On 10 Feb 2005 at 0:36, Darcy James Argue wrote:
On 10 Feb 2005, at 12:26 AM, David W. Fenton wrote:
On 10 Feb 2005 at 0:09, Darcy James Argue wrote:
No, it absolutely does. Let me try one last time:
Dog bites man.
Man bites dog.
What's the difference? Same three words
On 10 Feb 2005 at 10:07, Ken Moore wrote:
In message [EMAIL PROTECTED] David W.
Fenton writes: Plenty of music has meaning with absolutely no
non-musical external references. We may not be able to verbalize
exactly what that meaning may be, and we may not all agree on the
exact meaning
by readers, etc. For what it's worth, the target
audience of my publication would be English-speaking opera fans most
of whom don't know much German.
To those people, it won't make a lick of difference which one you
use!
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in comparison to any modern
browser (IE is not a modern browser, as its rendering code does not
reflect the last 5 years of W3C standards).
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styles
that are supported by all browsers in you NS4.x stylesheet, and
override those styles and add other styles in the W3C stylesheet.
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written perfectly. It's ID is rejected
by some websites. . . .
But isn't it extremely easy to switch user agent strings in order to
trick the web site into sending HTML it can render?
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directly, rather than posting to the
list. But I thought others who won't be able to get to NYC to see The
Gates in person might enjoy the pictures.
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in the breeze, how they inscribed shapes
and curves in among the trees, I quickly came to like the whole thing
a lot.
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you or Crystal or anyone else from their personal esthetic
reactions to art -- all the disputation has been entirely on non-
esthetic issues.
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, inheriting all the capabilities of a standard text block (and
the same way of editing and manipulating them) while adding the
properties necessary for expressions.
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.
Will they go the way of META tags, polluted by pornographers?
I don't know, but I can't see how it can be prevented.
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block tool with
other tools if the separate tools for using were to be eliminated.
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On 25 Feb 2005 at 10:49, shirling neueweise wrote:
From: David W. Fenton
...each different kind has different properties that have different
effects on the music. Text blocks have a whole set of properties that
are page-based (and have no effect on performance), while text
expressions
On 25 Feb 2005 at 14:08, shirling neueweise wrote:
From: David W. Fenton
So, the ideal world for me would be to have the all text blocks
dialog added, which would allow selection of multiple text blocks and
the application of properties to the selected group, but then to
leave the text
On 25 Feb 2005 at 14:18, Christopher Smith wrote:
On Feb 25, 2005, at 12:40 PM, David W. Fenton wrote:
Given the new capabilities of text expressions (multi-line, control
of automatic placement), why would any one use a measure-attached
text block, rather than a measure-attached
. Again,
I'm not sure there'd be overlap here, as I hardly ever use the same
fonts/layouts for expressions as I use for text blocks, but as I
said, my use of text blocks is extremely narrow.
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gaps between tracks,
which with 90 of them, could amount to quite a bit of found space,
though not enough to get you below 74.5 minutes.
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players that have
index advance buttons (which a lot of low-end players lack; I've even
noticed that lots of them even lack within-track scan buttons, which
makes them useless).
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, and
that the Mozilla crew decided to copy in Gecko-based browsers.
So, it's really only luck that it's supported in anything other than
IE, as it's depending on functionality that's not a W3C standard.
It actually is quite an impressive demonstration of the technology,
though.
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on a DVD player might give one
the access needed.
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On 26 Feb 2005 at 6:52, Owain Sutton wrote:
David W. Fenton wrote:
Actually, even with the players that don't have index forward/back
buttons, if you turn on track display, it should display the index
numbers.
Huh? The cheap players I've mentioned earlier certainly dno't have
, and it works
just fine using Ctrl-=.
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the measure tool
selected?
That's so simple I'm surely misunderstanding what you're asking
about!
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On 27 Feb 2005 at 20:42, Jari Williamsson wrote:
David W. Fenton wrote:
On 27 Feb 2005 at 16:00, Jari Williamsson wrote:
I don't understand this statement. In Simple Entry you _can_ enter
layers on the fly in the middle of a measure (which you can't with
Speedy). Just select the note where
whether I'll keep the discrepancies or
edit them out. If I were doing note entry and everything else all at
once, I'd be dividing my attention between too many different
subjects.
