Re: [Finale] Re: OT--low f's for altos?

On May 18, 2011, at 10:47 AM, John Howell wrote: > I notice that the wording of some comments suggests that the SINGERS are > making these choices. Of course that isn't true. It's the composer or > arranger who makes these choices, and makes them on the same basis that's > used when scoring fo

Re: [Finale] Re: OT--low f's for altos?

Whoa I had no idea it was that complicated ... thanks. I guess it's good to know, that we don't know ... Dean On May 18, 2011, at 11:20 AM, John Howell wrote: At 10:36 AM -0700 5/18/11, Dean M. Estabrook wrote: Yeah, I have pretty much been instructed that the Baroque "A" is equal t

Re: [Finale] Re: OT--low f's for altos?

On 18.05.2011 20:20, John Howell wrote: At some times, and in some places! The hardest thing to wrap our minds around is that THERE WAS NO PITCH STANDARD AT ALL!!! A pretty good overview and explanation of this whole issue is to be found in Bruce Haynes, _A History of Performing Pitch: The St

Re: [Finale] Re: OT--low f's for altos?

At 10:36 AM -0700 5/18/11, Dean M. Estabrook wrote: Yeah, I have pretty much been instructed that the Baroque "A" is equal to our present "A-flat." At some times, and in some places! The hardest thing to wrap our minds around is that THERE WAS NO PITCH STANDARD AT ALL!!! The modern A = 415

Re: [Finale] Re: OT--low f's for altos?

On May 18, 2011, at 10:27 AM, John Howell wrote: > The only problem I can see is that in a huge majority of standard choral > repertoire, because of the imitation of lines between men's and women's > voices, they ARE used with octave displacements. In ALL of the polyphonic > choruses in "Messi

Re: [Finale] Re: OT--low f's for altos?

On May 18, 2011, at 2:46 AM, Christopher Smith wrote: > I have noticed the OPPOSITE with untrained voices, though you are certainly > right about trained classical voices. I suspect that Mark has the fortune to > be working with better-trained choirs than the national median. I have had the for

Re: [Finale] Re: OT--low f's for altos?

At 5:46 AM -0400 5/18/11, Christopher Smith wrote: Generally, the tenors stay up in their upper tessitura (choral Gs are very common) while sopranos save it for special occasions (generally staying under F until the climax), and there are way more amateur altos that still sound full down to F

Re: [Finale] Re: OT--low f's for altos?

Yeah, I have pretty much been instructed that the Baroque "A" is equal to our present "A-flat." Dean On May 18, 2011, at 10:27 AM, John Howell wrote: At 1:07 AM -0700 5/18/11, Mark D Lew wrote: On May 16, 2011, at 10:42 AM, John Howell wrote: Classical singers, voice teachers, and musici

Re: [Finale] Re: OT--low f's for altos?

At 1:07 AM -0700 5/18/11, Mark D Lew wrote: On May 16, 2011, at 10:42 AM, John Howell wrote: Classical singers, voice teachers, and musicians in general take it as an article of faith that men's and women's voices are an octave apart, and in a lot of situations that works just fine. Another

Re: [Finale] Re: OT--low f's for altos?

I've heard this before. Still, I don't want to take the sopranos up to c#''' without a complling reason. Aaron J. Rabushka arabus...@austin.rr.com - Original Message - From: "Mark D Lew" To: Sent: Wednesday, May 18, 2011 3:07 AM Subject: Re: [Final

Re: [Finale] Re: OT--low f's for altos?

I have noticed the OPPOSITE with untrained voices, though you are certainly right about trained classical voices. I suspect that Mark has the fortune to be working with better-trained choirs than the national median. Generally, the tenors stay up in their upper tessitura (choral Gs are ve

Re: [Finale] Re: OT--low f's for altos?

I have noticed this in opera, where the tenor's full-voiced high C is a more rare commodity than is the soprano's. I think Mark's estimate of a ninth difference is about right, on average. Raymond Horton Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC Composer, Arra

Re: [Finale] Re: OT--low f's for altos?

