At 07:34 PM 7/7/2005, you wrote:
Change all of those settings at once in a pre-existing file, simply
by choosing a different house style?
I don't know -- I'm guessing.
It's the only implementation of such a thing that would make any
sense to me.
Yes, that;s the way it's designed to work. O
Neal Schermerhorn wrote:
Owain Sutton wrote:
(7/10, 13/20)
Why? It's easily playable, and it's something that cannot possibly be
notated another way, unlike x/12. And, like it or not, it's found its
way into mainstream notation and publication.
I've never seen it. If I bought a piece of
David W. Fenton wrote:
Seems to me the problem is not docking your toolbars, not the lack of
transparency. Why not dock the palettes at the edge of the screen, as
in my Finale in this screenshot?
http://dfenton.com/Toolbars.gif
I only set up that layout to show the transparency optio
May I, as a longtime Finale user (begining with v.2) who now uses mostly
Sibelius (although I have Finale 2005), respond to this post.
The reason you can't get Sibelius to work easily is probably because you
expect it to act like Finale. It is different. For instance, there is no
"speedy entry
From: "David W. Fenton"
For all those who claim the Sibelius UI is so intuitive, I'd like to
hear an explanation. Was I unable to find the methods for
accomplishing basic things (i.e., bad UI), or is Sibelius simply
unable to do the things I was puzzled by (i.e., badly designed
application)?
i
i have avoided any comment on this up to now, because most of the
discussion concerned music i am not at all concerned with 8^)
however i feel the need to point out that proclamations such as the
following are not entirely true, in any absolute sense:
From: "David W. Fenton"
12/12 changes a
in a 70mm passage for 6 voices, i have renotated the
rhythms/durations (attack points remain the same) of the top voice
and want to do the same changes to the other 5 voices (all 6 in
rhythmic unison). i've tried doing it with TGTools, but you have to
have the same rhythms to start with for
while we're on the subject of sibelius, layout control there is quite
fast and easy (once you get it figured out). there are different
kinds of click-drags available which do different things to the
spacing, and reflows are not just RALLY fast, they're
immediate.
--
shirling & ne
On 7 Jul 2005 at 21:21, Noel Stoutenburg wrote:
> Johannes Gebauer wrote:
>
> > While we are on about it: House styles is another area where
> > Sibelius is far superior to Finale.
>
> In my considerations of Sibelius, the closed, proprietary way they
> treat the data file structure is such an e
Johannes Gebauer wrote:
While we are on about it: House styles is another area where Sibelius
is far superior to Finale.
In my considerations of Sibelius, the closed, proprietary way they treat
the data file structure is such an early consideration, that I'm not
reached the point of underst
Owain Sutton wrote:
> (7/10, 13/20)
> Why? It's easily playable, and it's something that cannot possibly be
> notated another way, unlike x/12. And, like it or not, it's found its
> way into mainstream notation and publication.
I've never seen it. If I bought a piece of music and I saw 13/20 I
On 8 Jul 2005 at 1:21, Owain Sutton wrote:
> Richard Yates wrote:
>
> > Well, I downloaded it, tried it, and looked at your example. I don't
> > get it, though. If there is stuff under the semitransparent box you
> > can't read either. It there is nothing under it, then it does not
> > need to be
On 8 Jul 2005 at 1:05, Owain Sutton wrote:
> David W. Fenton wrote:
> > On 8 Jul 2005 at 0:34, Owain Sutton wrote:
> >>>Of course, I'm something of a heretic in the early music world for
> >>>ignoring the relationships between meters there, too. I think it's
> >>>better to take a precise relationsh
Richard Yates wrote:
Well, I downloaded it, tried it, and looked at your example. I don't get it,
though. If there is stuff under the semitransparent box you can't read
either. It there is nothing under it, then it does not need to be
semitransparent. In your erxample one box covers only a bit
> > I'm with you here. And I think Ferneyhough would be, too.
>
> But that approach makes a mockery of 2-decimal-point precision.
Well, yeah. That's the point.
Richard Yates
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> Don't current Macs ship with USB 2 already?
Most current macs ship with USB 2, Firewire 400 and Firewire 800.
