At 11:40 PM -0500 2/9/05, David W. Fenton wrote:
On 9 Feb 2005 at 23:27, John Howell wrote:
I'm not sure where the Austrian Lutherans came from! That use of
trombones (or sackbutts) goes back at least to Schuetz, one of whose
Psalm settings from about 1619 I studied in a graduate seminar
At 11:06 AM -0500 2/10/05, Andrew Stiller wrote:
On Feb 9, 2005, at 2:53 PM, John Howell wrote:
Bernouli's law, ...Same law that holds up both fixed-wing and
rotary-wing aircraft.
Actually, that can't be the case, though everybody thinks it is. If
Bernoulli's law were responsible for lift
At 6:19 PM -0500 2/19/05, Darcy James Argue wrote:
The stands must be lightweight and collapsable -- not necessarily
wire stands, but I have to be able to fit 20 of them in a luggable
wheel cart.
Our Community Band has a bunch of similar stands, but they are
Manhasset. Folding base and solid
At 8:04 PM -0500 2/21/05, David W. Fenton wrote:
On 21 Feb 2005 at 19:33, Crystal Premo wrote:
I'm sorry, but I take offense to being called illogical because you
don't agree with my reaction to an artistic display.
It's not your esthetic reaction that's being criticized, but your
truly
At 5:46 PM -0500 2/23/05, Jacki Barineau wrote:
Hi - I'm notating a song that has a vocal staff and an alto recorder staff.
Is there a rule about which staff should be the top one in each system?
The recorder begins the song, then the vocals take over, then the recorder
re-enters in the middle of
At 6:09 PM -0500 2/23/05, Jacki Barineau wrote:
Hi, Everyone - I have another question about notating for alto recorder!
Does anyone know how you notate those slides they do - like when they hit
a low note and kind of float up to a higher note? Or when they hit a note
and kind of droop down to
At 12:37 AM + 2/26/05, Owain Sutton wrote:
Simon Troup wrote:
Go to http://maps.google.com and browse a few maps.
No support for Safari. They need to do more homework.
No support for Europe. They really need to do some work. I feel
like the anti-Columbus, scrolling off into the
At 5:20 AM -0500 2/26/05, dhbailey wrote:
A-NO-NE Music wrote:
So, it's not possible to do this with MP3 with XML interface?
Most schools have computers these days, no?
:-)
In all the classrooms? A most definite NO.
And while many of the music teachers are fine musicians, I have
spoken with a
At 5:35 PM + 3/2/05, Robert Patterson wrote:
I have an question for the general wisdom of the list. When a string
section uses inside/outside divisi, I understand that this implies
it is a 2-part divisi where each half is played by a player on each
stand. What I don't know is, does the
At 6:17 PM + 3/2/05, Robert Patterson wrote:
From the inside/outside terminology, I had inferred that this
was probably the case. What about situations where the string
section rearranges so that the 2nd violins face the 1st violins? Do
the 2nd violins reverse their usual orientation or do
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.,
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,
At 9:53 PM + 3/4/05, Ken Moore wrote:
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
At 3:06 PM +0100 3/5/05, Johannes Gebauer wrote:
I am by no means an expert, but the term violone is used for various
instruments, including the cello itself (see for instance Corelli's
violin sonatas original title), but was also in wide use for a
double bass instrument. A violone could be an
At 5:22 PM +0100 3/5/05, Roger =?UNKNOWN?Q?Juli=E0?= Satorra wrote:
Hello,
How can I write a chord such as C/Bb7 ? When doing so, finale removes the 7
of the Bb.
I that a polychord (i.e. C major triad over Bb7 chord)? The program
is obviously reading it as C major over a Bb bass note. (You
Title: Re: [Finale] Chord symbol
At 5:45 PM +0100 3/5/05, Roger =?UNKNOWN?Q?Juli=E0?= Satorra
wrote:
No, what I want is a Bb7 (9, +11, 13),
it's easier to write C/Bb7, but not by
finale!
