MusicMatch JukeBox
No way! That's a horrid program that I've seen pre-installed on a lot
of Windows PCs. It takes over and won't let you control it.
I use it only for converting files. I run it, use it, close it. No problems.
What do you mean by 'take over'?
Richard Yates
Unfortunately i could not down load the mp3 file David.
Awfully naked score! i don't think I could resist mucking it up more
if it were mine. The idea is very familiar to me... my music wouldn't
exist without it. I do like the idea of using a bracket to delineate
internal phrasing --
On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
I have the score in front of me. He writes it as 6/8 (3/4) with the
header Tempo di Huapango (fast). The beaming of the hemiolated (3/4)
measures is inconsistent.
Ack!!! Andrew! How can someone who is so particular about terminology
get
This talk of Paul Creston has giving me a hankering for talking of
further books.
I admit to having had a Borgesian bent of mind before I really knew
what it meant.
For instance I've always preferred Hauer's vision of 12 tone over
Schoenberg's. Persuing that line of thought is what
On 1 Jul 2005 at 4:57, Richard Yates wrote:
MusicMatch JukeBox
No way! That's a horrid program that I've seen pre-installed on a
lot of Windows PCs. It takes over and won't let you control it.
I use it only for converting files. I run it, use it, close it. No
problems. What do you
On 1 Jul 2005 at 11:19, Andrew Stiller wrote:
[I wrote:]
I *do* see a problem with calling something a hemiola that is
EXACTLY THE OPPOSITE of what a hemiola actually is.
Of two examples given in the relevant _New Grove_ article, the second
(from Lully) is of the type you call reverse
At 7/1/2005 12:08 PM, Gerald Berg wrote:
Just thought I'd re-title for those pursuing other gambits.
Jerry
On 1-Jul-05, at 11:38 AM, Gerald Berg wrote:
Unfortunately i could not down load the mp3 file
David.
If you put around a URL, it will be less likely to be split up
by a mail program:
On 1 Jul 2005 at 12:28, Andrew Stiller wrote:
On Jun 30, 2005, at 9:55 PM, David W. Fenton wrote:
I'm puzzled by why one would want to rationalize 6/8 to 6/12,
While I agree that 6/12 is a bad solution, that does not mean there is
no problem. Composers for at least a century have found
[snip]
Some
passages are simply insoluble, such as the lone 6/8 bar immediately
before rehearsal G in the first mvt. of Hindemith's _Symphonische
Metamorphosen_. The prevailing meter is 2/4; is the beat to be held
constant through the 6/8 measure (compound meter), or the note values
(simple
On 7/1/05, David W. Fenton [EMAIL PROTECTED] wrote:
Of course, iTunes is like that, too -- I am not going to use it for
burning CDs, so I've turned off the system service it insists on
installing. This means iTunes complains every time I start it that
the CD burning service is not running so
David W. Fenton wrote:
I don't agree that it's problematic to indicate something like E = E
when there's a change of time signature whose interpretation is
ambiguous. The hard part is when it's something like Q = H, where it
may be that the old quarter equals the new half, or the old half
On 1 Jul 2005 at 23:02, Owain Sutton wrote:
David W. Fenton wrote:
I don't agree that it's problematic to indicate something like E = E
when there's a change of time signature whose interpretation is
ambiguous. The hard part is when it's something like Q = H, where it
may be that the
Noel Stoutenburg wrote:
Brian Williams wrote:
Is there some way to clear out the Open Recent... list in the File menu of
Finale 2005 (Mac) without trashing all of the global preference settings?
Try selecting options program options advanced, and setting the
value to zero. After
Gerald Berg wrote:
The N(ew)D(iatonic)M(odal) Principle of Relative Music
Forward by Joseph Yasser with an introduction by Nicolas Slonimsky
A good friend of mine gave me that a year ago as he didn't
understand it. I must say, after reading it a couple of times, I am not
too sure the
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