I don't know if it is a problem related to my keyboard but
the command alt+34 to switch between layers in speedy entry works only if I
deactivate and reactivate everytime the numlock on the numeric keypad.
No other way to dothat without being forced to use
the mouse?
Another question: is
Lon Price wrote:
I'm working on a piece by Paganini for a client, and his handling of
tuplets got me wondering about the standards for notating them. This
piece is a theme and variations, and when he writes sextuplets the
first two show the numbers, and then he leaves them off, which I know
At 6/27/2006 06:14 PM, Christopher Smith wrote:
On Jun 27, 2006, at 5:48 PM, Owain Sutton wrote:
Put me in the cynic camp
Authorization Improvements are NOT a feature.
The group/bracket stuff seems more like bug-fix level stuff than real
advances. As does the cross-staff
If you absolutely have to make a slur for a special situation that
needs a different dashing setup, then you can do so using a shape
expression. You'll have to create this in the shape editor, (which as
most of us know is a little fickle and difficult to work with). Here
though, you'd be able to
In reply to various comments: ligatures may have survived, but I cannot
think of any examples exceeding a pair of notes. Also, colouration
consisted of black and white notation (simple to do when printing black ink
on white paper) but red (and blue) notation disappeared because of the
complex
On Jun 28, 2006, at 4:21 AM, Marcello Noia wrote:
I don't know if it is a problem related to my keyboard but the command alt+34 to switch between layers in speedy entry works only if I deactivate and reactivate everytime the numlock on the numeric keypad.
No other way to do that without being
Owain Sutton:
Put me in the cynic camp
Oh come on. Fin07 offers perhaps the single biggest enhancement in the history
of the product (linked parts) and all anyone can think of is to whine about the
peripheral stuff?
Authorization Improvements are NOT a feature.
Just to be clear
On Jun 28, 2006, at 10:21 AM, Robert Patterson wrote:
Owain Sutton:
Authorization Improvements are NOT a feature.
Just to be clear about terminology. All behavior that is according to
the design spec is a feature, including authorization. What
authorization is not (from the user
The arms race is true in orchestras, but can be much more true in live
pop and jazz.
..
About ten or 12 years ago, the Tempataions did a pair of outdoor
concerts with us. They had synths doubling all the orchestra parts at
, and sound guys would come back and tell us that we couldn't be
At 07:11 PM 6/27/06 -0400, David W. Fenton wrote:
But it seems to me that in the historical example, there was no
resulting limitation on the musical expression of the composers, as I
believe Dennis is suggesting is the case with the impoverished
notational vocabulary of primitive notation
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED]
Sent: 28 June 2006 15:02
To: finale@shsu.edu
Subject: RE: [Finale] Notation; was RE: Tremolos
In reply to various comments: ligatures may have survived,
but I cannot
think
Of course, the Funk Bros. (who played on all the original Motown
recordings before the label relocated to LA) were some of Detroit's
finest jazz players. They would track for Motown during the day (for
which they were paid a flat rate of $10/song) and play in the jazz
clubs at night. This
At 4:00 AM -0500 6/28/06, Noel Stoutenburg wrote:
Lon Price wrote:
I'm working on a piece by Paganini for a client, and his handling
of tuplets got me wondering about the standards for notating them.
This piece is a theme and variations, and when he writes sextuplets
the first two show the
Oh yeah, I missed the AND. Sorry, and thanks.
Dean
On Jun 27, 2006, at 6:58 PM, Christopher Smith wrote:
On Jun 27, 2006, at 8:16 PM, Dean M. Estabrook wrote:
Yo, guys and girls ... inre MacFin07, will it run ok on my ten
month old G5, as opposed to the new intel processor, and has
Hi, Everyone - I sent this question a few days ago and haven't gotten
a response yet - does anyone know how to do this?!
Thanks!
On Jun 26, 2006, at 10:31 PM, Jacki Barineau wrote:
Okay - now that I've got this chord figured out... :)
How can I tell Finale what notes to play for each
On Jun 27, 2006, at 6:24 PM, Chuck Israels wrote:
OK, Andrew,
I am not nearly as knowledgeable as you about older music, but I am
surprised by the 1910 - 1935 comparison. I don't doubt that you have
good information about this, and I am curious about it.
I was thinking mainly of
Jacki,
I really don't recommend enabling chord playback in Finale. You will
never get anything resembling acceptable voice-leading that way. It's
very easy to enter your own playback-only piano part or guitar part
with proper voice-leading, hidden by slash marks or placed in a
hidden
At 10:02 AM -0400 6/28/06, [EMAIL PROTECTED] wrote:
In reply to various comments: ligatures may have survived, but I cannot
think of any examples exceeding a pair of notes.
Agreed, 2-note ligatures with opposite propriety are the large majority.
Throughout
most periods compositional
On 28 Jun 2006, at 1:23 PM, Andrew Stiller wrote:
Around 1985, I complained in a concert review that the word
electroacoustic meant too damn loud. I don't think things
have gotten any louder since then. They couldn't possibly.
In the recorded world, they have, absolutely. Since the
At 2:21 PM + 6/28/06, Robert Patterson wrote:
Owain Sutton:
Put me in the cynic camp
Oh come on. Fin07 offers perhaps the single biggest enhancement in
the history of the product (linked parts) and all anyone can think
of is to whine about the peripheral stuff?
