Nope. KompoZer doesn't work on IntelMacs. Any other ideas?
--Andrew Stiller
On Apr 12, 2012, at 11:56 PM, Robert Patterson wrote:
I use KompoZer, a free open-source download. It is very basic, but it lets
you edit the pages WYSWYG. The upload is very poor, though. For upload, I
have found
My extensive web site was created with a web page designer that will not run on
my new iMac. Can anyone suggest another program that can directly use or import
my existing pages? I tried Sandvox, but it doesn't have that capacity.
Help!
--Andrew Stiller
FinMac 11, OS 10.6.6. With this combination I find I can no longer print a
pair of letter-size pages next to each other on an 11 X 17 sheet (i.e. 2
portrait-oriented pages on a landscape-oriented sheet).
Any suggestions?
__Andrew Stiller
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On May 28, 2010, at 9:57 PM, Christopher Smith wrote:
The other thing that is structurally very cool (hah!) about West Side
Story is that the whole thing is based around the tritone interval...
Many of the tunes use the tritone melodically in prominent position.
In my youth, I used the
Write out the last A in full (as Couperin often did), with a final
barline at the very end and regular double-bars everywhere else.
Players will automatically assume that if they haven't encountered a
final bar, the piece isn't over yet.
Andrew Stiller
Kallisti Music Press
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song.
--Andrew
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is very powerful.
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two different manual
timbres, and the notes on the extra manual (which would usually be on
the top staff) are to be played by the same two hands that handle the
other two manuals, and no third hand should be needed.
Andrew Stiller
Kallisti Music Press
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just after the Gabrielis and is important in the
history of the cello.
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There's an Alec Wilder band piece that calls for anvil.
And of course there's that best known of all anvil parts, the one in
Maxwell's Silver Hammer.--Not soft, of course, but hey...
Andrew Stiller
Kallisti Music Press
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On Apr 25, 2010, at 9:37 PM, Aaron Rabushka wrote:
Is anyone acquainted with the musical use of anvils, and their
possible dynamic range? Every instance I can thing of is loud, and I
noticed that Wagner does not give any dynamic's for Mime's hammering
in Siegfried. Is anyone here familiar
On Mar 23, 2010, at 12:56 PM, John Howell wrote:
For questions like this I turn to How to Write for Percussion by
Samuel Z Solomon. He ... points out that it's important to know the
instrument you're writing for (ALWAYS a good idea!), since they vary
from 4-octave to 5-octave instruments.
On Mar 18, 2010, at 5:37 PM, David W. Fenton wrote:
On 18 Mar 2010 at 17:22, Andrew Stiller wrote:
The inequality was applied at the sixteenth note level, the weak notes
being just a tiny bit longer than 1/2 the duration of the strong
notes.
That's pretty interesting, in that it shows
On Mar 17, 2010, at 4:57 PM, Florence + Michael wrote:
On 17 Mar 2010, at 21:28, Andrew Stiller wrote:
There's at least one exception to that. In an early-19th c. French
book about the proper pinning of barrel organs, there's a detailed
illustration of the pinning for a barrel to play
years
later Gottschalk was writing pieces that sound best when slightly
swung, so such a connection is not at all implausible. (I have a CD of
a German pianist playing Gottschalk w.o swing, and it is unbelievably
stiff--like a mounted skeleton of the music.)
Andrew Stiller
Kallisti Music Press
, nothing happens.
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require an Intel
microprocessor, so I'd have to buy a whole new computer, plus all-new
apps to go with it. If I could somehow do this via an accessory hard
drive, I'd do it--but I don't think that's possible, is it?
--Andrew
Andrew Stiller
Kallisti Music Press
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My 9-yr.-old browsers no longer support most online video, notably
UTube. I'd like to upgrade to the most recent available versions that
will run w. my OS (Mac OS 10.3.9), but can't find these on the
internet. Can anybody help?
My current browsers are Safari 1.3.2 and IE/Mac 5.2
Andrew
, and the occasional
overwhelming of the former by the latter is part of the esthetic--like
an elephant trampling through the parlor.
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,
or that you are personally incapable of performing it? I *thought* I
was writing for a professional.
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actually have less trouble if you use the treble clef instead;
but if you do, be sure to make clear whether the notes are to sound an
octave down or as written. Both conventions are found in existing cb
music.
Andrew Stiller
Kallisti Music Press
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., the Brahms F-minor clarinet sonata.
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On Feb 18, 2010, at 4:03 PM, Aaron Sherber wrote:
On 2/18/2010 3:22 PM, Andrew Stiller wrote:
Doppio valore. See, e.g., the Brahms F-minor clarinet sonata.
