to switch from, say, snare drum to
vibraphone and back again without having to invoke staff styles.
Andrew Stiller
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On Sep 16, 2005, at 12:13 PM, Jacki B. wrote:
Hi, Everyone - So is the new version of Finale worth the $100 upgrade
fee?!
I'm on a Macintosh running Tiger...
Thanks for any info/opinions!
Not unless playback is terribly important to you, IMO.
Andrew Stiller
Kallisti Music Press
http
we're now offering the
Akiles CoilMac-M Manual Punch and Coil Inserter.
http://www.npcimaging.com
I tried to go there, but Server Could Not Be Found.
--Andrew
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unsuccessfully sued Bracque (I think it was) for using a
fragment of their paper in a cubist painting.
But recent developments in music, esp. in the US, seem to go counter to
that, and I'm very puzzled.
Andrew Stiller
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), but there most
certainly was not in the original 1969 publication. Believe me, I
looked hard for it!
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are *not*
fair usage--but then how explain the Berio?
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On Sep 7, 2005, at 4:54 PM, Johannes Gebauer wrote:
I can't find this in Ted Ross, and am looking for a rule: When a tie
reaches across a System break, should an accidental be repeated on the
second note?
My policy is to do this only following a page turn.
Andrew Stiller
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to place a(n unparenthesized)
courtesy natural before any repetition of the pitch within that bar
just to make sure the player understands.
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for this, especially
inasmuch as the position and angle of the slash will vary from one
group to another.
This really is something that Finale ought to provide for.
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test
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test
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of
Italian would have created just as much confusion as the neologism
piatti cymbals appears to have done.
Me, I would have called the two sounds crash cymbal and crash
cymbals since IMO the use of singular vs. plural is perfectly clear.
Andrew Stiller
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seen speak of Moog's
synthesizer as a pop instrument, with no mention at all of the
classical electronic-music scene that gave it birth and nourished it
thru its first decade.
Not complaining, just bemused.
Andrew Stiller
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being of necessity highly
constrained in their range of variation.
Andrew Stiller
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the motion!
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to bind your 17 scores.
Andrew Stiller
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.
If I extract from only the first orchl. file, then paste the rest of
each part staff by staff from the other orchl. files onto the
individual parts files, what information if any will be lost?
Andrew Stiller
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. (And BTW, human playback does work when I play back files sent to me by others.)
The stuff described under human playback in the OLD is no help. What am I doing wrong?
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, no glissandos--got it?
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ritratto, 1858), Heldenleben was all that came to my mind, so it seems that this earlier work really was unique for its time.
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Vn.Ia and Vn. Ib. How should the string parts for such a piece
be distributed:
6.6.12.10.8.6?
8.8.8.10.8.6?
Something else?
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from the midi
file should work. Lemme try it and see what happens.
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not only in itself, but in that you will not then have
to go and unhide anything when you extract parts.
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to
the iTunes icon in the Dock.
3) Record the playback from Sibelius using Audio Hijack Pro or a
similar app.
OK. Thanks to both of you!
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.
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of the spelling), was even
more blatant.
The hichiriki is an oboe, and one who's shape I find considerably less
blatant than that of the clarinet, say. Somebody has an overly-vivid
imagination.
Andrew Stiller
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midi file for me?
Andrew Stiller
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OK, how do I change (or dump) a playback file to an AIFF? Gotta be
possible somehow.
--Andrew
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of the methods mentioned above. After that, whenever you want to edit
stuff high above the top staff, you can just select the special set.
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On Aug 3, 2005, at 1:51 PM, Raymond Horton wrote:
My appologies - thought I sent this as private.
Hi Dean,
Is that the compensating one with four front action valves? ...
De nada. It's interesting.
Andrew Stiller
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.
Also, as an alternative to entering hidden rests, you can define a
staff style with Display Rests In Empty Measures turned off, and
apply it to that one bar.
Andrew Stiller
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understand uses for this.
Yes. You use it wherever a transposing instrument must appear without a
key signature, notably in non-tonal works and in earlier trp. and hn.
parts. Also good for pre-20th c. timp. parts, wh. also use no key sig.
Andrew Stiller
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On Aug 4, 2005, at 2:32 PM, David W. Fenton wrote:
It's a piece of cake to open the measure
properties dialog for the measure before it and then just navigate to
the next measure
Believe it or not, I had no idea that one could navigate betw. mm. in
the Measure Attributes dialog.
Andrew
use the term music therapy. There's a particularly good discussion in The Man Who Mistook His Wife for a Hat.
Andrew Stiller
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. your R 5th finger. The result is the D an
octave lower. This effect has been written in actual music. What does
GPO do in this case?
Andrew Stiller
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, the very similar sound of waves crashing on a beach--or of randomly modulated pink-noise.
Andrew Stiller
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, when it's at 'ome? I just looked in the index
of OSX--The Missing Manual, and there's no reference to it. ~/Public
means nothing to me, either.
Andrew Stiller
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Utility for *any* reason. Something actually goes wrong,
I'll use it.
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with this.
