At 04:31 PM 4/21/04 -0400, Darcy James Argue wrote:
>However, it's still weird that Finale updaters leave the old
>application intact by default. This is not standard at all -- the
>expected behavior is that the old version will be replaced by the new
>version.
Is this a Mac/PC difference? Upd
At 10:38 AM 4/20/04 +0200, Johannes Gebauer wrote:
>Just be careful, floppies are _very_ unreliable for backups.
I've heard this said, but I started using floppies in 1980 (TRS-80 and
Color Computer), and even those are still readable nearly a quarter-century
later. A friend who still has a workin
2001
>for
>Mac
>Éric Dussault - Canada, registered since FinWin 97 and Mac since 2001
>Hans Swinnen - Belgium, reg since FinMac 1.0
>Jon Kristinn Cortez - Iceland, registred since FinMac 2.0.6
>Tim Thompson - Florida, registered since FinMac 3.0
Dennis Bathory-Kitsz - US, regist
At 10:42 AM 4/1/04 -0800, Brad Beyenhof wrote:
>On 4/1/04 9:48 AM, Ken Parsons wrote:
>
>> How do you enter two time signatures for a piece that oscillates back
>> and forth between them - e.g. 3/4 & 6/8? I'd like to enter these in the
>> first measure, and not have to put them in every time the gr
At 08:42 AM 3/31/04 -0500, Aaron Sherber wrote:
>At 08:15 AM 03/31/2004, Dennis Bathory-Kitsz wrote:
> >The sorting isn't very helpful when the plugins are inconsistently named
> >and with hidden features. And especially the TGTools mess -- a great plugin
> >set, d
At 12:35 PM 3/29/04 -0600, Johnson, Mark wrote:
>Though not an extensive index, Finale Power! describes
>many of the plug-ins throughout and when to use them.
I guess what I'm asking is if anybody has taken the time to create an
index, much like the Finale reference card, of the plugins. Back in
At 09:55 AM 3/29/04 -0800, Brad Beyenhof wrote:
>To a limited extent (i.e. not for TGTools), you can arrange the Plugins
>folder so that the menu is more organized, creating folders for whatever
>sorts of categories you want. If it doesn't affect the loading time too
>much for your taste, I suppos
At 12:08 PM 3/29/04 -0500, David W. Fenton wrote:
>There are so many plugins
Absurd it is. I would guess that my biggest slowdown is trying to remember
which plugin from which author in which list does what, and how its dialog
works. Is it Tobias's? Robert's? Jari's? Did it come with Finale? Maybe
At 12:19 PM 3/19/04 -0500, Andrew Stiller wrote:
>Seldom true. The usual practice is to diphthongize the collection of
>vowels, or to suppress one of them.
>Consider this, from the vaudeville at the end of Don Giovanni:
>Questo e il fin di chi fa mal
>Mozart asks the singers to sing "-o e il" on a
At 01:49 PM 3/18/04 +, Owain Sutton wrote:
>I was wondering if anyone has any experience of using a graphics tablet
>with the program? Does it work well, better, worse than with a mouse?
>Any suggestions of what to look for or avoid?
I'm using a Wacom Intuos-2, but it's not really very help
At 01:49 PM 3/16/04 -0500, Phil Daley wrote:
>I can't imagine needing to see more than a whole page at once, in 100% page
>view, that would take up about a half a screen.
>I can't image what possible purpose there would be in maximizing a scroll
>view. Whole width, obviously, but maximized would
At 08:39 AM 3/7/04 -0500, Cecil Rigby wrote:
>Dennis' is one workaround. WIN users can also use PDF995. (Which device
>driver do you print to, Dennis?)
I use the Adobe Distiller (to PS File) as my driver. Previously I used the
Apple Laser Writer Pro 630 driver. When creating PDF for publication
el
At 05:46 PM 3/6/04 -0800, Mark D Lew wrote:
>The same might apply to "platypi".
A platypo. :)
Dennis
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At 03:08 PM 3/6/04 -0700, jef chippewa wrote:
>i still can't print to acrobat from
>finale, getting this message:
>%%[ Error: invalidaccess; OffendingCommand: def ]%%
>Stack:
>-dict-
>/FinaleDict
>/Courier
>%%[ Flushing: rest of job (to end-of-file) will be ignored ]%%
>%%[ Warning: PostScript err
At 12:44 PM 3/6/04 -0500, David H. Bailey wrote:
>I agree with all of the words Andrew is talking about except phenomena.
