[Finale] OT Violin fingering
In message [EMAIL PROTECTED] John Howell [EMAIL PROTECTED] writes: KCM: 1) Why are string fingerings taught by positions? does it result in the pupil learning to choose good fingerings quickly, or is it just the easiest way to teach? JH: Much in string playing (and not just in string playing!) is grounded in tradition, and stays around even when the original reasons no longer apply. I can't cite authority for this, but I do suspect that it relates to the fact that 18th century violinists not only did not use shoulder pads, but did not use chin rests either. (Just for comparison, my father, born in 1907, always used a chin rest but never used a shoulder pad, while I have never played without a pad!) The iconography shows a pretty uniform loose instrument position, with the instrument resting on the collar bone or even a bit lower, but not gripped or held fast. That means shifting up to higher positions was easy, since the left hand would be pressing the instrument against the collar bone or neck, but shifting down to lower positions was difficult, since the left hand would be pulling the instrument away from the body. Modern teachers of historical playing techniques use the chin (actually the jaw) to BRIEFLY grip the instrument on downshifts to solve this problem, and this makes sense of the scale manuals (I'm most familiar with Carl Flesch) which have 3-octave scales crawling up the E string with small shifts, but using wide leaps in coming down the E string. (18th century technique also means that a modern intense vibrato was impossible. It was not just a matter of taste and fashion, but a physical impossibility without a firm grip on the instrument. And vibrato was found in tables of ornaments, as a kind of trill.) Yes, I have the Spohr Violin Method, c. 1845. (in English translation, c. 1880), describing it as such, and I have been told that the Joachim one, 1910, says much the same. Roger Norrington claims that continuous vibrato was first used by Kreisler, but I suspect that he may just have been an early and famous user of it. So, 1st position is a kind of home base, and 3rd position is a stable position because the wrist is against the instrument's body. Learning 5th position give a stable range up to F on the E string, which takes care of all but the most virtuosic music of the time. This sets up a mindset toward using, and teaching, the odd positions rather than both odd and even positions. The Sevcik etudes are definitely locked into individual positions. And even in a stable position it's easy enough to stretch the 4th finger up or extend the 1st finger back when needed, as cellists well know. 2) How were you taught and how do you choose fingerings now? I started out learning traditional technique, with my father as my teacher. However, in the 1940s he took string pedagogy classes at Teachers College, Columbia University, with George Bornoff. Bornoff took a definitely non-traditional approach to string technique and string teaching, and my brother and I took private lessons with him as a demonstration to my father (and other skeptical class members) of the effectiveness of those non-traditional methods. Bornoff's goal was to open up the entire fingerboard instead of locking the student into set positions, allowing fingerings and alternate fingerings that were chosen for their sound and phrasing. He approached this goal, on the basic level, with one-finger scales up the fingerboard on single strings. Later (but not all that much later!) this became double-stop and artificial harmonic scales up the fingerboard. When I play above 3rd position, I quite literally do not know what position I am in, and do not care. That information has become irrelevant, while the actual sound that is produced is paramount. And I often spend as much time in 2nd position as in 1st or 3rd, because the fingering patterns are better in many passages. This all sounds very convincing to me. How much does what you do now differ from what good players achieve through conventional teaching? The Bornoff teaching could be a different (possibly faster) route to a similar destination. I choose fingerings that, of course, work in the passages in question, but beyond that give me the musical sounds I decide are appropriate to the music. This is most important in solo music, of course, and has always been in the bag of tricks of an artist performer, but it can also be used in ensemble music. A passage that stays on the G string has an intensity that is missing when the same passage is played by crossing over to the D and A strings, for example, and artistic players have always known that. I love that rich sound at four measures before rehearsal 13 in Elgar's Introduction and Allegro. The whole work shows his understanding of the violin family, including the double bass at the three measures before 20, where a relatively easy part sounds much
Re: [Finale] Viola?