On May 16, 2011, at 10:42 AM, John Howell wrote: > Classical singers, voice teachers, and musicians in general take it as an > article of faith that men's and women's voices are an octave apart, and in a > lot of situations that works just fine. Another thought: Although I never really formul

Re: [Finale] Re: OT--low f's for altos?

>I would concur. John's experience matches mine. Mine, too. mdl ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Re: OT--low f's for altos?

On Mon May 16, at MondayMay 16 1:42 PM, John Howell wrote: > At 11:24 PM -0500 5/15/11, Aaron Rabushka wrote: >> Thanks for all of the input on my low f's! The situation is that I have a >> men's chorus piece that has one pianissimo phrase that takes some of the >> basses down to Sarastro's low

Re: [Finale] Re: OT--low f's for altos?

At 11:24 PM -0500 5/15/11, Aaron Rabushka wrote: Thanks for all of the input on my low f's! The situation is that I have a men's chorus piece that has one pianissimo phrase that takes some of the basses down to Sarastro's low F, and I would like to make a version of it for women by simply trans

Re: [Finale] Re: OT--low f's for altos?

Thanks for all of the input on my low f's! The situation is that I have a men's chorus piece that has one pianissimo phrase that takes some of the basses down to Sarastro's low F, and I would like to make a version of it for women by simply transposing everything up an octave. (If I would to a

[Finale] Re: OT--low f's for altos?

Although the traditional (medieval/renaissance) movable clefs are a good indicator for vocal ranges, they are effectively ranges for male voices (a 5-line clef without ledger lines --> range of octave + 4th). Those pieces that appear to be a bit too high, especially if the middle parts are in a

Re: [Finale] Re: OT What Makes Music Expressive

Back to this subject for a moment: http://www.nytimes.com/interactive/2011/04/18/science/20110419- music-expression.html?nl=todaysheadlines&emc=thab1 The page that comes up for me has a test of pieces performed by human and machines, and the mixture of the two. We are asked to pick the m

[Finale] Re: OT What Makes Music Expressive

At 8:10 PM +0200 4/19/11, Jonathan Smith wrote: Sorry, link didn't go through, here it is again, http://www.nytimes.com/interactive/2011/04/18/science/20110419-music-expression.html?nl=todaysheadlines&emc=thab1 That worked fine. It's interesting, but don't forget that this is a journalist's t

[Finale] Re: OT What Makes Music Expressive

Sorry, link didn't go through, here it is again, http://www.nytimes.com/interactive/2011/04/18/science/20110419-music-expression.html?nl=todaysheadlines&emc=thab1 ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale

Re: [Finale] Re: OT What Makes Music Expressive

Interesting, but I don't see a link. Can you re-send, please? google: new york times what makes music expressive http://www.nytimes.com/interactive/2011/04/18/science/20110419-music-expression.html http://www.nytimes.com/2011/04/19/science/19brain.html?_r=1 ___

Re: [Finale] Re: OT What Makes Music Expressive

Interesting, but I don't see a link. Can you re-send, please? On Tue, Apr 19, 2011 at 4:33 AM, Jonathan Smith wrote: > Hi Everyone, > > There was a very interesting article yesterday morning (18th April 2011) in > the NY Times (Science page) about the specific components of music that go > to mak

[Finale] Re: OT What Makes Music Expressive

Hi Everyone, There was a very interesting article yesterday morning (18th April 2011) in the NY Times (Science page) about the specific components of music that go to make it emotionally expressive. There are various playbacks of human performance, computer renditions and enhanced playbacks at

Re: [Finale] Re: [OT] plural of rubato = rubati?

March 31, 2011 3:17 AM Subject: Re: [Finale] Re: [OT] plural of rubato = rubati? On Mar 25, 2011, at 2:37 PM, wrote: Expletives deleted, isn't it time we moved beyond the egotistical false pride of insisting that expressions be in Italian? Or that dynamics be in abbreviated Ital

Re: [Finale] Re: [OT] plural of rubato = rubati?

