On 26 Oct 2011 at 9:56, David H. Bailey wrote
I'm just trying to point out potential pitfalls, and with the way most
computer users never back up their data, it's a serious potential
pitfall. Or not, since apparently you think all computer users are gods
of the backup and would never have a chanc
It's the one and same David Fenton. He did not live in San Francisco.
His computer consulting business was based out of New Jersey (across
the Hudson in Weehawken)
Thanks
Kim
On Wed, Nov 9, 2011 at 12:32 PM, Eric Dannewitz wrote:
> this is NOT the same guy people.
>
> This list's Dave fenton li
On Wed, Nov 9, 2011 at 12:59 PM, Wade KOTTER wrote:
> It's not funny at all, Eric. I was honestly apologizing if my original
> report was incorrect, but I don't think it is.
It's not Wade, it's the same gentleman. And thanks for letting us know.
Take care
Kim
_
On Wed, Nov 9, 2011 at 1:07 PM, Randolph Peters wrote:
> I'm sorry to hear about David's passing.
>
>
> It IS our David, by the way. Just look at his own signature from letters to
> this list:
>
> David W. Fenton http://dfenton.com
> David Fenton Associates http://dfenton
On Wed, Nov 9, 2011 at 1:52 PM, David H. Bailey
wrote:
> No -- Steve Jobs is working on an app to allow people from the other
> side to communicate with the living through their iPhone, iPod-Touch or
> iPad.
>
I guess that's not being ported to the Android format then? :/
Thanks
Kim
___
On Mon, Apr 16, 2012 at 3:54 PM, Robert Patterson
wrote:
> In fairness, I don't think Henry ever had any intention of closing down
> this list. I believe his frustration was directed at the Finale *program*!
>
That's how I read it as well. ;)
Thanks
Kim
__
On Mon, Apr 16, 2012 at 3:24 AM, Dennis Bathory-Kitsz
wrote:
>
> As for Finale itself dying, I don't know and hope not. Nothing good enough has
> come along to replace it for my work.
I wondered why you don't use Score? I know the gentleman who edited
and typeset the Charles Ives 4th critical ed
Hi everyone:
A friend suggested that I do Youtube videos (instructional type), and
make some money that way. Since I already have about 115 videos of
music editions uploaded already I assumed, why not at least "monetize"
them and get started right away. But apparently if you have music, the
Youtub
On Wed, Aug 1, 2012 at 3:18 PM, Eric Dannewitz wrote:
>
> YeahrobustI don't know of anyone using WordPerfect and didn't
> know the company was still making it...
Well despite who you know (and their software choices): WordPerfect is
a mainstay in the legal profession, and is used by the
Good day:
I have discovered there are apparently two thematic indices for
Leopold Hoffmann's symphonies. One was done by a George Cook Kimball
for his dissertation in the mid 1980s, and was included in the Garland
series on the 18th century (general editor Barry S. Brook). But
apparently Alan Bad
Hi everyone:
I'm considering ordering microfilms of unique sources in Germany. The
archive offers print outs from their own copies of the films, but it's
pretty expensive (1.00 EU per sheet, and each cantata could have up
to 30 pages). I'm involved in a large planned project doing dozens of
these
They mentioned on their Twitter the servers were being moved. It should be
back up shortly.
Thanks.
Kim
On Fri, Nov 15, 2013 at 5:21 PM, Giovanni Andreani wrote:
> Working fine here in Italy
>
> Giovanni
>
>
>
>
> Giovanni Andreani
>
> www.giovanniandreani.eu
>
> >Hi gang,
> >
> >Any
On Wed, Nov 20, 2013 at 10:04 PM, Craig Parmerlee wrote:
There is absolutely no question that there is a body of potential
> customers who would like to use computer notation, but the products have
> such a steep learning curve that they give up. We all know people like
> that.
>
If they though
+"
articulation marks above them
That's a older variant for "trill"
On Sat, May 17, 2014 at 6:25 PM, Peter Taylor wrote:
> Advice please. I'm doing a rush job (as always!) to prepare wind parts
> from
> a composer's printed "manuscript", which is in concert pitch throughout
> (and
> so reduced
means the right hand completely closes the opening of the
> bell of the horn.
