[Finale] Stairway To Paradise in A
Somebody called and asked me to transpose this tune into A for her by Tuesday, and I can't. Somebody want to help? I'm pretty sure she didn't say Stairway to Heaven. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stairway To Paradise in A
What the person is looking is someone to take the piano/vocal of Stairway To Paradise, which we both have, and transpose the piano/vocal into the key of A by Tuesday, January 31st. I can't do it for her, and so I am posting it on this list to see, as I have in the past, if there is anyone with the free time and inclination to do this small job. Any takers? She's just an actress whose coach is out of town. Crystal Premo [EMAIL PROTECTED] From: Michael Cook [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Stairway To Paradise in A Date: Sat, 28 Jan 2006 21:39:57 +0100 Gershwin's I'll build a stairway to paradise was written for George White's Scandals of 1922. If it's any help, I'm sure you'll find a few MIDI files of it if you search for them on the Internet. Michael Cook On 28 Jan 2006, at 20:17, Dean M. Estabrook wrote: Are you asking if this tune actually existed, or saying that you can't find it anywhere, or what? I definitely remember the song from the late 50's. Dean ___ 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] Seasonal Greetings
Here, here. Really wonderful. Crystal Premo [EMAIL PROTECTED] From: Fisher, Allen [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Seasonal Greetings Date: Tue, 20 Dec 2005 09:12:59 -0600 As always Hiro, great stuff. I appreciate your generosity. Allen On 12/20/05 12:50 AM, A-NO-NE Music [EMAIL PROTECTED] said this: Seasonal Greetings! http://a-no-ne.com/music/xmas/ As usual, free download entire 2005 Christmas CD till the end of the year :-) Hope you enjoy. ___ 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] OT: Printing in the OS 9.2 environment
Got a new inkjet. Installed it. It shows up as the printer in a print request in both Word and Finale, but when I send the request, the printer's light flashes once but does not print. Can anybody help: MAC G4, Canon Pixma iP1600. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: TAN: Brain music
I can tell you first hand that some music therapists are doing some very useful things with autistics and other folk with this sort of impairment. With some autistics, music helps them focus and be present, even severely autistic individuals. No cures, though. Crystal Premo [EMAIL PROTECTED] From: Phil Daley [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Re: TAN: Brain music Date: Mon, 01 Aug 2005 11:15:40 -0400 At 8/1/2005 10:26 AM, John Howell wrote: (Of course I still don't understand what music therapy is or what music therapists do!) Oh, that brings up a long forgotten assignment in a grad school Writing Techniques class wherein I had to write a short treatise on Music Therapy, you know, complete with research notes, bibliography, etc, etc, etc. My conclusion - total malarkey ;-) YMMV Phil Daley AutoDesk http://www.conknet.com/~p_daley ___ 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] Blowing O.T.
Aren't we talking about two different words here, even though they may have similar usages? That's how it seems to me. Nothing about the derivation of words is ever pure. Crystal Premo [EMAIL PROTECTED] From: Raymond Horton [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Blowing O.T. Date: Sat, 16 Jul 2005 23:03:49 -0400 Crystal, even though I still think your name is most certainly Phat (I believe I gushed about it once before), I really doubt that derivation. I'd be willing to bet cold cash that the word came first. RBH Crystal Premo wrote: I'm quite sure that the pretty hot and tempting explanation is not a fantasy. Both my teenagers consider it common knowledge. They rolled their eyes at me with impatience when I asked just now. Crystal Premo [EMAIL PROTECTED] ___ 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] Blowing O.T.
As long as you still like my name, I don't care about Fat and Phat. Crystal Premo [EMAIL PROTECTED] From: Raymond Horton [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Blowing O.T. Date: Sat, 16 Jul 2005 23:03:49 -0400 Crystal, even though I still think your name is most certainly Phat (I believe I gushed about it once before), I really doubt that derivation. I'd be willing to bet cold cash that the word came first. RBH Crystal Premo wrote: I'm quite sure that the pretty hot and tempting explanation is not a fantasy. Both my teenagers consider it common knowledge. They rolled their eyes at me with impatience when I asked just now. Crystal Premo [EMAIL PROTECTED] ___ 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] Blowing O.T.
That word you refer to is a very old one, originally quite acceptable, and recorded in an English dictionary as early as 1598. Crystal Premo [EMAIL PROTECTED] From: keith helgesen [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: RE: [Finale] Blowing O.T. Date: Sun, 17 Jul 2005 13:46:26 +1000 I think I agree with you! After all, (to sail VERY close to the wind), the assertion is around that the acronym for File Under Carnal Knowledge used to be placed on Police files- thus creating the slang term for- well, you know! I suspect that story is a load of rubbish! Cheers K Keith Helgesen. Director of Music, Canberra City Band. Ph: (02) 62910787. Band Mob. 0439-620587 Private Mob 0417-042171 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Raymond Horton Sent: Sunday, 17 July 2005 1:04 PM To: finale@shsu.edu Subject: Re: [Finale] Blowing O.T. Crystal, even though I still think your name is most certainly Phat (I believe I gushed about it once before), I really doubt that derivation. I'd be willing to bet cold cash that the word came first. RBH Crystal Premo wrote: I'm quite sure that the pretty hot and tempting explanation is not a fantasy. Both my teenagers consider it common knowledge. They rolled their eyes at me with impatience when I asked just now. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.9.0/50 - Release Date: 16/07/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.9.0/50 - Release Date: 16/07/2005 ___ 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] Blowing O.T.
True, but in this case the song is so well established that I don't even think of the title as being archaic. It says what it says, and everybody knows what it means. (Or maybe not; maybe we should try it on Crystal's teenagers!) I just sang part of the song for my thirteen-year-old and asked her what being hung up on something means. She replied that it's something you think about a lot, almost like an obsession. Crystal Premo ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Blowing O.T.
From Encyclopedia of Word and Phrase Origins by Robert Hendrickson, 1987: f*ck. Originally a quite acceptable word, f*ck was recorded in an English dictionary as early as John Florio's A World of Words (1598). The word doesn't drive from the police blotter entry [booked] for unlawful carnal knowledge, as some people still believe. Our word of the act of sexual connection may remotely come from the latin for the same, futuere, but most probably is from the Old German ficken/fucken, to strike or penetrate, which had the slang meaning to copulate. As Partridge points out, the German word is almost certainly related to the Latin words for pugilist, puncture, and prick, through the root pug, which goes back to prehistoric times. Before f*ck came into English in the late 15th century - its first recorded use is in 1593 - swyve was the verb most commonly used for f*cking. Crystal Premo ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Blowing O.T.
I still use these expressions: dig it, groovy, cat. People seem to understand me. Crystal Premo [EMAIL PROTECTED] From: Joel Sears [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Blowing O.T. Date: Sun, 17 Jul 2005 13:24:36 -0500 I don't get it, what's the hang up with that song title? The other day, I was in a conversation with a group at work. I said wouldn't be neat if we could... A twenty something coworker asked did you say neat? To which I answered totally. JS On Jul 17, 2005, at 11:42 AM, Chuck Israels wrote: Using slang often has drawbacks. You can identify yourself as in a momentarily in group, only to find your expression hopelessly out of date in a short time. None of this is news to most of you, but it strikes me as most unfortunate that the otherwise beautiful, lyrically and musically literate, Fran Landesman/Tommy Wolf song, Spring Can Really Hang You Up the Most, is rendered a period piece because of its title line, which only appears after all the rest of the sensitive, sophisticated, and expressive song, lyrics and all, have made a different and more durable impression. There's a lesson there. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ 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] Blowing O.T.
I must admit that I have always avoided this tune because the phrase sounds corny to me. I also find that the lyric Which tapes and dreams belong to you and which are mine in Where Do You Start grates on me because of the reference to tapes. I'm not sure it's because of the timeliness of tapes, or simply because I dislike the juxtaposition of tapes and dreams. I think it is the latter. Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Blowing O.T. Date: Sun, 17 Jul 2005 11:34:06 -0700 OK, I admit to a personal viewpoint about this. Hang you up the most sounds dated and awkward to my ears, and I wouldn't have used it when it was current slang (in my college years, or something like that). Now, using current internet jargon, I say, YMMV. :-) Chuck On Jul 17, 2005, at 11:24 AM, Joel Sears wrote: I don't get it, what's the hang up with that song title? The other day, I was in a conversation with a group at work. I said wouldn't be neat if we could... A twenty something coworker asked did you say neat? To which I answered totally. JS On Jul 17, 2005, at 11:42 AM, Chuck Israels wrote: Using slang often has drawbacks. You can identify yourself as in a momentarily in group, only to find your expression hopelessly out of date in a short time. None of this is news to most of you, but it strikes me as most unfortunate that the otherwise beautiful, lyrically and musically literate, Fran Landesman/Tommy Wolf song, Spring Can Really Hang You Up the Most, is rendered a period piece because of its title line, which only appears after all the rest of the sensitive, sophisticated, and expressive song, lyrics and all, have made a different and more durable impression. There's a lesson there. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ 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 Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ 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] Blowing O.T.