Well of course the Second Viennese School did exactly that. Schoenberg, Webern et al. It caught on like wildfire (NOT). On 31/03/2011, at 7:17 PM, Mark D Lew wrote: > On Mar 25, 2011, at 2:37 PM, > wrote: > >> Expletives deleted, isn't it time we moved beyond the egotistical false >> pride

Re: [Finale] Re: [OT] plural of rubato = rubati?

On Mar 25, 2011, at 2:37 PM, wrote: Expletives deleted, isn't it time we moved beyond the egotistical false pride of insisting that expressions be in Italian? Or that dynamics be in abbreviated Italian with extended greater than or less than signs? This is not an attack on the Italians

Re: [Finale] Re: [OT] plural of rubato = rubati?

On 3/25/2011 5:37 PM, gplw...@letterboxes.org wrote: Adding, hu geeb uh fahk? Expletives deleted, isn't it time we moved beyond the egotistical false pride of insisting that expressions be in Italian? Or that dynamics be in abbreviated Italian with extended greater than or less than signs? This

Re: [Finale] Re: [OT] plural of rubato = rubati?

On 3/25/2011 6:45 PM, Christopher Smith wrote: On Fri Mar 25, at FridayMar 25 5:37 PM, gplw...@letterboxes.org wrote: isn't it time we moved beyond the egotistical false pride of insisting that expressions be in Italian? Or that dynamics be in abbreviated Italian with extended greater than or

Re: [Finale] Re: [OT] plural of rubato = rubati?

On 3/25/2011 6:06 PM, Lawrence Yates wrote: Yes it's about communication - we could all use our own languages and that would communicate well to those who speak our language but what about those who don't speak our language? Maybe we could invent a new language that we could all learn so that we

Re: [Finale] Re: [OT] plural of rubato = rubati?

On Fri Mar 25, at FridayMar 25 5:37 PM, gplw...@letterboxes.org wrote: > isn't it time we moved beyond the egotistical false > pride of insisting that expressions be in Italian? Or that dynamics be > in abbreviated Italian with extended greater than or less than signs? I don't happen to think

Re: [Finale] Re: [OT] plural of rubato = rubati?

Yes it's about communication - we could all use our own languages and that would communicate well to those who speak our language but what about those who don't speak our language? Maybe we could invent a new language that we could all learn so that we could all understand all the instructions? (

[Finale] Re: [OT] plural of rubato = rubati?

Adding, hu geeb uh fahk? Expletives deleted, isn't it time we moved beyond the egotistical false pride of insisting that expressions be in Italian? Or that dynamics be in abbreviated Italian with extended greater than or less than signs? This is not an attack on the Italians or on time-honored

RE: [Finale] Re: OT: historical use of C clefs for voice parts (Florence + Michael)

: [Finale] Re: OT: historical use of C clefs for voice parts (Florence + Michael) On 7 Nov 2010 at 10:42, Michael Lawlor wrote: > Messiaen used soprano clef in Vingt Lecons d'Harmonie (1951). > Being used to playing from C1 and various other clefs, I would be > happy for them to make a c

Re: [Finale] Re: OT: historical use of C clefs for voice parts (Florence + Michael)

At 12:43 PM -0500 11/7/10, David W. Fenton wrote: On 7 Nov 2010 at 10:42, Michael Lawlor wrote: Messiaen used soprano clef in Vingt Lecons d'Harmonie (1951). Being used to playing from C1 and various other clefs, I would be happy for them to make a come-back. Hmm. Messiaen and Gounod. I se

Re: [Finale] Re: OT: historical use of C clefs for voice parts (Florence + Michael)

On 7 Nov 2010 at 10:42, Michael Lawlor wrote: > Messiaen used soprano clef in Vingt Lecons d'Harmonie (1951). > Being used to playing from C1 and various other clefs, I would be > happy for them to make a come-back. Hmm. Messiaen and Gounod. I seem to recall they have something in commmon...Mayb

Re: {Spam} Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

On 11/6/2010 8:14 PM, David H. Bailey wrote: On 11/6/2010 2:26 PM, Steve Larsen wrote: Ray Horton wrote: I asked a knowledgeable horn-playing friend about your later question (which composers started writing for F horn all the time), and he promised me a copy if an interesting article on Brahm

