At 7:03 PM -0700 4/10/04, Mark D Lew wrote:
On Apr 10, 2004, at 4:53 PM, Ryan Beard wrote:
I'm working on a choir piece based on Psalm 23. I'm
having trouble finding the correct syllabification of
some of the King James English words like maketh,
leadeth, restoreth, preparest all those -eth
-est
At 2:48 PM -0700 4/11/04, Mark D Lew wrote:
On Apr 11, 2004, at 1:10 PM, John Howell wrote:
I should also point out that Mark's suggestion makes reading the
words much quicker and intuitive. But of course a singer isn't
going to actually pronounce them that way. Tacking the consonant
onto
At 4:44 PM -0700 4/5/04, Ryan Beard wrote:
You're really prepared to write a part with 8, 9, or
10 sharps in the key signature? I realize this is an
extreme example. Just curious where you draw the line.
For most well-trained, experienced musicians, confusion starts to set
in with the first
At 1:59 PM -0500 4/2/04, Andrew Stiller wrote:
I have received the following communication from the Drug Policy
Alliance, wh. may be of interest to US Finale listers:
Congress is considering legislation that would hold bands, DJs,
bartenders, promoters, venue owners, radio stations and others
At 8:19 PM +0100 3/24/04, Daniel Wolf wrote:
However, if we want the delayed tuplet notation, or a metre in
which denominator is anything other than a power-of-two, then we are
probably limited to Score or Music Press, programs that are
essentially for graphics, or using Finale as a graphics
With Scott's permission, I'm passing his question on to the
knowledgeable folks on this list. Please reply directly to him
(address below). Thanks for any help you can provide. Sounds like
his tech coordinator is sold on OSS/FS based on his experience with
office programs. Obviously for a
At 11:55 AM -0500 3/18/04, [EMAIL PROTECTED] wrote:
So far I have been unsuccessful in adjusting the speed and accurate
placement of a string portamento in human playback (Finale 2004 Windows.
The effect I want is a very quick slide...the same effect as shifting
position. I want to go from B to
At 9:33 PM +0100 3/18/04, d. collins wrote:
Can mai count as two syllables in Italian? I have a 17th century
print that seems to give it two notes.
Thanks,
Dennis
I believe that each vowel gets its own note, unlike languages like
English which are full of diphthongs and triphthons. You often
At 11:23 AM +1100 3/14/04, Rocky Road wrote:
I have a single treble clef stave and and each line starts open
ended. I have gone into the measure attributes and chosen normal
for the left barline, but it doesn't show.
How can I get each stave to start with a barline on the left (to the
left of
At 3:10 PM -0500 3/15/04, Darcy James Argue wrote:
Eric,
The two are not mutually exclusive. I believe some linkage between
score and parts is eventually coming, but I'm pretty sure it's a
difficult problem to solve and is probably several years off, still.
In the meanwhile, tabs would at
At 3:00 PM + 3/13/04, Colin Broom wrote:
I've spoken to a number of musicians recently, including a noted orchestral
conductor, and several composers who all seem to feel that the dynamic
'mezzo piano' is basically a meaningless dynamic, and they think it should
never be used. I've even heard
At 9:37 PM -0500 3/5/04, Crystal Premo wrote:
The piece I'm talking about specifically today is More from Dick
Tracy. This is a piece with no guitar chords. It started out in
Eb, and taking it down a minor third (which is what women usually
want) by putting it in C# left only one double
Could the listma take care of admonishing or unsubscribing this
spamming idiot so we don't all have to do it individually?
John
At 12:18 AM +0100 3/2/04, WEDELMUSIC wrote:
Sorry for any multiple reception of this message.
If you do not want to receive further information about WEDELMUSIC
2004,
At 12:46 PM +0100 3/5/04, Giovanni Andreani wrote:
Hello,
I would like to here what you think about this:
I'm updating a database which contains instrumentation description
and got to decide the most suitable criteria (regarding the
linguistic aspect) for instrument's composite names. Which,
At 12:33 PM -0600 3/5/04, Henry Howey wrote:
You have no one to blame but your friendly list-owner. This was
caught in the SPAM filter, and I allowed it as Nesi has an
interesting product that needs some REAL input to make it work. If
his work pans out, publishing will never be the same.