> And if I understood Johannes correctly, Macs don't support add-on
> cards, so how do you add a USB 2 MIDI interface?
Of course they do. Mac supports USB and Firewire PCI cards for e
> I thought Windows wasn't getting the useless transparent dialogs
> until Avalon, with the release of Longhorn.
>
No, on XP. I mentioned it earlier, but it's so useful I'll do so again:
Power Menuy, http://www.veridicus.com/tummy/programming/powermenu/, puts
transparency options into the contex
David W. Fenton wrote:
On 8 Jul 2005 at 0:34, Owain Sutton wrote:
David W. Fenton wrote:
On 7 Jul 2005 at 23:36, Owain Sutton wrote:
I think it's the rare performer who
ever manages precisely what is indicated.
Is that a valid argument for not indicating it at all? I don't think
it
On 8 Jul 2005 at 0:34, Owain Sutton wrote:
> David W. Fenton wrote:
> > On 7 Jul 2005 at 23:36, Owain Sutton wrote:
> > I think it's the rare performer who
> > ever manages precisely what is indicated.
> >
>
> Is that a valid argument for not indicating it at all? I don't think
> it is.
It's
On 8 Jul 2005 at 1:13, Johannes Gebauer wrote:
> David W. Fenton schrieb:
> > Well, what about a non-USB MIDI interface? Did they also take away
> > the printer port (isn't that what used to be used for MIDI, given
> > how I remember all the complaints about contention for the port?)?
>
> Without
On 7 Jul 2005 at 19:14, Darcy James Argue wrote:
> On 07 Jul 2005, at 7:02 PM, David W. Fenton wrote:
>
> > High-end machines that are used for music ought to have options.
>
> All Macs -- high-end or not -- now have USB 2 and FireWire, both of
> which have more than enough bandwidth to spare fo
On 8 Jul 2005 at 1:09, Johannes Gebauer wrote:
> David W. Fenton schrieb:
> >>And while we're at it, would it be asking too much to figure out
> >>some way to transfer page setup data between platforms? I realize
> >>the operation is done completely differently in Mac vs. Windows, but
> >>informa
On 8 Jul 2005 at 1:04, Johannes Gebauer wrote:
> David W. Fenton schrieb:
>
> > I honestly see nothing about any of these suggestions that belongs
> > with what I conceive of as the concept of "house styles."
>
> I don't for a minute doubt that, but believe me, I thought this
> through some time
Johannes Gebauer wrote:
The smart cue notes plugin doesn't cut it for me, it causes more trouble
than it is worth in my experience.
Johannes, I'm interested in the problems you've had with this - are you
using the one in the TGTools set? Because I find this to be an absolute
time-saver in s
David W. Fenton wrote:
On 7 Jul 2005 at 23:36, Owain Sutton wrote:
David W. Fenton wrote:
I think the use of a note as denominator would eliminate all these
problems. 6/8 would become 2/Q., and would also allow one to notate
6/E if one actually wanted it.
I would love this system...but.
On 7 Jul 2005 at 23:36, Owain Sutton wrote:
> David W. Fenton wrote:
>
> > I think the use of a note as denominator would eliminate all these
> > problems. 6/8 would become 2/Q., and would also allow one to notate
> > 6/E if one actually wanted it.
>
> I would love this system...but
>
> > T
On 7 Jul 2005 at 17:50, Darcy James Argue wrote:
> Robert Patterson and Johannes Gebauer have raised some excellent
> points about the feasibility of a single-file solution for Dynamic
> Parts in Finale. There is also the issue of a possible additional
> performance hit if Finale were to implemen
On 07 Jul 2005, at 7:02 PM, David W. Fenton wrote:
High-end machines that are used for music ought to have options.
All Macs -- high-end or not -- now have USB 2 and FireWire, both of
which have more than enough bandwidth to spare for MIDI.
I agree, USB 1.1 is inadequate for MIDI + everythi
David W. Fenton schrieb:
Well, what about a non-USB MIDI interface? Did they also take away
the printer port (isn't that what used to be used for MIDI, given how
I remember all the complaints about contention for the port?)?