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lead one to believe.
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and complaining about something
different.
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considers wasting even one minute of time
on skinning Finale.
What a complete and worthless waste of time that would be.
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as far as
I'm concerned, even if it is only a little time and a little money.
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On 2 Mar 2005 at 15:00, Noel Stoutenburg wrote:
David W. Fenton wrote:
Keep in mind that when you open a Finale file in any version of
Finale, you're not actually editing the original file, but a copy in
memory. When you open a file from an earlier version, the memory copy
is translated
with the absolute
system rather than as a global setting that automatically updates the
optimization when conditions change to warrant it.
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On 3 Mar 2005 at 8:44, Johannes Gebauer wrote:
David W. Fenton wrote:
I also think that staff optimization should not be something that
you have to remove and then re-apply. If you insert new measures, or
insert data in previously empty measures (or you clear/hide
previously populated
). And how many people do any major entry in
page view, anyway (other than editing)?
I don't see it as a practical problem, even if it weren't settable to
be part of the Ctrl-U update (which I'd probably prefer, myself).
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On 3 Mar 2005 at 7:06, Christopher Smith wrote:
On Mar 2, 2005, at 10:35 PM, David W. Fenton wrote:
On 2 Mar 2005 at 20:18, Christopher Smith wrote:
disappearing measures,
I've never seen that. What is that? I have occasionally seen
measures APPEAR to vanish, but that is usually
On 3 Mar 2005 at 8:21, Dennis Bathory-Kitsz wrote:
By creating victimware, they destroyed in one stroke my ten years of
customer loyalty.
Er, hadn't they already done that with Finale 98's CD-based copy
protection?
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, for one.
Of course, I have poor luck with the default settings already, and
end up changing lots of accidentals in just about any piece I enter
(and not just in the sections that have modulated without changing
the key signature).
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ends up with better value and
productivity in the long run than the one who is constantly upgrading
and encountering all the problems of change (not even mentioning
bugs).
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(and then keep both).
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used the pejorative neglect to promote your agenda
I don't really have an agenda on this issue, although I don't
subscribe to your victimware POV.
The point is that Dennis's reasons for not upgrading are rational,
not, as you said, due to some form of neglect.
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.
I definitely believe that the soft skills that make a good engraver
cannot be stolen by someone who simply has access to the file
produced by the good engraver. There's simply much more to the
process than a few well-chosen settings.
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*Mac*, and IE7 is *not* going to be created for any OS but WinXP and
Win2K3 Server. They do not plan to create a version for Win2K nor for
the Mac.
So, the situation is pretty much exactly as it was before in regard
to the subject in question, the updating of the Mac version of IE.
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to easily override Sibelius's idea of
what common sense should be.
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in
the results. Perhaps I don't understand the plugin or am not applying
good values (I believe I'm pretty much using just the defaults, which
maybe don't do anything at all?).
But I still see absolutely no reason why Finale could not do what the
plugin does.
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illegally).
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could also *increase* spacing in order to avoid
overlap of extreme elements, and that is the opposite of optimizing).
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On 3 Mar 2005 at 17:28, Mark D Lew wrote:
On Mar 3, 2005, at 3:49 PM, David W. Fenton wrote:
[]
. . . I use this constantly, because the vertical height of a piano
accompaniment varies throughout the piece. A constant distance
from voice staff to piano-treble staff is unacceptable
On 3 Mar 2005 at 18:51, Mark D Lew wrote:
On Mar 3, 2005, at 6:25 PM, David W. Fenton wrote:
The meaning of the word optimization would then be associated with
something that is not remotely related to the concept the word
represents.
You optimize in Finale in order to optimize
On 3 Mar 2005 at 19:37, Mark D Lew wrote:
On Mar 3, 2005, at 6:40 PM, David W. Fenton wrote:
Do you currently have to define default vertical spacing for systems
on a per-system basis? No, of course not -- there are default
settings already. The default setting for the system I describe
On 4 Mar 2005 at 9:50, Johannes Gebauer wrote:
David W. Fenton wrote:
My point is that simple optimization (i.e., removing blank staves
from a systen) should happen automatically if you have optimization
turned on for the passage of music represented on a system (while I
understand
to think how I'd justify the current situation with
staff optimization and vertical staff spacing to a new user -- it
only makes sense if you already are accustomed to using it that way.
