On Aug 26, 2004, at 12:03 PM, Harold Owen wrote:
Naughty could mean of no account. I remember hearing in an old
play a woman saying She has nice manners meaning she had no manners
at all, which some would construe as naughty.
Ah yes, of course! I was thinking only of the evolution of nice. I
Allegro, andante, old Italian. Who in this time (in their native
language)
actually puts happy as a musical direction or walking? (Okay,
maybe the
Italians. Sr. Andreani, care to respond?)
Walking isn't a very good translation of andante. The closest
English equivalent would be going,
Dear Giovanni,
Yes, bearbeitet von is the correct translation. I wouldn't use
a colon, however.
Greetings from Vienna,
Mario.
Thank you Mario, very much.
I would like to ask you what Orchestration by... is in German; or would
it turn out to be Orchestrated by...?
Giovanni
Mark D Lew wrote:
Hey, that reminds me. Have they fixed Speedy Entry so that when the
cursor is at the end of a measure, the Enter key acts on the previous
chord like all the other speedy keystrokes do?
This would save me more time and effort than just about any other fix.
It's not a big
Mark D Lew wrote:
On Aug 26, 2004, at 12:03 PM, Harold Owen wrote:
Naughty could mean of no account. I remember hearing in an old
play a woman saying She has nice manners meaning she had no manners
at all, which some would construe as naughty.
Ah yes, of course! I was thinking only of the
Just installed FinWin2K5.
Can someone confirm this for me?
1. Create a beam-side tuplet.
2. Now attach a note expression to the first note of the tuplet (again
beam-side), or a beam-side articulation. Re-draw the screen. Does the
tuplet bracket/number move to encompass the expression?
3.
Hello
I'm working on a series of publications including instruments such as
xylophones, metallophones, bass contrabass resonator bars,
glockenspiels. These kind of instruments are better known as Orff-
Instruments and are not only used for kids nursery rhymes, but, in a
larger and more complex
On Aug 27, 2004, at 3:26 AM, dhbailey wrote:
When entering a chord on ANY beat, not just the last beat, you still
have to arrow back, so the behavior at the end of the measure is no
different from any other beat.
Sorry, I should have phrased that more carefully. Where I said end of
the measure,
On Fri, 27 Aug 2004 10:11:34 -0700, Mark D Lew [EMAIL PROTECTED] wrote:
When the cursor is not over an entry, every one of those keystrokes
works on the previous entry -- EXCEPT for the Enter key. Why the
difference?
How else would you enter the next note in the measure? If a cursor on
a
At 01:11 PM 08/27/2004, Mark D Lew wrote:
When the cursor is not over an entry, every one of those keystrokes
works on the previous entry -- EXCEPT for the Enter key. Why the
difference?
It just baffles me that this has been left alone for so long. Surely
I'm not the only one who uses Speedy
Hi
A good reference book is by Roger Bornstein Range and Transposition
Guide which contains said information on just about every instrument
in the western world, including those that you mention. The last I
heard the book was available only at Judy Green Music in Hollywood, CA.
RW
On Friday,
I have already sent a question about this to MacSupport, since the mac
version behaves in the same way.
Michael Matthews
Just installed FinWin2K5.
Can someone confirm this for me?
1. Create a beam-side tuplet.
2. Now attach a note expression to the first note of the tuplet
(again beam-side),
On Aug 27, 2004, at 2:39 AM, Giovanni Andreani wrote:
Well, there's a lot to say here, and I'll obviously cover one minimum
percentage of the aspect. [snip]
Thanks for the follow up, Giovanni. And I trust you won't be shy about
correcting me when I do get something wrong!
In the opera world
At 01:25 PM 08/27/2004, Brad Beyenhof wrote:
How else would you enter the next note in the measure? If a cursor on
a blank space affected the previous note, you'd never be able to fill
the rest of the measure.
Right?
No. The Enter key can only add a pitch to an existing chord -- it cannot
make
Shouldn't this messsage be labeled Orff-Topic?
cd
Hello
I'm working on a series of publications including instruments such as
xylophones, metallophones, bass contrabass resonator bars,
glockenspiels. These kind of instruments are better known as Orff-
Instruments and are not only used for kids
I just put the SERVICE PACK 2 on my XP yesterday and tried to load
2005. Lots of problems, plus nothing (even after speaking to tech
support) would load this part of the program.
The SMARTMUSIC synth choice gives no sound at all.
Also, the repeats plug-in is gone and bizarre events occur when
On 27 Aug 2004 at 13:24, Henry Howey wrote:
I just put the SERVICE PACK 2 on my XP yesterday and tried to load
2005. Lots of problems, plus nothing (even after speaking to tech
support) would load this part of the program.
