Re: [Finale] OT: Vocal Underlay of "Mrs.:

[Aaron Rabushka]

Perhaps including the precise syllabification in small type in addition to the 
"official" working in the regular type.

-Original Message-
From: Finale [mailto:finale-boun...@shsu.edu] On Behalf Of timothy price
Sent: Tuesday, August 27, 2019 12:32 PM
To: finale@shsu.edu
Subject: Re: [Finale] OT: Vocal Underlay of "Mrs.:

Sometimes spellings errors are there to match the rhyming patterns.  AWALNATION 
does “Bad Wolf” with:   
“Oh my God I think I might’ve made a mustake Waiting patiently was waiting 
taking up space We are waiting taking up space.”

But all I got was “how do you notate “Mrs.”, a one syllable word, over two 
notes? Well simple, you don’t want to abbreviate the word.  The proper word for 
the intent and purpose is “Mis-sis”.
English language is quite well developed.

best
tim


> On Aug 27, 2019, at 12:47 PM, Don Hart  wrote:
> 
> Or, along the lines of my earlier idea: "Mrs." centered under the 
> notes and "missus" or the dictionary spelling of the pronunciation in 
> parentheses, right below.  Wouldn't that avoid any sort of implication?
> 
> On Tue, Aug 27, 2019 at 11:23 AM Robert Patterson < 
> rob...@robertgpatterson.com> wrote:
> 
>> FWIW (joking aside) my copy of Merriam Webster correctly identifies 
>> "missus" as dialect in one of the definitions, and I would rather 
>> avoid that implication.
>> 
>>> On Tue, Aug 27, 2019 at 11:12 AM Jon Delfin  wrote:
>>> 
>>> On Tue, Aug 27, 2019 at 12:08 PM timothy price <
>> timothy.pri...@icloud.com>
>>> wrote:
>>> 
 Missus isn’t even a word. (What else could you expect from
>> composers?)
>>> 
>>> 
>>> Or Merriam Webster. What do *they* know about words?
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[Finale] brackets next to noteheads

[Aaron Rabushka]

My preferred method of notating tone clusters is to notate the outer
boundaries, put a + sign on top, and put a square bracket before the
noteheads. How does Finale supply these brackets I am running Finale 2014 on
Wndows 10.

 

Aaron J. Rabushka

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Re: [Finale] tremolos

[Aaron Rabushka]

Thanks. Which options do I take to avoid the tremolo bars writing over the 
accidentals?

ajr

-Original Message-
From: Finale [mailto:finale-boun...@shsu.edu] On Behalf Of Giovanni Andreani
Sent: Friday, August 2, 2019 3:32 AM
To: Finale List 
Subject: Re: [Finale] tremolos

TG Tools Tremolos plugin can do it.

Giovanni




Giovanni Andreani

www.giovanniandreani.com
www.ga-music.com


> On 2 Aug 2019, at 04:54, Aaron Rabushka  wrote:
> 
> Does any of you know of a way (plug-in or otherwise) to get tremolo 
> lines to avoid  writing over accidentals where the notes involved have no 
> stems?
> 
> 
> 
> 
> 
> Aaron J. Rabushka
> 
> Austin, TX
> 
> Finale 2014.0.3163 in Windows 10
> 
> 
> 
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[Finale] tremolos

[Aaron Rabushka]

Does any of you know of a way (plug-in or otherwise) to get tremolo lines to
avoid  writing over accidentals where the notes involved have no stems?

 

 

Aaron J. Rabushka

Austin, TX

Finale 2014.0.3163 in Windows 10

 

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[Finale] dashed lines in smart shapes

[Aaron Rabushka]

Does any of you know a way to get dashed lines, curved in the proper
directions,  to connect each note of a chord? The program simply writes each
one over the previous one, and I've had to drag one of the copies out and
modify its direction by pulling several of its defining points from the old
shape to the new. Does anybody know of a way to do this that is not so
tedious?

 

Aaron J. Rabushka

Austin, TX

Finale 2014.0.3163 in Windows 10

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[Finale] dynamic range of antique cymbals

[Aaron Rabushka]

Is anyone familiar with the dynamic range of antique cymbals (crotali)? I'm 
familiar with their use in quiet passages by Ravel and Debussy, and in louder 
(though by no means fortissimo) passages by Stravinsky. Is it reasonable to 
expect them to be heard over a full choral/orchestral tutti?



-Original Message-
From: Finale [mailto:finale-boun...@shsu.edu] On Behalf Of Martin Nickless
Sent: Friday, May 11, 2018 4:39 PM
To: Finale@shsu.edu
Subject: [Finale] Please help

No idea what’s happened to my finale 25 it’s a joke I am able to enter single 
notes on my num pad And nothing moving on my midi keyboard When I press the 
keys nothing is being entered I’m on windows and finale 25 Please help Thanks 
Martin

Sent from my iPhone
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Re: [Finale] quarter-tone symbols

[Aaron Rabushka]

And where would I put them to work with Finale?

ajr

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Dennis Bathory-Kitsz
Sent: Sunday, January 29, 2017 7:50 PM
To: finale@shsu.edu
Subject: Re: [Finale] quarter-tone symbols

On Sun, January 29, 2017 6:09 pm, Aaron Rabushka wrote:
> Which fonts have full sets of quarter-tone symbols?

Christian Texier had a very good set of free fonts ("Tempera" -- also
"Controla", "Sonora", "Acoustica", "Concreta" and "Electrona"). I don't find
his website anymore, though. If you want them, I can send you a set. TTF,
though.

Dennis


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[Finale] quarter-tone symbols

[Aaron Rabushka]

Which fonts have full sets of quarter-tone symbols?

ajr

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Re: [Finale] Playback Control - Tempo grayed out

[Aaron Rabushka]

Which font is it that has a full set of quarter-tone symbols?

ajr

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Re: [Finale] Reorder Staves

[Aaron Rabushka]

Score Manager comes up under the WINDOW menu. Once you get into it click on
the name of the instrument in the NAME column, and move it up or down.

Aaron J. Rabushka

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
S Jones
Sent: Sunday, October 2, 2016 12:00 PM
To: finale@shsu.edu
Subject: Re: [Finale] Reorder Staves

Score Manager

On Sunday, October 2, 2016, Michael Lawlor  wrote:

> Finale 2014.5
>
> (Two questions in one day)
>
> I want to change the order of staves in a score.  Finale 2014 is 
> supposed to have a new, easy way to do this and the OLD says, select 
> staff tool, then from the Staff menu, select Reorder Staves.  I have 
> chosen and staff tool, but under the Staff pull-menu there is no 
> "Reorder Staves" option.  Is this a lie, a mistake or something else?
>
> Regards,
>
> Michael Lawlor
>
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Re: [Finale] choosing a printer

[Aaron Rabushka]

Thanks! That took care of it.

ajr

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
S Jones
Sent: Monday, September 26, 2016 12:09 PM
To: finale@shsu.edu
Subject: Re: [Finale] choosing a printer

Control panel-printers- right click your printer icon and tell it to be your
default printer.



On Monday, September 26, 2016, Aaron Rabushka <arabus...@austin.rr.com>
wrote:

> Window 10 here. Finale 2014.
>
> -Original Message-
> From: finale-boun...@shsu.edu <javascript:;> [mailto:
> finale-boun...@shsu.edu <javascript:;>] On Behalf Of Lawrence David 
> Eden
> Sent: Monday, September 26, 2016 7:33 AM
> To: FinaleList <finale@shsu.edu <javascript:;>>
> Subject: Re: [Finale] choosing a printer
>
> On a Mac?  Go to System Prefs and select the printer you want to use.
>
> Larry
>
>
> > On Sep 25, 2016, at 4:29 PM, Aaron Rabushka <arabus...@austin.rr.com
> <javascript:;>>
> wrote:
> >
> > Recently my computer re-set my printer for Finale to print to a 
> > OneNote
> printer. How do  reset it to the printer I was using before? I cannot 
> find anything that does this from the menus or documentation.
> >
> > Aaron J. Rabushka
> >
> >
> > ___
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Re: [Finale] choosing a printer

[Aaron Rabushka]

Window 10 here. Finale 2014.

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Lawrence David Eden
Sent: Monday, September 26, 2016 7:33 AM
To: FinaleList <finale@shsu.edu>
Subject: Re: [Finale] choosing a printer

On a Mac?  Go to System Prefs and select the printer you want to use.

Larry


> On Sep 25, 2016, at 4:29 PM, Aaron Rabushka <arabus...@austin.rr.com>
wrote:
> 
> Recently my computer re-set my printer for Finale to print to a OneNote
printer. How do  reset it to the printer I was using before? I cannot find
anything that does this from the menus or documentation.
> 
> Aaron J. Rabushka
> 
> 
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[Finale] choosing a printer

[Aaron Rabushka]

Recently my computer re-set my printer for Finale to print to a OneNote 
printer. How do  reset it to the printer I was using before? I cannot find 
anything that does this from the menus or documentation.

Aaron J. Rabushka


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Re: [Finale] Hiding Empty Staves

[Aaron Rabushka]

Thanks Ray! I put a staff style in the piccolo line, and it appears to have 
taken care of the whole problem. At least so far as I can see now.

ajr

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of 
Raymond Horton
Sent: Sunday, July 10, 2016 4:27 PM
To: finale@shsu.edu
Subject: Re: [Finale] Hiding Empty Staves

I should add that I'm running Windows finale 2012

Raymond Horton
Composer, Arranger
Minister of Music, Edwardsville (IN) United Methodist Church Retired Bass 
Trombonist, Louisville Orchestra, 1971-2016

On Jul 10, 2016 5:15 PM, "Raymond Horton" <horton.raym...@gmail.com> wrote:

> In a big project I'm trying to finish up, I have this problem often, 
> but not all the time. Sometimes the staves hide normally. Sometimes they 
> don't.
> In the latter I use staff styles
>
> Raymond Horton
> Composer, Arranger
> Minister of Music, Edwardsville (IN) United Methodist Church Retired 
> Bass Trombonist, Louisville Orchestra, 1971-2016
>
> On Jul 10, 2016 4:53 PM, "Aaron Rabushka" <arabus...@austin.rr.com> wrote:
>
> All of my groups except for the 3 organ staves are set to HIDE NORMALLY.
>
> -Original Message-
> From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On 
> Behalf Of Christopher Smith
> Sent: Sunday, July 10, 2016 3:18 PM
> To: finale@shsu.edu
> Subject: Re: [Finale] Hiding Empty Staves
>
> 1. It only works in Page View, not Scroll. If you want to only see 
> certain staves while in Scroll View, you want Staff Sets instead.
> 2. Is the staff you are trying to hide part of a group? Are the group 
> attributes set to “hide normally” or “hide only when all staves are empty”?
> A staff can be part of more than one group, so be careful.
>
> Christopher
>
>
> > On Jul 10, 2016, at 3:58 PM, Aaron Rabushka 
> > <arabus...@austin.rr.com>
> wrote:
> >
> > Is there some trick to getting the empty staves to disappear in the 
> > full score? I have deleted their contents many times, yet the blank 
> > staves still show up when I check HIDE EMPTY STAVES. I am using 
> > Finale
> > 2014 under Windows 8.1.
> >
> > Aaron J. Rabushka
> >
> > ___
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Re: [Finale] Hiding Empty Staves

[Aaron Rabushka]

All of my groups except for the 3 organ staves are set to HIDE NORMALLY.

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of 
Christopher Smith
Sent: Sunday, July 10, 2016 3:18 PM
To: finale@shsu.edu
Subject: Re: [Finale] Hiding Empty Staves

1. It only works in Page View, not Scroll. If you want to only see certain 
staves while in Scroll View, you want Staff Sets instead.
2. Is the staff you are trying to hide part of a group? Are the group 
attributes set to “hide normally” or “hide only when all staves are empty”? A 
staff can be part of more than one group, so be careful.

Christopher


> On Jul 10, 2016, at 3:58 PM, Aaron Rabushka <arabus...@austin.rr.com> wrote:
> 
> Is there some trick to getting the empty staves to disappear in the 
> full score? I have deleted their contents many times, yet the blank 
> staves still show up when I check HIDE EMPTY STAVES. I am using Finale 
> 2014 under Windows 8.1.
> 
> Aaron J. Rabushka
> 
> ___
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Re: [Finale] Hiding Empty Staves

[Aaron Rabushka]

I am working in page view, and I control-A to select everything. I haven't 
checked the group settings yet.

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of 
Christopher Smith
Sent: Sunday, July 10, 2016 3:18 PM
To: finale@shsu.edu
Subject: Re: [Finale] Hiding Empty Staves

1. It only works in Page View, not Scroll. If you want to only see certain 
staves while in Scroll View, you want Staff Sets instead.
2. Is the staff you are trying to hide part of a group? Are the group 
attributes set to “hide normally” or “hide only when all staves are empty”? A 
staff can be part of more than one group, so be careful.