>
>
>
>
>
>
> Tim Johnson
>
> Sent from Surface Pro
>
>
>
>
>
> From: Kim Patrick Clow
> Sent: Saturday, May 17, 2014 5:28 PM
> To: finale@shsu.edu
>
It's such a thorny issue because in many baroque parts, the markings are so
inconsistent (sometimes they are clearly staccato markings, but in a set of
doublet-parts, where there are two copies of violin 1, the same bar will
have wedges / daggers. My editor has suggested to duplicate the markings a
Hi all:
This was a very interesting article I thought, so I'm passing this
along to the list.
http://www.nytimes.com/2008/03/27/arts/27soun.html?ex=1207281600&en=5657a5508af06d36&ei=5070&emc=eta1
I don't believe it requires a site log-in.
Thanks,
Kim Patrick Clow
&q
On Sat, Apr 5, 2008 at 7:55 AM, dc <[EMAIL PROTECTED]> wrote:
> Not sure they'd be willing to work for the low wages offered ;-(
>
> Dennis
>
I had an person in India offer to do raw data entry for 3.00 USD per hour.
Kim
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t; Kallisti Music Press reopened for business a few days ago, including online.
>
> Andrew Stiller
> Kallisti Music Press
> http://www.kallistimusic.com/
>
> ___
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> http://lists.shsu.edu/mailm
tp://www.camerata-berolinensis.de
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>
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
___
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y help on which specific
collection of dances or lute books this comes from, would be most
appreciated.
Thank you,
Kim
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
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On Sun, May 4, 2008 at 2:38 PM, <[EMAIL PROTECTED]> wrote:
> ...and speaking of moveable clefs, the only place outside of Finale that
> I've seen a "French violin clef" that puts the g' on the bottom line of
> the staff is in Dover's edition of "Die Kunst der Fuge." Has anyone else
> here had prac
re important though and
Grove's has suggested Cambini's music was vitally important for the
string quartet in France.
I ask for some thoughts, because I don't want to waste a lot of money
on ordering reproductions of his music if it turns out
to be garbage ;-)
Thank you
Kim Patrick C
Trent Johnston <[EMAIL PROTECTED]> wrote:
> Cambini has suffered like many "Italian" composers in the 18th century as
> being very prolific. Often the view (especially for 18thC Italian composers)
> is prolific = low quality work.
Yes, I think Barry Brook made a specific study of Cambini and the
e plenty of other Cambini concertantes,
but this one in particular vanished. Some
doubt he had any real role in quashing the performance of Mozart's
piece. Gluck said he was a very moral; so it
seems unlikely Cambini would have been underhanded...
Have you heard any theories about this?
Kim Patr
Hi all:
I know a lot of modern composers are on the list. I noticed that ERM
is now being distributed by Naxos USA, making a lot of their CDS much
more available. My personal favorite is a String Quartet by Roger
Rudenstein dealing with President Bush called "The Nightmare of
Reason" :)
Thanks
Ki
Hi all:
Does anyone know of an online resource for correct beaming? Working
with baroque music as I do, the useage of beaming has changed
quite a bit, and I'd like to be as accurate as possible in making
corrections to modern style/useage.
Thanks much
Kim Patrick
f you have any solutions or ideas on what he can do, please let me know.
Thanks
http://www.minimarcos.org.uk/riscos.html (information about the Acorn system).
Kim
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
___
Fina
aybe the string parts need to be transposed down a third,
but
he's just as baffled by all this as I am; and he said maybe it's another
case of
the 2nd Brandenburg concerto. The trumpet parts in this Endler piece are
very high,
very baroque sounding.
Any ideas appreciated.
Thanks
Kim
--
Recently a bigger motet was discovered, I believe for 60 parts, it was
miscatalogued in the French National Library.
A fascinating article in "Early Music America" detailed the
fascinating rediscovery of this piece.
Thanks
Kim
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Fin
uggestion? Are there better ways of having
this sent other than the post office, but not so pricey?
Thanks in advance
Kim Patrick Clow
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omeone you know can read german you might try digging around in
> this forum (mailcheaper) for info:
> http://billigerverschicken.de/forum
>
> ___
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> Finale@shsu.edu
> http://lists.shsu.edu/mailman/listinfo/finale
ion of a "Wiki" page, I didn't know wiki was a
server application. So for what I am trying to do, should it be wiki?
I have
MS Access, but again, I don't want to become an expert in database
theory, I just want to get started.
Thanks for your suggestions!
Kim
--
Kim Patri
lete definitive listing.
Would anyone have more information about this that I could find online?
Thanks
Kim Patrick Clow
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
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Take care
Kim
On Thu, Sep 25, 2008 at 9:16 PM, John Howell <[EMAIL PROTECTED]> wrote:
> At 4:58 PM -0400 9/25/08, Kim Patrick Clow wrote:
>
>> Good Day:
>>
>> There seems to be confusion about the numbering of Lebrun's oboe concerti.
