Re: [Finale] Piccolo Trumpet playback

[Klaus Bjerre]

And the rest of the notes likely are sounding an octave too low in playback.

My guess is that you have selected the A-transposition without correcting for 
the octave. The plain A-transposition is the right thing for clarinet in A and 
for oboe d’Amore. The A-piccolo trumpet is sounding an octave above that 
notation.

You may do this:

In the Score Manager window select the A-transposition for the given score 
position. This ensures that the key notation always gets right. 

Then, for the same score position, select  ’Other...’ from the bottom of the 
same transposition options menu. In that window change the Interval indication 
to -5. 

If you follow this procedure, your already written part very likely will come 
to look as written an octave too low, but that is easily corrected by 
transposing the whole stave up an octave.

Hopefully this helps!

Klaus 

Sendt fra min iPad

> Den 28. mar. 2018 kl. 21.28 skrev Steve Gruver :
> 
> I have a tune written for Piccolo Trumpet in A.  I've made the necessary
> sound adjustments selecting the  Aria player "Piccolo Trumpet Solo" for my
> instrument.  However, when I attempt playback any note written on the 1st
> space F and lower will not playback.  I'm assuming that this is a range
> issue, however piccolo trumpet notation especially for a 4-valve piccolo
> trumpet goes much lower than that by over an octave.
> 
> What do I need to do to have a successful playback?
> 
> Steve Gruver
> 


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Re: [Finale] Windows computers won't recognize my mini 32

[Klaus Bjerre]

As I am on Mac and my keyboard is a Kawai CA97 I didn’t answer the original 
question. Yet the below reply made me realise that the problem may be with 
Finale’s modus of recognizing the MIDI keyboard:

When I started using FM25 with my new iMac last fall, it at first appeared like 
Finale’s recognition of the Kawai CA97 followed a random pattern, but I found 
out about the rules:

The connection cannot happen through a USB-hub. Must be direct to the computer.

The CA97 has to be turned on, before loading Finale. Appears like Finale only 
looks for attached MIDI-devices during the loading process.

Might work that way also in the Windows world.

Klaus

Sendt fra min iPad

> Den 11. jan. 2018 kl. 10.10 skrev David H. Bailey :
> 
>> On 1/10/2018 8:38 PM, Raymond Horton wrote:
>> Hi folks, my Akai lpk25 died, so I bought an M-Audio keystation mini 32.
>> Windows 10, running on my desktop and my laptop, but neither recognizes the
>> keyboard.  I appreciate any help offered!
>> 
> 
> 
> It appears from the M-Audio web-site that there are not any special 
> drivers needed, as long as your keystation mini 32 is of the 'New' sort. 
>  They don't list any other keystation mini 32.
> 
> Have you rebooted your computers and then attached the keyboard?  Is 
> yours the "new" sort?  I don't know how you would tell whether it's some 
> older version which is no longer supported (they screwed many of us over 
> when they refused to issue updated drivers for older midi interfaces 
> once they had brought out class-compliant newer versions) or what the 
> web-site calls "new."
> 
> Perhaps if rebooting the computers doesn't help you would need to 
> contact M-Audio's tech support or search their web-site for a FAQ or 
> other help with this issue.
> 


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Re: [Finale] Adding a MIDI instrument to the mix

[Klaus Bjerre]

I normally do my playback via the Aria player and Garritan Personal Orchestra 
5. But in a current project I need cymbals played normally plus hanging with 
the timpani player doing the rolls due to fast changes of cymbal mode.

I haven’t yet found out how to get the cymbals right in Garritan, so I followed 
the Finale tutorial and used the the preset cymbal sounds in the default 
Garritan instruments for Finale selection.

Not really satisfying though. The cymbals are audible when played with the 
timpani alone, but when playing the full score they cannot match the much 
louder instruments from the GPO.

Klaus Smedegaard Bjerre 

Sendt fra min iPad

> Den 14. nov. 2017 kl. 17.10 skrev Robert Patterson 
> :
> 
> Followup: apparently it is not possible. According to the manual page, if
> you choose VST playback, you can't do MIDI. What a seemingly arbitrary
> limitation, but there's probably some technical reason for it behind the
> scenes.
> 
> That said, it might be possible to do what I want to do if there were a VST
> plugin that emits MIDI. Basically a VST->MIDI passthru plugin. Does anyone
> know of one? (Preferably for Mac but at this point I am interested in
> anything.)
> 
> 
> On Tue, Nov 14, 2017 at 9:14 AM, Robert Patterson <
> rob...@robertgpatterson.com> wrote:
> 
>> Is it possible to set a track (Finale instrument) to playback to a MIDI
>> device while the rest playback as Garritan sounds? I'm not seeing an
>> obvious way to do this.
>> 


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Re: [Finale] Smart shape: slur - the next riddle

[Klaus Bjerre]

You may try holding down the S-key while clicking the note to tell Finale which 
shape you want. Should be the default shape after that.

