John Howell wrote:
And it's been obvious for years that Finale makes it TOO easy to
reduce the size to get more systems on a page,
You are hilarious, sometimes, John! Just how difficult should Finale
make it to reduce the size? Should warning bells go off if the user
selects too small a
Blake Richardson wrote:
I'm working with Finale 2009 on a Mac and I'd like to break a system with
hash marks, like in the following example:
http://gallery.me.com/btr1701/100039
(Click on the thumbnail and it will enlarge.)
Probably a simple question and I've looked through the online manual.
I've just sent off a strongly worded complaint to Microsoft. In MSWord,
it is simply too easy to shrink text down to 6 point size. As of now,
some idiot and his idiot publisher could publish a novel using 6 point
type, and this would be a terrible thing! I told MS that they should
either
Aaron Sherber wrote:
(This is where one of the listers -- I forget who -- jumps in and says
that they have long used Finale as a word processor.)
Not me - I haven't used a notation program as a word processor since
Personal Composer.
(I hope no former Personal Composer users were drinking
I use Finale for my demos, for the most part, because I never became
fluent with sequencers and I constantly tinker with the notation of my
files. I have done a bit of splitting and remixing in Audacity or
ProTools, but prefer to keep thing in Finale.
My 1 1/2 cents.
RBH
dhbailey wrote:
Thanks, Jari!
Excellent review. Good explanation of staff changes. I'll return to
your review when Fin2011 arrives.
Thanks for posting!
Raymond Horton
Jari Williamsson wrote:
Hello!
I've posted a Finale 2011 Review (with a few usage tips as well) on
the Finale productivity tips
This bad keyboardist votes for #1. #2 is difficult to decipher without
repeated looks.
RBH
On May 28, 2010, at 7:47 AM, dc wrote:
I didn't get many (or any) replies to my first message on this
subject, so I thought I'd try again with an example to make my
question clear.
This is a
Mark D Lew wrote:
On May 27, 2010, at 12:06 PM, Ray Horton wrote:
I agree. I remember a music history teacher saying that Schoenberg
taught film composers in LA, but I never came across names. I
believe that Korngold and Waxman were students of his, but earlier,
in Europe.
I think you're
Aaron Rabushka wrote:
In one of the scores I'm working with now I put a bass clef in the
middle of the right hand for one of the piano parts. Often times I'll
be looking it over and this clef has disappeared, showing the passage
(correct but looking absurd) in the treble clef. Has any of you
David W. Fenton wrote:
In addition to that, by the time The Fantasticks came out, there'd
been decades of film music that consciously borrowed the most
advanced musical techniques from avant garde composers. I am
convinced that the fact that this music became part of the vocabulary
of film
Mark D Lew wrote:
On May 26, 2010, at 9:22 AM, John Howell wrote:
From what I can see, the new lyric features are more like playing
catchup with Sibelius, although I can't make a side-by-side
comparison. Infinite verses might better than Sibelius' limit of 5,
for people doing hymn books.
Andrew Moschou wrote:
There is no limit!
Who said there was? g
Actually, some spy sib user brought it up, I believe...
RBH
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
dhbailey wrote:
I was quite impressed with their mention of over 375 sounds from
Garritan, until I actually looked at the PDF file which lists them all
and over half of them are different percussion sounds or sound
effects. Still no alto flute or bass flute in the list, but now
there's a
John Howell wrote:
Hardly a spy! I've monitored the FinaleList much longer than I've
been on the SibList, since our Department adopted Finale before being
forced to drop it when our students were ready to show up with new OSX
computers. And I find the different discussions very
On my side - I keep one eye open for good reasons to start the Sib
learning curve. So far, I haven't seen them. Could still happen, but
not so far.
RBH
James Gilbert wrote:
Ray Horton wrote: - actually David H. Bailey:
When I started using Sibelius more intensely, I, too would
often
Matthew Hindson (gmail) wrote:
Speaking of postage and being non-US, I wonder what the Australian
distributors will charge for this F2011 upgrade. We seem to pay
significantly more over here for every upgrade.