I vote that we bring the word swyve or suive if you prefer, back into common usage. This conversation is getting on my swyving nerves. Crystal Premo [EMAIL PROTECTED] From: dhbailey [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Blowing O.T. Date: Sun, 17 Jul 2005 15:20:09 -0400 Andrew Stiller wrote: On Jul 16, 2005, at 11:46 PM, keith helgesen wrote: I think I agree with you! After all, (to sail VERY close to the wind), the assertion is around that the acronym for File Under Carnal Knowledge used to be placed on Police files- thus creating the slang term for- well, you know! Beggin' your pardon, but that word is not slang. Here's how my dictionary defines slang: 1) A kind of language esp. occurring in casual or playful speech, usu. made up of short-lived coinages and figures of speech *deliberately used in place of standard terms* [emphasis mine] for effects such as raciness, humor, or irreverence. 2) Language peculiar to a group; argot or jargon. The F word (not to set off anybody's spam filters) is in fact standard English. All it's numerous synonyms are either euphemisms, technical jargon, or--slang. Prior to the f word was a perfectly useful word -- suive, which hasn't survived in usage and so has no bad connotations. Just a single syllable verb to the act which our more touchy forebears relegated to being discussed only as euphemisms. Chaucer used it to good advantage. And it doesn't have any of the explosive possibility of the f word so it can't really be used in its place, such as suive you! -- David H. Bailey [EMAIL PROTECTED] ___ 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] Blowing O.T.
I am getting just the end of this, so forgive me if this has been stated, but phat means pretty hot and tempting. Crystal Premo [EMAIL PROTECTED] From: Ken Durling [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Blowing O.T. Date: Sat, 16 Jul 2005 06:37:50 -0700 At 01:17 AM 7/16/2005, you wrote: I'm pretty sure there *is* a connection between phat and fat. The acronymic etymologies are all fallacious. Like as in a fat bankroll or paycheck. Ken ___ 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] Blowing O.T.
I'm quite sure that the pretty hot and tempting explanation is not a fantasy. Both my teenagers consider it common knowledge. They rolled their eyes at me with impatience when I asked just now. Crystal Premo [EMAIL PROTECTED] From: Darcy James Argue [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Blowing O.T. Date: Sat, 16 Jul 2005 16:39:45 -0400 That's almost certainly a joke made up for the movie. Really, the transition from a fat beat to a phat beat doesn't require an elaborate alternative explanation. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 16 Jul 2005, at 4:24 PM, Crystal Premo wrote: True, nevertheless. As a matter of face, Chris Tucker explains it for a bunch of white people in one of his movies. ___ 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] Chord
Put the cursor over the natural and hit the * key. Crystal Premo [EMAIL PROTECTED] From: Pierre Bailleul [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Chord Date: Mon, 9 May 2005 14:34:39 +0200 Did you want Bb? You have to enter Bb. It is not clear what you are asking about or what your problem is. David H. Bailey No I don't want Bb, I just want B without the natural. The natural is added automatically by finale? Pierre. ___ 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] Lyrics grace notes
Me, too. Why? Crystal Premo [EMAIL PROTECTED] From: John Howell [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Lyrics grace notes Date: Tue, 3 May 2005 18:14:00 -0400 At 5:31 PM -0400 5/3/05, John Roberts wrote: Hi all, Is it possible to get lyrics to reduce in size when attached to grace notes? I'm in FinMac 2003. Thanks for any help. I'm curious. Why would you want to? John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ 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 Giant Steps
Wonderful! Crystal Premo [EMAIL PROTECTED] From: Christopher Smith [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: [Finale] OT Giant Steps Date: Tue, 22 Mar 2005 15:24:08 -0500 For those who are fans of John Coltrane, check out this animation. So simple, yet he really seems to hear the piece the way I think a lot of jazz musicians might hear it. It's kind of like a Fantasia (the movie) treatment for jazz nuts. http://michalevy.com/gs_download.html Christopher ___ 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] FS: GarageKey USB MIDI Keyboard
I don't have GarageBand and don't know if I'll ever get it, but my little Carl Robelli stopped turning on after the cats spilled coffee into the switch. My needs for a keyboard are not elaborate; I do mostly piano/vocals, some jazz and very limited orchestral stuff. If this will do, I might be interested. Crystal Premo [EMAIL PROTECTED] From: Carlberg Jones [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: [Finale] FS: GarageKey USB MIDI Keyboard Date: Sun, 13 Mar 2005 15:35:02 -0600 Greetings - I have an extra GarageKey USB MIDI keyboard. It requires no additional power than what is supplied via the USB cable. GarageKey requires with Mac OS 10.3 and above only. It's new, unopened in the box, however I want to open the box to make sure all the parts are there: the keyboard itself, a USB cable, the two plastic stands and owner's manual. I'd like $80 plus $10 for freight to the lower 48 states from Salem, OR. GarageKey - http://www.dvforge.com/garagekey.shtml The Perfect Keyboard For GarageBand We built the GarageKey simply because we love to play with Apple's wonderful GarageBand software, and, because there has just not been a small, elegantly designed MIDI keyboard available that matches nicely with Apple's product styling, and is small enough to actually put somewhere on most desks. The existing keyboards are bulky, complicated designs that may be great for trained keyboard players. But, they just don't match up to the real needs of most Mac users who decide to begin experimenting with GarageBand. That problem is now solved... with GarageKey. Review - http://www.powerbookcentral.com/columns/hildreth_kravitz/garagekey.shtml For the money, GarageKey is as good a USB MIDI keyboard as I've seen available in the US. What you see is what you get, and if you like its good looks and space-saving design and are really just interested in plucking out some melodies and experimenting a bit with GarageBand's MIDI capabilities then you'll probably dig GarageKey. After all, you're just the person MacMice had in mind when they designed it. Carlberg Carlberg Jones Guanajuato, Gto. MEXICO ___ 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] FS: GarageKey USB MIDI Keyboard
Maybe this is what I should have bought in the first place. I'm a voice teacher and don't exactly *play* a piano, just enough for vocal exercises and simple banging out chords when I have taught group classes in reading music. I had an acoustic which I sold to finance buying the MIDI for use with Finale. I think it will cost me more to fix this keyboard than to buy the one you are offering. Has anybody had any experience with GarageKey? It looks right for me at the urls. Crystal Premo [EMAIL PROTECTED] From: Carlberg Jones [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: RE: [Finale] FS: GarageKey USB MIDI Keyboard Date: Sun, 13 Mar 2005 15:49:54 -0600 At 4:43 PM -0500 3/13/05, Crystal Premo wrote: I don't have GarageBand and don't know if I'll ever get it, but my little Carl Robelli stopped turning on after the cats spilled coffee into the switch. My needs for a keyboard are not elaborate; I do mostly piano/vocals, some jazz and very limited orchestral stuff. If this will do, I might be interested. Hi, Crystal - You'd need to read the specifications at the two URL's I posted - http://www.dvforge.com/garagekey.shtml and http://www.powerbookcentral.com/columns/hildreth_kravitz/garagekey.shtml - and possible do a search for GarageKey to find its specific applicability. Obviously, it's not meant for playing as a piano, with only a three-octave range. However, for MIDI input, the octave up and octave down buttons on the back give flexibility. Regards, Carlberg P.S. In order to avoid spills on computer equipment, may I suggest altering your work technique? Mount the equipment upside down on swivel posts near a comfortable bed. Carlberg Jones Guanajuato, Gto. MEXICO ___ 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: Christo's The Gates, NYC Central Park
Sorry. The bar has already been raised to 54. Crystal Premo [EMAIL PROTECTED] From: Mariposa Symphony Orchestra [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] OT: Christo's The Gates, NYC Central Park Date: Tue, 22 Feb 2005 20:16:04 -0800 Sorry, Dennis (and by extension, Crystal); much as I'd really love to have this be an opportunity to agree with you, my documented research shows that the term 'young' will legally define anyone aged 47 or younger until this coming Saturday. The bar, on that day, will then be raised to 48 and younger. Furthermore, I fully intend to copyright the term 'young' and will allot its usage only by those paying a hefty rental fee. And I for one, intend not to pass the first bar I find, raised or no. Sincerely, Schirmer Peters, Attorneys-at-Law Les Marsden Founding Music Director and Conductor, The Mariposa Symphony Orchestra Music and Mariposa? Ah, Paradise!!! http://arts-mariposa.org/symphony.html http://www.sierratel.com/mcf/nprc/mso.htm - Original Message - From: Dennis Bathory-Kitsz To: finale@shsu.edu Sent: Tuesday, February 22, 2005 12:43 PM Subject: Re: [Finale] OT: Christo's The Gates, NYC Central Park At 03:34 PM 2/22/05 -0500, you wrote: what is the cutoff age for young these days? 55 years 11 months 9 days. So I'm still young until tomorrow. D ___ 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: Christo's The Gates, NYC Central Park