> I never hear anybody speak of the plural of phenomenon. I don't hear
>the singular that often either, but I do hear it far more frequently
If you listen to enough CNN in
Oh, and the singular of data is the "safe" version: data point.
Dennis
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At 06:50 AM 3/2/04 -0800, George Ports wrote:
> Hi, Would anyone know if there is a font that has circled
>letters.like an R or L in a circle.
It's best to make your own with the enclosure, because then they are very
portable in Finale, and you can double the letters or mix with nu
At 07:50 PM 3/1/04 -0800, Carl Dershem wrote:
>Spiffy! What kind of thing do you anticipate writing?
They want 10 minutes (of course, the American standard new music
commission, it seems) and, in their words, audience-friendly. They'd also
like some sort of Vermont theme, but I don't do tone pain
...as of this afternoon, so I can announce it.
I'm very pleased to tell my Finale friends that I have received the annual
commission from the Vermont Symphony Orchestra. The new work will be
premiered on September 22, and played ten times during the orchestra's
statewide tour from September 22 to
At 12:40 PM 2/28/04 -0500, you wrote:
>Apparently one of the subscribers of this list has set up a Spam
>whitelist.
>THIS IS A PHENOMENALLY STUPID THING TO DO
I just got 12 of them. I didn't see them because my Spam filter sent them
to my trash box. I went to look and voila, there they were.
Stu
At 06:06 PM 2/27/04 -0500, Darcy James Argue wrote:
>Interesting. Could you do me a favor? Could set the "Smoothing"
>control all the way to the left (i.e., turn off smoothing entirely) and
>see what happens?
Almost identical in speed, but it's actually faster to the left ('faster'),
but the
At 04:52 PM 2/27/04 -0600, Steve Gibons wrote:
>On Feb 27, 2004, at 4:26 PM, Dennis Bathory-Kitsz wrote:
>
>> Unfortunately, the demo does not load Finale
>> files, and many of those I tried to load come up with a 'fatal error'
>
>Is that an ETF file you
Matthew,
Thanks for the comments. I agree about the third-party plugin developers
doing a great job and being very responsive -- though I have trouble with
the TGTools UI (see http://maltedmedia.com/photos/tgtools.gif).
At 09:09 AM 2/28/04 +1100, Matthew Hindson Fastmail Account wrote:
>Scroll vi
At 03:55 PM 2/27/04 -0500, David W. Fenton wrote:
>I have a set of Microsoft fonts that I picked up about 10 years ago,
>the Lucida Bright Math family, and every such sign you'd want is in
>there in one of those three fonts. They're pretty high-quality fonts,
>too. They are all copyrighted 1991
At 04:20 PM 2/27/04 -0500, Darcy James Argue wrote:
>[I should add that I don't know if this is supported -- or even
>possible -- on the Windows side of things. It's possible in OS X
>because OpenGL is such an integral part of the OS. The OpenGL
>integration is not supported in Sibelius for OS
At 08:05 PM 2/27/04 +0200, Mr. Liudas Motekaitis wrote:
>I'm wondering if there isn't a faster way for you to do that. For example
>setting the measure metrics for each measure according to the actual tuplet
>lengths, using no barline. Then just add the barlines with the
>All-New-Super-Duper-I-Love
At 06:02 PM 2/27/04 +0100, d. collins wrote:
>Dennis Bathory-Kitsz écrit:
>>Lyrics difficulties are legion
>>(as I was about to send this, Johannes is having a problem with placing
>>punctuation where it belongs).