Without wanting to fuel a completely unnecessary platform war her
On 7 Jul 2005 at 17:23, Darcy James Argue wrote:
> On 07 Jul 2005, at 4:24 PM, Johannes Gebauer wrote:
>
> > While we are on about it: House styles is another area where
> > Sibelius is far superior to Finale.
> >
> > Several times I have suggested ways how some house style
> > functionality coul
On 7 Jul 2005 at 23:18, Johannes Gebauer wrote:
> Andrew Stiller schrieb:
> >
> > On Jul 6, 2005, at 1:29 PM, Aaron Sherber wrote:
> >
> >> In dynamic parts, each part is nothing more or less than a special
> >> view of the score. The reason that note changes to score are
> >> reflected immediat
David W. Fenton schrieb:
And while we're at it, would it be asking too much to figure out some
way to transfer page setup data between platforms? I realize the
operation is done completely differently in Mac vs. Windows, but
information is information isn't it?--and should, therefore, somehow
David W. Fenton schrieb:
I honestly see nothing about any of these suggestions that belongs
with what I conceive of as the concept of "house styles."
I don't for a minute doubt that, but believe me, I thought this through
some time ago, and it is pretty much all that is needed. The reason I
David W. Fenton wrote:
Well, it can't be done by event count, since you can have a different
number of events. If you get 16 from the MIDI interface and 15 from
the keyboard, you want the extra from the MIDI interface ignored,
because it didn't have a corresponding rhythmic value.
Likewise,
On 7 Jul 2005 at 17:13, Christopher Smith wrote:
> On Jul 7, 2005, at 3:36 PM, David W. Fenton wrote:
> >
> > Do you have a non-USB keyboard port? If so, I'd try getting the
> > keyboard off the USB bus so that MIDI is on USB and the rhythmic
> > values you're typing is *not* on USB.
>
> Umm, AFA
On 7 Jul 2005 at 16:43, Andrew Stiller wrote:
> > "Link/Unlink to score" would be great.
> >
> > - Darcy
>
> Indeed it would--provided that turning on this feature did not
> immediately change anything in either linked file.
I don't think that's a very good idea. It seems to me that creating
a
On 7 Jul 2005 at 16:36, Andrew Stiller wrote:
> On Jul 6, 2005, at 1:29 PM, Aaron Sherber wrote:
>
> >
> > In dynamic parts, each part is nothing more or less than a special
> > view of the score. The reason that note changes to score are
> > reflected immediately in the parts and vice versa is b
On 7 Jul 2005 at 22:24, Johannes Gebauer wrote:
> While we are on about it: House styles is another area where Sibelius
> is far superior to Finale.
>
> Several times I have suggested ways how some house style functionality
> could be added to Finale with as I understand very limited programming
On 7 Jul 2005 at 16:24, Andrew Stiller wrote:
> On Jul 6, 2005, at 1:02 PM, David W. Fenton wrote:
>
> > It seems to me self-evident that linked parts are the way Finale
> > should have been designed from the beginning. ...The data file is a
> > database, and there are various report views for sh
David W. Fenton wrote:
I think the use of a note as denominator would eliminate all these
problems. 6/8 would become 2/Q., and would also allow one to notate
6/E if one actually wanted it.
I would love this system...but
That makes far more sense than the absolutely idiotic 12/12.
[EMAIL PROTECTED] wrote:
While I respect the opposing point of view, I am not convinced that 12/12 is required.
I agree that 12/12 is unnecessary - for the same reason as 8/8 is hardly
ever used. However, 7/12, 5/10 etc have a distinct function that cannot
be substitued with a 'normal'
Gerald Berg wrote:
As for 7/10 or 13/20 -- there's a fraction too far.
Why? It's easily playable, and it's something that cannot possibly be
notated another way, unlike x/12. And, like it or not, it's found its
way into mainstream notation and publication.
___
On 7 Jul 2005 at 22:15, Johannes Gebauer wrote:
> However, here is an idea: How about inventing a "Project File"
> architecture, where the linking is done via a project file which
> doesn't include any actual notation data, but just keeps track of all
> linked score and part files. When you need
At 05:52 PM 7/7/05 -0400, David W. Fenton wrote:
>Notation and musical style should be intimately linked.