I strongly believe that we needs the arts, but let's look at this from a different vantage point. What would, say, Martians think if were watching us from space and observing us as one people with single set of resources, and seeing the dramatic disparity between The Gates and a middle school in the Bronx that has no resources at all: no books, no lockers, nothing they need. Crystal Premo [EMAIL PROTECTED] From: Daniel Wolf [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] OT: Christo's The Gates, NYC Central Park Date: Mon, 21 Feb 2005 17:43:47 +0100 My strongest feeling, though, was that they could have built a couple of schools in New York for the same money and created something of both beauty and lasting value. I believe that there is an error in this line of thinking. There is no the same money. If this privately-funded project did not exist, the funds collected for it would not have gone to building schools. Christo and Jeanne-Claude fund their projects largely by selling original artwork, prints, books, and other objects based upon their project. It's a self-sustaining, circular funding arrangement that resembles entertainment-industry marketing much more than any form of philanthropy or public works. The serious issue of school funding -- and for all of us on this list, music education funding -- has to be put in the context of the priorities set by the state for its budget and, to a much smaller extent, for private philanthropy (which is intimately related to taxation). In _this_ context, we are really talking about the same money, and music education ultimately does stand in direct competition with guns, butter, highways, pensions, healthcare, and protecting the environment. Daniel Wolf ___ 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: Christo's The Gates, NYC Central Park
Okay, everybody calm down. It was my reaction to the artistic display. My reaction is as legitimate as yours, so just quit spitting fire at me. Crystal Premo [EMAIL PROTECTED] From: HERMAN GERSTEN [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] OT: Christo's The Gates, NYC Central Park Date: Mon, 21 Feb 2005 16:28:51 -0500 This is illogical, Crystal. Having art in the park has nothing at all to do with the condition of our schools. We can have both, one or the other or neither. They are NOT interdependent. Using your premise, there ought not to be any space exploration because our health care system is wanting. Herman On Feb 21, 2005, at 4:16 PM, Crystal Premo wrote: I strongly believe that we needs the arts, but let's look at this from a different vantage point. What would, say, Martians think if were watching us from space and observing us as one people with single set of resources, and seeing the dramatic disparity between The Gates and a middle school in the Bronx that has no resources at all: no books, no lockers, nothing they need. ___ 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: Christo's The Gates, NYC Central Park
I was fortunate enough to see it first hand. I live right by the SW entrance to the park. I saw the pretty changing colors and was particularly appreciative of one place where I stood in shadow and the nearest gates were lit up with sun. My strongest feeling, though, was that they could have built a couple of schools in New York for the same money and created something of both beauty and lasting value. I also had a sense of standing there with the sun on my face in the middle of all these orange gates that are set up like a bunch of giant toys and at the same time being aware of all the suffering that goes on, both far and near, from a simple lack of commitment to solving problems like hunger. It was an interesting experience. Perhaps not what Cristo had intended, but who knows? Crystal Premo [EMAIL PROTECTED] From: David W. Fenton [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED], finale@shsu.edu To: finale@shsu.edu Subject: RE: [Finale] OT: Christo's The Gates, NYC Central Park Date: Sun, 20 Feb 2005 22:30:21 -0500 On 20 Feb 2005 at 19:37, Crystal Premo wrote: I must confess that I used almost the exact words. It didn't uplift me in any way. This kind of art is not really something you can appreciate in pictures -- it's really only something you can get except by walking through it. -- David W. Fentonhttp://www.bway.net/~dfenton David Fenton Associateshttp://www.bway.net/~dfassoc ___ 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
Does one's computer boast a faxing program? If so, you can scan your document, then choose the faxing program as the printer. The faxing program will begin a routine that will allow you to fax your document over the phone. Of course, said faxing program must be configured to your modem. Crystal Premo [EMAIL PROTECTED] From: Dean M. Estabrook [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: Finale@shsu.edu Subject: [Finale] OT Date: Mon, 31 Jan 2005 17:27:06 -0800 Is there a way to use one's computer to send a fax, even if one's printer does not boast such a function, but does scan. I'm on a iMac, OSX 10.3.2 Epson CX 6400, using Comcast High Speed Internet. Thanks, Dean I know what public school music has done for me. I have witnessed the journey it has provided my daughter and hundreds of other students I have been fortunate enough to teach. I am both amazed and outraged that there are those who would knowingly disenfranchise generations of humans by excising the practice and inculcation of an entire heritage from our childrens curricula. Dean M. Estabrook Retired Church Musician Composer, Arranger Adjudicator Amateur Golfer ___ 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] Live/Recorded
Well, I don't think anything can ever replace the live experience, but when will I get to hear you play in person? Or most people, for that matter? And when I can, how often? Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: [Finale] Live/Recorded Date: Sat, 29 Jan 2005 12:35:24 -0800 Listening to music on records is like getting kissed over the telephone. - Jerry Rosen, former BSO violinist pianist It's more like eating a picture of food. - Bill Dobbins, jazz pianist/composer/arranger Still, I feel that my recordings are the real artifacts of my work. Hmmn. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ 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] Live/Recorded
Even in the culture-rich environment here in NYC, I don't find many opportunities to hear the people I like the best. I heard Stephane Grapelli, Chick Corea, Patti LaBelle, a few others I could afford. When am I going to be able to hear Bobby McFerrin? So recordings it is. Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Live/Recorded Date: Sat, 29 Jan 2005 12:49:01 -0800 Thanks for asking, Crystal. Not often any more. There was a time when what I do was part of the fabric of everyday culture. I used to play in places in NY where many people, New Yorkers of all stripes, and visitors from around the world, could, and did, come to hear the music in which I was involved. They needed it as part of their essential nourishment, and they understood and could digest the language. That is no longer so, so I am paid and externally rewarded many times more for speaking English about music than I am in actually creating it, a sad turn of events, but one which I can't control without pandering to the present musical environment. So, recordings it is, most of the time, and even most of those are more or less vanity productions these days. I'm sure I'm not alone in this situation. Chuck On Jan 29, 2005, at 12:40 PM, Crystal Premo wrote: Well, I don't think anything can ever replace the live experience, but when will I get to hear you play in person? Or most people, for that matter? And when I can, how often? Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: [Finale] Live/Recorded Date: Sat, 29 Jan 2005 12:35:24 -0800 Listening to music on records is like getting kissed over the telephone. - Jerry Rosen, former BSO violinist pianist It's more like eating a picture of food. - Bill Dobbins, jazz pianist/composer/arranger Still, I feel that my recordings are the real artifacts of my work. Hmmn. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ 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 Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ 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] Re: Broadway
As I understand it (and I have studied with and worked with some excellent voice teachers, although I am not one myself), there are two distinctly different approaches to voice projection, whether for the spoken voice or for the singing voices. The American approach, taught in theater schools, is to belt by restricting the free flow of air through the vocal folds and then singing against that restriction in order to produce the energy to project the voice. No proper voice teacher that I know of teaches that. That is the sort of thing I was taught by a high school choir director who was not trained in voice, but in piano. The teachers who presented at the last New York Singing Teachers symposium that I attended were completely into ridding the body of tension (the body, not just the singing apparatus), deepening the breath through relaxation, and not using any stress in singing at all. One woman was an Alexander teacher as well. What I think can be attributed to the American approach is the concept of using less of the vocal cords, much the same way a horn player will use less of his lips to achieve an efficient sound. Using the upper edge and the deepest possible breathing, allowing the larynx to stay released and down, teeth apart, tongue relaxed, air moving through both the mouth and nose and you get a very healthy technique. Also much easier to iron out the break area, make a smooth transition, and maximize the resonant cavities. Additionally, a relaxed technique such as this leaves the performer's emotions much more available. Unfortunately, there are a great many teachers who are out there flailing around in the darkness, and a lot of actor/singers who choose their teachers by looking for a bargain. The most respected teachers now are very conscious of the need for healthy vocal production. The British approach, on the other hand, teaches relaxation and the proper use of the resonant cavities in the head, just as bel canto voice teachers do, which allows vocal projection without a built in invitation to vocal damage. Singing opera is just as damaging to a voice as belting, if the voice is not properly trained and the singer is not properly experienced. Don't know what they teach in Great Britain, so no comment. It is possible to project well in a theater with healthy vocal technique and without vocal damage. It is also possible to use unhealthy technique that results in vocal damage. Back in the '80s there was a voice teacher at Brigham Young University who taught vowel modification that allowed the singer to choose conventional classical sound or conventional Broadway sound without vocal damage. I wish I knew her secret! Absolutely possible to be capable of both sounds. Absolutely possible to have fine production with healthy technique. People who have large vocal instruments have a decided advantage, though. Big resonators, wide mouth, bigger larynx. The article strongly endorsed amplification as a solution to this problem, and decried anti-miking arguments (essentially the same ones presented in this thread) as uncaring of singers' health. I'd be very interested in getting Crystal's take on this, since it's been her field over a period of time. It's quite true that theater people approach this quite differently from music people. The two worlds are beginning to intersect, but opera still requres a very athletic technique. I think if you want to be an opera singer, you have to become that kind of singer and forget about starring in Rent. ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Broadway (long)