>
>Where it belongs is a matter of opinion. A vas
At 07:34 PM 2/27/04 +0200, Mr. Liudas Motekaitis wrote:
>This is from Robert Patterson's plugin description on his webpage:
>"Metric" is similar to Set, but the right bracket starts out flush with the
>next metric position following the tuplet. (If the tuplet is at the end of
>the bar, the bracket
At 06:55 PM 2/27/04 +0200, Mr. Liudas Motekaitis wrote:
>(1) Although I'm not sure, but as an educated guess, I'd say that most of
>Finale's bugs, kludges, and bad programming that infuriate Dennis have to
>do with the fact that the programmers who work on music notation software
>have to be music
At 05:28 PM 2/27/04 +0100, Johannes Gebauer wrote:
>weren't you refering to cross staffing? I don't know Graphire at all, but
>going from the instructions on the web site this seems incredibly
>complicated. It needs "ghost notes" to start with. This is much easier in
>Finale, especially when using
At 09:45 AM 2/27/04 +0100, Johannes Gebauer wrote:
>I am not sure whether you are joking or being serious. Whatever the case,
>cross staffing is much easier than that in Fin2k4. Select the notes, select
>the plugin, click GO and you are done.
I wasn't joking. One of the things I like about Graphir
Hi all,
Some time ago I mentioned some of the interesting features of Graphire. The
manual is online, and here is one page that is interesting (have animated
GIFs turned on):
http://www.bandcmusic.com/Stage/editing-12019.html
I sure do like that easy cross-staff beaming. :)
The manual is not
At 04:13 PM 2/25/04 +0100, Johannes Gebauer wrote:
>Of all the replies I got on this I have not heard a single one which
>actually sells through paypal, ie uses their "buy now" and "shopping basket"
>services.
I didn't reply to the Europe question, but I sell using both of these.
Don't sell much,
At 09:37 PM 2/23/04 +0200, Mr. Liudas Motekaitis wrote:
>The key is to apply the articulation while the note in question is in the
>frame in question (the frame in which you are creating the start of your
>tuplet.) Simply dragging it with special tools I think will do the trick.
So it does. Plays
Now *that's* a clear subject line.
Here's the question:
F2K3/Win
I want an articulation on the last note of a tuplet.
The tuplet straddles a barline.
The articulation seems to "take" and shows the articulation as I'm placing it.
The handle shows in scroll view.
After it's placed and redrawn, tho
At 07:37 PM 2/19/04 -0500, David Froom wrote:
>My college is looking to move on/up from DAT recording for our live concert
>recording/archiving. Can anyone recommend a reasonably priced alternative?
>Recording directly to CD? Hard drive? Some combination?
For simplicity, try the Fostex multitra
At 09:23 AM 2/18/04 +0200, Mr. Liudas Motekaitis wrote:
>It might be that there were tremolo markings on those long stems and the
>font used is not on your system. Or else some other symbol used on the stem.
This happens to me occasionally when opening Finale 2.2 files in Finale
2000 onward. I sti
At 11:51 AM 2/16/04 -0500, Andrew Stiller wrote:
>I, on the other hand, have comb-bound material from 1966 that is
>still in perfectly good shape. Not one of the comb-bound scores of my
>own publications (1991-present) that I keep as hard backup has ever
>shown the cracking and stiffening behavi
At 06:37 AM 2/17/04 -0500, David H. Bailey wrote:
>Paper with acid content yellows with age and crumbles (think of the old
>mass market paperbacks or photographs from the 50s, where often the
>simple act of turning the page breaks it in half).
>
>Acid-free paper lasts far longer and remains more
At 09:18 AM 2/16/04 +0100, Johannes Gebauer wrote:
>On 16.02.2004 5:18 Uhr, Dennis Bathory-Kitsz wrote
>
>> But I don't see a creep setting in Finale (Graphire has it, for example).
>> When I face-trim saddle-stitched scores, there's a creep issue (meaning the
>>
At 06:01 PM 2/15/04 -0800, Mark D Lew wrote:
>I don't know about in music, but in other publishing it's commonplace
>to always have a multiple of four pages (or even eight, depending on
>the method).
A full signature made from one sheet of paper is often 16 sides.
Compensating for "creep" in th
At 05:54 PM 2/15/04 -0600, Randolph Peters wrote:
>1) They crack or break more easily than other binding methods.
This is important. I never use comb bindings anymore because the
plasticizer deteriorates and they crack. I have books and scores no more
than 10 years old where the combs will not fle
At 10:35 AM 2/9/04 -0500, David H. Bailey wrote:
>I would put 4 16th-rests so the rhythm of the quintuplet is readily
>apparent.
There's my opinion as well.
