How does one number repeated measures in linked parts (but not in the
score)? Is there a more efficient way than to enter them all manually as
expressions?
Johannes
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http://www.camerata-berolinensis.de
___
Finale
Dean M. Estabrook wrote:
For your collective wisdom ... I'm writing a piece for Wind Ensemble
involving several short movements, one of which is an arrangement of I
Ride an Old Paint. Essentially it's an oboe solo with chords below in
the lower w.w. and light brass insts. I'm thinking it might
Hi Johannes,
I haven't found a good solution for this, other than maintaining a
separate parts score -- or just deciding I don't mind the numbers in
the score so much anymore.
Robert Patterson's Measure Numbers plugin works in the parts if you
set it to number every 999 measures, then
At 06:21 AM 11/6/06 -0500, dhbailey wrote:
the Light
Cavalry Overture is very evocative of horses (certainly for those of us
who don't ride horses) in it's 6/8 section which has this rhythm: 2
16th-note pickup into a measure built of
Darcy James Argue:
Robert Patterson's Measure Numbers plugin works in the parts if you
set it to number every 999 measures, then create the region, then opt-
click the measures you want numbered.
Actually, there is not necessarily a need to double-click each bar. In addition
to setting it
At 5:53 PM -0800 11/5/06, Dean M. Estabrook wrote:
For your collective wisdom ... I'm writing a piece for Wind Ensemble
involving several short movements, one of which is an arrangement of
I Ride an Old Paint. Essentially it's an oboe solo with chords
below in the lower w.w. and light brass
Interesting John ... I hadn't thought of the 2 against 3 idea.
Thanks,
Dean
On Nov 6, 2006, at 8:53 AM, John Howell wrote:
At 5:53 PM -0800 11/5/06, Dean M. Estabrook wrote:
For your collective wisdom ... I'm writing a piece for Wind
Ensemble involving several short movements, one of which
At 8:23 PM -0800 11/5/06, Dean M. Estabrook wrote:
Hey folks thanks for all the good info. I think I've decided to
go with four multi-pitched temple blocks using a dotted eighth/16
pattern on every beat ... kind of that Happy Trails sound, if you
know what I mean.
Although I do think of
Yes ... I think the Lt.Cav. sound would suit a lively tempo much
better than the quarter = 54 about which I'm talking. My vision is
that of cowboys lazily riding along side the herd ... at least that's
what the text of the song implies to me ...Ride around little
dogies, ride 'round and
Whoh (no pun intended) ... this is taking me into a most fascinating
territory ... one which was totally unexpected.
Thanks,
Dean
On Nov 6, 2006, at 5:46 AM, Dennis Bathory-Kitsz wrote:
Yes, that's the gallop rhythm, which is a clustered group of four
sounding footfalls closely
Why do you need to be that specific, down to mallet choices? Is your horse
on grass, hard dirt, pavement, or rock? The choices are almost endless. Why
not let the percussionist decide what sounds best with the instruments
he/she has available? One brand of temple blocks may sound correct with
Again, a very good idea. Even as I thought of the dotted 8th/16th
pattern, something bothered me about it. I do think the triplet
figure would soften up the thing and help achieve the lazy sound
I'm after.
Thanks again ...
Dean
On Nov 6, 2006, at 9:05 AM, John Howell wrote:
At 8:23 PM
Grofe's On the Trail movement from _Grand Canyon Suite_ splits the
difference rhythmically, with the woodwinds in 6/8 while the 4 temple blocks
play duplets. I suppose loping would describe the horse effect achieved.
For a look at a sound effects guy in action using the coconut halves, PBS
I've been searching in vain for a list describing each of the
characters in various music fonts for Finale. Not just a listing
of the characters (which I know is included in the help files) but
a list with a description of each character. Does anyone know if
such a document exists, and if so
On Nov 6, 2006, at 1:26 PM, Bob Shuster wrote:
I've been searching in vain for a list describing each of the
characters in various music fonts for Finale. Not just a listing
of the characters (which I know is included in the help files) but
a list with a description of each character. Does
Cool ... thanks for the tip.
Dean
On Nov 6, 2006, at 9:36 AM, [EMAIL PROTECTED] wrote:
Grofe's On the Trail movement from _Grand Canyon Suite_ splits
the difference rhythmically, with the woodwinds in 6/8 while the 4
temple blocks play duplets. I suppose loping would describe the
Good info again. I thank you. Yeah, I suffer from the premise that
the composer has to micromanage too many times. I found that to be
true of a lot of string writing also... mostly they just want the
notes and they take care of the rest.
Dean
On Nov 6, 2006, at 9:16 AM, Chuck May wrote:
I have arrived at what may be a decent way to handle linked parts in a C
score. This is a chamber music score, so besides the issue of needing
separate beam angles, etc., for the transposed part, there are no other
major issues. What I did was to leave Display in Concert Pitch unchecked.
The
hey darcy, the MM techie suggested i trash my prefs, did that change
anything for you with the problem of stuck keys? thought i'd ask
before doing it, i hate having to rebuild prefs...
--
shirling neueweise ... new music publishers
mailto:[EMAIL PROTECTED] :.../
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