% of *what*? What is the
whole that you're representing as a fraction?
Ken Durling
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it?
Dennis
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Music, Boston, MA
http://a-no-ne.com http://anonemusic.com
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tendency would be to
revert to the non-accidental note in the situation we're discussing.
Ken
At 09:23 AM 9/8/2005, you wrote:
On 18:10 Uhr Ken Durling wrote:
I agree, it's never been an issue for me either - more problematic
is a reiteration of the same note later in the 2nd measure
Yes, I follow you and concur for the tied note. I was just talking
about subsequent iterations of the pitch.
Ken
At 12:05 PM 9/8/2005, you wrote:
On 19:04 Uhr Ken Durling wrote:
Well, I'm not entirely sure being on system break or not affects
this question. If an accidental is tied across
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?
Andrew Stiller
Kallisti Music Press
http://home.netcom.com/~kallisti/
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Seems like there's a few knowledgeable Bach people here, so I'll just
ask for some suggestions on a piece I'm teaching. It's the Little
Prelude in d minor, BWV 935 - in the Henle edition it's the 3rd one
in the 2nd set. What I'm looking for is an elegant way to terminate
the tied trill in
-berolinensis.de
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wrote:
At any rate, my main question
was about the term piatti cymbal
which is used in both the GPO and the Finale manual -- this is
definitely a malaprop, right? It should be either
piatti or clash
cymbals -- not piatti cymbal. Correct?
Ken Durling
Composition and Music Services
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, the pair of cymbals you
hold in two hands and bang together are called crash cymbals (not
clash cymbals as someone else had it)
Ken Durling
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http
LOL, It does pertain to bread too...
http://www.bartleby.com/59/3/degustibusno.html
At 10:17 AM 8/23/2005, you wrote:
Eh?
The award winning artisan bread maker???
Ken Durling
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Ken Durling
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.
Horace Brock
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These guys are what I call contraceptive music.
Ken
At 07:12 PM 8/23/2005, Chuck Israels wrote:
Of course, there's George
Winston and Kenny G, and I am at a loss to explain that too.
Ken Durling
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guys were all great musicians and did it really well.
Ken
At 07:12 PM 8/23/2005, Chuck Israels wrote:
On Aug 23, 2005, at 6:12 PM, Ken
Durling wrote:
I remember that album. It
was pretty well done, IIRC.
Ken
Yeah, I knew Josh, and I do think it was smart and pretty well
done. Still, it struck me
(especially orchestral) from the 19th
c.? 18th c.?
Ken Durling
Composition and Music Services
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-consciously autobiographical example that springs to mind.
ken
At 10:17 AM 8/9/2005, you wrote:
1) Can any of you think of any
example of a musical self-portrait (especially orchestral) from the 19th
c.? 18th c.?
Ken Durling
Composition and Music Services
Berkeley, CA
At 07:44 PM 8/5/2005, you wrote:
Isn't there a Save as Audio option in Sibelius? If not, you have
three options:
Yes, there is, but only with the Kontakt player.
Ken
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People have been commenting on the sound of the sample on the site - isn't
that run through some DSP? (I haven't listened to it yet, but it would
surprise me if MM demo'd a dry sound.)
Ken
At 04:07 PM 8/2/2005, you wrote:
NOTE: There are two Jim Williamses here as well as a Jim Williamson.
At 04:40 PM 8/2/2005, you wrote:
It's never a good idea to just install the device driver from the CD
that comes with your device. You should always go to the
manufacturer's website to see if they have a more up-to-date driver
that's been updated for the OS you're actually using.
How true.
I've been using an HP LaserJet 5100 for a few years now, and I simply can't
imagine anything better. Fast, very high res, and will do large format - I
regularly print 11x17 stapled booklets (in Sibelius - I have yet to
explore printing in Finale yet, but it couldn't be THAT different)
I don't think you don't need to apologize. Asking for help gives people a
chance to help you (and vice-versa) and you give them a chance to feel
useful. This is a good thing, and very civilized. Google is great, but I
fear the way the Internet isolates us sometimes.