That's only for rests, though -- note groupings are an entirely different
matter, and sometimes tough to decode, whether composer, engraver
At 08:06 AM 2/9/04 -0500, Darcy James Argue wrote:
>However, I've run into a situation where my source has the following
>rhythm:
>quarter rest - eighth rest - a triplet consisting of: two eighth notes
>followed an eighth rest - eighth rest - quarter rest
>What say you all?
This doesn't strike m
At 10:06 PM 1/29/04 -0500, Raymond Horton wrote:
>I have never owned a laser printer before, so I have no experience with
>replacing toner cartridges. How soon should I be concerned about not being
>able to get these? I wonder how long "a while" is? If I bought a
>few/several toner cartidges for
At 04:45 PM 1/28/04 +0100, Johannes Gebauer wrote:
>Situation: Several voices in one staff. A middle voice is tied. The tie
>collides with other notes. I would like to white out the tie around the
>other notes. Unfortunately this doesn't seem to be possible. I can white out
>the notes, but the tie
At 07:24 PM 1/26/04 +0200, Mr. Liudas Motekaitis wrote:
>I think you can redefine the combination of "Vertical position" and the
>Handle positions to yield the articulations in a line, and then use Mass
>Edit --> Move Articulations by replacing the old articulations with the new
>ones (the new posi
At 09:59 AM 1/26/04 -0700, Carl Donsbach wrote:
>Under Document Options, Grids and Guidelines, check Snap to Grid.
Snap-to-grid options (at least in 2K3) don't seem to include articulations.
And even with everything checked (just in case), articulations don't seem
to snap.
Dennis
___
At 10:43 AM 1/26/04 -0600, Thomas Schaller wrote:
>My solution would be to put them in as lyrics (or staff expressions).
They're all in place now. :( I just want to move them. (And everything
has to play back, too.)
The TGTools align/move feature doesn't seem to do articulations.
Dennis
___
Hi,
Finale 2K3 Windows.
I have a score where the composer wants all the articulations to be at the
same (absolute) vertical position above the staff. Maybe I'm looking in the
wrong place, but I can't find an option in either the articulation
definitions or the plugins to line up articulations ..
At 09:10 PM 1/22/04 -0800, Glenn Adams wrote:
>Does anyone on this list know where to get 9x12 paper?
Aside from what Noel said, you can also get precut, packaged 9x12 at an art
supply shop or through art supply catalogs. I suggest this because print
shops can be unwilling to help, and paper suppl
At 11:38 AM 1/21/04 +0100, Johannes Gebauer wrote:
>Well, adjusting the beat chart is more work than it is worth, imo. If you
>are not bothered by the spacing problems, then that's fine for you. I am.
>Creating two measures on entry is less complicated than changing the beat
>chart, I find.
The pr
At 01:50 AM 1/21/04 +0100, Jörg Peltzer wrote:
>Why not simply define a custom line starting with ad lib. Followed by - - -
>- - and a down hook -| and draw that around the measures you need to be
>marked.
When I've needed extra barlines, I've used one of these:
1. Use them as expressions. The bar
At 09:39 PM 1/17/04 +0100, d. collins wrote:
>Now I'd like to find a nice continuo organ soundfont.
Find the lovely soundfont "Jeux", a complete pipe organ set, here:
http://members.aol.com/realmac/jeux1.htm
(There's also a .gig file of a massive Belgian organ, but unfortunately I
can't yet afford
At 06:49 PM 1/17/04 +0100, d. collins wrote:
>If I may add my own question to this thread: what software does one need to
>use soundfounts directly through a midi keyboard on a PC? I.e. to simply
>play on the keyboard using these soundfonts.
The standalone version of VSampler does this. (I use L
At 09:24 AM 1/17/04 -0500, gj.berg wrote:
>I've always worked under the assumption that hairpins cannot be
>performed on any note being held -- in order for the decresc. effect to
>take place the note has to be be rearticulated.
To change the *velocity*, a note needs to be rearticulated, but the
*
At 03:33 PM 1/17/04 +0100, Johannes Gebauer wrote:
>Can someone recommend a soundfont that works well as allround GM soundfont
>for classical music? Preferably a free soundfont.
The ones I use are not GM. Does your soundcard require it, or can you use a
RAM- or disk-based player? And does the new
At 03:58 PM 1/15/04 +, Robert Patterson wrote:
>As of now, plugins are only automated editing tools.