Ah, thanks, Andrew, that sounds familiar. But I'm curious where this
is in the Brahms. I have a Breitkopf edition here and don't see
.
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standard for most composers these
days--John Adams comes immediately to mind, but he is far from alone.
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pitch and
adding a slashed accidental beneath the note--for example, a Gb with a
slashed natural beneath it. I think this would be understood w.o
explanation.
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Thanks to all who advised me on this--but I've just discovered that the
ability to convert a pdf page into a PICT is built right into Preview!
D'oh!
My only comfort is that noone else on this list seemed to know that
either...
--Andrew
Andrew Stiller
Kallisti Music Press
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, this dialog is crucial for the following things:
Adjusting the spacing of grace notes.
Resolving notehead collisions between different voices in different
layers.
I very rarely use it for other things too, but I forget just what.
Andrew Stiller
Kallisti Music Press
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.
Page Scaling dropdown? Where? I don't see it.
--Andrew
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Ignorance is infinite.
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; the conversion is too lossy.
--Andrew
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or GIF) out of a pdf file or
anything else, but I know of nothing equivalent under OSX. I now find
myself in need of importing whole pdf pages into Finale as graphics,
and I sure would like to be able to do that without rebooting in System
9 each time I want to make one of these...
Andrew
On Dec 10, 2009, at 4:38 AM, Florence + Michael wrote:
If you click on Apply in the Document Options -Beams dialog, you
should immediately see the results of any change you've made: no need
to use rebeam or to select part of the document, since these
settings affect the whole document.
At
In FinMac 2K7, I find that beams covering more than three notes always
come out flat. I tried changing the settings in Document Options/Beams,
but nothing seems to make a difference. How can I restore Finale's
(former) normal behavior in this respect?
Andrew Stiller
Kallisti Music Press
http
Stiller wrote:
In FinMac 2K7, I find that beams covering more than three notes
always come out flat. I tried changing the settings in Document
Options/Beams, but nothing seems to make a difference. How can I
restore Finale's (former) normal behavior in this respect?
Andrew Stiller
Kallisti Music
?
Doug
On Dec 9, 2009, at 12:27 PM, Andrew Stiller wrote:
Nope. Doesn't help.
--Andrew
On Dec 9, 2009, at 2:22 PM, John Blane wrote:
Andrew -
I think once you've changed the beaming options, you must run the
Rebeam command to see the effects. Then, any newly created beams
will use
of the bow-hair (at
any speed), and is a light, airy effect. Much bow means almost the
opposite, esthetically, since playing thus produces a particularly
rich, even passionate sound.
Andrew Stiller
Kallisti Music Press
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On Nov 14, 2009, at 10:39 AM, Robert Patterson wrote:
This is a question for Andrew about his book, but I'm posting it here
since there may be general interest in his response.
I have the 1st ed. of Handbook of Instrumentation, and I am looking at
page 243. In the middle it gives two examples
and the
opening to the Rite of Spring, were all variations on The Sidewalks of
New York. You gotta watch out for that sort of thing.
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*someone* responded! Fortunately, I did
keep the 2K4 on a backup disc, so all is not lost. Thanx again.
--Andrew
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print at all! I tried creating a PDF file and
printing from that, but it proved just as slow.
Is there anything I can do to make the 2K7 version print as readily as
the 2K4 original?
Andrew Stiller
Kallisti Music Press
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is either to use
the regular tie command (from the starting note rather than the ending
one), or to go back and hit the asterisk key (not the 9 as someone else
suggested) to force the improperly hidden accidental to reappear.
Andrew Stiller
Kallisti Music Press
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, but there was still no key signature.
Only with the introduction of the pedal tuning mechanism did it become
important for timps. to be able to change key freely while playing.
Andrew Stiller
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.
Is there an easy way to get what I want?
In the Staff Transposition dialog, unclick Simplify Key, select Other
from the pull-down menu, and enter the value -9 for the Key Alteration.
Andrew Stiller
Kallisti Music Press
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just discovered that if you double-click a PostScript
file--even one made from Finale 2.x--it will open perfectly in Preview.
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the trumpets they used were hammered out on a form,
and were thus slightly imperfect in their internal contours; this
irregularity provided the player with just enough wiggle room to play
all notes securely without the vents that, ironically, a
mathematically perfect valveless trumpet requires.
Andrew
that this common
expressive device was best left up to the player.
As I said, I don't see what connection this can possibly have to the
matter at hand, but there it is: the same symbol.
