[Finale] OT: historical analogy
No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
How about all the songs in the fake books. Jazz standards, Beatles, and the like. On Fri, Jan 28, 2011 at 8:32 AM, Richard Yates rich...@yatesguitar.comwrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
Bach's Jesu Joy of Man's Desiring is probably well up the list. On Fri, Jan 28, 2011 at 8:32 AM, Richard Yates rich...@yatesguitar.comwrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale Mac 2011 question
Back in Finale 2007, the last version I've used before 2011, it was, and I believe always has been, option-shift click to auto-paste in a selection at the point of cursor click. I know this since I've had this programmed into a Kensington mouse button for as long as I can recall. Finale v2.01, circa 1990. Anyway, now with 2011, option-shift-click brings up the filter options window as you pointed out. OK, as now designed. Option-click does work, but it adds the selection at the same point rhythmically. Not what I expected, but I did finally find this reference in the manual, and again, it's as designed currently. (Does any other Finale Mac user long for the older PDF manuals? I sure do. But, I digress…) I also found that one can now hilight and drag to specific points in the file, and obviously copy/paste works as expected. This slight change just caught me off guard. Thanks for everyone's input on this question. J D Thomas ThomaStudios On Jan 27, 2011, at 3:58 PM, Christopher Smith wrote: On my Mac it still works that way. Opt-click pastes using the current filter settings, while opt-sh-click leads you to the filter dialogue box first. Maybe you have the filter settings pared down to something that doesn't copy anything. New in recent versions (I think 2007) is that you can always select partial measures without going to the menu first. If it doesn't work that way on your Mac, try rebooting the computer, then if that doesn't solve it, try trashing preferences (make sure you trash the right ones! It's tricky!) If that doesn't solve it, try reinstalling Finale, then I would resort to tech support. Christopher On Thu Jan 27, at ThursdayJan 27 2:04 PM, J D Thomas wrote: In past versions of Finale, at least up thru 2007, one could hilight a measure or partial measure and then option-shift-click to paste it into another part of the file. This no longer seems to work as expected in Finale 2011 and the horrible online manual is no help. Did MM remove it or change it? J D Thomas ThomaStudios ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
On 28 Jan 2011, at 16:49, Robert Patterson wrote: How about all the songs in the fake books. Jazz standards, Beatles, and the like. Yes. Something like Over The Rainbow or Yesterday should fit the bill. MIchael On Fri, Jan 28, 2011 at 8:32 AM, Richard Yates rich...@yatesguitar.comwrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
If you want to go back that far, pachelbel's canon. Otherwise, any beatles song can be heard on elevators in keokuk, Iowa. Sent from my iPhone, so please pardon all the typos. On Jan 28, 2011, at 10:49 AM, Don Hart donhartmu...@gmail.com wrote: Bach's Jesu Joy of Man's Desiring is probably well up the list. On Fri, Jan 28, 2011 at 8:32 AM, Richard Yates rich...@yatesguitar.comwrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
On Fri, January 28, 2011 9:32 am, Richard Yates wrote: By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Anything in the public domain like Un Gay Bergier? Good luck with that! Composed in the 21st century or arranged in the 21st century? If the latter and pop-to-nonpop, then continuing versions of anything Zappa, also Purple Haze. Pop-to-pop, White Christmas. 21st century don't know yet. Poker Face? Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
Alexander's Ragtime Band, Billy Boy, Beautiful Dreamer, are all in the public domain and are commonly re-arranged. Christopher On Fri Jan 28, at FridayJan 28 10:53 AM, Dennis Bathory-Kitsz wrote: On Fri, January 28, 2011 9:32 am, Richard Yates wrote: By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Anything in the public domain like Un Gay Bergier? Good luck with that! Composed in the 21st century or arranged in the 21st century? If the latter and pop-to-nonpop, then continuing versions of anything Zappa, also Purple Haze. Pop-to-pop, White Christmas. 21st century don't know yet. Poker Face? Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
I nominate In The Pines (aka Where Did You Sleep Last Night): http://en.wikipedia.org/wiki/In_the_Pines It's most familiar to Gen X'ers via the Nirvana version, but I recently heard an electric jazz band from Sweden play a version in a small London jazz club. It's the oldest song I can think of that would not seem out of place at a present-day rock festival like South by Southwest. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 28 Jan 2011, at 9:32 AM, Richard Yates wrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