>That is, their effects do not depend on the existence
>of the plugin. This may change in the future, but it
>should be obvious if it does.
>
>At 04:55 PM 1/15/04 +0100, Johannes Gebauer wrot
Hi all,
A question that may have some importance later for me: Do the results of
plug-ins carry over when opening a Finale document in a version that
doesn't have the plug-ins? I assume the plug-ins merely manipulate the
existing Finale data in very clever ways, but want to be sure.
Dennis
Linda,
Thanks for this response. I think it gets to the heart of what such
general/vague musical words help us express.
At 01:28 PM 1/11/04 -0500, Linda Worsley wrote:
>But "non-pop" strikes me as horrible...
>Non pop equals =
>* Not popular (in the sense that people don't generally like it, not
At 11:01 PM 1/11/04 +0200, Mr. Liudas Motekaitis wrote:
>I like the german: they have U-Musik and E-Musik. (Unterhaltungsmusik and
>Ernste Musik, which would roughly translate to "music for entertainment" and
>"serious music").
>
>The attractive thing is that they shorten it to U-Musik and E-Musik.
At 09:17 AM 1/11/04 -0600, Randolph Peters wrote:
>"Nonpop" goes a certain distance, but it ultimately fails as
>nomenclature because it only says what it is not rather than what it
>is. As a non-insect I believe we can do better!
But we haven't done so since "classical" began to fail as a usefu
At 09:14 AM 1/11/04 -0500, Linda Worsley wrote:
>I record
>mostly "serious" or :"classical" music... I call it "art" music, but
>honestly there is no good word for it, is there?
"Art music" and "serious" can apply to many genres, and "classical" carries
too much baggage.
Try "nonpop" as your me
At 12:07 AM 1/9/04 -0500, Christopher BJ Smith wrote:
>I have witnessed
>crossed wires, wasted time, frustrated musicians, and fast phone
>calls by orchestra administrators during rehearsals to composers, as
>well as wasted studio time in recording sessions. But if those things
>could be avoide
At 07:58 PM 1/8/04 -0500, Christopher BJ Smith wrote:
>At 5:43 PM -0500 1/08/04, Dennis Bathory-Kitsz wrote:
>>
>>That's why I said this was a religious debate. There ultimately are no
>>compelling arguments on either side.
>
>It's the same answer I give to m
At 03:36 PM 1/8/04 -0500, John.Howell wrote:
>If the conductor sees a C# but the player has it notated as an Eb,
>you're making communication difficult and wasting rehearsal time.
>Thus the conductor would have to speak in concert pitch, and the
>player would have to do the transposing.
You're
At 10:13 AM 1/7/04 -0800, Harold Owen wrote:
>The question of C scores and octave clefs has been discussed here
>quite a bit, and the debate is far from being settled.
It is, to my mind, one of those religious debates. I switched to being a
C-scores-only composer about 1970.
Dennis
__
At 02:45 PM 1/7/04 +1100, helgesen wrote:
>How do I ask (tell?) Windows to always list by name (by default), and never
>by Icon.
It's been a while, since mine have been arranged by name some forever, but
try this:
Set up your folder to your taste, then Tools | Folder Options | View |
Folder Views
At 11:25 PM 12/16/03 +0100, Johannes Gebauer wrote:
>OK, since you didn't understand the text on the Panther web site
Johannes,
Thanks for the explanation. It turns out I did understand most of the Apple
page, except how it made small windows to mouse around for selection.
>This is not about hid
At 09:54 PM 12/16/03 +0100, Johannes Gebauer wrote:
>See what I mean? The whole point is you have to have used it to understand
>what it does. What you think it does is not what it is for.
I'm sure "you have to use it" didn't come up in the coding phase, so
somebody must have a way of expressing i
At 03:03 PM 12/16/03 -0500, David W. Fenton wrote:
>You've described a whole set of methods for doing all the things that
>Expose does in a unified fashion, with a UI that is more intuitive
>than task switching, tiling and taskbar manipulation.
I see. Since I tend to adapt fairly quickly to what
At 11:46 AM 12/16/03 -0600, Fiskum, Steve wrote:
>Here is some info on Expose. I think you may have a different response
after reading.