I agree with you in all respects, from early music to new music.
And, in case I haven't mentioned it, I highly recommend the brand new
"SoundVisions" by Moeller/Shim/Staebler. It's a worthy s
On 7 Jul 2005 at 11:50, Lee Actor wrote:
> > At 08:30 PM 7/7/05 +0200, Johannes Gebauer wrote:
> > >Well, actually, on any mid-range Mac, my pretty new iBook included,
> > >8 sounds is already over the top. Crackling, drop outs etc. So
> > >don't give me that, 64 is probably even impossible on a t
On 7 Jul 2005 at 11:46, Lon Price wrote:
> I'm surprised that this dynamic part linking issue is suddenly such a
> big deal to everybody. Like I said in an earlier post, MOTU's Mosaic
> had that feature, and if MOTU hadn't completely abandoned that
> program, I would never have bought Finale.
Christopher Smith wrote:
and I would put a bracketed 3 tuplet over
> the first group, and the same over the second group (even though there
> are only TWO notes in it) for clarity.
while i certainly agree with your post i think that tuplets are redundant
here, as the /12 is meaning that already
And you can add to these: music examples for books.
BF
Noel Stoutenburg wrote:
David W. Fenton opined:
part extraction is something *everyone* has to do, unless they aren't
preparing any performance materials at all.
Among the sizeable areas of publishing today do not make much use of
par
On 7 Jul 2005 at 14:04, John Howell wrote:
> But the
> purpose of notation is, and always has been, communication. I simply
> do not choose to learn or perform music that requires me to learn new
> notation, unless the music itself is so great that the effort is worth
> while.
That's an odd sta
Robert Patterson and Johannes Gebauer have raised some excellent points
about the feasibility of a single-file solution for Dynamic Parts in
Finale. There is also the issue of a possible additional performance
hit if Finale were to implement "live updating" as Sibelius does.
What about a mult
On Jul 7, 2005, at 1:34 PM, Christopher Smith wrote:
Next year, metric clocks!
...which you can see, BTW, on the walls in Fritz Lang's Metropolis.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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On 7 Jul 2005 at 13:08, John Howell wrote:
> At 8:27 PM -0600 7/6/05, John Abram wrote:
>
> >On 6-Jul-05, at 5:19 PM, [EMAIL PROTECTED] wrote:
> >>You're really splitting hairs here -- putting 3 evenly spaced notes
> >>within one beat sounds like triplets to me, no matter how it's
> >>represented
Looking that MOTU just updated Digital Performer to 4.6 for free to it's
4.5 users, and seeing all the GREAT improvements, it makes me laugh at
MakeMusic and Finale. My God, there are a lot of useful, functional
features that I can get for FREE updating to 4.6. Congrats MOTU!
Honestly, this la
On Jul 7, 2005, at 1:08 PM, John Howell wrote:
"Which," "whoa," and other "wh" words like "where" properly start with
a phoneme produced by a puff of air blown through pursed lips.
"Witch," and "woe" and "ware" do not. The pronunciation is often
confused by young children, rap artists, and s
Hi Chris,
You have two possible solutions:
1) Get a FireWire MIDI interface.
2) Get a USB 2.0 card and a Belkin Tetrahub:
http://tinyurl.com/6s9mf
I have a FW MIDI interface and I never have a problem with Speedy not
keeping up with MIDI input.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
Owain Sutton wrote:
> [EMAIL PROTECTED] wrote:
>
>> Thank you Owain for your response.
>>
>> If I understand your correction of "will" to "can" correctly, you
>> agree that it can return an uncertain result. Okay, I can accept that.
>
>
> Yep - and so can any notation ;)
And I can agree with
On 07 Jul 2005, at 4:36 PM, Andrew Stiller wrote:
On Jul 6, 2005, at 1:29 PM, Aaron Sherber wrote:
In dynamic parts, each part is nothing more or less than a special
view of the score. The reason that note changes to score are
reflected immediately in the parts and vice versa is because th
On 07 Jul 2005, at 4:24 PM, Johannes Gebauer wrote:
While we are on about it: House styles is another area where Sibelius
is far superior to Finale.
