On 9/16/2011 12:27 AM, arabus...@austin.rr.com wrote:
...although the books by Piston and Rimsky-Korsakov'll do in a pinch!
Actually these days I find that for notational information as well as
range information and playing techniques, Andrew Stiller's Handbook of
Instrumentation to be much
There is a great little book, 'Orchestral Technique' by Gordon Jacob too.
Rimsky Korsakov is available online:
http://www.garritan.com/index.php?option=com_wrapperview=wrapperItemid=34
and a Jazz arranging course by (our own!) wonderful Chuck Israels:
exporting EPS from finale i can view them correctly in graphics
programmes but then when using them in word they appear as full black
images. tif (1200 ppi) functions fine.
i saved the same word file as PS, opened in distiller (set to convert
to 1200 ppi) and the resulting PDF is only 150
Dear Steve,
Thanks for the plug. Gary will soon remove all but some teaser chapters and
examples from his website - because the book has just been released by Hal
Leonard (with the scrolling playback examples on a CD). My editor at HL was
responsive and cooperative (and helpful in the usual
Hi Jef,
My suggestion is to not EPS from Finale. Instead, make a PDF, crop as needed,
and insert the PDF graphics into the Word file.
Or you could use a graphics program to convert the existing EPS files to PDF.
Cheers,
- DJA
-
WEB: http://www.secretsocietymusic.org
On 16 Sep 2011, at
I always print to Adobe pdf printer driver (include fonts), open in Acrobat,
crop, save as EPS, import into Word. It shows as rough tif preview graphic
on screen but prints fine.
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf
Of
SN jef
I'll place my order..
There is a ton of insight into compositional practice that is widely applicable
(to any genre) and elegantly written.
Maybe it could be converted to an iPad app? I have no idea how these things
work..
Gotta disagree about the piccolo... there are not many instruments I
Thank you all for the historical practices and experience on what you've
used and seen.
To clarify, I do not have a problem in reading the Treble8 clef for tenors,
I simply find it impractical.
News flash: We all have to deal with reading multiple ledger lines
(pianists, flutists, violinists).
Hi Chuck,
This is actually an excellent point -- my own take on this would be that
bigband flute parts within the staff often sound better on alto flute, whereas
flute parts above the staff often sound better on piccolo (especially when
doubling lead tpt, either at pitch or 8va).
Good piccolo
Well, it IS standardized, Patrick - you just don't like the standards. And,
if you circulated your petitions, sent them to all the major publishers and
got them to change - just who is going to re-engrave all of the millions of
works that have been notated already, in clefs you don't like?
Go
With the tenor range from (Bb) C to A+ the treble 8 clef is perfect.
It is not being treated as a transposing instrument - it is a different clef to
a treble clef.
Using bass clef where the tenor vocal range begins in the second space is
difficult to justify rationally.
As for piano playing,
I agree with you Raymond we ought to be able to play what's
written, but when I'm writing stuff for any groups to which I have
access, I best take GREAT care about ranges, clefs, etc.,, or it
just don't get read ... good practice anyway ...
Dean
On Sep 16, 2011, at 9:55 AM,
I want to clarify when I said some anthems from the 80s that were
published with an open score with bass clef for tenors. I said I
remember them as being easy to read, or something like that.
1) I am a terrible pianist. I have certainly had plenty of years
experience hearing a conventional
At 5:18 PM +0100 9/16/11, Steve Parker wrote:
Gotta disagree about the piccolo... there are
not many instruments I can never imagine writing
for (unless paid of course)
but piccolo and bagpipes share the lead! ;-)
Interesting statement, Steve. I can't imagine
not having piccolo available for
At 1:31 PM -0400 9/16/11, Raymond Horton wrote:
I want to clarify when I said some anthems from the 80s that were
published with an open score with bass clef for tenors. I said I
remember them as being easy to read, or something like that.
Things get really interesting when we start
talking
Of course as soon as I wrote I thought of examples in contradiction..
It does do a marvellous job in some concert band music.
I've heard some of Darcy's stuff and maybe his new stuff could persuade me
otherwise..
