John Howell wrote:
At 6:02 PM -0400 9/30/09, Darcy James Argue wrote:
This is an issue I'd certainly bring up with the composer, i.e, "Are
you *sure* you absolutely need this passage written in Cb? Because
it's going to be a whole lot easier to read in B."
Agreed about asking, but easier in B
Hi John,
Fair enough, but definitely not the call I would have made. Obviously
we don't have a double-blind controlled study here, but the fact that
they stumbled sight-reading it in Cb would make me at least curious
about trying it in B next time.
Cheers,
- Darcy
-
djar...@earthlink
At 6:02 PM -0400 9/30/09, Darcy James Argue wrote:
This is an issue I'd certainly bring up with the composer, i.e, "Are
you *sure* you absolutely need this passage written in Cb? Because
it's going to be a whole lot easier to read in B."
Agreed about asking, but easier in B for whom? The last
Klaus Smedegaard Bjerre wrote:
And advanced musicians also will understand that a Db and a C# is the same
during instructions. The number of sharps and flats shall always be kept as low
as possible.
Klaus
I always teach my private students that, for example, Gb should be
played/thought as "
And advanced musicians also will understand that a Db and a C# is the same
during instructions. The number of sharps and flats shall always be kept as low
as possible.
Klaus
--- On Wed, 9/30/09, dhbailey wrote:
From: dhbailey
Subject: Re: [Finale] Interesting behavior
To: finale@shsu.edu
Date
Darcy James Argue wrote:
Should have been "Bb and *Eb* instruments," obviously.
Cheers,
- Darcy
Well, except for the Bari player, who is always a little off anyway. ;>
cd
--
http://www.livejournal.com/users/dershem/#
http://members.cox.net/dershem
___
Should have been "Bb and *Eb* instruments," obviously.
Cheers,
- Darcy
-
djar...@earthlink.net
Brooklyn, NY
On 30 Sep 2009, at 6:00 PM, Darcy James Argue wrote:
Assuming standard bigband instrumentation, you've got only Bb and Cb
instruments
___
In Carl's case, Cb is the only key that needs simplifying. When
"simplify" is checked, Finale wraps anything more than six sharps or
six flats.
Assuming standard bigband instrumentation, you've got only Bb and Cb
instruments, and therefore your transposed keys are Ab and Db, both
standard
This is an issue I'd certainly bring up with the composer, i.e, "Are
you *sure* you absolutely need this passage written in Cb? Because
it's going to be a whole lot easier to read in B."
Cheers,
- Darcy
-
djar...@earthlink.net
Brooklyn, NY
On 30 Sep 2009, at 5:58 PM, Carl Dershem wrot
Darcy James Argue wrote:
"Simplify Key" is designed to avoid unwieldy, nonstandard keys (like,
ahem, Cb major, which IMO you *really* ought to reconsider) on
transposing instruments. In the vast majority of cases, this is what you
want. If a piece is in F# major, the clarinets should be written
Yeah, it's just weird that if you choose a concert key of Cb (which
IS perfectly standard; no double flats or anything. I remember
practicing études in that key) then it gets changed ONLY on the
octave transposing instruments like guit and bass by default.
Christopher
On Wed Sep 30, at We
Guitar and bass are transposing instruments. I'm sure that if you
look at the transposition options in the staff attributes, you'll
find that "simplify key" is checked.
Michael
On 30 Sep 2009, at 19:40, Carl Dershem wrote:
I'm working on a big band piece that has a section in 7 flats (C-
F
"Simplify Key" is designed to avoid unwieldy, nonstandard keys (like,
ahem, Cb major, which IMO you *really* ought to reconsider) on
transposing instruments. In the vast majority of cases, this is what
you want. If a piece is in F# major, the clarinets should be written
in Ab -- not G#!
C
Christopher Smith wrote:
Well, a few things come to mind.
First of all, is this an old file being opened in a newer version of
Finale? We know opening older versions is SUPPOSED to be transparent,
but in real life... I have stopped using templates made in old versions
of Finale because they g
And I can't think of very many musical situations where you
would want some of the musicians to be in one key and others
to be in a different key, even if enharmonically equivalent.
Stop the rehearsal and say "that Db needs to be changed"
and you'll get the guitarists and bassists scratching t
Still, that should be the users' decisions and not Finale's.
ajr
> From what I have seen, string instruments are more comfortable playing in
> sharps.
