The pick up measure, or the section that anticipates the first beat of
the measure which coincides with the beginning of the rhythmical -
harmonical structure of the musical phrase is also called anacrusis.
The original Greek term anákrousis generated from anakrooûn, which
meant 'to take back', to
Christopher Smith wrote:
On Mar 17, 2005, at 3:54 PM, Eric Dussault wrote:
We normally count the measure from the first complete measure in a
piece or section. I think I remember reading something about a rule
that makes the pick-up measure by part of the measure count when it
has a certain
On 17 Mar 2005, at 11:00 PM, John Bell wrote:
I have a small project in which I do want to produce some music that
looks handwritten. My own style, pre-computer, was distinctive in that
I attached all stems, whether up or down ones, to the right-hand side
of note-heads. Is there any way that
Thanks everyone for your opinions. It fortunately confirms the practice
I always did.
There is one situation where I don't know for sure what to do :
considering that the duration of the anacrusis is substracted to the
last measure, what are you doing when you have a five quarter notes
On Mar 18, 2005, at 5:20 AM, dhbailey wrote:
Christopher Smith wrote:
On Mar 17, 2005, at 3:54 PM, Eric Dussault wrote:
We normally count the measure from the first complete measure in a
piece or section. I think I remember reading something about a rule
that makes the pick-up measure by part of
Darcy, I completely agree with you. I wasn't for a moment trying to
defend my former shameful habits. I just wondered if it was possible,
for this one very particular project, to adopt this unorthodox style.
John
On 18 Mar 2005, at 11:42, Darcy James Argue wrote:
On 17 Mar 2005, at 11:00 PM,
Thanks Brad, I know that I can adjust the vertical position of the stem
here. But it is its horizontal placement that I want to change.
John
On 18 Mar 2005, at 04:24, Brad Beyenhof wrote:
I have a small project in which I do want to produce some music that
looks handwritten. My own style,
Hi Chris,
Not numbering the first full measure because you consider it part of
the pickup is a bad idea, I think. Every full measure needs a
measure number, regardless of any phrasing issues. This is a good rule
of thumb and I don't see any good reason to go around creating
exceptions.
-
At 7:46 PM -0500 3/17/05, Christopher Smith wrote:
I even see from time to time works where an entire introduction is
not numbered, or numbered with a, b etc., or i ii in lower
case Roman numerals, like a book preface, though this might only be
because the intro was added later and they needed
Darcy James Argue / 05.3.18 / 08:52 AM wrote:
Not numbering the first full measure because you consider it part of
the pickup is a bad idea, I think. Every full measure needs a
measure number, regardless of any phrasing issues. This is a good rule
of thumb and I don't see any good reason to
At 7:53 AM -0500 3/18/05, Eric Dussault wrote:
Thanks everyone for your opinions. It fortunately confirms the
practice I always did.
There is one situation where I don't know for sure what to do :
considering that the duration of the anacrusis is substracted to the
last measure, what are you
Does anyone know the escape key in Mac OSX? It was cmd-. in OS9, but I
can't tell if it is working the same in OSX. I wanted to use it to
escape from long mass edit procedures as before.
--
Robert Patterson
http://RobertGPatterson.com
___
Finale
On 18 Mar 2005, at 9:17 AM, A-NO-NE Music wrote:
It just doesn't make sense to me to number from bar one on this song.
Of course it does. Measure numbers have nothing to do with phrasing.
If it *really* bothers you that the top of the form is labeled m.3
instead of m.1, you can label the two
Darcy James Argue wrote:
On 17 Mar 2005, at 11:00 PM, John Bell wrote:
John, I'm afraid I think that's an absolutely awful idea. Just
because you want a project to look handwritten, that doesn't give you
license to make up the rules as you go along. If you really want it
to look like
Somebody wrote (too many overlapping quotes to figure it out!):
I'm confused -- how can there be more than one measure as a pickup?
Not at all unusual in Berlioz, who was certainly not constrained by
barlines, and present in Tchakovsky as well (I'm thinking of the
pickups to the 5/4 waltz
At 3:45 PM +0100 3/18/05, Daniel Wolf wrote:
Personally, I would probably dislike reading a score with
unconventional stemming, although I can imagine some some
compositional rationale for doing it (e.g. in an extremely complex
rhythmic environment, this would aid in creating a notion that is
At 9:23 AM -0600 3/18/05, Robert Patterson wrote:
Does anyone know the escape key in Mac OSX? It was cmd-. in OS9, but
I can't tell if it is working the same in OSX. I wanted to use it to
escape from long mass edit procedures as before.
--
Robert Patterson
Perhaps I don't understand, but the
Since I am unable to use my hands and the mouse the Windows
keyboard shortcuts are absolutely necessary for me to be able to
use Finale at all.