May I ask why you installed SP2?
The SMARTMUSIC synth choice gives
So is this a Finale problem or a Windows XP Service Pack 2 problem? Did
you try 2004 with it?
I've heard Service Pack 2 breaks a lot of software, so, I'll pass on it
now. I don't think you should be pointing fingers at MakeMusic. Direct
it at Microsoft.
Henry Howey wrote:
I just put the
At 02:24 PM 08/27/2004, Henry Howey wrote:
I just put the SERVICE PACK 2 on my XP yesterday and tried to load
2005. Lots of problems, plus nothing (even after speaking to tech
support) would load this part of the program.
This one is not (necessarily) Coda's fault. From what I've read, SP2 was
Henry...
XP SP2 is known to be very unfriendly to MIDI and audio software.
Hopefully you created a restore point and can roll yourself back to pre-SP2.
Jim
-Original Message-
From: [EMAIL PROTECTED] on behalf of Henry Howey
Sent: Fri 27-Aug-04 13:24
To:
Henry Howey wrote:
I just put the SERVICE PACK 2 on my XP yesterday and tried to load
2005. Lots of problems, plus nothing (even after speaking to tech
support) would load this part of the program.
The SMARTMUSIC synth choice gives no sound at all.
Also, the repeats plug-in is gone and bizarre
On Aug 27, 2004, at 10:37 AM, Aaron Sherber wrote:
I never quite thought about it, Mark, but you're quite right -- and
boy, would this be a timesaver. I cringe whenever I have to enter
something with more than a rudimentary piano part, because of the time
it will take to enter chords. (I use
And it has added some wonderful functionality that will make life with
Finale much easier, with regards to repeats.
But I just used the old repeats plugins and they still are quick and
easy also, so I may keep them in my plugins folder.
But the revamping of the Repeat Tool deserves a lot of
At 11:00 AM -0700 8/27/04, Carl Dershem wrote:
On Fri, 27 Aug 2004 18:59:32 +0200, Giovanni Andreani
[EMAIL PROTECTED] wrote:
Hello
I'm working on a series of publications including instruments such as
xylophones, metallophones, bass contrabass resonator bars,
glockenspiels. These kind of
dhbailey write:
You can select the Repeat tool and then highlight the measures you want
in the repeats, go to the Repeat menu and choose Simple Repeat or First
and Second Ending Repeats. With the First and Second Ending, it will
turn whichever measure or measures you have selected into
I just put the SERVICE PACK 2 on my XP yesterday and tried to load
2005. Lots of problems, plus nothing (even after speaking to tech
support) would load this part of the program.
I read on MS newsgroups that there are many problems with SP2, but that
there is a rollback feature in it.
In jazz and B'way copying, where we go to extreme lengths to facilitate
page turns (sometimes we have just 2-3 systems on a page, or even leave
a page completely blank), we use V.S. for all page turns where the
system with the page turn isn't aligned with the bottom margin -- even
when there's
Darcy James Argue wrote:
So I think using V.S. as an all-purpose page turn indicator is just
fine.
It isn't with the sightreading of a piece with standard orchestral
players. They'll all lurch forwards to turn ASAP.
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At 11:02 PM -0400 8/27/04, John Howell wrote:
At 8:10 PM +0200 8/27/04, Giovanni Andreani wrote:
Hold the phone on your question, Giovanni. My wife just found me an
official Studio 49 grand staff showing the ranges of all the
instruments. It's a little hard to figure out, but I'll report back
Owain Sutton wrote:
Darcy James Argue wrote:
So I think using V.S. as an all-purpose page turn indicator is just
fine.
It isn't with the sightreading of a piece with standard orchestral
players. They'll all lurch forwards to turn ASAP.
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Finale
At 8:19 PM -0700 8/27/04, John Poole [Finale Discussion] wrote:
I've read that in instances where page turns are needed for solo
players to warn them that a quick page turn is necessary in order to
keep up with the group, the appropriate marking is v.s. for volti
subito (Italian).
John: This
On 28 Aug 2004, at 12:24 AM, Raymond Horton wrote:
Owain Sutton wrote:
It isn't with the sightreading of a piece with standard orchestral
players. They'll all lurch forwards to turn ASAP.
And that's a bad thing? [I'm kidding, but kidding on the square.]
Exactly. V.S. means fast. The end of a
http://music.theory.home.att.net/insrange.htm
--
Brad Beyenhof
[EMAIL PROTECTED]
http://augmentedfourth.blogspot.com
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I like the arrangement that is being used in the Olympics this time around.
The '..rockets red glare' section is sweet and peaceful. Not a good match
for the words, but better than an a swaggering march.
Anyone know who did it or how they choose?
Richard Yates
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