Bottom line for me: the available technologies need to be used when they need to be used, they need to be used with good taste and musical goals, and they should never be used as an end in themselves. They can be abused, and often are. But they can also be used to enhance the music, and that's when they should be used. I am very pleased to agree with this. I have been teaching voice in NYC since the late 70's. My degree is in theatre, I was trained privately as a singer, and as a result I am more interested in personal performing (such as solo singing) or in musicals which have a very intimate feel (such as Lapine's The Wild Party) than I am in opera or large musical productions. I have directed a lot of cabaret performances, and my preference there is to keep the amplification at a minimum. My favorite productions have been those in which we have been able to use just a couple of mics pointed at the stage. Nothing distresses me more than to hear someone whose voice has already been maximized in the hope of a Boadway career singing as loudly as possible into a mic that is turned up too high I do appreciate how body mics on Broadway have made more intimate singing possible. I hate it, though, when the voice sounds distorted as a result. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: {Spam} Re: [Finale] Re: Broadway
I googled up info on mics on Broadway, and while I didn't find anything like
The History of Microphones on Broadway, there were a number of references
that show they were firmly in use in 1963, although perhaps not in every
number or not all players in a show. I can remember seeing shows at the
Fisher Theatre in Detroit where somebody suddenly seemed amplified who had
not been in the last number. I can remember body mics that were *so* bad.
By 1967 it seems that they were commonly in use, and by 1973 amplified
voices dominated.
Crystal Premo
[EMAIL PROTECTED]
From: John Howell [EMAIL PROTECTED]
Reply-To: finale@shsu.edu
To: finale@shsu.edu
Subject: Re: {Spam} Re: [Finale] Re: Broadway
Date: Sun, 2 Jan 2005 22:30:54 -0500
At 9:44 PM +0100 1/2/05, Michael Cook wrote:
Does anyone know when microphones were first used for singers in musicals?
I'd be interested in finding a history of amplification in musical
theatre.
This is educated guesswork, but could probably be checked out. Certainly
not before 1961, if we're talking about professional theater rather than
community or school productions. (From 1957-61 I was in the USAF Band in
D.C., and got up to New York fairly regularly to see the shows.)
At a wild guess I'd say that the technology may have existed by the early
to mid 1970s. Area miking was possible before that, of course, going back
to the 1950s, but that's overhead hung mics or mics at the front of the
stage. (PZM floor mics came into use in the early 1980s.) Shotgun mics
existed before that, but require active aiming in real time by a mic tech,
like in movies or live TV.
Totally self-contained body pak or hand-held radio mics? The first show I
used them in was in 1978, and they were very expensive specialty items at
that time. (That show was at Disneyland, and only 2 of the 10 mics on
stage were radio mics. By 10 years later, everyone in a live show could
have one.)
The early problems, other than expense, involved frequency overlap and
reflectivity. Frequency overlap: turn on your mic and garage doors all
over the neighborhood start opening. Solution: more available
frequencies, switchable frequencies, and frequencies in different ranges.
Early cell phones had similar problems.
Reflectivity: radio waves can bounce off the steelwork in a building, or
be blocked by that same steelwork, leading to cutouts in the middle of a
song. Solution; diversity receivers using more than one antenna and (I'm
not completely sure about this) more than one frequency per mic. Again,
cell phones had these problems as well.
By the late 1980s, the Show Choir from BYU was using individual body pak
mics for each singer. For our community summer musicals, for at least the
last 6 years, we regularly use a dozen body pak mics. That's how much
things have changed in a couple of decades. The running battle now is
whether to turn the mics off during dialog and just bring them up during
songs. I think i've won that one: if we use them, we need to use them so
the audience hears continuous audio, not on-and-off.
The first show I saw that used individual mics was The Wiz on Broadway.
It was badly mixed and pretty dreadful. An audio mixing board is a musical
instrument and needs to be manned by a musician who is also a tech, not a
tech with little musical training.
And I agree 100% with Crystal. A voice that has been well trained to
project in a reasonable sized theater should not NEED miking, and will
almost always sound distorted when miked, just as an opera singer will.
John
--
John Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:[EMAIL PROTECTED])
http://www.music.vt.edu/faculty/howell/howell.html
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Re: {Spam} Re: [Finale] Re: Broadway
At a wild guess I'd say that the technology may have existed by the early to mid 1970s. Area miking was possible before that, of course, going back to the 1950s, but that's overhead hung mics or mics at the front of the stage. (PZM floor mics came into use in the early 1980s.) Shotgun mics existed before that, but require active aiming in real time by a mic tech, like in movies or live TV. I can remember seeing shows where people would be positioned near a floor mic for solo work, but the chorus was not. And I agree 100% with Crystal. A voice that has been well trained to project in a reasonable sized theater should not NEED miking, and will almost always sound distorted when miked, just as an opera singer will. I really appreciate the mic at a live concert in a big auditorium. And when you're going to hear some pop singer, you are used to the electronically produced voice. My favorite thing to watch is someone who is very emotionally connected and still singing very well at close range. Nothing better. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Holiday Greetings
*Very* nice. Happy Holiday to you, too. Crystal Premo [EMAIL PROTECTED] From: [EMAIL PROTECTED] Reply-To: finale@shsu.edu To: finale@shsu.edu Subject: Re: [Finale] Holiday Greetings Date: Tue, 21 Dec 2004 13:33:27 -0800 Thank you Hiro! I enjoyed that very much! Happy Holidays to you too! -K This year, one of the best things I did was joining this list. I learned a lot. I should had done that long time ago. Holiday Greetings: http://a-no-ne.com/music/xmas/ Hope you enjoy. -- - Hiro Hiroaki Honshuku, A-NO-NE Music, Boston, MA http://a-no-ne.com http://anonemusic.com ___ Finale mailing list Finale@shsu.edu http://lists.shsu.edu/mailman/listinfo/finale -- Karen Guthery [EMAIL PROTECTED] ichat: [EMAIL PROTECTED] ___ 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] Double flats
This has always been my objection, but some people think they know more than everyone else. The original key is B. Crystal Premo [EMAIL PROTECTED] From: d. collins [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 08:35:02 +0100 Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double flats
And this is why I am not arguing with the client. Someone who takes this music to an audition (not a good audition piece in my opinion, but in this context I am not being asked), the pianist may not be up to snuff, and double flats will cause stumbling. So why not just change the double flats and not tell Bob Merrill? Crystal Premo [EMAIL PROTECTED] From: dhbailey [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 07:49:47 -0500 d. collins wrote: Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis But then there are varying ways of being wrong in this situation -- there is the wrong of the music theory world which dictates that music must be within very narrowly defined paradigms involving scales and keys and woe to anybody who alters something just to make it easy to play. Then there is the wrong of being theoretically right but much harder to perform, with tons of double-flats or double-sharps which many musicians, amateur AND pro, have great difficulty playing without a lot of practice. For a performing edition for a specific individual, in my opinion, music theory be damned, make it easy to play and still sound correctly when played or sung by someone accompanied by modern fixed-pitch-instrument tuning instruments. (I added that so that music theory purists won't chime in about how a double-flat really isn't the same pitch as its enharmonic equivalent, in a pure intonation sense.) -- David H. Bailey [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double flats