You've had some great advice, and what you want to write is, in fact,
non-standard and confusing, as the
At 11:50 AM -0500 3/5/05, Andrew Stiller wrote:
On Mar 4, 2005, at 4:25 PM, 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
At 6:06 AM -0500 3/7/05, Christopher Smith wrote:
There are a few varieties of contrabass trombone that I know of.
One is pitched in BBb, has a double slide (four tubes instead of
two), a single F trigger, and is played with a mouthpiece close to
the size of a tuba mouthpiece (makes sense, as
At 7:22 PM +0100 3/7/05, Jari Williamsson wrote:
Hello!
I just started a new thread on the tips site's forum, focusing on
notation/engraving books. I put a mini-review of Gardner Read there.
It would be really great if others would join and add their opinions
on other notation and/or engraving
At 11:13 PM +0100 3/7/05, Klaus Bjerre wrote:
Trombones were the-odd-men-out. Some say they often were recruited among
ex-service-bandsmen. And the bassbone was even more odd. It was pitched in G
like the Brit orchestral bassbone was up to somewhere between 1955 and 1970.
After that the one valve
At 10:15 AM -0500 3/7/05, Guy Hayden wrote:
All this talk about the cimbasso has made me bold to ask about
another rare instrument.
The swing band I play with (The Peninsula Retired Mens Club Band)
has a 'band tie' on which is an image of a Sarrusophone. Often
people ask about the instrument.
At 8:40 PM +0100 3/11/05, Daniel Wolf wrote:
In the US, pop music is essentially a vocal genre. Instrumental pop
successes are novelty or niche items (what instrumentals have made
the top ten in the past fifty years? Herb Alpert, disco-fied
Beethoven, and---?) .
The French guy--Love is Bleu;
At 2:57 PM -0800 3/11/05, Mark D Lew wrote:
On Mar 11, 2005, at 12:53 PM, John Howell wrote:
European operetta did not come to North America
until the 1890s or later [...]
Entirely my fault for not being clear in my
statement. I was not thinking so much of
imported European operetta, which
At 7:56 PM -0500 3/11/05, Raymond Horton wrote:
Thanks for the info. I had heard of that strike but not as
completely as you write.
Wasn't there also heavy taxing of larger bands in clubs after the
war that also helped the rise of small combos? Perhaps that was
just in NYC?
There was a
At 12:59 PM -0500 3/12/05, Andrew Stiller wrote:
This argument confuses folk music (largely anonymous and
non-professional) with popular music (professional, with
identifiable composers).
On the contrary, my thesis is that it was the music that each
separate group of settlers brought with it,
At 7:46 PM -0500 3/17/05, Christopher Smith wrote:
I even see from time to time works where an entire introduction is
not numbered, or numbered with a, b etc., or i ii in lower
case Roman numerals, like a book preface, though this might only be
because the intro was added later and they needed
At 7:53 AM -0500 3/18/05, Eric Dussault wrote:
Thanks everyone for your opinions. It fortunately confirms the
practice I always did.
There is one situation where I don't know for sure what to do :
considering that the duration of the anacrusis is substracted to the
last measure, what are you
Somebody wrote (too many overlapping quotes to figure it out!):
I'm confused -- how can there be more than one measure as a pickup?
Not at all unusual in Berlioz, who was certainly not constrained by
barlines, and present in Tchakovsky as well (I'm thinking of the
pickups to the 5/4 waltz
At 3:45 PM +0100 3/18/05, Daniel Wolf wrote:
Personally, I would probably dislike reading a score with
unconventional stemming, although I can imagine some some
compositional rationale for doing it (e.g. in an extremely complex
rhythmic environment, this would aid in creating a notion that is
At 9:23 AM -0600 3/18/05, Robert Patterson wrote:
Does anyone know the escape key in Mac OSX? It was cmd-. in OS9, but
I can't tell if it is working the same in OSX. I wanted to use it to
escape from long mass edit procedures as before.