The marking A doi [voce] con Ritornelli di Violini di Viole à beneplacito is not in correct Italian; that, should be: A due [voci] con Ritornelli di Violini e di Viole a beneplacito, which one could interpret as an indication of executing colla parte (literally, with the score), when the violins usually played doubling the vocal parts. Violins where usually used for doubling female voices, but, there where no fundamental rule, having, the conductor at time, not much to chose between the resources of the orchestra. The violins could be of different type and measure, and in a mixed voices choral part with orchestra, the colla parte (con la parte in modern Italian) violin(s), viola(s) and cello(s) (violoncello, violone), would be used. What the conductor, at time (and today) would refer to, is the texture of each vocal part and have that doubled in coherent way by the instruments the orchestra would have. Just a word on the meaning of the marking: con ritornelli refers to the repeats; di violini e viole a beneplacito means to use violins and violas as you like, as you prefer, according to your needs, etc. So, one could interpret it as : 1. play the repeats with the string orchestra's higher parts (or with whatever you dispose) doubling the vocal part 2. play the vocal parts repeats with the string orchestra's higher parts (or with whatever you dispose) without the vocal sections singing Other choices are (and where) possible so, in an edition, what I would like to see, would be a preface explaining that instrumentation and conducting choices are not a matter of a couple of rigid rules, but, how it historically was, it's a matter of coherence and balance with many factors, from the dimension and quality of the choir, of the orchestra, of the performing location and other factors. Giovanni Andreani Thanks for these comments, John. Perhaps I wasn't clear, but there are TWO viola parts. Neither of them have any indication or label (and appear in the vocal part-books). The piece itself is marked A doi [voce] con Ritornelli di Violini di Viole à beneplacito. One of these viola parts is in C3 clef (with changes to C2 and C4), and it's range is D3-D5. The second is in bass clef all along, and its range is E2-D4. So they both cover about two octaves, and are an octave apart. Does that give any clues? Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Tempo indications in parts
At 02:52 AM 08/16/2004, d. collins wrote: I see there's even an option to have it on top of score staff and top of part staff, which is perfect for me. Yes -- if those are the only places you want it, you don't need to muck around with any of the individual staff settings. Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Music Recognition Programs
The previous topic related to scanning music pushed me to post the following, just to hear if anyone can give an update about importing music software's reliability. On Macworld of september 04 there's 'n article by Christopher Breen called Music Recognition Programs, where SmartScore 3.2 and Photoscore 3, both in their professional version, are compared. I understand that there's still much to do, but, I'll have to work (starting in february 05) with a lot of music from the 17/18th century, most of which is already available in my personal library, so I'm eventually looking forward for an alternative solution than Finale's normal notation entry methods. What do you think about these softwares, and, is there anyone who makes a (intense) use of them? Thank you Giovanni Andreani ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Music Recognition Programs
I have used Finale's Smart Score Lite and found it better than I expected. I was scanning in harpsichord music and, in many cases had very few errors. Usually the measures that were wrong were VERY wrong and had to be redone completely with Speedy, but overall this was faster than doing it all in Speedy. Some features are poor (triplets as I recall, and less common time signatures, and repeats bars almost always were attached to the wrong measure). The full Smart Score may be better. Richard Yates - Original Message - From: Giovanni Andreani [EMAIL PROTECTED] To: Finale S.H.S.U. Mailing List [EMAIL PROTECTED] Sent: Monday, August 16, 2004 6:06 AM Subject: [Finale] Music Recognition Programs The previous topic related to scanning music pushed me to post the following, just to hear if anyone can give an update about importing music software's reliability. On Macworld of september 04 there's 'n article by Christopher Breen called Music Recognition Programs, where SmartScore 3.2 and Photoscore 3, both in their professional version, are compared. I understand that there's still much to do, but, I'll have to work (starting in february 05) with a lot of music from the 17/18th century, most of which is already available in my personal library, so I'm eventually looking forward for an alternative solution than Finale's normal notation entry methods. What do you think about these softwares, and, is there anyone who makes a (intense) use of them? Thank you Giovanni Andreani ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Music Recognition Programs