I intend to supply the client with the song in C, with all the double flats, and with the double flats changed. In this way, she will have the best of both worlds. People who ask me for transpositions are very frequently not the most skilled singers and are participating in musical theatre on a less sophisticated level than the discussion about this topic is being conducted. Given this, is there a simpler way to achieve altering the double flats other than manually? Crystal Premo [EMAIL PROTECTED] From: John Howell [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 13:00:05 -0500 At 7:49 AM -0500 12/19/04, dhbailey wrote: d. collins wrote: Crystal Premo écrit: I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? There probably is, but then the music will we completely wrong, unless you change _all_ the notes and put the piece it in the same key with sharps. What was the original key? Dennis David H. Bailey: But then there are varying ways of being wrong in this situation -- there is the wrong of the music theory world which dictates that music must be within very narrowly defined paradigms involving scales and keys and woe to anybody who alters something just to make it easy to play. Then there is the wrong of being theoretically right but much harder to perform, with tons of double-flats or double-sharps which many musicians, amateur AND pro, have great difficulty playing without a lot of practice. In this case everyone is correct, and whatever Crystal does will be a compromise. But I would suggest that before making enharmonic decisions, the person making them, whether this is Crystal or her client, take into consideration the specific instrument and its fingerings. On a stringed instrument, for example, keys with many flats will be sight-read in a lower position, possibly half position, forcing the hand lower on the fingerboard. Mixing in naturals and/or sharps at random will disturb the visual look of the fingering patterns and make sightreading unnecessarily difficult, since the player will have to translate the accidentals mentally in real time. (Yes, better fingerings can be worked out, but I'm talking about sightreading here.) The same is true for woodwinds (especially if you get into the plethora of notes controlled by the two little fingers on clarinet), and to a lesser extent on brass instruments (which have no difficult individual fingerings, but can get into difficult fingering combinations). Pianists are used to double flats and sharps and they should be left as is. Mallet players are on their own! And nobody should score for harp without serious study of its limitations and requirements. John -- John Susie Howell Virginia Tech Department of Music Blacksburg, Virginia, U.S.A 24061-0240 Vox (540) 231-8411 Fax (540) 231-5034 (mailto:[EMAIL PROTECTED]) http://www.music.vt.edu/faculty/howell/howell.html ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double flats
Probably not. It looked like a lot late at night, especially after I had added all the articulations. Crystal Premo [EMAIL PROTECTED] From: d. collins [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double flats Date: Sun, 19 Dec 2004 21:04:38 +0100 Crystal Premo écrit: I intend to supply the client with the song in C, with all the double flats, and with the double flats changed. In this way, she will have the best of both worlds. Double flats in C? I was expecting some wild key with a half a dozen flats in the key signature... People who ask me for transpositions are very frequently not the most skilled singers and are participating in musical theatre on a less sophisticated level than the discussion about this topic is being conducted. Given this, is there a simpler way to achieve altering the double flats other than manually? Options, Enharmonic Spelling: you can edit the spellings there and then retranscribe the piece (but you might have to rebeam it afterwards). And then I'm not sure if this will take care of it, since there aren't normally any double flats in C. Perhaps it is easier to change them manually. Are there that many? Dennis ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Double flats
I have a client who has had me transpose The Music That Makes Me Dance up a half step, and now wants to see all of the double flats eliminated. I can understand this, but is there an easy way to achieve this? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT - for the Haiku fans
My favorites are 8 and 9. 13 and 14 are one haiku. Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: [Finale] OT - for the Haiku fans Date: Wed, 15 Dec 2004 10:49:23 -0800 Someone sent me these, and I thought the Haiku folks on the list might enjoy them. Not mine, wish they were. Chuck 1. The Web site you seek cannot be located, but countless more exist. 2. Chaos reigns within. Reflect, repent, and reboot. Order shall return. 3. Program aborting: Close all that you have worked on. You ask far too much. 4. Windows NT crashed. I am the Blue Screen of Death. No one hears your screams. 5. Yesterday it worked. Today it is not working. Windows is like that. 6. Your file was so big. It might be very useful. But now it is gone. 7. Stay the patient course. Of little worth is your ire. The network is down. 8. A crash reduces your expensive computer to a simple stone. 9. Three things are certain: Death, taxes and lost data. Guess which has occurred? 10. You step in the stream, but the water has moved on. This page is not here. 11. Out of memory. We wish to hold the whole sky, But we never will. 12. Having been erased, The document you're seeking must now be retyped. 13. Serious error. All shortcuts have disappeared. 14. Screen. Mind. Both are blank Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] OT - for the Haiku fans
Wait. I meant 8 and 10. And I thought a mention of nature was enough, but that a mention of season was perfection. Crystal Premo [EMAIL PROTECTED] From: Crystal Premo [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: RE: [Finale] OT - for the Haiku fans Date: Wed, 15 Dec 2004 14:17:44 -0500 My favorites are 8 and 9. 13 and 14 are one haiku. Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: [Finale] OT - for the Haiku fans Date: Wed, 15 Dec 2004 10:49:23 -0800 Someone sent me these, and I thought the Haiku folks on the list might enjoy them. Not mine, wish they were. Chuck 1. The Web site you seek cannot be located, but countless more exist. 2. Chaos reigns within. Reflect, repent, and reboot. Order shall return. 3. Program aborting: Close all that you have worked on. You ask far too much. 4. Windows NT crashed. I am the Blue Screen of Death. No one hears your screams. 5. Yesterday it worked. Today it is not working. Windows is like that. 6. Your file was so big. It might be very useful. But now it is gone. 7. Stay the patient course. Of little worth is your ire. The network is down. 8. A crash reduces your expensive computer to a simple stone. 9. Three things are certain: Death, taxes and lost data. Guess which has occurred? 10. You step in the stream, but the water has moved on. This page is not here. 11. Out of memory. We wish to hold the whole sky, But we never will. 12. Having been erased, The document you're seeking must now be retyped. 13. Serious error. All shortcuts have disappeared. 14. Screen. Mind. Both are blank Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] software
I use Ventura Publisher for a book I wrote for singers about reading music. It handles imported graphics better than Word. Crystal Premo [EMAIL PROTECTED] From: Richard Yates [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] software Date: Mon, 6 Dec 2004 17:35:22 -0800 Can someone offer any suggestions for software that lets you both format text (like Microsoft Word) and notate music (like Finale)? I want to write out lessons for my piano students and be able to let the software do all the formatting -- Finale's text capabilities should not be underestimated. I have done a whole book of music, including page long introductions and notes for each piece, using only Finale. It can handle lessons plans' text. Richard Yates ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double bars
That's what your client wants, and if he's a jazz guy, that is by *no* means an unreasonable request. In fact, that's what most jazz musicians prefer. Your client isn't an idiot, he just wants his chart to look like other jazz charts. (I happen to know that Chuck prefers a more traditional engraved look for his own music, which is why he prefers different conventions.) My client can have whatever she wants. I just wish she would *say* what she wants when she proofs things the first or second or third time. - Darcy - [EMAIL PROTECTED] Brooklyn, NY On 01 Dec 2004, at 09:45 PM, Chuck Israels wrote: Hi Crystal, No. Chuck On Dec 1, 2004, at 6:38 PM, Crystal Premo wrote: On a lead sheet on which A and B sections are defined by enclosed A's and B's, with a double bar at the ends of the sections. All sections begin at the beginning of a line, and my client has marked those sections to also begin with a double bar. Is this usual? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Double bars
On a lead sheet on which A and B sections are defined by enclosed A's and B's, with a double bar at the ends of the sections. All sections begin at the beginning of a line, and my client has marked those sections to also begin with a double bar. Is this usual? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Double bars
Hi Chuck, Thanks again. I thought not. Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Double bars Date: Wed, 1 Dec 2004 18:45:49 -0800 Hi Crystal, No. Chuck On Dec 1, 2004, at 6:38 PM, Crystal Premo wrote: On a lead sheet on which A and B sections are defined by enclosed A's and B's, with a double bar at the ends of the sections. All sections begin at the beginning of a line, and my client has marked those sections to also begin with a double bar. Is this usual? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Double bars
Don't I? I think this singer/composer might be used to having someone who has heard this work do her charts, if she has used charts in the past. It seems that this stuff is so improvisational that it makes me wonder why she is having charts made at all. I don't think I will be doing any more of them. It's not worth it. Crystal Premo [EMAIL PROTECTED] Man, Crystal...do you get great clients, or what?? ;-) Jim -Original Message- From: [EMAIL PROTECTED] on behalf of Chuck Israels Sent: Wed 01-Dec-04 21:45 To: [EMAIL PROTECTED] Cc: Subject: Re: [Finale] Double bars Hi Crystal, No. Chuck On Dec 1, 2004, at 6:38 PM, Crystal Premo wrote: On a lead sheet on which A and B sections are defined by enclosed A's and B's, with a double bar at the ends of the sections. All sections begin at the beginning of a line, and my client has marked those sections to also begin with a double bar. Is this usual? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com winmail.dat ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Measure numbers in repeats