--
Robert Patterson
Perhaps I don't understand, but the
At 2:29 PM -0500 3/18/05, Darcy James Argue wrote:
Like I keep saying, it's not about the gesture, or the phrasing, or
any of that stuff. Measure numbering follows a simple, objective,
easy-to-understand and (almost) universally-applied rule. Every
complete measure gets a unique measure
At 4:38 AM + 3/23/05, John Bell wrote:
PS On reflection, since you say the inverted A is beside both notes
it's unlikely to be an articulation -- only one instance would
appear in that case -- so unless my earlier suggestion of O for open
string is wrong it must me something else that
At 2:35 PM -0500 3/23/05, Darcy James Argue wrote:
Hello,
Anyone have any suggestions for a source of inexpensive (i.e.,
cardboard) music folders (or something that could serve that
purpose) -- that *doesn't* have some company's logo splashed all
over it?
You want inexpensive, you pay by
At 3:07 PM -0500 3/23/05, Darcy James Argue wrote:
On 23 Mar 2005, at 3:01 PM, John Howell wrote:
You want inexpensive, you pay by providing them with advertising
space. No big deal.
It is for me, which is why I bothered posting my question the first
place. If I didn't think it was a big deal
At 10:42 AM +0100 3/24/05, d. collins wrote:
In a polyphonic mass, I need to insert two short Gregorian
intonations. I know the Medieval plug-in, but it costs some 250
bucks, and I have less than one line of music... Are there any other
less expensive ways (fonts, plug-ins) to do this?
Thanks,
At 1:27 PM +0100 3/24/05, d. collins wrote:
(But then, knowing nothing about Gregorian, I'm wondering if there
are any sites explaining the basics of this notation. I have the
unpleasant feeling of transcribring a language I don't understand.)
In this case the basics aren't nearly enough. The
At 5:29 PM +0100 3/24/05, d. collins wrote:
Noel Stoutenburg écrit:
My first chant tutor, as it were, was the
introduction from the Liber Usualis, the
beginning of which provides a good basic
framework of information. That's the first
place I'd go to advise finding more
information. Though
At 1:39 PM +0100 3/25/05, Arne Møller Jørgensen wrote:
I have made a lot of Hildegard von Bingens songs and have only jused
what FINALE has been able to do. I attach en little samble.
Amj
Yes, that is a very good transcription into
modern notation, but I believe that Dennis was
wanting to use
At 9:59 AM -0500 3/25/05, Martin Banner wrote:
I have an autograph score of a sacred Latin concerted choral work by
the 18th Century Italian composer Francesc'antonio Vallotti
(theorist regarding tuning). Anyway, the piece includes two tromba
parts written in alto clef. This is the first time I
The video out on my tiMac Powerbook G4 is a small 15-pin trapezoidal
plug that needs a matching cable, and it's identified by a
highly-stylized monitor (looking something like a double whole
note!). Once plugged in, with both the projector and computer on,
you may need to find the monitor
At 3:46 AM -0400 4/5/05, shirling neueweise wrote:
From: Christopher Smith
I have a feeling I am somewhat misunderstanding this, but if two is
sharing the stem, how can you tell if the note is not solo?
I think most people would default to thinking that they are unison...
never assume this,
At 12:12 PM -0700 4/7/05, Lee Actor wrote:
I'm discussing with another composer the advisability of combining multiple
instruments on a single orchestral part, and thought I'd pose this question
to the group. My contention is that a) orchestral wind players dislike
multiple instruments on a
At 4:49 PM -0400 4/7/05, Guy Hayden wrote:
Look at Barber's Adagio for Strings. Try to work the page turns
so that one player is available for the turn. This is often
difficult to manage but can be done.