Reports that I've heard also say that SharpEye, which saves as MusicXML does a really good job as well. On 8/16/04 8:26 AM, Richard Yates [EMAIL PROTECTED] wrote: I have used Finale's Smart Score Lite and found it better than I expected. I was scanning in harpsichord music and, in many cases had very few errors. Usually the measures that were wrong were VERY wrong and had to be redone completely with Speedy, but overall this was faster than doing it all in Speedy. Some features are poor (triplets as I recall, and less common time signatures, and repeats bars almost always were attached to the wrong measure). The full Smart Score may be better. Richard Yates - Original Message - From: Giovanni Andreani [EMAIL PROTECTED] To: Finale S.H.S.U. Mailing List [EMAIL PROTECTED] Sent: Monday, August 16, 2004 6:06 AM Subject: [Finale] Music Recognition Programs The previous topic related to scanning music pushed me to post the following, just to hear if anyone can give an update about importing music software's reliability. On Macworld of september 04 there's 'n article by Christopher Breen called Music Recognition Programs, where SmartScore 3.2 and Photoscore 3, both in their professional version, are compared. I understand that there's still much to do, but, I'll have to work (starting in february 05) with a lot of music from the 17/18th century, most of which is already available in my personal library, so I'm eventually looking forward for an alternative solution than Finale's normal notation entry methods. What do you think about these softwares, and, is there anyone who makes a (intense) use of them? Thank you Giovanni Andreani ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Viola?
On 15.08.2004 21:38 Uhr, Andrew Stiller wrote Finally, musicians of the period would not have hesitated to combine viola on the top part with bass gamba on the lower. Don't get me wrong - I have no doubts you are right, but can you tell me where you got this from? Is this just a guess or do you have sources telling you this? Which? Johannes -- This is in Spitzer/Zaslaw, where it is repeated many times. The sources, if I recall correctly, are mainly iconographic. Also the confusion of terms (what is a bass? A bass viol? A violone?) is suggestive. -- Andrew Stiller Kallisti Music Press http://home.netcom.com/~kallisti/ ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Viola?
On 16 Aug 2004 at 11:57, Andrew Stiller wrote: On 15.08.2004 21:38 Uhr, Andrew Stiller wrote Finally, musicians of the period would not have hesitated to combine viola on the top part with bass gamba on the lower. Don't get me wrong - I have no doubts you are right, but can you tell me where you got this from? Is this just a guess or do you have sources telling you this? Which? Johannes This is in Spitzer/Zaslaw, where it is repeated many times. The sources, if I recall correctly, are mainly iconographic. Also the confusion of terms (what is a bass? A bass viol? A violone?) is suggestive. The situation with violone, in particular, is extremely variable over time and place. Even in one place (e.g., Vienna), the situation can be quite complex, with multiple instruments of varying kind and size being used in one era at that location interchangeably. The meaning of the term bassi is, therefore, pretty nonspecific generally, and can only be understood in terms of the likely practices of the original context in which the music was originally performed. In the case of Dennis's music, I'm not sure what to make of it. I suspect that there are two things to consider: 1. what the composer considered good choices, AND 2. what would have been considered within the acceptable range of possibilities. Those two in many cases would be congruent, in others, there might be widely variable geographical traditions that would be in contradiction of each other. And in some music, idiomatic instrumental writing could narrow the range of possibilities quite severely. I suspect that what actually happened in real life was that people who acquired music with specific scorings would often substitute anything that was needed to get the music performed, according to what was available locally. I wouldn't use that as a justification for playing the music on whatever instruments you felt like, but I certainly would use it to allow reasonable substitutions. And when the choice is between performing the music with non-ideal instrumentation and not performing it at all, I'd definitely prefer the former (unless, of course, all you've got available is banjos). I just recently played continuo for a performance of Handel's Alcina that omitted the wind instruments entirely. The ommission of the horns and flutes applied to only 