In the Eulenburg score the 1st trombone has some high Cs (measures
147-9) but I didn't see a high D. In the Dover edition (where all three
parts are written on one staff, in bass clef) the 1st trombone never
goes that high: at a quick glance the highest note is an E just above
middle C.
What
Johannes Gebauer wrote:
On 17.02.2006 Chuck Israels wrote:
Thanks Johannes, for improving my meager understanding of German. Now
I understand Hauptbanhof better too.
That's a very interesting one: a lot of Hauptbahnhöfe are in fact also
Kopfbahnhöfe, and that would indeed translate into
John,
You have a rather large choice between a number of terms, depending
on whether you are thinking of _tremolo_ in it's (assumed?)
historical meaning of a fluctuation of intensity (with or without a
reiteration of the note) and _vibrato_, that is, a fluctuation of
pitch not amounting
Eric Fiedler wrote:
John,
You have a rather large choice between a number of terms, depending on
whether you are thinking of _tremolo_ in it's (assumed?) historical
meaning of a fluctuation of intensity (with or without a reiteration of
the note) and _vibrato_, that is, a fluctuation of
On 18.02.2006 Michael Cook wrote:
Rossini had written an overture for Barbiere composed of Spanish themes, but
at the last minute decided that it wasn't good enough.
Really? Now this gets really interesting. Does this original Barbiere
oversture survive? Does anyone know how to get it? Is it
As far as I know, the original overture to Barbiere is lost. It is
certainly not published.
--- Ursprüngliche Nachricht ---
Von: Johannes Gebauer [EMAIL PROTECTED]
An: finale@shsu.edu
Betreff: Re: [Finale] Scoring of Ouv Barber of Seville?
Datum: Sat, 18 Feb 2006 13:08:24 +0100
On
David W. Fenton wrote:
But perhaps they were wrong and you, the non-lawyer who lives outside
the UK, actually understand the applicable law better than sitting UK
judges.
Is there actually any
way you can have a discussion without getting offensive and out of order?
Johannes
I agree.
Richard Yates wrote:
David W. Fenton wrote:
But perhaps they were wrong and you, the non-lawyer who lives outside
the UK, actually understand the applicable law better than sitting UK
judges.
Is there actually any
way you can have a discussion without getting offensive and out of order?
Our first trombonist growns whenever this shows up. I'm sure she would
love to play one of the lower editions.
Michael Cook wrote:
In the Eulenburg score the 1st trombone has some high Cs (measures
147-9) but I didn't see a high D. In the Dover edition (where all
three parts are written on
On Feb 17, 2006, at 2:35 PM, Karen wrote:
Hi all,
I have a friend that has a pretty extensive record collection (yes,
actual vinyl...:-)) and is looking to sell it. Is there anyone on
this list who is a record collector or might know someone who is?
If your friend wants to do some work
On 18.02.2006 Michael Cook wrote:
As far as I know, the original overture to Barbiere is lost. It is
certainly not published.
Thanks. I will investigate this further. If anyone has a hint for more
information, that would be phantastic.
Johannes
--
http://www.musikmanufaktur.com
I am formatting this message on my old iMac because my new G5 is in the
shop. A couple of mornings ago, I tried connecting to the net and it
was no go all of the sudden. None of the browsers or mail would respond
and launch. All the other aps seemed nornal. And, I guess this is more
than a
On 18.02.2006 Michael Cook wrote:
In fact: Johannes, why do you need to know the scoring? Has all this discussion
given you the reply you wanted?
It has indeed. I am planning concert-programmes for our orchestra, and
it is of some importance to know whether we would have to fly in 3
Does anyone have, and would you be willing to share settings for 1) stem
length and 2) positioning of the 3 slash tremelo articulation that work
harmoniously together?
By harmonious I mean stems long enough so there's space between the
tremelo and the notehead, and between the tremelo and the
Dean M. Estabrook / 2006/02/18 / 12:39 PM wrote:
I am formatting this message on my old iMac because my new G5 is in the
shop. A couple of mornings ago, I tried connecting to the net and it
was no go all of the sudden. None of the browsers or mail would respond
and launch.
