date:20101211

You do know that it is pretty much a dead end product right? There are a lot of 
rumors floating around that they are going to actually stop making the hardware 
and just go software only with support for Android/iOs/Mac/PC

I'm not sure I'd scan all my stuff TIFF. They are generally larger than PDF. 
Not sure why yours are coming out smaller than PDF, perhaps compressed TIFFs?

I have scanned several books and sheet music to PDF. I think you can do it 
within something like Acrobat, but I've been using a sheetfeeder to scan the 
pages at 300 dpi, and then having Acrobat put them all together and straighten 
the pages, etc. I can also keyword tag them, OCR them, etc. Works great. I have 
about 20 books I've scanned and have a ton of stuff that was scanned that is 
public domain (flute/clarinet/oboe books). Maybe 600 megs in size. Maybe. It's 
hard to tell because I have eBooks in there, and some article scans..about 
1600 things in iBooks.

On my Xmas list is one of the Bluetooth pedals for iPad pageturning...


On Dec 10, 2010, at 5:53 PM, Patrick Sheehan wrote:

 I have owned a MusicPad Pro for a couple years now and it is a true
 lifesaver.  Being a pianist and a pit musical director, it makes page
 turning a breeze.  If you use .tiff files, it takes up less memory and the
 resolution of the image is a lot clearer than a PDF.  I have used it for
 instrumental (non-piano) performances and again, with the foot pedal, it is
 fantastic.  I am STILL in the process of scanning all of my music on paper
 and then pitching it or giving it away, because I am so attached to the
 MusicPad.  I've seen iPads, of course, and think they are fantastic, but the
 screen size would definitely get in the way.  I do think they should come
 down in price though, for the orchestra-networking reasons and
 affordabilities.  I'm sure violinists would appreciate it also.
 

NOT Sent from my iSomething



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{Spam} Re: [Finale] Help! Sudden 2011 articulation glitch

2010-12-11 Thread Aaron Sherber

I agree that this is most likely a sticky key; I've had the same thing 
happen to me. Open up some other application, like Word, and let your 
fingers rap on all your keys for a few seconds; right paren is assigned 
by default to the 0 metatool, so if you've kept the defaults, make sure 
you hit that key a few times. Then go back to Finale and try again.


Aaron.
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RE: [Finale] Ossia problems in 2011

2010-12-11 Thread dr.a.s. weinstangel


I have placed the source bars at the end of the piece and pushed them beyond 
the last page. 

Dr.A.S.Weinstangel

sasha.weinstan...@utoronto.ca
NEW!  cel.647-292-4605




 From: delius...@aol.com
 Date: Sat, 11 Dec 2010 02:28:52 -0500
 To: finale@shsu.edu
 Subject: [Finale] Ossia problems in 2011
 
 I have never done an ossia in Finale before, let alone 2011.  I  followed 
 the instructions, adding a scratch staff, marking my source measures,  etc. 
  However, in the process to hide the scratch system, it also hid the  ossia 
 itself!  Does anyone know how to work around this issue? 
  
 Thanks,
 Michael Wittenburg
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Re: [Finale] Ossia problems in 2011

2010-12-11 Thread Florence + Michael

Welcome to the joys of ossia measures. The ossia measure is disappearing 
because you have attached it to the scratch staff. When you double click to 
create the ossia measure, make sure that you double click on a real staff, 
one that is not going to be hidden. In the Ossia Measure Designer you can 
change the source staff, but you cannot change the staff to which the ossia has 
been attached: once you've double-clicked on a staff, the ossia is attached to 
this staff for ever.

all the best,
Michael

On 11 Dec 2010, at 08:28, delius...@aol.com delius...@aol.com wrote:

 I have never done an ossia in Finale before, let alone 2011.  I  followed 
 the instructions, adding a scratch staff, marking my source measures,  etc. 
 However, in the process to hide the scratch system, it also hid the  ossia 
 itself!  Does anyone know how to work around this issue? 
 