Christopher


> On Jul 10, 2016, at 3:58 PM, Aaron Rabushka <arabus...@austin.rr.com> wrote:
> 
> Is there some trick to getting the empty staves to disappear in the 
> full score? I have deleted their contents many times, yet the blank 
> staves still show up when I check HIDE EMPTY STAVES. I am using Finale 
> 2014 under Windows 8.1.
> 
> Aaron J. Rabushka
> 
> ___
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[Finale] Hiding Empty Staves

[Aaron Rabushka]

Is there some trick to getting the empty staves to disappear in the full
score? I have deleted their contents many times, yet the blank staves still
show up when I check HIDE EMPTY STAVES. I am using Finale 2014 under Windows
8.1.

Aaron J. Rabushka

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Re: [Finale] flat seventh chord

[Aaron Rabushka]

Sounds like a good academic description!

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Raymond Horton
Sent: Saturday, March 12, 2016 9:03 AM
To: finale@shsu.edu
Subject: Re: [Finale] flat seventh chord

I seem to recall the term subtonic 7th?
On Mar 12, 2016 8:32 AM, "dc"  wrote:

> Not Finale related, but I'm sure most of you will know what a " flat 
> seventh chord" is. I asked Google, and got various answers. Is this a 
> B flat major chord in C major, for instance?
>
> Thanks.
>
> Dennis
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Re: [Finale] flat seventh chord

[Aaron Rabushka]

That sounds right to me, although I'd usually get a bit more geeky and call
it a major triad on the flatted seventh of the scale. Common in traditional
Appalachian mountain music.

ajr

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
dc
Sent: Saturday, March 12, 2016 7:32 AM
To: finale@shsu.edu
Subject: [Finale] flat seventh chord

Not Finale related, but I'm sure most of you will know what a " flat seventh
chord" is. I asked Google, and got various answers. Is this a B flat major
chord in C major, for instance?

Thanks.

Dennis
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[Finale] OT: log drums

[Aaron Rabushka]

Does anyone on this list have any experience with and/or information about log 
drums that can be used in a Western orchestra?

Aaron J. Rabushka


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[Finale] user manual

[Aaron Rabushka]

Is anyone else having trouble opening the user manual from HELP? The last
few times I tried my Explorer screens came up empty.

Aaron J. Rabushka

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Re: [Finale] 2014.5

[Aaron Rabushka]

Thanks to all for the information about the tuba trill. In the work that I'm
copying out (one of mine what just needs a dynamics overhaul) this
unaccompanied trill introduces (I won't say modulates to) a new key. When
the piece was read years ago I didn't get any feedback on this trill. The
only problems that I did hear about (which I have subsequently fixed)
brought on a life lesson that you don't use trumpet range advice from
Maynard Ferguson wannabes.

Thanks again!

ajr

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Williams, Jim
Sent: Tuesday, November 17, 2015 10:32 PM
To: finale@shsu.edu
Subject: Re: [Finale] 2014.5

Tuba trills: f# to g# in the staff would be fingered:
2/3 to 1 on a BBb. A bit awkward.Alternate fingering would be quite out of
tune
2 to 2/3 on a CC Tuba. Easy.
2 to 1 on an Eb tuba. Easy. Sorry, but other poster was not correct.
1/2 to 2 on an F tuba. Easy.
I have avoided any options of 5th or 6th valves, as the setups are quite
varied.
Jim Williams (student of Harvey Phillips)

Sent from my iPhone, so please pardon all the typos.

> On Nov 17, 2015, at 11:21 PM, Philip Brink <basst...@gmail.com> wrote:
> 
> I can't answer the question about log drums, but as far as tubas are 
> concerned, you have to think of the key of the instrument. Tubas come 
> in BB flat, CC, E flat and F [those are the most common keys.] The 
> trill you mention is a lip trill on the BB flat instrument, and on the 
> others it should be a fingered trill. On E flat it might be awkward as 
> it has to be played with F sharp in 2nd valve and G sharp using 3rd valve.
Good luck!
> 
> On Wed, Nov 18, 2015 at 10:48 AM, Aaron Rabushka 
> <arabus...@austin.rr.com>
> wrote:
> 
>> Two off-topic questions:
>> 
>> 1) Are there any experts in tuba trills here? I need to know if a 
>> trill from f# (4th line of the bass clef) to the g# above is 
>> workable.
>> 
>> 2) Where can I find information about log drums (sizes, ranges)? I've 
>> been looking for a solid wooden sound to carry through the middle 
>> register of a lout orchestra, and now I need more specific information.
>> 
>> Aaron J. Rabushka
>> 
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> 
> 
> 
> --
> Philip Brink
> Instructor of Trombone
> College of Music, Mahidol University
> 25/25 Phutthamonthon Sai 4
> Salaya, Nakhonpathom 73170
> Thailand
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Re: [Finale] 2014.5

[Aaron Rabushka]

Does anyone know of a trick to get dashed ties for every note of a slur? I
have a 3-part chord that should properly have three dashed ties, but the
system will only let me use one through Smart Shapes.

Aaron J. Rabushka
Finale 14, Windows 8.1

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Re: [Finale] 2014.5

[Aaron Rabushka]

Two off-topic questions:

1) Are there any experts in tuba trills here? I need to know if a trill from
f# (4th line of the bass clef) to the g# above is workable.

2) Where can I find information about log drums (sizes, ranges)? I've been
looking for a solid wooden sound to carry through the middle register of a
lout orchestra, and now I need more specific information.

Aaron J. Rabushka

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Re: [Finale] 2014.5

[Aaron Rabushka]

Thanks Robert! Where do I get them?

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Robert Patterson
Sent: Tuesday, November 17, 2015 9:53 PM
To: finale <finale@shsu.edu>
Subject: Re: [Finale] 2014.5

Aaron,

I usually use beat-attached dotted-slurs for that. You may find my Smart
Shape Editor helpful for precision editing of beat-locations with spacial
offsets, since the beat-attached UI is not implements for dotted slurs.
(They work, but the UI is still the pre-Fin12 UI.) And you may find my Mass
Copy plugin useful for copying them.


On Tue, Nov 17, 2015 at 9:46 PM, Aaron Rabushka <arabus...@austin.rr.com>
wrote:

> Does anyone know of a trick to get dashed ties for every note of a 
> slur? I have a 3-part chord that should properly have three dashed 
> ties, but the system will only let me use one through Smart Shapes.
>
> Aaron J. Rabushka
> Finale 14, Windows 8.1
>
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[Finale] custom smart-lines and such things

[Aaron Rabushka]

I have a few questions about custom smart-lines and the double-ended bracket 
tool. I am using Finale 2014 under Windows 8.1.

1) Is there some way to extend the tabs at the end of the double-ended 
bracket tool? Finale isn't offering me anything obvious
2) I followed the instructions to make a new smart-line with tabs (the 
computer's pipe character |)  on the end. When I try to select this line for 
use late
on the system won't let me do it.
3) How does one make a vertical double-ended bracket, such as one uses 
to indicate a harp chord that shouldn't be broken?

Aaron J. Rabushka


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Re: [Finale] Message received?

[Aaron Rabushka]

1. Got your message here, sir.

2. Don't know.

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Raymond Horton
Sent: Friday, April 17, 2015 2:07 PM
To: finale@shsu.edu
Subject: [Finale] Message received?

1. Are my messages making it to the list?

2.  No suggestions for WinFin 2014 failing to import text???  Please say
Don't know so I know someone read it!



Raymond Horton
Bass Trombonist, Louisville Orchestra
Minister of Music, Edwardsville (IN) UMC Composer, Arranger VISIT US AT
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Re: [Finale] copying collections of expressions

[Aaron Rabushka]

Thanks--that did it!

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
David H. Bailey
Sent: Sunday, March 22, 2015 7:30 AM
To: finale@shsu.edu
Subject: Re: [Finale] copying collections of expressions



On 3/22/2015 12:05 AM, Aaron Rabushka wrote:
 Is there any way to copy the from one file for use with another file? 
 I am using 2014 in Windows 8.1.



Save it as a library when you have the first file open and then open the
second file and import that library.


--
David H. Bailey
dhbai...@davidbaileymusicstudio.com
http://www.davidbaileymusicstudio.com


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[Finale] copying collections of expressions

[Aaron Rabushka]

Is there any way to copy the from one file for use with another file? I am
using 2014 in Windows 8.1.

Aaron J. Rabushka

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Re: [Finale] Happy birthday

[Aaron Rabushka]

Perhaps it's not co-incidence that I'm listening to the Iceland Symphony
play Sibelius as we speak!

ajr

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Jón Kristinn Cortez
Sent: Friday, February 6, 2015 7:39 PM
To: finale@shsu.edu
Subject: Re: [Finale] Happy birthday


Thank you, Raymond.
Hope everything is good with you,

best regards,
Jón Kristinn




On 7.2.2015, at 01:33, Raymond Horton wrote:

 To my favorite Icelander: Jon Kristinn Cortez!
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Re: [Finale] independent time signatures

[Aaron Rabushka]

This will help save some keystrokes, although it isn't what I had in mind. 
If I go into mass edit and select the copy time signatures option and then 
try to copy the time signatures from a non-independnt time signature staff 
into one of the independent time signature staves, nothing happens. Is there 
some trick to getting this move to work?

Aaron J. Rabushka
arabus...@austin.rr.com

- Original Message - 
From: Christopher Smith christopher.sm...@videotron.ca
To: finale@shsu.edu
Sent: Friday, June 22, 2012 8:39 AM
Subject: Re: [Finale] independent time signatures


 Time signature metatools work with independent time sigs too, don't they? 
 That could be very fast.

 Christopher


 On Fri Jun 22, at FridayJun 22 12:12 AM, Aaron Rabushka wrote:

 Has anyone here worked with the independent time signature feature (e.g., 
 5/2 in some parts against 15/4 in others)? My current project is calling 
 for a lot of it. Is there any way to mass-copy the signatures from the 
 non-independent parts to the independent parts without entering each one 
 individually? I am using Finale 2003 on a PC.

 Aaron J. Rabushka
 arabus...@austin.rr.com



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[Finale] independent time signatures

[Aaron Rabushka]

Has anyone here worked with the independent time signature feature (e.g., 5/2 
in some parts against 15/4 in others)? My current project is calling for a lot 
of it. Is there any way to mass-copy the signatures from the non-independent 
parts to the independent parts without entering each one individually? I am 
using Finale 2003 on a PC.

Aaron J. Rabushka
arabus...@austin.rr.com



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Re: [Finale] Tenor-singers Clefs Discussion wrapup

[Aaron Rabushka]

And dont' forget those of us who simply don't want to count (and in olden 
times draw) the leger lines.
Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: John Howell john.how...@vt.edu
To: finale@shsu.edu
Sent: Saturday, September 17, 2011 1:38 PM
Subject: Re: [Finale] Tenor-singers Clefs Discussion wrapup


At 12:34 PM -0500 9/17/11, Steve Larsen wrote:

My own practice is to use the 8va sign in scores when necessary, but to
restore the part to its proper octave when extracting.

And that just makes good sense.  And save space
in the score, where things are more crowded
already.

Another pet peeve is engravers who switch viola
parts to treble clef for just a few notes, when
it's entirely unnecessary.  C'mon, folks, give us
a LITTLE credit for being able to read the music
written for our own instruments!  Don't obsess
over ledger lines if ledger lines are normal
for a given instrument.  There IS no rule for
how many ledger lines are acceptable, but there
is definitely an average that is different from
one instrument to another.

And at our last string rehearsal I found one
passage that sounded like garbage was actually an
engraver's error, where for about 4 bars he had
entered the notes as if in treble clef instead of
alto but hadn't marked a clef change.  It happens!

John


-- 
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
School of Performing Arts  Cinema
College of Liberal Arts  Human Sciences
290 College Ave., Blacksburg, Virginia 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:john.how...@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html

Machen Sie es, wie Sie wollen, machen Sie es nur schön.
(Do it as you like, just make it beautiful!)  --Johannes Brahms

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Re: [Finale] Enharmonic Equivalent Notes

[Aaron Rabushka]

Does control-9 work for enharmonic repellings in your version of the 
software?

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Giovanni Andreani i...@giovanniandreani.eu
To: finale@shsu.edu
Sent: Saturday, August 20, 2011 9:21 AM
Subject: Re: [Finale] Enharmonic Equivalent Notes


 Tried them all, I think, for my needs, TG Tools is best!

 Thank you
 Giovanni


 

 Giovanni Andreani

 www.giovanniandreani.eu

Or use TGTools-Modify-Replace Pitches


On Aug 20, 2011, at 8:49 AM, Nigel Hanley wrote:

 Open the staff in page view and select the Note Mover tool. Click on
the first Db4 you want to change, go back to the Note Mover menu, scroll
down to search and replace, and follow the options.



