On Jun 24, 2017, at 10:00 AM, finale-requ...@shsu.edu wrote:
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My guess would be that the first note in the RH is supposed to precede the
first note in the LH, with the last note in the RH being played at the very
end, totaling 8 separate notes. I think it's just notated a bit sloppily.
Doug
> On Jun 23, 2017, at 8:06 PM, Blake Richardson
I see all 32nd notes, although it wouldn’t make any difference whether the last
one is 16th or 32nd since they are all supposed to be held!
I think he wrote 8 by mistake. It sohould be a 7. Or maybe he wrote 8 in a
hurry as a reminder of 8ve higher and later indicated th 8ve on the left.
On
the last note is a 32nd as well, also in the upper voice -- i see 2
tiny extensions, the lower one is barely there, but there nonetheless.
i agree with david, just a hastily notated tuplet (there would be no
need to indicate 8 for 8-let, since they are 32nds...). and def
think the 1st notes
Yes, that looks like it to me. Notice the first six notes are 32nds, while the
last note is a 16th, so it does add up. The first note is a different note in
the right hand, while the last note is just a unison. You caught the tiny,
faded treble clef in the left hand, right?
Christopher
> On
On 6/23/2017 11:06 PM, Blake Richardson wrote:
> I can't figure out what's going on with this piano line from John Williams'
> score to DRACULA.
>
> It looks like it's supposed to be some sort of octuplet, but there's only six
> notes on the bottom and the top notes look like they're played in
I can't figure out what's going on with this piano line from John Williams'
score to DRACULA.
It looks like it's supposed to be some sort of octuplet, but there's only six
notes on the bottom and the top notes look like they're played in unison with
the first and last notes on the bottom.
On Sep 6, 2011, at 2:30 PM, jhowell wrote:
On Sep 4, 2011, at 4:23 PM, David W. Fenton wrote:
On 4 Sep 2011 at 15:41, Darcy James Argue wrote:
As for whether the Leslie speaker is a defining part of the Hammond
sound, the only possible answer is of course. As Steve pointed out,
every
As far as I know all Hammond players use Leslie (lately DeFrancesco is
endorsing KeyB and Numa Hammond clones that have a nice digital leslie
emulation).
I read that Brian Auger does not use it, preferring guitar and bass amps
or active speakers
to get a fatter sound.
Il 04/09/2011 20.11, Chuck
On 9/3/2011 7:37 PM, David W. Fenton wrote:
On 4 Sep 2011 at 0:08, Steve Parker wrote:
I would say that the Leslie is still a defining aspect of the classic
Hammond sound. Apart from a period when Jon Lord stopped using a
leslie, I can't think of any major Hammond artist for whom it wasn't a
On 4 Sep 2011, at 00:37, David W. Fenton wrote:
On 4 Sep 2011 at 0:08, Steve Parker wrote:
I would say that the Leslie is still a defining aspect of the classic
Hammond sound. Apart from a period when Jon Lord stopped using a
leslie, I can't think of any major Hammond artist for whom it
Jimmy Smith, Joey DiFrancesco et al - do (did) they use the Leslie? Heard them
and others for years (often playing joyous music) but never took notice of what
they used to produce their sound.
Chuck
Sent from my iPhone
On Sep 4, 2011, at 1:08 AM, Steve Parker st...@pinkrat.co.uk wrote:
I
Hi Chuck,
Yes. It's worth taking a close look at the Leslie in person next time you see a
Hammond player using one -- watching the rotating speaker go round and round is
hypnotic and fascinating.
As for whether the Leslie speaker is a defining part of the Hammond sound,
the only possible
On 4 Sep 2011 at 15:41, Darcy James Argue wrote:
As for whether the Leslie speaker is a defining part of the Hammond
sound, the only possible answer is of course. As Steve pointed out,
every single Hammond-playing artist of any note employed the Leslie
speaker.
Within a certain musical
A question for those familiar with vibraphones. There's handwritten direction
in the following score excerpt that I can't quite make out. It says, ___ on,
pedal down, soft sticks, but I can't tell what the first word is. It's
probably something obvious that I'm just not seeing, but any help
On 9/3/2011 6:56 AM, Blake Richardson wrote:
A question for those familiar with vibraphones. There's handwritten
direction in the following score excerpt that I can't quite make out.
It says, ___ on, pedal down, soft sticks, but I can't tell what the
first word is. It's probably something
motor on.