 Thanks,
 Michael Wittenburg
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Re: [Finale] RE: iPad as electronic music stand



On 10-Dec-10, at 10-Dec-10  11:57 PM, Eric Dannewitz wrote:


On Dec 10, 2010, at 6:59 PM, John Howell wrote:


Right, IF the rental Agencies decide to provide digital orchestra  
books.  The same Agencies, of course, that are still sending out  
books copied 60 years ago by the contractor's brother-in-law!


True, though I haven't seen a hand written theater score in a LONG  
TIME..we'd have to go back to them late 90s I'd say when I  
first started doing shows. I rack up about 8 to 10 theater gigs/ 
subbing things a year (we are talking different shows, not actual  
number of times I go out and play). I haven't seen hand written  
scores at all.



I'd hazard a guess that John plays a lot of original orchestrations,  
while Eric plays a lot of remounts or reduced orchestrations, which  
have been re-arranged for a smaller band. Even transpositions would  
be done these days on computer, but these wouldn't necessarily find  
their way back to the rental agency. I know because I did a couple of  
these myself. You'd think the rental agency would want some nice  
clean parts done for a small band that might enhance the chances the  
show would be rented again, but no, they tend to leave those things  
up to the renters.


The weirdest thing was that when I spoke to them on the phone, they  
refused to furnish full scores, and told me that the terms of the  
agreement prevented me from making ANY changes at all to the music in  
any way! I pointed out to him that the producer had a signed contract  
with all the terms laid out, which included him commissioning a re- 
orchestration of the show for a smaller band. I also knew for a fact  
that they had several different versions of some of the tunes in  
different keys, because the official first-run version of the show  
had different actors with different ranges from night to night, but I  
couldn't get them to give me THOSE, either! I ended up working from  
16 or so open parts books laid in a big semicircle around my desk. I  
also didn't hand over my re-orchestrations when the run was finished,  
and they never asked.


Christopher
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Re: [Finale] RE: iPad as electronic music stand



On 10-Dec-10, at 10-Dec-10  7:57 PM, John Howell wrote:



But again, there would have to be some sort of copy-protection or  
something. I don't see MTI Shows giving out free copies of their  
works. But then again, I've come across scans of full scores and  
parts of Musicals out there on the net so.I guess the illusion  
of security is what matters.


All THAT takes is a copy machine, of course.  And I'm not sure what  
kind of detective work the three major rental agencies actually do  
to track down non-paying performances, but our own community  
organization simply will NOT try to dodge the legal requirements to  
save a few bucks on rentals and royalties.



I know what Eric is talking about. I have seen PDFs created from  
inside Finale (not scanned) and I can tell because they zoom in  
perfectly without jaggies, for full scores and sets of parts. I don't  
know where they came from, but I would bet that they were created by  
MTI or Samuel French or some other organisation, and they got out  
somehow.

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Re: [Finale] RE: iPad as electronic music stand

On Dec 11, 2010, at 7:23 AM, Christopher Smith
christopher.sm...@videotron.ca wrote:

 I'd hazard a guess that John plays a lot of original orchestrations, while 
 Eric plays a lot of remounts or reduced orchestrations, which have been 
 re-arranged for a smaller band. Even transpositions would be done these days 
 on computer, but these wouldn't necessarily find their way back to the rental 
 agency. I know because I did a couple of these myself. You'd think the rental 
 agency would want some nice clean parts done for a small band that might 
 enhance the chances the show would be rented again, but no, they tend to 
 leave those things up to the renters.

Um, no. For example I just got done doing Cinderellathe company
rented out parts and it included books for a 20 piece orchestra. Full
string section. Etc. It was all computer notated. Pretty sure it was
the real thing.I mean, it came right from MTI.so the idea that
they are not redoing their libraries but rather photocopying the
handwritten stuff seems to be disproven.



 The weirdest thing was that when I spoke to them on the phone, they refused 
 to furnish full scores, and told me that the terms of the agreement prevented 
 me from making ANY changes at all to the music in any way! I pointed out to 
 him that the producer had a signed contract with all the terms laid out, 
 which included him commissioning a re-orchestration of the show for a smaller 
 band. I also knew for a fact that they had several different versions of some 
 of the tunes in different keys, because the official first-run version of the 
 show had different actors with different ranges from night to night, but I 
 couldn't get them to give me THOSE, either! I ended up working from 16 or so 
 open parts books laid in a big semicircle around my desk. I also didn't hand 
 over my re-orchestrations when the run was finished, and they never asked.