 On 20/08/2011, at 11:35 PM, Christopher Smith wrote:

 The Respell Notes function in the Utilities menu will respell large
chunks of music to conform to whatever you have set in Enharmonic
Spelling in the Preferences menu, but it will also respell everything
else to conform as well, so choose your settings carefully and perform
the operation on a copy of the file. You can do this several times if
you have to respell non-contiguous sections, or just a few staves.

 Christopher


 On Sat Aug 20, at SaturdayAug 20 8:14 AM, Giovanni Andreani wrote:

 Is there any way to automatically change a great quantity of Db4
into their enharmonic equivalents C#4 on a melodic line, without
affecting all other notes on the staff?
 Thank you in advance.

 Giovanni


 

 Giovanni Andreani

 www.giovanniandreani.eu



John Blane
Blane Music Preparation
1649 Huntington Ln.
Highland Park, IL 60035
847 579-9900
847 579-9903 fax
www.BlaneMusic.com
j...@blanemusic.com



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Re: [Finale] Need advice on writing for brass band

[Aaron Rabushka]

Can anyone recommend any recordings of this very specific brass band sound?

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Steve Parker st...@pinkrat.co.uk
To: finale@shsu.edu
Sent: Friday, July 01, 2011 6:33 PM
Subject: Re: [Finale] Need advice on writing for brass band


 Even further from the topic..
 
 I've just heard that Terry Camsey has passed on.
 
 A vague relative of mine, a wonderful cornet player, composer and  
 leading SA brass bander in the US.
 
 http://www.salvoaudio.com/bands/terry_camsey.htm
 
 Steve P.
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Re: [Finale] Need advice on writing for brass band

[Aaron Rabushka]

Central European brass bands may also have flügelhorns (soprano and tenor), 
and may sport valve 'bones next to slide 'bones.

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Williams, Jim jwilli...@franklincollege.edu
To: finale@shsu.edu
Sent: Sunday, June 26, 2011 9:31 PM
Subject: Re: [Finale] Need advice on writing for brass band


 I've played in brass bands in US and UK and written for brass band.
 Are you a brass player?
 If not, how well do you know the brasses in the brass band?
 How much brass band have you LISTENED TO? if none or little, then drag 
 tail over to iTunes or music and start listening.
 DO NOT listen to UK bands from the 49s or 50s; the style then is totally 
 unidiomatic now--much less vibrato now.
 Next: A true brass band has instrumentation unfamiliar to most people in 
 the US: cornets, tenorhorns in Eb (not the German things in Bb), 
 baritones, etc.
 Each of these instruments is a unique color to which Americans are not 
 accustomed.
 If you don't learn what these instruments sound like and what they can 
 produce, you're cheating yourself and the band. If need be, go to the 
 people who play those lesser-known instruments and get a live demo.
 Don't just think of Eb tenorhorn as a French horn, the cornets as 
 trumpets, etc. That's another failing of some writers.
 The brass band sound is warm by nature, since all the instruments except 
 the trombones are largely conical. So composers need to realize this for 
 sake of contrast in the music.
 Textural variety can also be achieved via mutes , but that is not to be 
 relied upon or overdone.
 To me the biggest deal in writing for brass band is to achieve tonal and 
 textural variety given the somewhat homogeneous nature of the 
 instrumentation.
 If brass band music is not in your experience set, get downloading from 
 Black Dyke, Fodens, grimethorpe, etc.
 Feel free to email me off-list if you have specific questions.
 Jim Williams
 Euphonium player

 Sent from my iPhone, so please pardon all the typos.

 On Jun 26, 2011, at 10:12 PM, Adam Taylor tariswerew...@eastlink.ca 
 wrote:

 Greetings all!

 I have the opportunity to write for a local community brass band (The
 Chester Brass Band in Chester, NS) and I am looking for any advice from
 list members who have undertaken such things. THe only person I ever
 knew personally that had written for brass band was my old professor,
 Dr. Cardy, but he's passed away.

 I have the link to the bandsman.co.uk site on writing for brass bands,
 but I am interested in hearing other perspectives and other people's
 experiences on the matter.

 Any help would be appreciated.

 Sincerely,
 Adam
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Re: [Finale] Re: OT--low f's for altos?

[Aaron Rabushka]

I've heard this before. Still, I don't want to take the sopranos up to c#''' 
without a complling reason.


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Mark D Lew markd...@earthlink.net

To: finale@shsu.edu
Sent: Wednesday, May 18, 2011 3:07 AM
Subject: Re: [Finale] Re: OT--low f's for altos?



On May 16, 2011, at 10:42 AM, John Howell wrote:

Classical singers, voice teachers, and musicians in general take it as an 
article of faith that men's and women's voices are an octave apart, and 
in a lot of situations that works just fine.


Another thought:  Although I never really formulated it as such, I guess I 
think of the distance between men's voices and women's voice more like a 
ninth rather than an octave.


For example:
- chorus altos on low G is like chorus basses on low F
- chorus tenors on high G is like chorus sopranos on high A
- baritone soloist's high F is like mezzosoprano soloist's high G
etc

mdl
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Re: [Finale] Re: OT--low f's for altos?

[Aaron Rabushka]

Thanks for all of the input on my low f's! The situation is that I have a 
men's chorus piece that has one pianissimo phrase that takes some of the 
basses down to Sarastro's low F, and I would like to make a version of it 
for women by simply transposing everything up an octave. (If I would to a 
major 9th that would take some of the sopranos up to c#''', where I don't 
want to go.) Owing to it's melodic, harmonic, and rhythmic ruggedness I 
don't think that anyone other than a professional choir will go anywhere 
near it.


With regard to Webern, the orchestration of his choral pieces makes me think 
of the chamber choir model, but I have no evidence for this--any Robert 
Craft fans know of any appropriate comments? I don't know if his cantatas 
were written for any specific group.


Aaron J. Rabushka
arabus...@austin.rr.com




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[Finale] OT--low f's for altos?

[Aaron Rabushka]

OK--as long as we're OT, does anyone have any information about low f's for 
choral altos? I noticed that Webern takes them down there (twice in the 6th 
movement of Cantata #2, opus 31), and also that Verdi has them bottom out at 
the g. In which cases is the f practical?


Aaron J. Rabushka
arabus...@austin.rr.com




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Re: [Finale] OT--low f's for altos?

[Aaron Rabushka]

Yes, it was the choral parts to which I referred.

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Mark D Lew markd...@earthlink.net

To: finale@shsu.edu
Sent: Thursday, May 12, 2011 10:03 PM
Subject: Re: [Finale] OT--low f's for altos?



On May 12, 2011, at 7:01 PM, John Howell wrote:

I'm kind of surprised that Verdi wrote down to the G3, since most  
of the lower opera roles are for mezzos, not real contraltos.


I assume Aaron was talking about Verdi choral parts.  Verdi often  
writes altos in women's chorus down to G3, but none lower that I can  
think of.  Two examples that come to mind are the nun's chorus in  
Trovatore, and the Libera me, Domine fugue in the Requiem (right  
after the main theme).


I can only think of one solo G3 for female voice in Verdi, at the end  
of Ulrica's aria in Ballo.


mdl
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Re: [Finale] Re: [OT] plural of rubato = rubati?

[Aaron Rabushka]

All of my recordings were made in Moravia. The musicians understood 
everything I wrote in Italian, not necessarily what I wrote in English 
(e.g., white keys).


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Mark D Lew markd...@earthlink.net

To: finale@shsu.edu
Sent: Thursday, March 31, 2011 3:17 AM
Subject: Re: [Finale] Re: [OT] plural of rubato = rubati?


On Mar 25, 2011, at 2:37 PM, gplw...@letterboxes.org 
gplw...@letterboxes.org wrote:



Expletives deleted, isn't it time we moved beyond the egotistical  false
pride of insisting that expressions be in Italian?  Or that  dynamics be
in abbreviated Italian with extended greater than or less than signs?

This is not an attack on the Italians or on time-honored traditional
practices.  If German or French composers wish to notate in their  native
languages for native players, why not?
The purpose of notation is to communicate as directly and to make the
music as easily performable as possible for the players.
If most of the players speak English, why not use English for
expressions and dynamics?   [...]


For many of the commonest musical terms, the English word *is* the 
Italian word.


The English word for crescendo is ... crescendo.

The English word for allegro is ... allegro.

And likewise for andante, legato, rubato, perdendosi, etc.

To render them instead as increasing, cheerful, moving,  bound, 
stolen, losing oneself, etc, would not further the  purpose of direct 
communication, even for us anglophones.


mdl
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Re: [Finale] [OT] plural of rubato = rubati?

[Aaron Rabushka]

And don't forget the hoosier paradises of PEE-ru, BRAY-zil, and 
ROO-ssiaville!


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Allen Fisher al...@fisherartandtech.com

To: finale@shsu.edu
Sent: Wednesday, March 30, 2011 6:09 PM
Subject: Re: [Finale] [OT] plural of rubato = rubati?


I grew up near the town of Nevayduh, Ohio (ohioh or ohiyuh depending on 
which side of I-70 you were on)


But the two best ones, IMHO are the towns of Berlin (BUR-lynn) and Russia 
(Rooshiuh) Ohio...



On 25 Mar, 2011, at 11:54 PM, Aaron Rabushka wrote:

...but it is sometimes neVAYduh, MO (with either mizzuREE or mizzurUH 
trailing along)

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - From: MSO m...@sti.net
To: finale@shsu.edu
Sent: Friday, March 25, 2011 9:16 PM
Subject: Re: [Finale] [OT] plural of rubato = rubati?



I would have to agree with Dalvin re: the pronunciation of RO-dee-oh.

There's nothing ignorant about it.  Y'ever been out west?  Regional 
pronunciation does not connote ignorance; after all: the word has been 
virtually re-defined as a uniquely Western US event over a 
century-and-a-half.   Not the same as its Spanish antecedent - event OR 
pronunciation.  It's RO-dee-oh!   Just as it's Ne-VAA-da and NEVER 
Ne-VAH-da!


And I would dare say that anyone - specially any 'them green dude 
Eastern fellers - even that-there Copland-feller (who I understand were 
born in NOO YORK CITY) who pronounces it any way OTHER than RO-dee-oh 
don't know what he's talkin' about!!


Although: I DO smile when I write that, pard'ner!

And now: hunkerin' back down in the dark.

Les Marsden
(209) 966-6988 (H)
(559) 708-6027 (Cell - Emergency only)
7145 Snyder Creek Road
Mariposa, CA   95338-9641

Trustee Central, California Democratic Council
Mariposa County Planning Commissioner, District 5
Chair, Mariposa County Democratic Central Committee
Founding Music Director and Conductor, The Mariposa Symphony Orchestra
Past two-term President, Economic Development Corporation of Mariposa 
County




- Original Message - From: dalvin boone 
dalvin.bo...@avenuebroadband.com

To: finale@shsu.edu
Sent: Friday, March 25, 2011 6:42 PM
Subject: RE: [Finale] [OT] plural of rubato = rubati?



John,

I disagree.  RO-dee-oh is an American pronunciation of a Spanish 
(Mexican)
word.  There are many examples of such borrowed words that are not 
commonly
pronounced as they would be in Mexico or Spain:  Animas as in the 
Animas
River; Santa Fe, Santa Rosa, Amarillo, Lamesa, Tucumcari, chile (chili) 
etc.



-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On 
Behalf Of

John Howell


As do the feminine alumna and the plural alumni, which are still
universally used and understood.  Syllabi is commonly used in the
academy, although it ALMOST seems pretentious.

And then there are those pesky words that seem to be in the middle of
their transition:  data (always plural) and datum (singular); and
even worse, media (always plural) and medium (singular).

For some borrowed and assimilated words singers have to make choices
(unless a composer has made it perfectly clear):  ro-DEH-oh (Spanish)
or RO-dee-oh (ignorant American!).

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.
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Allen Fisher
Founder and Principal Developer
Fisher Art and Technology
al...@fisherartandtech.com
i...@fisherartandtech.com







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Re: [Finale] [OT] plural of rubato = rubati?

[Aaron Rabushka]

Not to mention what out-state Missourians do to French names:  Versailles = 
verSAYLZ, St. François= Saint Francis, Beaufort= Buford for starters. 
AAARGH!


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Dennis Bathory-Kitsz bath...@maltedmedia.com

To: finale@shsu.edu
Sent: Saturday, March 26, 2011 12:52 PM
Subject: Re: [Finale] [OT] plural of rubato = rubati?



On Sat, March 26, 2011 1:25 pm, Chuck Israels wrote:
Yeah, but I have learned to refrain from correcting the checkout clerks 
at the
grocery store when they call the stuff I buy En-dive, when I know 
perfectly

well, it's Ahn-deev.