At 4:33 PM +0100 2/27/04, Johannes Gebauer wrote:
I don't often work with lyrics, so forgive me if this is common knowledge:
Is there a way (in 2k4) to have punctuation (ie colon, comma or semi-colon)
to appear at the end of the word extension line?
Thanks,
Johannes
Even if there is, I would
At 4:26 PM -0600 2/22/04, Robert Patterson wrote:
The second is (and this is crucial): repeat the current key
signature at the beginning of every line. I don't care if this is
not customary for the genre (e.g., a jazz chart). If you are writing
for a horn player or any other player whose
At 6:06 PM +0100 2/23/04, Johannes Gebauer wrote:
On 23.02.2004 17:21 Uhr, John Howell wrote
Berlioz specifically
recommended using 2 pairs of horns in 2 different keys so you could
write more different notes by trading off horns. (And this is also
the beginning of the tradition of having
At 11:46 PM -0500 2/25/04, Raymond Horton wrote:
Are you sure about that Berlioz statement? Or was that just the infamous
two-horns-blown-with-bells-held-tightly-together-to-produce-a-note-not-possi
ble-any-other-way effect that Berlioz wrote about (and I've never yet seen
two players brave
passage and lasted only a few pages.
I don't ask you to accept my word for it. I ask you to look for yourself.
John Howell wrote:
I doubt that, Robert, with all respect. It's pretty standard in 19th
century orchestral scores, although during the 20th century your way
became standard for band
At 3:48 PM + 2/25/04, Robert Patterson wrote:
The second is, under no circumstances supply parts that double up
with 1/3 on a part and 2/4 on a part. Doing so gains you instant
disrespect from the horn section. And you risk losing your 2nd and
3rd parts entirely, depending on the amount of
Tim Cates:
what I was taught in an orchestration class was that the interlocked
parts had more to do with the physics of having the close harmony in
the player sitting next to you
There's something to that. In fact, Berlioz recommended (speaking of
valveless horns, of course) that the players
At 12:19 PM -0600 2/23/04, Robert Patterson wrote:
The best I can tell, the *only* reason the horn parts are ever
routinely scored 1/3, 2/4 is due to misinformation in the Walter
Piston orchestration book that was followed as gospel by a
generation of composers and their students.
I doubt that,
At 6:18 PM +0100 2/22/04, d. collins wrote:
I have a word that begins with a melisma on the first syllable,
followed by a rest before the second syllable. The hyphens continue
to run under the rest. Is that how things should be, or should the
hyphens stop after the last note, before the rest?
At 4:53 PM +0200 2/23/04, Mr. Liudas Motekaitis wrote:
This is an interesting discussion, but can somebody please provide a bit of
background as to why there exists literature in which only the horn parts
would be written without a key signature?
Liudas
Coming to this thread late, after
Lee Actor wrote:
For parts, the only reason I can imagine for not making them as booklets
with staples down the middle, is if they are too long to be practical in
that form (opera?). A 32-page part printed on 28 lb. paper is quite doable
in booklet form. For anything bigger I would use wire
This may be a stupid question, but when creating center-stapled
parts, what do you do when you have a single middle page, like for
instance in a five-page or six-page part? Since it can't be
stapled, how do you attach it? Do you just leave it loose? Do you
only create parts that are
Dennis Bathory-Kitsz and I appear to agree on the following points ...
I did not suggest notation provides everything. But the information it
*does* provide (such as 8va, which is the genesis of this discussion) needs
to be used.
Music has evolved dramatically in the past century and, as we've
Michael Edwards:
It seems to me that some of the debate here is arising from what I would
see as a false assumption: that you have an all-or-nothing situation where
*either* you have total precision of notation, and performers are obliged to
follow it absolutely, in robotic fashion; *or* you
Noel Stoutenburg:
I want to transcribe a late Renaissance choral piece for small brass
ensemble of advanced beginner to early intermediate level. This
piece starts with duple prolation and continues that way for about
half the piece, at which oint it changes to triple prolation for
about a
Hi all,
I am looking for a good source for the kind of boxes that
percussionists use to transport mallets and some instruments --
reinforced black cardboard (or sturdier), with straps to keep it
closed and a carrying handle. Does anybody know of any good places
on the web to look for these?
This is a long shot, but does anyone know anything about Robert
Dorough, who was commissioned to compose Eons Ago Blue for recorder
quartet in jazz style for the 1962 recording, Sweet Pipes, by
Bernard Krainis and the Krainis Consort. I'm preparing it for a
concert, and need at least his
Dennis Bathory-Kitsz writes:
My comments are not about either perfection or 'strict adherence to the
printed score', they're about playing -- or being committed to play --
what's written down without excuses or slovenliness, and for the conductor
to (a) notice and (b) point it out.