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sonatas require low B),
so if the violones were an octave below this 7-string instrument,
then they'd also have a low A string (regardless of what strings they
had above it).
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and frets, which means it has nothing to do with
the modern double bass nor with the cello.
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no reason that contemporary players of low-tension bass
instruments might not have done the same.
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On 4 Mar 2005 at 17:32, John Howell wrote:
At 3:46 PM -0500 3/4/05, David W. Fenton wrote:
Also, keep in mind that Bach's gamba sonatas assumed a 7-string gamba
with a low A string (because two of the three sonatas require low B),
Hmm. The only one I'm really familiar with is the G major
it, he's bound by the terms, which could mean eventual loss of
his entire investment in Finale data.
It all seems completely rational to me.
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parallel port printer as well
as his newer USB inkjet), but it works.
My bet is that Score would run just fine on any desktop version of
Windows you chose, perhaps with some tweaking of the environment, but
it would work, nonetheless.
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protection.
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supports a family of 6 to only consider
purchasing life insurance the day before he or she dies?
The whole point of this is that it has to be in place *when the
company is a going concern* or it's of no value when they go down the
tubes.
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).
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the
software).
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to MakeMusic of key escrow is very low relative to the cost
incurred by users of Finale should MM fail in the absence of key
escrow. There is no logical explanation for their failure to provide
insurance to their users.
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should be convinced by
such arguments.
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technically or
financially (a CD-ROM with documentation in a safe-deposit box would,
at minimum, suffice).
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expectation is that there are enough punters in the market place
for the two current big players, I'm wondering if Dennis thinks we're
all on some kind of precipice.
Would you *object* if MM set up a key escrow?
If not, why argue against it?
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examples of software
companies that have established a key escrow program. How do they
publicize that fact, and how has it been structured?
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On 9 Mar 2005 at 18:20, Noel Stoutenburg wrote:
David W. Fenton wrote:
On 8 Mar 2005 at 21:58, Noel Stoutenburg wrote:
The flaw here, is that the phrases Commercial software is sold and
legal purchaser implies that the user of a particular piece of
commerical software has ownership
in business
existed before the FDIC was chartered (at least, the entities that
merged to create the existing banks), and they are all FDIC insured.
Any citations on this one?
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have problems like this.
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proofread?
Not at all. Are they as re-usable? Absolutely not.
But they got the job done quite admirably -- they were certainly good
enough.
I have to keep remembering that as I agonize over my Charpentier bass
part.
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, revert to the restore
point and re-install. But that's an awful lot of work (and only
relevant to one OS version), though it might be worth it to keep
editing your files in the dark days after MakeMusic has gone under.
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their upgrade $$$.
But it seems to me from what's been said on this list that most of
those are sheep who are meekly accept what's shoved down their
throats and haven't the backbone to give up short-term satisfaction
in order to accomplish crucial long-term goals.
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inaccessible to you.
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versions), it should work on any
computer running one of the present OS's.
Well, keep in mind that if you choose WinXP or later, Microsoft may
or may not give you an authentication key.
Keep those Win2K installation disks!
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hardware change may trigger it, but
it's only going to happen if you already installed at least one other
different hardware device).
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got a PC that is in running order with an authenticated
version of Finale already installed, you don't really need that!
So, I don't really see that VMWare adds much value to the equation.
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to a CD
and surely use that for installation.
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On 10 Mar 2005 at 23:16, Johannes Gebauer wrote:
David W. Fenton schrieb:
On 10 Mar 2005 at 18:06, Johannes Gebauer wrote:
Don't get me wrong, I don't like the idea of copyprotection in the
first place. However, I have to agree with others that the escrow
system is something no software
On 10 Mar 2005 at 16:34, A-NO-NE Music wrote:
David W. Fenton / 05.3.10 / 03:50 PM wrote:
Well, keep in mind that if you choose WinXP or later, Microsoft may
or may not give you an authentication key.
Keep those Win2K installation disks!
I have an OT question.
How many machines can
On 10 Mar 2005 at 21:55, Robert Patterson wrote:
From: David W. Fenton [mailto:[EMAIL PROTECTED]
THIS WILL NEVER HAPPEN.