I remember some years ago seeing a collection of 100 different recordings/arrangements of Gershwin's 'Summertime' that had been done by a variety of folks since its composition. Matthew Sent from my iPhone On 29/01/2011, at 1:32 AM, Richard Yates rich...@yatesguitar.com wrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
Or, if you're just looking for the most-covered song, that's almost certainly Gershwin's Summertime. Also, some version of that song seems to crack the Billboard Top 100 at least once a decade (most recently, I think, was the Sublime version from 1997). Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 28 Jan 2011, at 9:32 AM, Richard Yates wrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
On 1/28/2011 9:32 AM, Richard Yates wrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Any one of the thousands of tunes which make up the Great American Songbook. -- David H. Bailey dhbai...@davidbaileymusicstudio.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
At 6:32 AM -0800 1/28/11, Richard Yates wrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? As others have suggested by omission, virtually NOTHING in the classical or academic field. But that wasn't the field Crecquillon was composing for, and to draw a real analogy you would have to delve into the more specialized fields of jazz, classic jazz, middle-of-the-road pop, Broadway, country, all the various flavors of rock 'n roll and rock, and even rap! You also have to take into consideration seasonal songs, and in particular Christmas songs. Whoever mentioned White Christmas has it absolutely right! In other words, you can't compare the popular tunes without also comparing the sociological aspects of the cultures involved, and they were SO very different in the 16th century that I don't think a meaningful comparison is even possible. Crecquillon's songs were entertainment music, right enough, but entertainment for a rather small upper socio-economic-political class that were comparatively well off, comparatively well educated, and could afford to buy the latest sheet music from the Parisian publishers. 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. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
These stats aren't in any way definitive (it says right up front: These statistics are based on the data currently entered in database. Therefore the statistics are biased by the editors of the site. Do not use these numbers as reference) -- but FWIW: http://www.secondhandsongs.com/stats/work_version#stat (Note that they have separate entries for Stille Nacht and Silent Night -- the combined total actually puts it ahead of Summertime.) Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 28 Jan 2011, at 9:32 AM, Richard Yates wrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
On Fri, January 28, 2011 11:37 am, Christopher Smith wrote: Alexander's Ragtime Band, Billy Boy, Beautiful Dreamer, are all in the public domain and are commonly re-arranged. But the original post said 21st Century. I suggested some late 20th Century, but only Poker Face for current. There are probably more covers. My reference to public domain was that protected nonpop pieces rarely get covers. Too much red tape. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
Hi Dennis, There have definitely been some high-profile covers of Summertime in the 21st century -- it still gets reinterpreted for the contemporary pop market on a regular basis, and it is virtually unique among American Songbook tunes in this respect. Yes, I know it's not exactly a songbook tune -- _Porgy and Bess_ is, of course, an opera -- but the song very quickly got mainstreamed into the songbook tradition. Cheers, - DJA - WEB: http://www.secretsocietymusic.org On 28 Jan 2011, at 1:29 PM, Dennis Bathory-Kitsz wrote: On Fri, January 28, 2011 11:37 am, Christopher Smith wrote: Alexander's Ragtime Band, Billy Boy, Beautiful Dreamer, are all in the public domain and are commonly re-arranged. But the original post said 21st Century. I suggested some late 20th Century, but only Poker Face for current. There are probably more covers. My reference to public domain was that protected nonpop pieces rarely get covers. Too much red tape. Dennis ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
For starters, anything by the Beatles. Richard Yates rich...@yatesguitar.com wrote: No Finale content here (except that I am writing an article that includes a score and examples done in Finale). Thomas Crecquillon wrote Ung Gay Bergier (A Happy Shepherd?) in the first half of the 16th century. It became one of the greatest hits of the next few decades inspiring nearly three dozen known versions for keyboard and lute. For instance, Simone Molinaro published an elaborated intabulation for lute more than 50 years later. By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? Richard Yates ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