Ha! Where I came from in New Jersey it was EN-dive -- and my grandmother 
used

a lot of it. My wife is a Connecticut AHN-deever. Up here it Vermont it's
whatkindalettuceisthat.

Place names in Vermont are way anglicized. Calais = callous, Montpelier =
muntPILLyer, Barre = berry, and family names like Messier = messier (not
messi-ay). Plus our driveways are dooryards, and we go upstreet or 
downstreet

to town no matter what direction it actually might be.

There's a great publication called the Dictionary of American Regional
English (DARE), which has been coming out one volume roughly every 20 
years.
(I have through letter S. The last volume isn't out yet.) It gives quite a 
bit

of detailed info on geography, usage, dialect, pronunciation, etc.

Dennis


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Re: [Finale] [OT] plural of rubato = rubati?

[Aaron Rabushka]

...but it is sometimes neVAYduh, MO (with either mizzuREE or mizzurUH 
trailing along)

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: MSO m...@sti.net

To: finale@shsu.edu
Sent: Friday, March 25, 2011 9:16 PM
Subject: Re: [Finale] [OT] plural of rubato = rubati?



I would have to agree with Dalvin re: the pronunciation of RO-dee-oh.

There's nothing ignorant about it.  Y'ever been out west?  Regional 
pronunciation does not connote ignorance; after all: the word has been 
virtually re-defined as a uniquely Western US event over a 
century-and-a-half.   Not the same as its Spanish antecedent - event OR 
pronunciation.  It's RO-dee-oh!   Just as it's Ne-VAA-da and NEVER 
Ne-VAH-da!


And I would dare say that anyone - specially any 'them green dude Eastern 
fellers - even that-there Copland-feller (who I understand were born in 
NOO YORK CITY) who pronounces it any way OTHER than RO-dee-oh don't know 
what he's talkin' about!!


Although: I DO smile when I write that, pard'ner!

And now: hunkerin' back down in the dark.

Les Marsden
(209) 966-6988 (H)
(559) 708-6027 (Cell - Emergency only)
7145 Snyder Creek Road
Mariposa, CA   95338-9641

Trustee Central, California Democratic Council
Mariposa County Planning Commissioner, District 5
Chair, Mariposa County Democratic Central Committee
Founding Music Director and Conductor, The Mariposa Symphony Orchestra
Past two-term President, Economic Development Corporation of Mariposa 
County




- Original Message - 
From: dalvin boone dalvin.bo...@avenuebroadband.com

To: finale@shsu.edu
Sent: Friday, March 25, 2011 6:42 PM
Subject: RE: [Finale] [OT] plural of rubato = rubati?



John,

I disagree.  RO-dee-oh is an American pronunciation of a Spanish 
(Mexican)
word.  There are many examples of such borrowed words that are not 
commonly
pronounced as they would be in Mexico or Spain:  Animas as in the 
Animas
River; Santa Fe, Santa Rosa, Amarillo, Lamesa, Tucumcari, chile (chili) 
etc.



-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf 
Of

John Howell


As do the feminine alumna and the plural alumni, which are still
universally used and understood.  Syllabi is commonly used in the
academy, although it ALMOST seems pretentious.

And then there are those pesky words that seem to be in the middle of
their transition:  data (always plural) and datum (singular); and
even worse, media (always plural) and medium (singular).

For some borrowed and assimilated words singers have to make choices
(unless a composer has made it perfectly clear):  ro-DEH-oh (Spanish)
or RO-dee-oh (ignorant American!).

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.
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Re: [Finale] [OT] plural of rubato = rubati?

[Aaron Rabushka]

Not to mention using pianoforti for two or more, er, pianos!

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: John Howell john.how...@vt.edu

To: finale@shsu.edu
Sent: Thursday, March 24, 2011 10:50 PM
Subject: Re: [Finale] [OT] plural of rubato = rubati?



At 5:16 PM -0700 3/24/11, Mark D Lew wrote:

 

does this word actually exist?


Technically, yes, it does exist. In Italian, rubato is an 
adjective, and if that adjective happens to be modifying a plural 
(and masculine) noun, it does indeed become rubati (as in 
gioielli rubati).


However, you are intending it as a noun. Rubato only becomes a 
noun in English, so if you want to pluralize it, you should give it 
an English plural: rubatos.


Agreed that one should use the English plural, but I would argue that 
it is STILL being used as an adjective, even though the noun it 
modifies is understood and unstated:  tempo rubato; tempi rubati. 
And I think my mom, the language teacher, would have argued similarly.


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.
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[Finale] {Spam} selective printing of group names

[Aaron Rabushka]

Is there any way of having group names show up on some pages and get blanked 
out on others?


Aaron J. Rabushka
Finale 2003 on a PC
arabus...@austin.rr.com





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[Finale] {Spam} Re: selective printing of group names

[Aaron Rabushka]

Thanks! I didn't know we could go system-by-system on this.

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Noel Stoutenburg mjol...@ticnet.com

To: finale@shsu.edu
Sent: Sunday, December 05, 2010 9:21 PM
Subject: {Spam} Re: [Finale] {Spam} selective printing of group names



Aaron Rabushka wrote:


Is there any way of having group names show up on some pages and get
blanked out on others?


[For others who may consider venturing an opinion, I believe Aaron is 
using Finale 2003 on Windows.]
Now on each system where you want the group name to show, make sure that 
the show group name attribute (located about 1/3 down the Group 
attributes dialog window, immediately to the right of the show barlines 
on drop down) is checked; for each system where you want the group name 
hidden, uncheck the show group name attribute.


As I recall, the labels Group name and Abbr. Group name in the group 
attributes dialog window are misleading in the same way the similar 
labels in the staff attributes dialog window are misleading. In each 
case, the former (group or staff name) are the label applied to the 
first system in the work, and the latter (Abbr. Group or Abbr. 
Staff) define the text applied to all but the first system.


ns
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[Finale] {Spam} Next question: barlines accidentals

[Aaron Rabushka]

Next question:  how do we keep accidentals from being printed on or before 
their attendant bar lines? Is there a system option to set?


Aaron J. Rabushka
arabus...@austin.rr.com





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Re: [Finale] Topline notation question

[Aaron Rabushka]

In other words, it's sort of a 'figured soprano.'

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Nigel Hanley i...@nigelhanley.com

To: finale@shsu.edu
Sent: Friday, November 26, 2010 7:33 AM
Subject: Re: [Finale] Topline notation question


Topline notation as described tells the guitarist to play chords with the 
indicated rhythm and the indicated top note of the voicing. On a guitar 
part, we need to know whether to voice the melodic line, or play it as a 
single line melody. This type of notation indicates that. Otherwise you 
would need more 'English' on the part. And as someone once said, you don't 
want to have to write the player a letter.




On 26/11/2010, at 11:45 PM, David H. Bailey wrote:


On 11/25/2010 10:49 PM, Nigel Hanley wrote:
An example of the use of topline notation is the Everly Bros song, 'Walk 
Right Back' . The opening chord riff is on the tonic chord, with the top 
note of the chord moving from the fifth to the sixth, then the seventh. 
Notating this fully is both unnecessary and cluttered. Pianists and 
guitarists know how to voice this, they just need that 'topline' 
information.


And as I said before, it's much easier to 
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But any good fake book does that without any special notation -- it simply 
places the chord changes over the appropriate beats and writes the melody.


I still don't understand what additional information the downward stems 
impart which can't be imparted simply by writing the desired part with the 
chords indicated above the appropriate notes.


--
David H. Bailey
dhbai...@davidbaileymusicstudio.com
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Re: [Finale] Never mind Bach

[Aaron Rabushka]

As I recall the BWV 211 text mentions Muskatel but no cream. Dare we infer 
it? When Lieschen says that the coffee smells sweet, do we know how much (if 
any) sugar she tood it with?


Aaron J. Rabushka
who, at this moment, doesn't care if he ends a sentence with a preposition
arabus...@austin.rr.com

- Original Message - 
From: Mariposa Symphony Orchestra m...@sti.net

To: finale@shsu.edu
Sent: Wednesday, November 10, 2010 10:33 PM
Subject: Re: [Finale] Never mind Bach


So you take your coffee bach, no cream?

Wow.   Can't believe I wrote that.  And it's actually three hours EARLIER 
here than there, Dennis


Les Marsden
(209) 966-6988
Cell: (559) 708-6027 (Emergency only)
7145 Snyder Creek Road
Mariposa, CA  95338-9641

Founding Music Director and Conductor,
The Mariposa Symphony Orchestra
Music and Mariposa?  Ah, Paradise!!!

Mariposa County Planning Commissioner, District 5
First Vice-President, The Mariposa County Arts Council, Inc.
Board Director, The Economic Development Corporation of Mariposa County

http://arts-mariposa.org/symphony.html
Marsden Marx Pages: http://tinyurl.com/ygpj7og
 - Original Message - 
 From: Dennis Bathory-Kitsz

 To: finale@shsu.edu
 Sent: Wednesday, November 10, 2010 7:38 PM
 Subject: [Finale] Never mind Bach


 Had an extra coffee and entered it.

 Thanks,
 Dennis


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Re: [Finale] Non-linear melodies

[Aaron Rabushka]

Yep. It's called pointillism--Anton Webern was a wiz at it.

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: dershem ders...@cox.net

To: finale list finale@shsu.edu
Sent: Tuesday, August 17, 2010 10:30 PM
Subject: [Finale] Non-linear melodies


I was recently given a copy of Willie Maiden's Kaleidoscope.  It is 
... unique.


No one part has the melody line.  It's all just notes spread across the 
band in varying rhythms, and you have to have the whole band playing in 
precise rhythm to allow the audience to be able to hear the melody 
sneaking through.


Kenton recorded it.  Are any of you familiar with it?  Have any of you 
experimented with the idea of note 1 goes here, note 2 goes to a 
different players, etc.?


cd
--
http://members.cox.net/dershem/index.html
http://dershem.livejournal.com/
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Re: [Finale] Trumpet question

[Aaron Rabushka]

The only Dutch word that I know for roll is broodje, but I do not think 
that that is what you are looking for here.


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Barbara Touburg btoub...@wanadoo.nl

To: finale@shsu.edu
Sent: Tuesday, July 20, 2010 1:23 PM
Subject: Re: [Finale] Trumpet question



Williams, Jim wrote:

Barbara,

A roll is een inrollen van je onderlip--dwz, je trekt je onderlip over 
je ondertanden.
Sommige trompeters doen dat om in het hoger register te spelen, maar zo'n 
techniek
is niet aanbevolen...zoals de auteur (leraar) zei...je lippen worden er 
snel moe van.




Hee, wat leuk, in het Nederlands.
Weet je toevallig de Nederlandse term voor roll?

Hey, that's nice, in Dutch.
Do you happen to know the Dutch term for roll?
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Re: [Finale] Doubling part label

[Aaron Rabushka]

...not to mention the CanadiEns, on and off the ice!

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Christopher Smith christopher.sm...@videotron.ca

To: finale@shsu.edu
Sent: Tuesday, July 06, 2010 11:58 PM
Subject: Re: [Finale] Doubling part label




On Tue Jul 6, at TuesdayJul 6 11:36 PM, John Howell wrote:

(For whatever it's worth, I also consider pseudo-French spellings  
of words like centre and theatre to be stuck up, adopted in England  
to show that people had studied French!)



The theatre spelling, which apart from being standard British  
spelling, even among the mono-lingual, is also used in Canada and  
dates back to the 1700's, according to my sources. The word IS a  
French word (not pseudo at all), borrowed (as many English words are)  
either with or without the anglicised spelling. Many Canadians, such  
as myself, cling to the re spelling (along with spellings such as  
anglicised instead of the American anglicized) as much from  
stubbornness as from patriotism. It's just the way we learned to  
spell it!


The er standardised spelling used by Americans can be traced back  
to Webster, according to this link, while the re spelling became  
standard in Britain with the earlier Johnson's dictionary. Both were  
in use before then.


http://www.etymonline.com/index.php?search=-researchmode=none


And most anglophone Canadians who speak French too are not stuck up,  
they are just trying to get along with their fellow citizens. Some  
might take exception to your position.


Christopher


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Re: [Finale] Doubling part label

[Aaron Rabushka]

Angelic horn? you mean a sackbut?

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: ch...@directionsinmusic.com

To: finale@shsu.edu
Sent: Wednesday, July 07, 2010 2:33 AM
Subject: Re: [Finale] Doubling part label


Cor anglais is stuck up? I thought it was simply British, for 
people who know that the English horn is neither English nor a horn.


French, actually.  French for English horn, which is apparently 
where the term came from.


Actually it was originally: angelic horn, as in horn of the angels. 


/ Cb
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Re: [Finale] OT-Kuhnau

[Aaron Rabushka]

In Poland they call sheet music nuty, = [the] notes.

