At 7:17 AM -0500 11/5/12, Christopher Smith wrote:
>
>While I agree with the premise that as
>performers we treat our own marks a bit
>differently than the published marks, I disagree
>on the point in question. I am a brass player
>and I see published breath marks notated as
>commas just befor
At 7:16 PM + 11/4/12, Jonathan Smith wrote:
>
>But what about the scenario when the brass are
>playing, for instance with a choir and the choir
>take a breath at this point, then continue
>singing on into what is the MM rest for the
>brass players (or any wind for that matter). The
>choir
At 9:20 AM + 11/4/12, Peter Taylor wrote:
>
>Rudi, after writing and sending that I pondered on how it might sound if the
>tick mark had an audio playback effect in HP, a kind of sharp intake of
>breath, whooshing sound. After all, the strings and guitar players have
>their "special effects".
At 8:48 PM -0700 11/3/12, Klaus Smedegaard Bjerre wrote:
>
>PS: In one of my older projects for brass band
>two sections (cornets and alto horns) played
>together and shared the phrasing marks, except
>at the double bar at the end of the 16-bar
>section. The cornets rested after the double bar
At 5:41 AM -0400 11/3/12, David H. Bailey wrote:
>Regarding how the humans interpret the marks, you could simply add a
>text box above the first measure explaining that the breath marks are
>just that and not to be interpreted as being caesurae.
>
At 9:44 AM + 11/3/12, Peter Taylor wrote:
>Th
At 7:09 PM + 11/1/12, Lawrence Yates wrote:
>Here in the UK, most photocopiers work on A4 or A3. We always believed
>that publishers used the unusual (to us) sizes so that the music couldn't
>be easily copied.
Interesting theory. I've always assumed that
this was a size produced by folding
At 7:43 AM -0500 11/1/12, Robert Patterson wrote:
>Eh, what's wrong with 10x13? It is extremely standard in orchestra parts. I
>am surprised the site list 11x14 as "second best". 11x14 is awful, because
>it does not fit in standard orchestra/band folders. 9x12 is essentially
>equally as common as 1
At 8:43 AM -0400 11/1/12, Christopher Smith wrote:
>
>I have to step in here. Maybe standards are
>different in the States, but around here ALL the
>string players HAVE to check out the parts
>beforehand, and if the woodwind players don't
>they take their lives in their hands. This
>applies no
At 8:09 AM -0400 11/1/12, Dennis Bathory-Kitsz wrote:
>
>One day we'll talk about landscape scores. :)
They seem to work just fine for organists, and
for duo pianists (one part on the left and the
other on the right). They might work for people
reading one to a stand, if there were a reason t
At 10:41 PM -0400 10/31/12, Darcy James Argue wrote:
>Hi Dennis,
>
>Do the musicians in your circles genuinely feel
>that "Phrase-beaming is more legible than a
>clutter of accents"? Because I've honestly never
>met a single musician who believes this. Every
>instrumentalist I've ever talked to
At 2:24 AM +0100 11/1/12, SN jef chippewa wrote:
>i would not consider this "resource" to be
>complete in any manner. and i would be ashamed
>to work in a place teaching composition where
>this is considered to be a useful resource... "to
>standardize [the] composition department
>preferences for
A question about notation for harmonics came up
last week on the viola list, and I'd like to
share a resource that I was directed to:
http://www.music.indiana.edu/departments/academic/composition/style-guide/index.shtml
This is a style guide posted on line by the
Composition Department of the
At 11:47 AM +0200 10/18/12, Giovanni Andreani wrote:
>This interests me to, but I hope there's a quicker solution!
>
>Giovanni
Giovanni: I know that every once in a while
someone warns us that it isn't polite, when
someone asks how to do something, to ask WHY they
want to do it, but I'm reall
At 8:34 PM -0400 10/14/12, whitby Margaret wrote:
>John Howell's story about Arthur Squires took me
>back to my student days at Cambridge. About 6
>or 8 of us were crowded round a piano trying to
>sing Tallis's 'The Lamentations of Jeremiah'
>from one copy of the music. It was all in
>variou
Perhaps this is just a silly question, but it
just occurred to me as I follow the comments in
this thread.