Joe
-
Joe Laird
Email: [EMAIL PROTECTED]
Hi Hiro,
Standard practice is to number repeated measures (including measures
with only slashes) *above* the bar, in a large and visible font -- and,
of course, to restart the numbering after each new section. I don't
think it's a good idea to force your drummer to rely on regular measure
On 18 Mar 2005 at 7:58, Christopher Smith wrote:
I'm thinking of one piece in particular of mine that I started with a
7 eighth-note pickup, but then amended later to be 9 eighth-notes,
which of course took up one measure and an eighth note (over two
measures), neither of which I chose to
Darcy James Argue / 05.3.18 / 09:24 AM wrote:
It just doesn't make sense to me to number from bar one on this song.
Of course it does. Measure numbers have nothing to do with phrasing.
I guess everyone has different needs.
My drummer, Harvey Wirht who lives in NY and tours a lot, is not
On Mar 18, 2005, at 10:18 AM, John Howell wrote:
At 7:53 AM -0500 3/18/05, Eric Dussault wrote:
Thanks everyone for your opinions. It fortunately confirms the
practice I always did.
There is one situation where I don't know for sure what to do :
considering that the duration of the anacrusis is
On Mar 18, 2005, at 12:50 PM, David W. Fenton wrote:
On 18 Mar 2005 at 7:58, Christopher Smith wrote:
I'm thinking of one piece in particular of mine that I started with a
7 eighth-note pickup, but then amended later to be 9 eighth-notes,
which of course took up one measure and an eighth note
On Mar 17, 2005, at 11:00 PM, John Bell wrote:
I know that the Jazz font is quite popular with writers and players
who are accustomed to handwritten music. Personally I have always
regarded it as rather silly, if you're using a computer, to pretend
that you're not. But I do recognize that some
Dear all -
Maybe a lot of you know about this already, but I
found this site, and (so far) it has proved useful to
me in my beginning theory class. It allows you to
assign pre-designed theory drills that your students
can complete on their own time (on their own
computers, even), and then you
Robert, as Dacry says, Command-period will cancel or interrupt an
action as it used to. As a test I set up Implode Music in a large
score and pressed command-period while the note was spinning. It
canceled the implode without any problems. I still works for cancel
printing and the like.
Hal
At 2:29 PM -0500 3/18/05, Darcy James Argue wrote:
Like I keep saying, it's not about the gesture, or the phrasing, or
any of that stuff. Measure numbering follows a simple, objective,
easy-to-understand and (almost) universally-applied rule. Every
complete measure gets a unique measure
It has been my observation that the rule that the final measure have
the remaining beats so that when combined with the pickup beats they
form one complete measure is observed maybe 90% of the time. Other
times, people write complete final measures.
Leave it as it is. People will figure out
A-NO-NE Music wrote:
Darcy James Argue / 05.3.18 / 08:52 AM wrote:
Not numbering the first full measure because you consider it part of
the pickup is a bad idea, I think. Every full measure needs a
measure number, regardless of any phrasing issues. This is a good rule
of thumb and I don't
John Howell wrote:
At 2:29 PM -0500 3/18/05, Darcy James Argue wrote:
Like I keep saying, it's not about the gesture, or the phrasing, or
any of that stuff. Measure numbering follows a simple, objective,
easy-to-understand and (almost) universally-applied rule. Every
complete measure gets a
In a message dated 18/03/2005 21:00:20 GMT Standard Time,
[EMAIL PROTECTED] writes:
which
convention, for what it's worth, is also frequently used in the music
printed in England between 1850 and about 1900, especially by the firm
Novello and Company.
It was used long before 1850 -
John Howell wrote:
For example, we are presently preparing the Saint-Saens A minor cello
concerto, and the printed parts use a backwards 8th rest to indicate a
quarter rest.
which convention, for what it's worth, is also frequently used in the
music printed in England between 1850 and about
On Mar 17, 2005, at 9:45 PM, Chuck Israels wrote:
On Mar 17, 2005, at 4:46 PM, Christopher Smith wrote:
I have always NOT included any pickup measures in the measure count, even when there is more than one measure as a pickup. ...
This has always been my practice, and I've had no reason to
On Mar 18, 2005, at 12:24 AM, A-NO-NE Music wrote:
The first measure is the beginning of the harmonic
rhythm, and should be dictated by the composer's intention.
This is by no means necessarily the case. Partial measures are not
numbered precisely because they are not full measures. This is made
On 18 Mar 2005, at 5:06 PM, Andrew Stiller wrote:
This seems to be yet another difference between jazz and classical
notation practices.
No. Chris and Hiro are, with due respect, not adhering to standard
jazz practice here.
In the classical world, the first full measure is number 1, period.
On 18 Mar 2005 at 14:15, Chuck Israels wrote:
The tendency to do things in ways that delineate the formal outline
surely stems from the necessity for the jazz musician to be fully and
quickly aware of these parameters in order to function well. I have
no argument with those who choose to to
Andrew,
The tendency to do things in ways that delineate the formal outline surely stems from the necessity for the jazz musician to be fully and quickly aware of these parameters in order to function well. I have no argument with those who choose to to things differently, but I find it useful
Hi Chuck,
Measure numbers don't delineate form. We have other, better tools for
that.