>> E.g. http://www.mu
Thank you!
Kim
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
___
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Finale@shsu.edu
http://lists.shsu.edu/mailman/listinfo/finale
AIL PROTECTED]
> wrote:
> Very interesting! Does it happen to have any images of string quartets in
> it?
>
> Johannes
>
>
> On 13.11.2008 Kim Patrick Clow wrote:
>
>> A friend has let me borrow a book called "Musical Ensembles in Festival
>> Books: 15
That's the book I have, I appreciate your finding that ;)
Are there other books in German that cover this same type of topic/material
with full color plates?
Thanks again!
Kim
On Thu, Nov 13, 2008 at 5:39 PM, Barbara Touburg <[EMAIL PROTECTED]>wrote:
> Kim Patrick Clow wrote:
&g
ut
>> these books, I'm afraid I can't help you.
>>
>
> There's also a long introduction, with 16 very scholarly footnotes.
>
>
> Dennis
>
>
>
> ___
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lthough he was VERY heavy on the bass line,
there are two parts for a cello, contrabass, and 2 bassoons, something
that the classical period orchestras liked a great deal
( I believe that Mozart's Paris symphony was first played by 10 or 12 cellos!)
Thanks so much for your fee
On Sat, Nov 15, 2008 at 5:54 PM, John Howell <[EMAIL PROTECTED]> wrote:
> And of course there is never any way to make sure that the surviving parts
> are the ONLY parts that were copied. You can't prove a negative!
>
> John
Thanks for your reply John, but the interesting thing is, for this
Can
On Sat, Nov 15, 2008 at 6:37 PM, David W. Fenton
<[EMAIL PROTECTED]> wrote:
> I've lots of experience with MSS from the period Kim is working and
> what I see is that "Sinfonia a 18" would mean that there are 18
> individual lines (parts) in the score. That wouldn't mean 18 staves,
> as the two obo
On Sat, Nov 15, 2008 at 7:14 PM, David W. Fenton
<[EMAIL PROTECTED]> wrote:
> The really surprising thing to me has been not so much the heavy
> bass, but the completely sparse *inner parts*. Heavy bass can work
> very well with a full harmony filled out above them, but in so many
> cases you see p
On Sun, Nov 16, 2008 at 3:43 PM, dc <[EMAIL PROTECTED]> wrote:
> If a part is silent and other parts have a fermata, does one need to add a
> fermata over the rest?
>
> Thanks,
>
> Dennis
>
Hi Dennis:
Brian makes me do that for the Graupner editions.
Take care
Kim
__
Hi everyone:
I grew up listening and enjoying many recordings of the Paillard
Chamber Orchestra. Does anyone on the list
know when did he stop conducting? Wikipedia has a short biography
about him, but there's not much there.
Thanks
Kim
--
Kim Patrick Clow
"Early Music enthusi
journalid=505495&moduleid=55&preview=&auth_token=sessionless:1228402800:embedcontentiurl=http://i1.ytimg.com/vi/L7KaP8R8ZWc/hqdefault.jpg
Thanks
Kim
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
___
Finale ma
or two horns?
>
> Has anyone any ideas?
>
> Thanks,
>
> Lawrence
>
> lawrenceyates.co.uk
> ___
> Finale mailing list
> Finale@shsu.edu
> http://lists.shsu.edu/mailman/listinfo/finale
located at
> the Hessische Landesbibliothek in Darmstadt, so it's possible the
> instrumental works may be there as well, not sure about that.
>
> Martin
>
>
>
> On Dec 19, 2008, at 9:18 PM, Kim Patrick Clow wrote:
>
>> Absolutely has to be in Dresden. Trouble is
s
> where we had 7 viols playing. That's a pretty amazing sound, but not
> one you're going to hear very often!
>
> --
> David W. Fentonhttp://dfenton.com
> David Fenton Associates http://dfenton.com/DFA/
>
> ___
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> http://lists.shsu.edu/mailman/listinfo/finale
>
--
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"Early Music enthusiasts think outside the Bachs!"
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David W. Fenton wrote:
> Telemann wrote a lot of music that uses viols, some of it quite
> spectacular. What are you working on?