Matthew
Yes, but in their defense I do imagine it's pretty expensive to have to
Ryan wrote:
Well, CDs and DVDs have to spin the opposite way just like water going down
the drain, right?
exactly
Matthew Hindson (gmail) wrote:
Speaking of postage and being non-US, I wonder what the Australian
distributors will charge for this F2011 upgrade. We seem to pay
Lora Crighton wrote:
--- On Tue, 5/25/10, Christopher Smith christopher.sm...@videotron.ca wrote:
Click on the video to see how lyric entry and spacing is
improved. Does that seem like enough to you guys who do
choral music?
After many years of not bothering with the upgrades - I
One thing that is always worth a giggle to me in the Wikipedia article
is the reference to African-Americans - in CANADA. I suppose the
politically-correct thing is to refer to geography rather than to
race, but the race IS the issue here, not the geography. I hear people
referring to
Ryan wrote:
I love hearing these horror stories from musical theater. I'm getting
ready to conduct Fiddler on the Roof and the director has told me he's
considering putting the orchestra on stage (partly in the wings), so that we
can become the wedding band at the end of Act I. I don't like the
Ditto. I've tried rits and accels once or twice, each new version. I
always end up putting in my own with hidden MM marks or whatever. The
shapes are not intuitive.
Raymond Horton
James Cooper wrote:
I use it occasionally, usually for a ritard. Then I usually get frustrated
because I
I agree with you, Christopher. I'm not certain if I was ever more than
approximating on the tuplet version. I may have had it cold, but it
didn't feel cold. I could bring the 12/8 version to a rehearsal to ask
someone else to play - I wouldn't want to bring the other one in.
But, I
I feel obligated to point to a Beatles novice that, although this song
comes from one of the greatest pop albums of all time (Abbey Road),
this song often shows up on lists as one of the Beatles worst.
Bob Morabito wrote:
http://www.youtube.com/watch?v=ESwtizE0l5U
On Apr 27, 2010, at 3:13
Christopher Smith wrote:
You can use a Bb major key signature (hold note to same pitch so they
don't tranpose up a m3!) which might mess up your minor-mode
enharmonic defaults, but that is easy enough to fix.
C.
On Tue Apr 20, at TuesdayApr 20 7:59 PM, Ryan wrote:
I've forgotten the cure
David W. Fenton wrote:
Image here:
http://dfenton.com/images/ArlenIncipits.png
This has stumped a number of people. Do any of you recognize either
or both?
I looked at the verses and choruses of all of the 75+ songs in my copy
of the _Harold Arlen Songbook_ (Hal Leonard), plus a few
Hey, guys, wait at least a week or two before you scare him off!
RBH
Randolph Peters wrote:
Oh boy. I hope this won't get ugly, because we all need a lot of good will
between Finale users and MakeMusic.
Justin, you might not realize it, but you just pored gas over a burning fire.
If any
This is the way in Windows, also, but when I do this I can't get Windows
to recognize or find the newest version of Finale.
Raymond Horton
Bernard Savoie wrote:
I haven't seen an answer posted to your query apart from Christopher
Smith's suggestion. So here is a way to get a little bit of
be helpful in sharing
files with others but annoying otherwise. So, is Finale's unistall
safe, now? Or is Windows remove programs?
RBH
David W. Fenton wrote:
On 20 Mar 2010 at 13:48, Ray Horton wrote:
This is the way in Windows, also, but when I do this I can't get Windows
John Howell wrote:
At 10:58 AM -0400 3/15/10, dhbailey wrote:
timothy.price wrote:
As radical an idea as actual experimentation may be, I tried it on
my trumpet, and by gosh, you get a much louder sound
using the reversed mouthpiece. Imagine that !
But you also get a different timbre, so
dershem wrote:
On 3/14/2010 10:03 AM, Katherine Hoover wrote:
Dear Finale List
Working on a mac OSX, Finale 2004.