That usually
Hiro: Thanks. Yeah, an awful lot of stuff came down with the Apple
tech guy, but I think one of the first things he tried was removing a
couple of the files you mention from the Lib/Pref folder. Didn't mess
around with the cache, as I recall. I may find out more from the guys
in the shop
And PLEASE pass the info on publicly onList;
I've been dealing with the same issue over the past day or two -- after having
just accepted manual adjustments for years
Best,
Les
Les MarsdenFounding Music Director and Conductor, The Mariposa
Symphony OrchestraMusic and Mariposa?
I'm sorry but I can't answer your question because I don't know which of the many points I made you are addressing.
On Feb 17, 2006, at 4:57 PM, Kim Patrick Clow wrote:
Really? Which instruments??
On 2/17/06, Andrew Stiller [EMAIL PROTECTED] > wrote:
On Feb 17, 2006, at 1:55 PM, Kim
Andrew Stiller wrote: Perfectly true. But the question raised was specifically about*Baroque* music, no?
I asked the question in relation to new recordings of Baroque music,using such percussion; and quite a few of these recordings are by historically informed performance groups.
I mentioned the
eshbmusic1 wrote:
Can anyone tell me how to get a C with a slash through it to represent
cut time in Word without changing fonts? I imagine there is a
diacritical I could get on the international keyboard, but just don't
know which one or how to enter it.
Thanks!
Erica Buxbaum
ALT-0162
--
On Feb 17, 2006, at 7:15 PM, John Howell wrote:
Monteverdi specifies both contrabass violin and contrabass viol in the
1607 score to L'Orfeo.
This ensemble was not an orchestra by any meaningful definition. The
violin-family instruments were not massed, nor did they dominate the
ensemble.
Here's
what I do:
1) For
stem lengths, use Robert Patterson's "Patterson Beams" plug-in (it does stems
too). There are several longstanding bugs in Finale with regard to
incorrect stem lengths.
2)
Change the Default Vertical Position for the tremolo articulations to
-40.
This
is not a
Thanks Owain
Yes, it was the modern usage I was referring to, and yes, of course
players will be familiar with the conventional notation. I was
discussing the matter with a French composer and was unsure if he
would know what I meant by finger tremolo.
John
On 18 Feb 2006, at 11:03,
At 03:11 PM 2/18/2006, Christopher Smith wrote:
a Maestro character, which messes up the line spacing with its too-high
height, try the Bach musicological font, which should be easy to find,
and is free.
http://www.music.qub.ac.uk/tomita/bach-mf.html
I haven't used this, but I have used the
On 18 Feb 2006 at 15:08, Andrew Stiller wrote:
On Feb 17, 2006, at 7:15 PM, John Howell wrote:
Monteverdi specifies both contrabass violin and contrabass viol in
the 1607 score to L'Orfeo.
This ensemble was not an orchestra by any meaningful definition.
That's actually my problem with
On 18 Feb 2006 at 14:39, Andrew Stiller wrote:
On Feb 17, 2006, at 6:07 PM, David W. Fenton wrote:
On 17 Feb 2006 at 15:21, Andrew Stiller wrote:
On Feb 17, 2006, at 1:55 PM, Kim Patrick Clow wrote:
how authentic is improvised percussion to Baroque music?
It's authentic where
On 18 Feb 2006 at 14:46, Andrew Stiller wrote:
On Feb 17, 2006, at 6:10 PM, David W. Fenton wrote:
On 17 Feb 2006 at 21:31, Johannes Gebauer wrote:
On 17.02.2006 Kim Patrick Clow wrote:
Would a tambourine in a Bach Orchestral Suite be that much of a
musical faux paux?
Good
On 18 Feb 2006 at 15:16, Andrew Stiller wrote:
On Feb 18, 2006, at 9:16 AM, Richard Yates wrote:
After a long, informative, and civilized thread this one went over
the edge from evidence, reason, and substance and into personal
attack through sarcasm.
I have encountered this
On Feb 18, 2006, at 3:30 PM, David W. Fenton wrote:
the orchestra strictly
defined was not really a separate reified concept yet as it later
came to be.
This is perfectly true. For most of the 17th c. (and beyond, for
many) the word did not denote an ensemble at all, but a place. But of
On 18 Feb 2006 at 15:42, Andrew Stiller wrote:
Now, as to the Renaissance. You have, I think, greatly overestimated
the extent to which percussion were used in that period. Others have
addressed this issue, but I will merely state that *maybe* *some*
percussion was *sometimes* used to
On Feb 18, 2006, at 2:47 PM, eshbmusic1 wrote:
Can anyone tell me how to get a C with a slash through it to
represent cut time in Word without changing fonts? I imagine there
is a diacritical I could get on the international keyboard, but
just don't know which one or how to enter it.