Klaus 

Sendt fra min iPad

> Den 22. jun. 2017 kl. 17.56 skrev Barbara Touburg :
> 
> Suddenly doubleclicking on a note doesn't add a alur anymore. I've tried 
> restarting Finale (doubleclicking on the pictogram at the "desktop" 
> [that works]), but it doesn't help.
> Help?
> ___


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Re: [Finale] Muted pizz.

[Klaus Bjerre]

 From: Darcy James Argue [EMAIL PROTECTED]
 
 The pizz notes are in the lower range for all of the strings --
 everyone in the bottom octave of their instrument except the first
 violins, who go up to Bb1.
 
 However, looking at the passage again -- since the pizz. notes are part
 of a quasi-tutti section involving a number of winds and (muted) brass,
 I think *that* passage is more important than the one immediately
 preceding, where unmuted strings will likely do just as well as muted
 ones.  So I think I'd better leave the pizz. notes unmuted.
 
 I think if I were to experiment with muted pizz., it would have to be
 in a more sparsely scored section.


Has it been up for discussion, whether the strings a played with one or with
more players on each part?

If the latter is the situation, you maybe could split the sections in
halves. Then the one half could finish the muted passage. The other half
couch release discretely from the muted passage just early enough to have
the mutes off for the pizz.

Debussy made an interesting use of unisono harp and flute. One does the
attack, the other the sustain.

I never thought of combining pizz with muted brasses. Sounds like a good
idea.

Klaus

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Re: [Finale] Re: J.S. Bachs Instrumentarium (terribly long posting)

[Klaus Bjerre]

 From: [EMAIL PROTECTED]
 
 J.S. Bachs Instrumentarium
 ed. by Ulrich Prinz, Internat. Bachakademie Stuttgart, Schriftenreihe
 10 (€49,-)
 On page 40f. there is a discussion (in the chapter on tromba) of
 the three works by JSB with such a clef for the trumpet: BWV 24 (for
 _Zugtrompete_), 63 (tromba 4) and 71 (tromba 3).
 
 I have not spotted anyone pointing out that a zugtrompete is in fact a
 trombone, not a trumpet!  Also, tromba is not one of the diminutive forms,
 such as trombetta, which also, but not categorically, indicates a larger
 instrument (i.e. trombone, although in earlier times it could be used for
 large bore instruments playing the lowest harmonics).
 

Discussions whether an instrument is a slide trumpet or a soprano trombone
may be carried out, but they are not terribly interesting, if shapes and
proportions aren't told of.

Some 30+ years ago there was a Berlin based baroque revival ensemble centred
around two brethren, the names of whom have escaped me long ago.

The younger brother played a replica alto trombone, which he had tuned to D
by means of a piece of tubing inserted between the slide and bell sections.

The older brother had specialised in zink, which he did very well. He also
played tromba da tirarsi, but less convincingly so, as he didn't have have
the sense for handling a slide, which it takes quite some woodshedding to
achieve.

Of course the jerkiness of his movements also were rooted in the fact, that
he didn't play a well balanced double slide, but a single slide with a bell
sitting on the far end. The advantage of that set up, which allegedly is
founded on historical documentation, is, that the positions are as far
spread as on a tenor trombone. That should make intonation a less
vulnerable.

There is a famous photo of the King Oliver band, where there is a soprano
trombone lying on the floor:

http://www.redhotjazz.com/kingoliver.GIF

That one probably was out of a short run, which Conn made 85 or 100 years
ago. I never realised any of these being available on the market.

Some Parisian maker made soprano trombones at the same time, but I only have
seen one sample, which wasn't for sale, when I asked. When I rather soon
thereafter saw it in the hands of a new owner I wasn't exactly thrilled.

Today the market for soprano trombones is kind of sad. Only Jupiter makes
them under the name of slide trumpet. Most often the slides are terrible,
but I found a good sample, which I can play in tune. For trombonist it is
most important that slides don't hang in the slow-speed phases of the
movement, start and brake-down, as that skews the ear-in-the-arm sense.

I also have a most unlikely soprano trombone made up of all-Reynolds parts
from the hell-box (the box with unusable spare parts) of a funny old guy
restoring tubas and sousaphones under the name of Harv's Happy Horns. Harvey
is not a first-choice repairman for expensive instruments, but he is not
that bad, and the concept of my soprano trombone is his own.

