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Today's Topics:
1. Re: Tempo Tool Playback (dhbailey)
2. OT: I need an arranger (J?n Kristinn Cortez)
3. Re: OT: Shameless self-promotion (Brad Beyenhof)
4. Re: Re: clef changes (Andrew Stiller)
5. Re: Re: clef changes (Andrew Stiller)
6. Re: Re: clef changes (Andrew Stiller)
7. Re: Concert Pitch A: Europe v. America (Andrew Stiller)
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Message: 1
Date: Tue, 19 Apr 2005 08:54:06 -0400
From: dhbailey <[EMAIL PROTECTED]>
Subject: Re: [Finale] Tempo Tool Playback
To: finale@shsu.edu
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset=us-ascii; format=flowed
David W. Fenton wrote:
But they don't override tempos tool alterations that occur literally
100s of measures after the tempo expressions.
In the present piece, there is one tempo expression, at the very head
of the movement, which sets the tempo that remains in effect until
either another tempo expression (of which there are none) or until a
tempo tool alteration (of which there are several in the course of a
few measures). These latter are not happening.
Have you tried removing the first tempo expression and seeing if the
tempo tool alterations work?
--
David H. Bailey
[EMAIL PROTECTED]
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Message: 2
Date: Tue, 19 Apr 2005 14:34:50 +0000
From: J?n Kristinn Cortez <[EMAIL PROTECTED]>
Subject: [Finale] OT: I need an arranger
To: Finale@shsu.edu
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset=US-ASCII; format=flowed
I have 3-4 songs for a big male choir and piano to which I
wish to add arrangement for brass section of a symphony
orchestra as well as some percussion. If anyone is interested
or can point me in a more suitable direction please mail me
off list.
Cortez
------------------------------
Message: 3
Date: Tue, 19 Apr 2005 08:23:30 -0700
From: Brad Beyenhof <[EMAIL PROTECTED]>
Subject: Re: [Finale] OT: Shameless self-promotion
To: Finale <finale@shsu.edu>
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset=ISO-8859-1
On Mon, 18 Apr 2005 19:52:16 -0400, Darcy James Argue wrote:
For those of you in and around LA:
The Symphonic Jazz Orchestra will be presenting a new work by me on
Sunday, May 1 at UCLA's Schoenberg Hall. It's free. The band
includes Peter Erskine and John Clayton. They'll also be doing the
original orchestration of Rhapsody in Blue and a bunch of other G.G.
works. Did I mention it was free?
Awesome! I wish I could make it (LA's not too far a drive from San
Diego, after all), but, alas, I'm already tied up that evening.
I hope it goes well!
--
Brad Beyenhof
[EMAIL PROTECTED]
my blog: http://augmentedfourth.blogspot.com
Life would be so much easier if only (3/2)^12=(2/1)^7.
------------------------------
Message: 4
Date: Tue, 19 Apr 2005 12:19:59 -0400
From: Andrew Stiller <[EMAIL PROTECTED]>
Subject: Re: [Finale] Re: clef changes
To: finale@shsu.edu
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset=US-ASCII; format=flowed
On Apr 17, 2005, at 6:35 PM, John Howell wrote:
At 3:28 PM -0400 4/16/05, Andrew Stiller wrote:
Certainly. But Rachmaninoff's use of the convention was by then no
more traditional than Hindemith's use of the viola d'amore.
???????????? Hindemith directed the Yale Collegium Musicum, and was a
violist. Why would he not be interested in viola d'amore, and what's
wrong with that? It's all part of the rediscovery of early
instruments, techniques and performance practice.
Of course it is, and there's absolutely nothing wrong with it. My point
was merely that such things are not *traditional*--they're a conscious
resurrection of a past usage, and intended from the getgo to be
perceived as exceptional.
Another modern use of the viola d'amore points this up particularly
well: Janacek's use of it in connection with the uncanny, immortal
Emilia Marty in _The Makropoulos Case._
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
------------------------------
Message: 5
Date: Tue, 19 Apr 2005 12:32:43 -0400
From: Andrew Stiller <[EMAIL PROTECTED]>
Subject: Re: [Finale] Re: clef changes
To: finale@shsu.edu
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset=US-ASCII; format=flowed
On Apr 17, 2005, at 6:28 PM, John Howell wrote:
Andrew is quite right, but other instruments whose normal range
crosses between the treble and bass clefs solve the problem through
transposed parts.