Well the Sinfonia isn't spectacular really, in fact my editor said
"it's not a really strong piece I'm afraid." I don't know what the
quality of the rest of the cantat
Kim
> --
> David W. Fentonhttp://dfenton.com
> David Fenton Associates http://dfenton.com/DFA/
>
> ___
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Richard Yates wrote:
> "Only within a few hours of the end of the year, Leland Smith announced
> the availability of Score V. 5.0, the first upgrade of this
> professional music typesetting system since 2001. And this time, it
> works in Windows and is called Winscore. For the time being, it is
>
ion.
Has this ever been issued in a modern reproduction?
Thanks for any leads,
Kim
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
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.
Thanks
Kim
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
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On Fri, Jan 9, 2009 at 12:57 PM, John Howell wrote:
> If, indeed, a company that does not actually own either the manuscripts
> themselves or a copyright in those manuscripts created microfiches from
> them, it triggers still other questions: Do those copies constitute a
> modern publication? (
On Sun, Jan 11, 2009 at 5:51 AM, dc wrote:
> All of Minkoff's facsimiles have a very restrictive copyright notice. Not
> only do they state the facsimile can't be copied, but also that it can't be
> transcribed, even partially. I'd be curious to know how much of this is
> bluff...
>
I can tell y
Hi all:
I know there is some interesting research going on with "intellectual
copyright" issues in the 18th century, when I find out more, I'll post
some information. I will mention that when Christoph Graupner died,
the Landgrave of Darmstadt prevented Graupner's estate possession of
the manuscri
symbol
from the 18th century?
Does anyone have more information on it? I'd be most grateful.
Doesn't this icon spell Bach's name in musical notation or am I mistaken?
Thanks
Kim
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
__
On Thu, Jan 22, 2009 at 1:54 PM, dc wrote:
> Yes, four different clefs (or rather 3 clefs, one of which with 2 different
> key signatures) spelling out BACH. Davitt Moroney used it on the cover of
> his little book on Bach.
Thanks Dennis, do you know if this is a copyrighted symbol (I doubt
that
On Fri, Jan 23, 2009 at 1:14 AM, dc wrote:
.
>
> Very tangentely Finale-related: the nice version with Bach-style old clefs
> used on the cover of Davitt Moroney's Bach book (the original edition, in
> French) was actually done specially for the book by Dominique Montel
> (creator of the Berlioz n
y your lawers for that long...
>
> The full story here:
>
> http://www.nmz.de/kiz/nachrichten/bgh-begruendet-urteil-im-streit-um-vivaldi-oper-motezuma
>
> Johannes
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On Mon, Jan 26, 2009 at 3:04 AM, Johannes Gebauer
wrote:
> I have no idea, but often these prices are given more for a life's
> achievement, than for a particular thing the person did. In the case of
> Savall I guess he did do a lot for Early Music.
Well that's really ashame since there are sev
Johannes Gebauer wrote:
>
> Although I agree I think this price is more for performers than for
> researchers, isn't it?
Doesn't seem to be, no:
http://www.haendelfestspiele.halle.de/en/festspiele/haendelpreis/preistraeger.html
If performers are the only qualification, then next year I will
su
re the violin parts notated with a bass clef?
That's beyond the range of a violin, no? Any suggestions greatly
appreciated. I don't have a modern edition of the score (I rather not look
at one to prevent it from clouding how I approach my edition).
Thank you very much
Kim
--
Kim Patrick Clo
On Sun, Feb 22, 2009 at 9:51 PM, Harold Owen wrote:
> That is the bass part - the continuo. Violins don't play there.
>
> But there are *two* staves, and only one was marked as basso continuo.
In fact, in the next system, the copyist put treble clefs, but cancelled
them and put bass clefs in.
T
On Sun, Feb 22, 2009 at 10:20 PM, David W. Fenton
wrote:
>>You say it was a copyist's score -- what is the situation with these
>>sources and Telemann's autographs?
Very few of Telemann's instrumental works (and I believe that none of the
orchestral suites) survive in autograph form; Telemann sp
On Sun, Feb 22, 2009 at 11:01 PM, John Howell wrote:
And incidentally, while modern flutists play this music (and often play it
very well), it was written for recorder, NOT for transverse flute. The range
fits like a glove.
The source I have specifically has "flute" not the typical recorder mark
On Sun, Feb 22, 2009 at 11:02 PM, David W. Fenton
wrote:
> In this particular movement, do the violin parts get anything other
> than the bass line? Do the parts ever diverge?
Vn 1 and Vn 2 do not diverge, i.e. they're the same. This movement consists
of 2 Passepieds, in Passepied no 1, the stri
On Mon, Feb 23, 2009 at 2:10 PM, David W. Fenton
wrote:
> Kim, do you think that there should be no continuo realization here?