Steve P.
On 16 Sep 2011, at 18:38, John Howell wrote:
At 5:18 PM +0100 9/16/11,
At 6:35 AM -0400 9/16/11, David H. Bailey wrote:
On 9/16/2011 12:27 AM, arabus...@austin.rr.com wrote:
...although the books by Piston and Rimsky-Korsakov'll do in a pinch!
Actually these days I find that for notational information as well as
range information and playing techniques, Andrew
Absolutely, write what is clearest and most easily understood. If
bass clef for your tenors is that, fine.
But saying All male voice parts should be written in bass clef, no
exception is another matter.
Interesting to see real examples of how jazz trombonists never
embraced clefs other than
On 9/16/2011 2:17 PM, John Howell wrote:
[snip] And I certainly agree about Andrew's book,
although I made the mistake of buying it on disk
and would MUCH rather have it sitting ready to
pick up in my bookcase.
I value it so much, I bought it twice -- once in paper form and then as
soon as it
On Fri, Sep 16, 2011 at 1:38 PM, John Howell john.how...@vt.edu wrote:
Bagpipes? Well, there's a place for them and
their music, preferably not too close by!
It's a classic:
Q. Why do bagpipers walk when they play?
A. They're trying to get away from the noise.
Raymond Horton (who has
As I have noted before, the tragedy of the bagpipe player and why he walks
lies in the fact that when you stop blowing a bagpipe, the noise continues -
the poor devils do not realise that they are themselves the founder of their
own malady.
Best wishes,
Lawrence
On 16 September 2011 20:26,
On Fri, Sep 16, 2011 at 2:17 PM, John Howell john.how...@vt.edu wrote:
familiar with Piston. But of course any
first-semester orchestration course has to spend
hours on the ranges and transpositions, while in
my Vocal-Choral Arranging class I have the
students actually ARRANGING short
Agree with John here ... I just finished transcribing a Mendelssohn
orchestral overture for Wind Ensemble, and could not have done it
sans help from the Picc., esp. when dealing with the higher violin
parts. I am a Picc. fan when it comes to that situation ..
Dean
On Sep 16, 2011, at
Good thing the auidence can't hear the cleffing...
ajr
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On 16 Sep 2011 at 11:18, Patrick Sheehan wrote:
To clarify, I do not have a problem in reading the Treble8 clef for
tenors, I simply find it impractical.
That makes no sense -- it is by far the most practical clef FOR THE
TENORS (i.e., the musicians for whom the music is written, that is,
At least you guys know singers who can read at all. When I took first semester
sight singing an North Texas, the worst readers in the class were the singers.
On Sep 16, 2011, at 2:49 PM, David W. Fenton wrote:
On 16 Sep 2011 at 11:18, Patrick Sheehan wrote:
To clarify, I do not have a
I converted a whole cartload of existing EPS graphics (from Fin 2005) to PDF
with Preview. Worked great!
I don't know the answer to the Word question. I hate the durned piece of
petach! (Klingon for crap!)
Christopher
On Fri Sep 16, at FridaySep 16 10:58 AM, Darcy James Argue wrote:
Hi
At 3:05 PM -0700 9/16/11, TXSTNR POP account wrote:
At least you guys know singers who can read at
all. When I took first semester sight singing
an North Texas, the worst readers in the class
were the singers.
Oh, we understand the problem; we just can't do
anything about it by ourselves.
At 3:26 PM -0400 9/16/11, Raymond Horton wrote:
On Fri, Sep 16, 2011 at 1:38 PM, John Howell john.how...@vt.edu wrote:
Bagpipes? Well, there's a place for them and
their music, preferably not too close by!
It's a classic:
Q. Why do bagpipers walk when they play?
A. They're trying to get
At 4:01 PM -0400 9/16/11, Raymond Horton wrote:
On Fri, Sep 16, 2011 at 2:17 PM, John Howell john.how...@vt.edu wrote:
familiar with Piston. But of course any
first-semester orchestration course has to spend
hours on the ranges and transpositions, while in
my Vocal-Choral Arranging class
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