[snip]
It's
Ray Horton wrote:
Hey! Don't shoot the messenger! I've seen it happen, that's all. I've seen
8va markings for extreme ranges ignored, occasionally, sometimes
accidentally, sometimes on purpose. They seem to be taken less seriously,
sometimes, by some players, then are leger lines.
I have to
Hi!
How can I do to make this looking nicer? I have different lengths on
beams depending on what note that's there. Also I can't get any of music
spacing work nice. I just simply want's all notes be just the same
distance, not like the to last eight notes into the bar line. Is there
an automatic
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 is hopelessly lost.
Tim
I do some of my
On Tuesday, September 30, 2003, at 09:52 AM, Daniel Dorff wrote (in part):
A flutist associates high high C above
the 5th line with a certain fingering and seeing that note up there sets up
automatic muscle memory in fingers and embouchure that isn't true for the
visual experience of the C on
Robert Patterson wrote:
I, too, have heard that many instrumentalists (specifically
violinists) prefer leger lines to 8va symbols. I can accept this up
to 5-leger-line (and a half) c4. Do players really prefer leger
lines even higher?
I don't feel strongly about this, but yes, I think we do.
However, I also say TROMbone sometimes, even though I play one, and also
every now and then, UMbrella, both of which induce spousal laughter. Maybe
millions DO say TROMbone, and we should call your daughter on that one. But
in any case, she should continue to laugh at robutt without a doubt.
Stu
At 04:19 PM 9/13/2003, Andrew Stiller wrote:
A question for publishers: What is your policy when a conductor asks
for an examination copy of a score?
b) hand it over, but nag for its return or purchase after a month or two.
I'd appreciate conductors' thoughts on this, too.
Okay -- I've seen
What is the correct order for this group? Also, what is a good
general range for a mezzo-soprano?
If you're writing for a specific singer, ask her! And avoid the trap
of typical or general ranges for voice types. If it's generic, I
wouldn't go higher than G2 or lower than small a, but more
OK, you're notating a blues in D -- that's D mixolydian. What's your
key signature, the standard 2 sharps with an accidental for every C,
or 1 sharp to reflect the mode?
Don't know any rule (I never do!), but I'd use 2 sharps because 1
sharp implies a tonic on G and would introduce confusion.
On Wednesday, Aug 20, 2003, at 21:40 Europe/London, Mark D Lew wrote:
That's approximately how I feel about academic discounts. I
understand the software company's motivation for offering them, of
course, but it still ticks me off to know that kids who are living
off their parents and/or
Situation: two-part choral line, written in four16ths and an eighth, stems
down, each with an accent above it. A slur is necessary, due to all the
notes being over just one word. Using only one slur on the beam side is not
an option. How would you draw the slur with respect to the presence of
A co-worker insists that a deejay is a musician. I say that is a
load, that at most he is perhaps an editer or producer.
Can a legitimate case be made in his defense?
Absolutelyl not! He does not create or recreate music, he uses other
people's music. And for the anal, the true test is
Let the discussion commence!
Best,
-WR
Well, I pointed out a year ago the our music department dropped
Finale because last year's Freshman class arrived with OS X
computers. And once again, the marketing department seems determined
to ignore the educational market that should be so important
On Wednesday, August 6, 2003, at 04:27 PM, John Howell wrote:
A co-worker insists that a deejay is a musician. I say that is a
load, that at most he is perhaps an editer or producer.
Can a legitimate case be made in his defense?
Absolutelyl not! He does not create or recreate music, he uses
On Monday, August 11, 2003, at 05:48 PM, Noel Stoutenburg wrote:
And, quite related to our field, the Berlioz/Strauss Treatise on
Instrumentation.
