In 1974, in a 'flea market' in Sydney I picked up a book entitled
Everything you need to know about Music Theory Published 1922.
It was the size of a paperback, by a bloke called E Danson- and had exactly
12 pages!!
Talk about Explain the Meaning of Life in 15 minutes!!
I still have it
In Simple Entry, is there a way to;
1) Break or create beam between two notes (Speedy
= /)
2) Show ‘diatonic’
accidental.
(Speedy= *)
As you see- I am aware that I can go into Speedy to do
these- but I’m one of the weird mob who habitually uses Simple. (Maybe I
am Simple!)
Cheers
On Jul 1, 2005, at 12:08 PM, Andrew Stiller wrote:
On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
And hemiolated sounds like something you'd need Preparation H for!
;)
Well I do confess it is a googlewhackblat (the first I ever personally
encountered)--but you had no trouble
On Jul 1, 2005, at 1:35 PM, David W. Fenton wrote:
Well, I'm concerned about the idea that you would assume that Lully
wrote anything at all in 3/4. I don't know of any French music from
that period in which modern 3/4 occurs in the original sources, nor
any time signature with a 6 in it.
Has anyone mentioned the term sesquialtera?
_New Grove_ again, article Hemiola:
from Gk. hemiolios: 'the whole and a half'; Lat. sesquialtera). In early music theory, the ratio 3:2. In terms of musical pitch, when the string of the monochord was divided in this ratio the two lengths sounded the
On Jul 1, 2005, at 6:14 PM, Darcy James Argue wrote:
there are lots old editions out there with the order reversed (new
value = old value). I don't know why *anyone* ever thought that was a
good way of indicating tempo shifts, but unfortunately, it's not
uncommon.
It used to be
Interesting coincidence.
I went to the Boston Pops concert last night.
One of the numbers (Burt Bacharat) was in a fast 4. It had some
obvious 6/4 (3/2) measures in it (with 3 half notes as the predominate
rhythm).
But Keith Lochart conducted right through them in 3/4, as though there
were 3
[snip]
lone 6/8 bar immediately
before rehearsal G in the first mvt. of Hindemith's _Symphonische
Metamorphosen_.
I agree that there is a potential metrical ambiguity in the passage you
cite, though musically I think it's clear that the eighth note stays
the
same. It's
Brian Williams wrote:
On my Mac, I can't find Advanced in the program options. Is this a
windows-only thing?
Sorry, I was looking at an older version user interface.
Select
Options Program options open.
The parameter Number of recent files to open is about 1/3 down the
dialog box.
Hi all,
Is there an easy way to convert measures in 12/8 to
4/4?
I need the eighth-notes in 12/8 to convert
automatically to triplets in 4/4. I'd rather not have
to create all the triplets after I change the meter.
Hope someone can help - Thanks!
Ryan
Wow. I don't agree with that at all.
I do feel the solo violins in GPO are not as strong as they could be,
but they are still far, far superior to the one in Finale's soundfont.
And while the soundfont cello is adequate, I don't think it holds a
candle to the GPO cello. And, of course,
I am listening with headphones or occasionally speakers. I am not sure
how you get much benefit from the variety of bow strokes in Finale. My
main problem is that fast notes simply don't work well at all, there is
not enough attack on each note, too lush for using them in a string
quartet or
Johannes,
You need to use the keyswitched instruments and download the library of
keyswitching Finale expressions from the GPO website. This makes it
very easy to switch from legato, sustained articulations (default) to
the alternating bows articulations (which you need for fast or
detached
Thanks Bernard- but I guess I should have
mentioned- Im on Win Fin 2001 (The old steam version!)
All I have in Simple Menu is Check
for extra notes, and Playback
Any other thoughts- or anyone else??
Cheers anyway.
K
Keith Helgesen.
Director of Music, Canberra City Band.
On Jun 30, 2005, at 6:45 PM, Harold Owen wrote:
For some time I have used the term pre-dominant (I think the hyphen
is helpful) for a number of harmonies that can precede the dominant -
N6, A6, V/V, vi, ii, Vo7/V, bVII, etc. (including the addition of
7ths). The term subdominant really
From Christopher:
On Jun 30, 2005, at 6:45 PM, Harold Owen wrote:
For some time I have used the term pre-dominant (I think the
hyphen is helpful) for a number of harmonies that can precede the
dominant - N6, A6, V/V, vi, ii, Vo7/V, bVII, etc. (including the
addition of 7ths). The term
I agree with the original poster and I gave the same comment the day I
received GPO. Solo instruments are not usable, while ensemble is quite
good and usable. Tho I was not instantiating in Finale but just
sequencing for my audition purpose.
I used to do MIDI orchestra sequencing for large
Hi guys,
My 2c on this matter. I teach my students that the ii7 chord that
precedes a V7 is functioning as the V7 with a suspended 4th and the
5th of the V chord in the bass, and that it's part of the dominant
function.
Barry Harris teaches improvisers to ignore going from ii to V. He
On Jul 2, 2005, at 11:01 PM, Harold Owen wrote:
Dear Christopher,
I'm with you completely. I think classical theory has made too much of
the IV-V-I cadential formula when there are so many other
possibilities owing to the many ways there are to approach the
dominant. Bach, for example,
On Jul 2, 2005, at 9:02 PM, Christopher Smith wrote:I have often suspected that jazz musicians as a group are agnostic Schenkerians. That is, they would probably agree with a lot of what Schenker had to say if they had it explained to them credibly.Bill Evans studied Shenkerian analysis at Mannes
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