As I said before, the 6th Brandenburg concerto has a low Bb for the
violone (last note of last movement). The part is marked Violone e
Cembalo so maybe Bach was thinking keyboard here. But it's
interesting to note that the cello part, which in the few preceding
measures is identical to the
On 4 Mar 2005 at 17:25, Godofredo Romero wrote:
Taken from Cecil Forsyth' book on orchestration The name Violone, i.e
big Viola, was given to the Double-Bass, and in accordance with the
accurate if somewhat limited principles of the Italian laguage, the
intermediate instrument was christened,
On 4 Mar 2005 at 22:14, Ken Moore wrote:
In message [EMAIL PROTECTED] John Howell
writes: IIRC, there is also a low B in Brandenburg 3, but that may
have been intended for a six-string violone.
I with I had a score at hand to check this, but it seems kinda
questionable. Could somebody
On 4 Mar 2005 at 17:32, John Howell wrote:
At 3:46 PM -0500 3/4/05, David W. Fenton wrote:
Also, keep in mind that Bach's gamba sonatas assumed a 7-string gamba
with a low A string (because two of the three sonatas require low B),
Hmm. The only one I'm really familiar with is the G
At 9:53 PM + 3/4/05, Ken Moore wrote:
In message [EMAIL PROTECTED] Roger Satorra
writes:
You're talking about a scordatura.
I don't think of all cases of tuning a lower string down as scordatura.
I associate that with notation that tells you where to put your fingers,
but because the string is
John Howell wrote:
Six-string or five-string electric basses are now common in pop music,
and I wonder how they are tuned. And John Denver is alleged to have
used a scordatura tuning for his guitar, allowing him to play
figurations that would have been unplayable in normal guitar tuning.
My
Six-string or five-string electric basses are now common in pop music, and I wonder how they are tuned.
Low B, high C- 4ths all the way.
And John Denver is alleged to have used a scordatura tuning for his guitar, allowing him to play figurations that would have been unplayable in normal
Hello,
How can I write a chord such as C/Bb7 ? When doing so, finale removes the 7
of the Bb.
Thanks,
Roger
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At 3:06 PM +0100 3/5/05, Johannes Gebauer wrote:
I am by no means an expert, but the term violone is used for various
instruments, including the cello itself (see for instance Corelli's
violin sonatas original title), but was also in wide use for a
double bass instrument. A violone could be an
...In a few cases the actual sounding notes in a
scordatura piece are given by the composer, and the player must work
out his own fingering [examples given], but 'sounding-notation' is
impractical for the player, and consequently it has seldom been used.
'Actual sounding notes' is the most
Your chord is written incorrectly. If you want a Bb7 over a C bass then you
must reverse the order to Bb7/C
Guy Hayden
- Original Message -
From: Roger Julià Satorra [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Saturday, March 05, 2005 11:22 AM
Subject: [Finale] Chord symbol
Hello,
At 5:22 PM +0100 3/5/05, Roger =?UNKNOWN?Q?Juli=E0?= Satorra wrote:
Hello,
How can I write a chord such as C/Bb7 ? When doing so, finale removes the 7
of the Bb.
I that a polychord (i.e. C major triad over Bb7 chord)? The program
is obviously reading it as C major over a Bb bass note. (You
No, what I want is a Bb7 (9, +11, 13), it's easier to write C/Bb7, but not by
finale!
Roger
-- Guy Hayden[EMAIL PROTECTED] wrote:
Your chord is written incorrectly. If you want a Bb7 over a
C bass then you
must reverse the order to Bb7/C
Guy Hayden
- Original Message -
On Mar 4, 2005, at 4:25 PM, Godofredo Romero wrote:
Taken from Cecil Forsyth' book on orchestration The name Violone, i.e big Viola, was given to the Double-Bass, and in accordance with the accurate if somewhat limited principles of the Italian laguage, the intermediate instrument was
On Mar 4, 2005, at 4:53 PM, Ken Moore wrote:
I don't think of all cases of tuning a lower string down as scordatura.