[Finale] Re: OT: historical use of C clefs for voice parts (Florence + Michael)

Messiaen used soprano clef in Vingt Lecons d'Harmonie (1951). Being used to playing from C1 and various other clefs, I would be happy for them to make a come-back. Regards, Michael Lawlor - Original Message - 16. OT: historical use of C clefs for voice parts (Florence + Michael) Mess

{Spam} Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

On 06.11.2010 19:26, Steve Larsen wrote: Everything I've learned about Brahms makes me doubt that he ever devoted time and energy to writing etudes for valved horn! What about the 12 Etudes for Trumpet (supposedly) by Brahms? Howard -- Howard Weiner h.wei...@online.de http://howard-weiner.de

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

In regards to the Brahms(?) etudes for valve (?) horn, I was told of these by the same less-than reliable source, many years ago, that told me Brahms never heard his symphonies played on natural horns, so I'll wait on that before offering that softball up again. I still haven't received the great

{Spam} Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

On 11/6/2010 2:26 PM, Steve Larsen wrote: Ray Horton wrote: I asked a knowledgeable horn-playing friend about your later question (which composers started writing for F horn all the time), and he promised me a copy if an interesting article on Brahms horn writing, so I should have more to add.

[Finale] RE: OT: Historical Horn Notation Question (long!)

On Sat, 06 Nov 2010 John Howell wrote wrote: The composers who wrote for natural horns were awfully clever in what they could get out of their horn players. Especially Mozart, perhaps because his buddies in Mannheim demonstrated what they could do with their hands, but even in using just t

RE: [Finale] RE: OT: Historical Horn Notation Question (long!)

Ray Horton wrote: I asked a knowledgeable horn-playing friend about your later question (which composers started writing for F horn all the time), and he promised me a copy if an interesting article on Brahms horn writing, so I should have more to add. I'll just say that I have been told that, e

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

On 6 Nov 2010 at 11:04, Raymond Horton wrote: > Can we say "This doesn't really mean anything about what Mahler > originally wrote"? Of course not, unless we think some editor is a > genius. I'm sorry, but by the rules of factual reasoning and logic, we CAN say exactly that, and be entirely co

{Spam} Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

On 5 Nov 2010 at 20:41, John Howell wrote: > At 12:46 PM -0400 11/5/10, Raymond Horton wrote: > >Not Dvorak - he wrote in keys just as Brahms, [Dvorak > >6th = Horn 1, 2 (in D, F, E), 3, 4 (in E, Bb, D)] if more > >chromatically. > > Yes, AND his horn parts are all playable by natural (hand) hor

Fwd: [Finale] RE: OT: Historical Horn Notation Question (long!)

Raymond Horton Composer, Arranger Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC VISIT US at rayhortonmusic.com -- Forwarded message -- From: Raymond Horton Date: Sat, Nov 6, 2010 at 11:04 AM Subject: Re: [Finale] RE: OT: Historical Horn Notation

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

Raymond Horton Composer, Arranger Bass Trombonist, Louisville Orchestra Minister of Music, Edwardsville (IN) UMC VISIT US at rayhortonmusic.com On Sat, Nov 6, 2010 at 12:31 AM, David W. Fenton wrote: > On 5 Nov 2010 at 23:57, Raymond Horton wrote: > > > Third, of _course_ the PD editions do not

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

At 12:46 PM -0400 11/5/10, Raymond Horton wrote: I asked a knowledgeable horn-playing friend about your later question (which composers started writing for F horn all the time), and he promised me a copy if an interesting article on Brahms horn writing, so I should have more to add. I'll just s

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

On 5 Nov 2010 at 23:57, Raymond Horton wrote: > Third, of _course_ the PD editions do not reflect the latest in > research, but to say that "This doesn't really mean anything about > what Mahler originally wrote" is really going off the deep end with > this. Even the worst, bowdlerized 19th centu

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

David Fenton wrote: "This doesn't really mean anything about what Mahler originally wrote, as it's not necessarily the case that the editions that are in the public domain are going to be the best representations of the composer's original scoring." First off, I believe my original disclaimer con