Thanks!
On Feb 18, 2006, at 3:15 PM, Lee Actor wrote:
Here's what I do:
1) For stem lengths, use Robert Patterson's Patterson Beams plug-in (it does stems too). There are several longstanding bugs in Finale with regard to incorrect stem lengths.
2) Change the Default Vertical Position for the
On
Feb 18, 2006, at 3:15 PM, Lee Actor wrote:
Here's
what I do:1)
For stem lengths, use Robert Patterson's "Patterson Beams" plug-in (it does
stems too). There are several longstanding bugs in Finale with regard
to incorrect stem lengths.2)
Change the Default
Thanks, this works great in Word, but I can't move it to Excel, where I need it. Do you know if this is possible? There is no condensed feature in the font dialogue in Excel. So far, I'm using the cent sign and just pasting it in. Thanks, everyone for your help again. EricaDennis
Andrew Stiller wrote: Why, you might ask, did composers not continue to writebrilliant clarino parts? The answer is that to the Classical taste,such displays would have seemed vulgar and out-of-balance in an age
when balance and moderation were highly prized.
Actually I thought it had more to do
Dennis Bathory-Kitsz [EMAIL PROTECTED] wrote:
Yes. Use a c and a pipe | (shift-backslash)
I never met that outside the context of an OS command line interface.
Isn't it confined to UNIX? I see that in MS DOS the character is
called pipe, because it performs the same function as the UNIX |.
On 18.02.2006 David W. Fenton wrote:
Pardon me, but Johannes has been making assertions about the facts
involved (UK law, what the relevant statutes were, etc.) and admits
he can't be bothered to read the documents that were being discussed.
I did not ever do any of that (I didn't even
At 10:06 PM 2/18/06 +, Ken Moore wrote:
Dennis Bathory-Kitsz [EMAIL PROTECTED] wrote:
Yes. Use a c and a pipe | (shift-backslash)
I never met that outside the context of an OS command line interface.
Isn't it confined to UNIX? I see that in MS DOS the character is
called pipe, because
I am working on a short sinfonia (movements are about 90 measures long).
The 2 Violin parts are the more sophisticated (versus the Viola and 'Cello parts).
I absolutely can not the 2 Violin parts to fit on two pages (which would be the optimal way to do it).
Is it *that* bad to have this one
At least in the studio/B'way world, three-page flat parts (without a
page turn) are perfectly acceptable, so long as fits on a standard
music stand. (It's okay if the left and right edges hang off the edge
of the stand, so long as the part is stable.)
If a flat three-page part isn't an
I am working on a short sinfonia (movements are about 90 measures long).
The 2 Violin parts are the more sophisticated (versus the Viola and 'Cello
parts).
I absolutely can not the 2 Violin parts to fit on two pages (which would
be the optimal way to do it).
Is it *that* bad to have this one
On 18 Feb 2006, at 22:38, Darcy James Argue wrote:However, with string sections, you have a lot more leeway than you do with winds or solo strings, as half the section can keep playing while their stand partners turn the page. No Darcy please! That is not
John Howell wrote:
At 10:31 AM -0800 2/17/06, Carl Dershem wrote:
Darcy James Argue wrote:
It's like an alto player playing one of Duke's Johnny
Hodges features and straightening out all the bent notes.
That's where elevator muzak' comes from.
Actually muzak is recorded by some of the
John Bell wrote:
On 18 Feb 2006, at 22:38, Darcy James Argue wrote:
However, with string sections, you have a lot more leeway than you do
with winds or solo strings, as half the section can keep playing while
their stand partners turn the page.
No Darcy please! That is not acceptable!
On 18.02.2006 Kim Patrick Clow wrote:
I am working on a short sinfonia (movements are about 90 measures long).
The 2 Violin parts are the more sophisticated (versus the Viola and 'Cello parts).
I absolutely can not the 2 Violin parts to fit on two pages (which would be the optimal way to do
On 18.02.2006 John Bell wrote:
On 18 Feb 2006, at 22:38, Darcy James Argue wrote:
However, with string sections, you have a lot more leeway than you do with
winds or solo strings, as half the section can keep playing while their stand
partners turn the page.