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Barbara Touburg btoub...@wanadoo.nl

To: finale@shsu.edu
Sent: Tuesday, June 15, 2010 4:47 AM
Subject: Re: [Finale] OT-Kuhnau



John Howell wrote:

At 5:32 PM +0200 6/14/10, Barbara Touburg wrote:

To many of us, Barbara, the music means notes on paper, usually in the 
form of score and parts, not a recording.  I wonder whether this is a 
generational difference?




It's more likely to be a national difference. I'm Dutch, sorry, can't help 
it!

For us, music can be both and many things more...
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Re: [Finale] Beams

[Aaron Rabushka]

(We used to call that the tyranny of the barline.)



Like Bartók's tyranny of the major and minor modes?


Aaron J. Rabushka
arabus...@austin.rr.com 



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Re: [Finale] disappearing clef

[Aaron Rabushka]

Hey Daniel!

Thanks for the tip--unfortunately I do not see the SET TO CLEF option under 
STAFF ATTRIBUTES--must be something added post-2003.


Aaron J. Rabushka
arabus...@austin.rr.com

- Original Message - 
From: DANIEL CARNO dcar...@twcny.rr.com

To: finale@shsu.edu
Sent: Friday, May 28, 2010 10:59 PM
Subject: RE: [Finale] disappearing clef



Hi Aaron,

This is a long shot, but do you have Set to Clef turned on in Staff 
Attributes?  If so, that could be the problem.


Dan Carno

Daniel J. Carno
Music Engraving Services
Quality work in Sibelius, Finale and Score
4514 Makyes Road
Syracuse, New York 13215
315-492-2987
dcar...@twcny.rr.com

-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf 
Of arabus...@austin.rr.com

Sent: Friday, May 28, 2010 10:05 PM
To: finale@shsu.edu
Subject: [Finale] disappearing clef


In the score I'm working on now there is one passage where I contiually 
have to
re-mark a bass clef in the right-hand staff of one of the piano 
parts--very
often this clef disappears, and the notes appear correctly and awkwardly 
in the
treble clef. Has anyone else had this problem? Could it possibly have 
something

to do with optimizing scores?

Aaron J. Rabushka
Finale 2003 on a PC
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Re: [Finale] O.T. Secco recitatives

[Aaron Rabushka]

Perhaps we're ready for some Historically Informed Broadway. All of this 
discussion of original vs. tweeked calls to mind that the Carmen that we 
here is not Bizet's, but Guiraud's. I also heard that whenever Cherubini's 
Medea is heard nowadays it's rarely in Cherubini's version, but in one with 
recitative replacing the spoken dialogue. Not always the best choice.


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Christopher Smith christopher.sm...@videotron.ca

To: finale@shsu.edu
Sent: Monday, May 24, 2010 1:03 PM
Subject: Re: [Finale] O.T. Secco recitatives




On Mon May 24, at MondayMay 24 12:58 PM, David W. Fenton wrote:


On 24 May 2010 at 12:51, John Howell wrote:


I take
Oklahoma! as the tipping point, even though Showboat had tended
that way earlier (and significantly with the help of Hammerstein).


Hmm. The Showboat issue is quite complicated. There exist about 5
distinct versions of the show. It was tinkered with quite extensively
in revivals and in the movie versions, and really think most of the
innovations are later tweaks to the original (at least, in
comparison to the original of Oklahoma).


The social conscience part of Showboat (stories sympathetic to black 
principal characters, black actors and white in the same scene and 
singing the same song) were part of the original, I think. Please  correct 
me if I'm wrong, but I got a look at an original engraving of  the 
Showboat score, and I think I remember this stuff. You may be  right about 
dramatic innovations.


Christopher


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Re: [Finale] O.T. Musical Theater (was Secco recitatives)

[Aaron Rabushka]

When I saw the recent revival of Fiddler (the only show I've actually seen 
on Broadway) the orchestra was placed on stage, off to audience right. A 
clarinetist did step into the action during the wedding.


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Ryan ry.squa...@gmail.com

To: finale@shsu.edu
Sent: Monday, May 24, 2010 6:19 PM
Subject: Re: [Finale] O.T. Musical Theater (was Secco recitatives)



I love hearing these horror stories from musical theater. I'm getting
ready to conduct Fiddler on the Roof and the director has told me he's
considering putting the orchestra on stage (partly in the wings), so that 
we
can become the wedding band at the end of Act I. I don't like the idea 
of

having 15 musicians trying to perform during a brawl...
Christopher, I wonder if we've worked with the same choreographer. There
always seems to be one like her involved in every show I've done!

On Mon, May 24, 2010 at 3:52 PM, Christopher Smith 
christopher.sm...@videotron.ca wrote:



On Mon May 24, at MondayMay 24 5:42 PM, John Howell wrote:

 The movie versions are ALWAYS too different to do you any good.





Hah! I wish you could have had that conversation with this one
choreographer, who watched the movie for several of our semi-pro 
productions

and insisted that the dance routines (including hits) be altered to match
the movie. She even insisted that entire numbers be added or excised to
match the movie. She didn't understand how much work it was to transcribe
and arrange all that music. In fact, she would come over to the band 
during

rehearsals and say, No, like this... and then sing it to us, as if we
would just hear her, change our parts on the spot (arranging them
spontaneously through telepathy), and play it like the film version as 
soon

as she said, Got it? 5-6-7-8...

It was when we injured several dancers during Sweet Charity that I think
she finally got the idea that filming Shirley MacLaine in  twenty or so 
cuts

with pre-recorded vocals was a completely different thing than performing
all that live, dripping with sweat and puffing like a water buffalo 
during

the last chorus of There's Gotta Be Something Better Than This.

Strangely, this group had a curiously low opinion of musical directors. 
His

opinion was completely ignored during casting, in fact, they didn't even
invite him to the auditions for one show, presenting him with the casting 
as
a fait accompli at the first rehearsal. The choreographer, however, had 
the

director wrapped around her finger and got priority in all matters,
including rehearsal time. The first production that I musical directed 
for
them was the one that she dropped out of after auditions, possibly 
because I

was making sense with my opinions and that didn't bode well for her.

Okay, end of rant.

Christopher

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[Finale] disappearing clef

[Aaron Rabushka]

In one of the scores I'm working with now I put a bass clef in the middle of 
the right hand for one of the piano parts. Often times I'll be looking it 
over and this clef has disappeared, showing the passage (correct but looking 
absurd) in the treble clef. Has any of you dealt with this before? Could it 
have something to do with score optimization?


Aaron J. Rabushka
arabus...@austin.rr.com
Finale 2003 on a PC 



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Re: [Finale] Slightly--no, VERY--OT: Tuba Transposition

[Aaron Rabushka]

Heck, when I picked up a crumhorn I lipped the whole scale without putting a 
single finger down!


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Lawrence Yates yateslawre...@googlemail.com

To: finale@shsu.edu
Sent: Wednesday, May 12, 2010 2:24 AM
Subject: Re: [Finale] Slightly--no, VERY--OT: Tuba Transposition



Hi John,

Okay, if we're going to argue about correctness, yes you can overblow a
crumhorn  :-)  - as I'm sure you're aware - you just underblow then give 
it

a diaphragm kick with the breath and makes a horrible high pitched whining
noise which, if you can sustain it, can be quite useful in raising a 
laugh.

(It sounds particularly effective in this respect if you can get a consort
of them doing it.)

I must admit, I never took much notice of what the actual pitch was.

All the best,

Lawrence



--
Lawrenceyates.co.uk
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Re: [Finale] OT: dynamic range for musical anvils?

[Aaron Rabushka]

Thanx for the continued interest! I don't know if my intentions here are 
exactly lyrical, but at least some of them are quiet.


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Williams, Jim jwilli...@franklincollege.edu

To: finale@shsu.edu
Sent: Monday, April 26, 2010 10:47 PM
Subject: Re: [Finale] OT: dynamic range for musical anvils?



There's an Alec Wilder band piece that calls for anvil.

I will check it for dynamics; that will iron out all our problems.

As we all know, Alec was one of the few composers who truly understood
the lyrical potential of the anvil and sought to unlock it.

Sent from my iPhone, so please pardon all the typos.

On Apr 26, 2010, at 11:37 PM, Andrew Stiller
kalli...@ix.netcom.com wrote:



On Apr 25, 2010, at 9:37 PM, Aaron Rabushka wrote:


Is anyone acquainted with the musical use of anvils, and their
possible dynamic range? Every instance I can thing of is loud, and I
noticed that Wagner does not give any dynamic's for Mime's hammering
in Siegfried. Is anyone here familiar with any quiet uses of them?



I can't believe so many responses can be so wrong and/or beside the
point!

Wagner and Verdi had in mind real anvils (jeweller size!) but nowadays
the anvil is a real percussion instrument made by percussion
manufacturers for purely musical use. Think of it as a sort of metal
clave: It's a solid metal bar, cylinder  or tube, playable at any
dynamic you please depending on the mallets you use.

Like the slapstick, thundersheet, lion's roar, etc., there is
absolutely no requirement that the anvil be restricted to smithy
imitations. An excellent abstract example of itsr use is in Varèse's
*Ionisation* (player 12), where two of them are called for (high and
low), and asked to play as softly as pp.

For more (much more!), see my *Handbook of Instrumentation* pp.
194-195.


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[Finale] OT: dynamic range for musical anvils?

[Aaron Rabushka]

Is anyone acquainted with the musical use of anvils, and their possible 
dynamic range? Every instance I can thing of is loud, and I noticed that 
Wagner does not give any dynamic's for Mime's hammering in Siegfried. Is 
anyone here familiar with any quiet uses of them?


Aaron J. Rabushka
arabus...@austin.rr.com 


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Re: [Finale] OT: dynamic range for musical anvils?

[Aaron Rabushka]

Well, if you guys got quiet anvil sounds out your players it must be 
possible, so I'll put it in the score as such and, if/when it gets played, 
I'll see what the players do. When IU Opera Theater presented a faculty 
opera a buncha years ago the anvils were tuned lengths of 
u-tubing--always, IIRC, loud.


Thanx for your help!

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Chuck May chuck...@may-engineering.com

To: finale@shsu.edu; finale@shsu.edu
Sent: Sunday, April 25, 2010 9:07 PM
Subject: Re: [Finale] OT: dynamic range for musical anvils?


I can't recall a piece scored for a quiet anvil other than my own (This 
Hallowed Ground - The Farms of Gettysburg has a brake drum down as low as 
mp, at least briefly!), but there's no reason it can't be done. Of course, 
the trick is to not use a real anvil - they are so solid that you can't get 
them to vibrate at all. In a real blacksmith shop it's not the anvil you 
hear, but the metal which is being worked. To my ear the best anvil-like 
sound comes from a brake drum, muffled with a rag if you don't want much 
sustain. You can use a light lexan bell mallet or even a triangle beater to 
get a light, quiet sound. You can also get them in different sizes, from 
truck down to subcompact, for different tones.


Chuck May
Percussion, Eagles Band
Pittsfield MA

-Original Message-

From: Aaron Rabushka arabus...@austin.rr.com
Subject: [Finale] OT:  dynamic range for musical anvils?

Is anyone acquainted with the musical use of anvils, and their possible
dynamic range? Every instance I can thing of is loud, and I noticed that
Wagner does not give any dynamic's for Mime's hammering in Siegfried. Is
anyone here familiar with any quiet uses of them?



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Re: [Finale] OT: dynamic range for musical anvils?

[Aaron Rabushka]

Hmm--are those same directors trying to get extra mileage out of their 
Rheingold anvils? lol


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Mark D Lew markd...@earthlink.net

To: finale@shsu.edu
Sent: Sunday, April 25, 2010 10:09 PM
Subject: Re: [Finale] OT: dynamic range for musical anvils?



On Apr 25, 2010, at 6:37 PM, Aaron Rabushka wrote:

Is anyone acquainted with the musical use of anvils, and their  possible 
dynamic range? Every instance I can thing of is loud, and  I noticed that 
Wagner does not give any dynamic's for Mime's  hammering in Siegfried. Is 
anyone here familiar with any quiet uses  of them?


Can I take this opportunity to vent a pet peeve about the anvil  chorus in 
Verdi's Trovatore?


The scene features a troop of gypsies.  Among the things gypsies were 
known for in that historical context is jewelry. The anvils they  carry 
would be the small jewelers' anvils one uses for crafting jewelry.


And yet, in so many productions they are shown with dozens of big  forging 
anvils, banging on them with giant mallets.


Gypsies are also known for being nomadic.  Does it never occur to the 
director how absurd it is to thing they'd be lugging around those 100- 
pound monsters in a nomadic lifestyle?


mdl
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Re: [Finale] O.T. Bar numbers

[Aaron Rabushka]

Not meaning to sounds too nit-picky, but if it's full, is it a pickup 
measure?