Sent from my iPad
On Sep 3, 2011, at 6:56 AM, Blake Richardson btr1...@ix.netcom.com wrote:
A question for those familiar with vibraphones. There's handwritten direction
in the following score excerpt that I can't quite make out. It says, ___ on,
pedal down, soft sticks, but I
The link don't work for me either
Giovanni Andreani
On 3 Sep 2011, at 13:25, David H. Bailey
dhbai...@davidbaileymusicstudio.com wrote:
On 9/3/2011 6:56 AM, Blake Richardson wrote:
A question for those familiar with vibraphones. There's handwritten
direction in the following score excerpt
The link don't work for me either
http://gallery.me.com/btr1701#100039/Jaws.Vibebgcolor=black
definitely motor... actually that particular word for me is the
clearest thing in the image 8-)
___
Finale mailing list
Finale@shsu.edu
motor?
Blake Richardson btr1...@ix.netcom.com wrote:
A question for those familiar with vibraphones. There's handwritten direction
in the following score excerpt that I can't quite make out. It says, ___ on,
pedal down, soft sticks, but I can't tell what the first word is. It's
At 3:56 AM -0700 9/3/11, Blake Richardson wrote:
A question for those familiar with vibraphones.
There's handwritten direction in the following
score excerpt that I can't quite make out. It
says, ___ on, pedal down, soft sticks, but I
can't tell what the first word is. It's probably
something
On Sep 3, 2011, at 10:00 AM, finale-requ...@shsu.edu
finale-requ...@shsu.edu wrote:
From: SN jef chippewa shirl...@newmusicnotation.com
Date: September 3, 2011 5:29:01 AM PDT
To: finale@shsu.edu
Subject: Re: [Finale] Notation Question
Reply-To: finale@shsu.edu
The link don't work
Some have signed up with the same supplier of server space, some have not.
I was told I needed a paid subscription to see your file.
Klaus
From: Blake Richardson btr1...@ix.netcom.com
As for the link not working, it's weird that some people could see it
i accessed it with no account, quite often moving up a level in a
wrongly indicated or unavailable address gets you to a page where the
file or link is listed, that is how i found it (removed 10039 from
the original link to access the account of btr1701 [blake t.
richardson])
At 10:43 AM -0700 9/3/11, Blake Richardson wrote:
I didn't even know the instrument had a motor.
All I know about vibraphones is that they're
analogous to xylophones/marimbas with a
different sound/timbre.
Well, it's a metallophone--metal bars instead of
wood or plastic--so that explains the
Did you know that Laurens Hammond didn't approve of the Leslie and did not
permit official Hammond dealers to stock them!
He felt it was a more serious instrument..
Steve P.
On 3 Sep 2011, at 19:14, John Howell wrote:
At 10:43 AM -0700 9/3/11, Blake Richardson wrote:
I didn't even know the
Vibes and motor, all true, but in serious music vibes are assumed to have
the motor off unless specified on.
Raymond Horton
On 3 Sep 2011, at 19:14, John Howell wrote:
At 10:43 AM -0700 9/3/11, Blake Richardson wrote:
I didn't even know the instrument had a motor.
All I know about
On 3 Sep 2011 at 14:14, John Howell wrote:
Just as the rotating Leslie
speakers and their vibrato are a defining aspect
of the classic Hammond Organ sound.
Actually, that's not true. The classic Hammond organ sound predates
the invention of the Leslie speader, and Leslie speakers are used
I would say that the Leslie is still a defining aspect of the classic Hammond
sound.
Apart from a period when Jon Lord stopped using a leslie, I can't think of any
major Hammond artist for whom it wasn't a defining part of their sound.
Steve P.
On 3 Sep 2011, at 21:59, David W. Fenton wrote:
On 4 Sep 2011 at 0:08, Steve Parker wrote:
I would say that the Leslie is still a defining aspect of the classic
Hammond sound. Apart from a period when Jon Lord stopped using a
leslie, I can't think of any major Hammond artist for whom it wasn't a
defining part of their sound.
Have you ever
On 2011/09/03(土), at 後4:59, David W. Fenton wrote:
On 3 Sep 2011 at 14:14, John Howell wrote:
Just as the rotating Leslie
speakers and their vibrato are a defining aspect
of the classic Hammond Organ sound.
Actually, that's not true. The classic Hammond organ sound predates
the
Hello, everyone.
I've run into a symbol on an oboe part that I've never seen
before..it's a flat sign with a caret or marcato accent at the top of
the stem. I don't think it's a misprint since the composer provided a special
fingering for the note. The Dolmesch library
My guess is that the caret is supposed to be an arrowhead indicating that
the note is to be raised a quarter tone. For example, if the symbol is on
the note B, it should be a quarter tone up from Bb.
On Tue, Dec 21, 2010 at 11:12 AM, Barbara Levy barb...@msn.com wrote:
Hello,
probably a (tempered) quarter tone. depending on the composer and
context it could also be a non-tempered microtonal inflection...
could also be a 6th or 8th tone. but i would also assume quarter
tone if you can't find any other information. if you can conclude
for certain that it is a
Who is the composer?
That would likely determine wether it is a tempered quarter tone or
notation for a just interval.