Is anyone who advocates a concert pitch score and
does not use key signatures also advocating
providing concert pitch PARTS for all
instruments? As if, for example, you were
writing fo
At 4:10 AM -0400 10/13/12, David H. Bailey wrote:
>
>I am so glad this discussion has gone on this long -- all this
>discussion of mezzo-soprano clef (c on the 2nd line) has given me an
>epiphany. I've never fully understood the use of the clefs for
>transposition, but now I have learned that read
At 9:37 PM -0500 10/12/12, Robert Patterson wrote:
>
>That said, if you can't read C scores, there's a whole lot of important
>literature that is a closed book to you.
But even if you can, there is information that
SHOULD be obvious but is hidden behind the
concert pitch score.
Case in point.
At 11:11 AM -0500 10/12/12, Patrick Sheehan wrote:
>In the same vein for hearing things in your head, EVERY SCORE in this world
>should be a C-Score. EVERY. SCORE.
Why?
To save people the trouble of learning to read
transpositions? To keep pianists happy within
their limitations?
How about
At 1:23 PM -0400 10/12/12, William Sinclair wrote:
> Do you mean in the KEY of C, or in the Concert
>key (piano,bass, drums, etc.) ?
>Most vocalists I work with want the score in her key to fit her vocal range.
>Usually the female key is a major 4th or 5th above the "standard" key.
>This fits an
At 11:49 AM -0500 10/12/12, Patrick Sheehan wrote:
>Well, if we just copy-and-pasted and not have to worry about D. S.'s and D.
>C.'s and D. Q.'s and Fine's and Codas and signs here and signs here and
>there, we wouldn't have to worry about using these things.
>
>Using D.C.'s and "roadmap" signs a
Thank you, Steve. You are the first to respond
to my open question regarding the use of a piano
reduction, which after all is exactly why piano
reductions became standard in the first place, to
provide the necessary information to singers in
compact form that does not require the ability to
At 2:41 PM -0500 10/1/12, Robert Patterson wrote:
>No, I mean vocal chamber music with transposing instruments.
Ahhh. That didn't occur to me. Sorry. But why
is that really a problem? 90% of singers
couldn't read a viola part in alto clef, either,
but *I* would want to see it where it belon
At 1:04 PM -0500 10/1/12, Robert Patterson wrote:
>I switched back to concert pitch a few years ago. In my advancing years I
>want no unnecessary barriers.
Hi, Robert, and of course to each his own on
questions like this one. I personally find that
a concert pitch score presents me with
unnec
At 3:56 PM -0400 9/28/12, Dennis Bathory-Kitsz wrote:
>
>It strikes me that the 'teacher' is the plethora of recordings -- a kind of
>crowdsourcing of learning. A teacher can do a personal critique, but what is
>wrong with a vast array of possibilities for any student? I certainly
>encourage perfor
At 7:52 AM -0500 9/22/12, Patrick Sheehan wrote:
>Who needs courtesy accidentals? Such a crutch. Forget it!
Bach for one, but what did HE know?!
John
--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
School of Performing Arts & Cinema
College of Liberal Arts & H
>On 19 September 2012 06:23, SN jef chippewa
>wrote:
>
>>
>> i am designing a font (open type) containing characters for durations
>> and to be used for tempo indications and time sigs and am trying to
>> get ligatures to work. for example, when i type 2 flagged sixteenth
>> notes directly aft
At 1:16 AM +0200 8/17/12, SN jef chippewa wrote:
>
>as i understand (sibelius users, please confirm),
>the smart shapes in sibelius are "attached" to a
>rhythmic point but start/endpoints are positioned
>at an "absolute" distance, so collisions are
>avoided in the PTs when they are set right in the
At 9:35 PM -0400 8/6/12, Neal Gittleman wrote:
>Greetings
>
>Using FinMac 2012b.r1
>
>I'm getting frustrated with Finale's(or perhaps,
>more likely Garritan's?) incorrect analysis of
>what notes are out of an instrument's range.
>Like horns not being able to play above
>F-natural on the top o
At 7:21 PM +0100 8/2/12, Steve Parker wrote:
>I've done a fair bit of work in Eastern Europe,
>some with traditional instruments and tuning.
>As far as anything is notated at all (AFAICS) it
>is in standard notation even when the understood
>meaning is far from it.
