On Thu, 03 Mar 2005 23:27:59 -0500, shirling neueweise
[EMAIL PROTECTED] wrote:
1) TYPOS / MISSING DATA
Another incorrect but easily corrected problem is the group
instrumentation for a wind quintet. If you traditionally use the bassoon
on the fifth line, being that it is usually the most
David W. Fenton wrote:
On 3 Mar 2005 at 18:42, Noel Stoutenburg wrote:
But to those who characterize the (what I consider to be) modest
scheme currently implemented by MakeMusic! to be victimware, I would
ask how you would propose that MakeMusic! maintain the integrity of
the product. I've
In message [EMAIL PROTECTED] Andrew
Stiller writes:
On Mar 3, 2005, at 5:57 AM, Ken Moore wrote:
... some bass[es are] five-string
(bottom string usually tuned to C in the US, B in Europe)
B? That's a new one on me! Can anyone cite a composition (orch.,
chamber, or solo) that actually
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 that Johannes has a use for optimization being stored in
1) If you do not see a difference you probably don't know much about
proper beam placement. Finale's default beam placement (not beaming as
such) is dreadful.
2) The immense flexibility of what Patterson beams can do is unlikely to
ever be included in Finale's beam options.
3) Most
-- Ken Moore[EMAIL PROTECTED] wrote:
B? That's a new one on me! Can anyone cite a composition
(orch.,
chamber, or solo) that actually requires that note from the
cb?
Also Sprach Zarathustra, in the fugue.
You're talking about a scordatura. I'm based in Europe and it's nothing usual
for
Johannes,
Surely you wouldn't mind if Finale's default beam placement were
better? For instance, if Finale did Henle-style beams by default? No
one is talking about taking away the plugin -- you could still run the
Patterson Beams plugins on selected measures as required. But I really
think
David,
Optimization in Finale allows to remove blank staves _and_ makes the
vertical spacing of each system independent from the global setting. It
has *all* to do with the vertical spacing.
You can optimize without removing empty staves.
Unless I am missing something here it is you who hasn't
No I wouldn't object to better beam placement in Finale. However, I
think there are other areas in Finale which need the improvements more
than the beam placement, because it is already possible to get near
perfect beams in Finale through a plugin.
The discussion these days seems to center
I appreciate all the feedback and ideas, everyone, thank you. I've worked
with 2005 for the last day now, and already see many dramatic improvements,
and appreciated the returned control over the end product. So it is back to
Finale for me.
I've also written a blog entry on this topic (Finale vs.
Andrew Stiller wrote:
On Mar 3, 2005, at 5:57 AM, Ken Moore wrote:
... some bass[es are] five-string
(bottom string usually tuned to C in the US, B in Europe)
B? That's a new one on me! Can anyone cite a composition (orch.,
chamber, or solo) that actually requires that note from the cb?
The
On Mar 3, 2005, at 11:27 PM, shirling neueweise wrote:
3) how do i override the automatic selection of alternate notehead
fonts and percussion notation style with (single-line) percussion
instruments (eg. triangle)? somewhere someone has defined the
functioning of StaffType and i want access!
On Mar 4, 2005, at 5:32 AM, [EMAIL PROTECTED] wrote:
I've also written a blog entry on this topic (Finale vs. Sibelius) on
my
website, would be interested in your feedback:
Very nicely put, but for my money (all 0$ of it!) I would have liked
more detail than just hairpin openings, particularly
Thanks, Christopher -- I didn't want to go into too much detail about
Sibelius' inadequacies in the blog, but as I do have to complete one piece
I'm working on now in Sibelius (I'm too far along to start over now) it
might be worth keeping a list of these things and posting them later.
No, a
shirling neueweise wrote:
PS i also noticed that TAB instruments don't have the transpositions of
their standard notation cousins, but i never use tablature, so i guess
i don't really need to know... but, if someone has the answer, i'm
listening!
The TAB instrument definitions are based on
At 1:44 AM + 3/4/05, Ken Moore wrote:
In message [EMAIL PROTECTED] Andrew
Stiller writes:
On Mar 3, 2005, at 5:57 AM, Ken Moore wrote:
... some bass[es are] five-string
(bottom string usually tuned to C in the US, B in Europe)
B? That's a new one on me! Can anyone cite a composition (orch.,
[EMAIL PROTECTED] wrote:
I've also written a blog entry on this topic (Finale vs. Sibelius) on my
website, would be interested in your feedback:
http://www.jefferycotton.net/info.asp?pgs=blogentryblbe=10
I hope you've also found the Interviews on the Finale Tips site. Those
should give you many
Brandenburg III goes down to C but no lower. That is according to my copy
of the Bach-Gesellschaft.
Guy Hayden
- Original Message -
From: John Howell [EMAIL PROTECTED]
To: finale@shsu.edu
Sent: Friday, March 04, 2005 9:07 AM
Subject: Re: [Finale] String divisi
IIRC, there is also a
In my score of the Brandenburg concertos (Bärenreiter/Deutscher
Verlag für Musik in 1971) I can't find anything lower than a low C
for the violone in Number 3, but at the end of Concerto 6 the violone
goes down to a low B-flat.
But just the fact that Bach wrote the note doesn't necessarily
I just lost 20 minutes on a foolish problem.
I am writing accompaniments to choral arrangements this week, and I
tried to play back a file as a test for when the choir director is
coming over. I don't use play back very often, but this was a special
case. Everything was fine (or as fine as can
I recall one release in which some expressions came from the factory
incorrectly defined for playback. That produced a large volume of email when
the release came out!!
