Re: [Finale] finale development team - time spent...

2016-12-08 Thread Raymond Horton
I think it is a riot! More power to them! Raymond Horton Composer, Arranger Minister of Music, Edwardsville (IN) United Methodist Church Retired Bass Trombonist, Louisville Orchestra, 1971-2016 On Dec 8, 2016 7:42 PM, "SN jef chippewa" wrote: > > RESPECT! finale

Re: [Finale] finale development team - time spent...

2016-12-08 Thread Steve Parker
I’ve actually written ‘this is not a typo’ on parts… Steve P. > On 9 Dec 2016, at 00:42, SN jef chippewa > wrote: > > > RESPECT! finale knows its priorities. so development $ was spent on > this -- and on writing a blog entry to explain the (ahem) 5 difficult

[Finale] finale development team - time spent...

2016-12-08 Thread SN jef chippewa
RESPECT! finale knows its priorities. so development $ was spent on this -- and on writing a blog entry to explain the (ahem) 5 difficult steps to get a beer mug to show over your music!!! -- and we are still only back up to the speed of F2012 on the mac side?!?!?!?! are you fucking

Re: [Finale] 3/2 vs. 6/4

2016-12-08 Thread David H. Bailey
On 12/8/2016 8:10 AM, Dennis Bathory-Kitsz wrote: [snip]> Though I've seen it done, alternating notations of 4/4 and 3/2 while keeping > the quarter-note pulse the same never made sense to me. I would be expecting > the conductor to switch to /2 pulses. > [snip] That's how I conduct that sort of

Re: [Finale] 3/2 vs. 6/4

2016-12-08 Thread Steve Parker
I think a composer should be able to do whatever they like. But it's not a convention that is outliving its usefulness, it is rather a useful distinction that is being contracted. I can happily conduct 6 beats in 3/2 to keep the pulse the same and I've never met anyone who would suddenly

[Finale] Change verse number

2016-12-08 Thread Robert Patterson
I often use verse numbers to keep text separate for different sections of a piece. For example, in a song cycle the text for each song would be in a different verse. I have discovered that "score merger" merges all the text for different files into the same verse numbers, which means verse one

Re: [Finale] 3/2 vs. 6/4

2016-12-08 Thread Christopher Smith
[I’ve trimmed the previous discussion] I just conducted a piece for concert band by Samuel R. Hazo called “Arabesque” where there is a single measure of 6/4 indicated to be conducted 2+2+2 in a context of 4/4. I think this was the right decision, as 4/4 + 2/4 would have implied a stronger

Re: [Finale] 3/2 vs. 6/4

2016-12-08 Thread Dennis Bathory-Kitsz
On Thu, December 8, 2016 6:00 am, David H. Bailey wrote: > But putting > aside those of us on this list, how would a composer indicate in a > printed score, without using accent marks which would likely produce > more emphasis than desired, that with a 6/4 meter the emphasis should be > 1, 3, 5 so

Re: [Finale] 3/2 vs. 6/4

2016-12-08 Thread Ryszard Pusz
An interesting point, which shows more than anything else how imprecise music notation is in conveying a composer's intentions. Accents could be interpreted with too strong an emphasis on the 1, 3 and 5, phrase marks could lead to a greater than wanted disconnect between 2-3, 4-5, 6-1. Using

Re: [Finale] 3/2 vs. 6/4

2016-12-08 Thread Steve Parker
Agree with David entirely. The distinction is a useful and longstanding one. I don't see what is gained by blurring it. Steve P. > On 8 Dec 2016, at 11:00, David H. Bailey wrote: > >> On 12/8/2016 12:36 AM, Giovanni Andreani wrote: >> I agree with Patrick, the

Re: [Finale] 3/2 vs. 6/4

2016-12-08 Thread SN jef chippewa
they would read the finale list archives, no? :P >how would a composer indicate in a printed score, without using >accent marks which would likely produce more emphasis than desired, >that with a 6/4 meter the emphasis should be 1, 3, 5 so that a >performer far removed from this discussion or

Re: [Finale] 3/2 vs. 6/4

2016-12-08 Thread David H. Bailey
On 12/8/2016 12:36 AM, Giovanni Andreani wrote: > I agree with Patrick, the denominator suggests the pulse's value. > If that's true, then why is 6/8 so often played as 2/dotted-quarter instead of clearly indicating each 8th note? That seems to be the majority of the time. And the original

Re: [Finale] 3/2 vs. 6/4

2016-12-08 Thread Steve Parker
My tuppence: I see both and if you have time to explain you could use either. But.. if I was writing for a sight read or studio session (or any classical players) I would write it the way it would be conducted. If I wrote 6/4 and then conducted three accents in the bar, it would lead to