Hi all,
I am finding inconsistent copying behavior (2k8 - Mac) that has not
occurred in earlier versions. Simple copying operations sometimes
loses accidentals. I find I need to invoke the Check Accidentals
utility regularly in order to avoid missing accidentals. Has anyone
else seen
In two American choral works of the 1820s (different composers,
different cities) I have encountered alto parts that are clearly
intended to sound an octave lower than written, like the tenors.
Has anybody else ever come across this practice?
Andrew Stiller
Kallisti Music Press
I remember doing some very old editions of Handel (I think it was Zadok) at
school which were exactly like this. To us schoolkids it looked very
peculiar with the altos apparently above the sops.
Gary Griffiths
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On
At 11:17 AM -0400 9/3/07, Andrew Stiller wrote:
In two American choral works of the 1820s (different composers,
different cities) I have encountered alto parts that are clearly
intended to sound an octave lower than written, like the tenors.
Has anybody else ever come across this practice?
--- G GRIFFITHS [EMAIL PROTECTED] wrote:
I remember doing some very old editions of Handel (I
think it was Zadok) at
school which were exactly like this. To us
schoolkids it looked very
peculiar with the altos apparently above the sops.
I've sung from editions like that - it was strange
And the Dover edition of the Beethoven string quartets where treble-clef
cello parts are written an octave higher than they sound.
I remember doing some very old editions of Handel (I think it was Zadok)
at
school which were exactly like this. To us schoolkids it looked very
peculiar with the
This is relatively common in early to mid 19th century shape note tune books.
Wade
On 9/3/2007 at 9:17 AM, in message
[EMAIL PROTECTED], Andrew Stiller
[EMAIL PROTECTED] wrote:
In two American choral works of the 1820s (different composers,
different cities) I have encountered alto parts
On 9/3/07, John Howell [EMAIL PROTECTED] wrote:
I ran across something similar in a 17th or 18th century context
(18th, I think, and English), with the soprano written very high.
Turned out that the only credible answer was to assume that it was
intended for, but not labeled for, male
At 1:29 PM -0400 9/3/07, Kim Patrick Clow wrote:
On 9/3/07, John Howell [EMAIL PROTECTED] wrote:
I ran across something similar in a 17th or 18th century context
(18th, I think, and English), with the soprano written very high.
Turned out that the only credible answer was to assume that it
On 9/3/07, dc [EMAIL PROTECTED] wrote:
Parrot's hypothesis (or rather J. Rifkin's) is precisely based on the
absence of extra vocal parts.
Yes, and other researchers are proving this point with studies of
Telemann's manuscripts in both Hamburg and Frankfurt. Dr. Jeanne Swack
has a large
At 8:20 PM +0200 9/3/07, dc wrote:
John Howell écrit:
Parrott's hypothesis appears to be just that,
like the hypothesis that Bach intended his
cantatas to be performed one on a part, but
copied extra vocal parts just for the heck of
it!!
Parrot's hypothesis (or rather J. Rifkin's) is
On 03.09.2007 John Howell wrote:
Well, the only Bach score I've studied in that kind of depth is the
Johannespassion, and there were definitely copies of the voice parts with the
solos and copies of the ripieno voice parts without the solos.
And I have done the John Passion with Joshua
At 9:38 PM +0200 9/3/07, dc wrote:
John Howell écrit:
Well, the only Bach score I've studied in that
kind of depth is the Johannespassion, and there
were definitely copies of the voice parts with
the solos and copies of the ripieno voice parts
without the solos.
I dare say Rifkin and
Showing a little ignorance here and looking for advice. I'd like to
notate a rolled chord with the rhythms of the roll specified -
happens to be a 16th note triplet before the barline landing on the
4th note of the chord on the db with all notes held. Ties to the
held notes don't work
Hi Chuck,
I'm currently working on a piano piece that has this issue all over
the place. I am using the tie stubs from Bill's Articulation font
(albeit reduced slightly in size), with a slur over the entire
figure. Traditionally, you would probably put (beginning) tie stubs
on each note
At 05:15 PM 9/3/2007 -0700, Chuck Israels wrote:
What to do to make it work without being overly picky.
With grace notes, it already ties across.
If they're full-size notes, you should be able to do this with the tie
(special) tool.
Dennis
___
Thank you Darcy, Dennis and Cecil. Using normal ties adjusted with
special tools and hidden accidentals on the final chord seems to look
fine. The figure is also notated as a cross staff arrp., and I
wasn't sure the real ties would work, but they do.
Thanks again.
Chuck
Chuck Israels
In this situation I use slurs on all the rolled notes except the last, where
you can use a tie. For correct playback use the sustain pedal (controller
64). A single slur would not indicate that the rolled notes are to be held
down.
Lee Actor
Composer-in-Residence and Assistant Conductor, Palo
This was sent out a long time ago. Did he ever hear anything back from
MakeMusic about this?
shirling neueweise wrote:
Date: Fri, 20 Jul 2007 03:34:00 +0200
To: John Paulson Chief Executive Officer [EMAIL PROTECTED],
Ron Raup President [EMAIL PROTECTED], Mark Dunn Chief Technology
On 9/3/07, John Howell [EMAIL PROTECTED] wrote:
Which is a pretty wild leap of faith in my book.
By the same logic one would have to assume a
priori that he provided his violinists with
written parts meant for use by a single performer
only, so he only used one violin on each part,
and that
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