Andrew Stiller
Kallisti Music Press
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publish and who never bothered
with pedalling diagrams. On one extracted harp part, the harpist
pencilled in the note Jerry, harps have pedals! I add pedalling
diagrams to the harp parts in all my editions of his work.
Andrew Stiller
Kallisti Music Press
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On Sep 18
I created a file back in FinMac 2K2 that had quartertones defined for
playback as pitchwheel alterations. Now I find that under OS 10.3.9,
these alterations do not play back in either 2K4 or 2K7. What can I do
to get them back?
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com
bass.
As an example of the use of trompa, I have in front of me Amadeo
Roldán's 4 _Ritmicas_ for piano and wind quintet. The wind parts are
labeled Flauta, Oboe, Clarinete en Sib, Fagot, and Trompa en Fa.
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com
of these that make it clear that the ophicleide
is a highly flexible instrument, and that its range and timbre are much
closer to a euphonium than to a bass or contrabass tuba.
There are quite a few players of the thing nowadays, including many
associated with top orchestras.
Andrew Stiller
a lot of opportunity there for grad students, or
even undergrads, to get a quick publication credit.
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the English as superior to the Germans, and the
Scandinavians as the most superior of all. He referred to his attempts
to avoid words with Latin roots as blue-eyed English.
Andrew Stiller
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speaker herself, so she found herself giving most of her instructions
in both languages.
Just a reminder to all: In Spanish trompa means horn and
clavicordio means square piano.
Andrew Stiller
Kallisti Music Press
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-like or not is irrelevant: that's
what the instruction says to do.
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in Italian than in any other language (quick: what's
the Italian for fluttertongue? What's the French? We probably all
know the German flatterzunge--but that's not Italian either, is it?)
Andrew Stiller
Kallisti Music Press
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, submitted by the players who use them.
FWIW, that same page has a photo of a 17th-c. contrabass sackbutt,
together w. a playback file of its bottom BBBb
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deluded?
There are a few different configurations of the double valve around
now, but, again, the composer really doesn't need to worry with them.
Unfortunately, we have to worry about them every time we write a
glissando.
Andrew Stiller
Kallisti Music Press
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.
And if you haven't had enough, check out www.contrabass.com/ and
especially http://www.contrabass.com/pages/cbtbn.html .
Andrew Stiller
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on the Mac, just open your Finale file, invoke the
Print command, and click the Save as PDF button. I have never had the
slightest problem printing any PDF file so created.
Andrew Stiller
Kallisti Music Press
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fantasy on my part.
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not wish to keep them, they
should be donated to a school, library, or community orchestra.
If any of you out there think this is a good deal, by all means get in
touch!
Andrew Stiller
Kallisti Music Press
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select
Show Keyboard Viewer.
Note, however, that some (many?) fonts contain characters *that cannot
be accessed from the keyboard.* To see these, go to that same menu and
select Show Character Palette.
Andrew Stiller
Kallisti Music Press
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submissions altogether--at which point, unless the
online system is drastically simplified, I intend to simply mark my
publications as copyrighted, and not formally register them at all.
That provides adequate protection for most purposes.
Andrew Stiller
Kallisti Music Press
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of this can be found in any decent survey of (Western)
music history.
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buttons. Take the simple
step of making the buttons flat-topped and smooth (13th c.?), and
voilà! a keyboard.
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chromaticism in favor of easy LH performance of leaping
bass lines, and allowing a reach of an 11th or more.
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,
spacing, and measure number issues under 2K9 that will require much
more than a casual glance to identify, much less fix.
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volume is not the comb, but
the paper; and even so my 1966-67 issues of _Source_ show only minor
wear to the covers.
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On Mar 11, 2009, at 5:44 AM, Johannes Gebauer wrote:
On 11.03.2009 Andrew Stiller wrote:
Finale text boxes have adjustable tabs?
Tabs, shmabs. Finale has the capabilities, mostly in submenus:
Center ?
Yes.
Right ?
Yes.
Where are these Tabs, I cannot find them?
Please reread my
to me that more than a few words
manipulated in that way would be more trouble than it's worth.
If I have to leave Finale to create something like this, I'd head
straight to Fontographer.
Andrew Stiller
Kallisti Music Press
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of
contents -- they have always been a pain to get just right in Finale.
Not for me, and I do it all the time.
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is impossible to do with Finale alone
(curved staves, frinstance). The difference in impossibility between
that and the placement of spoken dialog should be obvious, IMO.
Andrew Stiller
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as there is almost nothing a commercial
word processor can do that Finale's own text engine can't do just
as well.
At least that's true for 2K7 and earlier.
Andrew Stiller
Kallisti Music Press
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On Mar 5, 2009, at 11:02 AM, Robert Patterson wrote:
I've tried
the heavy exchange fee? Or won't that work?