Isn't that the one reprinted by Dover? If it's what I'm thinking
of, it's published with big pages, so that it looks just like one of
their
Craig wrote:
So far so good. Right now I'm working on an orchestration for full
symphony orchestra + jazz combo + several other instruments not
normally in an orchestral score. I set this up as usual, with each
instrument having its own staff. I did that so I could easily do an
extraction
Christopher BJ Smith wrote:
In addition, I'm serious about doubting markings. If a chart shows
up with unusual registers, articulations, or instructions, one tends
to pay a little closer attention to them. If something is patently
illogical or unplayable, then that throws everything else into
Wouldn'd it have been great if the Finale 2004 advertisement on MakeMusic's
website could be made so they can be viewed by a macintosh computer. All the
sound samples with soundfonts and musical playback are not compatible with
macs. They have a particular talent for annoying mac people, have
I won't even get started on the copyright implications of this
exchange, except to note that they are there.
John
At 5:55 PM -0400 8/03/03, Eden - Lawrence D. wrote:
May I call on the collective wisdom of you all?
My brass quintet has stayed active since 1978. Our library of tunes has
grown
David Froom asked:
Now that I am revising, and making a new set of parts, I am wondering if I
should include the bowings in the parts? I have never done this, knowing
that section leaders will do a better job than I would. However, since I
have a nice set of bowings, should I include these in
I'm afraid, David, that in the real world any secretary who claimed
such a right would be in the unemployment office the next day. A
secretary is hired to do a job involving a range of services,
probably with a job description that may or may not accurately
reflect his/her actual duties, and
Richard Huggins wrote:
Well, actually...if the song is a copyrighted song an arrangement of it
cannot be copyrighted by anyone other than the owner of the copyright.
Not quite true, as far as I know. The copyright owner may, indeed
grant permission to the arranger to copyright the arrangement
Johannes Gebauer wrote:
This is a question which may be one of opinion more than of law, but I am
still curious as to what other people think:
When I do a contracted job where I engrave something for a publisher, how
much do I own of it? I think most would probably agree that if I engrave
with my
Christopher BJ Smith wrote:
Really, I don't think any publisher cares if some band director
makes his own arrangement to play with his own band. In fact, since
any additional performance of a work makes them more money through
performance rights, they LIKE people making arrangements.
Just two
[EMAIL PROTECTED] wrote:
It is sometimes difficult to find out who the copyright owner is.
When you come right down to it, it's the copyright owner's
responsibility to provide that specific information at least in the
form of a copyright notice. No, it's not legally required since
January 1,
Michael Edwards wrote, as part of a well-presented opinion:
I use pedalling to a degree of precision that I feel will exclude those
styles of pedalling that I don't consider suit the type of music I'm writing.
I would probably count proper pedalling on piano as being in a
category along
Tom Jordan wrote:
What are publishers doing to address the creation of parts to match
student band personnel?
Depends entirely on the publisher. But if you have a particular
situation, you can always call or write for permission to do what you
need to do, given that you do own
Hi all,
I'm working on a contrabass part.
In several slurred passages, I have to input bowing indications,
slurs, articulations and fingerings on down stem notes.
1 Do you think that the right vertical input above the note is at
first articulation then fingering inside slurs and bowing outside
At 7:04 PM -0400 6/17/03, timothy price wrote:
[...]
And inevitably (oops, in- ev- it- a- bly) you will ...
Actually, it's in-ev-i-ta-bly (:)
--Richard
But a singer would sing, I-ne-vi-ta-bly
Christopher BJ Smith replied:
Irrelevant, IMHO.
Singers who read English will know how to
On Sunday, June 15, 2003, at 08:30 AM, David H. Bailey wrote:
Very interesting! I happened to see what he had to say about You
Know My Name, Look Up The Number and I wonder what any of the
Beatles themselves would think of his analysis -- I know that it
certainly was way more involved than I
Brad Beyenhof wrote:
This can be traced back to the days of plainchant, in which a device called
hocket (French for hiccup) was essentially a melody passed around
between lines.
Right idea, but it was used in polyphonic music, not plainchant.
(The term and practice in plainchant would be
Tim Thompson wrote:
Yeah, that too! And then there is the fraction of a percent who enjoy the
Eb alto...:-) [meaning clarinet]
There's been past discussion of this on the Bandchat list, and a good
many directors don't think the instrument is worth the trouble. My
feeling is otherwise. Those
Extreme doubling is becoming increasingly common in the jazz
world. I know several first-rate saxophone players in New York who
have not just the standard doubles (flute and clarinet) but oboe and
English horn as well. No, Charles Pillow wouldn't win the audition
for the English Horn chair
From PowerPoint, just go to Insert Picture From File... and find the
TIFF you've exported. I'm not certain that that's the correct path to
insert, but I'm sure you can figure it out if it's not.