Several times I have suggested ways how some house style functionality
could be added to Finale with as I understand very limited programming
e
Richard
As Creston sez:
It looks exactly the same but what it looks like is a 'transposition'
in that a 1/6 note looks exactly like a 1 quarter note in a quarter
note triplet. In 6/6 the tuplet bracket would still be applied.
Either way this kind of rhythm will entail explication. The probl
Owain Sutton wrote:
[EMAIL PROTECTED] wrote:
Thank you Owain for your response.
If I understand your correction of "will" to "can" correctly, you
agree that it can return an uncertain result. Okay, I can accept that.
Yep - and so can any notation ;)
Now there's no need to bring hemio
David W. Fenton schrieb:
I've always felt that the key to a sensible implementation of cue
notes was in the MIRROR feature.
But nobody uses that because it's all bollixed up and doesn't really
work.
If they fixed that, it would give you a lot of what you desire with
linked cue notes. If t
Andrew Stiller schrieb:
On Jul 6, 2005, at 1:29 PM, Aaron Sherber wrote:
In dynamic parts, each part is nothing more or less than a special
view of the score. The reason that note changes to score are reflected
immediately in the parts and vice versa is because the notes are only
stored in
On Jul 7, 2005, at 3:36 PM, David W. Fenton wrote:
Do you have a non-USB keyboard port? If so, I'd try getting the
keyboard off the USB bus so that MIDI is on USB and the rhythmic
values you're typing is *not* on USB.
Umm, AFAIK USB is the only option for Mac keyboard plugging in.
That ac
On 7 Jul 2005 at 12:37, John Howell wrote:
> Seems to me that talking about "beats" compounds (sorry!) the
> confusion. Yes, 12/8 can indicate 4 "beats" per bar; that's sort of
> the default interpretation. At a slower tempo, however, it can
> indicate 12 "beats" per bar. I've conducted Bach s
On Jul 7, 2005, at 2:27 PM, Darcy James Argue wrote:
On 07 Jul 2005, at 2:12 PM, Christopher Smith wrote:
But then later, you are playing some triplets which work out perfectly, but you ONLY NEED FIVE OF THEM, not six. If you needed 6, then a bar of 2/4 with triplets marked normally would be gr
On 7 Jul 2005 at 10:15, Technoid wrote:
> On 7/6/05, Aaron Sherber <[EMAIL PROTECTED]> wrote:
>
> > In dynamic parts, each part is nothing more or less than a special
> > view of the score.
>
> >From a software engineering standpoint, this is the way it should be.
> Word processors and many oth
On 7 Jul 2005 at 17:57, Johannes Gebauer wrote:
> I don't think you quite understood what I am after. I find the basic
> concept of how cue notes are included in the first place very short
> sighted. Simply adding them to a free layer is always going to cause
> all sorts of problems. What I want i
On Jul 6, 2005, at 6:52 PM, Paul Hayden wrote:
Two questions about using "tacet":
1. An instrument is not used in the first movement of a multi-movement
work. Should the instrument be included on the first page of music in
the score (and then perhaps deleted on other pages of the first
move
[EMAIL PROTECTED] wrote:
Thank you Owain for your response.
If I understand your correction of "will" to "can" correctly, you agree that it can return an uncertain result. Okay, I can accept that.
Yep - and so can any notation ;)
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Finale mail
On 7 Jul 2005 at 19:48, Matthew Hindson Fastmail Account wrote:
> Tyler wrote:
>
> > Now if you want to get specific,
> > the reason other people wanted it was because those
> > other people saw a point in it. And quite frankly so
> > did the people at MakeMusic. But when it comes right
> > down
"Link/Unlink to score" would be great.
- Darcy
Indeed it would--provided that turning on this feature did not
immediately change anything in either linked file.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
___
Finale mai
On 7 Jul 2005 at 1:00, Noel Stoutenburg wrote:
> Christopher Smith wrote:
>
> > Yet my concern about slowdown holds even more with a new beam
> > algorithm. Even now, I often find myself "getting ahead" of Speedy
> > Entry. I discovered, disconcertingly, that Finale "remembers" the
> > numeric k
Thank you Owain for your response.