-Original Message-
From: [EMAIL PROTECTED] on behalf of Christopher Smith
Sent: Fri
Jef--
This controls the number of copies printed of a *lesson* via the exercise
wizard, not a regular Finale score. If you step through the exercise wizard
to the last page, you'll see different ensembles that a music educator might
use to print exercises for his or her band, orchestra or choir.
It used to be Data Check--Remove Deleted Items, but we updated the
interface in Finale 2004b...
On 3/3/05 11:20 PM, shirling neueweise [EMAIL PROTECTED]
saith:
(and since when, exactly?!)
___
Finale mailing list
Finale@shsu.edu
Christopher Smith writes:
I just lost 20 minutes on a foolish problem.
I am writing accompaniments to choral arrangements this week, and I
tried to play back a file as a test for when the choir director is
coming over. I don't use play back very often, but this was a
special case. Everything
On Mar 4, 2005, at 1:02 PM, Harold Owen wrote:
Christopher Smith writes:
I just lost 20 minutes on a foolish problem.
I am writing accompaniments to choral arrangements this week, and I
tried to play back a file as a test for when the choir director is
coming over. I don't use play back very
d. collins wrote
Speaking of beaming, of Sibelius, etc., I was looking at the sample
files of a new French publisher:
http://www.lasinfoniedorphee.com/catalogue/PDF/067.pdf
This seems worse, beam-wise, than anything Finale would do, even without
plug-ins and with the default settings.
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
On 4 Mar 2005 at 10:43, Johannes Gebauer wrote:
The discussion these days seems to center very much wouldn't it be
nice if Finale did it this way for many things which I doubt will
actually make things better, at least for me.
You're missing the point of this discussion, which had its origins
On 4 Mar 2005 at 9:07, John Howell wrote:
[]
IIRC, there is also a low B in Brandenburg 3, but that may have been
intended for a six-string violone.
I with I had a score at hand to check this, but it seems kinda
questionable. Could somebody check and report back to us? While bass
Taken from Cecil Forsyth' book on orchestration "The name Violone, i.e
"big Viola, was given to the Double-Bass, and in accordance with the
accurate if somewhat limited principles of the Italian laguage, the
intermediate instrument was christened, Red-Indian-fashion, "little big
Viola, "
On Mar 4, 2005, at 12:22 PM, David W. Fenton wrote:
OK, that makes sense. I'm in the habit of doing all my layout
adjustments only after layout is set, so the change wouldn't really
benefit me much, but I can see how it would be a great help to people
who make large changes to a piece after
On Mar 4, 2005, at 7:06 AM, Michael Cook wrote:
There are many such instances in Strauss's works: he apparently
explained to the players that if they imagined the note hard enough
and looked as if they were playing it, nobody would hear the
difference.
Wow! I'll have to try that technique
On Mar 4, 2005, at 5:00 PM, Mark D Lew wrote:
On Mar 4, 2005, at 7:06 AM, Michael Cook wrote:
There are many such instances in Strauss's works: he apparently
explained to the players that if they imagined the note hard enough
and looked as if they were playing it, nobody would hear the
At 8:30 PM +0100 3/4/05, d. collins wrote:
Speaking of beaming, of Sibelius, etc., I was looking at the sample
files of a new French publisher:
http://www.lasinfoniedorphee.com/catalogue/PDF/067.pdf
This seems worse, beam-wise, than anything Finale would do, even
without plug-ins and with the
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, and that
one certainly doesn't require the
At 5:25 PM -0400 3/4/05, Godofredo Romero wrote:
Taken from Cecil Forsyth' book on orchestration The name Violone,
i.e big Viola, was given to the Double-Bass, and in accordance with
the accurate if somewhat limited principles of the Italian laguage,
the intermediate instrument was christened,
I wonder if that is the french s/w, Berlioz? If so, I'm disappointed. Its
output looked better on its own site. The two sites appear similar upon one
quick look.
-Original Message-
From: [EMAIL PROTECTED] on behalf of John Howell
Sent: Fri 04-Mar-05 17:17
At 06:07 PM 3/4/05 -0500, you wrote:
I wonder if that is the french s/w, Berlioz? If so, I'm disappointed. Its
output looked better on its own site. The two sites appear similar upon one
quick look.
Probably. Same font (Hector), and also the stems don't go through the beams.
Dennis
David W. Fenton wrote:
In my case this has nothing to do with parts at all. The reason I need
to optimize out parts which have got music in them has to do with
doubling parts. For instance, in some situations the first and second
violins play identical parts, and for space reasons I just want to
John Howell wrote:
Yeah, that's unnecessarily ugly. But even worse, and for no obvious
reason, is the failure of stems for 16th notes and faster to extend to
the bottom beam. Very amateurish, but apparently done on purpose, and I
would guess this is built into the software.
It's actually
In message [EMAIL PROTECTED] John Howell
writes:
IIRC, there is also a low B in Brandenburg 3, but that may have been
intended for a six-string violone.
I with I had a score at hand to check this, but it seems kinda
questionable. Could somebody check and report back to us? While
bass tuning
In message [EMAIL PROTECTED] Roger Satorra
writes:
You're talking about a scordatura.
I don't think of all cases of tuning a lower string down as scordatura.
I associate that with notation that tells you where to put your fingers,
but because the string is tuned in a non-standard manner, the
On Mar 4, 2005, at 3:08 PM, Johannes Gebauer wrote:
Whether this has to be invoked or is updated automatically is actually
a pretty minor point in terms of time savings - at least for the way I
do my work.
Yep. Especially if all the systems are pre-optimized in the template.
mdl
On 04 Mar 2005, at 4:53 PM, Ken Moore wrote:
In Metamorphosen he puts low F# into violin parts, but the brackets
around them indicate that he doesn't really expect them to be played
and
that they are doubled by violas.
I actually did that once with a tenor sax doubling a trombone line.
The line
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