In well-copied Broadway show books, the copyist sometimes leaves a
blank page or has only
At 6:51 AM -0400 4/9/05, Jim Mays wrote:
I have a song with three different sections: A, B and C.
A is sung once; B, three times; and C, twice in this order: A-B-C-B-C-B.
The first repeat, B-C, is straightforward. What repeat signs instructions to
Finale do I use to go back and sing B one last
At 7:25 AM -0400 4/10/05, dhbailey wrote:
Most music like that which I have seen includes all the parts on the
choral score -- just reduce the size of the flute staff and the harp
staff (staves?) and keep the choral staves larger and easier to read.
Many such choral works also have the flute
I've taken the liberty of forwarding the original question to a viola
list with lots of chamber music players on it.
John
At 9:20 PM +0300 4/10/05, RegoR wrote:
Johannes,
Try to contact Mlle. Laurence at +33 1 5379 8873. She should be
able to give you more specific information about what you
I second the call for plain text. HTML code was
never intended to be a universal and ideal method
of internet communication, and in fact lacks a
number of upper level characters.
I did not receive either message with tiny type.
Both came through in the format I've specified in
my Settings.
At 8:02 PM -0700 4/13/05, Ryan Beard wrote:
Hi folks,
I'd be interested in getting some opinions regarding
clef changes. And, if any violists are out there, I'd
love to hear how you feel about reading in treble clef
for extended periods of time.
Well, here's personal opinion from one violist.
At 3:51 PM -0400 4/14/05, David W. Fenton wrote:
Are you talking about treble clef at pitch or treble 8bassa, the
traditional notation?
Thank you, David. That's exactly the problem with using treble for
cello. There are historical precedents for two different practices,
as there are, as well,
At 11:18 AM -0400 4/15/05, Darcy James Argue wrote:
Are you saying you make a distinction between composing music and
writing music?
Semantics, nothing more. Some people, at some times, do use them
interchangeably, yes, but probably shouldn't. Writing down, as you
say in your next sentence,
At 11:21 AM -0400 4/15/05, Darcy James Argue wrote:
On 15 Apr 2005, at 10:06 AM, Andrew Stiller wrote:
As a bassoonist and composer, I never, ever, write the tenor clef,
though of course I can read it fluently. Any professional
bassoonist, cellist, or trombonist will know how to read the treble
At 8:10 PM +0200 4/15/05, Michael Cook wrote:
As to the idea of getting rid of tenor clef, try talking to a few
cellists and see what they say. I find that it fits perfectly to a
typical solo cello range where you basically stay most of the time
up on the A-string, occasionally rocking over to
At 12:40 PM -0700 4/15/05, Carl Dershem wrote:
John Howell wrote:
No howls, just a bit of history. The original reason for using
movable clefs was to keep the music within the staff so the scribe
wouldn't have to turn his pen sideways for the ledger lines.
That's exactly how the fully
At 6:09 PM -0400 4/15/05, Eden - Lawrence D. wrote:
I need some advise regarding the purchase of a PC laptop for my daughter
who will be a college freshman in the fall. I know nothing of the Dark
Side...so I need specific names and models to consider. Thanks...and I
hope my fellow MacMavens will
At 8:39 AM -0400 4/16/05, [EMAIL PROTECTED] wrote:
I teach my tormbone pupils to read treble, tenor and bass clefs.
I expect them to be comfortable in all three by the time they leave
me at 16 years old.
Good for you! Both you and David Bailey point out the major
difference in background:
At 3:26 PM -0400 4/16/05, Andrew Stiller wrote:
I could counter with a long list of instruments whose effective
ranges do precisely that, yet do not use (and in most cases never
have used) the alto clef. But I think it will be more, um, effective
simply to point out that the only modern
At 3:28 PM -0400 4/16/05, Andrew Stiller wrote:
Certainly. But Rachmaninoff's use of the convention was by then no
more traditional than Hindemith's use of the viola d'amore.