>This leads unfortunately to h
At 9:00 AM -0700 8/2/12, Dick Hauser wrote:
>
>It's just a plugin to change defaults in Abelton
>to quarter tone tunings and tempo settings other
>than 4/4. We can do those things in Finale, but
>the concept got me thinking about the inherent
>western bias in Finale and Sibelius.
Both progra
At 8:00 AM -0500 7/30/12, Patrick Sheehan wrote:
>I'd rather depend on my own knowledge...
Of course! But it is somewhat useful when I've
transposed something, and not proof-read it
closely enough to catch impossible notes.
John
--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Depart
At 10:04 AM +0200 7/22/12, SN jef chippewa wrote:
>i am not aware of norms in lyrics, but in normal text i think the
>closest thing to this would be square brackets around the
>transliteration (which is underneath the original) with no italics
>except where the original text itself is in italics.
gt;
>> ==Slightly O.T.==
>> And, sorry to be pedantic, but J.W.B. is not technically an acronym. It's
>> just a lowly initialism. Acronyms are initialisms that make their own word.
>> S.C.U.B.A. L.A.S.E.R. The Man from U.N.C.L.E. The P.A.T.R.I.O.T. Act.
>>
>>
At 3:20 PM +0200 7/21/12, SN jef chippewa wrote:
>
>interesting is that when the hyphen is used where an m-dash should
>normally be used, there is ALWAYS a space (of course helps
>distinguish from compound words), and i don't recall seeing the
>shortcut (for digital communications where the m-dash
At 11:26 AM +0200 7/21/12, SN jef chippewa wrote:
>the m-dash should ALWAYS be attached to the syllable it follows, it
>is in essence a form of punctuation that belongs to that syllable.
>there should be a (non-breaking) space between the syllable and the
>m-dash, unless you are trying to make the
At 12:57 AM -0400 7/21/12, Christopher Smith wrote:
>
>Hi John,
>
>Thanks for the quick answer. The reason I'm
>asking is because my friendly local dictionary
>doesn't have these words hyphenated the way they
>are pronounced in this context.
Agreed. But that was actually my point. The
dicti
At 10:22 PM -0400 7/20/12, Craig Parmerlee wrote:
> >
>Thank you for those comments. I'm not sure that MakeMusic and their
>investors are at a point that they would seek input from the user
>community, as they have weighty issues on their plate,
Wait, you mean that producing a product that
sat
At 11:30 PM -0400 7/20/12, Christopher Smith wrote:
>The words I have to hyphenate (obviously on different notes) are
>
>"Anti-Semitism"
>"Terrorism"
>"Paganism"
>Would all these be "is-m"?
>
>"howl" on two notes, maybe "how-l"?
>
>the acronym "J.W.B." on five notes. I'm thinking
>"J. dou-ble-U. B
At 1:33 AM +0200 7/17/12, SN jef chippewa wrote:
>apparently C-extension basses and 5-string basses don't exist either
The range limitation settings are annoying in
Sibelius as well, but at least they're easy to
turn off. In fact any such pronouncements,
whether in a textbook or Sibelius or F
At 2:07 PM -0500 7/13/12, William Huber wrote:
>Dear Last Best Hopes,
>
> Finale 2011b, Mac 10.6.8, hp laserjet 2100TN
>
> I'm having a devil of a time trying to print out flip folder-
>sized parts. I used the Finale Marching Band template to create the
>score. I went to print the parts,
At 11:04 PM +0200 7/12/12, SN jef chippewa wrote:
>
>just to be clear, you were having similar probs, i.e. you noticed
>finale would get slow after some time but other apps seemed to work
>fine, and your tune-up nevertheless made a noticeable difference when
>working in finale?