Crystal Premo / 04.11.27 / 9:15PM wrote: Under the ninth measure, which is the second ending, there is an (8), and underneath it a 16. Is this usual, to think of the first measure of the second ending as measure (8)/16? I've never seen this in published music, and it seems a little odd. I am not sure if I clearly understood this, but if it is: Very close. Like this: - | |1 | |2 | bar 8 | bar (8) bar 16 Crystal Premo ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Measure numbers in repeats
Crystal Premo wrote: Perhaps I am too inexperienced to have seen this before, but a client has given me a chart with edits, some of which are for measure numbers. It is a lead sheet for a jazz tune, with measure numbers on the first measure of each system. He has now indicated to place measure numbers under first and second endings thusly: the first ending is measure 8, and an 8 is written there. Under the ninth measure, which is the second ending, there is an (8), and underneath it a 16. Is this usual, to think of the first measure of the second ending as measure (8)/16? I've never seen this in published music, and it seems a little odd. I've seen similar things before, although more often with the second bar indicated as 2/(10). I always feel it's superfluous, though. Me, too. But I'll just do what the client wants. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Measure numbers in repeats
Thanks, Johannes. I don't like it, either, but this client does a great many things which I question the rationality of. It is easier just to go along and not put my name on the sheet. I think this will be the last work I accept. Crystal Premo [EMAIL PROTECTED] From: Johannes Gebauer [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Measure numbers in repeats Date: Sun, 28 Nov 2004 18:25:26 +0100 John Howell wrote: How to number 2nd endings is an editorial choice. I've seen it done in different ways, and done it different ways myself. I'll often take the lazy way out and number the first ending bar as 8 and the 2nd ending bar as 9, as long as the score and parts are all exactly the same. This kind of practice is actually seen as wrong by all major publishers. It is possible that in your special case it doesn't cause any grief, but I strongly advise against doing it this way. It will add almost indefinite complications to rehearsals as soon as several editions of the same piece exist. The correct way to number first and second endings is to number the first bar of the first and second ending the same. There are rare cases where the whole repeat is renumbered in brackets. A typical example is when one part is added or changed the second time round. As far as I know this practice is also prefered in film scores, as it makes editing the sound track easier. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Measure numbers in repeats
These are good points. However, I've been trying to get my voice students to read music for the last twenty years, and I'd be so surprised to find a singer who does anything but follow the lyrics. Crystal Premo [EMAIL PROTECTED] From: Bruce K H Kau [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Measure numbers in repeats Date: Sun, 28 Nov 2004 07:33:11 Actually, I have seen this type of notation, but mostly on vocal music with a backup CD-track. Since the CD is keyed to the measure number as played, it was needed to clarify where on the CD matches what part of the music. I've seen it in other situations, too, but I can't recall exactly why. (Some of my old band music was marked this way.) I think it was for marching music where timing on the football field made a difference ... but that was such a long time ago. At 06:25 PM 11/28/2004 +0100, Johannes Gebauer wrote: John Howell wrote: How to number 2nd endings is an editorial choice. I've seen it done in different ways, and done it different ways myself. I'll often take the lazy way out and number the first ending bar as 8 and the 2nd ending bar as 9, as long as the score and parts are all exactly the same. This kind of practice is actually seen as wrong by all major publishers. It is possible that in your special case it doesn't cause any grief, but I strongly advise against doing it this way. It will add almost indefinite complications to rehearsals as soon as several editions of the same piece exist. The correct way to number first and second endings is to number the first bar of the first and second ending the same. There are rare cases where the whole repeat is renumbered in brackets. A typical example is when one part is added or changed the second time round. As far as I know this practice is also prefered in film scores, as it makes editing the sound track easier. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale - Bruce K. H. Kau[EMAIL PROTECTED] 'Aina Haina, Honolulu, Hawai'i Second star to the right, and straight on 'til morning ... ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] singers
I was required to learn to read music with high proficiency in a high school choir class. I think it was reinforced because I took music theory then, too, and had to practice it as a written skill. It takes practice, though, when you don't play an instrument. I took enough piano for it to stick. I have had some students who don't play who certainly read well enough. I think a lot of the singers I encounter are actors who sing, and have never taken music in any other context. Crystal Premo [EMAIL PROTECTED] From: Chuck Israels [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: [Finale] singers Date: Sun, 28 Nov 2004 10:31:22 -0800 On Nov 28, 2004, at 9:40 AM, Crystal Premo wrote: These are good points. However, I've been trying to get my voice students to read music for the last twenty years, and I'd be so surprised to find a singer who does anything but follow the lyrics. Unfortunately this is too often true, but when you encounter well trained, intelligent, and literate singers, you are often in the company of some of the most able musicians you can find. I am lucky enough to be married to one and to have a daughter with similar training and ability. There have been moments when they have put my musicianship to shame. Chuck Chuck Israels 230 North Garden Terrace Bellingham, WA 98225-5836 phone (360) 671-3402 fax (360) 676-6055 www.chuckisraels.com ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Measure numbers in repeats
Perhaps I am too inexperienced to have seen this before, but a client has given me a chart with edits, some of which are for measure numbers. It is a lead sheet for a jazz tune, with measure numbers on the first measure of each system. He has now indicated to place measure numbers under first and second endings thusly: the first ending is measure 8, and an 8 is written there. Under the ninth measure, which is the second ending, there is an (8), and underneath it a 16. Is this usual, to think of the first measure of the second ending as measure (8)/16? I've never seen this in published music, and it seems a little odd. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mystery measure numbers
Thanks, Johannes, but I've put it to bed, and it's a huge, messy file anyway. If I have this problem again, I will take you up on that. Crystal Premo [EMAIL PROTECTED] From: Johannes Gebauer [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Mystery measure numbers Date: Sun, 31 Oct 2004 08:36:06 +0100 If you want, you can send me the file off-list and I'll have a look. Johannes Crystal Premo wrote: I tried this too before I queried here. I've given up. I never have this problem with files I create myself. Crystal Premo [EMAIL PROTECTED] From: Johannes Gebauer [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Mystery measure numbers Date: Sun, 31 Oct 2004 00:52:23 +0200 Try selecting a measure with the Measure tool and select Measure-Measure Numbers-Restore Defaults. If that solves it you can select all and do the same. (This is in 2k5, not sure whether it works the same in earlier versions.) Johannes Crystal Premo wrote: I'm editing a piece that was set up by someone else who appears to have odd habits, and it's kind of a mess. It has measure numbers on every measure, yet the settings show that they should appear only at the beginning of every system. These measure numbers get handles when I am using the Measure Tool, so I know he has not placed them there one by one (hey, he's done other crazy stuff like that!), but I can't get rid of them with measure number settings. They're set to show at the beginning of every system, and every 0 measures beginning with measure 1. Any ideas? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mystery measure numbers
Have you checked in the articulations or expressions library for the file -- did the person originally put those numbers in as expressions or articulations? -- Originally, I thought this was what he had done. There are small numbers in his articulations, but only 1-4. Plus, when I select the Measures tool, the measure numbers sprout handles. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mystery measure numbers
On my Mac, edits to the Measure Region don't appear onscreen until after a manual redraw. This might have you fooled. Tried this, too. Tried saving, too. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mystery measure numbers
There was only one measure number region. Can't explain why it was displaying all the measure numbers, but it's solved now. Crystal Premo [EMAIL PROTECTED] From: Scott Jones [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Mystery measure numbers Date: Sun, 31 Oct 2004 13:27:35 -0500 In that case it sounds like you had overlapping measure number regions and you were trying to delete the wrong one and therefore the numbers were simply not going away! ___ J. Scott Jones Band/Orchestra Director/Freelance Trumpet Player-Teacher/Music Engraver On Oct 31, 2004, at 10:44 AM, Crystal Premo wrote: Deleting the pre-existing region first solved the problem. Thanks! Crystal Premo [EMAIL PROTECTED] From: Michael Cook [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Mystery measure numbers Date: Sun, 31 Oct 2004 09:06:08 +0100 Chrystal, if you delete all measure number regions, do the measure numbers disappear? They should: if they don't then there is something very wrong with the file. If you can make sure that there are really no measure number regions defined, you should be able to create a new measure number region which (we hope) will work correctly. It's important to delete ALL measure number regions first: if there's already a region and you create a new one, the new one will inherit the settings of the existing one. Best wishes, Michael Cook ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Mystery measure numbers