I'm not doing one at all- my editor/publisher will do one if a client asks
for one, but until then, no.
>
> And what about the balance? I suppose one recorder in that
y hard and fast rules about doing this correctly? Could I
unbeam either the last beat or the last two beats in the strings?
Or is what I have fine?
Thanks
Kim
--
Kim Patrick Clow
"Early Music enthusiasts think outside the Bachs!"
___
Finale
Good day:
I'm hoping someone will have a lead or suggestion. I'd like to order
reproductions of Vivaldi manuscripts that are in the National
University Library in Turin. I don't speak or read Italian, but would
anyone on the list know of a direct link or email contact there?
The best page I have
>
> --
> Lawrenceyates.co.uk <http://lawrenceyates.co.uk/>
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>
--
Kim Patrick Clow
"Early Music enthusiasts think outside th
I think they want
TWV 54:D 23
Concerto, en ré majeur, pour 3 cors et violon, cordes et basse continue
1. Allegro
2. Grave (si mineur)
3. Presto
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I could do the edition for you depending on the time requirements.
:-)
On Mon, Mar 9, 2009 at 6:17 PM, Lawrence Yates
wrote:
> That's the only Telemann for three horns that I know - Do you know who
> publishes it - sell/rents it?
>
> Cheers,
>
> Lawrence
>
> 2009
Good Day:
I'm asking advice about the placement of trills. Is there a standard rule on
the distance and where to place them above notes? You can see an example
here:
http://www.bytenet.net/kpclow/music/trills.jpg
Particularly bothersome are notes with the note stem facing UP, how do I
align the
Hi all:
Someone passed me this interesting link about Patelson's.
http://www.philly.com/philly/blogs/artswatch/Hard_Times_For_Joseph_Patelson_Music_House__.html
Thanks
Kim
--
Kim Patrick Clow
"Early Music enthusiasts think outside
Sibelius 6 was just released a few minutes ago ;)
--
Kim Patrick Clow
"For such is the mind of men upon the earth, just like the day Zeus and gods
brings to it.."
Oddessy, Book 18
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from Sib 5?
>
> Dean
>
>
> On May 19, 2009, at 7:38 AM, Kim Patrick Clow wrote:
>
> Good Day:
>>
>> I have a file I've worked long and hard on, but I'm concerned it's a tad
>> small and hard on the eyes.
>>
>> A PDF sample is uploaded to
At 1:07 PM +0200 5/20/09, João Pais wrote:
- sibelius' user base is (still) mainly based on the people who use it
"lightly" or for industrial purposes, and not for serious engraving. these
persons are usually happy with the program/standard output as is, and many
times don't go down enough to get
On Thu, May 21, 2009 at 1:53 PM, Eric Dannewitz wrote:
> They are probably the same ones that vote for American "Idol"
> "singers"..so90% doesn't mean right.
>
> But whatever works. I won't switch until either MakeMusic goes under
> or until Sibelius can open, natively, Finale file
On Thu, May 21, 2009 at 6:52 PM, shirling & neueweise <
shirl...@newmusicnotation.com> wrote:
>
> Rumors of Score's death are greatly exaggerated. :-)
>>
>
> perhaps, but it *is* deathly ill. imagine the last 10 years of finale's
> bugs, poor implementations and general errors crammed into and yo
>> At 12:39 AM -0400 5/31/09, David W. Fenton wrote:
>
>> >The old dot vs. stroke controversy c. 1800 has always struck me as an
>> >interesting example of engravers having to make decisions on which
>> >engraving tool to use when copying from a manuscript in which the
>> >staccatto marks could var
On Fri, Jun 19, 2009 at 3:33 PM, Gary Dunham wrote:
>
> Sorry JD, but I remain a defender of Finale as the best notation software out
> there... and I think there must be many others out there who agree with me.
Score users say the same thing.
And that program is a nightmare: dozens of steps
On Fri, Jun 26, 2009 at 8:53 PM, Owain Sutton wrote:
>
> Measuring 'numbers of clicks' isn't a good way of rating productivity,
> however - I very rarely resort to the mouse to make such changes, in Word or
> in OpenOffice. Multiple clicks either indicates an unawareness of keyboard
> shortcuts,
Johannes Gebauer wrote:
> Is there a beaming plugin for Sibelius which does the same as PB? I am only
> interested in what the program can do, whether with or without plugins.