The glissando marking comes with the wordglissando running up its
back. How can I get rid of the word? Or is there another way to mark a
gliss?
Also - I received no answer about
Excellent instructions, Noel.
I would add one thing:
Noel Stoutenburg wrote:
When files contain lyrics, I have had the best luck when I did not try
to merge the lyrics by this method. Based upon my experience, if I
were called upon to do this, between step 2 and 3 above, I would
delete all
Darcy is correct, both about the ability to make sounds through a brass
instrument with air, when one desires to, and about the probable intent
of the trumpet player in question.
Back when the Louisville Orchestra was in the forefront of performance
of new music for orchestra (days past,
dershem wrote:
Seriously, though, the limits depend on the player. I can recall
seeing Bill Watrous speak through his trombone.
cd
None of these effects are as resonant as actually _playing_ the
instrument, though, and can fool the player, and possibly the conductor,
as to how far the
dershem wrote:
Seriously, though, the limits depend on the player. I can recall
seeing Bill Watrous speak through his trombone.
cd
..
That could be fun, but Bill did more of a ... controlled vowel
movement, changing the timbre of the sounds he played to sound like
speech. He was
Dean M. Estabrook wrote:
Hi ... I own a Wilsun Euphonium (Canadian Brass Edition) finished in
Silver. Is there a polish you can recommend to take a few spots off of
the surface? I'm assuming it is in fact a silver finish, not nickel
plated ...
Thanks,
Dean Estabrook
Hagerty Silver Spray
Dean, how do you like that horn? I got to try one, when the CB had only
two left to sell, back in 1995. I was interested in it for a
handicapped student I had who couldn't use his left arm, but the parents
balked at the price, even though the CB was giving me a good one.
Now I am interested
CB sold this horn, made by Willson, and then a non-comp American-type
euphonium made by Getzen. Both with the CB name on them. Probably no
model number needed. Yours was sold for only a short time.
Let me know if you want to sell it!
Ray Horton
Dean M. Estabrook wrote:
I love the horn
: [Finale] Any Euphonium Players out there?
BTW, I found the Willson inscription on a valve casing ... so I
guess it's the real Mc Coy, er Mc Willson ...
Dean
On Feb 10, 2010, at 12:48 PM, Ray Horton wrote:
Dean, how do you like that horn? I got to try one, when the CB had
only two left to sell
So, does this Lassus font have really great glissando markings, or what?
(Hey, a lot of trombone players on here, and one of us had to ask.)
Raymond Horton
Haroldo Mauro Jr. wrote:
That's the same one I have installed. Thanks.
Harold
At 15:13 + 05/02/10, mmathew1...@comcast.net
Sorry you missed the joke. Ask a trombone player, I guess.
RBH
Haroldo Mauro Jr. wrote:
No, and it is not intended to for score writing. Its purpose is to insert music
symbols into a regular text document, as text.
Harold
At 14:15 -0500 05/02/10, Ray Horton wrote:
So, does this Lassus
John Howell wrote:
At 11:55 PM -0500 1/27/10, Ray Horton wrote:
Really, now, how many legit' sax players do you have around V. Tech,
anyway?
Most of them. Our sax professor is straight classical, and when we
had a jazz sax teacher on the faculty (whom we lost during the first
state
John Howell wrote:
At 9:12 AM -0800 1/27/10, Dean M. Estabrook wrote:
Can writing Falls for Saxes be as effective as for brass?
Dean
Yes, absolutely, if they understand jazz style. Legit players
wouldn't have a clue. But it's a little more difficult to taper them
off.
John
Once
I would suggest numbering all of the measures around the cut. I think
the arrow could help, also.
RBH
Jari Williamsson wrote:
Noel Stoutenburg wrote:
The measure number has no particular significance other than being
the address (to borrow a computer term) of the measure. The only
Rich Caldwell wrote:
To those with experience in setting hymns:
I'm setting a hymn with 6 verses. I'm not terribly familiar with the conventions —
what would be a good limit to the number of verses between the treble bass
clefs in a system? They want all the verses to be in the music, not
I agree with you 100%, Mark.