3 arias in the whole opera, but the omission of the oboes is a bigger deal, as the whole sound ideal of Handel's opera orchestra includes that oboe doubling. But we had dress rehearsals for our two performances in the mornings and after contacting 18 different oboists, were unable to find anyone who was available. Omitting them definitely eliminated a whole raft of potential intonation problems, especially given that this was a situation with very short rehearsal time, with all student performers -- rehearsals began July 26th and the performances were Aug. 4th and 5th, barely 10 days later; the orchestra after the last performance had read through the opera a grand total of 6 times, 1 orchestral rehearsal (2 hours for a 3-hour opera, though with the massive cuts we implemented, we got it down to just over 2 hours of music), one orch/vocal rehearsal (2 hours), 2 dress rehearsals (4 of the 7 roles were double cast) and two performances. So, I think one has to consider what the intentions are, and then do what you can to adapt where necessary. Except for the banjos. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
Jari, if you're out there -- now that Coda has released info about Fin2005, can you post your review so that we can see what's *really* interesting? Thanks, Aaron. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
More reasonable upgrade price. The Tuplet placements and repeats stuff might be all I'd use in the new upgrade.. There is a LOT of fluff in this new version. Brad Beyenhof wrote: http://www.finalemusic.com/finale/features/new/ A few of the new features are marketing fluff, but some of them (including grace note spacing, tuplet placement, and the hybrid Mac/Windows CD) look very promising. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
Eric Dannewitz wrote: More reasonable upgrade price. The Tuplet placements and repeats stuff might be all I'd use in the new upgrade.. There is a LOT of fluff in this new version. But then there's been a lot of fluff in each new version since about Fin97. We old veterans have to face the facts -- while our upgrade business is important, what is more important to MakeMusic is the vast untapped market of new customers, those who might otherwise be buying Sibelius. As always, we have to hope that the non-fluff improvements are worth the price of admission. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
dhbailey wrote: As always, we have to hope that the non-fluff improvements are worth the price of admission. Absolutely. Grace notes and tuplets sorted out, if they live up to the promise, will reduce my workload by about half in many pieces. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
Indeed, but the Fluff level is pretty extreme this time. Lanch menu? Performance Assessment? Now isn't the latter starting to blur with SmartMusic? I like that you can save Finale pieces to SmartMusic, but.having Finale now acts a scaled down SmartMusic thing is getting a little too fluffy for me... However, the tuplets, and repeats and spacing improvements sound great! dhbailey wrote: But then there's been a lot of fluff in each new version since about Fin97. We old veterans have to face the facts -- while our upgrade business is important, what is more important to MakeMusic is the vast untapped market of new customers, those who might otherwise be buying Sibelius. As always, we have to hope that the non-fluff improvements are worth the price of admission. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
Friends FWIW, I ordered my upgrade; scheduled to ship this coming Friday. ns ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] OT: G5 PowerBooks
Brad: For me, the hybrid CD alone will be a Godsend as I intend to buy a Mac soon (whenever the G5 Powerbooks come out) and I'll be glad not to have to deal with two separate pieces of software. Me: Just before I bought my 15 G4 PowerBook (with which I am extremely happy and on which FinMac2k4c works -- knock-wood fine and fast), I consulted with a friend of mine, a retired Mac salesman, who continually keeps his finger on the Apple pulse. He said that there ain't gonna be no G5 PowerBooks... that the G5 chip generates way too much heat for the laptop chassis to handle. Now, he may be wrong, but he isn't wrong often, and given how sensitive the G4 PowerBooks are to the heat they generate, his claim certainly seems plausible... That's not to say that there won't be more PowerBooks, or G6 PowerBooks, or even G5 PowerBooks. But you might be waiting a while... ng ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
On Mon, 16 Aug 2004 15:05:02 -0500, Noel Stoutenburg [EMAIL PROTECTED] wrote: FWIW, I ordered my upgrade; scheduled to ship this coming Friday. Whoa... I didn't think it would ship so soon. I thought this was more of an announcement of features, and not really an announcement of actual availablility. It does say Pre-order, after all. Did you notice anything mentioning how long the pre-order period will last? I suppose I'll be ordering soon as well. -- Brad Beyenhof [EMAIL PROTECTED] http://augmentedfourth.blogspot.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: G5 PowerBooks