That is interesting. I can't think of any shows I've done lately that
we played 100% everything in the book as written. Maybe this
production of urinetown I did last yearI think. This year all the
productions ive been in have been hacked up big time, mainly to shrink
the size of the orchestra because of money issues.

Though I did play Aladdin where the company was supposed to get the
new adult version that they are working on, but supposedly it got
delayedso they asked for and got permission from disney to make
changes to the jr. Version. And the jr. Versions original arranger
actually went to one of the performances..kinda cool.



 Christopher
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[Finale] RE: iPad as electronic music stand

2010-12-11 Thread Blake Richardson

 From: John Howell john.how...@vt.edu
 Date: December 10, 2010 1:19:54 PM EST
 To: finale@shsu.edu
 Subject: [Finale] RE: iPad as electronic music stand
 Reply-To: finale@shsu.edu

 And of course the biggest problem of all:  the rental agencies guard their 
 copyrights like vicious attack dogs, and will NOT allow anything that will 
 either lower their income or defeat their absolute control over their Grand 
 Rights.  And digital files of their orchestrations could be copied and shared 
 indiscriminately.

Of course the reality is that very thing is happening already. You can get just 
about anything that's ever been printed at sites like pianofiles.com, even 
stuff like scans of John Williams' original sketch scores for Star Wars and 
Raiders, which has never been officially released to anyone for any 
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[Finale] Re: Finale Digest, Vol 89, Issue 13

2010-12-11 Thread Blake Richardson

 From: Eric Dannewitz ericd...@jazz-sax.com
 Date: December 11, 2010 12:05:15 AM EST
 To: finale@shsu.edu
 Subject: Re: [Finale] MusicPad Pro vs. iPad
 Reply-To: finale@shsu.edu

 I'm not sure I'd scan all my stuff TIFF. They are generally larger than PDF. 
 Not sure why yours are coming out smaller than PDF, perhaps compressed TIFFs?

Yeah, I thought the same thing when I saw his comment. I've always found TIFFs 
to bloat the size of a file beyond all proportion. Finale only recognizes TIFFs 
so whenever I import a logo for the first page of a score, the file suddenly 
jumps from something like 150K to 
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[Finale] OT: Historical Musical Instrument Question

2010-12-11 Thread Blake Richardson

I've been watching the HBO show Boardwalk Empire lately, which is set in 
1920s Prohibition-era Atlantic City, and they've had several scenes set in a 
dance hall with a band in a reverse orchestra pit (in a balcony up near the 
rafters as opposed to below the stage). One instrument they use is something 
I've never seen before and I was wondering if anyone knows what it is: it looks 
like and is played like a standard violin but there's a big trumpet-like brass 
bell attached to it that extends up over the neck of the instrument. Seems like 
some kind of string/brass hybrid thingy.

Anyone have a clue?
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Re: [Finale] OT: Historical Musical Instrument Question

2010-12-11 Thread Bob Morabito


http://www.floraberlin.de/soundbag/index145.html

On Dec 11, 2010, at 2:39 PM, Bob Morabito wrote:


is this it?

http://strohviolin.com/index.php?act=viewProdproductId=35

Bob Morabito
On Dec 11, 2010, at 2:19 PM, Blake Richardson wrote:

I've been watching the HBO show Boardwalk Empire lately, which  
is set in 1920s Prohibition-era Atlantic City, and they've had  
several scenes set in a dance hall with a band in a reverse  
orchestra pit (in a balcony up near the rafters as opposed to  
below the stage). One instrument they use is something I've never  
seen before and I was wondering if anyone knows what it is: it  
looks like and is played like a standard violin but there's a big  
trumpet-like brass bell attached to it that extends up over the  
neck of the instrument. Seems like some kind of string/brass  
hybrid thingy.