Raymond Horton
Minister of Music,
Edwardsville (IN) UMC
On the larger question, I am generally of the opinion that lyrics are
always printed too small. Obviously that rule can't be taken to the
extreme, but I almost never see lyrics that are bigger than they
piece that I conduct, which is impractical, mostly I just squint,
guess, and smile.
Ray Horton wrote:
I agree with you 100%, Mark.
Raymond Horton
Minister of Music,
Edwardsville (IN) UMC
On the larger question, I am generally of the opinion that lyrics are
always printed too small
No problem, Deen.
Dean M. Estabrook wrote:
Thanks Ramond ... will do.
Dean
On Jan 10, 2010, at 6:29 PM, Ray Horton wrote:
Try:
http://www.trombone.org/classifieds
Only horns there in your price range right now are single valve, but
it gets updated on Mondays.
Raymond Horton
Bass
Try:
http://www.trombone.org/classifieds
Only horns there in your price range right now are single valve, but it gets
updated on Mondays.
Raymond Horton
Bass Trombonist,
Louisville Orchestra
Dean M. Estabrook wrote:
Any of you folks have a line on a decent used Bass Bone (just missed
I was just going to suggest that. I have had the same thing happen - I
know in 2010, can't remember if it happened in 2009 also. Some parts or
score will set their copies to zero with no help from me. It's
dumbfuddling - clicking print, no response.
Raymond Horton
Lee Dengler wrote:
I
Robert Patterson wrote:
I haven't used Finale's two up printing in a while. Is it me or has MM
completely f@@!ed it up? If I set the page size to the 2-up size, it
gives me a whiny message about the page size not matching the Finale
page, then doesn't print anything useful at all. If I set it to
Dean, if you are using GPO and/or Human Playback, you may have to edit
the playback window to incorporate the midi commands. HP may be
ignoring them. If you can't find what I mean I'll dig in myself and get
more location-specific.
I haven't tried setting velocities to zero in years,
Dear list,
I am using WinFin 2110a and GPO4. I am working on a full orchestra
score, including all horns, trumpets, trombones and strings loaded with
KS (keyswitched) patches.
Am I correct in that all I need to do, when using the KS patches, to
change between mute and open for the brass,
. Now my
only problem is the lack of a KS bass trombone (or tuba) patch in GPO4.
I'll use a workaround.
Thanks!
RBH
dhbailey wrote:
Ray Horton wrote:
Dear list,
I am using WinFin 2110a and GPO4. I am working on a full orchestra
score, including all horns, trumpets, trombones
now work (yea!) but the mute and open do not. Even
the expressions that sometimes worked before now work less often. Same
GPO patches in both files!
I can switch them manually in the Aria Player, but, well, that misses
the point entirely.
Very strange.
Raymond Horton
Ray Horton wrote
OK, when I load new staves and patches for the brass, the keyswitches
work OK. Something had gotten fouled up with the old ones. Easily
replaced.
Thanks, David.
RBH
Ray Horton wrote:
Hmm, I spoke too soon. When I created a new file using staves with
GPO4 sounds, the supplied
Dean M. Estabrook wrote:
Breaking News! I just downloaded the updater and completed the
installation in about 6 min. Things are looking up ..
Dean
O
OK - here's a question for all of you folks that seem to know what goes
on inside his magic metal box:
I DL'd the update the first day -
David W. Fenton wrote:
On 21 Oct 2009 at 19:10, Ray Horton wrote:
Should I run the huge Tuesday update or DL the new, lean, Thursday
update and run it instead? Or are they the same file?
I would say that it's 99.99% sure that it's the same file, and the
only difference
steves...@aol.com wrote:
Doesn't the Brahms Requiem finish one movement with a huge fugue section that
is essentially a D chord?
