of a restart that might re-establish the link. Is there any chance that if I have too many apps running I somehow drain the free RAM enough until the interface link more-less chokes off? Mac OS 10.5.8 FinMac 2009 4G Ram MacBook Pro 15.4 Richard ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Finale Productivity 5.0.1
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? Eric, If the existing fonts work fine for you then indeed you don't need to upgrade. If you chose to upgrade anyway, you would get an expanded BigTime font, completely redrawn Lyrics and LyricsSans fonts (80% width), OTF format versions of all the fonts and ongoing support with, hopefully, further development, all for around $60-70. If, on the other hand, as Darcy explains, you *were* having issues then I've tried to address them in the new version. I hope that clarifies, Nick Nick Carter, PhD Owner, npc Imaging www.npcimaging.com Tel: (707) 573 9361 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re: Classical saxophone
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? David Fenton wrote: 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. David Bailey wrote: 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. and also 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, 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. and 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. 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 want all of you to know that the saxophone repertoire is not as thin as you would imagine, and, indeed, a LOT of very fine composers have already written pieces for saxophone and piano, saxophone quartet, saxophone in chamber contexts, and concertos for saxophone (or saxophone quartet) and band or orchestra. I didn't know this until I ventured into that world, by writing a saxophone quartet. It is my most performed piece -- going on about 50 performances, along with three recordings. It is a challenging piece, but it has been played by student groups from the Manhattan School, University of Minnesota, Oberlin, Louisiana State, Bowling Green, and played fabulously (each of those places has a very fine classical saxophone teacher). As I have started going to saxophone conferences and concerts, I've come to see how the quality of playing is astonishingly high, the dedication unmatched, the enthusiasm for new music unparalleled, and the range of music being written much broader than I knew. I've heard concertos (this is all off the top of my head) by Libby Larsen and Harrison Birtwistle, plus William Bolcom and Wayne Peterson and Steve Mackey (theirs for quartet), plus many others less well-known. I've heard quartets by Charles Wourinen, Michael Finnesy, Louis Andriessen, and Michael Torke (among MANY others), solo works or works with piano by Milton Babbitt, John Harbison, Gunther Schuller. I've come to know some composers who have specialized in writing for saxophone and who deserve to be more widely known -- Jakob ter Veldhuis, for one, David Maslanka (well-known in the band world) for another, Perry Goldstein for yet another. I've met and heard some rather amazing saxophonists who have pretty amazing careers. Just a few: Arno Bornkamp (who is also a member of the Aurelia Quartet), Taimur Sullivan (who is also a member of the Prism Quartet), Kenneth Tse, Eugene Rousseau. Also some of the sax quartets affiliated with the military bands (especially the Marine Band quartet who are touring with my quartet right now, and the West Point Academy band, who have made some fabulous recordings that are free to anyone who asks for them). All of these people, and many others, are actively and enthusiastically engaged in commissioning and performing new music. Of course, the repertoire is not as rich as that of the other classical instruments, but it isn't fair to say that composers are shunning it, nor that there are few saxophonists up to the demands of new music
Re: [Finale] Loses interface link
Excellent, Christopher! The first solution (cycling the input setup) didn't work but the second one did (unplugging/replugging interface). I appreciate the tip. Richard On Jan 29, 2010, at 11:59 AM, christopher.sm...@videotron.ca christopher.sm...@videotron.ca wrote: This happened to me with my M-Audio 4x4 until I upgraded the driver, and it still happens once in a while. What used to correct it until the next time my computer went to sleep (that was apparently the cause of the loss of connection) was turning the input in MIDI setup to None, then back to the M-Audio. 6 out of 7 times this cured it, but sometimes I had to unplug, wait 30 seconds, and replug the power and USB cable on the interface and repeat the MIDI setup step too. I hope this is the same thing as you. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Classical saxophone
On Jan 29, 2010, at 3:00 PM, David Froom wrote: I want all of you to know that the saxophone repertoire is not as thin as you would imagine, and, indeed, a LOT of very fine composers have already written pieces for saxophone and piano, saxophone quartet, saxophone in chamber contexts, and concertos for saxophone (or saxophone quartet) and band or orchestra. ... I've heard concertos (this is all off the top of my head) by Libby Larsen and Harrison Birtwistle, plus William Bolcom and Wayne Peterson and Steve Mackey (theirs for quartet), plus many others less well-known. I've heard quartets by Charles Wourinen, Michael Finnesy, Louis Andriessen, and Michael Torke (among MANY others), solo works or works with piano by Milton Babbitt, John Harbison, Gunther Schuller. I agree with this one hundred percent (and I too have written a saxophone quartet, which has been frequently performed and issued commercially on CD three times, by three different quartets). (Actually, I've written two such quartets, but the second still awaits its premiere--any takers?) The tenor player of the Amherst Sax Quartet is of the opinion (frequently expressed) that there is more music composed for sax quartet than for any other chamber combination but string quartet--and I am not at all sure he is wrong. There are quite a few standard orchestral instruments whose solo repertoire is thinner--sometimes *much* thinner--than the saxophone: viola, contrabass, trombone, tuba, mandolin, harp, celesta, percussion, piccolo, contrabassoon, any/all of the small and large clarinets, English horn... And except for the viola, these all appear sparsely in chamber music as well. In the orchestra, I would go so far as to say that a complete sax section (3 players) has become standard for most composers these days--John Adams comes immediately to mind, but he is far from alone. Andrew Stiller Kallisti Music Press http://www.kallistimusic.com/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
[Finale] cannot highlight in various tools
Using Finale 2010B MacBook Pro OS 10.5.6 4mg ram On a fairly regular basis now, I have to quit and restart Finale after I am in various tools - key, selection, etc. I click on a bar or bars and Finale will not highlight anything. No region, not even a single bar. I finally see that I can switch tools and then go back to the tool I want and it will work briefly, then the same thing happens. I am having to quit and restart frequently. I am now working on a project where I often have numerous files open at once. Could that be a cause? This new bug has happened numerous times in the last few days. I hate to reload the program, but it's looking like a may have to. I found a temporary fix for my movie window bug but didn't want to reinstall Finale at that time and now I don't want to do that as I'm finishing this project in the next week but looks like I'm running out of other options. That was the fix recommended by Finale tech for the movie window. Could it be another bug where Finale is not happy using two monitors as it was with the movie window? Thanks, Bonnie Bonnie Ruth Janofsky composer / songwriter 818-784-4466 www.BonnieRuthJanofsky.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Classical saxophone
At 4:28 PM -0500 1/29/10, Andrew Stiller wrote: In the orchestra, I would go so far as to say that a complete sax section (3 players) has become standard for most composers these days--John Adams comes immediately to mind, but he is far from alone. That sounds like an important step forward, Andrew, suggesting that orchestral saxophone may be beginning to come out of the jazz closet. But there's a significant difference between living composers including saxes in their orchestral scores--which is certainly their privilege--and orchestras having regular, permanent chairs for professional sax specialists, and I suspect that THAT is where things are going to lag behind. Being on an orchestra manager's depth chart for occasional hiring is not at all the same as having a regular contract and a regular chair. 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