No, I'm not curren
Jef: My son-in-law, who understands these
things, recently gave my MacBook Pro a general
tuneup, clearing caches, repairing the hard drive
and permissions, and a bunch of other stuff that
I don't understand. I was having the same
problems before he did so. He says this is
something that sh
At 2:46 PM -0400 6/14/12, David H. Bailey wrote:
>
>On the other hand, if there are multiple groups of people working for an
>organization, they are pluralized to be "staffs." Again for the use of
>the word "staff" as a wooden stick, the plural is "staffs." So why, if
>the singular for a line of
At 8:14 AM -0400 6/14/12, Dennis Bathory-Kitsz wrote:
>On Thu, June 14, 2012 7:36 am, Florence + Michael wrote:
>> Here's what Elaine Gould writes
>> "To keep the stave as uncluttered as possible
>
>Just curious: Do you use 'stave' for the singular form? It sounds odd to me,
>even though it's app
At 12:02 AM -0400 6/14/12, Linda Worsley wrote:
>Don't know if this has ever been discussed. I have a client who uses a lot
>of layers in his piano notation. Very useful, of course (He is using
>Encore, and gives me pdfs of the Encore scores to enter into Finale.) Not
>hard, but When he puts the
At 9:57 PM -0400 6/13/12, Dennis Bathory-Kitsz wrote:
>I have no help or suggestion. I have the same experience. Every time I post a
>new video of my own material, I have to write up a description. I keep them in
>text files to copy/paste. Then I get the typical response to defend it. I keep
>those
At 8:28 PM -0400 6/10/12, Christopher Smith wrote:
>
>I totally agree with the first clause of that sentence, but if the
>accidentals are technically correct (see my first paragraph) there
>shouldn't be any dissent. Players who automatically scoff at a C flat
>just don't get out enough in my opi
At 9:55 PM +0100 6/10/12, Lawrence Yates wrote:
>I once played in a brass group with a brass band Eb tuba player who could
>only read treble clef Faced with bass clef (in concert pitch) parts, we
>told him to knock off 3 flats and play it as treble - no way, he couldn't
>do it. I got a piece of p
At 1:42 AM -0300 6/10/12, Darcy James Argue wrote:
>
>I'm all for spelling basic chord tones
>consistently on parts that actually show the
>entire harmony (piano, guitar). At no point
>should anyone ever write a B major seventh chord
>with an Eb and A#. But at at a certain point,
>musicians of
At 5:16 PM -0500 6/9/12, Robert Patterson wrote:
>About the key sigs, I guess I am confused. Are you saying you would rather
>them play the wrong notes than pencil in the accis? Because that's your
>choice given one rehearsal (which is how many most of my gigs with key sigs
>have).
At least in th
At 3:34 PM -0500 6/9/12, Paul Hayden wrote:
>How many years has it been since any composer
>wrote a horn part in the bass clef intending it
>to sound up a fourth? I still write a note about
>how "the horn part sounds down a fifth
>regardless of clef". But do you think this is
>_really_ necessa
, Robert Patterson wrote:
>Ah. But I am interested in particular where it first appears in the score
>of a western European orchestra.
>
>On Sun, Jun 3, 2012 at 11:38 AM, John Howell wrote:
>
> > At 10:57 AM -0500 6/3/12, Robert Patterson wrote:
>> >A question came u
At 10:57 AM -0500 6/3/12, Robert Patterson wrote:
>A question came up at a rehearsal the other day. Does anyone know what
>piece has the first use of a woodblock in an orchestra?
Whatever it was, it was probably in China a
number of centuries ago! There were "orchestras"
in the world long befo
At 1:30 PM -0500 5/31/12, Phillips, Justin wrote:
>It's been submitted to Apple and we're waiting on approval, which
>shouldn't be much longer. The app is called Finale SongBook, and is
>designed as a music viewing and performance tool.
>
>--
>Justin Phillips
>Portfolio Manager - Notation Products
At 9:04 AM -0400 5/1/12, Christopher Smith wrote:
>Hi combined MacOSX wisdom,
>
>I have a whole bunch of single-page files that I
>want to combine into one PDF. I had heard this
>was possible in Preview on Mac, and sure enough
>I can copy pages from one PDF to another
>document, but then I can'
At 8:49 PM +0100 4/22/12, Steve Parker wrote:
>
>If a copyist cannot see the difference between
>major and minor in a score then find another
>copyist.
Historically, however, typesetters (in the 16th
and 17th centuries) or engravers (in the 18th and
19th) were craftsmen but not necessarily
m
At 3:03 PM -0400 4/22/12, bill sinclair wrote:
>I talked to a couple of composers I know:
>
>Thay don't make any distiction between Major and Minor keys, i.e.
>G natural minor is the same as Bb major as far as they're concerned.
>
>[snip]
>In other words, the composer/arranger does not
>say "by th
gs. They expected their musicians to be able
to read and count! They didn't use bar numbering
or rehearsal numbers/letters either.