I associate that with notation that tells you where to put your
fingers,
but because the string is tuned in a non-standard manner, the pitch
that
comes out is not the one notated.
my approach would be to write it as Bb13(#11) - or make up a score
expression if you don't need playback (I would indicate this as C
triad/Bb7 to avoid anyone thinking you put the bass note on the wrong
side)
On Mar 5, 2005, at 10:45 AM, Roger Julià Satorra wrote:
No, what I want is a Bb7 (9,
That seems to be a problem with Finale. When ever I have polychords that I
can't teach Finale (such as C7/Bb7 or C/Bb7), I write it in Score Ex.
JIm
- Original Message -
From: John Howell [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Saturday, March 05, 2005 10:37 AM
Subject: Re: [Finale]
Roger,
/X is only for a bass note, as in Bb/C (Bb over C = Csus). Do you
mean:
C ?
Bb7
Then a Bb13 (#11) should be appropriate.
Kurt
At 17:22 05.03.2005, you wrote:
Hello,
How can I write a chord such as C/Bb7 ? When doing so, finale removes the
7
of the Bb.
Thanks,
Roger
On 05 Mar 2005, at 11:18 AM, Chuck Israels wrote:
And John Denver is alleged to have used a scordatura tuning for his
guitar, allowing him to play figurations that would have been
unplayable in normal guitar tuning.
Not so unusual for guitarists.
Yes -- as Chuck said, that's a wee bit of an
Okay, there have been some confused responses here. What Roger wants
to do is create a compound chord, also known as a polychord. Compound
chords are extremely common in jazz, but Finale doesn't directly
support them, which has been a longstanding source of frustration for
jazz musicians
Yes, that's exactly what I mean. I know Bb13 (#11) would be appropriate, but
specially when writing for big band, the piano part should be written
C
---
Bb7
I guess it's something that MUST be corrected by finale. I'm curious about
how Sibelius deals with it. I'll ask arround, jazz people
In message [EMAIL PROTECTED] Andrew Stiller
writes:
Scordatura is sometimes notated that way, and sometimes at the actual
pitch, the convention varying with time, place, and circumstance. Any
unorthodox tuning of a stringed instrument is scordatura regardless of
the notation.
OK, but since
Oh, wait, I forgot one (actually not a bad option at all):
4) Enter the chord as:
C
---
Bb
Then, on the same beat, enter just the chord suffix (the 7), and drag
it into position.
That's probably the best solution outside of buying the Bill Duncan
font (which I actually highly recommend.)
-
-- Darcy James Argue[EMAIL PROTECTED] wrote:
1) Enter two separate chords on the same beat -- C and
Bb7 --
manually drag the C up, and draw a horizontal line
between them.
(There many options for this -- if you're not picky about
the
appearance, probably the easiest thing is to just
On Mar 5, 2005, at 1:47 PM, Darcy James Argue wrote:
On 05 Mar 2005, at 11:18 AM, Chuck Israels wrote:
And John Denver is alleged to have used a scordatura tuning for his
guitar, allowing him to play figurations that would have been
unplayable in normal guitar tuning.
Not so unusual for
I'll second this recommendation. If you are doing much of this kind of
music, Bill's Finale Productivity package is the way to go. It's saved me
huge amounts of time and frustration and is well worth the $150 for the
whole pack. At least check it out at
Hi Roger,
While I agree that Finale should have support for compound chords (and
listed a few workarounds in previous posts), I can assure you that you
that when most piano players see Bb13(#11), the voicing they will play
is very likely to be a C triad over a Bb7 chord. In other words, I
On Mar 5, 2005, at 11:45 AM, Roger Julià Satorra wrote:
No, what I want is a Bb7 (9, +11, 13), it's easier to write C/Bb7, but not by
finale!
Roger
Darcy gave you good advice about getting what you want on paper. I would gently suggest that while
C
Bb7
might be easier for you, it might be
Christopher Smith wrote:
And of course everyone's favourite country-jazz guitarist, Pat Metheny.
Some of his chords, too, are positively unplayable on a normally-tuned
instrument.
Nah - they'er *simple*!
If you're double-jointed, and have 16 inch long fingers.
:)
On Mar 5, 2005, at 1:48 PM, Ken Moore wrote:
In message [EMAIL PROTECTED] Andrew
Stiller
writes:
Scordatura is sometimes notated that way, and sometimes at the actual
pitch, the convention varying with time, place, and circumstance. Any
unorthodox tuning of a stringed instrument is scordatura
There is interesting information on this subjet at
http://www.earlybass.com/borgin.htm
Godofredo
Johannes Gebauer wrote:
I am by no means an expert, but the term violone is used for various
instruments, including the cello itself (see for instance Corelli's
violin sonatas original title), but
Title: Re: [Finale] Chord symbol
At 5:45 PM +0100 3/5/05, Roger =?UNKNOWN?Q?Juli=E0?= Satorra
wrote:
No, what I want is a Bb7 (9, +11, 13),
it's easier to write C/Bb7, but not by
finale!
