On Apr 19, 2005, at 12:00 PM, [EMAIL PROTECTED] wrote:
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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 +
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
Message-ID: <[EMAIL PROTECTED]>
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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
