Re: [Finale] Hebrew font
I was playing for a while with a musical rabbi and his family, and ISTR him saying that one approach to this problem used in a lot of Jewish songbooks, was retaining the L-R order of sentences, or lines of lyrics, but each word being printed R-L. He said it was indeed a problem... Ken ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ---BeginMessage--- Unless I am mistaken, my acquaintance solves the problem by using transliteration, using the approximate English language equivalents for the Hebrew syllables. ns Yes, that's right. I am arranger and (sometimes) composer of some hymns and songs in Hebrew, so I use transliteration (phonetics) to put the lyrics under notes. I use Spanish for the equivalents. (my native language is not English, so excuse please that Tarzanesque style in the speech :-) Nevertheless I saw some music with Hebrew words (I mean without transliteration). Even the Hebrew readers told me that is rather difficult to read Hebrew left to right, so they prefer transliteration in music. Cordiales saludos (Best regards). Gerardo Delgado Musician Buenos Aires, Argentina ---End Message--- ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] US copyright question
So the Mahler was out of copyright I guess... Boy, I really need to go back and listen to that again! Ken ok, i checked it out. here's what you'll find in the full score of this masterpiece, written for and commissioned by the new york philharmonic. and it's dedicated to leaonard bernstein. - We would like to express our cordial thanks to the following publishers and persons for allowing the use of quotations: Boosey Hawkes Ltd., London (Stravinsky Agon, Sacre du Printemps, Strauss Der Rosenkavalier for all countries with the exception of Germany, Italy, Portugal and USSR); Durand Cie., Paris (Debussy La mer, Ravel Dapnis et Cloe, La valse); Furstner Ltd., London (Strauss Der Rosenkavalier for the territories of Germany, Italy, Portugal and USSR); B. Schott's Sohne, Mainz (Hindemith Kammermusik IV) Dr. Franz Strauss Igor Strawinsky We also thank Mr. Claude Levi-Strauss for permitting the use of an excerpt from his work Le cru et le cuit. - hope this helps, best, marcelo Is collaging fair usage? Specifically, consider Berio's *Sinfonia*, which quotes numerous copyrighted works without any notice of written permission to use any of them. I'm not talking about outright parody, wh. is definitely fair usage in the US, but merely the use of recognizable fragments of copyrighted works in a patchwork to make something new. The various court cases involving sampling would strongly suggest that such practices are *not* fair usage--but then how explain the Berio? Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Blowing O.T.
I don't believe it. It sounds like something one of the white characters in Undercover Brother would say. Pretty hot and tempting?? Seriously. :-\ Ken Wow! That's the first time I've heard that. There's a band on the West Cost called Big Phat Band, I just thought they were being cute. Joel Sears On Jul 16, 2005, at 8:45 AM, Crystal Premo wrote: I am getting just the end of this, so forgive me if this has been stated, but phat means pretty hot and tempting. Crystal Premo [EMAIL PROTECTED] From: Ken Durling [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Blowing O.T. Date: Sat, 16 Jul 2005 06:37:50 -0700 At 01:17 AM 7/16/2005, you wrote: I'm pretty sure there *is* a connection between phat and fat. The acronymic etymologies are all fallacious. Like as in a fat bankroll or paycheck. Ken ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Blowing O.T.
Now that is a cool thing to have on your resume, Chuck. That's great. Ken Remember Lenny Bruce's schtick on What I don't understand is why saying 'F%$# You' is a BAD thing?? Ken _ I certainly do. I spent 6 weeks working opposite him at the Village Vanguard some (how many!?) years ago. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Ferney who? was: Creston
My approach, although I don't think I've done anything quite like B.F., is to always give the performer something they can translate on the fly. An example was a tempo transition in one of my pieces that I could hear very clearly, but took me a few hours over a couple of days to figure out what it was. What it came down to was a change from a quarter note at 144 to one at 90, or a .625 or 1.6 (2/3) change. The way I indicated it in the score - and actually how I finally identified it - was by showing that 5 triplet eighths - one triplet and two of another triplet - equalled the new quarter, a pretty simple increase of 2/3 it turns out. This at least gives the conductor (or performer as the case may be) a reference point, something to prepare internally based on the old tempo, the most common approach to metric modulation. This IMO, is the best approach to such moments - give a reference point in the old tempo. It's hard to imagine a situation in which this wouldn't ! be practical. Ken This may seem an impossible task - until you realise that the ratio 54:60.75 is the same as 8:9, and 54:47.25 is 8:7. So they're actually rather simple shifts in tempo. And should have been notated as such. In many cases the new 'deciaml' metronome marking is reached by an accel/rall from the old tempo - how would you notate that? Look, either there is a proportion or there isn't. If there is, you can put it in a tempo marking (e.g.: 8:7 faster), and if there isn't, you can't put it in a time sig. Throwing in rits. or accels. makes no difference. Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