This is true in many cases but by no means all. Piano. Organ. Or if you
think grand-staff instruments shouldn't count, consider the marimba.
I might point out as well that the range of the trombone is exactly the
same as that of the horn, yet it is entirely possible, and commonplace,
to notate its full range w.o resort to either a transposition or any C
clef, much less the alto clef that David Fenton deemed "irreplaceable
for instruments whose effective range straddles middle C."
There seems to be an unspoken assumption at work here, to the effect
that if an instrument is assigned two clefs, one of them must be a C
clef. This is of course not true.
If I had my absolute druthers (wh. of course I don't), both the viola
and the clarinet would be treble-clef instruments that switched to bass
clef for low-lying passages.
Just like the marimba.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
------------------------------
Message: 6
Date: Tue, 19 Apr 2005 12:36:26 -0400
From: Andrew Stiller <[EMAIL PROTECTED]>
Subject: Re: [Finale] Re: clef changes
To: finale@shsu.edu
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset=US-ASCII; format=flowed
On Apr 18, 2005, at 2:42 PM, Darcy James Argue wrote:
if I find anything in the manuscript that is notationally unclear, or
looks like a mistake, or represents nonstandard practice, I will ask
about it.
That's precisely my point: you ask about it. You don't go off on your
own and make a unilateral decision, because the composer's wishes are
sovereign.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
------------------------------
Message: 7
Date: Tue, 19 Apr 2005 12:57:44 -0400
From: Andrew Stiller <[EMAIL PROTECTED]>
Subject: Re: [Finale] Concert Pitch A: Europe v. America
To: finale@shsu.edu
Message-ID: <[EMAIL PROTECTED]>
Content-Type: text/plain; charset=US-ASCII; format=flowed
On Apr 18, 2005, at 6:00 PM, Leigh Daniels wrote:
wondering why Concert Pitch A in America is 440 Hz and different in
Europe. He said when he was touring in Europe, he had to request the
American 440 Hz tuning and if the piano was tuned to the European
standard, the other performers had a hard time playing.
I know that in the last 500-odd years the range has been 440 plus or
minus about 50 Hz. Does anyone on the list know how America came to
have
440 and Europe has a different frequency?
**Leigh
Ok, first of all, there is no different standard. The A-440 standard
was adopted because in ages when instrumental music dominates, there
is a constant pressure to raise the pitch because instruments sound
more brilliant at higher pitches. Without regulation, the result is
pitch inflation to uncomfortably high levels. Since A 440 was adopted
as an international standard (by convention, not by law) ca. 100 yrs.
ago, pitch inflation has been successfully capped--but it has not been
abolished. A great many orchestras play sharp by small amounts, and
this is what your friend seems to have encountered in Europe--though
believe me, he could have easily found it in this country too.
You're wrong about past pitch standards too. Instruments first came to
the fore in the 16th century, and the resulting pitch inflation got so
bad that by 1610 pitch was fully a minor third higher than it is today
(Praetorius, for example, gives C below the bass staff as the standard
bottom note for choral basses). Singers were going hoarse trying to
sing old music at the notated pitches, and string players were snapping
strings when they tuned up. To get around this, competing Chorton and
Kammerton pitch standards were adopted for different types of
ensembles. The two came back together in the late 18th c. (exactly how
has never been clear to me), but pitch inflation persisted, and had
once more become troublesome by the mid-19th c. A series of commissions
settled on A-440 as a compromise, and that's how it's been ever since.
(And since someone's bound to mention it, yes I know that the US held
out for C-256 for many years after everyone else adopted A-440--but
eventually we came round, and the end result is unity on a single
standard. Watch for a similar outcome in RE the metric system.)
There is, BTW, a short-wave radio station that does nothing but
broadcast a continuous A-440 worldwide as the embodiment of the
standard.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
------------------------------
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End of Finale Digest, Vol 21, Issue 24
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