Brad Beyenhof
Two things to be aware of. Once you've imported it, it can be
resized on the screen
Okay,
In the pops orchestra project I'm currently working on, there's a
piece I'm arranging where I'd like to use a lot of low wind
instruments. I mean, a lot. The winds are 3/3/3/3. If I could get
away with it, I would probably want three contrabassoons and three
contrabass clarinets. Or
On Friday, Jun 6, 2003, at 18:10 America/Vancouver, David H. Bailey wrote:
Randy Stokes, senior developer, IS a musician. I have no idea
about any of the rest.
Now where did that page of jokes about trombonists go...
Philip Aker
Must have been stolen by a violist.
John
--
John Susie Howell
Perhaps, given the tardiness in making Finale fully OSX compliant,
it is the Mac market which is the drag these days.
I'm sure! I know I skipped the 2003 upgrade for that very reason.
The only reason we upgraded at my institution last year was that we
converted to a site license, added a few
Richard Huggins asked:
In the end, does any conductor see enough of a given order that he or she is
thrown by a new one, or is it merely a matter of reorienting one's mind
and soon no longer an issue? I'm not asking that rhetorically; I don't know
enough about classical scores to know if there's
Recordings of Broadway shows almost always have extensive cuts in
the dance numbers -- they leave just enough to be tasty and to
handle any needed modulations. Oftentimes, the composer of a show
doesn't even write the dance numbers -- they're worked out by an
arranger as the choreography
At 07:05 PM 6/3/2003, John Howell wrote:
All quite true, and for a very simple reason. All the classic shows
(at least after WW II) were recorded for release on LP. A 12 LP
holds 15 minutes per side comfortably, up to perhaps 30 minutes if an
engineer monitors the mastering very carefully
Are you sure you're not trying to put it into a FireWire (IEEE 1394) port?
They look remarkably similar to USB ports except are slightly different in
shape.
You are absolutely right, Brad. You must be psychic. It fits quite
nicely when you put it in the right place.
Crystal Premo
I just
David H. Bailey wrote (re: dialects in spoken language):
Did it matter how he decided? Could you tell if he were correct or
not? Did the speech you got from the IPA really sound like fluid
conversational speech? Could you turn it into fluid conversational
speech without hearing native
On 30 May 2003 at 18:02, John Howell wrote:
David W. Fenton wrote (much snipped):
Slurring, or hooking (i.e., two separate bows going in the same
direction)? Dance movements are *certainly* a place where you
definitely need lots of compensating bow.
I wrote:
Good distinction between
Darcy wrote:
I suppose this would depend on whether you wanted a parody of how
jazz musicians play eighth notes (which is what you would get with
12/8 or [worse] dotted eighth-sixteenth notation), or wanted some
actual reasonable facsimile of idiomatic swing. (The former may
well be what you
On 30 May 2003 at 2:12, Michael Edwards wrote:
[David W. Fenton:]
On 29 May 2003 at 8:10, Michael Edwards wrote:
I guess the situation is a bit difficult for older music,
where notation
has changed sufficiently that older music might be difficult for
modern people
to read. I
David W. Fenton asked:
Do modern string players recognize phrasing at any level but bowings?
Of course, but I would choose different wording. Any musical player
who has learned to do it will recognize and play phrasing without a
roadmap. More capable players will recognize it at several levels
On Sun, 25 May 2003, Mark D. Lew wrote:
I'm curious to know which terminology is used in Canada. Does it
match the United States or Britain?
We use half, quarter, etc., but will stoop to crotchets if obliged
to work with
visitors who subscribe to arcane nomenclatures.
Philip Aker
This is not
At 1:12 AM -0800 5/27/03, Mark D. Lew wrote:
At 9:01 AM 05/25/03, Christopher BJ Smith wrote:
It's my understanding that cancelling outgoing key signatures with
naturals is archaic, kind of like separate beaming of eighths on each
syllable was popular a century ago. I never do it.
It is my
Does anyone know of a font that includes a breve diamond notehead? (ie a
diamond hugged by 2 short vertical lines either side)
Dorothy Ker
Interesting request. I've never come across that combination in either
historical use or modern use. Historically the breve was notated as a
simple square
Keith in OZ asked:
Any of you hornists- (or others) know if the Strauss Horn Concerto (#1) in
Eb Opus 11. is arranged for Concert Band? (Good arrg't please!) If so, where
do I get it? If not- how would I be with copyright in arranging it myself?
