John Howell / 2006/05/28 / 05:33 PM wrote:
At 3:55 PM -0400 5/28/06, Darcy James Argue wrote:
I should also have mentioned the soloist's part should *never*
include a page turn in mid-solo. This seems glaringly obvious, but
you wouldn't believe how often composers/arrangers who copy their
own
Or 87%, or 61%, or some other fraction.
The total number of posts received is substantial, so the system isn't broken. But on a regular basis, threads I read in their entirety contain quotations from posts that never reached me. If it happened only very occasionally, those could be private
Steve Currington [EMAIL PROTECTED] wrote
The keyboard shortcuts that use
the for example alt or ctrl etc keys and numeric on the laptop do not
work when I try using the USB keypad.
I keep a notepad file on the desktop with all the special characters I
am likely to need. CTRL-C and CTRL-V are
At Andrew's request, I'm forwarding this message he's having a problem
getting through to the list.
David H. Bailey
Original Message
Subject:Do me a favor?
Date: Sun, 28 May 2006 20:37:54 -0400
From: Andrew Levin [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
I have a question about swapping hard drives. I want to replace the
contents of my internal ATA drive with the contents of my external
SCSI hard drive.
I currently boot from the external drive, but want to start using the
internal drive instead. I want to use the System Folder of the
On May 29, 2006, at 10:11 AM, Dennis Bathory-Kitsz wrote:
Hi all,
Maybe it's the long weekend, but I'm coming up blank on this.
I have a score where all the note rhythms are exactly the same,
consisting
of interleaved tuplets (sixteeenth tuplets of 7:6, 5:4, 4:4 and 3:2).
The
composer
Thanks Eric, Leigh, Christopher and Scot for your response to my questions.
I do not rank as a power Finale user, but there are always useful things to
learn in any new source. It looks like the note heads have beat out the
stems in the rolled chord competition.
The way I have entered the
Mozart font?
D. Keneth Fowler wrote:
Thanks Eric, Leigh, Christopher and Scot for your response to my
questions. I do not rank as a power Finale user, but there are always
useful things to learn in any new source. It looks like the note heads
have beat out the stems in the rolled chord
Dennis Collins asked about restoring lyrics to a default setting the other day.
My question is along similar lines: how to restore the page layout to default settings.I know you can use the 100 percent option on page reduction to get that sizing restored.
But what would you do to restore the page
At 11:30 AM 5/29/2006, D. Keneth Fowler wrote:
The way I have entered the roll sign is very tedious. In the Mozart font
there is a character, number 103, I used at 26 point. The character is only
one element. So I enter a bunch of these elements and then place and
align each one. What a drag. I
At 11:46 AM 5/29/2006, Kim Patrick Clow wrote:
My question is along similar lines: how to restore the page layout to
default settings.
I know you can use the 100 percent option on page reduction to get
that sizing restored.
But what would you do to restore the page and system margins?
Enter the
I should also have mentioned the soloist's part should *never*
include a page turn in mid-solo. This seems glaringly obvious, but
you wouldn't believe how often composers/arrangers who copy their
own parts make this mistake.
The above can become a challenge. My wonderful hand written
There is a situation where I've felt compelled to use a repeat in spite of
the circumstances you mention. It's when I've been hired to orchestrate and
record a choral piece that is already in print or well on its way. For the
sake of future live performances (the publisher offers the score and
At 10:42 AM 5/29/06 -0400, Christopher Smith
[EMAIL PROTECTED] wrote:
Under Items to Copy... Measure Items... Note Positioning doesn't do
it? I don't know how it would apply to partial tuplets...
I had checked that. I thought that would do it, but no. In reading the
help, I see why. It only
John Howell wrote:
At 10:03 AM -0700 5/28/06, Richard Yates wrote:
There are many assumptions being made about the situation in which the
score
would be used. I absolutely believe that in the one you, and others, have
assumed (sight-reading with a group of players) that you are correct.
On May 29, 2006, at 11:46 AM, Kim Patrick Clow wrote:
Dennis Collins asked about restoring lyrics to a default setting the
other day.
My question is along similar lines: how to restore the page layout to
default settings.
I know you can use the 100 percent option on page reduction to get
Hey, I hear you, man!
I am dealing with your exact situation right now, and I have used a
number of workarounds, including the alternate numbering system you
describe.
In one case, I wrote a double staff part for the repeated section,
indicating to play the top staff 1st time and the bottom
Kim Patrick Clow wrote:
Dennis Collins asked about restoring lyrics to a default setting the
other day.
My question is along similar lines: how to restore the page layout to
default settings.
I know you can use the 100 percent option on page reduction to get that
sizing restored.
But what
Dennis Bathory-Kitsz wrote:
Notes moved with the
note mover tool (which is the only option for interleaving tuplets) isn't
copied.
Actually, there is another option for interleaving tuplets AND there is
a way to copy note mover spacing. Furthermore, the way to do the latter
makes the
Dennis Bathory-Kitsz wrote:
I have a score where all the note rhythms are exactly the same, consisting
of interleaved tuplets (sixteeenth tuplets of 7:6, 5:4, 4:4 and 3:2).
I went back and read the original post, and I guess I don't understand
you requirement. What's interleaved about it?
FinMac 2K4, OSX.3 A solo-guitar piece from a composer who likes very
generous spacing. Every measure, practically, changes meter, and the
cautionary meter signatures at the ends of many systems fall on chunks
of staff that are much longer than required for the width of the
cautionary sig.