Hindemith directed the Yale Collegium Musicum, and was
a violist. Why would he not be interested in viola
At 6:20 PM -0400 4/16/05, [EMAIL PROTECTED] wrote:
In a message dated 16/04/2005 14:19:15 GMT Daylight Time, [EMAIL PROTECTED]
writes:
first, the students you cite are taking
private lessons, which the vast majority of middle and high school
instrumentalists do not.
No - I teach in high schools,
At 8:14 AM -0400 4/17/05, Lawrence David Eden wrote:
Unless she HAS to get a PC (and I can't think of a single reason why a
freshman would be that committed to one of the departments that requires
them) she ought to get a Mac. Period.
At this university there are department-specific requirements.
At 6:00 PM -0400 4/18/05, Leigh Daniels wrote:
Hello Knowledgeable Finale-ists,
As part of a conversation with a pianist friend today, we both were
wondering why Concert Pitch A in America is 440 Hz and different in
Europe. He said when he was touring in Europe, he had to request the
American 440
At 4:37 PM -0400 4/19/05, shirling neueweise wrote:
From: Andrew Stiller
In my experience, the vast majority of copyists regard it as their duty
to literally copy exactly what they find in the score when extracting
parts. There are many places where a composer changes clefs merely to
save
On 24.04.2005, at 19:38, Andrew Stiller wrote:
On Apr 24, 2005, at 9:48 AM, Johannes Gebauer wrote:
Not that I really know anything about this, but I was under the
impression that a Zugtrompete is in fact a trumpet, with a sliding
device. I have seen such instruments played.
This is correct.
At 4:01 PM -0400 4/25/05, Darcy James Argue wrote:
Hey all,
I have a question about muted pizzicato in an orchestral string
section. I'm curious how much the mutes actually dampen the pizz.
sound, and how much impact they have on the actual timbre. Do any
examples from the literature leap to
At 10:47 PM -0400 4/26/05, Darcy James Argue wrote:
Jacki,
I hate to the bearer of bad news, but both examples in your snapshot
are wrong.
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
I have to agree with Darcy 100%, Jacki. Example 1 looks like a
student's first attempt to notate rhythms taken
At 11:38 PM +0100 4/27/05, Owain Sutton wrote:
John Howell wrote:
The first printed polyphonic music shows up in the early 16th
century, 1501 in Venice, to be exact. This was music printed from
movable type, which means that each piece of type had a single note
shape or a single rest shape
At 2:22 PM -0400 4/28/05, Andrew Stiller wrote:
On Apr 27, 2005, at 5:33 PM, John Howell wrote:
The first printed polyphonic music shows up in the early 16th
century, 1501 in Venice, to be exact. This was music printed from
movable type, which means that each piece of type had a single note
At 9:34 PM -0400 4/27/05, David W. Fenton wrote:
On 27 Apr 2005 at 17:33, John Howell wrote:
The actual engraving of music--technical use of the term here,
meaning the use of a sharp steel engraving tool to write the music,
backwards, on a soft copper plate--dates from the 17th century
At 3:34 PM +0200 5/2/05, Johannes Gebauer wrote:
I think we discussed this recently, but I have forgotten the outcome
and need some advice now:
I am preparing some orchestral parts. In the wind parts, for about
95% the two flutes play identical music, but very occasionally they
devide into
At 11:55 AM -0400 5/2/05, Raymond Horton wrote:
The only time we would not play a piece was a new symphony that had
four part divisis in all the strings - with crossing glissandi,
etc., all in one staff. Totally unreadable. We told the composer,
his only response was to come back the next day
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
At 12:47 PM -0400 5/5/05, David W. Fenton wrote:
But I believe the tunings on the typical 3-string Viennese basses of
the time was not the same as our modern conbrabasses. I don't know
enough about the actual tunings for those instruments, so can't say,
but I'm struck by the performer's change
At 9:18 AM +0100 5/6/05, Ken Moore wrote:
In message [EMAIL PROTECTED] David Fenton
writes:
But I believe the tunings on the typical 3-string Viennese basses of
the time was not the same as our modern conbrabasses.