What happens if there's a single empty measure with no displayed
whole-rest?
FWIW, I keep my minimum measure width at 200 EVPU in parts, 300 in the
score.
Andrew Stiller
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On Jul 27, 2005, at 12:25 PM, Darcy James Argue wrote:
~ is UNIX shorthand for your user folder. Assuming your OS X
username is Andrew Stiller, it's probably called astiller and
located at Macintosh HD/Users/astiller, and it should be marked with a
home icon. Inside, there should
I downloaded Flash Player 7, necessary to view some web content, but
when I go to install it, I keep getting told I don't have the necessary
permissions.
I tried changing the permissions on everything I could think of, but no
luck. Any advice?
Andrew Stiller
Kallisti Music Press
http
that, are all my carefully changed permissions going to be
defined as broken and put back the way they were? If so, then no thanx.
Andrew Stiller
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(this was the
height of the ars subtilior, remember, and solo vocal lines--Ciconia's
included--had become unbelievably intricate) set the stage for early
Renaissance style of two generations later, but did not directly bring
this change about.
Andrew Stiller
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, but back in the day they preferred to use women if castrati
were unavailable.
Andrew Stiller
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as, in English, the word chorus, without further modification, means mixed chorus.
Andrew Stiller
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For whatever it may be worth, Maggie Roche has been singing tenor
professionally for 35 years without perceptible ill effect.
What's that you say? Pop singers don't count? I rather think they do.
Andrew Stiller
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BTW was the same guy that said Harry Partch's
instruments should be burnt) insisted any baritone who didn't want to
sing second tenor was just being lazy. I always came away hoarse after
playing/singing Sousa's Wisconsin Forward Forever.
Andrew Stiller
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.
Andrew Stiller
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going to sing a Renaissance mass w. women on the altus and cantus lines, you can hardly object to countertenors showing up for Schubert or Debussy!
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that this is not a joke, the actual line is I've come to wive it wealthily in Padua, and comes straight from Shakespeare. Petrucchio has come there to find a rich wife, regardless (as he explains in the rest of the song) of her looks or temperament.
Andrew Stiller
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. Is there some setting or option
that I'm
missing? Any thoughts on avoiding or resolving this problem would be
appreciated.
This is a longstanding, and very annoying, bug. It should have been
fixed long since. Complain to MakeMusic!
Andrew Stiller
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with these appropriate lines:
Labor not for earthly glory,
Fame's a fickle slut, and whory.
>From thy fancy's chast couch drive her.
He's a fool who'll strive to swive her!
The Sotweed Factor was a best-seller in its day, but Barth's revival of swive never escaped its covers.
Andrew Stiller
Kallisti Mu
such as raciness, humor, or irreverence. 2)
Language peculiar to a group; argot or jargon.
The F word (not to set off anybody's spam filters) is in fact standard
English. All it's numerous synonyms are either euphemisms, technical
jargon, or--slang.
Andrew Stiller
Kallisti Music Press
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, but compare there ain't
no flies on her!
I remember a joke from the '70s to the effect that Fly, robin, fly!
was something Batman said to his sidekick.
Andrew Stiller
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tech
support, who told me that whatever it was couldn't be done. I'd even
upgraded to Sib.3 because the announced list of new features included
improved beam control...
Andrew Stiller
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that too.
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I can't imagine why anyone would ever want to use it for any
other purpose.
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, but it isn't--the 16th-note beam is broken there,
and Sibelius can't override the break.
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, these
accidentals vanish if you so much as look at 'em funny. Lejaren Hiller,
whose music I publish, routinely and throughout his career placed
accidentals on notes tied from a preceding bar, and getting them all to
show up and stay put is a major continuing headache for me.
Andrew Stiller
Kallisti
in the long list quoted in this
thread, is its inability (as of Sib. 3) to break secondary beams. To
me this is a deal breaker all by itself, though I do keep a copy of the
program to edit the occasional Sibelius score that comes my way.
Andrew Stiller
Kallisti Music Press
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might as well declare copyright on your
after-dinner conversation. Fortunately, it's legal hooey, since a
private list that publicizes its existence and accepts anyone who
signs up is not in fact private by either statute or case law.
Andrew Stiller
Kallisti Music Press
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Dennis Bathory-Kitsz:
I'm looking for consensus from the group before I send a formal
takedown notice to their web hosts.
You'll get no such agreement from me. If copyright subsists in these
postings, then it should not. Have you all gone nuts?
Andrew Stiller
Kallisti Music Press
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On Jul 12, 2005, at 4:06 PM, David W. Fenton wrote:
Consider the issues raised here (all on one line):
http://www.washingtonmonthly.com/archives/individual/2005_07/006691.ph
p
URL Not Found? I got no problem w. that! ;->
Google Andrew Stiller. Is it really your intent that your posti
Reducing it to if you don't like it don't post is a perfect example
of acquiescing to the Tragedy of the Commons, as though there's
nothing can be done about exploitation of a resource that kills the
usefulness of that resource.
--
David W. Fenton
Funny, I'd have said that the
it is
still potentially misleading, as it could be interpreted as
'accel.subito 9:8 faster'.