>
Hi Johannes:
I asked Daniel Spreadbury your question: Here's his reply--
"Sibelius's Optical Beams feature allows you
t;>
>> http://carlfischer.com/Fischer/search.cfm?cfT=&cfC=Banner&cfID=
>>
>> http://lorenz.com/results.aspx?srch=quick&cid=Martin+Banner
>>
>> ___
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>> Finale@shsu.edu
>> http:
listinfo/finale
>
>
>
>
>
>
>
>
>
> Martin Banner
> mban...@hvc.rr.com
>
> http://www.alliancemusic.com/peopledetails.cfm?iPeopleID=22
>
> http://hinshawmusic.com/search_results.php?keyword=banner&search=Search
>
> http://collavoce.com/search.php?cmd=search&mode=normal&words=Banner
>
> http://sbmp.com/SeeItNowFolder/SeeItNowMen.html
>
> http://carlfischer.com/Fischer/search.cfm?cfT=&cfC=Banner&cfID=
>
> http://lorenz.com/results.aspx?srch=quick&cid=Martin+Banner
>
> ___
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>
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"Just be yourself! Everyone else is taken!"
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the full score.
>
> Martin
>
>
> On Aug 19, 2009, at 11:36 AM, Kim Patrick Clow wrote:
>
>> Sounds like he was writing the horns out in concert pitch (Graupner
>> would do that too), but when you look at the parts, they are obviously
>> in D major. Here's two
uestion was how to bring that score and the horn
> parts into 21st century usage.
>
> Two different works entirely.
>
> --
> David H. Bailey
> dhbai...@davidbaileymusicstudio.com
> ___________
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)
>
> Even in more florid 17th cent. styles, the key of the horn is likely
> to match the key of the piece.
>
> On Fri, Aug 21, 2009 at 10:19 AM, Kim Patrick Clow wrote:
>> I made a mistake, the horn parts were written for G horns.
>>
>> I apologize about that erro
All this talk about concert pitches and brass parts brings to mind
that from what I understand now, many HIP performance groups would
rather use the 18th century parts when available and make any
editorial changes on those-- really taking out the step of making a
performing edition. But that still
On Fri, Aug 21, 2009 at 5:10 PM, David W.
Fenton wrote:
> In an earlier period, they were prepared for the copyist to prepare
> the parts. And that's one of the reasons that Kim's situation is so
> interesting to me, in that the scores he's working with would likely
> have confused most copyists in
Hi all:
All this talk about 18th century horn music made me think I should
pass along this news. In 1736, Telemann published another set of six
orchestral suites akin to the Tafelmusik he had issued a few years
earlier. Telemann was engraving this set himself and was delayed by
his wife leaving hi
David W. Fenton wrote:
> But movement-to-movement seems to have been too radical for them,
> perhaps because it's too direct of a contrast, i.e., not able to be
> approached gradually as would be the case within a modulatory passage
> within a movement. After c. 1810 (and perhaps earlier), it's not
On Mon, Aug 24, 2009 at 1:42 PM, David W.
Fenton wrote:
>whose music is
> known *of* today, but not really *known*, partly because only small
> fractions of their output is available in modern editions (i.e., in
> score, as opposed to the original parts-only publications) and so
> little is recorde
Good Day:
What is the correct plural form for "chalumeau"?
I typically see "chalumeaux."
I suppose the "x" is a form of "s" akin to "flute" versus "flutes" in English.
Thank you,
Kim
--
Good day:
A friend sent me a Score file in Encore format with the idea I can open this
in Finale. It apparently doesn't work.
Any suggestions? Do I need specific plug-ins?
Thanks kindly,
Kim
--
Kim Patrick Clow
"Just be yourself! Everyone els
27;t say.
>
> Yet another reason to keep old versions installed.
>
> (BTW, when you say a "Score file" with the proper noun capitialised, it
> makes us think for a minute that it is a file from the program Score, which
> is a completely different animal. But only for a minute
On Thu, Sep 3, 2009 at 7:59 PM, Andrew Stiller wrote:
> I was startled, not to mention dismayed, a few days ago to find that there
> are apparently no articles in Wikipedia for any composer older than Purcell!
> At the very least I could find nothing for Leonin, Machaut, Dufay, Josquin,
> Palestri
Hi everyone:
What would be the correct plural form of "Dessus" as in
Ouverture in F major for 2 Horns, 2 Dessus and Basson continuo"
Dessuses? Dessi? Ha
Thanks
Kim
--
Kim Patrick Clow
"Just be yourself! Everyone else is taken!"
_
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