No Darcy please! That is not
Hi Don,
I made a font called Articulations which addresses that without any
tweaking with stem length, as well as many other annoying issues. The trem
angle is reduced from the stock MM choices, and a tad wider one was made for
whole notes.
Look at the examples at:
Cecil Forsyth, writing in 1914:
The Fingered Tremolo
This tremolo, sometimes called the Slurred Tremolo, consists of the
rapid alteration of one note with another by means of the fingers of
the left hand.
It may be that there is a difference of nomenclature between Britain
and the US,
Presumably because the judgement was made that in that particular
passage that would sound alright!
John
On 18 Feb 2006, at 23:23, Owain Sutton wrote:
John Bell wrote:
Because something is commonplace doesn't mean it's OK. I would
always rescore the music rather than allow half of a
Yes, two countries divided by a common language.
I am chided, correctly, by an American colleague for my use of the
word tiddly, which in England can mean small but in America has only
one meaning - blind drunk or worse. My apologies if I have caused
any offense. I will be more careful
John Bell wrote:
I understood noodling to refer to a kind of mindless jazz
improvisation (not something string players are known for), but next
time we have some American string players here I'll ask them to noodle
and see what happens.
Mindless? Free-form, perhaps, but if well done,
On Feb 18, 2006, at 9:54 PM, Kim Patrick Clow wrote:
Johannes,
I am definitely a he, not a she ;) Just wanted to clarify that. *wink*
Kim Patrick Clow, meet Darcy James Argue. I'm sure you two guys have a
lot in common. 8-)
Christopher
P.S., around here Johanne (no s) is definitely a
I apologise for my disparaging remark about noodling. But I am
heartened that my understanding of the term is not unrelated to yours.
John
On 19 Feb 2006, at 03:13, Carl Dershem wrote:
John Bell wrote:
I understood noodling to refer to a kind of mindless jazz
improvisation (not
At 10:46 PM + 2/18/06, John Bell wrote:
On 18 Feb 2006, at 22:38, Darcy James Argue wrote:
However, with string sections, you have a lot more leeway than you
do with winds or solo strings, as half the section can keep playing
while their stand partners turn the page.
No Darcy please!
And that is where your control ends. The final decisions will be
reached by the conductor, concertmaster and/or section leaders, so
you MUST leave them with no other choice in the matter if you can't
accept the tradeoff. And the interesting thing (and don't ANYBODY
tell the orchestras'
At 5:28 PM -0500 2/18/06, Kim Patrick Clow wrote:
I am working on a short sinfonia (movements are about 90 measures long).
The 2 Violin parts are the more sophisticated (versus the Viola and
'Cello parts).
I absolutely can not the 2 Violin parts to fit on two pages (which
would be the
At 10:18 PM -0500 2/18/06, Christopher Smith wrote:
On Feb 18, 2006, at 9:54 PM, Kim Patrick Clow wrote:
Johannes,
I am definitely a he, not a she ;) Just wanted to clarify that. *wink*
Kim Patrick Clow, meet Darcy James Argue. I'm sure you two guys have
a lot in common. 8-)
Yes, Johannes, I was thinking of living composers. If the composer is
dead and buried he/she will not be in a position to contribute to the
discussion.
I would not contemplate editing the work of a dead composer in order
to make page turns.
Regards
John
On 19.02.2006 John Bell wrote:
And while I'm at it, is your statement that you cannot do the part
on two pages based on your perception that it is too crowded, and
have you compared it with Breitkopf parts for the standard
literature which are perfectly readable even if more crowded than
many modern parts?
My name,
Ken Moore / 2006/02/18 / 05:06 PM wrote:
I never met that outside the context of an OS command line interface.
Isn't it confined to UNIX? I see that in MS DOS the character is
called pipe, because it performs the same function as the UNIX |.
I don't think so.
In DOS prompt, 'dir | more',
On 19.02.2006 Kim Patrick Clow wrote:
I am definitely a he, not a she ;) Just wanted to clarify that. *wink*
Oohps, sorry. I used to know a female Kim, and drew the conclusion
without really noticing the Patrick! Sincere appologies!
Johannes
--
http://www.musikmanufaktur.com
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