Anyone have a clue?
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Re: [Finale] OT: Historical Musical Instrument Question

2010-12-11 Thread Dennis Bathory-Kitsz

On Sat, December 11, 2010 2:19 pm, Blake Richardson wrote:
 I've been watching the HBO show Boardwalk Empire lately, which is set in
 1920s Prohibition-era Atlantic City, and they've had several scenes set in a
 dance hall with a band in a reverse orchestra pit (in a balcony up near the
 rafters as opposed to below the stage). One instrument they use is something
 I've never seen before and I was wondering if anyone knows what it is: it
 looks like and is played like a standard violin but there's a big trumpet-like
 brass bell attached to it that extends up over the neck of the instrument.
 Seems like some kind of string/brass hybrid thingy.

It's probably a Stroh violin. Quirky history, including used for recording in
the pre-electric days.

I saw one in Bruges just this spring, where the musician was playing a csárdás
on it.

Dennis





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Re: [Finale] OT: Historical Musical Instrument Question

2010-12-11 Thread Barbara Touburg


Blake Richardson wrote:

I've been watching the HBO show Boardwalk Empire lately, which is set in 
1920s Prohibition-era Atlantic City, and they've had several scenes set in a dance hall 
with a band in a reverse orchestra pit (in a balcony up near the rafters as opposed to 
below the stage). One instrument they use is something I've never seen before and I was 
wondering if anyone knows what it is: it looks like and is played like a standard violin 
but there's a big trumpet-like brass bell attached to it that extends up over the neck of 
the instrument. Seems like some kind of string/brass hybrid thingy.

Anyone have a clue?


Could it be a Trumscheit?
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Re: [Finale] OT: Historical Musical Instrument Question

2010-12-11 Thread Bob Morabito


is this it?

http://strohviolin.com/index.php?act=viewProdproductId=35

Bob Morabito
On Dec 11, 2010, at 2:19 PM, Blake Richardson wrote:

I've been watching the HBO show Boardwalk Empire lately, which is  
set in 1920s Prohibition-era Atlantic City, and they've had several  
scenes set in a dance hall with a band in a reverse orchestra pit  
(in a balcony up near the rafters as opposed to below the stage).  
One instrument they use is something I've never seen before and I  
was wondering if anyone knows what it is: it looks like and is  
played like a standard violin but there's a big trumpet-like brass  
bell attached to it that extends up over the neck of the  
instrument. Seems like some kind of string/brass hybrid thingy.


Anyone have a clue?
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Re: [Finale] OT: Historical Musical Instrument Question

2010-12-11 Thread Darcy James Argue

Hi all,

Definitely Stroh violins. I heard the Boardwalk Empire MD talk about them on
WNYC.

Terry Riley's Transylvanian Horn Courtship for Kronos calls for custom-built
Stroh instruments (not just violins but Stroh viola and Stroh cello) built for
them Walter Kitundu, and tuned a full fifth lower than the standard
instruments. You can read more about these instruments, and the piece, here:

http://www.carnegiehall.org/article/box_office/events/evt_13018_pn.html?selecteddate=03112010

I'm not sure if it was because of the lower tuning, but the instruments Kronos
used were very soft -- much softer than standard string instruments. The
authentic Stroh violins are supposed to be louder than a standard violin, that
being the whole point of the resonator -- but for whatever reason, these ones
were eerily quiet, even when played forcefully.

Cheers,

- DJA
-
WEB: http://www.secretsocietymusic.org

On 11 Dec 2010, at 2:25 PM, Dennis Bathory-Kitsz wrote:

On Sat, December 11, 2010 2:19 pm, Blake Richardson wrote:
I've been watching the HBO show Boardwalk Empire lately, which is set in
1920s Prohibition-era Atlantic City, and they've had several scenes set in a
dance hall with a band in a reverse orchestra pit (in a balcony up near the
rafters as opposed to below the stage). One instrument they use is something
I've never seen before and I was wondering if anyone knows what it is: it
looks like and is played like a standard violin but there's a big
trumpet-like
brass bell attached to it that extends up over the neck of the instrument.
Seems like some kind of string/brass hybrid thingy.

It's probably a Stroh violin. Quirky history, including used for recording in
the pre-electric days.

I saw one in Bruges just this spring, where the musician was playing a csárdás
on it.

Dennis

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Re: [Finale] OT: Historical Musical Instrument Question

2010-12-11 Thread Dennis Bathory-Kitsz

Darcy,

That's cool info about the Kronos instruments. I haven't been following them
in recent years, so I'd like to hear that one.