>http://www.apple.com/macosx/features/expose/
I just read this, and I'm not sure what the deal is.
Even in Win98SE, Right-click toolbar | Tile does what is descr
At 09:07 AM 12/14/03 +, [EMAIL PROTECTED] wrote:
>WinFin2004
>Windows 98SE
>Since upgrading to WinFin2004 I have had several lockups associated with
>the following dialogue:
>Cannot Create Font DC
>Has anyone else seen this? The dialogue box has an OK button but usually
>the result is a restart
Re last message, my tape restoration info and audio samples are here:
http://maltedmedia.com/mmrestoration.html
Dennis
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At 10:31 AM 12/11/03 +0100, Johannes Gebauer wrote:
>On 11.12.2003 1:19 Uhr, [EMAIL PROTECTED] wrote
>
>> I know the quality isn't always as good, but I still listen regularly to
>> cassettes I recorded 25 to 30 years ago - they still sound okay. I
recently
>> copied them all onto newer cassettes
At 07:20 AM 11/23/03 -0500, David H. Bailey wrote:
>iTunes is free -- it'll screw up your installation of WinAmp
Are you sure about that? And how does it manifest itself? I'm always wary
of Apple software on the PC (I have 4 machines and QT has screwed up on
each one), but Winamp is a staple here.
At 05:42 PM 11/14/03 -0500, John Hines wrote:
>I'm trying to set up my brand new 2610, and I've never even used a laser
>printer. The instructions say to "pull the two strips out of the toner
>cartridge". There is no clue offered as to how this is done. The
>"strips" seem to be concealed in
At 01:20 PM 11/12/03 -0800, Harold Owen wrote:
>>Thanks for your response, Harold. Very helpful. So, if i understand
>>correctly, there isn't a font library with the Penderecki symbols in
>>Finale?
>>
>>Appreciatively;
>
>No, but one could be devised easily enough. I'm not aware of such a
>font
At 08:48 PM 10/19/03 -0400, Christopher BJ Smith wrote:
>Seriously, though, he wasn't asking specifically about verbs, he was
>asking how the -ed ending was pronounced.
And there are others that are close, when turned from p.p. to adjective:
aged (people)
striped (bass, the fish)
avowed (regio
At 08:07 PM 10/16/03 +0200, Daniel Wolf wrote:
>However, not once has Coda ever emailed me with update
>information or offers, despite my registration, repeated purchases, and
>repeated requests for upgrade info.
Maybe your ISP's spam filter is trashing it. My filter did, because they
send HTML em
At 12:19 AM 10/12/03 -0800, Mark D. Lew wrote:
>At 12:01 PM 10/10/03, Dennis Bathory-Kitsz wrote:
>
>>>Is this the same Pamela Z who was in the SF Symphony Chorus about 10 or 12
>>>years ago?
>>
>>I'm not sure. There are two with similar names: Pamel
At 11:17 PM 10/13/03 +0800, Stanford Chong wrote:
>Oh c'mon, I am a computer newbie and according to my friends, online means
>something in the internet and not inside the CD.
Your friends must be young. :)
Dennis
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At 11:52 AM 10/10/03 -0400, Tim Thompson wrote:
>Is this happening to others? I sent a request to the list help request
>box.
Yes. I looked at the headers, and it appears this is happening in a loop at
the shsu server. Hope it doesn't start re-looping!
Dennis
\
___
At 08:48 AM 10/10/03 -0800, Mark D. Lew wrote:
>Is this the same Pamela Z who was in the SF Symphony Chorus about 10 or 12
>years ago?
I'm not sure. There are two with similar names: Pamela Z and Pamela Zero.
Both do vocal work, extended voice.
Pamela Z: http://www.pamelaz.com/
Pamela Zero: http
At 03:13 PM 10/7/03 -0400, Stu McIntire wrote:
>Carter still, I assume?
>Rochberg, or has attention moved on for the most part? What about Adams,
>Corigliano, Schwantner, Tower, Kirchner?