John
At 8:54 AM +0100 4/22/12, Steve Parker wrote:
>It really can be a useful thing! I've never had
>a problem with signing to someone that the cue
At 1:44 AM -0400 4/21/12, Christopher Smith wrote:
>
>We haven't mentioned this yet, but cues that are
>designed ONLY to help the player know what is
>happening before an entrance (never meant to be
>played) should never be visible to the
>conductor. In a professional or orchestral
>situation,
At 10:02 AM +0100 4/21/12, Steve Parker wrote:
>If i'm preparing music for a recording where the
>players are sight reading it is often useful to
>write in helpful cues then
> as conductor to cue the cues rather than the actual entrance.
Hmmm. As a player this would confuse the pants
off me
At 9:27 PM -0400 4/20/12, Christopher Smith wrote:
>No, I wouldn't. With the cue in the same layer as the real music, it
>shows up correctly, even with voiced parts.
>
>If you don't want the cue to show in the score, you can hide it with
>a staff style there, and hide the rests if necessary. I ha
At 4:12 PM +0100 4/19/12, Steve Parker wrote:
>'Melodic minor' is neither a key nor a mode. It
>is a melodic or harmonic choice within a minor
>key (or momentary minor key).
Which is to say that it's a variation of the
natural minor scale (also known as Glarean's
Aeolian mode). And so is the
At 9:29 AM -0400 4/19/12, bill sinclair wrote:
>Actually, for G harmonic minor you would use B flat and F sharp.
>For melodic minor, you would use just E flat,
>and for the "natural" minor, use B and E flat.
>
>When you say G minor, there is a lot of ambiguity, since there are 3
>possible choices.
At 12:36 PM -0400 4/18/12, bill sinclair wrote:
>They have a really awkward feature that I wish would be fixed - - -
>
>When you request a key signature, it makes a distinction between a
>major key and a minor key with the exact same pattern of sharps and
>flats. For example, they call C minor a DI
At 9:12 AM -0400 4/15/12, David H. Bailey wrote:
>On 4/15/2012 8:01 AM, Christopher Smith wrote:
>> No, no difference at all. The only thing I do
>>in my own writing with regards to abbreviations
>>is to use slashed C for 2/2 and NOT to use C
>>for 4/4, so that the difference between them is
>
I don't know whether this applies, but I also
learned just 2 days ago that if you are using the
Mac OS .pdf function to "print" to a .pdf file,
it is actually a "PDF Lite" and can introduce
errors and distortions. By going to "Adobe PDF"
in that same dialog instead, you engage the Adobe
prog
At 12:49 PM -0500 3/29/12, Paul Hayden wrote:
>I have no problem with the use of iPads in place
>of sheet music. However, I have experienced two
>mishaps recently involving iPads. In one
>performance, the (good) performer got
>momentarily flustered and flubbed the foot pedal
>page turn on his
At 10:15 PM -0500 3/27/12, Paul Hayden wrote:
>Apologies if you also subscribe to the SCI list:
>
>I've been selling my compositions as paper sheet
>music for years, but I'm getting more and more
>requests for PDFs. I feel a little uneasy about
>this since a PDF (even with a password) can be
>p
At 4:50 PM -0400 3/16/12, David H. Bailey wrote:
>
>the Ossia tool doesn't work like I think it should which is to simply
>add a blank measure above the measure you indicate, and allow you to
>enter what you want in it.
>
>Nope, the Ossia tool is one of those black holes of Finale that simply
>rema
At 6:40 AM -0400 3/14/12, Lee Dengler wrote:
>Thanks to all who responded in helping to clarify this. The 2 pieces I am
>currently working on are connected without any break - as if one piece. It
>seems that attacca is the best choice in this instance.
I would agree. I'm thinking about Beethov
At 4:07 PM -0400 3/13/12, Lee Dengler wrote:
>Can anyone explain the difference between the 2 terms - attacca and segue?
>Do they mean the same thing or are there subtle differences between them?
>Thanks to anyone who can help!
Subtle differences. Segue ("follows") indicates
moving directly to
jef: Probably too specialized for me, especially
in regard to jazz terminology, but here are a
couple of definitions straight from Russ
Girsberger, "A Practical Guide to Percussion
Terminology":
Rim Shot: Drum stroke that strikes the rim and
the drum head simultaneously. (Compare with
"St
>I think an (8) with the brackets is a nice and
>elegant clarification that the parts are for m
>and/or f.