Do you have evidence that 4- and 5-string instruments were not
available? This
At 1:34 PM -0500 5/11/05, Jim Williamson wrote:
The standard policy, in the past, was that you could write 1 and 1 only
custom chart for 1 band without getting pemission. If you sold a second copy
to someone, that would be considered unauthorised publishing.
Jim, I'm always willing to learn
At 6:57 AM -0400 5/13/05, Christopher Smith wrote:
As far as I could tell, Jim wasn't talking about law, but about
publisher's willingness to allow someone else to arrange one of
their works. And his experience seemed to agree with mine, too.
Things have changed in attitudes among publishers in
At 10:57 AM -0400 5/16/05, Eric Kurtz wrote:
If anyone finds it, let's Xerox it for friends and play it together!
Not to be a spoilsport or anything, but if it was published in the
1930s it's still under copyright in the U.S. Of course if it's POP
that doesn't make copying legal, but does lower
At 11:51 PM -0400 5/17/05, shirling neueweise wrote:
i'd like to be able to have 4-line and 5-line staves interspersed,
with the top and bottom staff lines of each aligning.
As always, you're getting lots of practical advice from the
knowledgeable membership of this list, and the discussion so
At 12:35 PM -0400 5/18/05, shirling neueweise wrote:
John Howell asked:
Why do you want to do this?
in larger percussion setups it's quite useful to differentiate
between instruments, or instruments types, especially when they
change often during the piece. generally, i only use 5-line staves
At 11:27 PM -0400 5/24/05, Dennis Bathory-Kitsz wrote:
At 09:16 PM 5/24/05 -0500, Williams, Jim wrote:
Would you please search your memory bank for the location of this
soundfont...?
It's one of the best I've ever heard.
Jim,
It isn't a single soundfont. There are about 30 different
At 7:33 PM +0200 5/26/05, Johannes Gebauer wrote:
Boccherini string quintet, cello part, in a Paris early 19th century
edition (but that could well be done from 18th century printing
plates of an earlier edition.
In a cello part there is an indication al ponte. What would people
think this
At 3:33 PM -0400 6/4/05, shirling neueweise wrote:
for the horn player in you:
i don't recall ever seeing this anywhere before, but a client has
indicated harmon mute for horn (small orchestra for opera). does a
harmon mute exist for horns?
cheers,
jef
Never seen one, never seen one in
At 1:08 AM -0400 6/5/05, Lora Crighton wrote:
Is there any way to make Finale do gregorian chant?
There are chant fonts available from St. Meinrad's Archabbey in
Southern Indiana.
John
--
John Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540)
At 3:03 PM +1000 6/9/05, Paul Copeland wrote:
Hello.
At the moment I have a very old analogue microphone. When I use it I
get a terrible hiss coming from the loud speakers, and have to turn
the volume off.
Is there a good USB microphone that cuts out the hiss of the
speakers, without me
At 1:15 PM -0700 6/12/05, ThomaStudios wrote:
Once again I'd like to tap the collective wisdom here on the board.
What is everyone's recommended choice for word processing under OS
X. I would like to rid myself of Microsh*t Word 2004, which
steadfastly refuses to create a printer on my
At 3:09 PM -0400 6/23/05, Andrew Stiller wrote:
On Jun 23, 2005, at 6:47 AM, Ken Durling wrote:
An Electric Piano I think technically has to have reeds and
hammers, or even strings like those stubby little grands made by
Yamaha.