Over, over, over, over, over, over, over. :)
>Or have we entered a period so
>wide open that it is impossible
At 11:38 PM 10/6/03 -0800, Mark D. Lew wrote:
>Every contemporary opera composer I've met so far
>(about a dozen, I'd guess) is very flexible in accommodating the needs of
>the singers and the stage direction. Perhaps this is my bias showing, but
>if I were to meet one who is inflexible, I would t
At 11:48 AM 10/6/03 -0400, David H. Bailey wrote:
>Just a minute, Dennis! You admit to ignoring wrong notes? You came
>down on me so hard for even suggesting that in the limited rehearsal
>time of my amateur band I had to let some things go.
I was speaking as the composer who's there to consul
At 10:56 AM 10/6/03 -0400, Andrew Stiller wrote:
>Repeat signs. Last time this came up, one member of this list
>insisted that all repeat signs, in whatever repertoire, were, in
>fact, optional. Well they're not in my music!
Likewise. I have stopped using them. Copy/paste is just as effective in
At 10:55 PM 10/6/03 +1000, Michael Edwards wrote:
>Do players really up and leave just because they don't like being asked to
>do something the composer has written in a piece? You have to treat them
like
>delicate china lest they take offence at a reasonable request or suggestion?
Stories follow
At 10:59 PM 10/6/03 +1000, Michael Edwards wrote:
> However, an anomaly exists in the score for this piece, at least in my
>edition: there are just *two* bars in the middle of the piece which are
marked
>"senza Ped.".
> Now, in good conscience, what should I do here? Follow the instruction
At 04:59 PM 10/5/03 -0500, John Howell wrote:
>Dennis, you are indeed arguing for "strict adherence to the printed
>socre." The problem is that musical notation never has, does not
>today, and never will give the performer absolutely all the
>information needed for a performance. There are alwa
At 09:51 PM 10/3/03 -0400, Ray Horton wrote:
>I'm glad you can hear every tuba pedal A that goes by in every crazy piece
>of new music that gets played, because our conductors haven't been able to!
It's not about the pedal A, it's about the attitude -- "we'll change
whatever the composer wrote / w
At 07:09 PM 10/3/03 -0400, David H. Bailey wrote:
>Conductors are often caught between a rock and a hard place -- balancing
>the preparation of many weeks of concerts with the strict adherence to
>the printed score.
>
>Many community bands come together for a rehearsal or two and then
>essential
At 08:05 AM 10/4/03 +1000, helgesen wrote:
>I wholeheartedly agree with Ray and others. Players- especially 'non-pros',
>tend to treat 8ves (up or down) as optional. And to Richard- Yes, I'm afraid
>that outside of the "do it or you're fired" world of the pros, leger lines
>are more respected than
At 10:10 AM 9/30/03 -0400, Tim Thompson wrote:
>On the senza misura question, I know from personal experience that many
>performers want to know exactly when to play, and don't do well with
>approximate rhythmic notation. But as soon as one makes the notation
>more specific, then the freeness i
At 10:47 PM 9/29/03 -0400, Tim Thompson wrote:
>I was rehearsing a piece today on tenor sax with a pianist. My part
>went up to C (5 lines above), and I don't have to think too hard about
>that, as I am only reading one line, but the pianist was constantly
>asking "what's that note?"
I work wi
At 07:29 PM 9/26/03 -0500, Williams, Jim wrote:
>you're writing as if Graphire has expired..has it?
No, it's been re-worked. There was an announcement recently that Barbara
Touburg forwarded me from the Score discussion list:
===
I think it would be a good idea for me to put my two cents in at t
Either the Finale list is backed up, or this message didn't go. Here it is
again.
At 07:29 PM 9/26/03 -0500, Williams, Jim wrote:
>you're writing as if Graphire has expired..has it?
No, it's been re-worked. There was an announcement recently that Barbara
Touburg forwarded me from the Score discus
At 05:14 PM 9/26/03 -0500, Craig Parmerlee wrote:
>At 01:00 PM 9/26/2003 +1000, Matthew Hindson Fastmail Acct wrote:
>>There is still no scroll view. You realise how good it is to be able to
>>enter notes without page layout constantly taking place when, for example,
>>the bar you're working on su
At 03:04 PM 9/20/03 +0200, Johannes Gebauer wrote:
>On 20.09.2003 11:14 Uhr, David McKay wrote
>
>> At the moment I am receiving a deluge of viruses purporting to be messages
>> from Microsoft or mail undelivered messages.
>
>Same here, a real nuissance!
Nuisance is an understatement. I got 1,195
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