If I understand your correction of "will" to "can" correctly, you agree that it
can return an uncertain result. Okay, I can accept that.
Richard
>
> From: Owain Sutton <[EMAIL PROTECTED]>
> Date: 2005/07/07 Thu PM 04:17:50 EDT
> To: finale@shsu.edu
> Subje
On Jul 6, 2005, at 1:29 PM, Aaron Sherber wrote:
In dynamic parts, each part is nothing more or less than a special
view of the score. The reason that note changes to score are reflected
immediately in the parts and vice versa is because the notes are only
stored in one place. On the other
I don't know how efficient Finale playback is on Macs without GPO, but on
PCs it's horrendous. I use Finale to drive external MIDI devices, which you
wouldn't think would very strenuous, but I can't even reliably record the
audio output from my mixer in another app at the same time, on a very fast
On Jul 6, 2005, at 1:02 PM, David W. Fenton wrote:
It seems to me self-evident that linked parts are the way Finale
should have been designed from the beginning. ...The data
file is a database, and there are various report views for showing
that data and subsets of that data
Then the only q
While we are on about it: House styles is another area where Sibelius is
far superior to Finale.
Several times I have suggested ways how some house style functionality
could be added to Finale with as I understand very limited programming
effort (as most of it is already in Finale, just not us
I'm with you, Richard.
The Louisville Orchestra has played as much or more new music as any
other orchestra anywhere in the 34 years of which I have been a member.
Any type of tuplet gets instant recognition. Any type of "12th note"
would meet with confusion and consternation, and would requ
[EMAIL PROTECTED] wrote:
A sincere thank you for the resposes to my question.
My humble opinion still stands, that using an esoteric meter such as /12 will return an uncertain performance.
*Can* result in it, not *will* result.
PS - What is the notation for a twelth note ? If an 8th is
dhbailey schrieb:
Now that we have seen how Sibelius has done it (very elegantly from what
I've seen of the demo) and we know it can be done, we're clamoring for
it more.
Although I agree, Robert P. has got me thinking. I do fear that not only
is this going to be a really major change in p
A sincere thank you for the resposes to my question.
My humble opinion still stands, that using an esoteric meter such as
/12 will return an uncertain performance.
Richard
PS - What is the notation for a twelth note ? If an 8th is a single flag and a
16th is double flag, is a 12th note a fl
Lon Price wrote:
[snip]>
I'm surprised that this dynamic part linking issue is suddenly such a
big deal to everybody. Like I said in an earlier post, MOTU's Mosaic
had that feature, and if MOTU hadn't completely abandoned that program,
I would never have bought Finale. I've always missed this
Tyler Turner wrote:
No, I'm quite sure that a large majority of Finale
users use Finale at least in part for their own
personal compositions. I can draw this conclusion from
my own experience dealing with a sampling of thousands
of Finale users as well as other sources.
Compositional use of Fin
On 7 Jul 2005 at 1:10, Darcy James Argue wrote:
> On 06 Jul 2005, at 11:25 PM, Christopher Smith wrote:
>
> > But you HAD objected to the concept of having two different windows
> > open on the same file - why?
>
> I personally much prefer the default Sibelius behavior, where you can
> simply cl
On 7 Jul 2005 at 0:22, Christopher Smith wrote:
> On Jul 6, 2005, at 11:39 PM, David W. Fenton wrote:
[]
> > Is your MIDI interface USB? If so, you may have something else
> > contending for the bandwidth of the USB interface, and that could be
> > the reason you're having the problem.