I wish I had a nickel for every time this turned out to be wrong in
the computer business.
You cut out the first half of my sentence, which read:
Well, if history
On 10 Mar 2005 at 17:33, A-NO-NE Music wrote:
David W. Fenton / 05.3.10 / 05:24 PM wrote:
The former can install on any number of PCs, but can be
authenticated on only one PC.
Sorry for a dumb question but what does this mean?
Would un-authed XP bite me?
Yes, it stops booting after N
the issues would simply
acquiesce to the situation. With a small company like MakeMusic, it
shouldn't take a large number of users to make a difference.
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On 11 Mar 2005 at 11:31, Andrew Stiller wrote:
On Mar 10, 2005, at 3:20 PM, David W. Fenton wrote:
Couperin and Charpentier
Lessons of Tenebre
That would be: Lessons for Tenebrae.
You know, I've always had a block on that -- I spelled it right at
first, but then rememebered
On 11 Mar 2005 at 20:37, d. collins wrote:
David W. Fenton écrit:
You know, I've always had a block on that -- I spelled it right at
first, but then remembered the French on the Charpentier MS (Leçons
des tenebres) and lost my nerve. Of course, now that I look at the MS
again, I see that my
On 11 Mar 2005 at 14:04, Robert Patterson wrote:
David W. Fenton wrote:
Yes, you may have to recompile your runtime under the most recent
.NET version,
Recompiling is not an option in this context. What I am saying is that
my old DOS utilities continue to run *without* recompile since
On 11 Mar 2005 at 21:04, d. collins wrote:
David W. Fenton écrit:
The Charpentier MS doesn't have the cedilla on the c or any accents
on the e's, either.
The Couperin original print has only one accent, and it's wrong (by
modern standards): tenébres.
I accompanied all three today
with the systems that have a single line with
no left bar.
I've drawn them in by hand on the part I'm playing from, but I would
like to know how to get them to show in the printed score. Is it
doable?
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wouldn't work, as the bass staff is part of the basso
continuo group, which is a keyboard grand staff, so it has a curly
bracket.
But, fortunately, the first option did the job.
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include a Reply-To: only when it differs with the From: address, but
it puts Reply-To: in every message, and I have no control over that.
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On 14 Mar 2005 at 13:27, Noel Stoutenburg wrote:
David W. Fenton wrote:
However, what I'm producing for now is a usable bass part to play
from, with cues written in the 2nd soprano line. I then optimize to
remove empty staves and end up with a result that has mostly 2 lines
On 14 Mar 2005 at 13:36, Dennis Bathory-Kitsz wrote:
At 01:20 PM 3/14/05 -0500, David W. Fenton wrote:
Now, I know that proper engraving rules for a single part are that
you *don't* have a left line on a single system, but this isn't a
single part. The part is here (all on one line):
http
,
especially one like this that has effects at multiple levels.
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paid any attention to it.
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On 17 Mar 2005 at 9:20, Jari Williamsson wrote:
David W. Fenton wrote:
I've never understood why this is not more universally known, as
it's always been there.
I can't explain why it wasn't known in the old days, since the
underlined characters were always on the screen
of an application, you need a third-party application to
add them.
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will
be forced to not follow the usual practice of having no measure
numbers on the first system, since you have to indicate that it's the
third frame that is actually numbered measure 1.
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in the occasional chaos
of rehearsals and performances, it seems OK to me.
I thought rehearsal letters were what one used for delineating form.
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On 19 Mar 2005 at 0:31, Christopher Smith wrote:
On Mar 18, 2005, at 5:22 PM, David W. Fenton wrote:
On 18 Mar 2005 at 14:08, Christopher Smith wrote:
For that matter, in the example I cited above (BEFORE the revision)
I had a pickup measure with 7 eighths in it. I didn't bother making
advising
linking independent part files back to a score file, but simply to
make parts a different view of the same score).
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On 19 Mar 2005 at 20:19, Ken Moore wrote:
In message [EMAIL PROTECTED] David W.
Fenton writes:
On the other hand, notating it as a full measure with a rest would
tend to obscure the upbeatness of the entire measure.
Do you have a view on Elgar's Cockaigne overture, the first bar
?
To me, it's a completely desirable goal, one to be praised not
feared.
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