-Steve S
NYC
Here is a link to the score of that movement on the IMSLP.org site. It
has a very long D pedal point, starting at meas. 173 - page 110, (bass
Beatles Tomorrow Never Knows (Lennon-McCartney, actually just Lennon).
On the Revolver LP.
It's always described as having only one chord (C) but I always have
heard it as an implied C Bb C progression.
Raymond Horton
Matthew Hindson (gmail) wrote:
Can anyone recommend some works or
That recording is very interesting, Kim. An Archiv 45 single! I think
the recorder is much closer to the mic than the trumpet (and everybody
else, for that matter) - it has an unusual presence.
I hope I can find an old 78 set I have, somewhere, of a Brandenburg 2nd
that is a period
Corporation of Mariposa County
http://arts-mariposa.org/symphony.html
http://www.geocities.com/~jbenz/lesbio.html
- Original Message -
From: Ray Horton
To: finale@shsu.edu
Sent: Saturday, September 19, 2009 7:07 PM
Subject: [Finale] smallest notebook for Finale?
What's
What I do in that case is turn it into 8 pages - add a title page
before page 1 and a blank page after the last page. (Remove the page
number from the back page if you want.)
Then I print pages:
8,1
6,3
then flip them and print
2,7
4,5
If you don't want to add the title just add two blank
We really ought to get into the habit of changing the subject line. I
imagine that more than a couple of Finale users here have been deleting
the Ophecleide messages but might wish to participate in this thread.
I would have thought that Italian terms would communicate the most, esp.
in
The D trumpet would give a smaller sound (contrasting to the C or Bb
trumpets), would make the high notes more secure, but would not give the
characteristic cornet timbre.
One popular instrument for the more exposed and difficult cornet parts
is a Cornet in C. It's often used on Prokofiev
Andrew Stiller wrote:
Just a reminder to all: In Spanish ... clavicordio means square piano.
Man! Knowing that could have saved me thousands in medical bills the
last tine I was in Mexico.
My humblest of apologies,
Raymond Horton
___
Oh, David, please read the thread before you keep at this! If you had
then you would know, by now, that the term ophecleide came to be
attached to a valved brass instrument by 1850, so this Modern
Ophecleide is certainly in that tradition. My informed guess is that
the 1850 creature had a
of
these parts, and ophecleide players just are not out there on the
streets clambering to get in.
Raymond Horton
Bass Trombonist
Louisville Orchestra
David W. Fenton wrote:
On 1 Sep 2009 at 16:10, Ray Horton wrote:
Oh, David, please read the thread before you keep at this! If you had
then you
arabu...@cowtown.net wrote:
...
ajr
who still thinks that Landowska's Bach is some of the best on record
I suppose the point, about Landowska's metal harpsichord, is that it was at least heard before it is judged.
I am sure there are some real differences in piano construction between
My one performance foul-up with a Graingerism involved reading an MS
transcription of some short, soft band piece for orchestra. I was
playing a euphonium solo, and at the end it had the indication slow
off but the last ff was a bit detached from the slow o. I started
to read the ff as a
Pianoforte and Fortepiano were both used as early names for the
invention, soon shortened to piano for general use. Fortepiano has
come into use in recent decades to distinguish an early instrument or
reproduction. The name piano persisted from soon after invention to
present day, as I said,
David W. Fenton wrote:
On 1 Sep 2009 at 21:22, Ray Horton wrote:
Pianoforte and Fortepiano were both used as early names for the
invention, soon shortened to piano for general use. Fortepiano has
come into use in recent decades to distinguish an early instrument or
reproduction
wrote:
From: dhbailey dhbai...@davidbaileymusicstudio.com
Subject: Re: [Finale] OT: Ophecleide
To: finale@shsu.edu
Date: Monday, August 31, 2009, 11:37 AM
Ray Horton wrote:
[snip] The most astounding conclusion/discovery of
Meucci, to me, is that in
Verdi's famous 1871 letter prior
David W. Fenton wrote:
On 29 Aug 2009 at 23:19, Ray Horton wrote:
I think this instrument might be an excellent solution to a long-time
problem. The tuba is an imperfect substitute for an ophicleide, but a
real ophicleide is not necessarily a good modern solution, soundwise
John Howell wrote:
At 11:19 PM -0400 8/29/09, Ray Horton wrote:
John Howell wrote:
Nothing wrong with inventing new instruments, but one should avoid
using the names of older instruments for them!