Hi Neal, Due respect, but your friend is dead wrong. Of course there will be G5 PowerBooks. Steve Jobs had originally said by the end of 2004 but IBM has had a lot of trouble on the manufacturing end, so that's likely no longer in the cards. But there will certainly be G5 PowerBooks sometime in 2005 (possibly even at January's MacWorld, although that's an optimistic prediction). It is true that *current* G5's generate a lot of heat, but believe me, IBM is hard at work on a mobile-capable version of the G5. The G4 was originally considered to run much too hot to ever put in a notebook computer as well -- obviously, that turned out not to be the case. Also, there will be no more revisions of the G4 PowerBooks. The current 1.5 GHz G4 models are the end of the line. The redesigned G5 iMac will be announced soon, in a very small, almost notebook-like enclosure. I expect G5 PowerBooks will be out within 6-8 months after the G5 iMac's debut. It is inconceivable that Apple would go much longer than that with the pro chip (the G5) in their consumer line (iMac) but not their pro notebook line. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 16 Aug 2004, at 04:15 PM, Neal Gittleman wrote: Brad: For me, the hybrid CD alone will be a Godsend as I intend to buy a Mac soon (whenever the G5 Powerbooks come out) and I'll be glad not to have to deal with two separate pieces of software. Me: Just before I bought my 15 G4 PowerBook (with which I am extremely happy and on which FinMac2k4c works -- knock-wood fine and fast), I consulted with a friend of mine, a retired Mac salesman, who continually keeps his finger on the Apple pulse. He said that there ain't gonna be no G5 PowerBooks... that the G5 chip generates way too much heat for the laptop chassis to handle. Now, he may be wrong, but he isn't wrong often, and given how sensitive the G4 PowerBooks are to the heat they generate, his claim certainly seems plausible... That's not to say that there won't be more PowerBooks, or G6 PowerBooks, or even G5 PowerBooks. But you might be waiting a while... ng ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
Aaron Sherber writes: Jari, if you're out there -- now that Coda has released info about Fin2005, can you post your review so that we can see what's *really* interesting? I will post a review! However, I'm waiting for my contact at MM to give me the go-ahead signal for the posting of the review. Best regards, Jari Williamsson ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Re:Playback speed
On to round two of the playback speed problem (Mac OSX 10.2.8, Finale 2004c). There's one file I am sure of having a problem (playback tempo stays at 120 even if I change settings to any other tempo). This one used the new drum groove plugin. There were no initial text entrees for a beginning tempo. The problem was fixed when I unchecked the box for playback recorded tempo changes in the playback options dialog box. I had another file that used the same plugin but on this one I did not have to deselect this setting. Thanks for the advice on being careful when using the plugins. It helped to solve the problem, but I am still not sure if Finale is behaving consistently. Mark ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: G5 PowerBooks
On 16 Aug 2004, at 04:40 PM, Lynn Gold wrote: Apple rarely does major product releases at San Francisco MacWorld because it comes just after Christmas. I'm afraid you are mistaken. Apple *frequently* announces major products at the January MacWorld conference. In fact, the G4 PowerBooks were announced at the January 2001 MacWorld, and the iMac G4 was announced at the January 2002 MacWorld. At the 2003 conference, they unveiled the 17 and 12 Powerbooks. This year was a little lackluster in the hardware department, but nonetheless, they still introduced the iPod mini and the XServe G5. Also, there will be no more revisions of the G4 PowerBooks. The current 1.5 GHz G4 models are the end of the line. Not arguing, but who's your source on this? Macrumors.com, among others -- there seems to be wide consensus on the net that this is the case. Keep in mind that until very recently, it was Apple's policy never to put a pro chip in a consumer product before *all* the pro products got it. You'll remember that the G4 went first to the minitowers, then (one year later) to the PowerBooks (even though everyone had been saying at the time that a G4 PowerBook was impossible). Then, one year after *that*, Apple finally put a G4 in the (consumer) iMac. Obviously, Apple are -- reluctantly, I'm sure -- changing this policy for the G5. It will go in the iMac before it goes in the PowerBooks, precisely because the heat issues with the G5 have been so problematic. But problematic doesn't mean insurmountable -- Apple and IBM have been planning for a PowerBook G5 from the start, and there's absolutely no reason to think they've abandoned this project. Macosrumors.com are predicting a 6-8 month wait from now for PowerBook G5's -- I think that's overly optimistic. But 6-8 months after the iMac G5's are on the shelves seems reasonable. At any rate, the point is that many official Apple sources, including Steve Jobs himself, have confirmed that PowerBook G5s are definitely in the works -- though, obviously, it's taking them longer than they would like. - Darcy - [EMAIL PROTECTED] Brooklyn, NY ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