Ken
At 03:35 PM
At 12:28 PM 7/25/2005, you wrote:
I never realized Sibelius was in Walnut Creek, a town I've spent
quite a bit of time i
Interesting. Did you live there at one time?
If you're near there, I suggest you might want to try out some of the
concerts of the California Music Festival. The
At 08:44 PM 7/27/2005, you wrote:
Here's what I had designed for their website:
http://www.dfenton.com/CMF/
I was going to do it all for free, but the significant other of one
of the Festival board members is a web designer, so he did it (it
was complete nepotism). I was never even told that
Hi all -
Another newbie question: How do you create partial measures with repeats,
like on repeats to a pick up such as are typical in Menuet Trios? I'm
not finding it in the tutorial or user's manual. In some cases I would
simply want to place an end repeat between say the 2nd and 3rd
Sorry, I should add that I'm still using Fin2K2.
Ken
At 12:38 PM 7/26/2005, you wrote:
Hi all -
Another newbie question: How do you create partial measures with repeats,
like on repeats to a pick up such as are typical in Menuet Trios? I'm
not finding it in the tutorial or user's
OK, got it, thanks. Then drag the measure handles to resize. Or is there
an automation for that?
Ken
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Ah, ok. Thanks much.
Ken
At 01:29 PM 7/26/2005, you wrote:
On 26 Jul 2005 at 13:24, Ken Durling wrote:
OK, got it, thanks. Then drag the measure handles to resize. Or is
there an automation for that?
Well, the default minimum measure width is 1 inch, which is
definitely too wide
At 01:45 PM 7/26/2005, you wrote:
Well, the default minimum measure width is 1 inch, which is
definitely too wide for the pickup measures. I always set it to .5
inches, so that when you respace your music, it should get suitably
narrower.
Where is this setting? I'm not finding it in
OK, got it, thanks. it's in OptionsDocument SettingsMusic Spacing
Options. Lots of other interesting settings to explore here, too.
Ken
At 02:12 PM 7/26/2005, you wrote:
On 26 Jul 2005 at 13:57, Ken Durling wrote:
At 01:45 PM 7/26/2005, you wrote:
Well, the default minimum measure
At 01:33 AM 7/25/2005, you wrote:
Obviously it's entirely feasible that the whole Sibelius technical support
team is like that, and if so, I would be the first to take my hat off to
them, but is it not also possible that this is just one really nice
guy? Would the kind of unofficial
Isn't TrueType copyrighted technology? I guess i just think so because
it has brand name, but is it?
Ken
At 01:08 PM 7/25/2005, you wrote:
In a message dated 7/25/2005 11:53:30 AM Pacific Daylight Time,
[EMAIL PROTECTED] writes:
And so far as I am aware, you can't copyright data.
You
At 06:37 AM 7/23/2005, you wrote:
It's not a MakeMusic submission. Presonally I think they should stay out
of things as badly organised as this. There are far better way of
promoting their product than getting involved in badly thought out
competitions. This nothing but a mildly interesting
At 02:39 PM 7/23/2005, you wrote:
Of course, last time I checked, the ERA was not part of the
Constitution.
Eh? What do you think it's an amendment TO?
Ken
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Oh right. My faulty memory.
Ken
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Um, did I rank any of Chuck's achievements? Did I say cooler than? Do I
need a lecture on who the jazz greats are? Is Lenny Bruce a comedian?
Ken
At 08:57 PM 7/23/2005, you wrote:
On Jul 16, 2005, at 11:30 AM, [EMAIL PROTECTED] wrote:
Now that is a cool thing to have on your resume,
The first post in this thread never showed up for me. Could someone repost
the link? Thanks
Ken
At 08:56 AM 7/21/2005, you wrote:
This may be of interest, although the score that as chosen as the
exemplar is not complicated.
It might help if the person who did the Finale version made
Wow. is there really any argument about what chops means? It's always
meant technique to me and everyone I know.