I
At 03:07 PM 5/29/06 -0500, Robert Patterson wrote:
I went back and read the original post, and I guess I don't understand
you requirement. What's interleaved about it? The total duration adds up
to 16 16ths right?
Right. But the pattern is this:
1st 7th of 7 - 1st 4th of 4 - 1st 3rd of 3 - 1st
At 03:07 PM 5/29/06 -0500, Robert Patterson wrote:
I went back and read the original post, and I guess I don't understand
you requirement. What's interleaved about it? The total duration adds up
to 16 16ths right?
Here's a sample page I was working out, with suggestions to the composer
for
Hi Eric,
The font file I have is named mozart normal. It is a 52K file dated
11-8-1993. I have no idea now when I loaded it in my computer.
I did a Google search for mozart normal font which took me to the Mozart
web site. You will find a lot of information about what Mozart is today.
Hi
So why not enter the whole thing on an underlying tuplet of 1680 64th
(1680=7x5x3x16) in the time of 64 64ths? The denominator doesn't matter,
but I picked the smallest one that is in Finale's UI to keep the EDU
values reasonable. (You don't want any EDU value to exceed 32767.)
Now within the
After sending this, I realized that 1680 64ths exceeds 32767 EDUs. It
may give Finale and/or my plugin fits. You could try it. You should have
no problem at all with a denominator of 512th notes, but unfortunately I
know of no way to enter 512ths thru Finale's UI. (Behind the UI, 512th
notes
At 05:02 PM 5/29/2006, D. Keneth Fowler wrote:
I did a Google search for mozart normal font which took me to the Mozart
web site. You will find a lot of information about what Mozart is today.
Ah, yes -- you mean where it says: Important: these fonts are not
freely distributable. They are
On 28 May 2006 at 18:16, Kim Patrick Clow wrote:
Richard Smith wrote:
Current practice is often stuck in the habits of previous centuries
and
does not reflect the
capabilities of our software. Finale or Sibelius (even most of the
toy notation programs) eliminate the need for
On 28 May 2006 at 15:39, Aaron Sherber wrote:
At 01:34 PM 5/28/2006, dhbailey wrote:
Your third example is how it is done in all the engraved music I've
ever seen.
Really? David, I think you're misunderstanding the intent. #3 looks
like AABA with a missing repeat sign. That is play A
On May 29, 2006, at 6:36 PM, David W. Fenton wrote:
In short, there is no hard and fast rule about whether repeats are
obligatory just because they are found in the score, even if it's the
composer's autograph.
Wow. Really? I would have thought that something like a repeat in the
On May 29, 2006, at 6:45 PM, David W. Fenton wrote:
On 29 May 2006 at 11:06, Ken Moore wrote:
Steve Currington [EMAIL PROTECTED] wrote
The keyboard shortcuts that use
the for example alt or ctrl etc keys and numeric on the laptop do not
work when I try using the USB keypad.
I keep a
At 11:46 AM -0400 5/29/06, Kim Patrick Clow wrote:
Dennis Collins asked about restoring lyrics to a default setting the
other day.
My question is along similar lines: how to restore the page layout
to default settings.
I know you can use the 100 percent option on page reduction to get
that
On May 29, 2006, at 8:10 PM, John Howell wrote:
At 11:46 AM -0400 5/29/06, Kim Patrick Clow wrote:
There's really only two types of music: good and bad. ~ Rossini
This is at least 8 copies of this message, maybe 10.
There's really only three types of musicians: those who can count, and
The lines that form repeat boxes are not smart, that is, they keep the
same length regardless of how the music gets spaced, and they do not break
intelligently at system breaks.
I had a very long first ending over three systems, and I had to manually
adjust the box ends for the
1) first
On 29 May 2006 at 19:44, Christopher Smith wrote:
On May 29, 2006, at 6:36 PM, David W. Fenton wrote:
In short, there is no hard and fast rule about whether repeats are
obligatory just because they are found in the score, even if it's
the composer's autograph.
Wow. Really? I would
Christopher Smith wrote:
There's really only three types of musicians: those who can count, and
those who can't. ~ Me
8-)
Some of whom can only count to 4.
And-a-one, and-a-two...
cd
--
http://www.livejournal.com/users/dershem/#
___
Finale
Thanks, Don.
One of my jobs is to play in a large church orchestra. We have, in
fact, played quite a few of your fine arrangements.
As I'm sure you know, it is common in church music for orchestral parts
not to have the same rehearsal numbers or same repeat layout as the
choral part which
At 7:44 PM -0400 5/29/06, Christopher Smith wrote:
On May 29, 2006, at 6:36 PM, David W. Fenton wrote:
In short, there is no hard and fast rule about whether repeats are
obligatory just because they are found in the score, even if it's the
composer's autograph.
Wow. Really? I would have
Hi All,
I am trying to identify which Mozart piece the included excerpt is from
(it has been arranged from its original). I know I should know it, but
I just can't place it. If anyone out there might have a chance to take
a look and help me out, I would very much appreciate it.
Thanks in
My drummer once said- Counting in seven is easy;
One, two, three, four, five, six, se-, ven.
Keith in OZ
Keith Helgesen.
Director of Music, Canberra City Band.
Ph: (02) 62910787. Mob 0417-042171
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Carl
And here is the second page.
Thanks!
Scott
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