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Christopher Smith christopher.sm...@videotron.ca

To: finale@shsu.edu
Sent: Tuesday, April 13, 2010 9:16 PM
Subject: Re: [Finale] O.T. Bar numbers


The second ending bar should be a partial measure if there is a  pickup 
(say, a dotted half note in 4/4 if the next pickup is a  quarter note), so 
yes, the pickup measure should have the same number  as the (incomplete) 
second ending.


Pickup measures should not normally be numbered anyway if they are 
partial. Full pickup measures... well, the jury is still out on those.


Christopher



On Tue Apr 13, at TuesdayApr 13 10:09 PM, Kim Patrick Clow wrote:


Hi all:

I have a 1st / 2nd ending at the end of a movement. I know typically
those bars have the same number. (bar 8 in my case)

But the next section starts off with a pick-up beat. Would that be Bar
no 8 too? Next full bar then 9?

Or would the pick-up bar start at 9 with next full measure as bar 10?

Thanks!
Kim
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Re: [Finale] Crediting the copyist

[Aaron Rabushka]

Yes--good old Judy Green! I remember cutting their logos (Cameo, Alpheus) 
off the bottoms of several works.


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: John Howell john.how...@vt.edu

To: finale@shsu.edu
Sent: Tuesday, March 30, 2010 10:02 AM
Subject: Re: [Finale] Crediting the copyist



At 10:28 PM -0400 3/29/10, Rich Caldwell wrote:
The composer of a piece I'm currently working on said I should put my name 
on the last page of the score to credit myself as the engraver. My first 
reaction was that engravers don't normally do this, but I might be 
assuming incorrectly. After all, if I'm wrong, I could lose out on future 
work, and I don't want that.


I know it would depend on the size of the project and its purpose, but say 
it's a complex large orchestral score of a new piece, not being published 
at this point, just performed - do you or would you credit/advertise 
yourself in your work?


And if so, how do you do it?

Thanks for any input,
Rich


Seems like a pretty simple answer, and it's in your first sentence. Your 
client asked you to, and suggested a way to do it.  So do it! The thing 
is, it isn't unprecedented in the book business.  There's often a credit 
to the book designer, or a statement that a certain typeface has been 
used, or some kind of colophone, and it's often at the end of the book, 
not on the title or copyright page.  It's just unprecedented in the MUSIC 
business.


Or, well, ALMOST unprecedented.  Back in the '60s we got our copying 
supplies from Cameo Music in North Hollywood, and both their manuscript 
paper and their onionskin paper carried their trademark, so they were 
advertising themselves as a business, if not as individual copyists, and 
got that advertising even though we did all our own copying.  Same thing 
for King Brand and other suppliers of manuscript paper in large 
quantities.


But no, I would not usually claim screen credit (even though everyone us 
used to seeing the endless scroll of names at the end of every movie--and 
some of us even sit through them in order to enjoy the music!).  But then 
I seldom or never do engraving except for my own arrangements or editions, 
and for those I DO claim credit as arranger or editor, sometimes in a 
copyright notice and sometimes, when that isn't appropriate, not.


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.
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Re: [Finale] trouble with REBARring

[Aaron Rabushka]

That took care of it! Thanks!

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Noel Stoutenburg mjol...@ticnet.com

To: finale@shsu.edu
Sent: Tuesday, March 30, 2010 3:09 PM
Subject: Re: [Finale] trouble with REBARring



arabus...@austin.rr.com wrote:

Currently I am working on a section in 8/4 time with a measure that 
starts with two consecutive dotted quarters. When I REBAR the score 
(which I wind up doing innumerable times in the course of any given 
project) Finale turns the second dotted quarter into an 8th tied to a 
quarter, and furthermore keeps the x-shaped notehead that I want on the 
8th and turns the quarter's head into the regular round shape. Is there 
any way that I can get Finale to leave my rhythm as I wrote it? I am 
using Finale 2003 on a PC.


There are several ways one might use. One of the simplest is as follows:

select the measure in question, and the time signature tool. If necessary 
click other options in the upper right hand corner of the time signature 
dialog box, to expand the dialog box. In the lower half of the expanded 
box, click the box Use a different time signature for display, and in 
the upper part of the lower half of the box, click the button bearing the 
label composite, which opens the composite time signature dialog box. 
In the three leftmost upper boxes, enter 3, 3, and 2, and in the4 three 
leftmost lower boxes, enter 8, 8, and 8, so that when done, the time 
composite time signature shows 3/8 + 3/8 + 2/8.


ns

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Re: [Finale] OT: blowing air through brass instruments

[Aaron Rabushka]

All depends on who wins the power game.

Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: John Howell john.how...@vt.edu

To: finale@shsu.edu
Sent: Sunday, March 14, 2010 1:17 PM
Subject: Re: [Finale] OT: blowing air through brass instruments



At 9:52 PM -0600 3/13/10, Robert Patterson wrote:


So help me to understand. You are sitting in the audience of a large
hall listening to an ensemble with a large number of players. How do
you know whether they were reversing their mouthpieces? I ask in all
seriousness, because many players do it automatically. The fact is, as
a player you have to do *something* if you want the effect to be
heard, because freely blowing through the instrument does not produce
enough sound to be heard over much more than a harp, and then at short
distance. So you have to leak or obstruct to create a sound. Reversing
the mouthpiece provides better control of both timbre and dynamic.


Not meaning to be argumentative, but isn't this a composer's problem 
and not the player's?  If a composer calls for an unusual effect and 
it doesn't work out the way he thought/hoped/imagined/guessed that it 
would, isn't that his or her lack of skill and knowledge on display, 
just as it would be if he tried to write for lute with brass choir?


Just curious.

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.
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Re: [Finale] OT: blowing air through brass instruments

[Aaron Rabushka]

Amen to that, Andrew.  And then all you'd have to do is to borrow his 
silent trumpet and show him how to get the effect.




Reminds me of the story I heard where Andrés Segovia told Heitor Villa-Lobos 
that something he was asking for couldn't be done, whereupon V-L picked up 
the guitar and showed AS how to do it.


Thank you all for your replies--I think I know enough now to incorporate the 
air-through-the-brass effect should I need it.


Aaron J. Rabushka
arabus...@austin.rr.com
David Bailey: 



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[Finale] OT: blowing air through brass instruments

[Aaron Rabushka]

IIRC Ligeti calls on his brass players in Atmosphères to blow air through 
the instruments without any definite pitch or characteristic brass 
instrument sound. Does anyone here know of others who have done this, and 
what the limits are? (You'd think having been a brass player I'd know this, 
but nothing comes to mind at the moment.)


Aaron J. Rabushka
arabus...@austin.rr.com 



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Re: [Finale] [OT] hn trans up/down

[Aaron Rabushka]

Yes, a brief note to TRANSPOSE DOWN (as Vaughan Williams used) wold help 
avoid confusion.


Aaron J. Rabushka
arabus...@austin.rr.com
- Original Message - 
From: Ryan ry.squa...@gmail.com

To: finale@shsu.edu
Sent: Thursday, March 11, 2010 12:40 PM
Subject: Re: [Finale] [OT] hn trans up/down



Speaking of copyists slavishly following score clef changes; I'm playing a
few Szymanowski pieces (from the 20's and 30's) this weekend with the
orchestra. In one passage, the second part is notated in bass clef old
notation as D on the middle line. This is the same as treble clef D above
middle C. In my opinion, there is no reason to notate this in bass clef as
the treble version is more easily readable. I think it's because the 2nd 
and

4th parts are written on the same staff in the score and the 4th's passage
is considerably lower, warranting a clef change.
Old notation is still alive and well, and players have no problem reading
it. A note from the composer/copyist would be immensely helpful to the
player.

On Thu, Mar 11, 2010 at 5:40 AM, Robert Patterson 
rob...@robertgpatterson.com wrote:


I agree with those saying to put a written instruction in the score.
The player will likely infer wrongly if your part is low enough to go
below the staff. An example is the Rochberg Trio for cl, hn, pno. The
horn part rarely switches to bass clef, but when it does it is for
extremely low notes such as written E below the staff. I have heard a
recording by a world-class player with these notes in the wrong
octave. (The score is written in concert pitch, so determining the
correct octave is not hard, but the way the part is written it would
be easy to infer it as old notation and never bother to check the
score.)

As for whether there is in precedent for putting a written
instruction, there is plenty. An example is the Ligeti Trio for vln,
hn, pno. At the first occurrence of bass clef there is a note stating
that it sounds a 5th lower.

There is also plenty of reason for confusion. Composers like Strauss
continued to use old-notation right up to the ends of their careers.
(In Strauss's case, the 1940s.) The 2nd Viennese School parts all use
old notation, sometimes written absurdly high on the staves, which
leads to many players playing them an octave too *low*! All of
Shostakovich's parts use old notation, as I believe do all of
Prokofiev's. Prokofiev's use of bass clef is doubly confusing because
Prokofiev wrote all his scores in C. Apparently it was up to the
copiest to decide which clefs to use in the part, and sometimes the
copiests slavishly followed the clef-changes in the score, which also
leads to absurdly high notes on old-notation bass clef and thus to
wrong octaves being played.

A written instruction costs nothing and should minimize the risk.

On Wed, Mar 10, 2010 at 11:04 PM, SN jef chippewa
shirl...@newmusicnotation.com wrote:

 in a new orch work (new music played by an orch experienced with new
music),
 there is no need today to mention that regardless of clef the
transposition
 is down a 5th, correct?  i.e. the up/down in treble/bass clef is to be
 considered old school and the horn players will assume the modern
standard
 because it is a new work?

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Re: [Finale] staff attribute question

[Aaron Rabushka]

That did it! Thanks, guys!

Aaron J. Rabushka
arabu...@cowtown.net
http://users.waymark.net/arabushk
- Original Message - 
From: David W. Fenton lists.fin...@dfenton.com

To: finale@shsu.edu
Sent: Sunday, March 08, 2009 1:28 AM
Subject: Re: [Finale] staff attribute question



On 8 Mar 2009 at 0:20, arabu...@cowtown.net wrote:


There may very well be. If so it is unintential. How do I check for this?


Click the staff tool. Then grab the handle for the thick staff and
drag it up or down. If another staff remains behind, that's your
culprit.

--
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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[Finale] staff attribute question

[Aaron Rabushka]

Something showed up tonight that I have never seen before. One of the staves 
in my score is now showing up somewhat darker than the others. When I use 
control-A to select all of the music this staff is not included in the 
highlighting. When I copy other stuff into it it leaves the original there 
without putting anything into an different layer. It frequently displays 
whole rests when there is other stuff in the measure. Sometimes I cannot 
erase what's there. Have eny of you ever come across this before? I am using 
Finale 2003 on a PC.


Aaron J. Rabushka
arabu...@cowtown.net
http://users.waymark.net/arabushk 



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Re: [Finale] sending parts via email

[Aaron Rabushka]

All depends on your e-mail system. When I was preparing the van Wasenaer 
transcription I sent the parts up in batches of 2 or 3. Don't know what my 
system's limit is, and I'm glad I didn't have to find out.


Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Lawrence David Eden [EMAIL PROTECTED]

To: FinaleList Finale@shsu.edu
Sent: Tuesday, October 14, 2008 7:02 PM
Subject: [Finale] sending parts via email



Greetings,

I need to send about 40 individual parts via email.  My plan is to save 
the files as .pdfs and then send them.  My question is:  Can I send all 40 
parts in 1 large mailing, or do I need to send each part separately?
I know how to do the latter, but if I can send them in a bulk mailing, I 
need directions.


Care to elaborate on the best way(s) to take care of business?

Many thanksin advance!
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Re: [Finale] alto as tenor? now Brandenburg 2

[Aaron Rabushka]

Also, Neville Marriner recorded it with Barry Tuckwell playing the horn, for
Philips.

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Kim Patrick Clow [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Monday, September 10, 2007 4:03 PM
Subject: Re: [Finale] alto as tenor? now Brandenburg 2


 On 9/10/07, Raymond Horton [EMAIL PROTECTED] wrote:
  I wasn't just being funny with my can of worms answer.  The theory of
  horn in place of trumpet on Brandenburg 2 (BWV 1047) was presented back
  in the late 60s by one scholar who had latched upon a copy of a third
  generation part labeled horn.

 Yes, this version was recorded by Max Pommer in the mid 80s on a mid
 budget label out of Europe, but no longer in print. The disc had other
 alternative versions of the Brandenburgs as well; and was really an
 interesting recording.


 Kim
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Re: [Finale] alto as tenor? now Brandenburg 2

[Aaron Rabushka]

Are you thining of Thurston Dart?

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Raymond Horton [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Monday, September 10, 2007 3:09 PM
Subject: Re: [Finale] alto as tenor? now Brandenburg 2


 I wasn't just being funny with my can of worms answer.  The theory of
 horn in place of trumpet on Brandenburg 2 (BWV 1047) was presented back
 in the late 60s by one scholar who had latched upon a copy of a third
 generation part labeled horn.  There was an ensuing squabble, I believe,
 which trumpet players have always felt they won.  I'll try to find out
 more, if it matters to anyone.


