this is great. I'll get some use from this.
Thanks for posting.
Mark McCarron
From: Brian Appleby brian...@me.com
To: finale@shsu.edu
Sent: Sunday, December 9, 2012 12:30 AM
Subject: Re: [Finale] Transpositions in linked parts
You can create all the parts
You can create all the parts you want in scroll view, then hide the ones you
don't want in the score. The hidden parts all still appear in scroll view but
will not appear in the page view score or the printed score. They CAN be used
to create linked parts. I use this all the time for things
Yes. (though you must have meant without having multiple STAVES in the score.
Multiple PARTS is what you want.)
Create a new part, name it, add the staff you want, now read carefully. WHILE
IN THE PART, go to the Score Manager (command K on Mac) and click unlink all
instruments in this part.
- Original Message -
From: Lawrence David Eden [EMAIL PROTECTED]
To: FinaleList Finale@shsu.edu
Sent: Tuesday, February 27, 2007 12:17 PM
Subject: [Finale] transpositions
I am working on a score written by Paul Hindemith. He wrote the
Klarinette part in B with a key signature, but
Marcello Noia wrote:
- Original Message -
From: Lawrence David Eden [EMAIL PROTECTED]
To: FinaleList Finale@shsu.edu
Sent: Tuesday, February 27, 2007 12:17 PM
Subject: [Finale] transpositions
I am working on a score written by Paul Hindemith. He wrote the
Klarinette part in B with a
- Original Message -
From: dhbailey [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Tuesday, February 27, 2007 1:05 PM
Subject: Re: [Finale] transpositions
Marcello Noia wrote:
- Original Message -
From: Lawrence David Eden [EMAIL PROTECTED]
To: FinaleList Finale@shsu.edu
At 6:17 AM -0500 2/27/07, Lawrence David Eden wrote:
I am working on a score written by Paul Hindemith. He wrote the
Klarinette part in B with a key signature, but the Trompete part,
which is also in B, has no key signature.
Can anybody tell me about this practice in orchestral music? It is
On 19.10.2006 Owain Sutton wrote:
Offhand, I'm pretty sure that Shostakovich and Bartok didn't play any
string instruments.
To be honest, I have no idea. However, I didn't mean to master the
instrument. But at least learn to play a few notes, this will tell you
some of the difficulties, but
Will Denayer [EMAIL PROTECTED] wrote:
[...] I usually write everything in C first and then write it over for
the transposing instruments. I understand now that I can write
everything as in C in Finale and then use the transposition tool where
needed. This is great.
The transposition tool is
Bartók came from a class and an environment in which playing violin,
piano, and perhaps cello were altogether ordinary skills, and music was
practically defined by the Austro-Germanic repertoire. As a pianist, he
became familiar with the Beethoven violin sonatas in his late childhood
or early
On Oct 18, 2006, at 6:29 PM, Dean M. Estabrook wrote:
After analyzing Bartok's String Quartet work and his Concerto for
Orchestra, I have to believe that if he didn't play any string
instruments, he had some bloody good help in writing it.
This and similar comments mystifying the
-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of Daniel Wolf
Sent: 19 October 2006 13:21
To: finale@shsu.edu
Subject: Re: [Finale] Transpositions
Bartók came from a class and an environment in which playing violin,
piano, and perhaps cello were altogether ordinary skills
On a completely different note: does anyone of you know of a good
source for writing quartets? I am writing a piece for cello solo
right now (my first one ever) and I find that unbelievably
difficult. I cannot imagine writing for quartet. The big problem
is that I do know the instruments well
On 18.10.2006 Will Denayer wrote:
On a completely different note: does anyone of you know of a good source for writing quartets? I am writing a piece for cello solo right now (my first one ever) and I find that unbelievably difficult. I cannot imagine writing for quartet. The big problem is that
On 18 Oct 2006 at 21:36, Johannes Gebauer wrote:
Beethoven took violin lessons before he started out writing
quartets. I am not sure you can write string quartets without playing
at least one string instrument to a certain standard...Sorry if this
sounds too negative.But I really think the
Offhand, I'm pretty sure that Shostakovich and Bartok didn't play any
string instruments.
Far more useful, for most composers, is an opportunity to work alongside
or collaborate with competent and receptive players.
-Original Message-
On 18 Oct 2006 at 21:36, Johannes Gebauer wrote:
After analyzing Bartok's String Quartet work and his Concerto for
Orchestra, I have to believe that if he didn't play any string
instruments, he had some bloody good help in writing it.
Dean
On Oct 18, 2006, at 3:22 PM, Owain Sutton wrote:
Offhand, I'm pretty sure that Shostakovich and
Offhand, I'm pretty sure that Shostakovich and Bartok didn't play any
string instruments.
Or Schumann, Brahms, Debussy, Ravel, Prokofiev, or others who wrote very
effective chamber music for strings (though Prokofiev is more effective than
idiomatic, as his string writing at times contains
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