Yes, an
At 11:44 AM -0400 6/28/06, Raymond Horton wrote:
The arms race is true in orchestras, but can be much more true in
live pop and jazz. ..
About ten or 12 years ago, the Tempataions did a pair of outdoor
concerts with us. They had synths doubling all the orchestra parts
at , and sound guys
Chuck Israels wrote:
I played on a recording date in 1963 with JJ Johnson - arrangements
written by JJ for himself, 4 other trombones (Urbie Green and Lou
McGarity, on tenors, Tommy Mitchell and Paul Faulise on bass
trombones, and a rhythm section that included Hank Jones and Walter
Perkins,
On 28 Jun 2006 at 4:00, Noel Stoutenburg wrote:
Lon Price wrote:
I'm working on a piece by Paganini for a client, and his handling of
tuplets got me wondering about the standards for notating them.
This piece is a theme and variations, and when he writes sextuplets
the first two show
On Jun 28, 2006, at 10:02 AM, [EMAIL PROTECTED] wrote:
In reply to various comments: ligatures may have survived, but I cannot
think of any examples exceeding a pair of notes.
A page of Mouton's _Messe d'Allemaigne_, as printed by Attaignant and
reproduced in _Pierre Attaignant: Royal
On 28 Jun 2006 at 12:55, John Howell wrote:
At 4:00 AM -0500 6/28/06, Noel Stoutenburg wrote:
Lon Price wrote:
I'm working on a piece by Paganini for a client, and his handling of
tuplets got me wondering about the standards for notating them. This
piece is a theme and variations, and when
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of Andrew Stiller
Sent: 28 June 2006 19:33
To: finale@shsu.edu
Subject: Re: [Finale] Notation; was RE: Tremolos
On Jun 28, 2006, at 10:02 AM, [EMAIL PROTECTED] wrote:
In reply to various
At 8:05 PM +0100 6/28/06, Owain Sutton wrote:
A page of Mouton's _Messe d'Allemaigne_, as printed by Attaignant and
reproduced in _Pierre Attaignant: Royal Printer of Music_ by Daniel
Heartz, displays several 3-note ligatures, in a variety of forms.
Would these be formed simply by
On Jun 28, 2006, at 11:15 AM, Andrew Stiller wrote:As to the question of what is correct *now*, things are not quite as simple as you suggest. In particular, the proper number of beams for a septuplet has been a vexed question for a very long time. Many composers follow the rule you cite, that a
Your point is well made, although the Temps had, at that time, two
original vocalists and three that went back many years (that group
started dying off pretty quickly, as I recall). But the touring band
was mostly young.
The conductor for them, and for the Four Tops (the vocalists were
Hi John,
Sorry I left out the title - JJ's Broadway (arrangements of show
tunes). Some of the tracks are glorious to my ears, and I'm proud to
have been a participant.
Again, not to start a war: I am a displaced NYer now living on the
West Coast in beautiful Bellingham, Washington -
John Howell wrote:
I may not completely understand the flow of technological changes,
which is why I ask this question. The period when music was
generated with handset type, to the best of my knowledge, was the
16th and early 17th centuries.
A little off on the end; the last piece of music I
On 28 Jun 2006 at 18:21, Noel Stoutenburg wrote:
John Howell wrote:
I may not completely understand the flow of technological changes,
which is why I ask this question. The period when music was
generated with handset type, to the best of my knowledge, was the
16th and early 17th
On Wed, 28 Jun 2006 12:55:58 -0400 John wrote:
In manuscript I used a LOT of one-bar and two-bar (and sometimes four-bar)
ditto marks, but it is child's play today to copy the notation in those
measures throughout the passage. But that may not be the clearest way to
indicate consecutive measures
Hi all,
There is an unwanted ritard hidden in some MIDI data in a file I'm
working on. Someone told me how to solve this problem a while ago,
but I have forgotten. Will someone please remind me what to do to
get rid of this?
Thanks,
Chuck
Chuck Israels
230 North Garden Terrace
I have been told by drummers to put the pattern at the beginning of each line.
I'd say that milepost numbers are desirable, especially if phrase lengths are
in any way irregular.
Chuck...weigh in, please!!
Jim
From: [EMAIL PROTECTED] on behalf of Rudolf van
On Jun 28, 2006, at 6:50 PM, Williams, Jim wrote:
I have been told by drummers to put the pattern at the beginning of
each line.
I'd say that milepost numbers are desirable, especially if phrase
lengths are in any way irregular.
Chuck...weigh in, please!!
Jim
Weighing in at some 20 lbs
On Jun 28, 2006, at 9:48 PM, Chuck Israels wrote:
Hi all,
There is an unwanted ritard hidden in some MIDI data in a file I'm
working on. Someone told me how to solve this problem a while ago,
but I have forgotten. Will someone please remind me what to do to get
rid of this?
It's
I'm wondering if TGTools is going to come out with a new version for
Finale 2007. There hasn't been any huge changes to the plugin in about a
year, and I hope it will work just like it works now (as I use it all
the time).
Also, a Universal version for running on Intel Macs would be nice as
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