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

On 5 Nov 2010 at 12:46, Raymond Horton wrote: > a quick look through all the Mahler horn parts on > IMSLP.org found nothing but F horn This doesn't really mean anything about what Mahler originally wrote, as it's not necessarily the case that the editions that are in the public domain are going

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

riposa Symphony Orchestra > Music and Mariposa? Ah, Paradise!!! > > Mariposa County Planning Commissioner, District 5 > First Vice-President, The Mariposa County Arts Council, Inc. > Board Director, The Economic Development Corporation of Mariposa County > > http://

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

OK, I'll take your word and reference for that. My evidently incorrect statement didn't come from my hornist friend, it actually came from another horn player, one (now retired) who was somewhat less academic, about ten or fifteen years ago. As I said, I am promised an article on Brahms and horn,

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

riginal Message - From: Raymond Horton To: finale@shsu.edu Cc: Steven Larsen Sent: Friday, November 05, 2010 9:46 AM Subject: Re: [Finale] RE: OT: Historical Horn Notation Question (long!) On Mon, Nov 1, 2010 at 12:15 PM, Steven Larsen wrote: 4. Richard Wagner and Richar

Re: [Finale] RE: OT: Historical Horn Notation Question (long!)

On Mon, Nov 1, 2010 at 12:15 PM, Steven Larsen wrote: 4. Richard Wagner and Richard Strauss are the principal composers to > promulgate the advancement of the horn (Brahms preferred the sound of the > natural horn), I asked a knowledgeable horn-playing friend about your later question (which co

Re: [Finale] Re: OT: Copyright and downloadable music

Blake Richardson wrote: Interesting article in the Times just this week that highlights how creativity and innovation in the food / high cuisine industry is managing to thrive despite no copyright protections. Thought it might be of interest given the discussion going on here. http://freakonomi

[Finale] Re: OT: Copyright and downloadable music

Interesting article in the Times just this week that highlights how creativity and innovation in the food / high cuisine industry is managing to thrive despite no copyright protections. Thought it might be of interest given the discussion going on here. http://freakonomics.blogs.nytimes.com/2010/

[Finale] Re: OT: CD Replication

On 25 Jun 2010, at 1:00 PM, Rick Deasley wrote: With regard to liner notes, why not add an enhanced partition to your audio CD with some html pages so that it will come up on your computer...You could also provide links from these pages to your website and other vendors of your music.

[Finale] Re: OT Time Signatures in MS Word documents

Thanks Howard, The Bach fonts are quick and easy to use (and free). Michael Lawlor From: Howard Weiner Subject: Re: [Finale] OT Time Signatures in MS Word documents To: Message-ID: <4ba64c66.3090...@online.de> Content-Type: text/plain; charset="ISO-8859-1"; format=flowed On 21.03.2010 16:54,

Re: [Finale] Re: OT: blowing air through brass instruments

Well ... most Trbs. Dean On Mar 15, 2010, at 4:11 PM, Michael Lawlor wrote: You could just half-depress the valves (this obviously doesn't work for trombones). Michael Lawlor - Original Message - Message: 8 Date: Sun, 14 Mar 2010 15:24:24 -0400 From: "timothy.price" Subject: Re: [

[Finale] Re: OT: blowing air through brass instruments

You could just half-depress the valves (this obviously doesn't work for trombones). Michael Lawlor - Original Message - Message: 8 Date: Sun, 14 Mar 2010 15:24:24 -0400 From: "timothy.price" Subject: Re: [Finale] OT: blowing air through brass instruments To: Message-ID: <990246e4-098

Re: [Finale] RE: OT Dies Irae

On 10/29/09 1:00 PM, "finale-requ...@shsu.edu" wrote: > From: Andrew Stiller > Reply-To: > Date: Wed, 28 Oct 2009 16:34:17 -0400 > To: > Subject: Re: [Finale] RE: OT Dies Irae > >> Howard Shore used it throughout his scores to the >> "Lord of t

RE: [Finale] RE: OT Dies Irae

n't see it. Dalvin Boone -Original Message- From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of Randolph Peters Sent: Wednesday, October 28, 2009 4:56 PM To: finale@shsu.edu Subject: Re: [Finale] RE: OT Dies Irae As long as we are taking things off the list, I am not