You mean like the cornet?
Well, at least that was a direct and one-to-one replacement
We should nag Finale to give us a choice. with Speedy and transposing
instruments. I, like many, would like to play/hear a concert pitch note
and have the transposed note appear. That's the way I think.
There might even be a third preference. Some might like to play the
transposed
John Howell wrote:
At 7:29 PM -0400 8/28/09, Glen Daum wrote:
For whatever it's worth, I feel obliged to report that I heard Kyle
Turner play the ophecleide a couple of weeks ago in a performance
with the American Symphony Orchestra, conducted by Leon Botstein at
Bard College, in a
times to keep tuba players out of Verdi's pit
possibly should be used to get them back in, with a smaller tuba.
Ray
Howard Weiner wrote:
At 19:15 27.08.2009 -0400, Ray Horton wrote:
Two separate instruments were developed in the latter 1800s - the BBb
slide contrabass trombone for Wagner
Let's see -. not sure just what the problem here is.
Entering notes - you are playing concert pitch, but you want it to show
up on the score as printed for Bb Clarinet, correct?
Yes, this situation has existed for years, Finale thinks we prefer it
this way. It thinks we want to enter in
...@online.de
Subject: Re: [Finale] OT: cimbasso
To: finale@shsu.edu, finale@shsu.edu
Date: Friday, August 28, 2009, 3:15 PM
At 07:32 28.08.2009 -0400, Ray Horton
wrote:
As long as we are this far OT, Howard, to me,
according to Meucci, the real kicker is that, in Verdi's
suggestion
to give (well, sell) a modern performer a New
Ophecleide.
RBH
Ray Horton wrote:
Klaus Smedegaard Bjerre wrote:
Wow! I had not seen that!Another new instrument designed to go
back in time, just like all of the contemporary 'cimbassi.' According
to my pidgin German and an auto
But these were not what you described before, Andrew. These are
contrabass trombones in BBb (and one in F) made to play Wagner, etc.
Not suitable for everyday use, not versatile, not the instrument for
your utopian brass section. Use it only if you have at least four
trombonists. The
Our first trumpet player plays a posthorn on occasion, and gets a very
dark sound on it - it has a very large bore in comparison to it's length
- as opposed to a D trumpet.
The player that chose a D trumpet probably did so for intonation or
comfort, but probably not for timbre. Actually,
I forget - in what key is that (Mahler 3 posthorn solo) passage?
arabu...@cowtown.net wrote:
You could still tell it was a D trumpet and not something more mellow. I
don't know if it was the player's choice or the conductors's.
ajr
___
, as it appears in the first
trumpet part.
Dalvin Boone
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
Ray Horton
Sent: Thursday, August 27, 2009 12:44 PM
To: finale@shsu.edu
Subject: Re: [Finale] OT: mutes for flügelhorns?
I forget - in what
the name
and function are muddied a bit. Purists may want to call this a
modern F bass trombone but that will confuse everyone else. I hope to
get to try one of these out in a few months.)
Links:
Andrew Stiller wrote:
On Aug 26, 2009, at 6:57 PM, Ray Horton wrote:
Andrew suggests
arabu...@cowtown.net wrote:
So is the advantage to writing for a contrabass trombone one of range, or
strictly one of timbre? Just looking through the Ring Cycle it doesn't
look like the contrabass goes down any lower than the regular bass. I
understand thet IU had two contrabass bones, both of
Andrew suggests:
contrabass trombone (i.e. wide-bore Bb/F bass w. addl. D trigger)
Just what do you mean, Andrew? Do you mean a contrabass trombone in
BBb, same pitch as a BBb tuba, but with two valves? Not made - no
valves, or one valve only. Either way, the contrabass slide trombone
The Mahler posthorn solo is actually labeled 'flugelhorn' in the part.