>
> Trombones are more comfortable playing in flats.
>
>
> At 9/30/2009 01:40 PM, Carl Dershem wrote:
>
> >I'm working on a big band piece that
Well, a few things come to mind.
First of all, is this an old file being opened in a newer version of
Finale? We know opening older versions is SUPPOSED to be transparent,
but in real life... I have stopped using templates made in old
versions of Finale because they gave me so much trouble,
> Carl Dershem wrote:
> > I'm working on a big band piece that has a section in 7
> flats (C-Flat)
> > in the middle. Oddly enough, the guitar and bass parts are in 5
> > sharps (B).
> >
> > FinWin2k4
> >
> > Does anyone have any idea why Finale might do that? And if so, why
> > the guita
Why did my posting get the prefux of {Fraud?} {Disarmed}?
I wouldn’t be able to post if not being a legit member.
My point of view isn’r exotic at all. Except for a very few situations of
modulating to a dominant key or a parallel minor it hardly ever furthers
reading to notate music with more t
From what I have seen, string instruments are more comfortable playing in
sharps.
Trombones are more comfortable playing in flats.
At 9/30/2009 01:40 PM, Carl Dershem wrote:
>I'm working on a big band piece that has a section in 7 flats (C-Flat)
>in the middle. Oddly enough, the guitar and b
Actually it speaks for Final being rational.
Klaus
--- On Wed, 9/30/09, Carl Dershem wrote:
From: Carl Dershem
Subject: [Finale] Interesting behavior
To: finale@shsu.edu
Date: Wednesday, September 30, 2009, 7:40 PM
I'm working on a big band piece that has a section in 7 flats (C-Flat) in the
Carl Dershem wrote:
I'm working on a big band piece that has a section in 7 flats (C-Flat)
in the middle. Oddly enough, the guitar and bass parts are in 5 sharps
(B).
FinWin2k4
Does anyone have any idea why Finale might do that? And if so, why the
guitar and bass, but not the piano? And n
I'm working on a big band piece that has a section in 7 flats (C-Flat)
in the middle. Oddly enough, the guitar and bass parts are in 5 sharps (B).
FinWin2k4
Does anyone have any idea why Finale might do that? And if so, why the
guitar and bass, but not the piano? And not the trombones?
Ve
Dennis Bathory-Kitsz wrote:
Hi all,
A few years ago, I made a libretto font for myself from some 19th century
scores. It's not too bad, has a nice old roughness to it, and you can have it.
It's only TrueType, but do what you will with it.
I'll be updating it for the remaining characters in a fe
On 9/30/2009 8:43 AM, Christopher Smith wrote:
Hmm, I use Bill Duncan's Finale Productivity fonts, which contain
parenthesised noteheads with and without sharps, flats and naturals,
The Engraver font contains the same characters. I guess you could define
your own artculations with them.
As f
Hmm, I use Bill Duncan's Finale Productivity fonts, which contain
parenthesised noteheads with and without sharps, flats and naturals,
positioned automatically as articulations. Since I check the box in
Music Spacing to take articulations into account, I get good spacing
this way.
Grace n
On Wed, September 30, 2009 7:53 am, Peter Taylor wrote:
> I do Dennis, very much. It's just what I need for replacing missing or
> damaged parts from 19th and early 20th C. band sets. I've been using
> Baskerville but your font looks much more the genuine article. Thank you
> for your hard work,
Dennis Bathory-Kitsz wrote:
>just in case you like that sort of thing.
I do Dennis, very much. It's just what I need for replacing missing or
damaged parts from 19th and early 20th C. band sets. I've been using
Baskerville but your font looks much more the genuine article. Thank you
for your ha
Hi folks,
I wonder if there is some more elegant way of achieving "trill to" notes
in Finale 2010? I have used the method described in older entries: place a
grace note, move it to the right of the principal note, shorten the stem
of the grace note (btw isn't there a way of removing the stem rathe
On Tue, September 29, 2009 11:40 pm, David W. Fenton wrote:
> Could you explain the purpose of this font? I have a hard time
> imagining any use for it, myself. What did you use it for?
I was setting an opera score intended to have a 19th century look & feel to
it, and the client was delighted.
F
30 matches
Mail list logo