Re: [Finale] RE: OT Dies Irae

lol ... never heard of that before. Obviously my undergrad days were wasted on keg-ers and such ... but, hey ... that was the University of Ariz. in the good old days. Dean On Oct 28, 2009, at 3:16 PM, David McKay wrote: This reminds me of the old joke about Yes, We Have No Bananas: The

Re: [Finale] RE: OT Dies Irae

David McKay wrote: This reminds me of the old joke about Yes, We Have No Bananas: The whole thing is unoriginal, except for "Bananas" and I remember an acquaintance once nominating a replacement for "Bananas", too, but I've forgotten what it was. ns ___

Re: [Finale] RE: OT Dies Irae

This reminds me of the old joke about Yes, We Have No Bananas: The whole thing is unoriginal, except for "Bananas" The rest is: Hallelujah [bananas] Oh bring back my Bonnie to me I dreamt I dwelt in marble halls The king that you seldom see Oh I was taking Nellie home To an old-fashioned garden B

Re: [Finale] RE: OT Dies Irae

As long as we are taking things off the list, I am not convinced that Haydn's Drum Roll Symphony (mvt.4, intro) really quotes the Dies Irae either. -Randolph Peters Howard Shore used it throughout his scores to the "Lord of the Rings" films. Andrew Stiller wrote He most certainly did

Re: [Finale] RE: OT Dies Irae

Howard Shore used it throughout his scores to the "Lord of the Rings" films. He most certainly did not! Nor is it to be found in Dvorak's 7th. Similarity is not identity. I once amused myself by "proving" that numerous famous themes, including all four movements of Mozart's clarinet quintet

[Finale] RE: OT Dies Irae

On 10/27/09 10:10 AM, "finale-requ...@shsu.edu" wrote: > From: Matthew Hindson > Reply-To: > Date: Tue, 27 Oct 2009 15:09:11 +1100 > To: > Subject: [Finale] OT: Dies Irae > > Any listers know of a list of 20C works that use the Dies Irae in some form > or another? > > There is Rachmaninoff,

[Finale] Re: OT: Vivaldi Concerto

At 1:52 PM -0500 9/26/09, David McDonald wrote: Thanks for the responses to my question. And I understand the modal issue. One more question: so is it NOT the proper thing to do (esp in academia) to change the signature to 2 flats in light of modern notation practices? Speaking from academia

Re: [Finale] Re: OT: Vivaldi Concerto

At 20:29 27.09.2009 +0200, Howard Weiner wrote: A lot of research has been done in recent years on the former Königsburg University collections. A number of books have turned up in various Baltic libraries, but the consensus seems to be that the music collection was indeed destroyed. To fol

Re: [Finale] Re: OT: Vivaldi Concerto

At 13:50 27.09.2009 -0400, Kim Patrick Clow wrote: A single surviving original print was destroyed at the University of Konigsburg, Germany in 1945. But there are "rumors" the library contents were removed to Russia for safekeeping. A lot of research has been done in recent years on the forme

Re: [Finale] Re: OT: Vivaldi Concerto

On Sun, Sep 27, 2009 at 1:38 PM, David W. Fenton wrote: > > But it *has* been done -- some of the Editions Fuzeau facsimiles are > of early printed editions, and the facsimile text is lightly edited > (with suitable notes in the extensive commmentaries). My guess is that out of tens of thousands

Re: [Finale] Re: OT: Vivaldi Concerto

On 27 Sep 2009 at 13:56, Howard Weiner wrote: > At 13:32 27.09.2009 +0200, Gebauer wrote: > > >On 26.09.2009 Kim Patrick Clow wrote: > >>I found out that Reinhard Goebel is editing a facsimile edition of > >>Telemann's Table Music > > > >Now that's an interesting idea: he is actually "editing" a

Re: [Finale] Re: OT: Vivaldi Concerto

At 13:32 27.09.2009 +0200, Gebauer wrote: On 26.09.2009 Kim Patrick Clow wrote: I found out that Reinhard Goebel is editing a facsimile edition of Telemann's Table Music Now that's an interesting idea: he is actually "editing" a facsimile edition? In what way is he editing it? Surely his co