Any other suggestions?
Andrew Stiller
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. Make of all this what you
will.
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for that theory.
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-inaudible parts
in Beethoven's 9th and his _Missa Solemnis_ are among the most
difficult ever written, and are standard audition fare for
contrabassoonists.
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) noteheads at higher or lower levels within the blank space.
I would use this same notation for the oboe, and for clarinet/sax/brass
mouthpiece played alone (except of course that the instruction would be
mouthpiece alone).
Andrew Stiller
Kallisti Music Press
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of Spitzer and Zaslaw: _The
Birth of the Orchestra_, giving examples from Quantz and CPE Bach.
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. A typical church or concert hall can easily
accommodate a pipe of that length.
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On Nov 14, 2008, at 9:08 PM, John Howell wrote:
At 2:03 PM -0500 11/14/08, Andrew Stiller wrote:
James McKinnon, who taught a course on this at SUNY Buffalo back in
the '70s, made the important distinction of realistic, but not
real. A major example of this is a famous painting of St
of this is a famous painting of St. Cecilia at the organ,
in which the lengths of the pipes increase linearly from low to high
instead of exponentially from high to low.
Andrew Stiller
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at
http://www.kallistimusic.com/APSblurbs.html A few other audio clips on
this same page also use quartertones, but this one is the most dramatic
and obvious in that way.
Andrew Stiller
Kallisti Music Press
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that the soloist's solo and tutti marks be shown
only in the solo part and in the score. There is no need for the
accompanying musicians to know about them, as long as the conductor
does.
Andrew Stiller
Kallisti Music Press
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a complete early-19th c. articulation library set up,
which includes sharp, natural, and flat signs configured so as to
appear immediately left of the notehead, but far enough away to
allow room for Finale's own accidental to appear between.
Andrew Stiller
Kallisti Music Press
http
On Sep 7, 2008, at 9:29 PM, Aaron Sherber wrote:
At 08:55 PM 9/7/2008, Andrew Stiller wrote:
I get my long combs from the Spiral Binding Co., Totowa NJ,
www.spiralbinding.com, phone 973-256-0666. They will cut combs to just
about any length you like, but since there is a surcharge for every
, phone 973-256-0666. They will cut combs to just
about any length you like, but since there is a surcharge for every
cut, I find it considerably cheaper to buy them full-length (76 rings)
and cut them down myself as needed (which can easily be done with a
plain pair of scissors).
Andrew Stiller
expenses
down, since choral scores normally sell at prices comparable to an
extracted instrumental part.
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to defined or vice versa,
worked.
On Aug 14, 2008, at 11:54 AM, Andrew Stiller wrote:
There is a spot where I have to insert a key change, and for the
life of me I can't get it to happen.
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com
On Aug 14, 2008, at 3:26 PM, J D Thomas wrote:
Changing the measure number definition in Doc Options from actual to
defined or vice versa, worked.
Um, it's not in Doc Options anymore. Where is it?
--Andrew
On Aug 14, 2008, at 11:54 AM, Andrew Stiller wrote:
I'm editing a file
.
Advice would be very greatly appreciated.
Andrew Stiller
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On Aug 10, 2008, at 8:22 PM, Darcy James Argue wrote:
I would have thought lowercase too, but I've run into a fair number of
French scores that capitalize the pitch names for transposing
instruments -- the Dover reprint of the Durand Cie _Daphnis et
Chloé_, for example. Are instances like
.
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it, as it was quite rare for me, but it always
struck me as odd. IIRC, I did submit an enhancement request to MM to
increase this limit.
See Bach, WTC fugue XXII, for example.
Andrew Stiller
Kallisti Music Press
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that make a big part of its effect.
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, though, give them credit for
being one of the first rock bands with a full horn section, and
therefore one of the most influential groups ever.
Andrew Stiller
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.
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definitely *not* a form of popular music,
and CTA and BST developed huge audiences precisely because theirs *was*
popular music. That's what popular means!
Andrew Stiller
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A SLUR would normally be used in place of a tie between unequal
pitches. As far as I know, unequal pitches are NEVER tied together.
Yours; Bill Sinclair
Enharmonic shifts: Eb tied to D# e.g.
Graphically, yes a slur should be used, but playback ought to give one
continuous note.
Andrew
linked parts.
That being so, what use will 2K9 be to me? Precious little, it
seems, and I am now resolved to uprgrade beyond 2K7 only if and when my
composers become unable to send me materials in a form I can currently
work with.
Andrew Stiller
Kallisti Music Press
http
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