>
> I ha
Lee,
It's not Finale. It's the Native Instruments Kontakt Player. The Mac
version sucks. Results are equally awful playing back GPO instruments
from a sequencer.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 07 Jul 2005, at 2:50 PM, Lee Actor wrote:
At 08:30 PM 7/7/05 +0200, Johanne
--- Johannes Gebauer <[EMAIL PROTECTED]>
wrote:
>
>
> Tyler Turner schrieb:
> > Addressing the point in another post about the
> > inclusion of GPO being a catch up to Sibelius
> Kontakt
> > implementation - this isn't the case. Finale was
> > already pretty much on par. The sounds weren't
> q
>
> At 08:30 PM 7/7/05 +0200, Johannes Gebauer wrote:
> >Well, actually, on any mid-range Mac, my pretty new iBook included, 8
> >sounds is already over the top. Crackling, drop outs etc. So don't give
> >me that, 64 is probably even impossible on a top range PC.
>
> What's chewing all the CPU? In
On Jul 7, 2005, at 5:55 AM, Johannes Gebauer wrote:Thinking about this theory even more, why on earth any of these composers who want playback more than output chose Finale in the first place, is am complete mystery to me. And I doubt that even with the latest improvements Finale is going to be the
On 07 Jul 2005, at 2:42 PM, Dennis Bathory-Kitsz wrote:
At 08:30 PM 7/7/05 +0200, Johannes Gebauer wrote:
Well, actually, on any mid-range Mac, my pretty new iBook included, 8
sounds is already over the top. Crackling, drop outs etc. So don't
give
me that, 64 is probably even impossible on a
Darcy James Argue wrote:
On 07 Jul 2005, at 2:12 PM, Christopher Smith wrote:
But then later, you are playing some triplets which work out
perfectly, but you ONLY NEED FIVE OF THEM, not six. If you needed 6,
then a bar of 2/4 with triplets marked normally would be great. But
if
At 08:30 PM 7/7/05 +0200, Johannes Gebauer wrote:
>Well, actually, on any mid-range Mac, my pretty new iBook included, 8
>sounds is already over the top. Crackling, drop outs etc. So don't give
>me that, 64 is probably even impossible on a top range PC.
What's chewing all the CPU? In Sonar, I ca
On 07 Jul 2005, at 2:12 PM, Christopher Smith wrote:
But then later, you are playing some triplets which work out perfectly, but you ONLY NEED FIVE OF THEM, not six. If you needed 6, then a bar of 2/4 with triplets marked normally would be great. But if you want a new downbeat after you've only p
On 7-Jul-05, at 11:00 AM, John Howell <[EMAIL PROTECTED]> wrote:
A twelfth note is a triplet eighth note. They are sometimes used in
new music (eg Mark-Anthony Turnage has used it frequently I believe)
Henry Cowell was way ahead of the game with this sort of thinking.
Why is 12/12 not like 1
Tyler Turner schrieb:
Addressing the point in another post about the
inclusion of GPO being a catch up to Sibelius Kontakt
implementation - this isn't the case. Finale was
already pretty much on par. The sounds weren't quite
up to Sibelius', but Sibelius only includes 20 sounds,
and only 8 can
[EMAIL PROTECTED] wrote:
Putting the mechanics aside for a moment, could someone please explain what you
can do with 12/12 that you CANNOT do using standard meters, or combinations
thereof ?
>
Turning again to Ferneyhough:
A passage of four bars, with the following time signatures:
7/
On Jul 7, 2005, at 1:49 PM, [EMAIL PROTECTED] wrote:
Putting the mechanics aside for a moment, could someone please explain
what you can do with 12/12 that you CANNOT do using standard meters,
or combinations thereof ?
Not so much 12/12, but say 5/12.
Let's say you were honking along happ
--- dhbailey <[EMAIL PROTECTED]>
wrote:
> Johannes Gebauer wrote:
>
> >
> >
> > Tyler Turner schrieb:
> >
> >> If 90% of
> >> Finale users will never get the bulk of their
> personal
> >> compositions performed by real people, don't you
> think
> >> something like GPO will be more attractiv
I once read an article on the subject of the "modern composer's" love
affair with making life as difficult as possible for the performer. The
article ended with an example. The rythms were amazingle complex and the
example looked someone had spilt a bag of sharps and flats over the page.
Some people simply have, for whatever reason, a vested interest in
superficial complexity.
(Flame-retardant suit snugly on. Somebody has to say that the Emperor
sometimes has little or no clothing.)
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Sent: Thursday, July 07, 2005 12:4
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