Ken
At 11:41 AM 7/20/2005, you wrote:
On 20 Jul 2005 at 4:00, John Bell wrote:
On 20 Jul 2005, at 03:05, Raymond Horton wrote:
I know a percussionist who talks about keeping
I personally would always prefer having score in ensemble pieces, and
prefer memorization for soloists and conductors. This is also the way many
competitions are run - requiring memorization for soloists but not for
ensembles. It only makes sense, IMHO.
ken
At 07:57 PM 7/18/2005, you wrote:
Not a clue as to the origins of 'ax' in any case.
Well, is chops a clue?
Ken
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Hey, I resemble that remark! 8-P
Ken
At 08:43 PM 7/18/2005, you wrote:
Ken Durling wrote:
At 07:57 PM 7/18/2005, you wrote:
Not a clue as to the origins of 'ax' in any case.
Well, is chops a clue?
Maybe... but then what happens when you're talking about sax players?
;)
cd
At 09:01 AM 7/17/2005, you wrote:
At 10:26 AM -0400 7/17/05, Andrew Stiller wrote:
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
Yow!! You're sure right, Curtis Mayfield was great.Mea culpa. Hayes
was Shaft.
Ken
At 12:54 PM 7/17/2005, you wrote:
On 17 Jul 2005, at 3:28 PM, Ken Durling wrote:
Surely you remember Isaac Hayes and Super Fly?
No, not Isaac Hayes. Curtis Mayfield! BIG difference.
- Darcy
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
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At 05:47 AM 7/15/2005, you wrote:
Showing up farther down the list doesn't mean much, I think. Context
determines meaning.
Remember Lenny Bruce's schtick on What I don't understand is why saying
'F%$# You' is a BAD thing??
Ken
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At 09:41 AM 7/16/2005, you wrote:
Enough on this OT topic from me today. Just intrigued that others
are interested in some of this arcane history.
Thank you kindly for sharing those reflections, Chuck. I'm sure I could
listen to your stories for hours! You've known and worked with some
As long as we're talking about slang superlatives, I'd like to hear some
theories about where fly came from or how it came to mean what it
does. I was surprised to read that it was in usage in the 30's - in
Duke's Music is my Mistress with much the same meaning (fly girl) as it
has now, or
At 10:17 PM 7/14/2005, you wrote:
The Intel graphics controller is not a proper graphics controller at all
-- it means there is no separate graphics card, and the CPU has to handle
drawing in addition to everything else. Whether it supports OpenGL or
Direct3D is anyone's guess -- if it did,
At 09:19 AM 7/15/2005, you wrote:
In 4/4 time, enter two 16ths followed by a 16h-note triplet. You will see
two beams linking all five notes. The proper notation would be for the
inner beam to be broken between the duplet and the triplet, but Sibelius 3
cannot do this. I was told as much, in
At 12:03 PM 7/15/2005, you wrote:
Wow. That's an easy one. I can't believe tech support said it wasn't
possible. Enter the notes as you've described above,
Oops, I neglected to say - select the first 16th in the triplet, THEN
go to the 3rd keypad (F10), and hit / - or mouse the top
be for
the inner beam to be broken between the duplet and the triplet, but
Sibelius 3 cannot do this. I was told as much, in so many words, by
Sibelius tech support.
To wh. Ken Durling:
Wow. That's an easy one. I can't believe tech support said it wasn't
possible. Enter the notes as you've described
At 06:32 PM 7/15/2005, you wrote:
Andrew -
That's easy too - just use the key below the one mentioned earlier - the
key for the number 8.
