Jacki Barineau / 2006/06/24 / 09:54 PM wrote:
>Thanks, Everyone, for the responses! I'm learning a lot here! Okay,
>so which would be better to use - the compound G"over"F or the
>F6/9#11 - I mean which would a musician understand better, and which
>would be the music theory "correct" way
I wish to get in touch with John Keane, the man credited
with the music to TV series Hornblower.
That’s the British Naval TV saga set in Napoleonic
times, based on the C.S.Forester novels about Horatio Hornblower. It’s
currently on Foxtel pay TV here in OZ.
Great music, but I can f
Christopher Smith wrote:
On Jun 24, 2006, at 11:24 PM, John Howell wrote:
More Modern (no problem)
Raucous Burlesque (written so we seem to be getting it)
New Orleans-Slow & Bluesy (no problem)
Boogie Woogie (no problem)
The Slither (??)
That's a square dance move.
On Jun 24, 2006, at 11:24 PM, John Howell wrote:
In the 1999 revision of "Kiss Me, Kate," there are some indications
that appear to be style indications, but some of them are
unfortunately over my head. If you can help me define any of these
styles, I can pass the answers on to our conductor
Standard B'way practice, at least for long(-ish) slurs. Slurs of 2-4
notes are usually still note-side, but someone may have decided it's
worth putting them all above, for the sake of consistency.
It would be nice if Finale supported this automatically. It wouldn't
be too hard -- Finale cou
In the 1999 revision of "Kiss Me, Kate," there are some indications
that appear to be style indications, but some of them are
unfortunately over my head. If you can help me define any of these
styles, I can pass the answers on to our conductor.
In "Wunderbar": "a la Luchow's" (?)
In "Too Da
Hi David,
I'm not sure what the specific situations are that limit your expectations,
but in a professional setting I expect the nomenclature to be adhered to, or
that someone will notify me of a needed change. When I write for bass trbn
I have a fairly particular sound in mind: that resonant, fa
Jackie,
Both are correct. What you write depends on the context: is this
chord symbol just a label above a fully written-out piano part, or is
it above slash marks?
If the specific triadic G-over-F voicing is crucial, and it's above
slash marks, G-over-F is your best bet. If the precise a
On Jun 24, 2006, at 8:50 PM, Darcy James Argue wrote:
Right -- "F6/9#11)" is the most concise non-compound chord notation.
Thanks, Everyone, for the responses! I'm learning a lot here! Okay,
so which would be better to use - the compound G"over"F or the
F6/9#11 - I mean which would a mu
Dennis Bathory-Kitsz wrote:
At 05:46 PM 6/24/06 -0700, Carl Dershem wrote:
And there's always the possibility that because of the current shrinking
of the world through technology, that it will take a while for everyone
to catch up to the status quo. AT present, a lot of people in
"third-wo
At 05:46 PM 6/24/06 -0700, Carl Dershem wrote:
>And there's always the possibility that because of the current shrinking
>of the world through technology, that it will take a while for everyone
>to catch up to the status quo. AT present, a lot of people in
>"third-world" countries are catching
Right -- "F6/9#11)" is the most concise non-compound chord notation.
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On 24 Jun 2006, at 8:07 PM, Christopher Smith wrote:
Or F6/9(#11) is another pretty common symbol for that chord.
Definitely not F13(#11), as i
Dennis Bathory-Kitsz wrote:
At 06:23 PM 6/24/06 -0400, David W. Fenton wrote:
Conversely, notation does not show advances during periods of compositional
conservatism like the rather extreme one we're experiencing, and the
coincidence of notation software and compositional conservatism magnify
At 06:23 PM 6/24/06 -0400, David W. Fenton wrote:
>I'm missig your point here, as Andrew was talking about *notational*
>innovation. I don't know of any particular notational innovation most
>of your examples.
>I believe Andrew was talking about the big breaks in notation where
>new kinds of mus
Or F6/9(#11) is another pretty common symbol for that chord.
Definitely not F13(#11), as it is missing the essential Eb.
Christopher
On Jun 24, 2006, at 5:51 PM, Darcy James Argue wrote:
It's functionally a FMA13(#11), with the major seventh omitted from
the voicing. You didn't say what key
Hi Ken,
Well..we've all done this. At least TGTools coughs politely
and asks if you intend to process the whole document. Finale just sits
there and lets you feel foolish!
Best,
Dan
At 07:08 PM 6/24/2006, you wrote:
Boy, am I losing my grip!!!? Amazing how well stuff works whe
Hi Dan,
Boy, am I losing my grip!!!? Amazing how well stuff works when you
select the passage to which it will be applied. Thank you very ,
very much. Once again, the list to the rescue.
Ken
At 06:22 PM 6/24/2006 -0400, you wrote:
Hi Ken,
Do actually have a passage selected when you do this?
Dan
A
Le 06-06-24 à 17:46, Kim Patrick Clow a écrit :
Is there a way to increase the hashing/dotted effect to make it
more noticeable?
With the smart shape tool you can not increase it on a case by case
basis. It is a global setting in the smart shape options.
Specifically Dash length and spac
F13#11
Jerry
In an F13#11, would you net an E flat in the chord. The chord in
question is an G triad over an F triad.
Bob Florence
On 24-Jun-06, at 5:37 PM, Jacki Barineau wrote:
Hi, Everyone!
