At 08:01 PM 7/2/2005, you wrote:
It's interesting that you mention the plagal cadence. To me the modern
extension of what might function as plagal would be a chord that includes
the tonic and not the leading tone. Cadences such as vi-I, bVI-I, A6-I,
bVII9-I, and even V11-I (a Debussy favorite)
At 12:05 AM 7/3/2005, you wrote:
At 08:01 PM 7/2/2005, you wrote:
It's interesting that you mention the plagal cadence. To me the modern
extension of what might function as plagal would be a chord that includes
the tonic and not the leading tone. Cadences such as vi-I, bVI-I, A6-I,
bVII9-I,
Darcy James Argue schrieb:
Johannes,
You need to use the keyswitched instruments and download the library of
keyswitching Finale expressions from the GPO website. This makes it
very easy to switch from legato, sustained articulations (default) to
the alternating bows articulations (which
On Jul 3, 2005, at 12:12 AM, Chuck Israels wrote:
On Jul 2, 2005, at 9:02 PM, Christopher Smith wrote:
I have often suspected that jazz musicians as a group are agnostic
Schenkerians. That is, they would probably agree with a lot of what
Schenker had to say if they had it explained to
On Jul 3, 2005, at 3:07 AM, Ken Durling wrote:
At 12:05 AM 7/3/2005, you wrote:
At 08:01 PM 7/2/2005, you wrote:
It's interesting that you mention the plagal cadence. To me the
modern extension of what might function as plagal would be a chord
that includes the tonic and not the leading
wasn't it Andrew who was complaining about verbifying nouns (the
term itself is an example) sometime last year?
Christopher
Certainly not! That's one of the glories of the language.
I tend to be an extreme latitudinarian in linguistic matters. I'll even
grit my teeth and concede nucular.
Ken,
I like the idea of secondary subdominant. In Hey Jude the
repeated progression sounds like IV/IV-IV-I. To some Schenkerians
that would not be a progression at all but a prolongation of the
tonic. There's a very interesting piece by Orlando di Lasso called
Anna, mihi dilecta where the
At 08:45 AM 7/3/2005, you wrote:
Ken,
I like the idea of secondary subdominant. In Hey Jude the repeated
progression sounds like IV/IV-IV-I. To some Schenkerians that would not be
a progression at all but a prolongation of the tonic. There's a very
interesting piece by Orlando di Lasso
Hi Johannes,
If you can't get open the keyswitch library to open, email me and I'll
send you my copy of the library.
I don't understand how the playback data dump stuff works either, but
that's not necessary since the person who programmed the library has
already done all the work for us,
On 02 Jul 2005, at 12:03 PM, Johannes Gebauer wrote:
Since GPO has been the subject on this list a lot recently, I would
like to voice my own opinion: Not nearly as good as I hoped.
I am particularly disappointed with the solo strings, which are in
fact worse than Finale's own soundfont. I
In processing older files of mine, I frequently want to move layers
with these recurring settings:
Layer 1 - 3
Layer 4 - 1
Each time I choose it, I have to reset the checkboxes and the
dropdowns (it would be nice if two things were added here, 1) if when
you changed a dropdown, the
On Jul 3, 2005, at 12:47 PM, [EMAIL PROTECTED] wrote: I provided the Keyswitch _expression_ files on the GPO website. For future reference, the one library file that you said was not useable for you, is not true. It's a Finale text _expression_ library in a text file format. You can download
With the settings available in WinFin 2K3, is there a way to adjust
Engraver Slurs so that instead of vastly increasing the vertical arc
to avoid accidentals, instead, it moves the end point plus some
increase of arc?
I doubt it's possible, but I don't quite understand all the options
I open a new default document. All measure in system have same width
I make many adjustemnts to width's of meaures. Now I want to fix in system,
egal width to all measures, but i can't.
It's possible to make that with a command in Finale?
thanks,
Dragos
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