Steve Parker
On 21 Dec 2010, at 19:12, Barbara Levy wrote:
Hello, everyone.
I've run into a symbol on an oboe part that I've never seen
dc wrote:
I have a piece in 2/4 with a half note that starts after an eighth note
rest. What's the best way to notate to make it easily readable? Leave
the half note shifted off the beat, or break it down to tied values
(8+4+8)?
I'm confused as to how you can have a half-note which starts
I have a piece in 2/4 with a half note that starts after an eighth
note rest. What's the best way to notate to make it easily readable?
Leave the half note shifted off the beat, or break it down to tied
values (8+4+8)?
half note shifted off-beat!?!? musicians will hate you. they don't
In 2|2, it is perfectly allright wo write 8th rest dotted quarter
because they are both within one beat/tactus.
dc wrote:
shirling neueweise écrit:
if it only happens once, you might prefer:
8th rest + 8th_q_|_8th
Thanks. This is indeed what I did, but on proofreading the score I was
On 13-Feb-07, at 4:54 PM, dc wrote:
dhbailey écrit:
I'm confused as to how you can have a half-note which starts after
an 8th rest in a 2/4 measure -- that's 2.5 beats right there.
If it's really 2/4 meter then you'd have to do: 8th-rest, 8th-note-
Yeah, that is what I was trying to say.
Dutch. Hm.
Christopher Smith wrote:
I would definitely write it eighth rest, dotted quarter tied to eighth.
No need to show the second quarter in the measure by writing eighth
rest, eighth tied to quarter tied to eighth. But you DO have to see the
I would definitely write it eighth rest, dotted quarter tied to
eighth. No need to show the second quarter in the measure by writing
eighth rest, eighth tied to quarter tied to eighth.
totally agree. however, if a large chamber music score, it can be
useful to line up things vertically
[EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday, February 13, 2007 6:22 PM
Subject: Re: [Finale] Notation question
I would definitely write it eighth rest, dotted quarter tied to
eighth. No need to show the second quarter in the measure by writing
eighth rest, eighth tied to quarter tied
Shouldn't DocOptsBeamsUse Straight Flags do this? I tried it, but
Maestro and Engraver don't seem to have straight flags.
-Rich
At 07:48 AM 5/15/05 -0400, John Howell wrote:
I played a concert Saturday night, and ran into something I've never
seen before. I'm wondering whether it's something
At 10:54 AM 05/15/2005, Rich Caldwell wrote:
Shouldn't DocOptsBeamsUse Straight Flags do this? I tried it, but
Maestro and Engraver don't seem to have straight flags.
Where do you see such an option? Are you referring to Flatten all beams?
That is something different entirely -- it forces all
Maybe it isn't in all versions? FinMac 2005b here.
Document Options --- Flags --- Flag Type [right at the top]
I guess one can also choose any characters you want globally for flags
here, but only for 8ths and 16ths. I notice that if you use the Jazz
font, some strange straight flags appear,
Use Straight Flags is in Document Options Flags. You also need to
change the flag font (Document Options Fonts) to Tamburo, choose the
characters for the straight upstem and downstem flags from the Music
Characters popup in Document Options Flags and adjust the
positioning in the Flag
At 11:35 AM 05/15/2005, Rich Caldwell wrote:
Maybe it isn't in all versions? FinMac 2005b here.
Document Options --- Flags --- Flag Type [right at the top]
Ah -- your earlier post said Doc Options | BEAMS.
If you look at the help file for this screen, you'll see that 'Use Straight
Flags' only
On 15 May 2005 at 11:35, Rich Caldwell wrote:
Maybe it isn't in all versions? FinMac 2005b here.
Document Options --- Flags --- Flag Type [right at the top]
I guess one can also choose any characters you want globally for flags
here, but only for 8ths and 16ths. I notice that if you use
On 18 avr. 05, at 23:14, Christopher Smith wrote:
But back at you, in the key of C would YOU spell the bII7 chord as
Db-F-Ab-Cb when there is a perfectly good and functional leading tone
B in the key signature?
If the next chord is C major I'd certainly spell it with a B, since the
B would be
On 19 Apr 2005, at 3:17 AM, Michael Cook wrote:
On 18 avr. 05, at 23:14, Christopher Smith wrote:
But back at you, in the key of C would YOU spell the bII7 chord as
Db-F-Ab-Cb when there is a perfectly good and functional leading tone
B in the key signature?
If the next chord is C major I'd
Fellow Listers,
I am often undecided about using sharps as accidentals in flat keys and
using flats in sharp keys.
I prefer to simplify the notation, substituting B for Cb, for example, but
I want to know what is the correct way to make the decision.
I want my parts to be easily read and played
Eden - Lawrence D. wrote:
Fellow Listers,
I am often undecided about using sharps as accidentals in flat keys and
using flats in sharp keys.