That said, I don't particularly *object* to your practice of using A,
B, C etc. so long as every complete measure has a unique ID. I just
don't think it's particularly helpful, either. Why not just start
On Mar 18, 2005, at 11:15 AM, Ken Moore wrote:
* A double bass keeps one at some distance from the music stand.
A double bass keeps one at some distance from the world!
Double bass music, when things are working right, can unite the people who are listening.
Chuck :)
Chuck Israels
230
I don't know what you mean by everybody else. Especially in show music,
production music, and on a great many recording sessions, the intro's are
likely to be lower case a, b, ect. One of the reasons is that, in many
cases, intro's are changed (halfed, doubled, vamped, ect.) to fit time
issues or
Hello all,
I'm finishing up orchestrating a ballet (aka my dissertation) and I'm running
into an odd
problem. When I'm working in the Text Expression Designer and have an
expression that has
more than one line, the Justification tools are greyed out. Any ideas on why
this is and
how I can get
John Bell wrote:
Computers arrived. One of the first problems I encountered then was that
players, given beautifully printed parts, couldn't believe that there
was a wrong note there -- it was printed as F# so it must be F#. Some
composers and arrangers found that using the Jazz or Inkpen font
Rob Deemer wrote:
Hello all,
I'm finishing up orchestrating a ballet (aka my dissertation) and I'm running
into an odd
problem. When I'm working in the Text Expression Designer and have an
expression that has
more than one line, the Justification tools are greyed out. Any ideas on why
this is
Is there any way at all, short of reentering all the notes, of getting a
Sibelius score into Finale (even just as MIDI)?
Richard Yates
___
Finale mailing list
Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
dhbailey / 05.3.18 / 03:40 PM wrote:
It may not make sense to you, but will it make sense to your musicians,
when you call out Bar 7 and everybody plays from bar 7 while you
really meant bar 9?
That's exactly the point.
The musicians I play with last 17 years in this country,
Bar 5 means the
On 18 Mar 2005, at 11:42, Darcy James Argue wrote:
I have a small project in which I do want to produce some music that
looks handwritten. My own style, pre-computer, was distinctive in
that I attached all stems, whether up or down ones, to the
right-hand side of note-heads. Is there any way
Darcy James Argue / 05.3.18 / 05:26 PM wrote:
No. Chris and Hiro are, with due respect, not adhering to standard
jazz practice here.
Ha-ha,
Let me ask you this.
A 32 bar standard jazz form with two bars of pickup measures,
Do you call this a 34 bar form?
I still call it 32 bar form.
--
-
At 09:17 PM 03/18/2005, Carl Dershem wrote:
I'm glad I'm not the only one that pulls their hair out when they run
across this. It looks so professional, it MUST be right! when the
parts make no sense at all...
Better: When you point out a wrong note in the (Finale-generated) part and
are told,
Hiro,
I don't know how many times I have to say this.
Measure numbers have NOTHING TO DO with the form.
You keep confusing two completely unrelated issues.
In a 32-bar AABA tune with a two-bar intro, you delineate the form with
double bars and rehearsal letters or numbers, NOT measure numbers.
On 18 Mar 2005, at 7:01 PM, Jim Williamson wrote:
I don't know what you mean by everybody else.
I mean every professional copyist in New York.
Especially in show music,
production music, and on a great many recording sessions, the intro's
are
likely to be lower case a, b, ect.
No. Not anymore,
On Mar 18, 2005, at 5:09 PM, Andrew Stiller wrote:
On Mar 18, 2005, at 12:24 AM, A-NO-NE Music wrote:
The first measure is the beginning of the harmonic
rhythm, and should be dictated by the composer's intention.
This is by no means necessarily the case. Partial measures are not
numbered
On Mar 18, 2005, at 10:44 PM, Darcy James Argue wrote:
Hiro,
I don't know how many times I have to say this.
Measure numbers have NOTHING TO DO with the form.
You keep confusing two completely unrelated issues.
In a 32-bar AABA tune with a two-bar intro, you delineate the form
with double bars
It may not define form and I don't care. However, I've seen it that way a
million times and I like it.
Jim
- Original Message -
From: Darcy James Argue [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Friday, March 18, 2005 9:44 PM
Subject: Re: [Finale] pick-up measure
Hiro,
I don't
On Mar 18, 2005, at 5:22 PM, David W. Fenton wrote:
On 18 Mar 2005 at 14:08, Christopher Smith wrote:
For that matter, in the example I cited above (BEFORE the revision) I
had a pickup measure with 7 eighths in it. I didn't bother making it a
7/8 bar, as that seemed needlessly fussy and would most
Richard Yates wrote:
Is there any way at all, short of reentering all the notes, of getting a
Sibelius score into Finale (even just as MIDI)?
Not for free. The Recordare sells a Dolet plug in for Sibelius, that
converts a Sibelius file to music XML, from which it can be imported
from Music
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