Ken
And lest ye Finale-niks should think this is too obscure - the number 8
key - on the third (F10) keypad it does have a continuous 16th beam icon
It does have 32mb of video RAM, but I don't think it has OpenGL. To be
honest I'm not really even sure how or where that would be indicated. I
have an Intel 82810 graphics controller.w/32MB on the slower machine, and
an NVIDIA GeForce FX Go5700 w/64MB video RAM on the fast one. That tell
I don't have time to go over this point by point, but this list looks like
it was from version 1.4. I'm really not sure what relevance it has at this
point. But at a glance I see things that have been fixed, things that
haven't and things that display an ignorance of how Sibelius works. Did
Well, I, for one, would like to see a point-by-point response to each
of the items. Maybe somebody could do something like:
David -
I forwarded the list to someone at Sibelius as I had to work all day
today. here's a point-by-point response from the source:
Hi Ken,
Thanks for
. Hope that's not a copyright violation! ;-)
Ken
At 07:18 AM 7/13/2005, you wrote:
At 7/13/2005 09:49 AM, Ken Durling wrote:
I don't have time to go over this point by point, but this list looks like
it was from version 1.4. I'm really not sure what relevance it has at this
point
At 06:40 PM 7/13/2005, you wrote:
Do people with more modern Windows PCs find the same comparative
difference between Sibelius 3 and 4? Or is there some odd
incompatibility with the graphics subsystem on my PC?
David -
I have two PCs, one a modern fast (3.2Ghz) laptop, and a slower (866Mhz)
At 05:55 AM 7/11/2005, you wrote:
Hi all,
I use both Finale and Sibelius. Although the extra steps mentioned here
for Sibelius are exaggerated, nevertheless, there is no way that Sibelius
can match Finale with the economy of keystrokes that Richard is looking for.
If I were faced with a
I'm confused by this - isn't AIFF the mac equivalent of a .WAV file? MIDI
files contain no timbral information, so wouldn't there have to be an
intermediate sound card or sampler for the MIDI file to drive to produce
an AIFF?
Ken
Hi!
Am 05.07.2005 um 21:00 schrieb Darcy James
There are literally thousands of groups on this list. I see a few others,
like photography groups, that I belong to. I don't know. I think RSS is
probably something like a Google for discussion groups...
Ken
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At 05:41 AM 7/10/2005, you wrote:
These fingerings are set up as articulations because it seemed that
shortcuts could not be assigned to text expressions. If that is not true,
how do you do it?
Hi Richard -
The way to set up kbd shortcuts for text styles is as follows:
File Preferences
At 09:53 AM 7/10/2005, you wrote:
Thanks again but this does seem to be going in circles.
- The shortcut you describe does not go to a specific predefined bit of
text. It only opens a text cursor into which you then have to type the
characters that you want.
Well, of course - you're not
At 12:30 PM 7/10/2005, you wrote:
I want different shortcut keys for specific fingering numbers. I do
appreciate your trying to help with this Ken but you really do not seem to
be following what I am trying to do very closely. Perhaps you are not
familiar with Finale.
Richard -
You're right,
- are
offering well-considered, intelligent and reasonable criticisms, and I
appreciate that a lot.
ken
At 01:13 PM 7/10/2005, you wrote:
Ken Durling schrieb:
You're right, I'm not very familiar with Finale. That's why I'm here on
this list. I'm learning quite a bit. I see now that you want a one
At 01:45 PM 7/10/2005, you wrote:
Dozens of times slower is entirely accurate (or even understated) as I
have explained. Finale can space bars so that there are no collisions with
fingering numbers. Apparently Sibelius cannot. Tweaking the placement of all
the necessary notes would take at least
At 03:37 PM 7/10/2005, you wrote:
In other words, Sibelius allows mid-measure note entry (in an empty
measure), while Finale doesn't.
This was new in v.3, and a relief it was!
Ken
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At 07:03 PM 7/10/2005, you wrote:
I know Sibelius' marketing department has all the die-hard fans and
notation software novices believing that Sibelius is more intuitive and
easier, but I say that's nonsense. (
I honestly think that really only applies to novice users. For those of us
At 09:55 PM 7/8/2005, you wrote:
On 8 Jul 2005 at 18:16, Ken Durling wrote:
At 12:39 PM 7/8/2005, you wrote:
And my main objection was that I could never figure out, once the
music was entered, how to (in Finale terms):
1. change the page percentage OR
2. change the system percentage
At 11:34 PM 7/8/2005, you wrote:
I never use the navigation palette or the scroll bars. I'm entirely
comfortable with a combination of click and drag and page up/down.