Well, it was composed in 1883, but Richard did not
I had understood the opposite to be true -- that as long as a work
remains under copyright in the country in which the original copyright
was registered, it remains under copyright in all countries who are
signatories to the Berne Convention. If I'm mistaken, I hope someone
can point us toward
At 8:07 PM 03/13/03, Dennis Bathory-Kitsz wrote:
This is a lot of fun to talk about, especially when considering how hard it
is to transcribe material for singing. I have some choral scores that used
some bizarre vocalization scheme in parallel with the actual English words
... I forget what it
Andrew Stiller wrote:
My concern is with revivals of classic musicals (the only ones worth
attending, in my recent experience) which were written for full
string sections that are just not to be heard on Broadway anymore. I
went to see _On the Town_ when it was revived a while back, and was
Darcy wrote:
Depending on the player, the
accents may fool you into thinking that the rhythm is more triplety
than it really is, but if you really listen carefully, you will realize
that Chuck ain't lying when he tells you that rhythmically, continuous
eighth notes in jazz are played very much
[EMAIL PROTECTED] (Mark D. Lew) wrote:
For what it's worth, in my world we like to distinguish between wobble and
vibrato. Of course I realize that wobble is hardly a technical term, but
it's not the same as vibrato either.
Actually it may be a technical term. From undergrad psychology courses
Which of the two words do you consider to be connected with amplitude
modulation? I'm used to both terms being connected with frequency,
vibrato being a small regular fluctuation in pitch (= frequency),
and wobble being an excessive or uncontrolled vibrato.
Michael Cook
Off the top of my head,
David H. Bailey wrote:
You should only put the fingerings in for those places where you
actually are demanding a very specific sound, such as third-space C
played up high on the D string.
Otherwise, string players are going to go for whatever fingerings work
best for them and ignore your
ns suggested:
Copyright 1725 by J.S. Bach
For the exclusive use of the choir of the Elector or Saxony
or
Copyright 1770, by W. A. Mozart
For the exclusive private use of Empress Maria Theresa.
As I see it, if the Empress Josephine heard of it, and wanted her own copy, it
wiill take just a
David H. Bailey, among other cogent thoughts, wrote:
I believe I might also offer a printed version for an extra cost, on
heavy-stock paper, for those who don't want to print their own. But
even then I will include the right for that person to create necessary
copies for the use of the group
I agree with Robert - if the parts are obviously meant to be played by a
horn in G, then supply parts written out for horn in G.
All the best,
Lawrence
Maybe I'm missing something important here. If you mean for the parts to
be played by a (natural) horn in G, I would agree. But if you mean
John Howell wrote:
But if you mean for
them to be played on a modern valve horn in F, you should write them for
horn in F.
Nope. For most professionals, at least, it is better to provide them in
the key of the natural horn parts. Some publishers provide both original
key and F parts. I'd guess
Apologies for raising a subject which I know has been covered before but,
as has been said so often on this list, when it last appeared it wasn't
relevant to me - now it is.
I have been asked to transpose some songs for a singer who can no longer
hit the high notes. He has the original copies
I was listening to a quiz on BBC Radio recently
and one of the questions revolved around a composer
using silence in a work and being sued by the Cage
estate. Apparently he had to pay up - is that true?
I'll try to find the link if anyone's interested.
Nick
True, according to discussion on
At 10:16 +0100 30/12/2002, Johannes Gebauer wrote:
Given that you get permission I wonder whether you could make an arrangement
of the piece for other instruments and get arranger's royalties...?
I have a copy of the Peter's edition of 4'33. In the introductory
note, John Cage writes:
... the
a friend recently brought up an interesting point: as far as he knew,
no staging of 4'33 has ever been produced in the realm of dance or
theatre.
jef
Piece of cake. But remember, if you use Cage's composition, you have to
pay performance royalties.
John
John Susie Howell
Virginia Tech
Yes, I would find that interesting. It would come in gooed use in
Renaissance transcriptions.
Barbara
Agreed, but you can get accurate range information from the original clefs
in most situations.
John
John Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A.
Denniswrote:
Is there an accepted way to indicate that most of a piece is played 8va
except for certain areas played 15ma and other areas played loco? (Or,
maybe, is there just a better 8va treble clef available in somebody's font?)
Can't quote any rules, but as a practical matter,
1. I would
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