Re: [Finale] Re: OT: Vivaldi Concerto

On 26.09.2009 Kim Patrick Clow wrote: I found out that Reinhard Goebel is editing a facsimile edition of Telemann's Table Music Now that's an interesting idea: he is actually "editing" a facsimile edition? In what way is he editing it? Surely his contribution will be a preface and some annot

Re: [Finale] Re: OT: Vivaldi Concerto

[while this should probably be offlist, since Kim sent it to the list, I'll answer onlist] On 26 Sep 2009 at 15:09, Kim Patrick Clow wrote: > On Sat, Sep 26, 2009 at 3:04 PM, David W. Fenton > I found out that Reinhard Goebel is editing a facsimile edition of > Telemann's Table Music, and will

Re: [Finale] Re: OT: Vivaldi Concerto

On Sat, Sep 26, 2009 at 3:04 PM, David W. Fenton Oh David, I found out that Reinhard Goebel is editing a facsimile edition of Telemann's Table Music, and will be published in a few weeks, that website in New York you recommended for me, will stock it. I just hope this doesn't cost a lot of money

Re: [Finale] Re: OT: Vivaldi Concerto

On 26 Sep 2009 at 13:52, David McDonald wrote: > One more question: so is it NOT the proper thing to do (esp in > academia) to change the signature to 2 flats in light of modern > notation practices? As Kim has said, absolutely not. You'd find that you're likely exchanging the existing notat

Re: [Finale] Re: OT: Vivaldi Concerto

Absolutely right, don't change the key signature. On Sat, Sep 26, 2009 at 2:52 PM, David McDonald wrote: > Thanks for the responses to my question. And I understand the modal issue. > > One more question: so is it NOT the proper thing to do (esp in academia) to > change the signature to 2 flats i

[Finale] Re: OT: Vivaldi Concerto

Thanks for the responses to my question. And I understand the modal issue. One more question: so is it NOT the proper thing to do (esp in academia) to change the signature to 2 flats in light of modern notation practices? David McDonald MacMusic, Inc. macmusic...@cox.net __

[Finale] Re: OT: recommend database software?

And if you have an iPhone/iPod touch, you can get a version of Bento for that as well, VERY inexpensively, and it syncs with the desktop version (or so the literature says; I don't have it.). Andrew Levin ___ Finale mailing list Finale@shsu.edu http://l

[Finale] Re: OT: CD label maker program

I've used Discus for several years: Paul Hayden Martin wrote: Date: Thu, 16 Oct 2008 From: [EMAIL PROTECTED] Subject: [Finale] OT: CD label maker program To: Finale@shsu.edu Does anyone know of a decent CD label maker software program that will work on my new iMac (

RE: [Finale] RE: OT: Kanno, Mieko. "The Role of Notation in New Music."

Oh yeah. Oops. Maybe you'll have more luck once term starts - second week of October for Durham > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of shirling & neueweise > Sent: 28 August 2008 15:01 > To: finale@shsu.edu &g

[Finale] RE: OT: Kanno, Mieko. "The Role of Notation in New Music."

Maybe just try emailing her and seeing if she can help? http://www.dur.ac.uk/music/staff/?username=dmu0mk yes that's what i meant by: i have tried to contact the author but haven't received a response. ;-) ___ Finale mailing list Finale@shsu.edu

[Finale] Re: OT: Windows backup software

Just be aware that if you ever have to do a repair of WinXP you'll need to hand-register several dll's or the various updates (about 88 of them?) that would bring you back up to SP3 won't install. This is due to an undocumented install of an update to XP and Vista by MS to people's machines WHET

[Finale] Re: OT: recorders for the 4th Brandenburg

At 03:00 AM 4/05/2008, you wrote: Message: 8 Date: Sat, 03 May 2008 14:40:03 +0200 From: Johannes Gebauer <[EMAIL PROTECTED]> Subject: Re: [Finale] Re: OT: recorders for the 4th Brandenburg To: finale@shsu.edu Message-ID: <[EMAIL PROTECTED]> Content-Type: text/plain; charset=ISO-88