 RBH



  At 5:00 AM -0400 9/10/07, [EMAIL PROTECTED] wrote:
 
  Apart from the lack of surviving instruments at such high pitches
  (and the
  difficulty of playing extreme harmonics at these pitches) analysis of
  the
  counterpoint and instrumentation used by Bach in this work have led
  me to
  the conclusion that it must have been intended for the horn and not the
  trumpet.  Just compare the relative positions of the violin, oboe and
  recorder at the opening and the trumpet part must be an octave lower.
  And before anybody points out that the recorder part is an octave too
  high,
  it was standard practice to treat recorders (and flutes) as if they
  played
  at four foot pitch, even though they were now notated at sounding
pitch.
 

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Re: [Finale] alto as tenor?

[Aaron Rabushka]

Really? You never heard the story about how he twitted Silbermann (sp?) by
playing in A-flat on a non-well-tempered organ?

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: David W. Fenton [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday, September 04, 2007 10:06 PM
Subject: Re: [Finale] alto as tenor?


 On 4 Sep 2007 at 18:14, [EMAIL PROTECTED] wrote:

  And another Bach question:  how often did he want equal temperament and
  have to settle for anything but?

 That's a very easy one:

 Never.



 -- 
 David W. Fentonhttp://dfenton.com
 David Fenton Associates   http://dfenton.com/DFA/


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Re: [Finale] Piano notation question

[Aaron Rabushka]

Yes--there are times when even a control freak like me has learned to leave
some things to the players!

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Chuck Israels [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday, September 04, 2007 11:09 PM
Subject: Re: [Finale] Piano notation question


 Hi Richard,

 There are many (maybe most) circumstances in which I would opt for
 your way of leaving things to the instrumentalist, and I often do.
 In this instance, the roll is part of the forward motion of the
 piece, and I want the rhythm I want.

 Chuck


 On Sep 4, 2007, at 6:30 PM, Richard Huggins wrote:

  On Sep 3, 2007, at 7:15 PM, Chuck Israels wrote:
 
   It seems ridiculously picky to notate the value of each note
  using voices, or layers, and I may be being overly picky even with
  this notation.  How is this done in piano music.
 
 
  No one addressed this part of your question, but as for me--a
  pianist of 50+ years--I'd say you are indeed being mighty picky. If
  you want certain, specific rhythms, seems to me you find a place
  for them within the beat structure of the measures involved. And
  then you'll get those certain, specific rhythms.
 
  What you won't get, though, is the musicality of a roll. An
  artistic pianist can do those in a way that would almost defy
  capturing them in notation but which would be musical. That's why
  there's a need for that rolled-chord symbol in the first place.
 
  I guess I don't get what it is you're after that beats the
  randomness, but artistic randomness, of a rolled chord as played by
  the pianist.
 
  --Richard
 
 
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 Chuck Israels
 230 North Garden Terrace
 Bellingham, WA 98225-5836
 phone (360) 671-3402
 fax (360) 676-6055
 www.chuckisraels.com

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Re: [Finale] alto as tenor?

[Aaron Rabushka]

OK--without getting into the minutiae of this or that intonation system
(something I am ill-equipped to do), I've often heard that Bach had to fight
to get the one he wanted, that would sound good in any key.

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: David W. Fenton [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday, September 04, 2007 11:31 PM
Subject: Re: [Finale] alto as tenor?


 On 4 Sep 2007 at 23:00, Aaron Rabushka wrote:

  Really? You never heard the story about how he twitted Silbermann (sp?)
by
  playing in A-flat on a non-well-tempered organ?

 You said equal temperament not well-tempered. They are not even
 close to being the same thing.

 -- 
 David W. Fentonhttp://dfenton.com
 David Fenton Associates   http://dfenton.com/DFA/


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Re: [Finale] Masterworks of the New Era and ERM Media

[Aaron Rabushka]

I've never heard of this group, but I do have several selections (including
a trombone concerto) on Vienna Modern Masters. What kinda of deal are they
cutting you? (Feel free to bring this off-list if you so desire.).
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Ralph Whitfield [EMAIL PROTECTED]
To: Finale List finale@shsu.edu
Sent: Tuesday, September 04, 2007 11:12 PM
Subject: [Finale] Masterworks of the New Era and ERM Media


 Dear fellow Finale-ites...

 My apologies for cross pointing for those who may see this multiple times.

 I noticed an add in one of my ASCAP magazines for this group and sent
 off for information and now I'm asking around about them.

 I'm debating whether to submit a work that is ca. 11 minutes long and
 with their price schedule it's going to be kinda costly.

 Has anyone on the list had any dealing with them?
 Has anyone had any of their works recorded, etc. with them?
 Were you happy?
 Did you feel that you got your monies worth?
 Did you feel that the exposure, if any, that you got from the project
 was comparable to the price?

 Thanks in advance.

 Ralph

 -- 
 Ralph W. Whitfield, Jr.
 Bass Trombonist - Gadsden Symphony Orchestra
 www.rainbowbrassmusic.com
 Trombonist by Nature, Engineer by Necessity.


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Re: [Finale] Turn-of-the-century Band Music

[Aaron Rabushka]

Sounds logical to me, but I wanted to double-check. Thanks!

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Darcy James Argue [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Sunday, August 26, 2007 2:58 PM
Subject: Re: [Finale] Turn-of-the-century Band Music


 Hey Aaron,
 
 It will definitely be easier on the player to write for Bb trumpet  
 doubling fluegelhorn, so that the entire part is in Bb.
 
 Cheers,
 
 - Darcy
 -
 [EMAIL PROTECTED]
 Brooklyn, NY
 
 
 
 On 26 Aug 2007, at 1:43 PM, [EMAIL PROTECTED] wrote:
 
  And while we're on the subject, my current project calls for three  
  players
  to alternate quite often between fluegelhorns and trumpets. Can any  
  of the
  trumpeters here enlighten me as to whether orchestral trumpters  
  would have
  preferences for the trumpet parts to be written in B-flat or C in  
  these
  circumstances?
 
 
 
  Aaron J. Rabushka
  [EMAIL PROTECTED]
  http://users.waymark.net/arabushk
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Re: [Finale] Turn-of-the-century Band Music

[Aaron Rabushka]

I don't know yet--it's only been out a few weeks. The wind ensemble
marking was MMB's idea rather than mine. Would you like me ot send you a
promo-blurb, David?

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: dhbailey [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Saturday, August 25, 2007 8:10 AM
Subject: Re: [Finale] Turn-of-the-century Band Music


 [EMAIL PROTECTED] wrote:
  And, as one who can be excessively finicky about which instrument plays
  what, I swore a long time ago that the word band would never appear on
  any of my title pages precisely because of its imprecise meaning. It's
  interesting that MMB Music wrote Wind Ensemble on my recently
published
  Haydn overture transcription (which, btw, includes a specially
transposed
  oboe part for an obbligato clarinet to be used if no oboe is available).
 


 Interesting -- how many copies have been sold?

 As the director of a community band I don't even bother looking at
 scores marked Wind Ensemble because of the more finicky
 instrumentation requirements.  Which really doesn't matter much except
 to me and my band, but I am curious about the sales figures (not
 specifics, of course, but have you sold a few some a lot enough
 to retire on) since all the other community band directors I know feel
 the same way.

 -
 David H. Bailey
 [EMAIL PROTECTED]
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Re: [Finale] Turn-of-the-century Band Music

[Aaron Rabushka]

And some of the Czech folk bands I saw in Moravia were also interesting--I
don't know all of the ins and outs, but tenor tubas of some sort were always
there (no problems finding one for my recordings) along wih clarinets,
trumpets, tuba, slide trombones, and an occasional valve 'bone. When singers
were there they were miked.

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk

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[Finale] note trees

[Aaron Rabushka]

Does anybody here have any experience and any in- or out-of-manual wisdom on
chromatic note trees? I played around a little with custom stems but
couldn't quite get them to work?

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk

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Re: [Finale] Flapjacks you BET! love 'em!

[Aaron Rabushka]

On a list like this people should be able to exchange information about
Finale without personality politics (esp when it descends to a grade school
level) cutting in.

Aaron J. Rabushka
who still doesn't like the Brahms violin concerto and wonders what would've
happened had ragtime fallen into the hands of Tchaikovsky (bigoted as he
was)
   or Dvorák
[EMAIL PROTECTED]
http://users.waymark.net/arabushk

- Original Message - 
From: shirling  neueweise [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Wednesday, August 08, 2007 5:15 AM
Subject: Re: [Finale] Flapjacks you BET! love 'em!



 At 01:27 -0700 8/8/07, Bob Morabito wrote:
 EVERYONE should be able to ask questions without being picked on.

 hm, nope, sorry, i just don't see the power struggle inherent to that
 phrase at all. oh wait a minute, there it is: who decides what is
 being picked on and whether it is appropriate/warranted?

 and **none** of you is going to get the last because i've
 hidden it away for your own good.  you've all been very naughty.

 -- 

 shirling  neueweise ... new music publishers
 mailto:[EMAIL PROTECTED] :.../ http://newmusicnotation.com
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Re: [Finale] Brahms and inspiration

[Aaron Rabushka]

I do not claim to be a thouroughgoing historian, but the following that i
just pulled up squares with what every teacher who ever mentioned Franklin
had said:

Benjamin Franklin's enlightenment deism: Benjamin Franklin early-on adapted
a creed that would last the rest of his life: a virtuous, morally fortified,
and pragmatic version of deism.

from http://findarticles.com/p/articles/mi_m2843/is_2_28/ai_114090213, and
there are many more like it


Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Andrew Stiller [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Wednesday, August 08, 2007 8:42 PM
Subject: Re: [Finale] Brahms and inspiration



 On Aug 8, 2007, at 6:18 PM, [EMAIL PROTECTED] wrote:

  Hmm...I'd always heard that B Franklin was a deist rather than an
  atheist.
 

  From what I know of him (and I've read the standard biograpy) he just
 wasn't interested in anything that  did not have a practical
 application. Which would make him, most likely, and  agnostic.

 Andrew Stiller
 Kallisti Music Press
 http://www.kallistimusic.com/

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Re: [Finale] Fenton

[Aaron Rabushka]

And also bear in mind that newcomers to the list don't know what's been
discussed previously. I was once the unnecessary object of someone's dirty
anger here for asking a question that he'd answered several months before I
joined. Totally out of line and uncalled for.

Aaron J. Rabushka
feeling the full benefit of a day job that showed me how much you can get
done without yelling, screaming, and insultiing people
[EMAIL PROTECTED]
http://users.waymark.net/arabushk






- Original Message - 
From: Christopher Smith [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday, August 07, 2007 2:42 PM
Subject: Re: [Finale] Fenton


 I dunno, but a mental image of David Fenton as an easter bunny kind
 of strikes me as funny! (no offence, David!)

 This whole thing has gotten somewhat out of hand. I regret some of
 what I have said as well, not because I think I was wrong, but
 because it might prevent some confused person in need of help from
 asking questions for fear of being publicly spanked. We can deal with
 an occasional repeated question once in a while, I think, with grace
 and good etiquette. (I know I've needed a reminder once in a while!)
 If someone oversteps the boundaries, a polite word is all that is
 required. There is no need to resort to flames and foul language, as
 it lowers the otherwise civilized tone of one of the most valuable
 aspects of the internet - a public, unmoderated information pool. If
 I were an anarchist, I would point to this list as an example of what
 a group of otherwise unrelated people can achieve with no rules aside
 from adhering to basic social niceties.

 Christopher


 On Aug 7, 2007, at 2:23 PM, Raymond Horton wrote:

  What is your point?  g
 
  Paul Davies wrote:
  It's rabbits that get myxomatosis!

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Re: [Finale] Student Use (was Goodbye Finale

[Aaron Rabushka]

And don't forget the Finalandia Vodka while you do so!

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Steve Currington [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday, August 07, 2007 6:27 PM
Subject: RE: [Finale] Student Use (was Goodbye Finale


 Hey Offer a Sibelius course too.. The students wil love you grin

 S.

 -Original Message- 
 From: Darcy James Argue [mailto:[EMAIL PROTECTED]
 Sent: Wed 8/08/2007 4:39 a.m.
 To: finale@SHSU.EDU
 Cc:
 Subject: Re: [Finale] Student Use (was Goodbye Finale



 Hello all,

 I'm starting a Finale class in the fall and if you teach Finale, I,
 too, would very much appreciate a look at your syllabus. If you're
 sending one to Carolyn, perhaps you'd be so kind as to also CC it to
 me at [EMAIL PROTECTED].