The magic word al absolutely rules this out. In any event, the issue
would be the same without a proportion (accel...al...più mosso is a
common enough instruction).
Andrew Stiller
Kallisti Music Press
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in their phrasing, jokes I get on this
list always go right past me. In this case, I thought Chris had
inadevertently written Finale when he meant Sibelius.
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of
an accel. or rit. makes no difference to that fact.
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the old tempo - how would you notate that?
Look, either there is a proportion or there isn't. If there is, you can
put it in a tempo marking (e.g.: 8:7 faster), and if there isn't, you
can't put it in a time sig. Throwing in rits. or accels. makes no
difference.
Andrew Stiller
Kallisti
, and in commentaries from the time, and neither
suggest anything other than that the music was meant to be played, and
to be played as written. I might add that the musical results when
these works are performed support the viability of such a conclusion.
Andrew Stiller
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think
any implementation must handle it.
The cadenza example was about having more measures in the part than
there are in the score.
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of complexity appear in a large body of music from the late 14th-early 15th centuries. Should these be ignored?
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realise that the ratio
54:60.75 is the same as 8:9, and 54:47.25 is 8:7. So they're actually
rather simple shifts in tempo.
And should have been notated as such.
Andrew Stiller
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, somehow
be retrievable and transferrable.
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part (e.g.,
optional cadenza not written out in score)?
Cue notes--not in score, and different in different parts?
Divisi on 2 staves vs. 1?
Above all, as I've just remarked elsewhere: different Page Setup
settings?
Andrew Stiller
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directly below on the same
page?
Yes.
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, and I know of no recording in which that is done.
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On Jul 7, 2005, at 1:34 PM, Christopher Smith wrote:
Next year, metric clocks!
...which you can see, BTW, on the walls in Fritz Lang's Metropolis.
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included in Fin2k6 sound like, etc.
That would be me. However FWIW I've decided to give 2K6 a miss because
the playback improvements, though certainly worthwhile, are not IMO
worth the upgrade cost--even when the improvements introduced in 2K5
(which I also skipped) are thrown in.
Andrew
Thinking about the issue of linked parts, I realize that what I would
like is considerably less than that. Dynamic linking is useful only if
you make musically significant changes in the score that need to be
reflected in the parts. I won't say I never do that, but it only
happens once or
When Sibelius contacted me RE what features I would like to see in Sib
4, I asked for the solutions to my two pet peeves: The ability to apply
a single bracket type at multiple horizontal positions in a single
system, and the ability to break secondary beams at will.
Anybody know if either
narrow limit without
losing the program's original constituency. Of course, there is always
a strong temptation to do just that, because that's where the money
is--but MakeMusic wouldn't do that. Would they?
Andrew Stiller
Kallisti Music Press
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requirement of any
reformed notation of compound meter must be that the top of the
signature reflect the actual number of beats in the bar.
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--should be
user-configurable, just as in the existing Music Spacing dialog.
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understood immediately and have, gratifyingly, endorsed.
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.
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. _Grove_.
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the interval of a 5th. The term was also used from the 15th century to signify the substitution of three imperfect notes for two perfect ones... [the rest previously quoted by me].
Andrew Stiller
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to be absolutely standard, and actually was logical in terms of
the way metronome marks are indicated: we say Q = 120, after all, not
120 = Q. But of course it was confusing and has been largely
superseded. Me, I always use arrows except for cautionary proportions
of the Q = Q type.
Andrew Stiller
it
appears (that is, within the 3/4 measures. The 6/8 measures are notated
in 6/8 patterns in all parts).
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I am obviously stupid, but can someone explain to me what this means,
and in what way it is an example for 6/4 being 3x2/4? The poem seems
to be in 2x3/4.
Johannes
Sorry, I misread your post to mean the opposite of what it actually
said.
Andrew Stiller
Kallisti Music Press
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for something as consistent as this example. I'd trust musicians to understand that in a flash.
Chuck
I have the score in front of me. He writes it as 6/8 (3/4) with the header Tempo di Huapango (fast). The beaming of the hemiolated (3/4) measures is inconsistent.
Andrew Stiller
Kallisti Music Press
Some of my colleagues have replaced this term with Predominant to
be more clear.
Christopher
Is that the predominant opinion?
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allow for the
engraver's judgement, and they form a constant risk of undoing, e.g.,
one's carefully customized note spacing.
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google it someother day.
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, and post it to the
internet, will someone listening to that file over the internet hear
the same sounds, or just whatever MIDI sounds their own computer has?
Andrew Stiller
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that produced their sound by purely
electronic means. Significantly, these were considered inferior to the
electroacoustic kind.
And BTW, does the subcontrabass saxophone even exist? As an actual
instrument?
Andrew Stiller
Kallisti Music Press
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Actually, a frame is one *layer* of one bar of one staff. This is of
course not relevant to your sensible fee scheme, but should be
understood as a Finale technical matter.
Andrew Stiller
That may be your definition (and it is one with which I concur), but
that's not Finale's definition
that to its customers.
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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