As for loud, yeah, this is the guy in Bruges, and he was loud:
http://maltedmedia.com/photos/stroh.jpg

I build a cello with a resonator bowl rather than a horn; it is very quiet,
and perhaps that's what the Kronos instruments were like. It's about midway
down the page, the Uncello:
http://maltedmedia.com/people/bathory/instruments.html

Dennis

On Sat, December 11, 2010 3:37 pm, Darcy James Argue wrote:
Hi all,

Definitely Stroh violins. I heard the Boardwalk Empire MD talk about them on
WNYC.

http://www.carnegiehall.org/article/box_office/events/evt_13018_pn.html?selecteddate=03112010

Cheers,

- DJA
-
WEB: http://www.secretsocietymusic.org

On 11 Dec 2010, at 2:25 PM, Dennis Bathory-Kitsz wrote:

On Sat, December 11, 2010 2:19 pm, Blake Richardson wrote:
I've been watching the HBO show Boardwalk Empire lately, which is set in
1920s Prohibition-era Atlantic City, and they've had several scenes set in
a
dance hall with a band in a reverse orchestra pit (in a balcony up near the
rafters as opposed to below the stage). One instrument they use is
something
I've never seen before and I was wondering if anyone knows what it is: it
looks like and is played like a standard violin but there's a big
trumpet-like
brass bell attached to it that extends up over the neck of the instrument.
Seems like some kind of string/brass hybrid thingy.

It's probably a Stroh violin. Quirky history, including used for recording
in
the pre-electric days.

I saw one in Bruges just this spring, where the musician was playing a
csárdás
on it.

Dennis

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Re: [Finale] OT: Historical Musical Instrument Question

2010-12-11 Thread John Howell


At 2:19 PM -0500 12/11/10, Blake Richardson wrote:
I've been watching the HBO show Boardwalk Empire lately, which is 
set in 1920s Prohibition-era Atlantic City, and they've had several 
scenes set in a dance hall with a band in a reverse orchestra pit 
(in a balcony up near the rafters as opposed to below the stage). 
One instrument they use is something I've never seen before and I 
was wondering if anyone knows what it is: it looks like and is 
played like a standard violin but there's a big trumpet-like brass 
bell attached to it that extends up over the neck of the instrument. 
Seems like some kind of string/brass hybrid thingy.


Anyone have a clue?


Wow!  I thought I was familiar with historical instruments, but the 
Stroh violin was a new one on me!  (Of course the history is a 
little more recent than my usual.)


For comparison purposes, consider the Dobro, a non-electric (i.e., it 
probably preceded the electric version) slide guitar with a (metal?) 
diaphragm to give increased acoustical amplification.  The main 
difference is that the Dobro has continued in use in acoustic country 
bands, while the Stroh vioin apparently died out once electrical 
recording replaced acoustical.  (Same reason that tubas were used in 
early recordings rather then string basses, and why bell-front tubas 
are still called recording tubas.)


And this all makes sense because the recording industry, using 
acoustical technology, was going great guns in the '20s, and it was 
in the '20s that electrical amplification was first introduced into 
popular music.  (Anyone else remember singers who used megaphones 
before the days of mics and speakers--or in some cases even after?)


John


--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
College of Liberal Arts  Human Sciences
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:john.how...@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html

We never play anything the same way once.  Shelly Manne's definition
of jazz musicians.
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Re: [Finale] RE: iPad as electronic music stand

2010-12-11 Thread John Howell

Wow!  In all my interaction with the Norton people, these website and 
features were never mentioned.  No manual provided, no tutorials 
except for webinars (which I do NOT learn well from!).


You have been a great help, Eric, and I thank you profusely.  But you 
know how to search for such things, and I'm a baby.  Wrong 
generation, I guess.  My Teaching Assistant figured most of it out 
almost immediately, except for the formatting, which I figured out 
because I had to.  And she had no manual or tutorials, either.  She 
just grew up with computers.