On 28 Jan 2011 at 6:32, Richard Yates wrote: By analogy, in the 21st century, what is today's equivalent of Ung Gay Bergier, i.e. a piece of music decades old that is a favorite for recasting in new arrangements? The first thing I thought of Pachelbel's Canon, which has many 21st century arrangements (see YouTube for canon rock), while also being old enough to fit the decades old. As a matter of fact, I think it would be correct to count it as a 20th-century piece because even though it was composed in the late 17th (I have no idea of the exact date), it was unknown until the 20th century. It was first published in 1919, but did not really enter popular imagination until the 1960s/70s (though there is an interesting Athur Fiedler recording from 1940). While most of the recordings were not intended as arrangements (though until the early music movement got hold of it in the 80s, there were almost no recordings of it in the original instrumentation, i.e., solo violins and continuo instead of full orchestra), the most famous recording (by Palliard, 1968) was clearly an arrangement (recognizable by the viola pizzicato accompaniment). Also, several of the early recordings made odd cuts, so they weren't the originals, either. But once it became wildly popular (mostly after it was used in the soundtrack to the movie Ordinary People, 1980), it started appearing in both orchestral adaptations and in arrangements for piano and other ensembles. Most recently, i.e., in the 20st century, it has inspired the canon rock phenomenon, in which guitarists vie for the most virtuosic variations on parts of the original melody over the original chaconne bass. You can see some of these (many of which are just amazing) on YouTube. And of course, I couldn't fail to mention the great rant from a former cellist about how awful it is to have to play the canon (search YouTube for pachelbel rant). Seems to me the Pachelbel Canon pretty much fits the bill, except that it's not a song with words, but an instrumental piece. There's a great album called Pachelbel's Greatest Hit, which collects together on one album a whole group of different performances/arrangements of the piece: http://goo.gl/8e2sZ = http://www.amazon.com/Pachelbels-Greatest-Hit-Ultimate- Canon/dp/BC9JCM/ It doesn't include any of the modern historically-informed performances, but does include the Fiedler 1940 (which is an eye- opener), as well as the second version of the Palliard (it was recorded first in 1968 and again in 1989), along with a number of arrangements for brass and other forces, Rochberg's variations on it, and any number of meditations on the canon that aren't, strictly speaking, arrangements of it (so much as they use it for source material). Nor is there any track on that recording that is in the original instrumentation, which seems an odd omission, but that may just be a matter of the early music recordings being new enough that they would have been expensive to miss. Last of all is my incomplete series of blog posts on the Pachelbel Canon are collected here: http://dfenton.com/NoComment/posts/category/music/blogging-pachelbel/ If you want to read one post from that, this is probably the best one: http://dfenton.com/NoComment/posts/category/music/blogging-pachelbel/ One of the key takeaways from that is this paragraph: It occurred to me while listening to those that in popular culture, the piece is a chord progression, not a canon. That is, most of the non-classical arrangements of it completely omit the polyphonic material that makes it a canon, and simply noodle about on the harmonic progression (and many of those ignore the flat 7 secondary dominant that plays such a prominent part at the end of the original, which seems strange to me, given how important the subdominant is in modern popular music). Canon Rock actually uses a lot of melodic source material from the original, but treats it as a harmony and melody, with no real canonic treatment. One has to admire these renditions for the players´ phenomenal virtuosity, if for nothing else. As I say elsewhere in the post, it seems that it's not Pachelbel's Canon that has been used as the basis for the variations/arrangements, but Pachelbel's Chaconne, i.e., the chord progression (though often, as I say, along with some of the melodic lines from the canon). And that prompts me to mention the Los Angeles Guitar Quartet's performance: http://www.youtube.com/watch?v=yflWG-e38OU ...it begins conventionally, but then goes off in all sorts of wonderful directions. I'd be hard-pressed to even name all the musical styles they traverse! -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