Sorry, should have added Home and End, (and Ctrl-Home and Ctrl-End.)
Ken
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At 07:03 AM 7/9/2005, you wrote:
As a Finale user I want one key
shortcuts for each symbol but cannot find how to do this in the Demo with
its limited documentation.
How does one quickly apply fingering numbers to a succession of notes?
You create your own kbd shortcut. FilePreferencesMenus
Matthew, this is a pretty good list. I wish I knew a bit more
(learning) about some of the features in Finale that you mention as I
think some things are there in different form. A few comments.
At 06:48 AM 7/9/2005, you wrote:
My quick 2c:
- No scroll view in Sibelius. Having the last
At 08:01 AM 7/9/2005, you wrote:
Is there no autopositioning of such numbers as there is for articulations in
Finale?
Go to House style, Default positions, Text styles, where you can set
precise positioning, relative to the note.
Dan -
See my response to this thread. Wouldn't you first
At 10:29 AM 7/9/2005, you wrote:
set its vertical position. But I haven't figured out what that condition
is. In the meantime I have to position each fingering manually.
I cannot find anything better.
OK, there's a plug-in called Reposition text. I just tried it and it
worked fine.
At 10:29 AM 7/9/2005, you wrote:
This can get you to the last menu item in the sequence, but then there is no
way to shortcut to the exact articulation or text that you want. There does
not seem to be the equivalent of the absolutely essential metatools that are
in Finale. Indeed, unless there
At 11:22 AM 7/9/2005, you wrote:
At 01:29 PM 7/9/2005, you wrote:
This can get you to the last menu item in the sequence, but then there is no
way to shortcut to the exact articulation or text that you want.
Richard,
Once you create your own set(s) of shortcuts, it is just like Finale
Oops, not Find but pitch F :-\
Ken
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At 01:48 PM 7/9/2005, you wrote:
How? I don't know how to create a metronome marking. I can choose
your sequence of commands, but I have no idea what I'm supposed to
type to get a valid metronome mark. Q=158? If I go to the Sibelius
Demo help file (which is remarkably stupidly provided as a
At 01:48 PM 7/9/2005, you wrote:
Also, I have major problems with understanding where my typing is
going when I do something like Ctrl-Alt-T (to insert text) -- there
is no onscreen indicator of where the text is going to appear, and
there is a huge pause between my typing and the actual
At 05:18 PM 7/9/2005, you wrote:
When you R-click in CreateText Metronome Mark , you get a context
menu that has a Q note, as well as others, which you can select and
then follow with =158 or whatever.
Ok, I can do that, after about 10 tries.
What, are you trying to do it with your
At 09:41 PM 7/9/2005, you wrote:
---BIG PROBLEM: You cannot use more than one instance of an articulation on
a chord. So if there is a guitar chord for which I want to have two '0' to
show open strings Sibelius will not do it.
? sure it will.I'm working on a job right now for a violin
At 09:41 PM 7/9/2005, you wrote:
(Actually it is worse than that. The fingering number is
placed relative to the notehead and cannot be dragged to the left of a sharp
sign. I could drag it down so it went behind the sharp and then could not
grab it again to move or delete it.)
Could this be
At 07:34 PM 7/7/2005, you wrote:
Change all of those settings at once in a pre-existing file, simply
by choosing a different house style?
I don't know -- I'm guessing.
It's the only implementation of such a thing that would make any
sense to me.
Yes, that;s the way it's designed to work.
At 03:37 AM 7/8/2005, you wrote:
Because a serious musician can set a metronome to 80 and at least try to
make an attempt to follow that tempo, while nobody has a metronome that
I've ever seen which will give a 69.75 tempo so nobody can even try to
follow it, even if they want to.