John




At 9:11 PM -0800 12/10/10, Eric Dannewitz wrote:

And I think this answers your ExamView problem

http://kb.cengage.com/pages/viewpage.action?pageId=20021260

And they list export to RTF as a feature of the program
http://www.formativeassessments.com/formative/examview/features.htm

Simple google search of examview export microsoft word

On Dec 10, 2010, at 6:59 PM, John Howell wrote:

 Is that really a technical support issue or just that the program 
doesn't allow it?


 Well, the point is that I don't know, and don't know how to find out.


NOT Sent from my iSomething



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--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
College of Liberal Arts  Human Sciences
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:john.how...@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html

We never play anything the same way once.  Shelly Manne's definition
of jazz musicians.
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Re: [Finale] Re: Finale Digest, Vol 89, Issue 13

On 11 Dec 2010 at 14:12, Blake Richardson wrote:
 Eric Dannewitz ericd...@jazz-sax.com wrote:
  I'm not sure I'd scan all my stuff TIFF. They are generally larger
  than PDF. Not sure why yours are coming out smaller than PDF,
  perhaps compressed TIFFs?
 
 Yeah, I thought the same thing when I saw his comment. I've always
 found TIFFs to bloat the size of a file beyond all proportion. Finale
 only recognizes TIFFs so whenever I import a logo for the first page
 of a score, the file suddenly jumps from something like 150K to
 1.5MB.

Well, that's not the fault of the TIFF standard -- it's that Finale 
can't deal with compressed TIFFs. I kind of understand why (there are 
different methods for compressing the TIFF internally, and Finale 
would likely only be able to support one compression method, and even 
supporting that would require building a file compression routine 
into Finale), but it's quite annoying.

I would be very much surprised if a compressed TIFF were smaller than 
a PNG file, for instance, and if any of them assembled into a PDF 
would be smaller than the resulting PDF (though it depends on what 
settings you use for creating your PDF).

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Spacing with dotted notes

On 11 Dec 2010 at 20:32, dc wrote:

 This is Finale's default spacing, which doesn't look good, because the
 3 notes in the right hand are all on the first beat:
 
 http://dl.dropbox.com/u/15830163/default.jpg
 
 How could it be improved? What about placing the C and E before the
 dotted note?
 
 http://dl.dropbox.com/u/15830163/dot.jpg
 
 Another possibility would be to put them on the lower staff.

I'd likely move the half-note third closer to the beat, then adjust 
the positioning of the dot on the half note to be somewhere non-
standard. I gave some thought to renotating the value of the dotted 
half note to eliminate the dot (e.g., replacing it with a half tied 
to a quarter), but think that causes more problems than it solves.

I'd see if I could find some Breitkopft  Härtel models from the late 
19th century (e.g., any of the Gesamtausgabend, such as Mozart, etc.) 
and see how they did it.

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/


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Re: [Finale] RE: iPad as electronic music stand

On 11 Dec 2010 at 10:23, Christopher Smith wrote:

 I ended up working from  
 16 or so open parts books laid in a big semicircle around my desk.

I'm curious about your methods here, as this is the situation I find 
myself almost exclusively with the stuff I'm working with (i.e., 
starting from parts, as there was never any full score available).

Did you write your new orchestration direct from the parts, or did 
you score up the original and then work from that?

When I do my arrangements for viols from the Fitzwilliam Virginal  
Book, even when my target is a 3-part arrangement or 4-part 
arrangement, I start out with a straight transcription into 4 parts 
(and keyboard music never has a fixed number of parts, ranging from 2 
to 6 parts at any time), neither adding nor substracting any notes. 
Then I work from that to get the arrangement for a particular final 
disposition. And if I'm arranging for 3 parts, I generally do a 4-
part first, for two reasons:

1. my group can likely use the 4-part arrangement, AND

2. 3-part music by definition is very often a reduced 4-part texture, 
and starting from the 4-part disposition results in more completeness 
in the final result (though one has to remember that 3-part music 
doesn't require complete chords -- as long as there's a third above 
the bass, it's going to work).

Anyway, just curious...

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] RE: iPad as electronic music stand

Well, it's just google. A lot of search is boiling it down to about 5
or fewer things you are looking for

Sent from my iSomething

On Dec 11, 2010, at 1:11 PM, John Howell john.how...@vt.edu wrote:

 Wow!  In all my interaction with the Norton people, these website and 
 features were never mentioned.  No manual provided, no tutorials except for 
 webinars (which I do NOT learn well from!).