RBH
arabu...@cowtown.net wrote:
...Also, the flügelhorn
often stands in for the posthorn in the 3rd movement of the Mahler 3rd,
and it sounds much better in this capacity than the d-trumpet that is
sometimes used.
ajr
I agree to most of what you say, Jim, except for #1. I am sure that
cimbasso was not on Andrew's mind. Cimbasso is not a versatile
instrument, the sound is a specialized one, and yes, I do own own one -
a Cervany bass trombone sized straight model in F. Perfect for the
lighter cimbasso
Well. no one else has supplied this, so it is up to me:
The only workable plural of chalumeau is clarinets.
Raymond Horton
Pierre Bailleul wrote:
The correct plurial of chalumeau (all names in au and eau) is
chalumeaux.
Pierre.
- Original Message - From: Kim Patrick Clow
I think alto clef could be quite confusing to even experienced horn
players. Treble (in D) in the score and parts, with a note in score,
and alternate parts in F, would cover everything required of a
performing and scholarly edition.
RBH
Lawrence Yates wrote:
I think that was the point I
in the samples I provided, the first note of the horn
part was G. Turns out the horns were in G.
Thanks
Kim
On Fri, Aug 21, 2009 at 10:36 AM,
dhbaileydhbai...@davidbaileymusicstudio.com wrote:
Ray Horton wrote:
I agree 100% that the score and parts should be written in original
notation
Hmm. What sort of reputation does Hinshaw have in this area?
Interesting, though.
Martin Banner wrote:
I have a modern edition (published by Hinshaw Music) of Credo in D a
8 by Giacomo Puccini senior, the great great grandfather of the
famous opera composer of the same name (1712-1781),
. If
you click on the second link down below, you can go directly to a
listing of my editions in the Hinshaw site. Same for Alliance and
Colla Voce, the first three links below in my signature.
Martin
On Aug 21, 2009, at 2:03 PM, Ray Horton wrote:
Hmm. What sort of reputation does Hinshaw
We performed and recorded a couple of David Baker pieces in the LO back
in 1974.Great guy.
John Howell wrote:
At 2:54 PM -0400 8/21/09, David W. Fenton wrote:
Certainly, French music printing in the early 18th century (for
example) is very elegant and easy to read from, but a lot of MSS
I agree 100% that the score and parts should be written in original
notation, substituting mainly treble clef, BUT:
I am confused. The two PDFs Kim posted, (if they are score and part for
the same measures), are obviously written for horn in A. Are we
discussing two different sections of
Garritan. I wish I could tell
you EXACTLY how to get there but it's been a while and I've
forgotten. Maybe you've solved it already.
John
John Armstrong
University of Ottawa
jarms...@uottawa.ca
Check out my web page at http://aix1.uottawa.ca/~jarmstro!
On Sun, 26 Jul 2009, Ray Horton wrote:
I
I understood Noel - it was not difficult.
RBH
noel jones wrote:
I don't think that there was a point...I can only blame this on taking
Benadryl and then typing.
noel
On Jul 31, 2009, at 5:41 PM, James Gilbert wrote:
And the point? I don't get it.
All that comes to mind is the implication
I was having some problems with Finale Windows 2110 and playback. Right
now I have none, either from Garritan or midi, and have returned to
2009b until I get some time to mess with 2110 some more.
I liked many of the new features, though! Such as the ability to
import any type of graphic
George,
Actually, I have had the problem before, and your asking about it made
me search out a solution. So, thank you!
Ray
George Ports wrote:
Your suggestion work perfect. Thank you so much Raymond. This has been
a long time problem.
George
- Original Message - From: Ray
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