He has cut the slide of a massacred tenor trombone to the right length,
which is LONGER than half a tenor slide, as there needs to be a sealing
length of overlap between inner and outer slides. That introduces two
problems:

how to get a sufficiently fast and smooth bore progression towards the bell
flare

where to tune the instrument to other instruments

The first problem disallows the normal tuning slide in the bell bow.

The Jupiter soprano is tuned where slide and bell are connected.

Old Harvey used the original bell-to-slide assembly and soldered it onto the
bell bow cum tuning slide. He then took a Reynolds cornet bell and let it
slide onto the fat branch of the original tuning slide by mean of a home
made socket.

The instrument is played via a small trombone mouthpiece as used for dance
band tenors and orchestral altos. It is not without inherent problems, as
there is no venturi. That puts a great responsibility on the player about
being very decisive on intonation matters. Aside from the strong demands on
the embouchure, the lack of resistance calls for a very steady air support.
The little Reynolds thing is a for-real-instrument much more than the
Jupiter, but it also is very exhausting to play.

Who shall play a soprano trombone? A trumpet player or a trombonist? Very
hard to say, as there are contradicting experiences.

My long gone teacher Ole Engler was the solo trombonist of our RSO, which
also took him into the cathedral of Copenhagen, which owned a soprano
trombone for certain cantatas. Ole hated to play that instrument, which was
played via a trumpet mouthpiece. It wrecked his embouchure and he couldn't
play it in tune. He told me that himself, so I am speaking behind nobody's
back. 

One day he gave that little thing to his fellow on solo trumpet, Ole
Andersen, recently retired to 4th trumpet, who is one of the really big
natural talents, but who had absolutely no slide experiences. Which didn't
deter him from playing trumpet polkas perfectly 

Re: SV: [Finale] Gregorian

[Klaus Bjerre]

 From: Arne Møller Jørgensen [EMAIL PROTECTED]

 I have made a lot of Hildegard von Bingens songs and have only jused
 what FINALE has been able to do. I attach en little samble.
 
 Amj  


I liked to see you sample, but basically it shouldn't have been allowed to
pass through the filters of the list servers.

Evil minds will know how to abuse that hole in the fence.

Klaus


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Re: SV: [Finale] Gregorian

[Klaus Bjerre]

 From: Richard Yates [EMAIL PROTECTED]

 
 I liked to see you sample, but basically it shouldn't have been allowed to
 pass through the filters of the list servers.
 
 Evil minds will know how to abuse that hole in the fence.
 
 This evil mind has put the small pdf file at:
 
 http://www.yatesguitar.com/misc/bingen.pdf
 
 Richard Yates
 


Arne and I have just communicated within our shared home lingo, which
happens to be Danish.

Ain't against anything Arne did, but I just presented the common sense of
the several music related lists, which I follow:

Each and every file attachment will be stripped off, because the evil minds
tend to mask vira and other undesirable stuff behind non-suspicious suffixes
like .jpg and.pdf.

All the best

Klaus

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Re: [Finale] Bass Trombone (Brass Band)

[Klaus Bjerre]

 From: Henry Howey [EMAIL PROTECTED]

 
 Ray and I are both bass trombone players;-)
 
 The reason was that (as Ray noted) the traditional British Bass band
 bass trombone was an instrument pitched in G. ALL of the instruments
 in  BB are transposing. The only reason (I believe) was the
 difficulty of people who lived in B-flat and E-flat to do a G
 transposing treble clef.
 
 I say this as one who (for three years) made part of his living
 playing the bass herald trumpet made by Boosey and Hawkes for the
 coronation of the present queen in 195X. It was pitched in G;
 however, I only read a G treble part supplied by my arranger
 colleagues from the United States Army Band.
 -- 

The G bass herald trumpet wasn't made for any specific coronation. It was/is
a standard element in British pageantry. Most often heard in the opening
fanfares of military displays/tattoos played by members from all of the
bands involved in the actual show.

Besson/Boosey  Hawkes apparently have cancelled the production of these
fanfare trumpets, which came in Eb sopranino, Bb soprano and tenor, plus the
G bass version. At least a high level BH employee referred me to a certain
Manchester repairman for second hand samples.

However I got my specimen from eBay. A well made instrument and quite a
player, if one takes its narrow scope of its intended usage into
consideration.

I happen to have a soft spot regarding brasses in G. The last time I
counted, I had 8 of them including fine samples from Alexander, King,
Kanstul, Hawkes, Besson, and BH.

End of boasting mode.