 Cheers,

 - Darcy
 -
 [EMAIL PROTECTED]
 Brooklyn, NY



 On 07 Aug 2007, at 10:25 AM, Carolyn Bremer wrote:

  To anyone out there who teaches Finale (over the course of a
  semester):
 
  Could you contact me privately? I'd love to swap syllabi to see the
  chronology you take. I've done the class a couple of different ways
  but am not completely satisfied with either ordering of topics.
 
  Thanks.
 
  -Carolyn
 
 
  On 8/7/07, Carolyn Bremer [EMAIL PROTECTED] wrote:
  Hi David:
 
  The class is taught every fourth semester and so the last time it was
  taught, students were on 05 or 06. The lab computers will probably be
  on 07 when I teach it in the spring with some of the laptop users on
  08. All those different keystrokes ought to be fun...
 
  You handle bugs any way you can. Find kludge workarounds or ignore
  them for now. There is so much for them to learn that the
  non-centering of a hyphen is easy to write off.
 
  As for the 9-key enharmonic flip issue, it is something I have not
  run
  into yet. (Why? I don't know. Luck?). But, I don't make them enter
  new
  music every week when the task at hand is something different such as
  page layouts or percussion maps. They don't have as much opportunity
  to create 9-key enharmonic flip problems as the work from partially
  completed files already.
 
  As for the SIbelius users, some stay with Finale because of
  familiarity. I don't think it is often a matter of deciding one
  program is better than the other -- they see the strengths and
  weaknesses of both programs -- but they now know how to do most
  everything they need in Finale, so why bother to learn the steps
  to do
  it in Sibelius. Some back to Sibelius because they don't have $250 to
  buy Finale. Some go back to Sibelius because they prefer it, too.
 
  By the way, the thing that keeps the class full each time seems to be
  the last assignment. I take them through basic Illustrator skills and
  then have them replicate a system from a George Crumb piece. Then the
  realize they can create a thing of beauty. Something for the fridge.
 
  -Carolyn
 
 
  On 8/7/07, dhbailey [EMAIL PROTECTED] wrote:
  Carolyn wrote:
  I teach at Cal State Long Beach, in a department that's 40-50%
  music ed
  majors. They get some Sibelius instruction early on. Even still,
  almost
  half the ed majors use Finale. A majority of the other music
  students
  use Finale and about 30 of 35 comp majors. We never require them to
  choose one or the other.
 
  What they all come to realize is that both programs take work to
  learn
  and they tend to make their choices based on what their friends
  use, as
  they'll be their sources for help. Of course some choose by
  which ever
  one they can find in bootleg. Only a small handful ask about the
  learning curve. Money and friends with knowledge seem much more
  important.
 
  I teach the advanced Finale class and find that not just the
  composers
  are interested. I usually get one or two Sibelius users as well.
  Less
  than half return to Sibelius after the class.
 
  Beginning next spring, all majors will be required to take a
  basic tech
  class so they can negotiate a simple recording and a basic
  score. We'll
  gladly offer PC and Mac versions for both Finale and Sibelius.
  I'll be
  interested to see the enrollment numbers in the various sections.
 
 
  Thank you for sharing this with us -- I agree that many people
  who don't
  know about a technology area will follow the lead of their peers,
  since,
  as you point out, their local tech support will be their friends.
 
  Please keep us posted on what you observe with that basic tech class
  (what a great idea for a requirement -- I'm sure more and more music
  departments will be requiring such things in the coming years).
 
  It would be interesting to learn (although I can't begin to
  figure out
  how one would do this) about the reasons for people to take your
  advanced Finale course, and then to remain with Finale rather than
  return to Sibelius (if that was what they started with.)  One
  reason may
  well be that with Finale, once one is shown how to use the great
  

Re: [Finale] Prepositions

[Aaron Rabushka]

Can we take the Buffalo gals instead?

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Carl Dershem [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Sunday, July 22, 2007 2:57 PM
Subject: Re: [Finale] Prepositions


 Robert Patterson wrote:
  Here is another sentence (not with prepositions) that is completely
  grammatically correct:
  
  Buffalo buffalo Buffalo buffalo buffalo buffalo Buffalo buffalo.
  
  There is a wikipedia article with a sentence diagram here:
  http://en.wikipedia.org/wiki/Buffalo_buffalo
  
  The short version of parsing it is:
  
  [Those] (Buffalo buffalo) [that] (Buffalo buffalo buffalo) buffalo
  (Buffalo buffalo).
 
 I think you're just trying to buffalo us.  :)
 
 cd
 -- 
 http://www.livejournal.com/users/dershem/#
 http://members.cox.net/dershem
 
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Re: [Finale] Piano - connect stems between staves?

[Aaron Rabushka]

Hey Frank!

Check out cross-staff beaming in the manual. Basically what you do is
notate your whole part in one staff (it looks awkward at first) and then
select the necessary tool and move the notes you want to show up in the
second staff.

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Saturday, July 14, 2007 11:46 PM
Subject: [Finale] Piano - connect stems between staves?


 I can get the notes in both staves, but I
 can't find anything on showing them with
 their stems connected between the staves.

 Thanks,

 Frank
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Re: [Finale] OT carmina burana (was OT clarinets)

[Aaron Rabushka]

So maybe that's why Jochum once recorded CB with two baritones (or maybe it
was a baritone and a bass).

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Mark D Lew [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Friday, June 08, 2007 7:04 PM
Subject: Re: [Finale] OT carmina burana (was OT clarinets)


 On Jun 8, 2007, at 10:42 AM, John Howell wrote:

  Interesting.  When we did it the soloist was a baritone, but with a
  good and flexible falsetto.

 Are we talking about the same solo?  I was referring to Olim lacus
 colueram, which is generally assigned to the tenor soloist.  I was
 saying I like the haut-contre sound for that tenor solo, rather than
 just a traditional tenor who can handle the high range.

 All the rest of the male solos are usually given to the baritone, who
 will need to be versatile in order to do them all well. (The same
 goes for the soprano. I have yet to hear a soloist who is good on
 both In trutina AND the Dulcissime.)

 It sounds like you might be thinking of Dies, nox et omnia, which
 is written for the baritone but has extended flouishes way up above
 the staff.  I've heard baritones sing those in falsetto, but I like
 it best with the rare sort of baritone who can move seamlessly into a
 mixed tone up there.  (In contrast, Estuans interius also goes very
 high, but for that one I like to hear a big booming Verdi baritone
 sound.)

 mdl
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Re: [Finale] O.T. Michael Haydn: complete symphony edition?

[Aaron Rabushka]

There was some research going on about him at the University of
Missouri-Columbia--don't know how current or extensive.

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Kim Patrick Clow [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Thursday, June 07, 2007 8:00 PM
Subject: [Finale] O.T. Michael Haydn: complete symphony edition?


 Hi all:

 Would anyone know of a complete *Michael* Haydn symphony project
 (performing edition), or could point me into the direction of a
 society for this wonderful composer?

 Thanks so much,
 Kim Patrick Clow
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Re: [Finale] errors in instrument.txt and ensembles.txt

[Aaron Rabushka]

IIRC Till Eulenspiegel and the end of Die Walküre call for a D clarinet.
Not sure why that would be preferable to an E-flat.

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Phil Daley [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Wednesday, June 06, 2007 2:46 PM
Subject: Re: [Finale] errors in instrument.txt and ensembles.txt


 On Jun 6, 2007, at 1:40 PM, Andrew Stiller wrote:

   Nor, for that matter, do I see much sense in attempting to
   differentiate D and Eb clarinet sounds

 I cannot imagine how difficult it would be to transpose a D clarinet  part
 while playing Eb clarinet.

 As a clarinet major, I had only heard of A, Bb, C and Eb clarinets.

 But, I have done a lot of transposing.  I played Eb (soprano) clarinet in
 the Army band for 3 years.  I often had to transpose Db piccolo parts when
 there was no written Eb part for me.

 I also had to transpose C piccolo parts, but I often didn't play a lot of
 notes.  That one is much harder ;-)

 My band's famous conclusion to a concert in Germany:  The Stars and
Stripes
 Forever, with 3 piccolos and an Eb Clarinet standing up on the next to
last
 chorus doing the obbligato.  Then everyone would stand up for the last
chorus.

 That was 40 years ago, but I had that thing so memorized, I could probably
 still play it today ;-)

 Phil Daley   AutoDesk 
 http://www.conknet.com/~p_daley



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Re: [Finale] errors in instrument.txt and ensembles.txt

[Aaron Rabushka]

Names of instruments in Italian would be nice to save having to go through
the staff tool to put them in 1-by-1.

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Matthew Hindson fastmail acct [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Wednesday, June 06, 2007 8:58 PM
Subject: Re: [Finale] errors in instrument.txt and ensembles.txt


 shirling  neueweise wrote:

  i am compiling a list of corrections that need to be done in these
  files to MM, and things to add, does anyone have things to mention?
  for years there have been a number of transposition, spelling, staff
  type and clef errors.
 
  any instruments that are missing completely, or that are in the
  instrument list but don't appear in any of (or in the appropriate)
  instrumental groups menu?

 I am always annoyed that Cor Anglais isn't in there (I know English Horn
 is, but that's not what we call it over here in non-US locales).  It
 would be nice to have both to save jigging around later.

 I also wonder about some of the abbreviations and capitalizations.  e.g.
 Bagpipes become B.P., when it's not a set of two words to begin with.
   Surely Bp or even Bagp. would be better.

 Why is sax abbreviated to sx. when it contains the same number of
 characters?

 Why do they abbreviate Bassoon as Bsn and Contrabassoon as C. Bn.?

 I would think that Flugel would be a better abbreviation of
 Flugelhorn.  Similarly Mar for Marimba and Glock for glockenspiel.

 There is a Flexi-Tone which should probably be Flexatone.

 Are drum kits commonly called Drum Sets in the US?

 Isn't the more generally abbreviation for cellos Vc, not Vlc?  There
 seems to be both in there.

 Pedant's hat off now.

 Matthew
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Re: [Finale] errors in instrument.txt and ensembles.txt now trumpets

[Aaron Rabushka]

Janacek's bass trumpets in the Sinfonietta, anyone? of the e-flat bass
trumpet in the Rite of Spring?

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk

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Re: [Finale] errors in instrument.txt and ensembles.txt now trumpets

[Aaron Rabushka]

Yes, it would be interesting to find out more about Janacek's available
brass. When I went to Moravia to record I was surprised how prominent tenor
tubas were in some of the folk bands around there (with an occasional valve
trombone along the way). And Wagner tubas are among my favorite exotic
sounds.

BTW, does any of the brass players here know how orchestra players would
feel about which trumpets would be best to alternate with Fluegelhorns?
Would b-flat or c trumpets work better in this case, or does it not matter?

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk

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Re: [Finale] OT: NOT John Cage's first national TV appearance!

[Aaron Rabushka]

Discomforting and endlessley intriguing--a transcendant artistic experience!

Aaron J. Rabushka
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Re: [Finale] O.T. Boston Early Music Festival and Graupner

[Aaron Rabushka]

Are there any special Valentine's Day performances scheduled? Sounds like a
lovers' concerto par excellence!

Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Kim Patrick Clow [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Monday, May 28, 2007 9:18 AM
Subject: [Finale] O.T. Boston Early Music Festival and Graupner


 Good Morning:

 If you are attending the Boston Early Music Festival, I would like to
 invite you to the world premiere of an edition I've prepared:
 Christoph Graupner's Ouverture in A Major for flute d'amore, oboe
 d'amore, and viola d'amore, strings and continuo. Concerto Antico will
 be performing this piece.

 Details: Boston Conservatory Concert Room. $15/$10 st, sr. 314-603-6895.

 This piece will be performed in July and August in St. Louis and
 Mexico City, so I'm really excited to finally HEAR something I've
 prepared performed in a concert hall. The musicians (from what I am
 told) are also very excited about this piece. I'd love for any list
 members to attend. Thank you.

 Have a great weekend.
 Kim Patrick Clow
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Re: [Finale] O.T. Boston Early Music Festival and Graupner

[Aaron Rabushka]

Who's putting it on in St. Louis? Do they have a resident early music
(=Telemann era) group?
Aaron J. Rabushka
[EMAIL PROTECTED]
http://users.waymark.net/arabushk
- Original Message - 
From: Kim Patrick Clow [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Monday, May 28, 2007 4:13 PM
Subject: Re: [Finale] O.T. Boston Early Music Festival and Graupner


 On 5/28/07, Andrew Stiller [EMAIL PROTECTED] wrote:

  Sounds absolutely fascinating!  Please let us know if and when any
  recording is released.


 The St Louis concert will be recorded and available for purchase as a
 podcast. The Telemann E Major Concerto for the same ensemble of solo
 instruments will be performed along with the Graupner in St Louis.

 I'll be sure to post a link for you once the recording is made available.

 Thanks!
 Kim Patrick Clow
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