No but
At 02:44 PM 7/8/2005, you wrote:
When I first became aware of what Ferneyhough was doing it reminded me
of this experiment. The response to the score is the piece.
I can't see any obvious meaning to 60.75.
--
Who said anything about obvious? ;-)
Ken
At 12:39 PM 7/8/2005, you wrote:
And my main objection was that I could never figure out, once the
music was entered, how to (in Finale terms):
1. change the page percentage OR
2. change the system percentage
The music was TOO BIG. I wanted it smaller. I couldn't figure out a
way to do that.
At 06:23 PM 7/8/2005, you wrote:
Can any Sibelius users out there confirm that Sib 4 fixed the bug that
makes octave-transposing instruments an octave off, like bari sax?
Hmm, I don't recall ever having a problem with tenor sax, which is also an
8va transposer, and I write for it regularly.
At 06:52 PM 7/8/2005, you wrote:
The students apparently enter the bari in concert pitch in bass clef, but
when it gets transposed it is an octave lower than it is supposed to be.
Tenor sax is the same deal, entered in bass clef or treble clef concert
pitch then transposed by Sibelius, comes
At 11:48 PM 7/5/2005, you wrote:
Now, linked parts and score, that would have been an amazing idea. Wait,
hasn't someone else announced it?
Didn't Igor have something like this feature?
Ken
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At 08:34 AM 7/6/2005, you wrote:
More useful to me would be *reverse* linking, because part extraction
provides the final proofreading check of the score, particularly for
things like arco/pizz. and con/senza sord. It would indeed be very nice,
therefore, to be able to make a change to a
At 05:01 PM 7/6/2005, you wrote:
What use is there for this? Just to make it more Mac-like?
I use transparent windows all the time (see my other reply on this).
Nothing to do with Macs, just a different way of using a GUI. It should
be minimal work to make such an option available.
I don't know how well this Dynamic linking thing will work, but it i
definately a feature to consider if one wants to switch from Finale..
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I've been able to try out a preview of Sib 4, and so far the dynamic parts
feature works very well.
Dennis - '
I think this - graphic notation - is still one of Sib's weaknesses, and is
likely to remain so although I have found a number of work-arounds. It's
one of the reasons I'm trying to find time to learn Finale. My stuff isn't
all *that* wild, but I do use proportional notation,
At 05:05 PM 7/5/2005, you wrote:
Feathered beams - do you mean accel/decell angled beams, or something else?
Yes, that's what I mean. You can do them in Sib with a simple line
tool. So they don't play back unless you're willing to build up a complex
set of nested tuplets.
Ken
At 09:17 PM 7/5/2005, you wrote:
Going over the promo videos for Sib 4, one other thing I notice is that
Sibelius has finally fixed what was one of the most frustrating and
infuriating aspects of its UI back when I was learning to use it -- it now
has an insertion point.
Darcy -
Could you
OK, just looked at the Finale Insert measure dialogue, (as per page 14/6
in the F2K manual) and it's really no different from the Sibelius
CreateBarOther (or Single multiple times) which allows you to insert any
number of measures of the time signature or in a different one. Am I
missing
At 10:31 PM 7/5/2005, you wrote:
OK, just looked at the Finale Insert measure dialogue, (as per page 14/6
in the F2K manual) and it's really no different from the Sibelius
CreateBarOther (or Single multiple times) which allows you to insert any
number of measures of the time signature or in
At 08:01 PM 7/2/2005, you wrote:
It's interesting that you mention the plagal cadence. To me the modern
extension of what might function as plagal would be a chord that includes
the tonic and not the leading tone. Cadences such as vi-I, bVI-I, A6-I,
bVII9-I, and even V11-I (a Debussy favorite)
At 12:05 AM 7/3/2005, you wrote:
At 08:01 PM 7/2/2005, you wrote:
It's interesting that you mention the plagal cadence. To me the modern
extension of what might function as plagal would be a chord that includes
the tonic and not the leading tone. Cadences such as vi-I, bVI-I, A6-I,
bVII9-I,
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