 You have been a great help, Eric, and I thank you profusely.  But you know 
 how to search for such things, and I'm a baby.  Wrong generation, I guess.  
 My Teaching Assistant figured most of it out almost immediately, except for 
 the formatting, which I figured out because I had to.  And she had no manual 
 or tutorials, either.  She just grew up with computers.

 John




 At 9:11 PM -0800 12/10/10, Eric Dannewitz wrote:
 And I think this answers your ExamView problem

 http://kb.cengage.com/pages/viewpage.action?pageId=20021260

 And they list export to RTF as a feature of the program
 http://www.formativeassessments.com/formative/examview/features.htm

 Simple google search of examview export microsoft word

 On Dec 10, 2010, at 6:59 PM, John Howell wrote:

 Is that really a technical support issue or just that the program doesn't 
 allow it?

 Well, the point is that I don't know, and don't know how to find out.

 NOT Sent from my iSomething



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 --
 John R. Howell, Assoc. Prof. of Music
 Virginia Tech Department of Music
 College of Liberal Arts  Human Sciences
 Blacksburg, Virginia, U.S.A. 24061-0240
 Vox (540) 231-8411  Fax (540) 231-5034
 (mailto:john.how...@vt.edu)
 http://www.music.vt.edu/faculty/howell/howell.html

 We never play anything the same way once.  Shelly Manne's definition
 of jazz musicians.
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Re: [Finale] RE: iPad as electronic music stand

2010-12-11 Thread John Howell


At 10:23 AM -0500 12/11/10, Christopher Smith wrote:


I'd hazard a guess that John plays a lot of original orchestrations, 
while Eric plays a lot of remounts or reduced orchestrations, which 
have been re-arranged for a smaller band.


And I'd guess that you're exactly right!  Our community Summer 
Musical Enterprise organization is pretty conservative, and we've 
done a majority of tried-and-true golden age musicals because we 
have no Angels and have to fill the seats to pay the bills.  So 
I've seen mostly hand-copied books.  We've done a couple that were 
clearly done on the music typewriter, pre-computer, and a few with 
computer-engraved parts, including the expanded orchestration of 
Joseph and Don Sebesky's re-orchestration of Kiss Me, Kate 
(brilliant scoring, by the way!).  Next summer our show is R  H 
Cinderella, in the updated version from the late '90s, and I hope 
it will be engraved.


We are a 100% volunteer organization, which presents me with some 
challenges when I start putting the orchestra together (I've had 
cellists and bassoonists as young as 11 or 12!), but it also means 
that we (meaning *I* for a number of years) try to assemble a full 
orchestra, and not an el-cheapo combo (which sometimes works really 
well and sometimes does NOT!).  About the largest string section our 
small pit will hold is 3, 3, 2, 2, 1, although for Kate I had 8 
violins shoehorned in, with 3 of them playing mandolin.  Definitely 
community, definitely non-union, definitely a challenge, and 
definitely enough fun to have kept me at it for 19 years now!


John


--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
College of Liberal Arts  Human Sciences
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:john.how...@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html

We never play anything the same way once.  Shelly Manne's definition
of jazz musicians.
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Re: [Finale] OT: Historical Musical Instrument Question

On 11 Dec 2010 at 15:37, Darcy James Argue wrote:

 Terry Riley's Transylvanian Horn Courtship for Kronos calls for
 custom-built Stroh instruments (not just violins but Stroh viola and
 Stroh cello) built for them Walter Kitundu, and tuned a full fifth
 lower than the standard instruments. You can read more about these
 instruments, and the piece, here:
 
 http://www.carnegiehall.org/article/box_office/events/evt_13018_pn.htm
 l?selecteddate=03112010
 
 I'm not sure if it was because of the lower tuning, but the
 instruments Kronos used were very soft -- much softer than standard
 string instruments.

I can't help but think that they re-invented the viol consort by 
doing that. One of the complaints about the viol that resulted in the 
eventual hegemony of the violin family was that the instruments were 
not loud enough, and they certainly fall in a lower range than the 
corresponding instruments from the violin family (for the upper end 
instruments; the bass doesn't go as low as the cello, of course). And 
the one viol that survived longest, was the one with the widest range 
in both dynamics and pitch.