I prefer to simplify the notation, substituting B for Cb, for example, but
I want to know what is the correct way to make the decision.
I want my parts to be
On Apr 18, 2005, at 7:19 AM, Eden - Lawrence D. wrote:
Fellow Listers,
I am often undecided about using sharps as accidentals in flat keys and
using flats in sharp keys.
I prefer to simplify the notation, substituting B for Cb, for example, but
I want to know what is the correct way to make
Eden - Lawrence D. / 05.4.18 / 07:19 AM wrote:
I am often undecided about using sharps as accidentals in flat keys and
using flats in sharp keys.
I prefer to simplify the notation, substituting B for Cb, for example, but
I want to know what is the correct way to make the decision.
I want my
:
Subject: Re: [Finale] notation question
Eden - Lawrence D. wrote:
Fellow Listers,
I am often undecided about using sharps as accidentals in flat keys
and
using flats in sharp keys.
I prefer to simplify
There is one other style worth noted.
Take the music into totally super horizontal. In this context, the
vertical harmonic structure is rather ignored, thus accidentals are not
given according to the vertical harmonic structure. If no obvious clue
of the key of the moment is visually affecting
Williams, Jim wrote:
[snip]
Here's a question--I find myself writing fewer roadmaps in general
since using software. Cut-and-paste works well! Some people rag on me
for this since they want to know if something is a recap or some
such. My response is always if you can't tell what it is, turn your
On 18 avr. 05, at 15:33, Williams, Jim wrote:
For music to be performed at sight or on only one readthrough, I will
simplify spelling (this problem arises most often in diminished
constructions or substitute harmonies) unless the simplification is
grossly misleading (of course, I will do the F#
On Apr 18, 2005, at 6:33 AM, Williams, Jim wrote:
Here's a question--I find myself writing fewer roadmaps in general since using software. . Am I alone in my abandonment of roadmaps?
Jim
I haven't abandoned them entirely, when the structure is simple enough. But I write out the things
On Mon, 18 Apr 2005 07:19:40 -0400, Eden - Lawrence D. wrote:
I am often undecided about using sharps as accidentals in flat keys
and using flats in sharp keys.
I prefer to simplify the notation, substituting B for Cb,
On 18 Apr 2005, at 8:48 AM, Christopher Smith wrote:
For jazz things get hairy, as tritone substitute dominant chords
should be correctly spelled as if they were augmented sixth chords,
e.g., in the key of C a Db7 chord would be spelled Db, F, Ab, B (not
Cb). Many jazz musicians freely use
On 18 Apr 2005 at 8:48, Christopher Smith wrote:
I.Generally, tertian chords are spelled in 3rds from the root up. But
the roots of ambiguous sounding chords (especially aug. triads and o7
chords) are sometimes controversial and, then, so are their spellings.
I have to disagree with this
On 18 Apr 2005 at 10:19, dhbailey wrote:
Williams, Jim wrote:
[snip]
Here's a question--I find myself writing fewer roadmaps in general
since using software. Cut-and-paste works well! Some people rag on
me for this since they want to know if something is a recap or some
such. My
When I first started using Finale in the dark ages of 1988, :-) I tended
to repeat larger sections (choruses or verses) of the pieces I worked on,
and was very happy to get away from the use of col bars. However, the major
reason I avoided repeats was the difficulty, without the availability of
On Apr 18, 2005, at 2:29 PM, Darcy James Argue wrote:
On 18 Apr 2005, at 8:48 AM, Christopher Smith wrote:
For jazz things get hairy, as tritone substitute dominant chords
should be correctly spelled as if they were augmented sixth chords,
e.g., in the key of C a Db7 chord would be spelled Db,
On Apr 18, 2005, at 3:20 PM, David W. Fenton wrote:
On 18 Apr 2005 at 8:48, Christopher Smith wrote:
I. Generally, tertian chords are spelled in 3rds from the root up. But
the roots of ambiguous sounding chords (especially aug. triads and o7
chords) are sometimes controversial and, then, so
On 18 Apr 2005, at 5:14 PM, Christopher Smith wrote:
On Apr 18, 2005, at 2:29 PM, Darcy James Argue wrote:
Wow, do you really follow that rule consistently? I mean, in the key
of Db, would you spell the bII7 chord D-F#-A-B#?
No, because to be painfully correctly spelled, it would be an Ebb7
On Apr 18, 2005, at 5:50 PM, Darcy James Argue wrote:
On 18 Apr 2005, at 5:14 PM, Christopher Smith wrote:
But back at you, in the key of C would YOU spell the bII7 chord as
Db-F-Ab-Cb
On a piano or guitar part, absolutely -- no hesitation, no question.
On chordal parts, I spell dominant 7th
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