Well the terminology may have changed, but back in
At 8:52 AM -0400 6/24/05, dhbailey wrote:
John Howell wrote:
[snip]
I think I've seen a picture of it, but there may well only be one
(or a handfull) in the entire world. The bass sax, on the other
hand, should be considered and used as a legitimate member of the
sax section. (I may
At 12:43 PM +0100 6/29/05, Owain Sutton wrote:
Johannes Gebauer wrote:
keith helgesen schrieb:
I would query your assertion that 6/4 traditionally is 2 X 3/4.
From my experience 6/4 is generally 3 X 2/4.
Is it? I doubt that for most music written before 1900, after that
I guess things
At 5:22 AM -0500 7/6/05, Jim wrote:
David, I have not experienced linked parts yet. The descriptions i
see here, however, leave me wondering what I'm missing. Can you
enlighten me as to their benefit?
I'm not sure I see the benefit of having an ex-post change made to a
PART be reflected in the
At 11:51 AM -0600 7/6/05, John Abram wrote:
A twelfth note is a triplet eighth note. They are sometimes used in
new music (eg Mark-Anthony Turnage has used it frequently I believe)
Henry Cowell was way ahead of the game with this sort of thinking.
Why is 12/12 not like 12/8? Because 12/8 is
At 8:27 PM -0600 7/6/05, John Abram wrote:
On 6-Jul-05, at 5:19 PM, [EMAIL PROTECTED] wrote:
You're really splitting hairs here -- putting 3 evenly spaced notes
within one beat sounds like triplets to me, no matter how it's
represented in the time signature.
Yes it sounds the same, like
At 5:45 PM +0100 7/7/05, Owain Sutton wrote:
John Howell wrote:
If it quacks like a duck, it's a duck. If it sounds like triplets,
it's triplets.
Except if it's not grouped in threes.
In which case it doesn't sound like triplets!
Feel free to invent your own notation; just don't expect
At 11:18 PM +0200 7/7/05, Johannes Gebauer wrote:
And much more basic: as Robert remarked it is absolutely essential
to have separate spacing for each part. The way that Finale's
spacing works I fear that this might indeed make the one file,
different views approach incredibly complicated, as
At 5:39 PM -0400 7/7/05, Andrew Stiller wrote:
In Broadcast Standard American, w and wh are pronounced identically,
and the phoneme [hw] simply does not exist.
I'm not sure whether you are referring to a reference book, or just
to general practice. I do know that I grew up having been
At 9:21 PM -0500 7/7/05, Noel Stoutenburg wrote:
What can a Sibelius House Style do that one cannot do with a
Finale template?
Ummm, save you the time and knowledge base needed to create your
template? I, for one, don't speak EPVU or whatever the heck it is!
It's my son who investigated
At 12:55 AM -0400 7/9/05, David W. Fenton wrote:
Anyway, that's enough for now. Most of the notational aspects I could
probably figure out how to configure, but I find the user interface
is, overall, really poorly done, with lots of places where it's
extremely hard to find how to control things
At 9:28 AM -0500 7/9/05, Robert Patterson wrote:
Isn't the fundamental problem here that the pie is not getting bigger?
Sibelius had the luxury of learning from Finale's mistakes. Its
original features list was a litany of Finale's (then) shortcomings.
Apparently its entire reason for
At 1:27 PM +1000 7/10/05, Rocky Road wrote:
My school here in Sydney, Australia uses Finale, but this is because
I like it and I introduced it here when we brought computers into
the music department some years back (being head of music has its
privileges :-) ). However, all around us, it
At 9:18 AM -0400 7/11/05, dhbailey wrote:
I didn't think look-and-feel could be patented/copyrighted/trademarked.
Under U.S. law it can't. European law may be different in this
aspect, judging from comments that have been made from our friends
across the pond.
John
--
John Susie
At 10:52 PM +0200 7/11/05, Johannes Gebauer wrote:
Is there a way to turn every quarter note in a passage into 4 16th notes?
(If not, this seems like something that is missing from the plugin
menu - or the TGTools menu).
Two slashes through the stems?
John
--
John Susie Howell
Virginia
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