Klaus

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Re: [Finale] OT: Bass Trombone (Brass Band)

[Klaus Bjerre]

 From: Joe Laird [EMAIL PROTECTED]

 All this talk about bass trombones has got me wondering why the
 bass trombone is the only non-transposing brass instrument in the
 traditional British brass band.  As I understand it, the practice
 of transposing all the instruments in a brass band into either Eb
 or Bb and writing them in treble clef developed in England during
 the Industrial Revolution.  Why didn't the bass trombone follow the
 same convention?  I'm just now finishing the first piece I have
 written for brass band and find the unusual transposition
 interesting.
 

Actually the bass trombone is not  playing an odd transposition: It is the
only instrument, aside from members of the percussion  family, which plays
loco within the brass band notation system. Formerly the two tenor trombones
also did so, insofar that they played tenor clef concert.

It is important to realise, that the British brass band movement never was
mainly about music. It always was a social vehicle, where music happened to
be the topic of the gatherings.

By having all of the valved brasses written, so that the relations between
graphics and fingerings stayed uniform all over the range of instruments
(maybe aside from the 4 valve euphoniums and basses), it was possible to
rotate players among all of the instruments as membership fluctuations
dictated. 

Trombones were the-odd-men-out. Some say they often were recruited among
ex-service-bandsmen. And the bassbone was even more odd. It was pitched in G
like the Brit orchestral bassbone was up to somewhere between 1955 and 1970.
After that the one valve Bb bassbone entered the scene. It happened to have
the exact same bottom limit as the G variant namely the the cellos lowest C#
cum Db. I have played Eric Leidzen's Sinfonietta on a such trombone. The
middle movement was written in E major (or was it C# minor) with 4 #'s in my
part, whereas the cornets had 6 flats in their parts. My playing in tune on
the low C# was a novelty in that band. Wonderful piece by the way.

Since then I have, like most bassboners, gone to the 2 valve Bb bassbones,
which unlike the single valve instruments have a full chromatic range over
their 5, 6, or 7 octave ranges (depending on embouchure).

Through the last few years I have been able to acquire 3 Brit bassbones in
G, all to be played with a slide handle, as the 6th and 7th positions are
out of reach for even players, who like me, suffer from the orangutan
syndrome.

The 1919 specimen is in high pitch (A=459). The most interesting sample may
be the 1978 specimen, which has a D valve. It is one of the last samples
made of the version used by the Brit symphs. Even a bone guru like  Denis
Wick hailed its wonderful low C in the short chorale in Brahms 1.

The G bones don't own the broadness and warmth of the larger-bore Bb
bassbones. But they own a quality often missed in present day low brass:
clarity!

It may have surfaced, that I have a love/hate relationship with the brass
band entity, where I have played all instruments from Eb cornet through BBb
tuba on just about all seatings. It even has taken me to the stage of Royal
Albert Hall doing a short solo from a tutti seat. I have learned immensely
from my experiences. But by now the sound and the not always very musical
approach nauseates me, as does most of the repertory.

Klaus

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Re: [Finale] Shutting the door on the Gates?....

[Klaus Bjerre]

With all due respect: How comes, that the opening posting of this thread
managed to carry through 2 attachments?

Klaus

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Re: [Finale] Shutting the door on the Gates?....

[Klaus Bjerre]

 From: Darcy James Argue [EMAIL PROTECTED]
 
 Les, no offense, but for gawd's sake don't send background image
 attachments to the entire list!
 
 Plain text only, and no attachments, PLEASE.
 

I don't blame the listers, who routinely add attachments to their mails.
However I was profoundly convinced, that the list server invariably, senza
variazioni, stripped off anything but plain ASCII from distributed messages.

Klaus

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[Finale] Guitar playing term?

[Klaus Bjerre]

Working with a 200+ years old German print I encounter a clumsy description
on how to play a certain guitar solo section. The translation sounds
something like this:

Higher than the sound hole, close to the finger board.

I have known the Italian one or two words term long ago, but it will not
come to the surface of my memory.

Can someone help me put?

I really would hate to put a sentence in the score, when one word or two
might do.

Klaus

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Re: [Finale] Guitar playing term?

[Klaus Bjerre]

--
From: Owain Sutton [EMAIL PROTECTED]

 Working with a 200+ years old German print I encounter a clumsy description
 on how to play a certain guitar solo section. The translation sounds
 something like this:

 Higher than the sound hole, close to the finger board.

 I have known the Italian one or two words term long ago, but it will not
 come to the surface of my memory.

 Can someone help me put?

 I really would hate to put a sentence in the score, when one word or two
 might do.


 I'm no guitar expert, but I believe 'sul tasto' to be a valid term for
 guitars - would that suffice?

Thank you very much!

Klaus
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