>
>Steve P.
>
>On 20 Feb 2012, at 17:00, John Howell wrote:
>
>> Not sure why the sub-8 is needed, or what it
>> would accomplish. Vocal music has been
Not sure why the sub-8 is needed, or what it
would accomplish. Vocal music has been printed
in treble clef for indeterminate voices (or for
BOTH male and female voices interchangeably) for
many, many years, including every Broadway score
I've ever seen. When I use a tenor-G clef I use
it to
At 8:02 PM +0100 2/19/12, Giovanni Andreani wrote:
>I would add a new part for the vocal line on the top score.
>
>Giovanni Andreani
I find it interesting that some people
automatically accept this placement of a vocal
line. I do expect it of jazz writers, but there
is no centuries-old tradit
At 9:12 PM +0800 2/19/12, Elsie Abellera wrote:
>I AM NOT INTERESTED ABOUT ARTICLES ON FINALE AND
>PLEASE STOP SENDING ME ARTICLES ON FINALE.
>THANKS A LOT
Elsie: You sent your several messages to the
FINALE MAILING LIST, on which everything relating
to Finale is open for discussion. It is
At 8:35 PM -0500 2/18/12, Raymond Horton wrote:
>
>The song is in a very singable register from middle C up to D in the treble
>clef. Write a separate staff in treble, sopranos and altos sing as
>written, tenors and basses sing 8ba, very simple.
Exactly what I meant, of course, and yes, they'll
At 4:29 PM +0100 2/18/12, SN jef chippewa wrote:
>i am doing a short orchestral score and in the final section the
>whole orchestra (and i assume audience) are invited to sing along on
>the tune "Bonnie Banks of Loch Lomond".
>
>where would you mark the lyrics in the score?
Jef: The first questi
At 7:08 PM -0600 2/12/12, Robert Patterson wrote:
>Dang you're right. I don't see any way to break the line in the middle, and
>I was sure there was one, too.
Hmmm. Sibelius has both a start (left) bracket
and an end (right) bracket under the Lines menu,
although neither is dotted. Very handy
At 4:42 PM -0500 2/12/12, Aaron Sherber wrote:
>In the Barenreiter, since the violins have the same rhythm as the
>voices, they also get the indication 'colla parte'.
>
>The Dover/Peters score has slightly different notation. You can see
>both here:
>
> http://aaron.sherber.com/files/cosi.png
At 10:44 PM -0500 2/11/12, Raymond Horton wrote:
>On Sat, Feb 11, 2012 at 9:44 PM, Aaron Sherber wrote:
>
>> On 2/11/2012 9:29 PM, Raymond Horton wrote:
>> > Yeah, but this is what we do here:
>> >
>> > "Q: How do I do THIS?"
>> > "A: No, no, no! HERE's what you should do: ..."
To be fair,
At 9:02 AM -0500 2/11/12, Aaron Sherber wrote:
>
>I'll add one final detail to the discussion. I initially said that the
>single moving part had 4 sixteenth notes. In fact, the instrument has a
>dotted eighth and two 32nd notes. For those of you who felt that seeing
>four 16th rests with fermatas w
At 8:24 AM -0500 2/11/12, David H. Bailey wrote:
>
>Interesting -- in my experience that sort of thing requires explanation
>since people are confused about what is happening and whether they
>should follow my left hand or the stick.
Our community band conductor has as clear a stick
as anyone in
At 6:30 AM -0500 2/11/12, Raymond Horton wrote:
>Just imagine sitting in an orchestra, while it is being conducted. What do
>you see on the page, what do you see in the stick? Sure, Mozart put a big
>fermata over the voice part - and today's conductor can hold the stick
>while the singer takes ti
At 11:32 AM +0100 2/11/12, Florence + Michael wrote:
>Wide fermatas are old notation: Mozart used
>them, for instance. In his operas you can find
>instances of wide fermatas over two or more
>notes. In most cases it's the singer who has
>several notes while the orchestra holds one
>note, but t
At 4:57 PM +0100 2/10/12, SN jef chippewa wrote:
>
>i don't see it as too fussy at all to have a fermata on each 16th,
>maybe add "(short)" though on the 1st one. but i think molto rit. --
>or, better, molto ritenuto -- might better convey what you want.