I just wrote: I will post a review! However, I'm waiting for my contact at MM to give me the go-ahead signal for the posting of the review. FYI: I can post the review tomorrow (Tuesday)! Best regards, Jari Williamsson ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
Brad Beyenhof wrote: On Mon, 16 Aug 2004 15:05:02 -0500, Noel Stoutenburg [EMAIL PROTECTED] wrote: FWIW, I ordered my upgrade; scheduled to ship this coming Friday. Whoa... I didn't think it would ship so soon. I thought this was more of an announcement of features, and not really an announcement of actual availablility. It does say Pre-order, after all. Did you notice anything mentioning how long the pre-order period will last? I suppose I'll be ordering soon as well. It did say that the expected ship date is August 20. -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT - ITunes and Josh Groban
On Aug 16, 2004, at 10:34 AM, Dean M. Estabrook wrote: Yeah, I agree. When he sang at the Super Bowl, it was as unto a breath of fresh air in an otherwise putrid, stale, showboat of hype. I remember my head jerking up to attention. I'm in the opera world, and the opera snobs get all bent out of shape when Groban is marketed as classical or, worse, operatic, which he surely isn't. On the other hand, he's got a good healthy production for a crooner, more like a throwback to the old days -- Perry Como, Pat Boone, etc -- and I like that. Not many others singing like that nowadays. mdl ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT - ITunes and Josh Groban
I'm in the opera world, and the opera snobs get all bent out of shape when Groban is marketed as classical or, worse, operatic, which he surely isn't. I think the fact that he is sort of out of place in time is interesting. The most popular male singers of this day are so far removed from what Groban does that it makes him seem to some a classical singer. However, in your world, he is a crooner. This makes me smile because in my world he is pretty far from being a real crooner, even like one of the square guys you referenced. Either way, it's like you've said: he's a throwback. It is his innate personality that is lifting him up to mainstream popularity, I think. I heard real estate brokers talking about him in the office, people mostly in their thirties who are so obsessed with their work that I've never heard them talk about anything else before. If this were, oh, 1962, he would be in the company of Robert Goulet and Sammy Davis, Jr., and a large number of others like them, and he wouldn't stand out so much. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT - ITunes and Josh Groban
So why is this list getting these messages?!?!?! Crystal Premo wrote: I'm in the opera world, and the opera snobs get all bent out of shape when Groban is marketed as classical or, worse, operatic, which he surely isn't. I think the fact that he is sort of out of place in time is interesting. The most popular male singers of this day are so far removed from what Groban does that it makes him seem to some a classical singer. However, in your world, he is a crooner. This makes me smile because in my world he is pretty far from being a real crooner, even like one of the square guys you referenced. Either way, it's like you've said: he's a throwback. It is his innate personality that is lifting him up to mainstream popularity, I think. I heard real estate brokers talking about him in the office, people mostly in their thirties who are so obsessed with their work that I've never heard them talk about anything else before. If this were, oh, 1962, he would be in the company of Robert Goulet and Sammy Davis, Jr., and a large number of others like them, and he wouldn't stand out so much. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale 2005 announced
Maybe there's some fluff, maybe not. But they hit the two biggest product defects, IMHO: tuplets and repeats. If they even got those halfway right, 90 bucks for that is a no-brainer. I'll make that up in productivity savings on the very first project. And if, by some stroke of good fortune, they have actually made simple note entry even marginally useful, that would be a big bonus. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