I'm editing a piece that was set up by someone else who appears to have odd habits, and it's kind of a mess. It has measure numbers on every measure, yet the settings show that they should appear only at the beginning of every system. These measure numbers get handles when I am using the Measure Tool, so I know he has not placed them there one by one (hey, he's done other crazy stuff like that!), but I can't get rid of them with measure number settings. They're set to show at the beginning of every system, and every 0 measures beginning with measure 1. Any ideas? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mystery measure numbers
They're set to show at the beginning of every system, and every 0 measures beginning with measure 1. Hi Chrystal, I don't know how both of these can be set at the same time...there is a radio button for each and only one can be chosen at a time... What I meant was that using either had no effect. unless there is more than one measure region set up...look in the box at the top of the measure number window when you go to edit regions Only one region, measures 1-999. I even made a new region for measures 1-999, and deleted the old one. Just as an aside, I like to duplicate the original file from the composer and work on a copy before I start changing settings...that way, if I change something I shouldn't have changed, I have recourse! This is a copy. I may end up doing without measure numbers. It will be fine for these purposes. I just don't like software to be disobedient. The next thing you know, there will be evil androids running the world. Crystal Premo ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Mystery measure numbers
I tried this too before I queried here. I've given up. I never have this problem with files I create myself. Crystal Premo [EMAIL PROTECTED] From: Johannes Gebauer [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Re: [Finale] Mystery measure numbers Date: Sun, 31 Oct 2004 00:52:23 +0200 Try selecting a measure with the Measure tool and select Measure-Measure Numbers-Restore Defaults. If that solves it you can select all and do the same. (This is in 2k5, not sure whether it works the same in earlier versions.) Johannes Crystal Premo wrote: I'm editing a piece that was set up by someone else who appears to have odd habits, and it's kind of a mess. It has measure numbers on every measure, yet the settings show that they should appear only at the beginning of every system. These measure numbers get handles when I am using the Measure Tool, so I know he has not placed them there one by one (hey, he's done other crazy stuff like that!), but I can't get rid of them with measure number settings. They're set to show at the beginning of every system, and every 0 measures beginning with measure 1. Any ideas? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT.......Music Hai Ku
Don't you mean: So wait, there is an update coming? Any words on the real fixes and stuff??? So wait, there is an update coming? Any words on the real fixes and stuff??? Matthew Hindson Fastmail Account wrote: Anticipation Finale update released Damn! More eye candy Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT.......Music Hai Ku
Yes, you are right. However, if we're going to be pedantic, there should really be a mention of the season or nature involved. Sorry to be pedantic but, shouldn't it be: So wait, an update Is there any word about Real fixes and stuff??? I just love these. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT.......Music Hai Ku
So wait, an update? In spring?? Any word about Real fixes and stuff??? Well, dictionary.com indicates that real has two syllables, making that last line six syllables... But who's counting? : Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Searching for Copyright Referent
Both BMI and ASCAP have searchable online databases where one can find copyright information. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Song transcriptions
Linda, A client whom I have told repeatedly that I do not do transcriptions has mailed me a CD unannounced and wants a lead sheet of a somewhat RB version of Love The One You're With. I can't imagine it taking much time. Interested? I do not recognize the artist on the CD. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stripes- definitely Tan.
Realize, though, that the Library of Congress is not allowed to share the stored copies with anybody other than viewing at the LOC, if the work is still under copyright. They don't have the legal ability to copy copyrighted works anymore than you or I do. Interesting. My friend has been able to obtain many things from them which were available nowhere else. Perhaps because they had never been published... Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Stripes- definitely Tan.
I am frequently asked to obtain hard-to-find music for my students and clients. For the most part, I can obtain these things from one of a couple of collectors. However, when the best of the two doesn't have it, he can usually get it from the Library of Congress. He's lucky to have a family member who lives near there. Perhaps you might find the arrangement from Stripes there. Maybe not, though. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Chord Letters
My name is Bruce. I am new to the list and was wondering why the accidental letters for chords in Jazz notation are listed in upper case? For instance, Ab is portrayed as AB. Is there a way to change this back to lower case? Use JazzCord and not JazzText for your chord font, and make sure you use a lower case B. Jeez, finally. Something I could help with a little. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Song transcriptions
Christopher, Where are you located? People contact me often for this service, and I don't know anyone here in NYC who is willing to do it. It probably doesn't matter if you are not here. May I recommend you? How would you like to be contacted? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Jazz Chord
You had mentioned in a previous post that she has used the manuscripts before in performances and had always gotten what she had wanted, which is why she wants the engraved version to be exactly the same. You might consider pointing out that she had gotten what she had wanted previously simply because everybody had ignored the specific chord marking and had played essentially a Gmin chord, voiced as they wanted. I will keep that in mind. Maybe her players just look past what they see written there and play what they know she wants to hear. I'm not sure I want to be the one to point out that the emperor is naked, though. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] State Songs (was Anthems) (still OT)
I don't consider whistleability the standard. If that were the case Maryland, my Christmas Tree, would beat both yours and mine. Are you sure you don't mean Michigan, My Christmas Tree? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Anthems (OT)
Sorry, but versions don't count. Performers don't count. Recordings don't count. An anthem that represents the people has to COME from the people, and has to be singable by The People. I don't disagree with you, but aren't anthems always chosen by some political committee, like state mottoes and state birds? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] State Songs (was Anthems) (still OT)
The Virginia Legislature voted in 1997 to designate Carry Me Back to Old Virginia Good Lord! Doesn't this song make references to old darkies and other such inappropriate things? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Jazz chord
My client has written (by hand) Fmin7sus5 no7 on a single line like that. She insists that min be expressed that way, and not with a minus sign, and this is not going to fit over her measure. I gotta think that there is another way to express this. She wants 8 measures per system with somewhat large chords above, so it will be hard to have one wider measure. I would like to offer her an alternative. Any suggestions? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Jazz chord
Your client is an idiot. Get better educated clients... Fmin7 (no7) that makes absolutely no sense whatsoever. Sorry. It says Fminsus5no7. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Jazz chord
OK take the money and run honey... we have all done so many times... RW I am sincerely trying to avoid just taking her money, although I am not above such things. She's a singer, like me, and it's possible that her experience with paper is minimal. I will communicate with her more and make a better attempt at understanding what she is trying to represent. Maybe I can help. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Disappearing weird chord endings
In the continuing saga of my jazz charts: Normal chords like Cm7/F show up just fine, but Eb/GbM7 truncates to Eb/Gb. She wants me to use the delta for the M7, but even if I use the M7, it truncates. Why? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Disappearing weird chord endings
You will have to drag them into position manually. Okay, thanks! I don't think she will wait until they add this feature. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Finale and Politics
The present discussion was so disgusting in terms of the kinds of attitudes represented (long before I chimed in) that it stands out in my memory as the low point of any exchange I've ever seen on this list. Why did you keep reading it? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Re: Finale Digest, Vol 13, Issue 36
Or did they really play beach volleyball back in the ancient games? And badminton? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Anthem Choices (TAN)
Now If I could get Crystal to head up a committee If memory serves me correctly, there is already a committee lobbying for this change in anthems. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Americans, Right And Left (was Finale Digest, etc.)