Re: [Finale] Re: OT: recorders for the 4th Brandenburg

On 03.05.2008 M LAWLOR wrote: Although much of the passage work is much easier on a treble recorder in G, the fact that the second recorder has to play low Fs but shares the same high passages with the first means that only recorders in F could be intended (I suppose it might be possible that

[Finale] Re: OT: recorders for the 4th Brandenburg

From: Johannes Gebauer <[EMAIL PROTECTED]> Subject: [Finale] OT: recorders for the 4th Brandenburg To: Finale I have sort of lost touch with this discussion, but I remember that there are theories that Bach wrote the 4th Brandenburg concerto for recorder instruments not in F but in G. Can anyon

[Finale] Re: OT: OSX backup software suggestions?

My wife's hard drive crashed a few months ago which made us much more serious about the issue of backing up. I now use Retrospect Express to back up my whole drive to an external. I don't particularly recommend it, I just use it because I already owned it. I also back up a specific set of files off

[Finale] RE: OT: OSX backup software suggestions?

shirling & neueweise wrote: after doing backups manually for years -- and for that reason not doing them nearly often enough -- i am going to automate this. any suggestions? looking for something cheap to free if possible. A good PDF book ($15) that examines OS X backup software is:

[Finale] Re: OT: OSX backup software suggestions?

Hello, I'd like to mention that I will be publishing a Mac OS X version of my (other) main product called "Super Flexible File Synchronizer" in about two months. It does all kinds of backups, be it online or to a hard disk or network location. The web site is http://www.superflexible.com Currentl

Re: [Finale] Re: OT Bob Florence?

Eric Dannewitz wrote: Oh wow. Give Bob our wishes for a speedy recovery. Kim Richmond wrote: Bob Florence is badly laid up with a back condition (4 operations, and now a cracked rib), and not reading e-mail at present. If you want his e-mail address, please contact me personally. He does appre

Re: [Finale] Re: OT Bob Florence?

Hey all, I just gave Bob a call -- he seems to be in good spirits and says his condition is improving. He sends his best to the list. Cheers, - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list Finale@shsu.edu http://lists.shsu.

Re: [Finale] Re: OT Bob Florence?

Oh wow. Give Bob our wishes for a speedy recovery. Kim Richmond wrote: Bob Florence is badly laid up with a back condition (4 operations, and now a cracked rib), and not reading e-mail at present. If you want his e-mail address, please contact me personally. He does appreciate phone calls, alt

[Finale] Re: OT Bob Florence?

Bob Florence is badly laid up with a back condition (4 operations, and now a cracked rib), and not reading e-mail at present. If you want his e-mail address, please contact me personally. He does appreciate phone calls, although he may not answer the phone. His number is: 805-373-9088 All

[Finale] Re: OT digital archiving

Hi jef and Dennis, One of the motivations for creating MusicXML was to establish an archival-quality electronic format for common Western music notation (CWMN). It is a text-based and semantics-based format, which are essential starting points. But then the software has to evolve to fully capture

Re: [Finale] Re: OT digital archiving [was Micro$oft Word / heads-up]

shirling & neueweise wrote, on 9/14/2007 6:56 AM: although this discussion began with text file format maintenance, and we are dealing with musical and sound works, many of the basic issues are similar, so any info related to digital archiving issues, no matter the milieu, would be appreciated.

[Finale] Re: OT digital archiving [was Micro$oft Word / heads-up]

It's about assured, accurate and complete readability of the original files. __In perpetuity.__ as i said, a utopia, but would be interested in hearing from people who have knowledge or links to offer about digital archiving. in my work with the canadian electroacoustic community i am worki

Re: [Finale] Re: OT Historical performance; Was: alto as tenor?

On 9 Sep 2007 at 23:30, Johannes Gebauer wrote: > it seems to > me that 19th century treatises are much more particular about the use of > vibrato. I'm very intrigued by your idea, and don't mean this comment as in any way an effort to refute your hypothesis, but the fact is that the 19th cen

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