Okay - I've got another jazz chord I'm trying to figure out. It's
basically a G chord in
On 24 Jun 2006 at 16:26, Dennis Bathory-Kitsz wrote:
> At 12:40 PM 6/24/06 -0400, Andrew Stiller wrote:
> >I don't think this "cycling back out" is likely any time soon.
> >Historically, the norm for notation is a very gradual evolution based
> > on changing understanding of what notations mean.
Hi Ken,
Do actually have a passage selected when you do this?
Dan
At 06:00 PM 6/24/2006, you wrote:
To the wisdom of the list, again,
I just discovered that when I click Mass Edit in the tool bar many of its
functions are grayed out. Among the dead is Music Spacing. When I open the
drop do
> -Original Message-
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED] On Behalf Of John Howell
> Sent: 24 June 2006 23:03
> To: finale@shsu.edu
> Subject: Re: [Finale] 20th century notations (was Tremolos)
>
>
> At 4:12 PM -0400 6/24/06, Dennis Bathory-Kitsz wrote:
> >At 02:14 PM
On 24 Jun 2006, at 5:51 PM, Darcy James Argue wrote:
It's functionally a FMA13(#11), with the major seventh omitted from
the voicing. You didn't say what key the piece is in, but it's
probably a I or IV chord.
Ooops... I notice you *did* say the piece was in either G maj. or E
min. So it'
At 4:12 PM -0400 6/24/06, Dennis Bathory-Kitsz wrote:
At 02:14 PM 6/24/06 -0400, John Howell wrote:
And let's not forget that the development of non-traditional
notations in the 20th century was driven by one and only one
non-musical requirement: music could not be copyrighted unless it
could b
To the wisdom of the list, again,
I just discovered that when I click Mass Edit in the tool bar many of its
functions are grayed out. Among the dead is Music Spacing. When I open the
drop down menu Music Spacing looks normal, but the three options to the
right of the arrows heads are grayed o
No, Jerry. There's no Eb, so there's no way it can function as a
dominant 13th chord. Plus, it resolves right into a straight FMA7,
meaning the extensions (9, #11, 13) are just decorating the FMA7
sonority.
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On
It's functionally a FMA13(#11), with the major seventh omitted from
the voicing. You didn't say what key the piece is in, but it's
probably a I or IV chord.
The clearest nomenclature is a compound chord:
G
—
F
(Make sure you have "under root" selected in Finale.)
You could also write "FMA1
F13#11
Jerry
On 24-Jun-06, at 5:37 PM, Jacki Barineau wrote:
Hi, Everyone!
Okay - I've got another jazz chord I'm trying to figure out. It's
basically a G chord in the treble (G-B-D) with an F chord in the bass
(F-A-C). Is this some sort of F13#4? Or what would you call this?!
It defi
I am trying to create editorial slurs (editioral meaning that I'm adding slurs that aren't in the manuscript).
I'm using the dotted/hashed item in the smart tools box,
but since the distance between the two notes is rather small, the dotted effect is not very obvious.
Is there a way to increase th
Hi, Everyone!
Okay - I've got another jazz chord I'm trying to figure out. It's
basically a G chord in the treble (G-B-D) with an F chord in the bass
(F-A-C). Is this some sort of F13#4? Or what would you call this?!
It definitely has the "F" flavor to it. It is in the key of G (Em)
At 12:40 PM 6/24/06 -0400, Andrew Stiller wrote:
>I don't think this "cycling back out" is likely any time soon.
>Historically, the norm for notation is a very gradual evolution based
>on changing understanding of what notations mean. Periods of frank
>experimentation come along only about once
At 02:14 PM 6/24/06 -0400, John Howell wrote:
>And let's not forget that the development of non-traditional
>notations in the 20th century was driven by one and only one
>non-musical requirement: music could not be copyrighted unless it
>could be represented on paper. Since it WAS necessary, c
At 12:40 PM -0400 6/24/06, Andrew Stiller wrote:
On Jun 23, 2006, at 1:23 PM, Dennis Bathory-Kitsz wrote:
"Once we cycle back out of these conservative artistic times and experiment
once becomes part of the composer's attitude, the software situation (and
codification dilemma) may improve -- or
On Jun 23, 2006, at 1:23 PM, Dennis Bathory-Kitsz wrote:
"Once we cycle back out of these conservative artistic times and
experiment
once becomes part of the composer's attitude, the software situation
(and
codification dilemma) may improve -- or, as I suggested above, it may
result in furthe
As of Finale 2006, separate "arco" expressions for each instrument
are not necessary -- HP automatically triggers the correct GM patch
or (when using GPO) keyswitch.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On 24 Jun 2006, at 9:32 AM, Ken Moore
"Lee Actor" <[EMAIL PROTECTED]> wrote
> Define pizz. and arco expressions with playback parameters that
> execute a program change to the appropriate patch. For my MIDI setup
> I have one of each expression defined for each string section; if
> you're using the GM string patch you would only need
Christopher Smith wrote:
On Jun 23, 2006, at 5:16 PM, John Howell wrote:
At 4:42 PM -0400 6/23/06, [EMAIL PROTECTED] wrote:
In a message dated 6/23/06 3:27:17 PM, [EMAIL PROTECTED] writes:
1. The only modern contrabass trombone I've EVER heard of is in
BB-flat,
though some today add an F tr
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