Aaron did NOT ask for a molto ritard, or
At 11:00 AM +0100 2/4/12, Florence + Michael wrote:
>There's also a recording of the piece, which
>could give additional insight into the
>composer's wishes. Go to the link originally
>given:
>http://www.marcgosselin.fr/compositeur/pour-instruments.html
>and click on the playback arrow next to
At 12:55 PM +0100 2/4/12, SN jef chippewa wrote:
>hey john, here is the original
>cheers,
>jef
Thanks, jef! Now that I've seen the score, I'm
no further along in understanding the composer's
intention, obvious as it may seem, and therefore
in interpreting the notational questions. And
I'm a
Would someone mind reposting the original query?
I don't know how I missed it, but obviously I
did, and none of the discussion makes sense
without knowing the original context.
Thanks!
John
--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
School of Performing Arts
At 10:13 PM -0800 1/27/12, Dick Hauser wrote:
>Today I advised a friend to purchase MM
>Songwriter after I'd tried a demo on my iMac.
>As we went through the tutorial for Songwriter
>on their MacBook (2.16GHz intel Core 2 Duo
>10.6.8) we were not able to invoke the numeric
>keypad using the d
At 3:59 PM -0800 1/25/12, Kim Richmond wrote:
>I'm trying to respell some of my chord symbols.
>Even though the key signature is five sharps, I
>want to chords such as Ebmin7, Ab7 etc. How can
>I accomplish that?
>All the best,
>KIM R
Chord symbols are entirely independent of key
signatures,
At 12:42 PM -0500 1/13/12, Benjamin Ayotte wrote:
>Thank you, Christopher, that was extremely
>helpful. I agree that 8.5mm seems too big but
>then I'm a trumpet player and have never had a
>bowing arm get in the way of my view. The
>guidelines suggest different sizes for strings
>and winds.
At 10:02 AM -0800 12/30/11, TXSTNR POP account wrote:
>I just worked on a chart in which the composer
>(a guitar player) wrote E7(add2). I'd call that
>E9, but the guitar player said that he would put
>the 9th in a top voice in my case, and an inner
>voice in his. I argued that the chord symb
At 9:10 PM + 12/30/11, Lawrence Yates wrote:
>Hi,
>
>Sorry to do this but I suspect I have a problem.
>
>Could one person please reply publicly to confirm that this message has got
>through to the list. I have had two messages returned as un-deliverable
>and two others have not appeared.
>
>Th
At 12:51 PM + 12/21/11, Steve Parker wrote:
>On 21 Dec 2011, at 12:04, Dennis Bathory-Kitsz wrote:
>
>> Never again want a cleanup job like that!
>
>I've found that most 'clean-up' work is quicker
>if I receive it on paper and start from zero!
I guess someone has to point it out: anyone can
At 4:24 AM -0500 12/19/11, David H. Bailey wrote:
>
>And in the few days since I started using Notion on my iPad I am
>increasingly amazed at all that they've included in this initial release
>and feel confident that they will continue to add features such as
>lyrics capabilities and other things i
At 9:25 AM +0100 12/18/11, Florence + Michael wrote:
>Apparently Notion for iPad cannot edit lyrics.
>Here's a comparison between Notion and Symphony
>Pro:
>http://techinmusiced.wordpress.com/2011/12/17/a-preliminary-comparison-of-notion-and-symphony-pro/
>
>>From that article:
>
>"Notion 1.0 doe
At 3:45 PM + 12/18/11, Lawrence Yates wrote:
>Hi Ryan,
>
>No. This is straight out of the box. All the percussion lines are the
>same. It's a characteristic of all the percussion staves. It looks like a
>font issue or a notehead issue but I can't find a way of changing it to
>just normal no
At 1:55 PM -0500 12/4/11, Mark Ralston wrote:
>
>Parenthesized accidentals should be used as a reminder that a pitch
>has returned to the key signature only after that pitch has been
>altered in a previous measure. If you don't use parentheses for
>pitches returning to the key signature, the pla
At 11:48 PM -0800 12/2/11, Mark D Lew wrote:
>
>Also, I would further suggest that "correct"
>hyphenation per standard hyphenation rules is
>occasionally not the best choice. Hyphenation
>in vocal music should above all serve the
>singer. Standard hyphenation will usually do
>that, but I've
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