I'd be interested in hearing these instruments.

-- 
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] Re: Finale Digest, Vol 89, Issue 13

True enough. I have found that scanning at 300dpi and using Acrobat to make a 
PDF results in a very legible iPad viewable book. I converted all my Rubank 
Oboe books into PDF (they were literally falling apart) and they look amazing.


On Dec 11, 2010, at 1:26 PM, David W. Fenton wrote:

 Well, that's not the fault of the TIFF standard -- it's that Finale 
 can't deal with compressed TIFFs. I kind of understand why (there are 
 different methods for compressing the TIFF internally, and Finale 
 would likely only be able to support one compression method, and even 
 supporting that would require building a file compression routine 
 into Finale), but it's quite annoying.
 
 I would be very much surprised if a compressed TIFF were smaller than 
 a PNG file, for instance, and if any of them assembled into a PDF 
 would be smaller than the resulting PDF (though it depends on what 
 settings you use for creating your PDF).


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Re: [Finale] RE: iPad as electronic music stand

The way I probably SHOULD have worked was to assemble all the parts  
into a score, then reduce from there. However, my final band was so  
much smaller than the original that I would have ended up copying  
over way more parts than I ever would have used. So I mostly looked  
over the parts while referring to the piano-conductor reduction,  
copying and re-assigning parts as I saw fit, sometimes making a mini- 
sketch on staff paper with a pencil for an eight-bar or sixteen-bar  
passage. I ended up keeping most of the Trumpet 1 and Reed 1, for  
example, though I added extra parts here and there.


I can read transposed parts at speed (long habit!) so none of that  
threw me. I proceeded a phrase at a time, keeping parts in my head as  
I decided what to use.


If I only had to reduce, say 26 to 16, then my first sentence would  
have made more sense.


If I were doing what you were doing, I would have to do what you do.  
Your method sounds right for that music.


Christopher


On 11-Dec-10, at 11-Dec-10  4:31 PM, David W. Fenton wrote:


On 11 Dec 2010 at 10:23, Christopher Smith wrote:


I ended up working from
16 or so open parts books laid in a big semicircle around my desk.


I'm curious about your methods here, as this is the situation I find
myself almost exclusively with the stuff I'm working with (i.e.,
starting from parts, as there was never any full score available).

Did you write your new orchestration direct from the parts, or did
you score up the original and then work from that?

When I do my arrangements for viols from the Fitzwilliam Virginal
Book, even when my target is a 3-part arrangement or 4-part
arrangement, I start out with a straight transcription into 4 parts
(and keyboard music never has a fixed number of parts, ranging from 2
to 6 parts at any time), neither adding nor substracting any notes.
Then I work from that to get the arrangement for a particular final
disposition. And if I'm arranging for 3 parts, I generally do a 4-
part first, for two reasons:

1. my group can likely use the 4-part arrangement, AND

2. 3-part music by definition is very often a reduced 4-part texture,
and starting from the 4-part disposition results in more completeness
in the final result (though one has to remember that 3-part music
doesn't require complete chords -- as long as there's a third above
the bass, it's going to work).

Anyway, just curious...

--
David W. Fentonhttp://dfenton.com
David Fenton Associates   http://dfenton.com/DFA/

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Re: [Finale] RE: iPad as electronic music stand



On 11-Dec-10, at 11-Dec-10  5:02 PM, John Howell wrote:


At 10:23 AM -0500 12/11/10, Christopher Smith wrote:


I'd hazard a guess that John plays a lot of original  
orchestrations, while Eric plays a lot of remounts or reduced  
orchestrations, which have been re-arranged for a smaller band.


And I'd guess that you're exactly right!


Well, Eric tells me he sees a lot of original orchestrations from a  
while back done up on computer engraving, so maybe they are redoing  
some of the most popular ones. I did Hello Dolly from engraved parts,  
for example, but Guys and Dolls was the original hand copying.


So I was half right!

Christopher



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Re: [Finale] RE: iPad as electronic music stand