At 4:18 PM -0500 1/28/11, David W. Fenton wrote: As I say elsewhere in the post, it seems that it's not Pachelbel's Canon that has been used as the basis for the variations/arrangements, but Pachelbel's Chaconne, i.e., the chord progression (though often, as I say, along with some of the melodic lines from the canon). Well, as it happens I was aware of and played the Kanon long before whatever movie that was you cited, and back in the late '80s discovered that Jolly Old Saint Nicholas could be layered over it quite nicely (by using continuous half-cadences in the voice parts). And I've arranged it that way, WITH the original counterpoint exactly as written. (Except that I made the 3rd violin part into a real viola part since that worked a lot better for weddings!) It's been speculated--although I can't remember where I read it--that since Pachelbel knew and worked with all the hot musicians in Vienna, we might be completely misinterpreting the Kanon. It might have been intended for a much faster tempo, with the violin canon a really challenging tour de force to show off real virtuosos. I've never tried it that way, and don't know whether it would work or not. It would at least make cello players happier! But cellists who don't like playing a ground bass have been playing too much Dvorák and Borodin! The 17th century was the century of the creative use of ground bass, with Monteverdi, Corelli, and Purcell--and everybody else!-- writing wonderful duets, solos, and trio sonatas over one. 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. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
Actually, speaking of YouTube, perhaps the theme from Super Mario Bros is another candidate amongst the younger generations (including remixes). On 29/01/11 8:18 AM, David W. Fenton wrote: The first thing I thought of Pachelbel's Canon, which has many 21st century arrangements (see YouTube for canon rock), ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
On 28 Jan 2011 at 20:28, John Howell wrote: It's been speculated--although I can't remember where I read it--that since Pachelbel knew and worked with all the hot musicians in Vienna, we might be completely misinterpreting the Kanon. It might have been intended for a much faster tempo, with the violin canon a really challenging tour de force to show off real virtuosos. I've never tried it that way, and don't know whether it would work or not. It would at least make cello players happier! There is definitely an erroneous tradition of playing the thing way, way, too slow. The first time I ever worked on arranging it was before the IMSLP existed, and I used a MIDI file to create a Finale file. It ended up with the ground bass notes in WHOLE NOTES. In the original they are QUARTER NOTES. The early music movement has fixed this, I think, and no recent recordings play it as slowly as the old ones did. Of the recordings I examined as part of my blogging project, I derived tempos of between 32 and 72 bpm (based on the length of the recording divided by the number of measures, since not all the recordings play the whole thing). The first recording, the Fiedler 1940, is 70bpm, and it was not until Ton Koopman's 1981 recording that anyone exceeded that (72bpm). To me, it's quite clear that the slower tempos are vastly wrong. On the other hand, the really fast ones don't float my boat, either. I prefer something in the low 60bpm range. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT: historical analogy
A bit OT, but many years ago an ABC presenter, Jaroslav Kovarick, did a late-night program of (I think) two hours consisting purely of different version of the Pachelbel Canon. :-) On 29 January 2011 13:11, David W. Fenton lists.fin...@dfenton.com wrote: On 28 Jan 2011 at 20:28, John Howell wrote: It's been speculated--although I can't remember where I read it--that since Pachelbel knew and worked with all the hot musicians in Vienna, we might be completely misinterpreting the Kanon. It might have been intended for a much faster tempo, with the violin canon a really challenging tour de force to show off real virtuosos. I've never tried it that way, and don't know whether it would work or not. It would at least make cello players happier! There is definitely an erroneous tradition of playing the thing way, way, too slow. The first time I ever worked on arranging it was before the IMSLP existed, and I used a MIDI file to create a Finale file. It ended up with the ground bass notes in WHOLE NOTES. In the original they are QUARTER NOTES. The early music movement has fixed this, I think, and no recent recordings play it as slowly as the old ones did. Of the recordings I examined as part of my blogging project, I derived tempos of between 32 and 72 bpm (based on the length of the recording divided by the number of measures, since not all the recordings play the whole thing). The first recording, the Fiedler 1940, is 70bpm, and it was not until Ton Koopman's 1981 recording that anyone exceeded that (72bpm). To me, it's quite clear that the slower tempos are vastly wrong. On the other hand, the really fast ones don't float my boat, either. I prefer something in the low 60bpm range. -- David W. Fentonhttp://dfenton.com David Fenton Associates http://dfenton.com/DFA/ ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