On 29 Aug 2004 at 13:32, David Hage wrote: Now this is obviously a personal opinion and I fully expect to get flamed, but it appears to us here in Europe that most Americans (including the liberals) are slightly to the right of Attila the Hun. Certainly there is a view that you can teach us nothing tolerance or integration in your society. The reason you think that about the large number of us on the left in the US is that the American media ignores us entirely. Our opinions don't count. There are large numbers of Americans who are just as appalled as you are. But you'll never see it reported. Here, here. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Anthems (OT)
and no one asked what I'd choose for our anthem), What *would* you choose? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Anthems (OT)
and no one asked what I'd choose for our anthem), What *would* you choose? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Crystal's problem revisited
I know Crystal didn't ask, but I would question the need to put a repeat sign for a chord symbol only. It is standard to the idiom that a chord symbol continues exerting its influence until it is changed or cancelled by an NC (no chord), unless the system changes, in which case you put in the chord again. I had questioned the necessity of this myself, but this jazzhead is apparently used to seeing it and wants it in her chart. She does a number of clumsy-looking, unconventional (and improper) things. I speak about them gently, but she is convinced that what she is used to is correct. Her hand-written charts contain some errors such as too many beats in a measure as well. In the end, they are her charts for tunes that are basically jams anyway. Having these charts makes for less explaining at the session, I guess. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Crystal's problem revisited
Here's another weird convention that I just learned about, apparently directly descended from the original Real Book practices. You know that it is common for libraries to omit the first article in a title for cataloguing purposes, like A Foggy Day is listed under F, not A. But in many jazz performance libraries, like the one at McGill, the titles are listed WITH the leading article, apparently because the Real Book's alphabetical organisation of songs was this way! What a terrible idea! According to the new performance materials librarian at McGill, this is quite common in jazz libraries. I leave A Foggy Day in the A's, but knock The off of, e.g., The Physician. I got into this habit because sometimes I found that the A seemed more an integral part of the title than a The. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Creating symbol in jazz font
I am doing some charts for a jazz singer, and she wishes me to place the symbol for play the same thing in this measure that you played in the last measure symbol (sorry I don't know its name; it looks like a divided by sign) above certain measures in place of a chord. It is not available except in a staff style. I don't know why she feels the need to have it, but she does. I have created it as an expression, but it doesn't look very good, especially since it doesn't have the jazz font style. I suppose I could put another staff above it and blank out everything except that symbol, but it seems like a lot of work considering that she asked for this *after* I had done the whole chart. Any suggestions? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Creating symbol in jazz font
Create the symbol as an expression using the font Jazz (not Jazz Text). The character you want is opt-]. You probably want to make it about 18 pt. or so. If you have Fin2004, you can set it so it positions automatically and assign a metatool to it. It's not much work at all. D-u-u-u-u-uh... I didn't even think of it... Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Crystal's problem revisited
You guys have had so many helpful suggestions. I opted for creating an expression using the Jazz font because it is a very simple, one-page chart which will mostly likely never be edited after this point. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT - ITunes and Josh Groban
I'm in the opera world, and the opera snobs get all bent out of shape when Groban is marketed as classical or, worse, operatic, which he surely isn't. I think the fact that he is sort of out of place in time is interesting. The most popular male singers of this day are so far removed from what Groban does that it makes him seem to some a classical singer. However, in your world, he is a crooner. This makes me smile because in my world he is pretty far from being a real crooner, even like one of the square guys you referenced. Either way, it's like you've said: he's a throwback. It is his innate personality that is lifting him up to mainstream popularity, I think. I heard real estate brokers talking about him in the office, people mostly in their thirties who are so obsessed with their work that I've never heard them talk about anything else before. If this were, oh, 1962, he would be in the company of Robert Goulet and Sammy Davis, Jr., and a large number of others like them, and he wouldn't stand out so much. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] OT - ITunes and Josh Groban
There is no task bar on the mac. If you're using OS X, it's the Dock. Simply click and drag the icon out of the dock. Okay, then, the dock. As I said, my expertise is on the PC, and dragging an icon out of anywhere and putting it anywhere else, including the trash, would not mean the end of it. I'd like to find out what it is, and why it remains there in order to become more enlightened about the MAC and how it does odd little things like this, and for what reason. Not sure why you titled this Itunes and Josh Groban, because you don't mention anything about iTunes in your post. ITunes popped up when I put the CD in, as it always does. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Re: Playback
I can HEAR an error with greater ease than I can SEE one;-) I concur. Playback is very useful. I can use some piano-vocal arrangements with my voice students. Change the key, slow it down, speed it back up. Handy. Not good with simplified arrangements, though. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] PLAYBACK SPEED
I rarely use the playback function, but I'd like to find out how to have any control over some of the aspects when I do wish to use it. There are a couple of ways to control the speed of playback. One of my favorites is to define playback characteristics for expressions. I agree with this. I do a lot of transpositions for singers who want playback that is good enough to learn the song. With a little experimentation, you can make decent tempo changes with expressions. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Tildes?
Okay, my ignorance is catching up with me again. I'm doing some jazz charts and have encountered a phrase that has what appear to be tildes over some of the notes. What are these? Some equivalent of a mordent? There are articulations that are similar, but they have two little curves in them instead of one. Is it the same thing? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Chord size frustration
Okay, what am I doing wrong? I stripped the chords out of my file and copied everything else into a new one. I changed the chord font size, but when I need to create a new chord, I have to fiddle with the sizes. I just want to change all my chord symbols to a larger size. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] B flat minus delta 9
Aha! You should be using JazzCord (a symbol font) for suffixes. Most of the common chord symbols should be there. Thanks so much for this. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] B flat minus delta 9
Aha! You should be using JazzCord (a symbol font) for suffixes. Most of the common chord symbols should be there Actually, I don't seem to have this font. I'm running Fin 2002b. Isn't it included? Where can I get it? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Changing chord font size
If the tunes are simple, then this might be simpler: erase the chords from the file using MassEditErase, copy the music to a NEW default file with larger suffices, then re-enter the chords. In any case, you will probably have to create new chord suffixes. I spent a lot of time trying to get mine right, and now I don't like them any more. 8-( It occurred to me that this would be much easier than trying to swap the fonts, especially since I will have to go picking around on my disc to see why I don't already have the Jazz Cord font. It's really much less work. I've only done a couple of her charts that even have chords, and they're page and a half original jazz tunes. Then I can use the settings for the pieces I haven't done yet. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Resizing notes - text
I'm in the midst of a PVG project which requires the additional notes found in the second verse (written in the second layer) be sized smaller. When I use the resize tool on the notes, the attached lyrics also resize smaller. Is there a way to get lyrics back to 100%? I am using 2002B for Windows You could make the lyric font a fixed size. I have, in the past, enlarged the shrunken words in Edit Lyrics by highlighting them and making them a larger size in the edit menu. This is not very exact. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] B flat minus delta 9
I have no idea what you are doing to get the results you describe, but here is a procedure that ought to work: 1) Chord - Manual Input. 2) Click on the beat to which you want to attach the chord. 3) Click Show Advanced if it isn't already showing. 4) Click the SelectÉ button near the bottom of the dialog box. 5) Click Create. 6) Click Symbol 7) Highlight symbol #45 (the minus) and click Select. 8) Click Next. 9) Click Symbol... again. This is indeed what I was doing. No problems so far 8) Highlight symbol #75 (Æ9) and click Select. Symbol #75 is a K, both in the Jazz font and the Jazz Text font. There is, in fact, no delta available in either font. If, however, I click on Symbol without first putting in the minus, the delta is available. I have no explanation for this. 9) OK your way out of all the dialog boxes. Use this chord symbol for all instances of the -Æ9 chord. I worked around this by entering the delta first, then the minus, then the 9, and shoved them around into the right order. It seems to be working okay. God knows what will happen if I ever have to transpose this. Which I probably won't. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] B flat minus delta 9
I'm doing a little jazz font lead sheet for some jazz heads that should be simple enough, but one chord is getting my nerves. This person likes the deltas, and the chord is as it is in the subject line: Bflat minus delta 9. In the jazz font, the delta turns into a sort of smeared, bent 7 shape when I put a minus ahead of it. Help me, please. Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] MIDI trouble
Have you tried inputting with the caps lock on? No, I don't have the caps lock on. On Jun 18, 2004, at 11:33 PM, Crystal Premo wrote: I'm using an M-Audio MidiSport 2x2 connected from my synthesizer into my Mac Powerbook to run Finale 2003 (this is a newer Powerbook, OSX.3), so I can only run 2003 in Classic. I am able to playback a file through my synth, but I am unable to input any notes into a score from my synth using speedy note entry. When I try it, all I get are rests...any helpful suggestions to help me run this correctly? The most obvious thing is often it: do you have the Caps Lock on Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
[Finale] Losing the keyboard
In spite of the fact that it has happened to me twice, nobody but me has had the experience of unexpectedly losing the connection to the MIDI keyboard. Maybe there can still be some input into this problem now, though. I have a MAC G4 running OSX, Finale 2002b in Classic Environment, using a little Robelli keyboard configured with OMS. I haven't had many problems. The only minor thing is that during playback the cursor is considerably ahead of playback, nothing to really complain about. This is the second time, though, that I have lost the data coming from the keyboard. Both times it was after opening an old file created on another system which was running plain old OS9.2.2. Both times I opened an old file, worked on it, and saved it under the new system. Finished, I power down and come back the next day to find no data coming from the keyboard. No amount of fiddling with settings such as Midi Thru or re-running the midi setup would bring it back. Both times I had to run the OMS setup with Finale closed in order to re-establish the connection to the keyboard. Not a lot of work, but who needs it? What can possibly be causing this? Anybody have any thoughts? Crystal Premo [EMAIL PROTECTED] ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