You've had some great advice, and what you want to write is, in fact,
non-standard and confusing, as the
Hi John,
The *notation* for compound chords isn't confusing, and your suggestion:
C chord
-
Bb7 chord
is both redundant *and* confusing.
It's only the fact that Roger's particular compound chord is
functionally equivalent to a standard chord (and is better written as a
standard
At 11:50 AM -0500 3/5/05, Andrew Stiller wrote:
On Mar 4, 2005, at 4:25 PM, Godofredo Romero wrote:
Taken from Cecil Forsyth' book on orchestration The name Violone,
i.e big Viola, was given to the Double-Bass, and in accordance
with the accurate if somewhat limited principles of the Italian
John Howell wrote:
Once again, terminology can be a trap. Corelli's church sonatas--at
least some of the published ones, I believe--specify violone OR organ,
if memory serves. I believe he distinguished carefully between 8' and
16' instruments, but I also believe that he would have worked
I'malmost sorry to bring this
erst-contentious subject back but far too perverse and morally weak to fight the
urge:
There was in interesting piece in today's
Times; interesting to me for two reasons: first -- that which was intended by
the writer: trying to account for the $21 Million
With all due respect: How comes, that the opening posting of this thread
managed to carry through 2 attachments?
Klaus
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Les, no offense, but for gawd's sake don't send background image
attachments to the entire list!
Plain text only, and no attachments, PLEASE.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
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My apologies to all;aren't attachments
usually stripped and html automatically converted to plain text?
In any event, again: my apologies for being
startling.
Les
Les MarsdenFounding Music Director and Conductor, The Mariposa
Symphony OrchestraMusic and Mariposa? Ah, Paradise!!!
From: Darcy James Argue [EMAIL PROTECTED]
Les, no offense, but for gawd's sake don't send background image
attachments to the entire list!
Plain text only, and no attachments, PLEASE.
I don't blame the listers, who routinely add attachments to their mails.
However I was profoundly
Hi -- I crossposted this to the Northern Sound Forum:
http://northernsounds.com/forum/showthread.php?p=268507#post268507
Okay, I've finally tried to get a moderately large score to play back
in GPO via Finale 2005b on my 1.42 GHz Mac mini with 1 GB of RAM.
The results, unfortunately, are not
Darcy,
The playback ability of GPO on a mac vs that on a PC is just awful. The
most I could ever get on my 867mhz 15 Powerbook was 6 instruments. So
you could get 12. Maybe.
I have a 2.2 ghz PC. It cost $350. I have not found a limit on GPO.
There has been talk of improvement on the mac side
Actually, in the most recent grammy awards, the first Hawaiian Music
grammy went to Slack Key Guitar, Vol 2 which an album consisting totally
of what most call drop tuning. In Hawai'i, we call it slack key or ki
ho'alu.
Slack key playing is an art in itself, and tunings can be quite personal,
As noted earlier, attachments are not stripped, and for people that still
use dial-up, binary attachments are a bear to download.
Also, most listservs cannot handle formatting such as HTML. And, when the
text formatting does come through, what you think is perfectly readable
type may be
Hi Steve et al.,
I was actually able to solve 95% of my problems by reducing the
polyphony in the piano and harp parts in the score I'm working on.
That's not a big deal for me -- in this piece, at least, I don't need
anywhere near the 64-note polyphony GPO assigns those instruments by
Can anyone tell me how to define an expression for pitchwheel playback
that will work in GPO?
I'm trying to work around the fact that the bass clarinet in GPO -- for
reasons that are still mysterious to me -- only descends to concert B1,
instead of concert Bb1. (Concert Db1 I could
Hey all,
What am I doing wrong?
Sorry, I shoulda RTFM:
In the following discussion, its useful to remember that when the
pitch wheel is at
rest, its value is 0; when its as far down as it can go, its value is
-8192; and when its at the top
of its range of movement, its value is 8191.
So I guess
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